Category: 5. Entertainment

Virgin Music Group, the indie distribution arm of Universal Music Group (UMG), is offloading a big chunk of its U.S. physical distribution of CDs and vinyl to Alliance Entertainment’s AMPED distribution company, sources tell Billboard.

Virgin currently distributes labels including ATO, Dirty Hit Records, Sumerian and Fader, along with artists such as Cigarettes After Sex, IDLES, beabadoobee, My Morning Jacket, Bad Omens and Black Pumas. The deal, which a source says is not yet completed, has created a degree of uncertainty for the labels distributed by the two companies, creating worries for label executives about how the new arrangement will work out for their respective labels and artists.

But some of the Virgin labels say the UMG-owned company is a much better digital distributor than physical distributor, and are hopeful that the move to AMPED will therefore prove to be a good one for their businesses.

Still other sources suggest that this move will serve as an enhancement and will expand Virgin’s physical reach, given that Alliance is the largest music wholesaler in the world, servicing more than 1,500 indie retailers and selling to chains and mass merchants while offering fulfillment services to online physical music merchants. The deal will ensure more complete coverage of indie retail within the U.S. and Canada, as well as nontraditional retail locations, according to sources familiar with the deal. Those sources expect the deal to fuel the growth of physical sales in the U.S. and Canada at independent retail for the company’s distributed independent label clients. Reps for both companies did not comment.

Over the last two years, UMG has been expanding and fortifying its indie distribution presence. In September 2022, the company placed its indie distribution arms, Virgin and InGrooves, under the Virgin Music Group banner, led by mTheory founders JT Myers and Nat Pastor. In October 2023, UMG then merged the two distribution companies into one. The following October, it acquired full ownership of [PIAS], which owns some labels and one of the larger European indie distribution companies, and merged it into Virgin Music Group. And in December, UMG followed that up by announcing that through Virgin, it was buying Downtown Music Holdings, which has a suite of music companies that includes two indie distributors, FUGA and CD Baby. That $775 million deal has yet to close, as it faces antitrust scrutiny from governmental regulatory agencies and opposition from some of the big players in the indie label sector.

As for the anticipated new physical distribution channel for Virgin’s domestically distributed indie labels, Billboard estimates that last year in the U.S., Virgin had about $25 million to $30 million in physical sales, based on Luminate data. However, it’s not known if AMPED will be getting all of those sales; AMPED’s parent may already have a share of that physical because Virgin probably only sells to bigger indie retailers directly and relies on one-stop wholesalers like Alliance to sell to smaller indie stores, meaning that for those sales the switch amounts to an internal accounting change within the company. Also, some sources suggest that K-pop releases, which are known to have a huge physical presence, might remain within the Universal system. Some sources estimate that when all the details of the deal and its transition are worked out, Alliance’s AMPED could land anywhere from $20 million to $25 million in sales from the deal.

Alliance Entertainment is the biggest physical music wholesaler in the world; in its annual report last year, it said that about $450 million of its $1.1 billion in revenue came from music. Based on the nine months reported so far this fiscal year, where its music revenue totaled $358 million as of March 31, 2025, Billboard estimates that Alliance will close out the fiscal year with at least $475 million in music revenue. Those results are expected to be disclosed in mid-September.

Within that, sources say AMPED has annual revenue of about $80 million, so it’s conceivable that the addition of physical from the Virgin labels could see the indie distributor generating $100 million in revenue on an annualized basis, while putting parent Alliance’s music revenue at the $500 million mark, regardless of how the company accounts for the sales.

Sea-Fever

I must down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship, and a star to steer her by.
And the wheel’s kick and the wind’s song and the white sail’s shaking,
And a grey mist on the sea’s face and a grey dawn breaking.

I must down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the seagulls crying.

I must down to the seas again to the vagrant gypsy life,
To the gull’s way and the whale’s way where the wind’s like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick’s over.

My poetry-reading these days falls into two main categories, discovery and re-discovery. But sometimes they overlap. Discovery doesn’t dawn only from new poets and collections. Dusting off work I’m supposedly familiar with can suddenly reveal new perspectives, especially with a good editor as guide.

