Category: 5. Entertainment

For “Grease” fans in Los Angeles, recent summer nights had a surprise in store. We’ll tell you more, tell you more.

John Travolta, who brought life to bad boy heartthrob Danny Zuko in the 1978 classic, crashed the Hollywood Bowl’s sing-along event Friday. He surprised not just the audience, but also fellow “Grease” alumni as he sauntered on stage in his character’s signature pompadour and leather jacket.

“No one knew, not even the cast,” Travolta, 71, recalled of the moment in an Instagram post shared Saturday.

The “Pulp Fiction” and “Hairspray” star on Instagram shared a closer look at his Danny Zuko-inspired styling and posted a video of him reuniting with co-stars Didi Conn, Barry Pearl, Michael Tucci, Kelly Ward and “Grease” filmmaker Randal Kleiser. Video from the sing-along shows audiences cheering and celebrating Travolta with a standing ovation. His surprise appearance came before the beginning of the sing-along, according to Entertainment Weekly.

“L.A.,” he says to fans before referencing a memorable line from the movie. “I thought you were going back to Australia!”

In that scene from “Grease,” Danny excitedly greets his summer sweetheart Sandy, before quickly playing it too cool and aloof, saving face for his T-Birds greaser squad. Olivia Newton-John indelibly played the role of Sandy. She died on Aug. 8, 2022, at age 73.

During Friday’s event, Travolta and his co-stars led fans in singing “A-womp-bop-a-looma-a-womp-bam-boom,” a line from the “Grease” finale number “We Go Together,” according to video from EW. He and his cast then left the stage and the sing-along began.

“Thank you for a great evening,” Travolta added in his Instagram post.

After several acts at the U.K. festival Glastonbury led chants in support of Palestinian freedom and denouncing the Israel Defense Forces, U.K. police opened a criminal investigation into their performances.

Several outlets including the BBC cited a statement from Avon and Somerset police in the U.K. announcing an inquiry into sets by the rap-punk group Bob Vylan and the Northern Irish rap group Kneecap.

During Bob Vylan’s set, the band’s singer Bobby Vylan (born Pascal Robinson-Foster) led Glastonbury crowds in chants of both “free, free Palestine” and, more controversially, “death, death to the IDF.”

Though police did not cite specific actions that were being investigated, “This has been recorded as a public order incident at this time while our enquiries are at an early stage,” the statement read. “The investigation will be evidence-led and will closely consider all appropriate legislation, including relating to hate crimes.”

The BBC, which broadcast Bob Vylan’s set, said in a statement that “The antisemitic sentiments expressed by Bob Vylan were utterly unacceptable and have no place on our airwaves.” The network added that it “respects freedom of expression but stands firmly against incitement to violence.” Glastonbury’s organizers said in a statement that they were “appalled” by Vylan’s comments, which they said “crossed a line.”

The U.S. State Department also announced the the two members of Bob Vylan would have their U.S. visas revoked. “Foreigners who glorify violence and hatred are not welcome visitors to our country,” U.S. Deputy Secretary of State Christopher Landau said on social media.

The BBC did not broadcast the Glastonbury set from the acclaimed Belfast rap trio Kneecap, which has attracted worldwide attention for its outspoken criticism of Israel’s war on Gaza, including at its recent Coachella sets.

Kneecap instead reportedly roused the crowd in a profane chant against U.K. Prime Minister Keir Starmer, who had criticized their booking at the festival after the group’s Liam Óg Ó hAnnaidh, who performs as Mo Chara, was charged with supporting a proscribed organization for allegedly waving a flag from the terror group Hezbollah at a London concert in 2024 (Chara denied the charge).

U.K. prosecutors, citing time limits, recently dropped charges against the group after a 2023 concert where Chara allegedly said, “The only good Tory is a dead Tory. Kill your local MP.”

After the performance, talent agency UTA reportedly dropped Bob Vylan from its roster. Singer Bobby Vylan stood by his comments, writing on social media that “Teaching our children to speak up for the change they want and need is the only way that we make this world a better place.”

