Category: 5. Entertainment

Bollywood star Aamir Khan’s return to the big screen after a three-year hiatus has been far from ordinary. Sitaare Zameen Par (2025) which translates to “stars on Earth”, is the first major Bollywood production to feature a mostly neurodivergent cast.

A remake of the 2018 Spanish film Campeones, the story follows a mouthy, knuckle-headed basketball coach, Gulshan (Aamir Khan), who is put in charge of a team of players with intellectual disabilities.

The film slowly grows into itself, much like its characters, but ultimately delivers what the trailer promises: a heartwarming, humorous and uplifting celebration of our individual differences.

In an era of blockbuster spectacles, Aamir Khan Productions brings back a kind of Bollywood storytelling we haven’t seen in a while – something sincere, gentle and quietly revolutionary.

Who is Aamir Khan?

Aamir Khan was born in Mumbai in 1965, and started his acting career as a child actor in his uncle’s film Yaadon Ki Baaraat (1973).

Khan is now one of Bollywood’s most enduring and respected figures. He is one of the iconic “three Khans”, alongside Shah Rukh Khan and Salman Khan (the three are unrelated), who have dominated Indian cinema since the 1990s.

But unlike his Khan counterparts, Aamir Khan has carved a unique career path built on both commercial success and socially-driven storytelling.

He is known for championing social causes through cinema. In one 2015 article, media studies professor Vamsee Juluri referred to him as a “national conscience figure”.

Khan’s films don’t just entertain; they challenge norms and often spark national conversations on important issues.

From producing Lagaan: Once Upon a Time in India (2001), India’s Oscar-nominated colonial-era sports epic, to his directorial debut Taare Zameen Par (2007), a moving portrait of a child with dyslexia, Khan’s work often brings underrepresented stories to the mainstream.

His film PK (2014) challenges religious dogma. Meanwhile, Dangal (2016) is a boundary-pushing film based on real-life female wrestlers from rural India, and is also Bollywood’s highest-grossing film of all time.

Beyond the box office, Khan has hosted the TV show Satyamev Jayate (2012–14), which is also the national emblem of India, meaning “truth alone triumphs”.

This show tackles various topics considered taboo in Indian societies, including female feticide, domestic violence and caste discrimination. It has reached millions of households, and even ignited parliamentary debates.

Khan is also popular in other countries, including China, where his films 3 Idiots (2009), Dangal (2016) and Secret Superstar (2017) were massive hits that resonated with audiences for their universal themes.

Sitaare Zameen Par marks his return following the commercial underperformance of Laal Singh Chaddha (2022), an Indian remake of Forrest Gump (1994).

Sitaare (stars) who make the film shine

Directed by R.S. Prasanna, Sitaare Zameen Par enjoyed a strong opening weekend at the box office.

It stars ten individuals with special needs as they prepare for a basketball tournament under the direction of their coach (Khan). This plot alone makes the film a significant entry to Indian cinema, which often ignores or misrepresents disability.

Despite early online trolling and negativity, the film depicts its neurodivergent characters not as victims, or “inspirations”, but simply as people with dreams, struggles and joy.

One line captures this beautifully: “Everyone sticks to their own normal. We each have our own normal.”

Aamir Khan, now 60, plays a key role in the film, but doesn’t dominate it. Instead, his younger co-stars shine. The result is a healing film that celebrates inclusion, while being full of joy and humanity.

Stories that matter

No film is perfect. But it’s hard to dislike a film made with so much compassion.

Bollywood as an industry has increasingly leaned into action-packed blockbusters, as well as nationalist and Hindu-centred narratives (such as in the 2022 film Brahmāstra).

While many of these offer thrills, few deliver the kind of emotional and social depth that once defined Hindi cinema’s global appeal. Much like Taare Zameen Par – a spiritual prequel to the new release – did 18 years ago, Sitaare Zameen Par invites the audience to slow down and reflect.

It prompts neurotypical viewers to see people with Down’s syndrome as part of the same emotional universe as them – and to laugh with, not at them.

In an interview, Khan explains how the film goes further than just neurodivergent representation, to participation:

In [Taare Zameen Par], it’s the teacher, Nikumbh, a supposedly neuro-typical person, who helps the child with dyslexia. In this film, ten neuro-atypical people are helping the coach, Gulshan. I feel Sitare takes the discourse of the first film ten steps ahead, especially in our country where people need to be sensitised to the topic of neurodivergence.