Last week I re-read John Masefield as the result of a conversation with a writer-friend who gives readings to groups of adult-newcomers to poetry, often bringing well-known hits into his playlist. We soon got into a conversation about John Masefield’s Sea-Fever (tried, tested but, we agreed, far from tired) and he raised a question about the first line: should it be “I must go down to the seas again” or “I must down to the seas again”? I wasn’t sure; he wasn’t sure.

I checked in at home with the almost eponymous Sea-Fever: Selected Poems, edited by Philip W Errington, published in 2023. Errington has re-printed the poem as it appeared in Masefield’s first collection, Salt Water Ballads, 1902, where the word “go” is also omitted.

The “saltiness” in these early poems is often supplied by the mariners’ dialect as they discuss death at sea, whether by shipwreck or as the result of yellow fever. When Masefield’s poetic persona is close to himself, any lingering saline trace of dialect is washed by an inflowing fresh water tide of romantic longing. The sea is an image of seemingly free movement, and poems like The West Wind and Sea-Fever itself convey that double-expanse: the ever-moving sea and wind, and the human freedom these elements can symbolise.

Less specific than some of the poems about the technicalities of sailing, Sea-Fever is a picture made of verbs, assonance, and the conjunction “and”, woven into the rhythmic strokes of a seven-beat line that joins what would be two lines in a traditional ballad. In each of the Sea-Fever quatrains, two couplets share a shanty-like call-and-response. The first ends firmly on the final stress (“sky”, “by”/ “tide, “denied”/ “life”, “knife”) while the second revises the rhythmic emphasis with feminine endings (“shaking”, “breaking”/ “flying”, “crying”/ “fellow-rover”, “over”). Herring-gulls are constantly “crying” in that long “i” sound. But a word with a short “i” (“trick”) is the clinching effect in the last line: as so often, the voyage concludes with death, but the characterisation of life as “the long trick” is what stands out, suddenly intruding on those cliches of “quiet sleep” and “sweet dream” with an unforeseeable adjective-noun combination: “And quiet sleep and a sweet dream when the long trick’s over.”

But what of that first line, and the word “go” – added for the first time in Ballads and Poems, 1910, present in the 1922 Selected Poems, lacking in the 1923 Collected Poems, but back in place in the revised Collected Poems in 1946?

Errington quotes from Linda Hart’s A First Line Mystery published in The Journal of the John Masefield Society in 1993: “When asked, in 1927, about the first line of the poem, Masefield stated ‘… I notice that in the early edition, 1902, I print the line “I must down”. That was as I wrote the line in the first instance … When I am reciting the poem I usually insert the word “go”. When the poem is spoken I feel the need of the word but in print “go” is unnecessary and looks ill.’”

From Masefield’s comments, it seems he found “I must down to the seas again” unnatural to speak, but that he preferred it to the less jinglingly dactylic rhythm that “go” created on the page. “I must down” is literary, antiquated diction for 1902. The omission of the preposition has distinguished idiomatic ancestry, though. There’s a similar turn of phrase from Shakespeare in King Lear, when Lear says to Cordelia: “Come, let’s away to prison …”

The noticeable jolt in Sea-Fever from the reference to “the vagrant gypsy life” is explained in another illuminating editorial note. In manuscript drafts the poem begins, sea-less, “I must go down to the roads again” or “I must out on the roads again”. Those discarded “roads” might have led Masefield to the kenning-like “gull’s way” and “whale’s way”. Perhaps the freedom of the sea and that of the open road and the community of the travellers remained joined together in Masefield’s imagination.

By omitting the all-too-necessary “roads”, the Wolverhampton-based poet of the new 20th century expresses the hallucinatory quality of his longing for what had been a mixed blessing at the time, the life of a sailor. His first impulse, to avoid the pedestrian “go down”, is the right one. He is murmuring to himself as if in a fever-dream: “I must down to the seas again …”

Ibiza may be famous for its Mediterranean flavours, but its Asian dining scene is a well-kept secret waiting to be explored. From the smoky wok hei of Cantonese stir-fries to the aromatic spices of Indian curries, the island boasts an impressive array of authentic and innovative Asian restaurants.

