Category: 5. Entertainment

  • National youth choir facing closure due to funding cut

    National youth choir facing closure due to funding cut

    Robbie Meredith

    BBC News NI education and arts correspondent

    BBC Amy Patton has long brown wavy hair and brown eyes. She is smiling at the camera in front of a brown wooden wall and cream staircase. BBC

    Amy Patton says the youth choir means so much to young people

    Northern Ireland’s only national youth choir faces closure due to a funding cut from the Arts Council of Northern Ireland.

    The choir’s artistic director Andrew Nunn said it would leave Northern Ireland as the only part of the UK and Ireland without a national youth choir.

    Choir member, 19-year-old Amy Patton from Belfast, said she was struggling to come to terms with the news.

    “It really makes me angry if I’m honest with you because why would you be stealing something from young people that it means so much to?” she told BBC News NI.

    Ciara Kennedy has long dyed pink hair and blue eyes. She is standing in front of a wooden door smiling. She is wearing a silver choker necklace and finer silver chain below.

    Ciara Noamh Kennedy says she was completely shocked when she heard the youth choir could face closure

    Her fellow choir member, 23-year-old Ciara Naomh Kennedy from west Belfast, had similar feelings.

    “I was so upset when I heard the news, completely shocked, really upset,” she said.

    “We’re going to be the only part of the UK and Ireland without a choir on that level.”

    What is the National Youth Choir of Northern Ireland?

    Founded in 1999, the choir has been singing for more than a quarter of century.

    Young people can join the junior choir from the age of 11, and then progress up to sing with the senior choir until they are 24.

    According to the choir’s artistic director Andrew Nunn, thousands of young singers have been involved with the choir since it began.

    “The organisation has huge scale and reach,” he said.

    “Outreach is really important to us, so we go round all parts of Northern Ireland.

    “I was up in Derry, Dungannon, Belfast of course, up in Ballymoney delivering school workshops.

    “I think I did something like 54 workshops last year across the secondary schools and the primary schools.”

    Andrew is standing in a grand looking wooden panelled room with small white portraits in the background. He is smiling at the camera in a grey and white blazer over a plain white t-shirt. He has brown short hair, a goatie beard and brown eyes.

    Andrew Nunn is the choir’s artistic director

    Pupils can then audition to join one of five choirs, which involves extra tuition, rehearsals and performances.

    “We’re seeing more than 2,000 people every single year, and in our choirs this year we’ve had 360 students at the highest level,” Andrew Nunn said.

    The senior choir is rehearsing for a performance at Fisherwick Presbyterian Church in Belfast on Saturday.

    But it could be its last concert.

    The choir received £60,797 in annual funding from the Arts Council of Northern Ireland (ACNI) in 2024-25.

    But it was unsuccessful in its bid for funding in 2025-26, which is likely to mean the end of the choir.

    How do young people in the choir feel?

    Ms Kennedy said she had been singing with the choir for almost a decade, having joined when she was a pupil at St Genevieve’s High School.

    “I just loved it, absolutely loved it, so I’ve just stuck around ever since,” she said.

    “The standard that we’re singing at, there’s just nothing else really like it in the country.”

    “It was my first experience singing in a full male and female choir and it just completely changed everything for me,” she said.

    “There’s just going to be so many young people like me in west Belfast who now won’t get the opportunity to have a chance to sing in choirs at this level, at this standard.”

    Ms Kennedy said the cross-community make-up of the choir was also important, a view shared by 23-year-old Daniel Stewart from Belfast, who has been in the choir for six years.

    Daniel Stewart is smiling at the camera in front of a wooden door panel. He has short dark hair, brown eyes and is wearing a grey hoodie.

    Daniel Stewart is enthusiastic about the choir

    “I had a lot of anxiety when it came to performing on a stage with a choir,” he said.

    “Since then, I’ve just been able to grow in my confidence, my music ability.

    “The experience as a whole is something I’ll never forget, I’ll carry with me my entire life.”

    Amy Patton, who joined the junior youth choir when she was 11, said she had gained lots of confidence in her musicianship and singing.

    Her experience in the choir also helped her gain a place at the Royal Northern College of Music in Manchester after she left school in east Belfast.

    “It has genuinely just been one of the biggest blessings of my life to be able to be in this choir,” she said.

    “It saddens me so deeply that other young people will not get the opportunity to have the same chances that I did here.”

    What has the Arts Council said?

    BBC News NI contacted the Arts Council of Northern Ireland for comment.

    In a statement they said that the National Youth Choir of Northern Ireland (NYCNI) did not receive funding from the Arts Council’s 25-26 Annual Funding Programme.

    “The decision not to fund the NYCNI this year was based on the assessment of the application against the programme criteria.

    “The Arts Council cannot disclose specific information about the rejection of any application without explicit permission to do so from the rejected applicant.”

    Mr Nunn appealed to the organisation “to come to the table and work with the organisation to try and make sure that this amazing power of work that we do, the amazing artistic result that we produce, that continues.”

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  • TikTok star PinkPantheress gets honorary University of Kent degree

    TikTok star PinkPantheress gets honorary University of Kent degree

    Singer PinkPantheress is to receive an honorary degree from the University of Kent.

    The Canterbury-raised musician, who kickstarted her career on social media, is to be recognised for her contribution to and achievements in music in the digital age.