Last week, India’s president, Droupadi Murmu, attended a special screening and met the cast. The visit sent a clear messsage: stories like this matter.

With Sitaare Zameen Par, Aamir Khan returns to what he does best: using film as both a mirror and message for Indian society. While it won’t change the world overnight, it will make viewers see the world, and each other, a little differently.

Santiago Yahuarcani’s Amazon is no longer the place he painted as a child. The rainforest scenes of parrots, anacondas and jaguars that he and his brothers used to sell to riverboat tourists for a dollar apiece have given way to visions of a landscape that is darker, more despoiled and more desperate than it was six decades ago.

However, as his first solo international exhibition – at the Whitworth in Manchester – will show, the old beauties and mysteries have not faded completely. His work is populated by shape-shifting spirits, mermaids waltzing with pink river dolphins, enormous pipe-smoking lizards and shamans who trap their adversaries in rum bottles, but they exist alongside depictions of the genocidal crimes of the past and the ecocidal crimes of the present. Oil refineries are consumed by fire, rubber trees weep tears of sap, forest spirits are displaced by drought, and memories of a century-old slaughter – replete with torn and branded flesh – echo through the forest and down the generations.

“When I was a child, there was a huge abundance of animals and fish in the Amazon,” says the 65-year-old Indigenous Peruvian painter, when we meet in Madrid, at a joint exhibition of work by him and his partner Nereyda López. “There was a lot of land to make into farmsteads and there were a lot of animals to hunt. But people have come and taken land – hectares of land, kilometres of land – and they’ve come for the wood and the gold, too.”

The artist and his family are all too aware of what happens when the Amazon attracts the greedy gaze of the outside world. Today, they are the last 12 members of the White Heron clan of the Uitoto nation still living in Peru. Just over a century ago, Yahuarcani’s grandfather, then 16, was forced from Colombia to Peru during the genocide that was waged against the Indigenous population of the Putumayo region during the rubber boom. The painter was five or six when he learned what had happened at La Chorrera rubber station.

“My grandfather would call us together at night and tell us about the era of rubber,” he says. “He told us how the bosses arrived with rifles and started to force the Indigenous people to collect the sap of trees for rubber. They demanded 50kg of sap from each person every two to three weeks. They gave them the materials they needed to get the sap and they gave them food, but not enough food.”

Anyone coming back with less than 50kg was punished. Some were thrown into a hole​ 15 metres deep. Others had an ear hacked off. “There was also a guy, my grandfather told me, who’d make everyone watch​ as he cut off a lump of your fles​h with a knife. They wanted to scare people so they’d get their 50 kilos.”

Then came the time when the bosses decided to plant sugar cane, coffee and corn for the women to harvest. “These women worked with their babies on their backs,” says Yahuarcani. “One baby started to cry because of the heat of the sun. The overseers came and took the little boy from his mother’s back and threw him on the fire.​”

When the inevitable uprising took place, the response was characteristically barbaric. Men, women and children were burned alive in a large house where they had sought refuge. Those who escaped the flames were shot. “My grandfather told me that, a month after the fire, thousands of butterflies of a kind never before seen in the Amazon began to sprout from the site,” says Yahuacari. “All different kinds of butterflies with all different kinds of colours. My grandfather told me they were the spirits of the victims, of the people who had been burned.”

Those atrocities are recounted in one painting – called The Stone-Hearted Man – that shows gangs of pale men in white hats and with pistols in their belts branding, decapitating and burning their way across a stretch of rainforest that has become a hell. All around them are the charred and broken bodies of Indigenous people.

A century later, the rainforest is once again besieged. “Today, Indigenous groups are having to fight back,” says Yahuarcani. “We have to fight to protect our vegetation, our trees and to reforest.” But the odds are not in their favour. While more and more outsiders are coming to the Amazon in search of land, timber, gold and oil, many of the region’s young people are abandoning their homes in search of education and employment. Respect for the rainforest is dwindling.

Whenever they set out to hunt or fish, the Uitoto make an offering to the guardian of the forest animals: “He’s small and furry like a monkey and has the face of an 80-year-old person.” And, unlike the logging and mining corporations, they never take more than they need. “In the Amazon,” he says, “when we want to eat, we go to our supermarket – it’s in the mountains, in the jungle, where there are fish and fruits. You bring home what you need and you don’t destroy everything. God has said that man should not destroy nature, he should take care of it, because it is his home, too. You can’t destroy your own house.”