Whether you’re craving the delicate balance of Japanese sushi or the bold heat of Sichuan cuisine, Ibiza’s chefs are bringing the vibrant tastes of the East to the heart of the Balearics.

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Ibiza Town and Dalt Vila

Wakame is an intimate sushi den near Vara de Rey that serves precision-cut nigiri along with crafted cocktails. Service is as sharp as the wasabi.

Another downtown choice, Daruma Ibiza specialises in fiery and filling bowls of authentic ramen.

The Ibiza Town iteration of one of Santa Eulalia’s best-known South Asian restaurants, Kathmandu turns out buttery naans and fragrant Nepalese-Indian curries that will hit the spot with spice seekers.

Tiny but mighty, Sushiya Aoyama is a sushi counter that delivers masterful omakase at surprising prices.

Hidden in the centre of Ibiza Town, “Omakase by Walt” is a showstopping experience. Freshly prepared before you in the intimate eight-seater wooden bar, each dish is created using seasonal ingredients and exclusively for you. The taste reflects the passion and craft for which Walter is held in such high esteem.

Lastly, those who appreciate Vietnamese cuisine will make a beeline for Miss Saigon, whose affordable prices and authentic cooking have made it a favourite with locals and visitors alike.

Situated in Ushuaïa Ibiza Beach Hotel, in the heart of Playa d’en Bossa, Minami Japanese Restaurant offers high-end teppanyaki and sushi with a Mediterranean twist. The show-cooking tables are a pure dinner spectacle.

Another Playa d’en Bossa eatery, Rosa India, is where Bollywood meets mixology. The Indian-inspired cocktail menu is well worth shouting about, as is the divine masala fish curry.

On the outskirts of town, Nobu Ibiza Bay showcases the world-famous Nikkei cuisine of its legendary founder, Nobu Matsuhisa. Classics such as miso black cod and jalapeño yellowtail await discerning diners, washed down with premier wines and sunset cocktails from its privileged location overlooking Talamanca Bay. Impeccable but pricey.

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Santa Eulalia

Jatayu Indian Experience Ibiza crafts elevated cuisine from the Sub-Continent in its space, offering harbour views and lounge vibes. Outstanding home-cooked Indian cuisine based on ayurvedic philosophy and expert use of imported spices, all set to Balearic beats.

Kathmandu is a wallet-friendly Nepalese hotspot on Calle San Vicente – in the heart of Santa Eulalia – that serves hearty portions of classic Indian and Himalayan dishes, from the Kathmandu karahi to lentil dhal. Vegetarians and meat-lovers alike rave about the flavourful curries and fluffy naans.

Another ‘restaurant street’ highlight, Asian Road, will take you on a journey through the continent with bao buns, wok-tossed noodles, and tasting menus for groups. Reliable and wallet-friendly. Curry wallahs will be happy to hear that it also has a branch in Ibiza Town.

A legendary “MediterrAsian” hideaway behind bamboo walls, Bambuddha is synonymous with Thai curries, sushi platters, and decadent desserts. The ambience and attention to detail here are unrivalled.

A kilometre or so further along the Ibiza – San Juan Road, the award-winning Nagai Ibiza offers signature Omakase by its Japanese kitchen wizardess, Reina Nagai. Meanwhile, at its San Jordi branch, you can obtain Japanese street food to eat in, to take away or for home delivery.

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San Antonio and San Antonio Bay

Amongst the back streets of San Antonio, Sushimi‘s intimate restaurant bursts with flavour. Creating a sumptuous Japanese fare, owner and head chef Giacomo Brunco focuses on aged-fish sushi to achieve truly authentic flavours.

Gran China does more than the name suggests. Within its vast menu of delicious and authentically prepared Chinese dishes, you’ll find a well-celebrated and great-value sushi menu that always receives praise.