Prada has acknowledged that its new leather sandal design was inspired by India’s famous Kolhapuri “chappals” – handcrafted shoes known for their toe-loop design – after facing criticism over its failure to credit the footwear’s origins.

“We acknowledge the sandals … are inspired by traditional Indian handcrafted footwear, with a centuries-old heritage,” Lorenzo Bertelli, the corporate social responsibility chief at the Italian fashion house, said in a letter to the Maharashtra chamber of commerce.

The chamber had complained on behalf of thousands of Kolhapuri sandal-makers after images from Prada’s Milan runway show showed models wearing the open-toe footwear that was virtually identical to the unisex Indian original.

The chamber president, Lalit Gandhi, had said: “The collection includes footwear designs that bear a close resemblance to Kolhapuri sandals, a traditional handcrafted leather sandal that has been awarded ‘geographical indication’ status by the government of India in 2019.”

The geographical indication tag verifies that a product originates in a specific place. The sandals’ origins go back to the 12th century, to the city of Kolhapur in western Maharashtra state.

The buffalo-hide shoes with their distinctive braided T-strap are worn by everyone from farmers to millennials and business leaders.

The sight of models walking the runway last week in the footwear blandly described as “leather flat sandals” triggered a widespread backlash in India and charges of “cultural appropriation”.

The row tapped into a broader debate about how global fashion houses frequently repackage traditional craftsmanship as luxury goods without credit or compensation to the original artisans.

The sandals, known for their durability, cost about $12 (£8.75) in India, whereas Prada sandals retail for upwards of $800. Indian artisans “lose, while global brands cash in on our culture”, said Harsh Goenka, the chair of the pharmaceuticals-to-IT conglomerate RPG Group.

As photos of the show spread online, Indian outrage mounted. “From the dusty lanes of Kolhapur to the glitzy runways of Milan … will the world finally give credit where it’s due?” asked the news outlet DNA on X.

Gandhi asked Prada to seek ways for “collaboration or fair compensation that could benefit” Indian craftspeople. Bertelli replied the sandals were still in the “early” design stage, but that Prada was willing to open a “dialogue for meaningful exchange with local Indian artisans”.

“While Indian artisans and small-scale producers excel in craftsmanship, they rarely have access to capital or business acumen” to position their products globally as luxury goods, Dhanendra Kumar, an ex-World Bank executive director, said in India’s Economic Times.

“By not calling their new line of sandals ‘Kolhapuris’, Prada is guilty of monetising cultural appropriation,” Kumar said.

Still, some believe the row could have an unexpected upside. Sales of the sandals have plateaued in India in recent years, but local designers believe the spotlight could boost interest in the classic design, especially among younger consumers.

“Until now, it hadn’t been considered part of the ‘cool’ or aspirational footwear space in India’s luxury market … I truly believe in the ripple effect of what Prada has done,” said Shirin Mann, the founder of Needledust, a label known for its contemporary take on traditional Indian embroidered slip-ons.

Mann could be right. Since Prada’s runway show, Google Trends has shown a rise in searches for Kolhapuri sandals, and retailers report interest has surged, according to local media.

MANCHESTER, United Kingdom, June 30, 2025 (GLOBE NEWSWIRE) — Following the roaring success of its annual winter Comedy Tour over the last decade, one of the UK’s leading humanitarian aid charities, Human Appeal, today announces its first ever summertime Comedy Tour.

Taking place across three major UK cities – London, Manchester and Birmingham – Human Appeal’s summer Comedy Tour will feature some of the biggest names in the international comedy circuit: American actor and comic Omar Regan, who appeared in Hollywood films Rush Hour 2, American Sharia, and Five Thirteen; Ali Official, writer and comic best known for BBC Three show Muzlamic and for presenting the BBC 3 film Being British Bangladeshi; and Aatif Nawaz, writer and star of BBC Three comedy Muzlamic, who joins the Comedy Tour for the 9^th year running.

Whereas Human Appeal’s winter Comedy Tour reaches every corner of the UK at large capacity venues, the summer Comedy Tour features intimate shows for a much more personal audience experience.