If the artist’s subject matter has changed over the years, his techniques have not. Yahuarcani has always created his works by applying paint prepared from pigments, seeds, leaves and roots, to large sheets of llanchama, a cloth made from the bark of the ojé tree. His works are often inspired by the hallucinations brought on by the ritual ingestion of tobacco, coca, ayahuasca and mushrooms – substances long used by the Indigenous peoples of the Amazon when in search of help, knowledge or revelation.

While getting llanchama requires the skills he learned from his bark-cutter grandfather, the use of hallucinogens harnesses and honours the cosmology, myths and traditions of Yahuarcani’s people as he strives to draw attention to the threats they and the forest face. Perhaps the greatest of those menaces is indifference. Yahuarcani’s home town of Pebas, which lies on a bend in the river as it meanders from north-east Peru towards Colombia, is as far removed as it could be from the artistic, political and media centres of the coastal capital, Lima. As a result, getting his work and its messages noticed has been a struggle.

Yahuarcani is polite but insistent as he reflects on the difficulties that he and other Indigenous artists – not least his son Rember – experience when it comes to visibility and exhibition space. “I use my work to show our myths,” he says. “How our culture used to be, how we came to have the problems we now have. But it’s been very tough because we were from the Amazon and we were Indigenous. We weren’t allowed to exhibit in the museums, or do the interviews, because we were always put to one side.” Artists from Lima “have always had more opportunities and more press”.

Part of the problem, he says, lies in Peru’s own view of its culture and history. “When we were in school, we were taught about the Incas. About how the Incas built Machu Picchu, and so on. But there was nothing about us or our history, and that’s been one of our complaints. Our stories aren’t in the textbooks.” Yet he is adamant that this is a history people need – and want – to know about. When he exhibited a picture of the Putumayo atrocities in Lima ​a decade ago, “the newspapers and the magazines were saying, ‘Look at this! Look at this!’ But the authorities were not at all interested.”

Yahuarcani has been buoyed by the enthusiastic reaction to the Madrid show – even if it has meant braving the heat and chaos of the Spanish summer. He hopes the Manchester exhibition will be equally well received. But the recognition has been as hard won as it has been belated. Time is running out and, as one of his recent works plainly shows, the Amazon is changing rapidly and irrevocably. Painted earlier this year, Optic Fibre in the Depths of the Amazon River is a riotous, funny and faintly disturbing picture that shows dolphins, frogs, fish and turtles clutching mobile phones as technology reaches ever farther into the rainforest. One or two of the smarter fish are ringing their friends to let them know where the fishers are gathered so they can avoid them.

The current cycle of expansion, encroachment and exploitation appears unstoppable. And if the forest goes then so does a branch of the Uitoto, their way of life, and their half-forgotten history. “I hope Peru will do something about these issues,” says Yahuarcani. “That there will be a book of these stories so young people can learn what happened to their grandparents. Today, we are the only family of the White Heron clan. There are no more. When we disappear, the White Heron ends.”

Susan Sarandon is to make her UK theatre debut alongside Andrea Riseborough, when the pair portray the same woman at different ages, in Tracy Letts’ drama Mary Page Marlowe.

The play will be staged this autumn at the Old Vic in London by Matthew Warchus, in his final season as artistic director. Several actors portray the title character, which is described as a “time-jumping mosaic” spanning 70 years in the life of an accountant and mother of two in Ohio.

It marks a high-profile return to the stage for Sarandon, who made her Broadway debut in 1972 in An Evening with Richard Nixon and … by Gore Vidal before her breakout film role in The Rocky Horror Picture Show. By the time she was next on Broadway, in Exit the King in 2009, she was a household name and five-time Oscar nominee (who won for Dead Man Walking). Sarandon said: “I’m so honoured to be asked to be in a play during Matthew Warchus’s final season at the Old Vic,” adding that she was “terrified but excited”.

