King Charles and Queen Camilla have been watching Highland games events at the annual Braemar Gathering in Royal Deeside.
The spectacle, which is one of the last Highland games of the summer circuit, draws large crowds from around the world and coincides with the monarch’s annual summer holiday at nearby Balmoral.
Before the national anthem was sung there was a minute’s silence to remember the Duchess of Kent, who died on Thursday.
Among the events taking place were caber tossing, hammer throwing, Highland dancing, a hill race and a mass pipe band parade.
Saturday’s Games were the third that the King has attended as monarch, although he frequently attended while he was the Duke of Rothesay.
He donned a kilt for the event, while Queen Camilla wore a blue coat with a tartan collar.
The Braemar Gathering takes place annually on the first Saturday of September.
The village, in the heart of the Cairngorms, has hosted the event in its present form for almost 200 years.
Queen Victoria attended in 1848 and since then, it has been attended regularly by the reigning monarch.
Jennifer Aniston, as Rachel Green in Friends, triggered a hair revolution that swept the ’90s. Her voluminous, shoulder-length cut with face-framing layers has been emulated by women for years since, transcending beyond the sit-com to become a cultural hair phenom.
Today, now both an actor and founder of LolaVie, Aniston celebrates her haircare brand’s fourth anniversary by finally getting her hands on Friends co-star Courteney Cox’s hair. “I get to finally blow dry Courtney’s hair,” Aniston says in a video shared to Instagram, with Cox in her salon chair. “I’ve been wanting to do it, because she’s [got] this gorgeous head of hair, but there tends to be frizz on top.”
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How Aniston tackles the frizz is pretty simple. She goes in with the Lolavie’s Glossing Detangler—“it’s only won, like, 12 awards,” jokes Aniston—spraying it sparingly through from the top to the ends of Cox’s damp hair and combing it out. “I don’t brush my hair,” admits Cox, “so the fact that you can get that comb through it like that, it’s really a miracle product.”
Then she adds the brand’s pumping spray to the roots, using a hairdryer and a fat, round brush to create volume on Cox’s crown. Next, she smooths through a hair oil for breakage repair and protection, and a smoothing cream to ward off those final bits of frizz and provides some hold to keep the shape. The finished look? Modern day Jennifer Aniston’s take on the Rachel-esque, flicky ’90s blowout.
It’s an easily replicable look for anyone at home. The currency of a good hair oil—keep an eye out for strengthening and protective ingredients like argan oil and jojoba oil—and a heavy-duty but light-touch smoothing cream is unmatched. The best hair oil can revitalize your hairdo, waking up dull, dry strands, and levelling up your blowout with end-result softness and shine. “Hair oil has always been my go-to—a staple in my kit and the only styling product I use on my own hair,” celebrity hairstylist and Rōz founder Mara Roszak previously told Vogue.“Our hair loves moisture.”
Sydney Sweeney‘s latest performance in the David Michôd-helmed boxing biopic Christy has premiered at the 50th Toronto International Film Festival to mixed reviews.
The 2x Emmy nominee stars as boxer Christy Martin, who never imagined life beyond her small-town roots in West Virginia—until she discovered a knack for knocking people out. Fueled by grit, raw determination, and an unshakable desire to win, she charges into the world of boxing under the guidance of her trainer and manager-turned-husband, Jim (Ben Foster). But while Christy flaunts a fiery persona in the ring, her toughest battles unfold outside it, as she confronts family, identity, and a relationship that just might become life-or-death.
While some critics have praised Sweeney for disappearing into the role of the professional boxer, others say that’s all the movie has going for it.
Deadline’s Pete Hammond said Christy is an “overlong (at 135 minutes), somewhat repetitive and finally, in the third act, excruciating-to-watch movie,” although he admitted, “Sweeney delivers, and then some, putting her all into this sometimes extremely dark tale, and really does show she has the acting chops to pull it off, as if we didn’t already know.”
“If only the movie didn’t feel like we have seen this before because Martin’s personal story … is worthy of it being told to as many people as possible,” adds Hammond. “Let’s hope Christy, despite its flaws, gets an audience for that reason alone.”
‘Christy’
Black Bear
In IndieWire‘s review, Kate Erbland wrote that Sweeney “disappears into the role, not just changing her hair color, eye color, accent, and way of moving, but her general air, her overall mien, the space she takes up in a room.”