You won’t miss our first stop in San Antonio Bay, the twinkling red-hued garden of Chi Kee Wun always grabs the attention it deserves. Here, Chinese fusion meets garden-party chic. It’s succulent, crispy duck and sweet lychee martinis are a match made in heaven.

With the beach in view, you can dine at the reasonably priced Curry Palace, a San Antonio Bay institution. Expect blistering vindaloos and creamy kormas. Its menu of the day is great for the wallet, although the spice levels are not for the faint-hearted.

For poolside dining, Pom Thai – with its Thai head chef – is the place for fiery tom yum and lemongrass-infused dishes. Expect Thai cooking methods and ancient recipes made from quality, seasonal produce.

Further into the Bay, Kojima serves up affordable, heartfelt Japanese home cooking. Let the friendly owners guide you through their daily specials, although we would highly recommend the spicy tuna rolls.

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San Carlos and beyond

Set in the heart of San Carlos, Restaurante Mei specialises in Mediterranean-Japanese hybrids like tuna tataki with Ibizan olives. Seafarers will be delighted to know it also offers sushi boxes delivered to yachts.

Northern Ibiza

From its location in the charming hamlet of San Vicente, Es Cafè “Casa Pepe” is a Thai food fanatic’s secret, beloved by locals for its authentic curries and stir-fries. Takeaway available for beach picnics.

Ca Na Hathai is situated in the village of San Miguel. A Siamese gastro haven – helmed by a team from Thailand – it dishes out punchy, authentic flavours, make sure to try their massman curry. Their midday menu offers exceptional value, and MSG-free options are available.

If you are near Ibiza Town, check out its branch in the village of San Jordi. Don’t forget to order fried pork ribs with garlic while you’re there.

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And now that we have whetted your appetite for all things eastern, all that remains is to book your spot ASAP!

For further culinary suggestions, go to our dedicated restaurant page.

EbonyLife Media CEO Mo Abudu isn’t done pushing international boundaries for African storytellers and creators.

One of Africa’s preeminent media moguls, the resourceful London-born Abudu is getting ready to expand the scope of her Lagos-based company with EbonyLife on Plus, a new kind of membership-based streaming service that will feature pan-African series, movies, talk shows and lifestyle content.

EbonyLife was initially created as an upscale TV network in 2012 and successfully moved into feature film and series production, scoring deals with Sony Pictures Television and Netflix, among others.

The launch of EbonyLife on Plus comes at a critical time for the African filmmaking and creative community, which has been in limbo since global streamers shifted course in the last 18 months after short-lived commitments in the region: Netflix reportedly pulled the plug on its Nigerian Originals, while Amazon Prime Video abruptly exited the African market altogether last year.

“There’s a whole continent that needs to have a voice, their stories need to be told and they are producing but they no longer have a home for their productions,” she says, noting that “a lot of people are turning to YouTube as an option” which she says “shouldn’t be the only place.”

In an interview with Variety outlining plans for EbonyLife on Plus, Abudu says the streamer’s rollout will be a natural evolution of her work and mantra. “I’ve been in this industry for the past 20 years, and my primary focus now is on building a thriving ecosystem — one that encompasses production, distribution, and capacity building, both across the continent and in the diaspora,” she says.

EbonyLife has achieved a topnotch track record in scripted, notably with the thriller miniseries “Blood Sisters,” a Netflix original that garnered over 11 million hours viewed in its first week alone; “Òlòtūré,” a dark-edged thriller movie and series about human trafficking; and “A Sunday Affair,” a romantic dramedy film. The banner also entered the festival circuit with “Death and the King’s Horseman,” a film adaptation of Wole Soyinka’s acclaimed anti-colonial stage play by the same name which played at Toronto in 2022.

Abudu hasn’t conceived EbonyLife on Plus as another global streamer, she says, but rather a platform that will be bringing together a community around shared interests “rooted in purpose, identity and connection.”

“Do I have the budgets of Netflix and Amazon? Of course I don’t, and that’s why we’re being a little bit creative on the types of content that we are bringing to the platform,” says Abudu, who ventured into directing with the short films “Her Perfect Life” and “Iyawo Mi” in 2023. She says she isn’t looking to “compete with the Netflixes,” or become like a small-scale Amazon or YouTube platform.