Riseborough, similarly better known as a film star, has not acted on stage for 15 years. Her last major London role was in Ivanov opposite Kenneth Branagh at the Donmar Warehouse in 2008. She recently appeared in Warchus’s screen version of Matilda the Musical. Riseborough said: “It’s an honour to be taking on the role of Mary – amongst others – in Tracy Letts’ poignant play, alongside the extraordinary Susan Sarandon. I’m so very grateful to be working with Matthew again and thrilled to finally work at the Old Vic, a beautiful space.”

Warchus called Letts “one of America’s greatest living writers” and said the play would be staged in-the-round – as will all the productions in his final season. Mary Page Marlowe will run from 23 September to 1 November.

Letts is best known for his Pulitzer winner August: Osage County, which was directed by Anna D Shapiro in a Chicago Steppenwolf production that played at London’s National Theatre in 2008. Shapiro directed the premiere of Mary Page Marlowe for the Steppenwolf theatre in 2016. In his review, the New York Times critic Charles Isherwood wrote: “Some may find the play’s form frustrating; I found it beautiful and affecting, like flipping through a friend’s photo album in no particular order, finding some faces familiar, others unexpected. And then you come upon someone entirely unknown – who obviously meant much to your friend – and you realize, with a pang of sadness, that your knowledge of even those closest to you will always be fragmentary and incomplete.”

This will be the play’s UK premiere. Letts said: “From my first experiences as a playwright here 30 years ago, to the run of August: Osage County at the National, London is an integral part of my development as an artist. I’m deeply gratified to have Mary Page Marlowe at the Old Vic, directed by Matthew, featuring these remarkable actresses. A genuine thrill.”

Warchus will step down from the Old Vic in September next year, when he will be succeeded by Rupert Goold, who in turn will be replaced in the top job at the Almeida theatre by Dominic Cooke.

As Liam and Noel Gallagher get set to return to stage this summer, BBC Sounds explores the lasting impact of one of Britian’s most iconic bands in a brand-new ten-part series, Mad For Oasis.

Made by BBC Local teams at BBC Radio Manchester, and hosted by Noel’s daughter, Anais, Mad For Oasis tells the stories of their music through the eyes of the superfans.

We hear from the Oxford-based artist Paul Fellows, who first saw the band more than 20 years ago, and the experience left a lasting impression. His deep love for Oasis inspired him to create artwork dedicated to the band – work that has since helped raise funds for Great Ormond Street Hospital. It’s a cause close to his heart, as the hospital once cared for his ill son.

Paul said: “Oasis have had a massive influence on my life. If someone came up to me in the field of Knebworth and said in 25 years’ time, you’re going to meet him on stage and raise money for a great cause, I would never have believed it!”.

Karen from New Ross, in Ireland has been a devoted Oasis fan since day one. Their music has been a constant companion through both her teenage years and adult life. She recalls how one song in particular became the bridge that helped her reconnect with her mother, who had dementia. She said: “An Oasis song helped me connect with my mother in a way I never thought I’d be able to again. Happy or sad, it will always be a massive part of me”.

Host of the series Anais Gallagher said: “Obviously, Oasis have always been a big part of my life. But to have the opportunity to hear these incredible stories from people about how their music has impacted their lives, has been amazing. I’m thrilled to be a part of it.”

The artwork for this series was specially commissioned, it was created by Manchester Artist and Oasis fan Stanley Chow who said: “I’m thrilled to have to been asked to work on the series cover. I had so much fun researching the illustration. It’s a lovely thing to be part of!”

Chris Burns, Head of Local Audio Commissioning said: “Whether it’s your favourite band reuniting, your football team winning, or losing, our BBC teams live and breathe the rollercoaster of local life with our audiences. BBC Radio Manchester really gets to the heart of how this local band made its mark upon ordinary people’s lives and is told fantastically through Anais.”

Mad For Oasis is a BBC Local production for BBC Sounds and will be available on BBC Sounds on Tuesday 1 July 2025.

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Netflix is reaching for the stars.

The streaming giant announced Monday that it “is teaming up with NASA to bring space a little closer to home” by streaming live launches into subscribers’ homes later this summer.

The move continues Netflix’s voyage into live streaming content, which has proved to be successful so far. Millions tuned in to Netflix on Christmas Day for a livestream of NFL games, as well as a halftime show concert headlined by Beyoncé. Even though it was plagued by reports of problems with the video quality, a boxing match between Mike Tyson and Jake Paul streamed on Netflix in November was viewed in 60 million households. Netflix also dived into the talk show realm this year with “Everybody’s Live With John Mulaney.”

