Category: 5. Entertainment

Kelsea Ballerini is expanding her long-awaited return to Australia. The Grammy-nominated country-pop star has added two new shows to her 2025 Australian tour — extending the run to five headline dates across Sydney, Melbourne and Brisbane this December.

The additional performances will take place on Dec. 7 at Sydney’s ICC Theatre and Dec. 11 at Margaret Court Arena in Melbourne. Tickets for all five shows are on sale now via Frontier Touring.

“It has been way too long since I have been down under and I am so excited to be touring Sydney, Melbourne and Brisbane this December,” Ballerini said in a statement. “Australia has always had a special place in my heart, and I can’t wait to hear what PATTERNS sounds like with an Aussie accent.”

The tour marks Ballerini’s first visit to Australia in seven years, and follows her major U.S. arena tour supporting her 2024 album PATTERNS. The album debuted at No. 1 on Billboard’s Top Country Albums chart and includes collaborations with Noah Kahan, Jessie Jo Dillon, and Hillary Lindsey. It also earned Ballerini a nomination for CMA Entertainer of the Year — one of her highest career honors to date.

Since first breaking out with her 2015 debut single “Love Me Like You Mean It,” Ballerini has become one of country-pop’s most successful crossover artists, earning seven No. 1 hits at U.S. country radio, including “Miss Me More,” “I Quit Drinking” with LANY, and the CMA-winning duet “Half of My Hometown” with Kenny Chesney.

Joining Ballerini on the 2025 Australian run is Nashville-based singer-songwriter Carter Faith, who recently made her Australian debut at CMC Rocks and has since surpassed 140 million global streams. Adelaide-born rising artist aleksiah will also open all dates, fresh off the breakout success of her track “The Hit.”

The five-date tour kicks off Dec. 6 in Sydney and wraps Dec. 13 in Brisbane. For full ticketing details, visit frontiertouring.com/kelseaballerini.

Kelsea Ballerini – Australian Tour 2025
Dec. 6 – ICC Sydney Theatre, Sydney, NSW
Dec. 7 – ICC Sydney Theatre, Sydney, NSW (New Show)
Dec. 10 – Margaret Court Arena, Melbourne, VIC
Dec. 11 – Margaret Court Arena, Melbourne, VIC (New Show)
Dec. 13 – Brisbane Entertainment Centre, Brisbane, QLD

Rosanna Arquette – the older sister of actors Patricia and David – found fame as the bored housewife to Madonna’s bohemian drifter in 1985’s Desperately Seeking Susan. Elsewhere in your cinematic memory, she helped save Uma Thurman from accidentally overdosing in Pulp Fiction, and had her fishnet stockings ripped off by James Spader in David Cronenberg’s Crash.

But Arquette has been in all sorts of films, opposite all sorts of actors: she co-starred with Joe Pesci and Danny Glover in trip gone wrong comedy Gone Fishin’, Tim Roth and Renée Zellweger in mystery film Liar, and Christina Ricci, Vincent Gallo and Mickey Rourke in Buffalo 66. In the 2000s, she starred in the thriller Diary of a Sex Addict, as the wife of an otherwise happily married chef who has a penchant for – well, the clue is in the title.

A move into directing saw her direct and produce Searching for Debra Winger, a documentary about the American actor who left the industry at the height of her career, which was selected for the Cannes film festival. And in 2011, Arquette teamed up with Jane Fonda for comedy drama Peace, Love, and Misunderstanding. On TV, she has popped up everywhere from Will & Grace to Malcolm in the Middle and Ray Donovan.

Now Arquette has a role in “mind-bending new romantic sci-fi” Futra Days, in which she plays a doctor with a time machine for rent, which sounds oddly familiar … Please get your questions in by 6pm BST Wednesday 2 July, and we’ll print her answers in Film&Music later that month.

The UK’s Chief Rabbi has strongly criticised “the airing of vile Jew-hate at Glastonbury” after a live broadcast of Bob Vylan’s performance at the festival went out on the BBC, during which the band’s singer led the crowd in chants of “death, death to the IDF [Israel Defense Forces]”.

Writing on X, Sir Ephraim Mirvis wrote: “This is a time of national shame. The airing of vile Jew-hatred at Glastonbury and the BBC’s belated and mishandled response, brings confidence in our national broadcaster’s ability to treat antisemitism seriously to a new low.