Proceeds of the ticket sales for the summer Comedy Tour will support the charity’s Gaza Emergency Appeal.

The dates and times of the summer Comedy Tour shows are as follows:

• 20^th August, London: Coliseum Suite, 300-310 High Road, Ilford, IG1 1QW
• 21^st August, Manchester: Vermilion, Lord N St, Hulme Hall Ln, Manchester M40 8AD
• 22^nd August, Birmingham: The Eastside Rooms, Woodcock Street, Birmingham, B7 4BL

Early bird tickets are available from13^th June 2025 at just £7. Standard tickets will go sale on 13^th July at £10. Further ticket information, including ticket bundles and VIP packages can be found here.

Announcing the news, Razwan Faraz, UK Director of Fundraising at Human Appeal, adds, ‘Our annual winter Comedy Tour has just celebrated its 10th anniversary, and following its success spreading festive cheer year on year, we felt it was time to expand our much-loved event. This is the first time we are bringing the Comedy Tour to smaller venues for much more intimate shows, during the summer months and bring comedy cheer all year round.’

Tickets are available to purchase here.

About Human Appeal

Human Appeal is a fully independent British humanitarian charity based in Manchester, UK. It was established in 1991 as a registered and regulated UK charity that runs targeted aid relief programmes in collaboration with recognised global organisations such as the UN. Its purpose is to save and transform lives through emergency aid response and sustainable development programmes at home and abroad across 25 countries worldwide.

Media Contact

Grace Tucker

grace@mediafoundry.london

humanappeal@mediafoundry.london

02030111023

Movie franchises come and go, but The Twilight Saga is truly immortal.

Key Facts

This is a developing story and will be updated.

Further Reading

ForbesJury Begins Deliberating Criminal Case Against Diddy: Here’s Why A Verdict Is So UnpredictableBy Conor MurrayForbesMillions Tune In For ABC News Live Coverage Of ‘Diddy’ TrialBy Mark Joyella

As Formula 1 continues to have discussions about the future of its U.S. media rights, the racing property is hoping the strong opening for a new feature film starring Brad Pitt may be just the thing to help push those talks over the finish line.

F1: The Movie took in some $55.6 million in its domestic rollout, which is quite a haul for a non-sequel, adult-oriented film that isn’t constructed around superhero IP. Produced by Jerry Bruckheimer, the Apple Original Films offering stars the septuagenarian Pitt in the unlikely role as a washed-up racer who breaks back onto the circuit after a 30-year layoff.

The film booked another $88.4 million overseas, although it will have to generate a much greater windfall if it is to earn back an estimated $300 million in production and marketing expenses. The stateside summer release calendar may put the kibosh on a profit, however, as this weekend marks the launch of yet another Jurassic Park sequel—the seventh release in the series arrives on the heels of 2022’s $1 billion blockbuster Jurassic World: Dominion—while Warner Bros.’ Superman hits the multiplex on July 11.

If the F1 flick continues to draw a crowd here in the U.S., that enthusiasm could spill over to the televised racing product. While ABC’s broadcast of the Miami Grand Prix delivered the third-largest domestic F1 audience with 2.17 million viewers, that marked a 29% decline from the year-ago race (3.07 million), which was boosted by a lead-in from Game 7 of the Magic-Cavaliers NBA playoff series (4.32 million).

Oscar Piastri’s win in Miami also trailed a competing NASCAR Cup Series race on FS1, a basic-cable network that reaches approximately 30 million fewer homes than ABC. Despite the relatively restricted delivery system, the May 4 race at Texas Motor Superspeedway averaged 2.56 million viewers.

As much as F1 ratings zoomed to previously unimagined heights during its first few years as a Disney media partner, the TV growth effectively maxed out in 2022, when ESPN and its broadcast sibling averaged 1.21 million viewers per race. The following year saw F1’s deliveries slip 8.5% to 1.11 million viewers, an average delivery that carried over to the 2024 season. By way of comparison, NASCAR served up 2.9 million viewers per race over the course of its two most recent seasons.