Now, Netflix thinks “the next giant leap for humankind might just start with you pressing play,” according to an article on its editorial site, Tudum.

NASA+, which launched in 2023 as a way for the public to get easier access to space content, is already free on NASA’s app and NASA.gov. But the space agency is hoping that it can tap in some of Netflix’s 700 million+ subscribers and generate even more interest in space exploration.

“Audiences now will have another option to stream rocket launches, astronaut spacewalks, mission coverage, and breathtaking live views of Earth from the International Space Station,” the space agency said in its news release.

The goal, NASA’s news release stated, is “to bring the excitement of the agency’s discoveries, inventions, and space exploration to people, wherever they are.”

“The National Aeronautics and Space Act of 1958 calls on us to share our story of space exploration with the broadest possible audience,” Rebecca Sirmons, general manager of NASA+ at the agency’s headquarters in Washington, said in a statement. “Together, we’re committed to a Golden Age of Innovation and Exploration — inspiring new generations — right from the comfort of their couch or in the palm of their hand from their phone.”

Netflix is also capitalizing on a broader interest in space — 2025 has been a big year for space exploration so far, as NBC News reported. In April, many tuned in as pop artist Katy Perry and five other celebrities launched into space on a short flight aboard Blue Origin’s New Shepard rocket and capsule.

NASA+ live feeds will live on the Netflix’s platform alongside series, according to Tudum. Detailed schedules are expected to be shared closer to launch day, the platform said.

For Chase Sui Wonders, being mixed race hasn’t always been easy.

Wonders, who is half Chinese, used to struggle with her identity — and as a young Asian actress in Hollywood, self-acceptance felt unattainable.

“I had all the shame around it. I would try so hard and I would put myself on tape, but it never felt quite right,” she told Vanity Fair in June. “It always felt like it was written for a white girl, or it was written for a full Chinese girl, or a Japanese girl who has to play a geisha during World War II or something.”

This isn’t the first time Wonders has opened up about being mixed race. The 29-year-old actress is outspoken about the complexities of navigating adolescence, adulthood, and now, Hollywood as someone who is biracial.

As a kid growing up in suburban Michigan, Wonders quickly recognized that she didn’t look like everyone else. Her arrival in Hollywood seemed to reinforce the feeling that she didn’t belong.

“As far as I’m concerned, being Asian, the community I grew up in was really ‘white’, and I grew up with a single mom, who is white, so I felt like I was a white person, and it took me a while to accept or just come to terms with the fact that I don’t look like everyone else and that’s not bad. That was a journey of my youth,” she told Italian Reve in 2024.

Eventually, Wonders began to land roles that felt more true to herself. She nabbed her breakthrough role on HBO Max’s coming-of-age drama series Generation in 2021, before starring in A24’s black horror comedy Bodies Bodies Bodies in 2022.

Wonders, a Harvard graduate, currently stars on Apple TV+’s The Studio as Quinn Hackett, a junior executive at a fictional film studio in Hollywood. Hackett, Wonders told Vanity Fair, wasn’t initially written as a biracial character. It was only after she landed the role that creators Seth Rogen and Evan Goldberg decided to work that in. (On The Studio, white executives often look to Hackett for guidance regarding diversity.)

A special screening of The Studio presented an opportunity for Wonders to celebrate her Chinese heritage offscreen too.

For the event, Wonders opted for an archival Prada gown from the fashion house’s spring 1997 collection. More than just a charming cherry red dress with a “dreamy design,” as she told Marie Claire in March, it had elements that reminded her of a qipao, a traditional Chinese dress. “My grandmother is going to love this dress when she sees these photos,” she said.

Next up, Wonders will star in the I Know What You Did Last Summer reboot as Ava Brucks, a role that she told Vanity Fair she was initially drawn to because of how “all-American” she is.

“You just don’t see that many people who look like me who are playing these kind of leading ingenue roles,” she said. “It felt exciting to step into that and also give her some unique flair.”

Where there was once shame in being mixed race, Wonders now feels a sense of pride, telling the magazine, “The thing that I originally felt very complicated about has now become sort of my superpower.”

This article has been updated on June 30 at 5:17 p.m. EST.