“It should trouble all decent people that now, one need only couch their outright incitement to violence and hatred as edgy political commentary, for ordinary people to not only fail to see it for what it is, but also to cheer it, chant it and celebrate it. Toxic Jew-hatred is a threat to our entire society.

In a statement issued on Monday, the BBC said: “The team were dealing with a live situation but with hindsight we should have pulled the stream during the performance. We regret this did not happen.”

A criminal investigation has now been launched over performances by both Bob Vylan and Irish band Kneecap at Glastonbury on Saturday, Avon and Somerset Police has said.

The force said it had appointed a senior detective to investigate whether comments made by either act amounted to a criminal offence after reviewing footage.

A statement added: “This has been recorded as a public order incident at this time while our enquiries are at an early stage.”

Speaking in Parliament on Monday after the announcement, Culture Secretary Lisa Nandy called the scenes broadcast “appalling and unacceptable”.

Prince Edward received a special title as he performed key tasks assigned by King Charles during his seven-day trip to Canada.

The Prince of Edinburgh visited Prince Edward Island where he was requested by a lady for a hug.

As per CBC, Edward met local resident Barbara Bernard who recalled a sweet interaction with the Prince and shared he was a “good hugger,” a new title for the King’s youngest brother.

She said, “He came over and he was talking and the gesture of his hands went like this.”

Barbara shared that Edward’s gesture represented that he was about to give a hug. “And of course, I said: ‘Is that for me?’”

The woman asked Edward, “Do you want a hug?” She added, “And then he goes ‘ok!’… so, I got to hug him.”

While reacting to the lady’s comments, one fan wrote on X formerly known as Twitter, “How really cute! Nice she got to hug him, he really seems like a warm, charming guy after all so why not.”

Notably, Prince Edward is set to travel to Canada’s capital, Ottawa, on Tuesday to participate in Canada Day celebrations.

Prince Edward is on his first major solo overseas tour since being named Duke of Edinburgh in 2023.

It says a lot about the complexity of Nic Clear and Hyun Jun Park’s submission that, just by looking at them, judges were sensitised to thinking that their images were – at some point in their evolution – stills from a video, so filmic do they appear in their nature.

But throughout the judging process, the vaguely haunting, digitally created images lingered on in the minds of the judges to see them ultimately materialise in first place.

Academics Clear (a professor at the School of Arts and Humanities, Huddersfield University) and Park (architecture course director, Leeds Beckett University) “capture, edit and manipulate point cloud data to document spaces, create speculative projects and spatial propositions that engage with, and respond to, specific site narratives”.

The Ghost image declares itself “a collage that blurs delineation between actual and virtual”. The 3D laser scan echoes “drawings of Beaux Arts academicism”, rendered as black-and-white overlays of images, feeling like “X-rays” but critically “alluding to issues of time and the patina of age”. Judges responded to the highly composed nature of this image, intimating AI but remaining firmly under the control of the authors.

But it was The WavEs – renders extracted from a point cloud scan video of Virginia Woolf’s garden and writing lodge at Monk’s House, her home in Rodmell, East Sussex – that really excited judges, “tracing dream-like vectors as if motivated by the desire-lines of Woolf’s restless characters”.

“The other work is to some extent just beautiful collage,” observed Samantha Hardingham, “but this one really feels like an evocation or a study of a place in time.”

Koldo Lus Arana agreed with the technical skill and ‘familiarity’ of the former, but said the latter had an “Eadweard Muybridge cinematographic feel – of flattened time passing”.

Mary Duggan felt “compelled to move through the image” while Jan-Carlos Kucharek felt “a strange sense of being drawn through both time and space on paper”.

“The scans are able to capture the garden in ways that appear both substantial and yet ethereal,” wrote Clear. But it was the artful complexity of the layering that somehow reified the drawing, with Lus Arana noting “a highly adept composition that becomes more alive the more you look into it.”

Gulshan Khan: A Life in Plastic

Poisoned Futures? features the works of three internationally acclaimed female photographers and examines how past industrial practices, colonial legacies and extractive mindsets continue to shape our world. In this 2018 image by Gulshan Khan, birds scavenge from the waste at Robinson Deep, Johannesburg’s largest landfill. The exhibition, Poisoned Futures? is at Hundred Heroines in Nailsworth, Gloucestershire, until 28 September