    The three-time Brit Award nominee – whose real name is Victoria Beverley Walker – will be made a Doctor of Music at Canterbury Cathedral during one of the university’s graduation ceremonies on Tuesday.

    “I am so honoured to get this, this is so cool,” the 22-year-old said.

    PinkPantheress shared her first song, the Michael Jackson-sampling Just A Waste, on TikTok on Christmas Day in 2020.

    Over the next 18 months, she shared 15-second online snippets of her works-in-progress.

    Since then, she has signed with record label Parlophone.

    Internationally known for her Top 40 singles Just for Me, Pain and Boy’s a Liar, she has won BBC’s Sound of 2022 poll and Best Female Act at the MOBO awards in the same year. She also performed at Glastonbury last month.

    However, she posted on social media that years of exposure to loud music had left her 80% deaf in her right ear.

    And last year she cancelled a number of tour dates, stating that she had to “focus on my physical health and overall wellbeing”.

    Others receiving honorary degrees throughout the week include writer Sir Michael Morpurgo MBE, presenter Iain Dale, filmmaker and former actress Andrea Arnold and conservationist Giles Clark.

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  • How Jimmy McGovern created the storyline behind Unforgivable

    How Jimmy McGovern created the storyline behind Unforgivable

    Lauren Hirst

    BBC News, Liverpool

    BBC Jimmy McGovern is sitting in a library. A number of books can be seen on shelves in the background. He is wearing a green jumper and glasses and is staring at the camera.BBC

    Jimmy McGovern’s latest work is set to be broadcast this week

    When award-winning screenwriter Jimmy McGovern received a letter from a woman who worked with sex offenders, he was curious to find out more.

    “I went down to talk to the psychologist and she told me this story,” recalls McGovern, whose catalogue of work includes Cracker, The Street, Accused and Time.

    “It was about a young man who had become a child abuser and he realised that he had been abused as a child himself.

    “Understandably he decided to take the child abuser – the man who abused him – to court.”

    It was during this meeting that Liverpool-born McGovern felt compelled to write about it.

    McGovern has a reputation for tackling complicated and emotive subjects – Unforgivable is no different.

    His latest drama centres around the Mitchell family who are dealing with the devastating aftermath of an act of sex abuse perpetrated by a member of their own family.

    “I don’t try to be controversial,” says McGovern, who has written about this topic before in shows including Priest and Broken.

    “I go along and talk to people and I think these people will be very interesting and I get sucked in.

    “I always say to people, why write about things that do not matter?

    “It’s hard enough to sit at your computer and write, it’s so hard.”

    BBC/LA Productions/Kerry Spicer This candid still from the drama shows Bobby Schofield as Joe and Anna Maxwell Martin as Katherine standing in front of a green door, which is open. They are both talking and have their hands in their pockets.BBC/LA Productions/Kerry Spicer

    Joe is played by Bobby Schofield and Katherine by Anna Maxwell Martin

    Like much of McGovern’s work, Unforgivable is set in the north of England – more specifically his hometown of Liverpool.

    “I love the city and I’m actually so proud of it as well… you forget how beautiful it is,” he says.

    The drama stars a host of acting talent including Bobby Schofield, Anna Maxwell Martin, Anna Friel and David Threlfall.

    But does McGovern have an army of actors awaiting his call when he puts pen to paper each time?

    “I’ve just been turned down by an actor we wanted so it doesn’t always work that way,” he laughs.

    “As a writer you are constantly turned down, it’s just that you don’t talk about it – but you mark the director’s card, that’s the last time I offer you anything.

    “There are some actors you just want all the time.

    “We did write [the role in Unforgivable] for Bobby Schofield, which is dangerous to do because often they’ll say ‘no’ and you’ve written with them in mind.

    “Thank God he said ‘yes’. I think he’s fantastic in this.”

    BBC/LA Productions/Kerry Spicer This candid still from the drama shows Joe, played by Bobby Schofield, walking along the hall in prison. There is a prison officer in uniform walking behind him. BBC/LA Productions/Kerry Spicer

    The role of Joe was written in mind for Bobby Schofield

    When asked if – over the course of his career – there is a particular piece of writing that means more to him than most, his answer is immediate.

    “Hillsborough,” he says. “Because it meant so much to the people of the city.”

    “It’s definitely not the best thing I’ve ever written,” he adds.

    “I wrote it with an army of lawyers looking at it, so it was difficult to do an awful lot of stuff I wanted to do.

    “[But] I always say when I die, I’ll have that tucked under my arm and go up and say, ‘okay I was drunk too much, but I made this’.”

    BBC/LA Productions/Kerry Spicer This candid still from the drama shows several of the character sitting in a court room. They are all staring directly ahead.BBC/LA Productions/Kerry Spicer

    The drama examines the extensive ripple effect of abuse from different perspectives

    Ahead of the release of Unforgivable, McGovern says he believes the audience “will learn things” from the fictional drama.

    “Even though we’re talking about child abusers, I still think there’s a need for compassion,” he says.

    “Caution, yes, punishment, yes, justice, yes.

    “These are enormous crimes, they must be punished, you must go to prison. But alongside all that, an element of compassion.

    “To understand a bit more and equally condemn.”

    You can watch Unforgivable on BBC Two and BBC iPlayer from 21:00 BST on Thursday 24 July.