PARIS — Second time was the charm for Meryll Rogge, who scooped up the Grand Prize of the 2025 ANDAM Fashion Award on Monday.

“Honestly, we just said it like it is, I didn’t really change much versus last year,” said the Belgian designer. “I think we just evolved and grew a lot in the last year.”

And what a 12-month run it’s been for the Ghent, Belgium-born designer who was a finalist of last year’s ANDAM.

In addition to becoming the first woman to be named designer of the year at the 2024 Belgian Fashion Awards and being a 2025 Woolmark Prize finalist, she saw her designs land on the likes of Dua Lipa, Chloé Sévigny and Rihanna.

Having shown her collections in Paris since 2021 in presentations, she held her first fashion show in March, presenting a collection she deemed her “most developed pieces.” These were among the designs she showed to the ANDAM jury earlier in the day.

Not that she is letting it get to her head. “It just shows that we are stepping it up every year,” she said. “And now we’re going to be able to make huge leaps, of course.”

A 2008 graduate of Antwerp’s Royal Academy of Fine Arts who dreamed of being an illustrator as a child, she swapped paint for textile swatches when moving to New York. After working her way up to lead designer at Marc Jacobs over seven years, she was back in Antwerp working for Dries Van Noten as head of women’s design in 2014 before going solo in 2020.

Several of her pieces have been acquired recently by MoMu Antwerp and Brussels’ Fashion & Lace Museum.

How she plans on spending the 300,000-euro purse that comes with this win is “very clear for us,” Rogge said.

One priority is direct-to-consumer channels, particularly e-commerce, a yet-untapped opportunity for her business.

“It’s a big one for us because we do get a lot of views on our website, lots of DMs and we can never support it, which is a shame,” she said.

The 41-year-old is also looking at expanding in accessories. “We dabbled in shoes, working on a collaboration with [Japanese footwear brand] Grounds and we want to go further,” she said.

In addition to the cash award, she will be mentored by 36th jury president Sidney Toledano, an adviser to LVMH Moët Hennessy Louis Vuitton chairman and chief executive officer Bernard Arnault, as well as president of the Institut Français de la Mode fashion school.

The seasoned executive will also have another mentee: Special Prize winner Alain Paul, who parlayed a 10-year career working for the likes of Vetements and Louis Vuitton into his eponymous Alainpaul brand, cofounded in 2023 with husband Luis Philippe.

Here too, being plugged in directly to consumers is a must. It’s a particularly important avenue for emerging brands for the revenue it generates, but also for the direct consumer insights.

“It really allows us to work on a collection plan that meets what clients are looking for and not waste so much time on pieces we don’t need,” Philippe said.

Summer will therefore be busy for the brand, as plans for e-commerce that previously were on hold due to the costs involved can now move forward as early as September, the cofounders said.

And Paul is also among the finalists of the 2025 LVMH Prize for Young Designers.

The Pierre Bergé Prize and its 100,000-euro purse went to Burç Akyol, whose eponymous genderless label marries sexiness with austerity — and flawless tailoring.

He will be mentored by Alexandre Mattiuissi, the founder and artistic director of Ami who scooped up the grand prize in 2013. The brand came on board as a sponsor of the design competition with this edition.

“You never expect it,” said an elated Akyol. “I talked about the importance of craftsmanship and it resonated. We tend to forget the product in our industry today, and people think it’s borderline ugly to say the word ‘product,’ but I disagree. I think it’s at the heart of what we do and I’m happy, because that’s what I stand for. I won with that.”

The designer said he looked forward to getting advice from Mattiussi, who has parlayed his independent brand into a thriving business.

“I want to find out how he did it, because it’s an empire. I remember when Ami was founded. His initial inspiration was so organic. He wanted to dress a few friends that inspired him and make that available for others,” Akyol said. “It’s a great financial success, which again comforts me in the idea that there is a place for product.”

He plans to use the prize money to fund his next collection for the label, which is a two-person operation.

“At our level, we have a knife at our throat every season,” Akyol said. “I always have to juggle in terms of cash flow. Now, we will finally be able to develop these categories that we’re always thinking about and don’t have the time to do, because you need real industrial know-how.”

Also in the running in this category dedicated to emerging creative labels were Jeanne Friot and Mouty by couple Bertille and Thomas Mouty.

