Category: 5. Entertainment

The International Architecture Exhibition of La Biennale di Venezia holds up a mirror to the industry — not only reflecting current priorities and preoccupations, but also projecting an agenda for what might be possible. 

Curated by Carlo Ratti, MIT professor of practice of urban technologies and planning, this year’s exhibition (“Intelligens. Natural. Artificial. Collective”) proposes a “Circular Economy Manifesto” with the goal to support the “development and production of projects that utilize natural, artificial, and collective intelligence to combat the climate crisis.” 

Designers and architects will quickly recognize the paradox of this year’s theme. Global architecture festivals have historically had a high carbon footprint, using vast amounts of energy, resources, and materials to build and transport temporary structures that are later discarded. This year’s unprecedented emphasis on waste elimination and carbon neutrality challenges participants to reframe apparent limitations into creative constraints. In this way, the Biennale acts as a microcosm of current planetary conditions — a staging ground to envision and practice adaptive strategies.

VAMO (Vegetal, Animal, Mineral, Other)

When Ratti approached John Ochsendorf, MIT professor and founding director of MIT Morningside Academy of Design (MAD), with the invitation to interpret the theme of circularity, the project became the premise for a convergence of ideas, tools, and know-how from multiple teams at MIT and the wider MIT community. 

The Digital Structures research group, directed by Professor Caitlin Mueller, applied expertise in designing efficient structures of tension and compression. The Circular Engineering for Architecture research group, led by MIT alumna Catherine De Wolf at ETH Zurich, explored how digital technologies and traditional woodworking techniques could make optimal use of reclaimed timber. Early-stage startups — including companies launched by the venture accelerator MITdesignX — contributed innovative materials harnessing natural byproducts from vegetal, animal, mineral, and other sources. 

The result is VAMO (Vegetal, Animal, Mineral, Other), an ultra-lightweight, biodegradable, and transportable canopy designed to circle around a brick column in the Corderie of the Venice Arsenale — a historic space originally used to manufacture ropes for the city’s naval fleet. 

“This year’s Biennale marks a new radicalism in approaches to architecture,” says Ochsendorf. “It’s no longer sufficient to propose an exciting idea or present a stylish installation. The conversation on material reuse must have relevance beyond the exhibition space, and we’re seeing a hunger among students and emerging practices to have a tangible impact. VAMO isn’t just a temporary shelter for new thinking. It’s a material and structural prototype that will evolve into multiple different forms after the Biennale.”

Tension and compression

The choice to build the support structure from reclaimed timber and hemp rope called for a highly efficient design to maximize the inherent potential of comparatively humble materials. Working purely in tension (the spliced cable net) or compression (the oblique timber rings), the structure appears to float — yet is capable of supporting substantial loads across large distances. The canopy weighs less than 200 kilograms and covers over 6 meters in diameter, highlighting the incredible lightness that equilibrium forms can achieve. VAMO simultaneously showcases a series of sustainable claddings and finishes made from surprising upcycled materials — from coconut husks, spent coffee grounds, and pineapple peel to wool, glass, and scraps of leather. 

The Digital Structures research group led the design of structural geometries conditioned by materiality and gravity. “We knew we wanted to make a very large canopy,” says Mueller. “We wanted it to have anticlastic curvature suggestive of naturalistic forms. We wanted it to tilt up to one side to welcome people walking from the central corridor into the space. However, these effects are almost impossible to achieve with today’s computational tools that are mostly focused on drawing rigid materials.”

In response, the team applied two custom digital tools, Ariadne and Theseus, developed in-house to enable a process of inverse form-finding: a way of discovering forms that achieve the experiential qualities of an architectural project based on the mechanical properties of the materials. These tools allowed the team to model three-dimensional design concepts and automatically adjust geometries to ensure that all elements were held in pure tension or compression.

“Using digital tools enhances our creativity by allowing us to choose between multiple different options and short-circuit a process that would have otherwise taken months,” says Mueller. “However, our process is also generative of conceptual thinking that extends beyond the tool — we’re constantly thinking about the natural and historic precedents that demonstrate the potential of these equilibrium structures.”

Digital efficiency and human creativity 

Lightweight enough to be carried as standard luggage, the hemp rope structure was spliced by hand and transported from Massachusetts to Venice. Meanwhile, the heavier timber structure was constructed in Zurich, where it could be transported by train — thereby significantly reducing the project’s overall carbon footprint. 