The New York Post‘s Johnny Oleksinski called Sweeney “a knockout” in her performance, adding that the film is “a major step to showing there’s much more to her than rom and com.”
Meanwhile, Nick Schager wrote for The Daily Beast that Sweeney “gives a believable performance that almost transcends her role’s derivativeness. This manipulative hybrid of Rocky, Million Dollar Baby, and Monster, however, is so rote that even an A.I. wouldn’t dare try to pass it off as original.”
TheWrap‘s Chase Hutchinson wrote, “It succeeds about half the time, making for a split decision where Sweeney and Christy both emerge as champions while the film itself can’t quite go the distance.”
For The Guardian, Benjamin Lee concluded, “Christy Martin’s life was filled with devastating blows but in her biopic, we barely feel the impact.”
Producers are Kerry Kohansky-Roberts, Teddy Schwarzman, Brent Stiefel, Justin Lothrop, Michôd and Sweeney, and the movie premieres Nov. 7 in theaters via Black Bear.
Tiny Chef, the animated character who became a viral favourite with his whimsical vegetarian cooking videos, has just given his first television interview since the cancellation of his series. The beloved internet star appeared on PBS NewsHour on September 4, with a 90-second segment that quickly drew attention online.
The interview, conducted by journalist Stephanie Sy as part of the programme’s CANVAS arts and culture series, offered fans a rare chance to hear from the pint-sized chef following the end of his show. While the television portion was brief, PBS also uploaded the full nine-minute conversation to YouTube under the title How Tiny Chef captured the internet’s heart. The extended segment highlighted how the character grew from a quirky Instagram account into a global phenomenon with millions of followers.
In the clip, Tiny Chef is seen in his miniature kitchen, cheerfully speaking about his passion for cooking, the love he has received from fans, and the impact of his vegetarian recipes. Viewers were reminded of the heart and creativity that first drew audiences to him, especially families who found comfort in his light-hearted approach to food.
The cancellation of his show earlier this year sparked disappointment across social media, with hashtags like #SaveTinyChef trending as fans rallied in support. For many, his appearance on PBS NewsHour was a welcome reminder that the character is far from gone. Comments on YouTube flooded in with praise, with one fan writing, “Tiny Chef deserves his comeback. He brings so much joy,” while another added, “Even 90 seconds isn’t enough. Give him a full documentary.”
The moment also reignited discussions about how digital-first creators are reshaping entertainment, moving seamlessly between platforms like Instagram, TikTok, and traditional media outlets. Tiny Chef’s transition from viral clips to mainstream TV illustrates the evolving landscape where characters can thrive well beyond their original platforms.
Although his series has ended, Tiny Chef’s appearance shows that his influence remains strong. His online presence continues to grow, proving that this tiny cook still holds a very large place in pop culture.
French singer-songwriter and web video artist Laure Gonnet was born in 1998 in Lyon. Her stage name Styleto comes from her ‘Style tonic’ YouTube channel which she created in 2013 to reveal quirky and sincere updates on her life as a teenager. She posted from her bedroom in between jazz dance classes and school studies, with her natural charm and acute sense of self-irony proving popular with fans.
Her musical path began in 2021, when she posted a cover of Dalida’s iconic 1983 song Mourir sur scène, which was an internet hit in France, which she then followed with a cover version of Gaffe aux autres by her favourite singer, Ben Mazué (see below). With three million views, it kickstarted her bona fide music career and led to her being invited on stage by Mazué.
In 2022 she released her debut album, Carrousel, which included a duet with Louane on Capitaine, before starting to compose her own songs, with one French reviewer noting that “her superpower is to sublimate everyday life and the universal emotions that run through us”. In March this year, she released a new album, Fille lacrymale, and is on tour throughout 2025.
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www.instagram.com/styleto
Sounds similar to…
LOUANE
Styleto’s friend Louane appears on the new album – Solo is her most recent release.
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BEN MAZUÉ
Her favourite singer is the Nice-born Mazué, who collaborates on the track Changer de vie.
Listen
Les-50-plus-belles-chansons
DALIDA
Styleto covered the iconic Italian-born chanteuse in 2022 with Paroles paroles; now it’s a live favourite.
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From France Today Magazine
Lead photo credit :Styleto Fille Lachrymale
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[This story contains spoilers from Wednesday season two, Part 2.]