Besides showcasing films and series, EbonyLife on Plus will boast a healthy volume of reality and lifestyle content skewing younger (18 and up) female demographics, including e-commerce.

“We’ll be curating African fashion, so if you’re looking for the latest designer outfit from Nigeria, you may find it on our portal,” Abudu says, stressing that “it won’t be a self publishing platform — we want it to be highly curated and by invitation.”

Abudu, who rose to fame in the 2000s with her popular daytime talk show “Moments With Mo,” will deliver a masterclass every month exclusively for EbonyLife on Plus. She’ll also bring in a podcast adapted from “Moments With Mo,” along with another podcast titled “What Do Women Really Think?”

Aiming to appeal to younger subscribers, Abudu says “the new TikTok generation is looking for more exciting things than just the next drama,” which is why EbonyLife on Plus is “leaning toward looking at Nigerian creators on YouTube.” The service has already partnered with three YouTube creators to have them create content for EbonyLife on Plus in-house as writers and producers. She notes that “even Netflix and all of these guys are now looking to YouTube and bringing the biggest creators on YouTube to their platforms.”

The inaugural slate of EbonyLife on Plus will include the company’s existing library, along with a catalogue of Nollywood Gold classics which the company recently acquired, and a collection of films from Sony Pictures that feature prominent Black talent. There will also be some original scripted films and shows which she says will be “tightly scripted, with a limited cost and locations that we can afford as we start this journey.”

Anticipated scripted highlights on EbonyLife on Plus include “Hallelujah,” a family drama set a powerful Largos church starring Uzor Arukwe and Bolaji Ogunmola, and an untitled film featuring Omoni Oboli as a beloved media star whose picture-perfect life unravels. Other scripted content will star Bolaji Ogunmola, Uche Jombo, Nancy Isime and Daniel Effiong. There will also be some lifestyle-driven specials celebrating African identity, such as a show hosted by Nigeria’s dance icon Kaffy leads high-energy masterclasses in Afro dance styles.

EbonyLife on Plus will have a soft launch in September (priced at $10/year in Nigeria and $30/year internationally), and Abudu says she’s currently talking to investors and working with a financial advisory company in Nigeria on a capital raise.

While streamers have pulled out or scaled back investments across the continent, Abudu believes there is still a global audience for shows and movies produced in Africa, as “Baby Farm” recently proved.

“Our co-production ‘Baby Farm’ has been extremely successful in Africa and Netflix then decided to distribute it to English-speaking countries, where it performed exceptionally well, breaking into the 
Top 10 Netflix charts in key markets including the U.K., U.S., Australia, Canada, New Zealand, and the Philippines, among others. That tells you there is a big market and that people are ready to listen to our stories,” she said, adding that “Baby Farm” will also launch on EbonyLife on Plus outside of Africa.

The prolific entrepreneur is also upbeat about the longer-term perspectives for the continent. She sees the upcoming takeover of South African pay-TV giant MultiChoice by Canal+ Group as a positive signal.

“I think Canal + sees the future in Africa and they’re right, because by the year 2050, one in five people in the world is going to be an African. We have the youngest youth demographic on the globe. So this is the future. They’re thinking long term,” says Abudu.

Aside from the streamer’s launch, EbonyLife is in the process of opening a cinema for African films in South London, in the district of Wandsworth. Abudu reveals that she just hosted the mayor of London, Sadiq Khan, during his visit to Nigeria. “He’s excited about the fact that we are doing the first African cinema in the U.K.,” she says.

Elsewhere, EbonyLife is continuing to work with a wide range of international players. Abudu says she’s got projects in the pipeline with Idris Elba, Starz and Lionsgate as well as Westbrook and IFC, among others.

The Simpsons is the longest-running sitcom on television, but some of its self-proclaimed biggest fans stopped watching decades ago. The show’s first several seasons revolutionized primetime TV, blazed a trail for animated comedy, and embiggened our lexicon with endlessly quotable episodes.