The wooden rings were fabricated using salvaged beams and boards from two temporary buildings in Switzerland — the Huber and Music Pavilions — following a pedagogical approach that De Wolf has developed for the Digital Creativity for Circular Construction course at ETH Zurich. Each year, her students are tasked with disassembling a building due for demolition and using the materials to design a new structure. In the case of VAMO, the goal was to upcycle the wood while avoiding the use of chemicals, high-energy methods, or non-biodegradable components (such as metal screws or plastics). 

“Our process embraces all three types of intelligence celebrated by the exhibition,” says De Wolf. “The natural intelligence of the materials selected for the structure and cladding; the artificial intelligence of digital tools empowering us to upcycle, design, and fabricate with these natural materials; and the crucial collective intelligence that unlocks possibilities of newly developed reused materials, made possible by the contributions of many hands and minds.”

For De Wolf, true creativity in digital design and construction requires a context-sensitive approach to identifying when and how such tools are best applied in relation to hands-on craftsmanship. 

Through a process of collective evaluation, it was decided that the 20-foot lower ring would be assembled with eight scarf joints using wedges and wooden pegs, thereby removing the need for metal screws. The scarf joints were crafted through five-axis CNC milling; the smaller, dual-jointed upper ring was shaped and assembled by hand by Nicolas Petit-Barreau, founder of the Swiss woodwork company Anku, who applied his expertise in designing and building yurts, domes, and furniture to the VAMO project. 

“While digital tools suited the repetitive joints of the lower ring, the upper ring’s two unique joints were more efficiently crafted by hand,” says Petit-Barreau. “When it comes to designing for circularity, we can learn a lot from time-honored building traditions. These methods were refined long before we had access to energy-intensive technologies — they also allow for the level of subtlety and responsiveness necessary when adapting to the irregularities of reused wood.”

A material palette for circularity

The structural system of a building is often the most energy-intensive; an impact dramatically mitigated by the collaborative design and fabrication process developed by MIT Digital Structures and ETH Circular Engineering for Architecture. The structure also serves to showcase panels made of biodegradable and low-energy materials — many of which were advanced through ventures supported by MITdesignX, a program dedicated to design innovation and entrepreneurship at MAD. 

“In recent years, several MITdesignX teams have proposed ideas for new sustainable materials that might at first seem far-fetched,” says Gilad Rosenzweig, executive director of MITdesignX. “For instance, using spent coffee grounds to create a leather-like material (Cortado), or creating compostable acoustic panels from coconut husks and reclaimed wool (Kokus). This reflects a major cultural shift in the architecture profession toward rethinking the way we build, but it’s not enough just to have an inventive idea. To achieve impact — to convert invention into innovation — teams have to prove that their concept is cost-effective, viable as a business, and scalable.”

Aligned with the ethos of MAD, MITdesignX assesses profit and productivity in terms of environmental and social sustainability. In addition to presenting the work of R&D teams involved in MITdesignX, VAMO also exhibits materials produced by collaborating teams at University of Pennsylvania’s Stuart Weitzman School of Design, Politecnico di Milano, and other partners, such as Manteco. 

The result is a composite structure that encapsulates multiple life spans within a diverse material palette of waste materials from vegetal, animal, and mineral forms. Panels of Ananasse, a material made from pineapple peels developed by Vérabuccia, preserve the fruit’s natural texture as a surface pattern, while rehub repurposes fragments of multicolored Murano glass into a flexible terrazzo-like material; COBI creates breathable shingles from coarse wool and beeswax, and DumoLab produces fuel-free 3D-printable wood panels. 

A purpose beyond permanence 

Adriana Giorgis, a designer and teaching fellow in architecture at MIT, played a crucial role in bringing the parts of the project together. Her research explores the diverse network of factors that influence whether a building stands the test of time, and her insights helped to shape the collective understanding of long-term design thinking.

“As a point of connection between all the teams, helping to guide the design as well as serving as a project manager, I had the chance to see how my research applied at each level of the project,” Giorgis reflects. “Braiding these different strands of thinking and ultimately helping to install the canopy on site brought forth a stronger idea about what it really means for a structure to have longevity. VAMO isn’t limited to its current form — it’s a way of carrying forward a powerful idea into contemporary and future practice.”