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  • Swarovski’s ‘Masters of Light’ Exhibit Coming to Hollywood in October

    Swarovski’s ‘Masters of Light’ Exhibit Coming to Hollywood in October

    Swarovski is bringing its international exhibition “Masters of Light” to Los Angeles this fall.

    The Austrian crystal house has been marking its 130th anniversary with a traveling showcase that underscores its cultural and commercial relevance, with stops in Vienna, Milan, Shanghai and Seoul. Hollywood is next, kicking off with an invite-only event on Oct. 28, followed by a seven-day public run starting Oct. 29.

    Conceptualized by Swarovski’s global creative director Giovanna Engelbert and curated by British fashion journalist Alexander Fury, guests are taken on a journey through the brand’s evolution and innovations.

    “Masters of Light is our way of celebrating 130 years of joy with the world. It’s a tribute to the artistry, savoir-faire, and joy that define Swarovski,” Alexis Nasard, Swarovski’s chief executive officer, told WWD in a statement.

    In L.A., the exhibition will explore Swarovski’s history in entertainment, fashion, design and its long-standing ties to Hollywood as a player in cinema and on the red carpet.

    Swarovski has seen momentum this year. In January, the brand dropped its first collection in partnership with Ariana Grande — who serves as a global brand ambassador and face of the brand — followed by the unveiling of a design-forward collaboration with Rosenthal Idyllia at Milan Design Week in April. It then kicked off summer with a high-profile takeover of Cracco Restaurant in Portofino last month.

    Founded in 1895, Swarovski spans jewelry, home decor and more, with 2,300 boutiques across 140 countries. It operates under the Swarovski Group alongside its optical and industrial arms.

    A look at Swarovski’s “Masters of Light” in Milan last year.

    Courtesy of Swarovski/Marco Dapino

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  • ‘He was kind of like a big kid himself. He just loved to play,’ daughter says – The Irish Times

    ‘He was kind of like a big kid himself. He just loved to play,’ daughter says – The Irish Times

    Actor and race car driver Paul Newman “was always a philanthropist at heart”, his youngest daughter Clea Newman explains; “he was always just a very giving person”.

    Now, Clea is global ambassador for SeriousFun, a network of medical speciality camps, which was founded by her father, providing therapeutic programmes across the world to children living with serious illnesses. The first camp was set up in Connecticut in 1988.

    Ireland’s Barretstown, in Co Kildare, was the third camp founded in the network, and the first outside of the US. Barretstown celebrated its 30th birthday in 2024.

    Each member camp is independently managed and relies on private funding to support free-of-charge programming.

    “When I was growing up I remember both my parents [Clea’s mother is former actor Joanne Woodward] saying to us, ‘we are so lucky’ [and] if you’re lucky enough to have a good life, it’s almost part of being a good person to give back.

    “Even when he [her father] was ill, this is what gave him joy.”

    Paul Newman had a “really complex childhood”, Clea says. “Camp, for him was a true escape. It gave him a community, friends, outside of the complexity of family life.”

    She described his parents as “very disconnected”, with a father who drank a lot and a mother who was “overbearing and yet removed”. But, she adds, his parents instilled in him “a lot of amazing things”, such as his father’s “extraordinary work ethic”.

     “My father had a work ethic like you’ve never seen”, she says. “He was always working, being passionate about things and being driven.”

    Paul Newman stars as Luke in award-winning Cool Hand Luke, where he attempts to eat fifty hard-boiled eggs in an hour. Photograph: Silver Screen Collection/Getty Images

    Meanwhile, from his mother he learned to be “protective”. “He could create this, kind of, armour. It was hard sometimes as a parent. As he got older, he lost that,” she adds.

    Growing up with Paul Newman as a father, she admits was sometimes “a little hard” because of his long work schedule. “When he would come back from all of that, it would take him a little bit of time to re-enter the family. And that was a little tough … just because we were so dying for his attention … but when he was home, he was truly the most fun.

    “He was kind of like a big kid himself. He loved to just play with you. And play tricks on all of us. And read us stories. And read us scary stories. And get all of his friends in on it.”

    She said it was her father’s love of “clowning around” that resonated with the core of SeriousFun. “Giving the kids a chance to kick back, and just be kids. That was his happy place.”

    Clea Newman: 'What’s so amazing and what my father believed so strongly, is that we are stronger together.' Photograph: Family collection
    Clea Newman: ‘What’s so amazing and what my father believed so strongly, is that we are stronger together.’ Photograph: Family collection

    It was seeing children who had cancer in the corridors of a hospital, where one of Paul Newman’s friends was being treated for cancer, that led him to create the children’s network.

    “Their parents … would talk about how their children being treated in this hospital, mostly with cancer at the time, were missing out on their childhood. And that they were losing all their friends. They had no fun any more. They never saw their children smile any more. And it just broke my dad’s heart.”

    Clea says her father became “a mentor” to her as she got older, but was “always my dad”.

    “There was never an emergency or a time when I needed my parents, even when they were working at the height of their busyness, that they weren’t there immediately. I can remember times when I was going through hard times and they showed up.”

    She adds this was one of the most important lessons her mother told her as a child: “For the people, and the things, that you care about, you’ve got to show up”.

    Her parents’ relationship was “so unusually special”, she says, with her father describing her mother as “the talented one in the family”.

    “My mom was an incredibly independent human being, very independent, crazy talented … but she was also an incredible support to him. They supported each other beautifully. My dad would even go to the opera with her, which was not something that truly he loved all that much.