What made those early years so special?

Here & Now‘s Peter O’Dowd speaks with Alan Siegel about his new book, “Stupid TV, Be More Funny: How the Golden Era of The Simpsons Changed Television — and America — Forever.”

When it comes to her Wednesday press tour fashion, Jenna Ortega and her stylist, Enrique Melendez, have spared no expense. Today, the actor continued her hit parade in Midtown Manhattan, where she offered her take on Christian Dior’s New Look.

The famous silhouette—a bar jacket with a nipped-in waist and a flared skirt—emerged from Christian Dior’s inaugural collection in February 1947 as a novel, post-war look. In the 78 years since its debut, the New Look has proven its staying power. Maria Grazia Chiuri, who served as the house’s creative director for nearly a decade, was fond of the look, recently dressing the likes of Monica Barbaro and Yseult in the telltale silhouette.

Aeon/GC Images

Today, Ortega offered her interpretation in a gray single-button closure with a defined waist, padded shoulders, and a double collar. Instead of a voluminous A-line skirt, she opted for a sleek pencil midi. Ortega’s accessories were also statement-making, leaning into the mysterious in a black saucer hat and sunglasses, and a pair of the viral Christian Louboutin pointe shoe pumps.

Ortega is giving a masterclass in what modern press tour style should look like. Paying homage to her character without looking costume-y, Melendez styled her in a reptilian Ashi Studios dress, a layered, corseted Vivienne Westwood dress, and an avant-garde leather number by Sarah Burton for Givenchy. Now, Jenna Ortega is ushering in the new New Look.

The Fitzgeralds came to the south of France to write, but the couple didn’t spend all their time shut up in a villa. So despite the fact that I too am on deadline, I venture forth in their honor. One of the sites most associated with them is the iconic Hotel du Cap-Eden-Roc. The Fitzgeralds visited several times on previous sojourns through the area. In Tender Is the Night, it’s immortalized as the Hotel des Étrangers. It has a fictional feel even IRL, as if gardens this perfect and vistas this glamorous must have sprung from someone’s imagination. Rates start in the four figures, but a meal is cheaper. You can visit for lunch and experience the environs at their sparkliest. I prefer the humble spread dished up at the minuscule, cash-only Bistrot du Coin in Antibes. On select afternoons, tables groan under the weight of boiled vegetables, fish, and aioli so luscious I saw someone at the next table eat it with a spoon. Bold, given the number of garlic cloves whipped into it. Fitzgerald described “breathing dreams like air” in his writing, but I did not want to exhale in a social setting until I had a toothbrush in hand a few hours later. Perfect, delectable, fragrant repast.

Back at Belles Rives, one of the best meals in town can be had a stone’s throw from Bar Fitzgerald at the hotel’s La Passagère restaurant. Michelin-starred French cuisine with a breathtaking view of the Mediterranean. At one point during the dinner I eat there, a waiter points to an island in the distance (past the green light). It’s Saint-Honorat, where almost two dozen monks live in the Cistercian Congregation of the Immaculate Conception and produce ultra-limited wine with a spiritual flavor. The waiter has a bottle open and pours me a glass. Not a religious experience, but I would call it transcendent.

The next morning, I visit the masterworks of Pablo Picasso, who traveled in the same circles the Fitzgeralds did. The Picasso Museum in Antibes doesn’t have as extensive a collection as the Picasso Museum in Barcelona does, but seeing his Joie De Vivre in person is worth the price of admission alone. Later, I wander through Old Antibes where vendors in the Marché Provençal sell cheese, olive oil, fruit, vegetables, and all manner of straw products to tourists and locals alike. Fitzgerald would not have known what to do with the iced matcha latte for sale a few doors down a winding, cobblestone-paved sidewalk, but a gaggle of teenage girls make quick work of their drinks before loading up on French soap. Over dinner at Jeanne in Antibes, I am so engrossed in conversation that I lose track of my belongings and leave a hat I did quite like on a chair in the corner. As the characters in Fitzgerald’s novels have no choice but to learn, there is perhaps such a thing as too much “joie de vivre” after all. The hat is not returned to me.