What’s next for VAMO? Neither the attempt at architectural permanence associated with built projects, nor the relegation to waste common to temporary installations. After the Biennale, VAMO will be disassembled, possibly reused for further exhibitions, and finally relocated to a natural reserve in Switzerland, where the parts will be researched as they biodegrade. In this way, the lifespan of the project is extended beyond its initial purpose for human habitation and architectural experimentation, revealing the gradual material transformations constantly taking place in our built environment.

To quote Carlo Ratti’s Circular Economy Manifesto, the “lasting legacy” of VAMO is to “harness nature’s intelligence, where nothing is wasted.” Through a regenerative symbiosis of natural, artificial, and collective intelligence, could architectural thinking and practice expand to planetary proportions?

Khloé Kardashian is setting the record straight — and giving credit where it’s due — about the plastic surgery and cosmetic work she’s had done after a London-based surgeon rattled off a list of suspected surgeries in honor of the reality star’s 41st birthday.

Dr. Jonathan Betteridge had a rather suspicious mind: He told followers in an Instagram Reel that he believed Kardashian had undergone a brow lift, an upper-eyelid lift, a nose job, a chin implant, a facelift and a neck lift for “overall tightness and definition” and lip filler.

Referring to side-by-side photos of Kardashian from a while back and from the recent Bezos-Sánchez wedding in Venice, Betteridge said she “looks dramatically different from a few years ago, and whether you see it as glow-up or glam makeover, there’s no denying she’s created a bold new look for herself.”

Then he added a disclaimer, saying he had no personal knowledge of what Kardashian had done and was purely speculating, albeit as a professional.

He also asked people to offer their opinions and voila, along came Khloé.

“I take this as a great compliment! first off I think these photos are about 15 years apart, But here’s a list of things that I have done. I’ve been very open in the past about what I have done so here we go,” Kardashian wrote in a comment.

And it turns out the doc’s speculation was mostly wrong.

Here’s what Kardashian copped to: a nose job. “Laser Hair” for the hairline and “everywhere else,” which we assume means laser hair removal. Botox and Sculptra injectables on her right cheek after she had a melanoma tumor removed. Collagen baby threads under her chin and neck. Sofwave laser treatment for skin tightening.

She lost 80 pounds slowly over time, she said, and has had fillers but not in the past few years. (“I hear it never goes away,” she wrote, “so I’m sure it’s still there but calmed down.”)

Also, in addition to “regular facials, peptides, vitamins and daily skin care,” Kardashian said she gets salmon sperm facials.

Giggle or not — it’s your choice. We giggled. Turns out said facials are all the rage.

She added that in 2025 “there are many other things we can do before surgery but when it’s time, and if I choose to, I know some great doctors.”

Kardashian has indeed been open about her cosmetic work over the years, talking about her nose job in 2021 and saying in 2023 that she hadn’t used diabetic medicine to take off what was about 60 pounds at the time. “Let’s not discredit my years of working out,” she wrote in reply to one Ozempic accusation. “I get up 5 days a week at 6am to train. Please stop with your assumptions. I guess new year still means mean people.”

In her list, the reality star credited all her providers as well.

Kardashian’s youngest sister, Kylie Jenner, also recently got candid on social media about her plastic surgery, revealing to a TikTok user the details of her breast augmentation.

The BBC and the authorities’ response to the chants led by punk-rap band Bob Vylan show the regulatory system is working, says Northeastern professor Adrian Hillman.

LONDON — Members of the British punk-rap duo Bob Vylan have faced considerable backlash since they urged fans to chant “death to the IDF,” the acronym for the Israel Defense Forces, during a weekend show at the Glastonbury festival.

The men have reportedly been dropped by their agency, the United States has revoked their visas ahead of a North American tour this year and U.K. police are looking into whether the incident meets the threshold of a hate crime.

But the duo, who in a statement insisted that they are “not for death of jews, arabs or any other race,” are not the only ones facing flak for the comments made at Britain’s biggest festival — so is the BBC, the official broadcast partner of Glastonbury.

The broadcaster has apologized for allowing the comments by frontman Bobby Vylan to be livestreamed Saturday from the West Holts stage, with its 30,000-person capacity. But that has not stopped the BBC from being singled out for criticism.