    “But her support of him, also helping him … my mother had a kind of strength. A kind of quiet drive and focus that was overwhelmingly surprising, because she was so charming, and just the greatest hostess and the most fabulous actress. But she also had this incredible, as so many women do, way to supporting the people she loved.”

    Clea Newman: SeriousFun 'is my full-time passion'. Photograph: Dimitrios Kambouris/Getty Images
    Clea Newman: SeriousFun ‘is my full-time passion’. Photograph: Dimitrios Kambouris/Getty Images

    So, was it inevitable that Clea would follow in her father’s footsteps? “I thought I was going to be a lawyer,” she says, from studying pre-law in university and going on to work for a law firm.

    “The law firm that I worked for, we represented a lot of pretty unsavoury people and I found that I just was too much of a soft touch for that kind of lifestyle, maybe.

    “I think lawyers are amazing, some, but I realised that that wasn’t for me. When I came home, my dad said to me, ’maybe, what you need is to go and take the focus off yourself and go volunteer as a counsellor at the camp’.

    “I can honestly say I was probably a pretty spoiled twenty-something person. And, at the time, I was kind of focused on myself. I literally drove in one person, and drove out 10 days later a completely changed person.”

    Clea explains that being young at the time and wanting to spread her wings a little, she didn’t want to stay working under the family. She got involved with a number of other charitable organisations that were focused on children. She remained, however, connected to SeriousFun camp, with regular visits, even spending Thanksgivings there.

    SeriousFun provides therapeutic camps and programmes across the world to children living with serious illnesses
    SeriousFun provides therapeutic camps and programmes across the world to children living with serious illnesses

    “A number of years before my dad got sick, he asked me to oversee his philanthropic legacy. Now, this is my full-time passion. I can’t even say it’s a full-time job because I live and breathe it seven days a week, and it makes me happy.”

    It comes as no surprise to Clea that a recent study, conducted by UCD, DCU and King’s College London, which examined the role of SeriousFun camps, such as Barretstown, found that they may provide unique benefits distinct from traditional healthcare settings, promoting psychological wellbeing, fostering hope, and building community and belonging.

    “What’s so amazing and what my father believed so strongly, is that we are stronger together.”

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  • ‘Atrocious and misleading’ show upsets some fans

    ‘Atrocious and misleading’ show upsets some fans

    Yasmin Rufo

    Culture reporter

    Getty Images Elvis Presley  performing on the Elvis comeback TV special on 27 June, 1968. He is wearing a black leather jacket.Getty Images

    A little less conversation, a little more action please – fans were hoping to see a hologram version of Elvis but instead saw footage of him from the 1968 comeback special concert

    A number of people who attended a new Elvis immersive experience in London have told the BBC they have been left extremely upset, with one fan saying it was “one of the most misleading shows I’ve ever seen”.

    Elvis Evolution, created by Layered Reality, was announced in January 2024 and advertised at that time as a concert experience that would “use AI and feature holographic projections of the star”. It would include a “life-sized digital Elvis who will perform iconic moments in musical history on a UK stage for the first time”.

    But some attendees say the show, for which tickets range from £75 to £300, featured no hologram of Elvis and as a result say they have been left feeling conned and mis-sold.

    A spokesperson for Layered Reality said: “A small number of people have pointed out that they were expecting a hologram concert, due to the initial announcement made in January 2024. As with many complex productions that are two years in the making, the concept developed from those early stages, and this was made clear when tickets went on sale in October 2024.

    “We ultimately took the creative decision not to mimic Elvis’s performances. Those moments proved to be too iconic and irreplaceable. Instead, we use AI to upscale archive footage and in moments we know happened but where no footage existed, offering a new lens into his world.”

    They said the show has been praised by fans and newcomers alike and they were “overwhelmed by the feedback, with many describing it as fun, immersive and unlike anything they’ve seen before”.

    Graham Turner Three men on stage playing instruments as pictures of Elvis appear in the backgroundGraham Turner

    The finale sees a live band plays on a stage in front of a montage of pictures from Elvis’s life

    The experience starts by taking fans on a journey of Elvis’s youth, which we learn about from his childhood friend Sam Bell. After an interval in a Hawaii-themed bar with a cardboard cut-out of Elvis, ticket-holders find themselves as audience members in the 1968 comeback special concert that was performed live on NBC.

    Elvis Evolution, which opened on Friday for a six-month run, costs £75 for a standard ticket and £300 for a Super VIP option, which includes a mid-show champagne experience, commemorative glass, dedicated seating, a drink at each of the three bars and cloakroom access.

    ‘Absolutely atrocious’

    Mark and Tracey Baldwin had VIP tickets for the show but have been left feeling “more like mugs than VIPs”. Mr Baldwin told the BBC he feels “frustrated, disappointed and angry at the organisers”. Mrs Baldwin said that the show was “absolutely atrocious” and thought she had paid the money for a once in a lifetime experience but “you could have seen this at the local theatre for £30”.

    “It was a shambles from start to finish, there was no Elvis, it was just a video of him that you could watch on YouTube,” she said.

    During the second act, she claims, unhappy people were leaving the show early and she feels Layered Reality have exploited older people and “taken us for a fool by scamming us with technology that we won’t understand”.