Seattle-based nonprofit Tasveer is expanding its footprint with the launch of the Tasveer Producers Lab, a mentorship program designed to cultivate the next generation of South Asian producing talent.

The lab, which will operate out of Los Angeles as an extension of the Oscar-qualifying Tasveer Film Festival and Market, selected just five projects from over 100 submissions for its inaugural cohort. The competitive program targets producers of South Asian descent and projects rooted in the diaspora experience.

Leading the initiative is Milan Chakraborty, head of film at Marginal MediaWorks, who has been named the lab’s first artistic director. The veteran indie producer brings more than 30 film credits and Warner Bros. Pictures experience to the role.

“I have been a fan of Tasveer for years and was honored to become the first artistic director of the producer Lab,” Chakraborty said. “The South Asian diaspora has made incredible strides over the past several years; and yet, it’s become harder than ever to get meaningful distribution on independent films and create a sustainable career as a film producer. We know our stories and talent are valuable original IP with global resonance.”

The 2025 cohort features a diverse slate of projects spanning genres from horror to political drama. Selected teams include Aneesa Khan and Vinay Umapathy with “The Settler,” a 1993-set thriller about an Indian immigrant confronting dark forces in rural Texas; Aishwarya Sonar and Shuchi Dwivedi’s “Friends and Fascism,” set in an Indian Catholic boarding school; and Karan Shah and Janani Vijayanathan’s “A Silent Wave,” exploring reproductive rights in post-Roe Texas.

Also chosen were Alison Almeida’s “Dusky Fever,” a provocative story about racial identity and relationships, and Alifya Ali and Samantha Skinner’s “On Earth As It Is In Heaven,” a family drama set during a Houston summer.

The program unfolds in two phases. Fellows will gather Aug. 14-17 in Los Angeles for workshops at Amazon MGM Studios, followed by virtual sessions in September. The culmination comes at the Tasveer Film Market (Oct. 8-10 in Seattle), where participants will pitch their projects for a $10,000 development grant.

“Tasveer’s mission has always been to create access points for South Asian filmmakers. This lab is a bold step toward nurturing producers who will define the next generation of cinema from the diaspora,” said Rita Meher, Tasveer co-founder and executive director.

The initiative is backed by The Niraj Bhatia Foundation and Om Films, Inc., with support from Amazon MGM Studios. Overseeing the program alongside Meher are Ritvik Dhavale (lab producer and program manager), Neha Dutta (program manager), and Amun Chaudhary (program coordinator).

The lab represents the latest expansion of Tasveer’s industry initiatives, which include its annual film festival now in its 20th year, plus funding and market programs. The organization, founded in 2002, is a leading advocate for South Asian voices in global cinema.

Finalists for the program included Rajendra Thakurathi, Sheheryar Ahsan, Kajri Akhtar, Vinny Anand, Kartic Bhargav, and Shane Collins.

Unless you’re living under a rock, you have likely been subjected to this year’s Labubu craze. If not, the trend—ignited by tweens—goes a little something like this: You collect these fuzzy little plushy-monster charm things, and then affix them to your chicest bag—like an Hermès Kelly or Birkin, or a classic Chanel flap. All the stars are on board with the cutesy accessory, from Dua Lipa to Rosé. Some of the most exclusive Labubus have even sold for over $10,000. But leave it to Lady Gaga to find the most on-point one yet: The singer was spotted out and about in Malibu yesterday with a custom Labubu adorning her sleek black Kelly bag.

Her special black and red Labubu? It was modeled after Mother Monster herself, naturally. According to the fan account La Maison Gaga, the custom gothic-glam Labubu was designed by the Los Angeles-based arist Marko Monroe, and features the little creature in a DIY’d ruffled red outfit that is reminiscent of the one Gaga wears in the “Abracadabra” music video. Whether Gaga commissioned the Labubu or it was gifted to her remains a mystery, but one thing is for sure: The resemblance is uncanny. (Well, as much as one can resemble a spooky looking creature.)