The U.K.’s chief rabbi, Ephraim Mirvis, called it a “national shame” that the chants were shared with a wider audience, and Prime Minister Keir Starmer said there were questions for the state broadcaster to answer.

Adrian Hillman, an assistant professor of communication at Northeastern University in London, says the BBC has a difficult path to tread when it comes to impartially airing views on the Israel-Gaza conflict.

“There is a catch-22 here because, let’s say the BBC editors had seen something coming,” says Hillman. “Let’s say they broadcast it on a delay and that they heard the chants and stopped it from airing. Can you imagine the outcry over freedom of speech if they had done that?

“Let’s be frank — this is a really hard subject to touch upon and not to tread on toes. The BBC has been criticized by the pro-Palestine lobbies and by pro-Israel lobbies for its coverage [of the war]. It is taking flak from everywhere.”

The BBC has a model that is unique in its funding and mission, explains Hillman. It is largely funded via a TV license fee where those who watch or record live television, or use the BBC’s iPlayer on-demand service, pay £174.50 ($239.60) annually. It negotiates a Royal Charter with the British government every decade that provides the constitutional basis for the BBC and sets out its mission and public purposes.

As well as having to remain impartial with its news coverage, another of its purposes is to provide and spread culture around the U.K., something Hillman argues it fulfills with its yearly wall-to-wall Glastonbury coverage.

And while the BBC has admitted it made an error by not pulling the plug on the livestream of Bob Vylan’s performance after the chants broke out, Hillman points out that it has promised to learn from its mistakes.

Celebrity stylist Liat Baruch and NBC Universal media executive David Vickter were set up by mutual friends in the summer of 2021 after a long-anticipated introduction. “I was traveling quite a bit at the time, so we started off as friends,” Liat, whose clients include Kirsten Dunst and the Richie sisters—she was the mastermind behind Sofia Richie Grainge’s viral wedding wardrobe—remembers. “But we quickly found ourselves spending most of our free time together. Whether it was grabbing coffee, running errands, meeting for lunch, or venting about the dating scene in L.A. over drinks, we always found an excuse to hang out.”

Eventually, their relationship evolved into a real-life When Harry Met Sally… story. “In November of 2024, we decided to give ‘us’ a real shot—and it just clicked,” Liat remembers. “We’re still best friends who genuinely love doing life together… only now, we get to do it as partners.”

The two got engaged in March of 2025. On Sunday mornings, they’d made a tradition of hiking Fryman Canyon, and on this particular Sunday, Liat geared up in her weighted vest and ankle weights, ready for their usual loop—but David suggested they take a quieter, less-traveled trail to the top. “It was one of those perfect L.A. days—clear skies, warm sun, and not a soul in sight,” Liat recalls. “As we reached a secluded spot overlooking the horizon, the world felt completely still. The only sounds were the birds and the soft breeze around us.”

And then, David proposed. “I was so surprised and overwhelmed with joy, that all I could say was, ‘This is so cool! And, of course, yes!’ which somehow felt exactly right.” They completed the trail, reveling in the moment, and letting their big news sink in before telling anyone. “It was simple, beautiful, and completely us,” Liat recalls.

Shortly after their engagement, they set their wedding date for June 15, 2025 at Hummingbird Nest Ranch in the Santa Susana Mountains—and jumped right into planning mode, which they somehow pulled off in just two-and-a-half months. “Thankfully, we had Rikki and Mal to help plan and coordinate everything, and it all came together so smoothly,” Liat explains. “With both of us juggling full schedules, we knew from the start that we needed support. Bringing in people we trusted to help guide the vision, handle the details, and make the whole experience feel fun—instead of overwhelming!—was key.”

O Brother, Where Art Thou? is not the first time an entire motion picture has been digitized and then converted back to film for distribution. Gary Ross did it on Pleasantville (shot by John Findley, ASC; AC Nov. ’98), and Jon Shear color-timed Urbania, a Super 16 film, in a digital suite (Shane Kelly; AC May ’00). George Lucas digitized The Phantom Menace (David Tattersall, BSC; AC Sept. ’99), but his purpose was to integrate visual effects and live action components in literally hundreds of shots.