    Tracey Baldwin Man and woman smiling in front of an Elvis posterTracey Baldwin

    Tracey and Mark smiling before the Elvis experience that they described as “a total shambles”

    The Baldwins said customers should be refunded and Layered Reality should apologise for “breaking people’s dreams”.

    A Layered Reality spokesperson said: “While we understand that expectations can be shaped by comparisons to other formats, we’re incredibly proud of what’s been created and how it’s reconnecting people with Elvis in a bold and meaningful way.

    “Elvis Evolution is not a traditional concert or hologram show. It’s a major scale, theatrical experience priced competitively that invites audiences into the world of Elvis through immersive design, selective use of cutting-edge technology, live actors, and musicians. This is an experience where the story leads the technology, not the other way around.”

    Mixed critic reviews

    The experience has had mixed reviews from critics – The Telegraph awarded it one-star and said it had “limp and indifferent offerings”, but CityAM described it as “incredibly touching” in a four-star review.

    TimeOut gave the show three stars and said it was “made with care and the concert is enjoyable once you accept it for what it is”.

    And not every fan has been disappointed by the show – on Facebook some ticketholders praised the experience as “well-acted, innovative, exciting and a whole lot of fun”. Another added that it seemed “the majority of people were having fun”.

    Graham Turner Elvis Presley in a white suit and a microphone in one handGraham Turner

    Heartbreak Hotel: Some fans say the experience was mis-sold and want their money back

    But Paige Rannigan, who attended the show on Saturday evening and says she “saved really hard” to afford tickets as a birthday present for her mother, was left in tears and said she felt “it was nothing like what was advertised or promised”.

    Ms Rannigan suffers from epilepsy and said she was surprised that there were no strobe light/flash warnings either verbally or on signage.

    Layered Reality said accessibility was at the forefront of their production process and “have created a detailed FAQs section on our website about any potential issues that may arise during the experience and how to contact us so we can accommodate any changes”.

    Graham Turner A room with green sofas and Elvis posters on the wallGraham Turner

    The audience are taken through various rooms including Elvis Presley’s dressing room and the NBC studio

    Lizzie Ward also visited the experience as she thought she was seeing a life-size Elvis but described it as a “low quality theatrical performance” and is “desperately” trying to get a refund.

    The Elvis Evolution website no longer references any use of holograms in the show but describes the performance as “combining cutting-edge digital technology, live actors and musicians, mind-blowing multimedia and heart-pounding music”.

    “This walkthrough immersive experience has some seated scenes and themed bars, giving you a multi-sensory journey through Elvis’ rags to riches story from country boy to musical icon,” it adds.

    The experience was delayed by several months from the planned launch date of November 2024.

    ‘Not worth the money’

    There are multiple shows a day with a capacity of 160 people per performance which Shanine, who attended a preview show recently, thinks is too many people.

    She told the BBC that it’s immersive in “the sense of there being a set” but is adamant that it is “not worth the money”.

    Graham Turner Woman in a white shirt smiling and clicking her fingers Graham Turner

    Four actors lead audiences through the immersive experience

    On Sunday, some of the shows were cancelled for “security reasons” after an attendee was carried out by several security members during the interval. In a video posted on social media, an older man can be seen being lifted by security staff and taken out of the room.

    Layered Reality told the BBC that the man “became verbally aggressive towards our staff and despite being politely asked to stop, the behaviour escalated, with the guest explicitly stating his intention to continue making threats towards our staff and performers.”

    Security removed him from the event after he refused to leave the venue.

    “Staff had no choice but to carry him out so the show could continue but because of the uproar it became too heated and the mood wasn’t right to continue the show,” one attendee told the BBC.

    The BBC understands that some members of the cast raised concerns following the incident. Layered Reality said: “The safety and security of the public and our team is our highest priority, and after a thorough review and ongoing dialogue with the cast, the shows will be running as scheduled on Wednesday 23 July.”

    Layered Reality have previously produced immersive experiences including The Gunpowder Plot and Jeff Wayne’s The War of The Worlds.

    Elvis Evolution is set to run at ExCel London until December. When first announced, the show was due to move to Las Vegas, Berlin and Tokyo after London but this has not been confirmed.

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  • Sleepwear Is Having Its Athleisure Moment

    Sleepwear Is Having Its Athleisure Moment

    For Paige DeSorbo, bedtime knows no bounds.

    Over seven seasons on the Bravo reality show “Summer House,” she earned a reputation for spending leisurely mornings, afternoons and evenings in bed, chatting with friends, scrolling on her phone or recapping the previous night’s debauchery with her housemates — most of that time in matching pyjama sets.

    “My whole brand was not wanting to get out of bed,” she told The Business of Fashion.

    So it’s no surprise that DeSorbo’s first major venture post-show (she announced her departure earlier this year), would be Daphne, a sleepwear label meant to offer styles “more luxe than just like a traditional $20 pyjama set.” The idea, she said, is that they could be styled in the same way she wore pyjamas — over a swimsuit to the beach, or on a morning coffee run.

    “I wanted it to be something that if you’re on vacation and you didn’t want to change into another outfit, that this could also work for outside,” she said.