With a new school year there are always new faces, and Nevermore Academy is no different. When Wednesday Addams, played by Jenna Ortega, returns for her second year at the school — “the first time you’ve ever returned to any school voluntarily,” mother Morticia (Catherine Zeta-Jones) teases in season two’s first episode — a whole new contingent of the community is introduced. Some of them are friends and some are foes, and some look completely normal, while others … not so much.
Tasked with bringing into reality those that are a little further down on the bizarre end of the spectrum, the show’s prosthetics and VFX teams had their work cut out for them. One of the biggest challenges, says prosthetics designer Tristan Verslius, came in the form of the zombie known as Slurp. Brought back to life by Pugsley, Slurp (Owen Painter) regenerates by consuming human brains, and (here comes the spoiler, you’ve been warned) we learn in episode six, “Woe Thyself,” that he’s actually Isaac Night, Tyler Galpin’s uncle, who’s intent on curing Tyler’s mother of her Hyde.
“Very early on, when the first drafts of the script were being made, there was a conversation of Slurp needing to be a practical actor in makeup,” Verslius says, “so we started off by trying lots of zombie designs. There are many different types of zombies, and we were trying to find that unique look that was both enhanced, and was part of the world of Wednesday and Nevermore and the showrunners’ visions, and we landed on it with guidance from Tim [Burton] and the sketches and edits to some of our designs.
For the early episodes of season two of Wednesday, the VFX team created a hole in the side of Slurp’s (Owen Painter) head and removed his nose, as shown in this behind the scenes look.
“When the actor [Painter] was confirmed, we took that design and applied it to him, as it were, on Owen’s face and body. Then we started going stage by stage, really. We made stage one first and we tried to figure out how to get to stage three, and what stage two was and how that journey takes place.”
The zombie necessarily incorporated more CG elements in the early episodes, notes visual effects supervisor Tim Turnbull. “When he first comes out of the ground, he’s in rough shape, so that’s where the CG really came in, that’s where biggest enhancements were,” he says. “By episode five, we’re doing very little [with CG]: His jaw still distends quite largely in those episodes and he has a giraffe tongue, but the hole in his head is gone and his nose has grown back. So most of our work was in episode one, and it phased out to be more and more practical as we went deeper into the episodes.”
The designs were tailored to maximize the “classic horror zombie vibe” in the early episodes, including at the camp in episode three, “Call of the Woe,” says Versluis, “but had these changes that lead you on the path back toward Owen.” He adds, “Prosthetics is about enhancing and adding to the acting — we can only add — so we added enough to start stripping it back through the stages. The prosthetics got thinner, and we started to bring out more cheekbones of Owen and some of his facial features until we feel like he’s coming back into it. So hopefully there are no jumps [in Slurp’s evolution to Isaac] where you suddenly say, ‘Oh, who’s this?’ We feel familiar at that point.”
Owen Painter as Slurp in episode 205 of Wednesday.
For Turnbull and the VFX team, Professor Orloff (played by Christopher Lloyd) turned out to be an even bigger challenge than Slurp. Lloyd’s character was given a new lease on life years ago by Isaac, who created a machine that suspends Orloff’s head in liquid and supports its life without his body. The first question the VFX team asked, Turnbull says, was: “What does a head in a jar look like, and how do we do that?”
The solution, it turned out, was not easy. A decade ago, Turnbull says, they probably would have filmed Lloyd in front of a blue screen and very carefully chosen their angles to composite together the needed shots. But, he adds, “it would have looked like a CG head in a jar.”
Christopher Lloyd as Professor Orloff in season two of Wednesday.
Instead, they harnessed new technology by partnering with Eyeline Studios, a division of Scanline VFX, to create a 4D volumetric capture of Lloyd’s performance, gathering the data in high resolution at 60 frames a second, Turnbull explains. “So what’s in the jar is an actual direct translation of his performance, which I think is what gives it its reality. We didn’t change his performance except adjusting his eyelines a little bit. What you see there is Christopher Lloyd. The layer of CG that we put on it is really only there to support it, rather than take it over.”
Creating that magic trick was by far the most complicated visual effects work in the season, he says: “A lot of technology went into that, a lot of smart people working on a difficult problem and an enormous amount of data to process to come up with something that looks pretty simple. That’s the beauty of that.”