Although O Brother, Where Art Thou? contains a number of visual effects shots, those scenes were incidental to the decision to digitize the film. In fact, the Coen brothers saw the computer as just another tool for extending the art and craft of cinematography. There is more than a little irony in that decision, however, since neither the Coens nor Deakins think of themselves as digital mavens. In fact, the Coens still edit on a traditional flatbed console because they feel that it gives them more tactile control of the film.

Writer-producer Ethan and writer-director Joel began making movies in 1984 with the acclaimed thriller Blood Simple (which was recently rereleased in theaters in a special “director’s cut”). Their films typically explore the dark side of humanity and feature characters who stick in viewers’ memories long after the last flickering images have disappeared from the screen. O Brother, Where Art Thou? is Deakins’ fifth collaboration with the brothers, following Barton Fink, The Hudsucker Proxy, Fargo and The Big Lebowski. (He is currently shooting the sixth, The Barber Project [The Man Who Wasn’t There].) Other notable credits in Deakins’ body of work include Sid and Nancy, Thunderheart, Stormy Monday, The Secret Garden, 1984 and The Hurricane. He earned a 1994 ASC Award and an Oscar nomination for The Shawshank Redemption, as well as both Academy and ASC Award nominations for Fargo and Kundun.

Also Read: Photographing The Shawshank Redemption

“Before I read the script [for O Brother, Where Art Thou?] Joel and Ethan told me they had a film they wanted to shoot in the South,” Deakins recalls. “They imagined something dry, dusty and very hot.” Texas was initially chosen as the primary location, but the filmmakers eventually switched to Mississippi. “I’ve worked in Louisiana and Alabama [on Passion Fish and The Long Walk Home,] so I knew that the region would be wet and the foliage would be various shades of lush green — and about half the picture would take place in exteriors.”

The filmmakers briefly considered changing locations again, but Mississippi’s unique delta landscapes drew them back. “It would have been a different scenario if we had been shooting in the winter or if we’d been able to take in fall colors, but our film was scheduled for a summer shoot,” Deakins recalls. “I had to find a way to desaturate the greens and give the images we were going to shoot the feeling of old, hand-tinted postcards, [which was the look] favored by Joel and Ethan.”

To prepare for the production, the filmmakers shot some footage at Griffith Park in Los Angeles, where the trees were particularly green and therefore similar to those they were about to be surrounded by in Mississippi. This footage was then subjected to a series of tests by Beverly Wood at Deluxe Laboratory. According to Deakins, tests such as bleach-bypass and ACE produced interesting desaturation but could not be applied in a selective way. The most promising option was a bi-pack system combining a black-and-white panchromatic dupe with the original color negative. Deakins notes that although this technique provided a great deal of control over saturation, it was not selective enough. “I remembered that some years ago, when we shot 1984, we’d had a similar problem,” he says. “We originally wanted to shoot in black-and-white, but the project’s backers wouldn’t allow it. Instead, we decided to go for a harsh, desaturated look using a bleach-bypass system at Kays Laboratory in Great Britain, where the staff was performing tests for us. The challenge was to create the very golden, colorful looks for the scenes that required them as a counterpoint to the starkness of the main body of the film. On those few scenes, we wound up using very heavy filtration to counteract the bleach-bypass.”

While doing tests at Deluxe for O Brother, Where Art Thou?, Deakins began to consider the new digital technology at his disposal. He was aware of Lindley’s experience on Pleasantville and knew of Cinesite in Hollywood, which handled all of the film scanning and recording on that project. He thought that if he could scan the entire film into digital format, he would have infinite control over the look in the digital suite, but he wasn’t sure it would be affordable. Deakins discussed the concept with the Coen brothers, who were familiar with the technique, and they asked him to conduct more tests.

Some of the negative from the Griffith Park tests was scanned into digital format with a Philips Spirit DataCine at 2K resolution using a proprietary look-up table developed for this application. Deakins viewed the digital images with Cinesite colorist Julius Friede. Together, they worked on manipulating the saturation of the images, and in particular selecting the greens of the trees and grass and turning them into dry browns and yellows. At that point, Cinesite recorded the digital file onto the same 35mm Eastman EXR color intermediate film (5244) that labs use for making internegative and interpositive masters for release printing. A Kodak Lightning film recorder with a high-intensity laser light source was used to convert the digital files to analog images on the intermediate film. The film was then processed by Deluxe in Los Angeles, which also made a work print.