    It’s a formula more and more brands are taking to sleepwear, which is going through something of an athleisure-style reinvention. Brands like Lake, Eberjey, Sleepy Jones and Petite Plume have been selling an upscale take on pyjamas since the 2010s, but today’s young shoppers are taking it a step farther, buying pyjama-inspired styles like boxer shorts and pointelle tank tops beyond their bedrooms into their everyday lives. Responding to this trend, more sleepwear brands are offering styles that straddle the line between function and fashion — comfortable enough for bed, but also cute enough to wear to brunch the next morning. Plus, more traditional ready-to-wear brands are investing in the space: Reformation launched its first pyjama line this spring, while Hill House Home, famous for its “nap dresses,” rolled out a new line of nightgowns in June. Even the luxury hotel chain Four Seasons debuted its first pyjama collection late last year, with the intent of courting more Millennial consumers.

    “Pyjamas aren’t just for bed anymore. They’re styled for the airport, the beach, brunch,” said Eberjey founder Mariela Rovito. “PJs all day is no longer lazy, it’s aspirational.”

    This shift comes as pyjamas have also levelled up in terms of importance in a person’s public wardrobe. As content creators broadcast their “morning sheds” (undoing all the self-care steps they undertook the night before, from mouth tape to face masks), they’re in their pyjamas. Social media stars like Brigette Pheloung and Alix Earle are often wearing them in their “get ready with me” or “day in the life” videos. Since 2024, the weekly average number of sleepwear-centric videos on TikTok has jumped 314 percent, while average views have leapt 817 percent, according to Trendalytics.

    “The more that content creators are showing their lives and routines, the more people are going to want to mimic that, even if they don’t realise it,” said Robyn DeMonte, who breaks down brand marketing strategies on TikTok under the moniker GirlBossTown.

    These shifts represent a major opportunity for both sleepwear-first brands and apparel brands at large. For the former, it’s a chance to behave more like a fashion brand, tapping the power of brand marketing and building a customer base that’s loyal to their product. And for the latter, it’s a relatively simple category expansion, because it’s “quite similar to what [you] already do,” said Reformation CEO Hali Borenstein.

    Both see plenty of room for the space to grow. And just as brands like Lululemon and then later Alo and Vuori were able to build big businesses by convincing even the most casual gym-goers to embrace athleisure, and sleepwear brands believe there’s similar potential in their category. After all, not everyone works out — but everybody sleeps.

    “The market is still really ripe,” said Rovito. “That’s still a lot of people to convert from T-shirts and boxers.”

    From Bed to Boardroom to Beach

    In some ways, sleepwear’s rise is something of a pushback on hustle culture.

    “Sleep has become the ultimate status symbol now,” said Fanny Quehe, CMO of sleepwear label Petite Plume. “It’s no longer something you want to sacrifice at the service of productivity.”

    Instead, it’s become something people are willing to invest in in order to improve. On TikTok, the viral concept of “bed rotting” is seen as self-care, not a sign of laziness. In these highly-curated bedtime rituals, drab sleepwear stands out, and not for the right reasons.

    “It’s the ultimate self care, treat yourself moment, to have something that’s so intimate and private be so extra,” said Hill House Home founder Nell Diamond, adding that in its latest nightgown drop, when the styles “more detailed, more intricate, the better they sold.”

    The general goal for most is, as Borenstein put it, to make something “between comfy cozy pyjamas and hyper sexy lingerie.” Daphne, for example, was launched with simple products that could be worn both ways: a sleep top in a boxy cropped cut with bows on the side, a pointelle mini-dress that could easily be worn during the summer. Though some customers love cutesy prints, DeSorbo said she wanted to focus on more muted colours, “very girly, yet still sophisticated.”

    When Reformation launched its debut pyjama line this spring, it included classic button-down sets, but also patterned dresses and matching tank-and-short sets that would pair with sandals and sunglasses. At Eberjey, Rovito said they gut check its designs with what it calls the “CVS test,” evaluating if their designs would function both inside the home and on an errand run or at school drop-off.

    Creating multi-functional styles also helps these brands in positioning their pyjamas as a luxury worth splurging on. The thought is that “maybe the price point is a little bit higher, but you’re also getting a full out-of-the-house look and an in-home outfit,” said DeSorbo. Daphne’s products run from $58 for a tank top to $85 for a mini dress and long boxer shorts.

    As with athleisure, paying extra attention to fabrication also helps in that mission. Fabrics like silks can help up the luxury factor, while linen, which Eberjey introduced this year, can be more easily repurposed as summer daytime wear.

    “When we get a new fabric, it opens up a whole new door of possibility and style,” said Rovito.

    Building Brand Equity

    With more fashionable standards in pyjamas, the savviest brands in the category are elevating how they market themselves.

    “It’s about creating an aspirational brand behind a traditionally boring product,” said Rose Colcord, founder of London-based sleep and intimates label CouCou Intimates.

    Part of this comes in how they photograph their product. For its e-commerce photos, Hill House shoots its nightgowns on models wearing shoes and without, in order to convey that they can be worn in the house and outside of it, Diamond said. For its brand imagery, Lake has models wearing pyjamas while they drive a boat or ride a bike.

    Selling a dream, much in the way fashion brands do, has become a major tactic for distinguishing themselves from players like Victoria’s Secret and J.Crew, which sell sleepwear but don’t specialise in it, according to Cassandra Cannon, founder of Lake.

    “Over the years, we have shied away from calling ourselves a fashion brand, but that is what we are,” she said. “So that’s one of the primary ways that we bring customers in … to connect them to the lifestyle that we’re selling.”