The fact that NASCAR draws an audience that is two-and-a-half times the size of the F1 crowd likely goes a long way toward explaining why the latter group is getting pushback in its talks with prospective media partners. F1’s parent company, Liberty Media, is looking to double the value of its current $90 million/year deal with Disney, and that big ask has prompted the Mouse House to allow its exclusive negotiating window to lapse without a renewal. (ESPN chairman Jimmy Pitaro has demonstrated his unwillingness to overpay for even a Big Four league, opting out of the final two years of the company’s legacy $550 million/year MLB deal in February.)

While Apple is among the list of digital disruptors said to be kicking the tires on an F1 rights pact, a paywall will all but certainly prevent F1 from achieving the sort of rapid growth it enjoyed on cable and broadcast TV. (Disney’s ratings nearly doubled between 2018, the first year of its F1 stewardship, and 2022.) As illustrated by the 10-year, $2.5 billion Apple-MLS deal, all the money in the world can’t buy a bigger audience when fans have to shell out $99.99 for a season pass.

F1 still has plenty of time to work out the particulars of a new U.S. rights deal (its ESPN contract expires when the 2025 season runs out in December), and there’s an outside chance enthusiasm for the feature film might help boost the televised product just as the talks start heating up. ESPN will carry three F1 races between now and early August, with the British Grand Prix set to roar into view on July 6.

The 2024 race averaged 1.29 million viewers, which should provide a solid baseline for any post-theatrical comparisons when the holiday-delayed official Nielsen data for this year’s event drops on July 9.

He added that Diljit’s global recognition made him a target, while the director remained unknown. Shah praised Diljit for agreeing to the casting decision, stating his “mind is not poisoned”.

He further asserted, “What these goons want is to put an end to personal interaction between the people of India and Pakistan.”

Naseeruddin Shah also expressed affection for his “close friends and relatives” in Pakistan.

He wrote, “I have close relatives and some dear friends there and no one can stop me from meeting them or sending them love whenever I feel like it.” He defiantly concluded his statement to those who might tell him to “Go to Pakistan” with, “GO TO KAILASA.”

Naseeruddin Shah is known for not shying away from statements critiquing government policies or societal issues in India.

He has, for instance, expressed concerns about safety in India, described Anupam Kher as a “clown” for endorsing the BJP government, and made contentious remarks on Mughal history.

The core reason for the backlash against Hania (and by extension, Diljit and the film) is that she allegedly made remarks against India’s Operation Sindoor and Armed forces.

Diljit and the film’s co-producer, Gunbir Singh Sidhu, have stated that Sardaar Ji 3 wrapped production during a stable political situation. The film hit theatres internationally, except for those in India.

Nada Tawfik
New York correspondent

This Manhattan courthouse has pulled back the curtain on the private life of one of hip hop’s biggest icons.

The mogul and producer admits that he beat his partners – had a drug problem – and that he enjoyed so-called “freak offs” – or prolonged sexual encounters between his girlfriends and male prostitutes.

But Sean “Diddy” Combs insists the sex was consensual. So is he guilty of running a criminal enterprise and sex trafficking?

The jury will need to weigh the evidence to decide if he’s just a flawed individual being unfairly targeted by overzealous prosecutors and women after money. Or if he’s someone who used his vast wealth, power and influence to manipulate, trap and force women to fulfil his sexual desires.

There’s video and photo evidence – text messages – hotel and financial records – flight logs. But ultimately this case hinges on who the jury believes.

Cassie Ventura and Jane spoke in harrowing detail about the physical toll the “freak offs” and drugs took on their bodies – how Diddy controlled every aspect of their life – and his threats including blackmail.

Diddy didn’t testify and jurors can’t hold that against him, because the burden is on the government to prove its case. But his lawyers said the women were free to leave at any time – and when they did – nothing happened.

The defence claimed the women were just as enthusiastic about the “swinger” lifestyle. So – was there a power imbalance? Was every “freak off” consensual – or did they eventually turn into sex trafficking when the women told him they didn’t want to do them anymore?

Those are all important questions in this case.