The tests convinced Deakins and the Coen brothers. “They like to try new things,” the cinematographer says. “We knew it would be taking a risk, but Cinesite gave us a good price, and quite honestly it was the only way we could see of achieving the look that all three of us wanted.”

O Brother, Where Art Thou? was also the Coen brothers’ first experience shooting in a widescreen format (2.4:1 aspect ratio), which Deakins had suggested because of the importance of the landscapes and the epic nature of the story. He recommended shooting in the Super 35 format, in part because he liked the perspective rendered by the spherical lenses he’d used on Kundun. “Every film defines its own palette of colors and textures,” he says. “I didn’t want glossy images. The spherical lenses have the effect of pulling the audience closer to the characters; it’s more intimate [than anamorphic]. To my mind, the feeling of depth recorded on Super 35 would augment the picture-book quality of the story.”

Deakins worked mainly with a single Arri 535 camera and the new Cooke S4 prime lenses. “I think it’s important to work with the sharpest lenses you can get — especially if you’re going to convert the film to digital format — but that’s what I typically do anyhow. I rarely use filters to soften a look, so it didn’t affect my decisions [regarding] lenses and filtration.” The cinematographer notes that the Cooke lenses record “very clean” images with very little flare. A number of times he shot directly into the sun without any glare. There also were a number of night shots motivated by very bright flames, including burning torches. He says the pictures were sharp and clean with no double images or kickbacks.

After testing, Deakins settled on three film stocks. He used Kodak Vision 500T 5279 for night interior and exterior scenes, and Eastman’s EXR 5248 100-speed emulsion for most daylight exteriors. While shooting daylight sequences in shadowy forest locations, he sometimes opted for the 200-speed Eastman EXR 5293, which he also used for recording bluescreen elements of composite shots.

The entire film was storyboarded, right down to exact angles of coverage. Deakins says there was considerable discussion about the boards during preproduction. “We stayed pretty close to the plan, veering from it only when something spontaneous presented an unexpected opportunity.”

The locations in and around Jackson, Mississippi, were relatively bare, though there were some shacks and buildings that could have passed for 1930s structures. “We built a couple of sets in a warehouse, because the weather is a bit unpredictable in that part of the country at that time of year,” Deakins says. “But we were only rained out once — lucky, I guess!”

The camerawork in the film is more objective than subjective, revealing the story to viewers as if they are spectators rather than participants. Deakins offers that the result is almost like watching a play, although he notes that the picture also has moments that are like musical interludes verging on fantasy (a tactic previously employed by Deakins and the Coens in The Big Lebowski). “Those moments aren’t structurally necessary for the plot,” he says. “It is almost an operatic or circus experience, like a Fellini film in many ways.”

The camera is almost constantly in motion, though not as much as it was in, say, Barton Fink. “I generally prefer to be on a crane arm with a remote head, but sometimes it proved more practical to use a Steadicam over rough ground,” Deakins says. Much of the film was shot utilizing a Power Pod remote head and an Aerocrane jib arm. “ [That rig] allows a lot of flexibility in terms of camera movement, and it’s often a great time-saver. For one campfire scene, which leads the three main characters into a baptism ceremony, we shot all five setups with the Aerocrane on the same piece of track. We had been rained out all morning, but it brightened up enough in the afternoon to start shooting. We were in very thick forest; I knew it would be getting dark very early, so we had to work quickly.

Mariah Carey confirmed Monday that she’s finished her upcoming 16th studio album.

She sat down with Zane Lowe and Ebro Darden at the new Apple Music Studios in Culver City, California, during a special live broadcast to celebrate the 10th anniversary of the streaming service. The three briefly chatted about her latest single “Type Dangerous,” which Lowe described as a “heavy record, it’s got real weight to it” before asking if fans can expect more new music from her soon.

“I’m trying not to tell too much about the new album. ‘It’s a special occasion/ Mimi’s emancipation’ — that’s a lyric from one of my songs,” Carey said quoting 2005’s “It’s Like That.” “What is next? The album coming out. I don’t wanna tell too much about it because I just don’t want to reveal the whole thing. It’s finished.”

Mimi also revealed there are 11 or 12 songs featured on the full-length project. “We got some Mariah ballads,” she told Darden, adding that “a second single is coming soon. I’m very excited about it. It’s very summery. I like the beat as well.”