    But it’s also about building up brand equity so people feel more willing to pay a premium for their product. Both Lake and Eberjey have moved away from advertising strategies primarily focused around social media ads towards larger brand-building efforts such as out-of-home ads and larger-scale campaigns. Eberjey, for instance, began running outdoor advertising after 25 years in business, because it’s “become a lot more important to just keep showing up where our customer is,” said Rovito.

    Events and collaborations play a larger role, too, in introducing newness that encourages consumers to keep coming back. Earlier this summer Eberjey celebrated its collaboration with tequila company Casa Del Sol attended by influencers like Coco Schiffer and model Rocky Barnes, pairing pyjama tops with jeans or wearing nightgowns with sandals. Petite Plume hosted a pyjama party with Yse Beauty founder Molly Sims last December, where they dressed attendees in sleek silk sets and made a custom sequin-covered set for Sims.

    For Lake, building up its retail footprint has also played a role in bringing people into its brand universe. It currently operates three stores, including a recently opened location in Southampton, New York, and one to come in Charlotte in August, all done in the same bright, airy whites and pastels it’s known for with its pyjamas.

    As these brands see it, the sleepwear opportunity is only just beginning. Rovito sees room in particular to expand with the men’s pyjamas market. They also want to take the trust they’ve built and apply it to other categories. DeSorbo is open to launching daywear in the future; Lake is investing in its own everyday pieces including kaftans and sweaters. The lines, they all say, will continue to blur as shoppers continue to prioritise comfort above all else.

    “Culture influences fashion, and fashion influences culture,” said DeSorbo. “And people are tired.”

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  • Fallon, Stewart, Oliver, Meyers in Colplay Kiss-Cam Spoof

    Fallon, Stewart, Oliver, Meyers in Colplay Kiss-Cam Spoof

    Stephen Colbert got an assist from some of his late-night rivals following CBS’s sudden decision to axe “The Late Show” in a send-up of the viral Coldplay kiss-cam video.

    Colbert set up the bit this way: “Some people see this show going away as a sign of something truly dire… We here at ‘The Late Show’ never saw our job as changing anything other than how you felt at the end of the day… Or rather, changing how you felt the next morning, when you watched on your phone, which is why broadcast TV is dying — you’re part of the problem, look in the mirror.”

    “Point is, I don’t want this show to be associated with making you sad or anxious,” Colbert continued. “So I thought: music, OK? That makes people happy, right? So instead of me talking, here with a song to cheer you up are two musical greats” — whereupon he introduced “Weird Al” Yankovic and Lin-Manuel Miranda.

    Yankovic and Miranda launched into a rendition of Coldplay’s “Viva la Vida,” and Miranda directed the camera operators to get shots of the audience, meant to evoke the social-media viral moment that the CEO and HR chief of tech start-up Astronomer were caught on the jumbotron at a Coldplay concert.

    The “couples” spotted in the audience by “The Late Show” cam were: Jimmy Fallon and Seth Meyers of NBC; CNN’s Anderson Cooper and Bravo’s Andy Cohen (who have hosted a New Year’s Eve countdown show on CNN the past few years); Adam Sandler and Christopher McDonald (of “Hacks”); and John Oliver of HBO’s “Last Week Tonight” and Jon Stewart of Comedy Central’s “The Daily Show.”

    SEE ALSO: Stephen Colbert Claps Back at Trump’s Gloating About ‘Late Show’ Cancellation: ‘Go F— Yourself’

    Colbert then interrupted Yankovic and Miranda. “I just got this note from corporate,” he said. “Your song has been canceled. It says here, ‘This is a purely financial decision,” with Colbert saying that since they began singing the song “the network has lost, and I don’t know how this is possible, $40 million to $50 million.” That’s a joke about the reported annual losses of “The Late Show.”

    Colbert, in his opening monologue on “The Late Show” Monday, hit back at President Trump’s gleeful comment last week that “I absolutely love that Colbert got fired” — with Colbert telling the president, “Go fuck yourself” (with the f-word censored).

    Fallon, Meyers and Oliver have each previously expressed shock and dismay over CBS’s decision to kill “The Late Show.” Meanwhile, L.A.-based Jimmy Kimmel of ABC wrote “Love you Stephen” and “Fuck you and all your Sheldons CBS” in an Instagram post last week.

    Stewart, on Monday’s episode of “The Daily Show,” was also in a profanity-laced frame of mind, but his invective was aimed at CBS and parent company Paramount (and other media companies who think “bending the knee to Trump” will save them). After introducing a gospel choir, Stewart sang that “if you’re afraid and you protect your bottom line, I got but one thing to say! Go fuck yourself!”

    Critics have said CBS’s cancellation of “The Late Show” appears politically motived. The announcement came two weeks after Paramount Global, CBS’s parent, disclosed a $16 million payment to Trump to settle his lawsuit alleging “60 Minutes” had deceptively edited an interview with Kamala Harris — and three days after Colbert blasted the settlement as “a big fat bribe” to try to win Trump administration approval for Paramount’s merger with Skydance Media. The WGA has called for the New York State attorney general to investigate “The Late Show’s” cancellation, saying it had “significant concerns” that it was “a bribe” to “curry favor with the Trump Administration as the company looks for merger approval.”

    CBS has insisted the decision to end “The Late Show,” which will end its 11-season run in May 2026, was a “purely” financial one. The network is not planning to relaunch the late-night show with another host. CBS also has said that Skydance executives played no part in the move to kill “The Late Show.”