Executive producer/director Tim Burton with Christopher Lloyd on the set of Wednesday season two.
The power of Christ still compels moviegoers. “The Conjuring: Last Rites” exorcised an impressive $34.5 million across Friday and preview screenings in 3,802 locations. That’s well ahead of the figure earned by the horror series’ 2018 spinoff “The Nun” ($22 million), giving “Last Rites” the biggest opening day gross in franchise history.
It puts the New Line feature on track to surge far above its pre-weekend industry projections for a $50 million debut, beating “The Nun” ($53 million) for the series’ biggest opening weekend ever. Not only will it be the biggest domestic bow for a horror movie in 2025, but the R-rated “Last Rites” could even rank as the seventh-biggest opening weekend of the year, with a chance at edging out “Thunderbolts*” ($74 million) depending on its play through Saturday. The film also gets a revenue boost from playing Imax and premium large-format auditoriums.
Even at its fourth mainline entry (and ninth including spin-offs), “The Conjuring” franchise has endured as a moviegoing draw. Stars Vera Farmiga and Patrick Wilson again return as the real-life, self-professed occult investigators Ed and Lorraine Warren. Director Michael Chaves is also back to helm this entry, after previously handling the last mainline installment “The Conjuring: The Devil Made Me Do It” in 2021, plus the 2023 spinoff “The Nun II.”
The weekend also marks another hit for Warner Bros., which has now strung together a whopping seven consecutive openings above $40 million. Reviews have been mediocre for “Last Rites,” and moviegoers are only a little more positive, with survey firm Cinema Score polling a franchise-low “B” grade among early audiences. But none of that is proving much of a hindrance. Against a production budget of $55 million, it’s off to a fantastic start.
Meanwhile, Disney has the filmed version of the Broadway musical juggernaut “Hamilton” in 1,825 theaters, with $3.9 million across Friday and preview screenings. It’s projected to land in second place with a three-day opening of around $9 million. It’s pretty remarkable, considering that “Hamilton” has been available to view on Disney+ for nearly a half-decade. The studio acquired rights to the performance recording years ago and had originally set theatrical plans, but released it on the platform during COVID lockdowns. But now “Hamilton” is finally in theaters to align with its 10th anniversary; evidently, there’s a desire to see it on the big screen, despite being readily available for home viewing.
Third place goes to another Warner Bros. horror title with “Weapons,” earning another $1.5 million on Friday to go down just 47% from its daily total last week. Now in its fifth weekend of release, writer-director Zach Cregger’s R-rated original has earned more than $140 million in North America.
Disney is currently holding fourth with “Freakier Friday,” which earned another $960,000 on Friday to fall 46% from its daily total last week. In its fifth weekend, the comedy sequel has now hit $85 million domestic and will soon pass “Snow White” ($87 million) to become the 15th-highest-grossing North American release of the year.
Narrowly slipping behind to fifth, Sony Pictures’ “Caught Stealing” is facing a $3.2 million gross for its second weekend, which would mark a 58% fall from its debut. That’s not the kind of hold that the mid-budget neo noir was depending on after a muted opening. It’s looking to hit just $14.9 million domestic through its second weekend.
Also opening wide this weekend, the Salvation Poem Project has the PG-rated Christian tale “Light of the World” in 2,075 locations. Rivals have the hand-drawn 2D animated feature at $700,000 for Friday and previews, with an eighth-place opening in the cards.
Krishan Bhatia, who joined Amazon last year to help build its presence on Madison Avenue and in the industry’s annual “upfront” sales market, is leaving the streaming and e-commerce giant, according to an internal memo sent to staffers Friday.
“Krishan Bhatia has made the decision to leave Amazon. We’re grateful for his contributions to the Amazon Ads organization and we wish him well in his future endeavors,” the company said in a statement. Bhatia declined to comment Saturday when reached by Variety. Ad Age previously reported on his departure.
Bhatia, who had been a senior executive at NBCUniversal, joined Amazon to build out a sales team as the company ramped up its efforts to win sponsorships and support for its growing array of media and content properties, which include Prime Video and Twitch. During his tenure there, Amazon displayed aggressive tendencies, making an effort to set up a sales presentation on the first day of TV’s so-called “Upfront Week” — a Monday that has been reserved for pitches from NBCUniversal and Fox Corp.