Carey released “Type Dangerous” at the top of last month via gamma., the company founded by former Apple Music executive Larry Jackson in 2023. “Type Dangerous,” which samples Eric B. & Rakim‘s 1986 track “Eric B. Is President,” became her 50th Billboard Hot 100 hit and hit the top 10 of R&B/Hip-Hop Airplay. She performed the song alongside Rakim at the 2025 BET Awards last month, when she received her first BET Award ever: the Ultimate Icon Award.

“I’ve always loved ‘Eric B. Is President.’ It wasn’t something like, ‘Oh, I’m gonna flip this’ — I just wouldn’t think of doing it,” she explained to Darden and Lowe. “But then we were in this restaurant in Aspen and they had different music on, and they played ‘Eric B. Is President’ and I was like, ‘Oh my gosh! I love this song!’ We ended up in the studio a couple months later and we did it.”

Chance the Rapper also briefly chatted with Lowe and Darden about his new music coming out soon. Ciara, Dominic Fike, Fuerza Regida, FLO, Hit Boy, Kamasi Washington, Kevin Abstract, kwn, Teezo Touchdown, Tommy Richman, Vince Staples and many more celebrated Apple Music’s 10th anniversary at the company’s newly opened studio space on Monday night.

Cosmoss, the premium skincare and wellness brand, founded by the supermodel Kate Moss has entered liquidation proceedings.

According to corporate filings, the company appointed liquidators on June 24, and filed to close its operations via the winding up process on June 25.

In its liquidation filing, the company declared it owed $4 million to creditors, including more than $3 million to Moss’ talent agency, Kate Moss Agency. It last filed company accounts in 2023 with the UK’s Companies House; it has never disclosed its revenue.

Originally founded in 2022, Cosmoss offered a range of perfumes, skincare and teas, ranging from $25 for tea to $155 for its Sacred Mist perfume. While Moss is a cultural icon and has been an ambassador for major brands including Calvin Klein and Diet Coke, she is famously private, rarely granting interviews – to some commentators, her public image was at odds with the brand’s wellness aims.

The brand was marketed with homeopathic and spiritual claims, and was carried in Liberty London and Fenwick department stores.

Moss is the company’s largest shareholder, alongside Warsaw Labs, a business incubator, the homeopath Victoria Young and other business partners.

Representatives for Moss did not respond to a request for comment.

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Why Kate Moss Can Sell Diet Coke and Wellness

The model is better known for her hard living past than her taste in beauty products. But Moss’s past aversion to self-promotion is potentially setting her new brand Cosmoss up for success, argues BoF beauty editor-at-large Rachel Strugatz.

The Devil Wears Prada 2, has officially commenced filming, as per a Variety report. While Meryl Streep and Emily Blunt were always on board since the announcement, set to step into their iconic characters of Miranda Priestly and Emily Charlton, confirmation when it came to Anne Hathaway returning as Andrea Sachs was left in the lurch.

Well, the holy trinity is coming together (phew) — and so is Nigel! In addition to Meryl, Emily and Anne, Stanley Tucci too will be returning for the sequel to reprise his role of Nigel. Now someone whose NOT returning? Adrien Grenier, who played Nate, Andrea’s boyfriend. Now Miranda may or may not be the devil, but Nate? He definitely was.

While the 2006 release followed the templated expectations of the time — of the lead finding herself in simpler things as opposed to the glitz and the glam, the cult status of the film over nearly two decades has made one thing very, very clear. If anybody was holding Andy back from realising her true potential, it was her boyfriend, with his selfish demands and judgmental disposition. Now while there’s no gate for Adrien, there definitely is tons of it for Nate, and the OG fans of the film will only be more than happy to not deal with his negativity.

Finally, the Devil Wears Prada sequel has also welcomed a new cast member aboard. Kenneth Branagh, well known for having played Detective Poirot, and even better known for his Academy Award, BAFTA, Emmy and Golden Globe wins, will be playing Miranda’s husband in the part 2.

David Frankel, the OG director of the film, is also returning for the sequel in tow with writer Aline Brosh McKenna. 20th Century Studios, via their very chic intimation, announced that The Devil Wears Prada 2 would be in production right through summer.

Now as the film gets ready for its May 1 release next year, we always have the OG to stream on OTT.