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  • Jon Stewart slams CBS for decision to cancel ‘The Late Show With Stephen Colbert’

    Jon Stewart slams CBS for decision to cancel ‘The Late Show With Stephen Colbert’



    CNN
     — 

    Jon Stewart pulled no punches Monday over CBS’s cancellation of Stephen Colbert’s late-night show.

    During Monday night’s broadcast of “The Daily Show,” Stewart’s first since Colbert on Thursday shared that “The Late Show” would not return beyond May 2026, the late-night veteran lambasted CBS for canceling the program.

    “The fact that CBS didn’t try to save their No. 1 rated late-night franchise that’s been on the air for over three decades is part of what’s making everybody wonder … was this purely financial or maybe the path of least resistance for your $8 billion merger,” Stewart said on his Comedy Central program.

    Paramount Global — the parent of both CBS and Comedy Central — has been angling for regulatory approval for a merger with Skydance Media. Some critics last week connected the cancellation of Colbert’s show, in which he’s frequently taken aim at President Donald Trump, with the merger. CBS, for its part, cited financial reasons for discontinuing the show, stating that it was losing money in a challenging environment for late-night programming.

    Stewart had harsh words for CBS and Paramount, using several expletives to punctuate his sentiments.

    “If you believe as corporations or as networks (that) you can make yourselves so innocuous, that you can serve gruel so flavorless that you will never again” risk Trump’s ire, “you are f**king wrong.”

    Stewart is the latest late-night host to denounce the network’s cancellation of the 33-year-old show, just months ahead of his contract’s December 2025 expiration. Just last week, Stewart said his team hasn’t “heard anything” from executives about whether his show will be renewed. Soon after Colbert broke the news of his show’s conclusion, fellow late-night host Jimmy Kimmel slammed the move on Instagram.

    “Love you Stephen,” Kimmel wrote on his Instagram story. “F***k you (…) CBS.”

    Jimmy Fallon and Seth Meyers also offered Colbert support. Taking to their respective Instagram Stories, Fallon wrote, “I’m just as shocked as everyone,” while Meyers wrote, “I’m going to miss having him on TV every night.” John Oliver, often viewed as the firebrand of late-night, told reporters on Saturday that the program’s cancellation was “terrible, terrible news for the world of comedy.”

    Colbert, who has helmed “The Late Show” since 2015, first announced his cancellation of during the show’s taping last Thursday. CBS has chalked the show’s demise to financial pressures. Late-night talk shows across the board are facing the harsh reality that declines in ad revenue can’t make up for burgeoning production costs.

    But Stewart on Monday waved off the idea that late-night comedy is a financial black hole.

    “Look, I understand the corporate fear, I understand the fear that you and your advertisers have with $8 billion at stake,” he said on Monday. “But understand this: The shows that you now seek to cancel, censor and control, a not-insignificant portion of that $8 billion value came from those … shows. That’s what made that money.”

    Critics have also noted that the program’s cancellation comes after Paramount Global’s settlement with President Trump. The CBS parent in early July agreed to pay the president $16 million to settle a lawsuit over a “60 Minutes” interview with then-Vice President Kamala Harris — despite many legal experts considering it to be a legally dubious case.

    The settlement raised concerns that the company was trying to gain the favor of the Federal Communications Commission, whose approval Paramount needs to merge with Skydance Media. Trump has also boasted of an additional $16-plus-million “side deal” with Skydance’s David Ellison, which will see CBS broadcast PSAs for causes important to Trump following the Paramount-Skydance merger.

    Colbert has been critical of the settlement.

    It’s unsurprising that Stewart would offer such a fiery rebuke of CBS’s move. The late-night comedian called Paramount’s settlement “shameful” in early July.

    Colbert and Stewart have also been colleagues for three decades; Colbert started his late-night career as a correspondent for the Stewart-helmed “Daily Show” in 1995 only to leave in 2005 to start “The Colbert Report” at CBS. Colbert helmed the titular show until 2014, after which he headed to “The Late Show.”

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  • ‘South Park’ creators reach $1.5 billion streaming deal with Paramount

    ‘South Park’ creators reach $1.5 billion streaming deal with Paramount

    The creators of Comedy Central’s “South Park” reached a breakthrough Monday in the tense negotiations over the streaming rights of the long-running satirical cartoon.

    Paramount agreed to buy the global streaming rights for “South Park” to bring the show to the company’s digital service, Paramount+, for the first time in the U.S., according to three people close to the negotiations who were not authorized to comment.

    The deal with Trey Parker and Matt Stone, through their Park County production company, values the global streaming rights at $300 million a year, according to two of the people close to the agreement, who could not discuss the matter publicly because the deal is not final.

    The five-year deal means the show will fetch $1.5 billion for streaming alone.

    The sum preserves the show’s status as one of the world’s most valuable TV franchises.

    Both sides were motivated to reach a deal before Wednesday, when Paramount’s Comedy Central channel kicks off the 27th season of “South Park.”

    Paramount also wanted to avoid any public relations fiascoes when Stone and Parker take the stage Thursday at fan-fest Comic-Con in San Diego.

    Separately, the two sides have been negotiating an overall deal for Parker and Stone, to renew their previous $900 million pact that kept the show on Comedy Central with new episodes through 2027. Parker and Stone’s team are seeking a higher valuation in order to produce new seasons.

    This is a developing story.

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