At NBCUniversal, Bhatia was deeply enmeshed with developing new systems of audience measurement, part of a growing effort by many TV companies to find alternative methods of counting viewership as audiences move to on-demand streaming. He also worked on building new revenue systems and infrastructure as NBCU grew more vocal about its efforts to strike e-commerce and data partnerships with advertisers. He was known to be a confidant of Linda Yaccarino, the former NBCU ad-sales chairman who became CEO of the social-media outlet now known as X before leaving in July.
Bhatia was also involved with a “joint industry committee” backed by many of the biggest U.S. media companies that aims to gain industry certification of new types of audience-measuring technology. This committee, supported by Fox, NBCU, Warner Bros. Discovery, Paramount Global and TelevisaUnivsion. gave early nods to technology from Comscore and VideoAmp, two Nielsen rivals that have worked in recent years to challenge that company’s status as the media industry’s primary means of audience tabulation.
Amazon recently said it had “exceeded our own expectations in upfront commitments” with new and exiting advertisers, citing interest from advertisers in its new NBA rights, “provided incremental volume growth for us in this upfront cycle.”
MILAN — Hundreds of ordinary admirers and VIPs paid their last respects Saturday to Giorgio Armani, remembered by Milan’s mayor as a “man of extraordinary elegance” who left an indelible mark on the city and the global fashion world.
Armani died Thursday at 91 at his home in central Milan surrounded by loved ones. His fashion house said he worked up to the end. One of his final projects was a runway show marking 50 years of his signature Giorgio Armani brand, which is due to close Milan Fashion Week later this month.
Mourners filed into the Armani Theater, where Armani regularly showed his ready-to-wear runway collections. Rows of candles in paper bags cast a shimmering light and piano music by Italian composer Ludovico Einaudi played softly in the background. The closed coffin was adorned with a bouquet of long-stem white roses, and flanked by carabinieri honor guards in ceremonial dress.
Among them was including Donatella Versace, who wore a dark skirt suit and carried a bouquet of white flowers, which she left in tribute. She left without making any remarks.
A sculpture featuring a crucifix on a raw block of marble stood nearby, brought from Armani’s bedside.
Armani, who was deeply private, was not known to be a practicing Catholic, but a priest who emerged from his central Milan home after his death told reporters that he attended Mass daily.
Milan Mayor Giuseppe Sala was among the first to arrive, offering condolences to Leo Dell’Orco, Armani’s longtime collaborator and the head of menswear, who stood near the coffin.
“A man of extraordinary elegance,’’ Sala told reporters outside. “Milan is full of signs of Armani. It will be impossible to forget him.”
Sala remembered a phone call from Armani in early August, when news of a corruption scandal in the city broke.
“He said, ‘I understand this is a difficult moment. There is always something positive in difficult moments. True friends show themselves. I am your true friend.’ This I will always remember,’’ Sala said.
Annamaria Longo Dorni traveled more than two hours from Lago Maggiore, north of Milan, to pay her last respects wearing an Armani midnight blue jacket for the occasion.
“You put it on, and you’re perfect,’’ she said in tribute. “It’s always up to date, even after 20 years.’’
Two hours after the doors opened, the line of mourners stretched down the block.
The public viewing will continue through Sunday. Armani will be buried following a private funeral, details of which remain private.
Milan is home to numerous Armani landmarks, including his theater and the Armani/Silos museum — an exhibition space in the heart of the city’s design district — as well as his residence and historic offices in the city center, and his flagship stores and hotel.
He was also a major supporter of cultural institutions, like Milan’s Teatro alla Scala, and owned the Olympia Milan basketball team.
A prominent permanent Emporio Armani billboard greets passengers arriving at Milan’s Linate Airport, and the brand has long occupied a permanent billboard in Milan’s Brera district, emblematic of Armani’s game-changing approach to communications.
Armani, one of the most recognizable names and faces in the global fashion industry, missed Milan Fashion Week in June 2025 for the first time during the previews of Spring-Summer 2026 menswear to recover from an undisclosed condition.
Condolences have poured in from friends and admirers around the world, including Ralph Lauren, Julia Roberts, Anna Wintour and Leonardo DiCaprio.
Armani prepared a final farewell for mourners. A photo of the designer smiling and waving was projected on the back wall of the viewing chamber with the parting words: “The mark I hope to leave is one of commitment, respect and genuine care for people and for reality. That’s where everything truly begins.”