Belgian designer Sarah Lévy of Sarahlevy beat out footwear designer Philéo Landowski and jeweler Marco Panconesi to win the 2025 accessories prize, which comes with 100,000 euros and purse and mentoring by Sophie Delafontaine, creative director of Longchamp.

Toledano said he’s had eyes on all the winners through the tentacular reach of LVMH Moët Hennessy Louis Vuitton. He met Rogge when she worked at Marc Jacobs, which belongs to the luxury group, while Lévy designs accessories for Patou, another one of its labels.

Meanwhile, he first discovered Paul and Akyol’s work through the LVMH Prize for Young Designers. Akyol was a finalist last year, while Paul is among the final eight this year.

“These four winners are exactly the type of candidate that need our help because they have reached a critical size. They’re doing fine on their own, but they really want to take their brands to the next level and I want to help them do that,” he said.

This year, the innovation prize was awarded separately in May and went to Losanje, a fashion tech company based in the central French city of Nevers that is helping brands implement the use of circular textiles.

The edition’s jury included 11 guest members, including Pascal Morand, executive president of the Fédération de la Haute Couture et de la Mode, Sarah Andelman and fashion documentary director Loïc Prigent.

Joining them were multihyphenate actress and author Lou Doillon; Lucky Love, the singer who performed at the opening ceremony for the 2024 Paris Paralympic Games; musical artist Eddy de Pretto; art gallery founder Emmanuel Perrotin, and model, actress and entrepreneur Liya Kebede.

Rounding out the 2025 group sitting alongside permanent members, who are mainly executives drawn from sponsors, were creative consultant Carlos Nazario; writer and fashion critic Sophie Fontanel, and Beka Gvishiani, who’s behind the Stylenotcom Instagram account.

Created in 1989 by Nathalie Dufour with the support of the French Ministry of Culture and the DEFI, a body that promotes the development of the French fashion industry, and with the late Pierre Bergé as president, ANDAM has been a springboard for designers who would go on to achieve international recognition.

In October, a retrospective at the Musée des Arts Décoratifs gave an overview of the ANDAM’s 35-year run, featuring works by winners across fashion and accessories including Viktor & Rolf, Jeremy Scott, Marine Serre, Y/Project, Christopher Esber and Ukrainian milliner Ruslan Baginskiy.

– With contributions from Joelle Diderich

“Spider-Man: No Way Home” director Jon Watts recently revealed to Collider that Reddit helped shape one of the blockbuster’s defining moments: The long-awaited returns of Tobey Maguire and Andrew Garfield. Watts saw fan-created concept art on Reddit that aligned with his original idea of bringing the former Spider-Man actors back onscreen when Tom Holland’s Peter Parker is at his lowest following the death of Aunt May. The director knew in that moment he’d need more of a surprise.

“There had been rumors that Tobey and Andrew were going to be in the movie, and this is while we’re shooting,” Watts said. “We were writing the script, and we were working on where we wanted to reveal the guys, and it always seemed like Peter’s going to be sad because Aunt May has just died, and that the portals are going to open, and the two Spider-Men are going to step out. It’s probably a rooftop somewhere. It’s all sort of hazy. You’re still trying to figure it out.”

“Then I was on Reddit, and I was looking at people who had already made fan art of, ‘This is probably what it’s going to be like when the two Spider-Men get revealed.’ It was on a rooftop. It was sad, two Doctor Strange portals were open and two Spider-Men are stepping out,” Watts continued. “I was like, ‘Well, we can’t do that. If that’s exactly what everyone thinks we’re going to do, we absolutely can’t do that.’”

That’s when Watts came up with the scene that made it into the movie. As he remembered: “I was like, ‘Probably having the two Spider-Men appear at Ned’s Filipino grandma’s house in Queens.’ I don’t think anyone was doing fan art of that on Reddit. It made perfect sense in the story because it’s kind of the first time we leave Peter’s narrative. We don’t know what’s happened to [Tom’s Peter]. We’re with Ned, we’re with MJ. They have to lay low. Where are they going to go? Ned’s grandma’s house. So, we built this whole scene around that.”

The returns of Maguire and Garfield helped power “Spider-Man: No Way Home” to $1.9 billion at the worldwide box office, a record sum for the post-COVID era until James Cameron’s “Avatar: The Way of Water” came along and earned $2.3 billion. Maguire has already expressed interest in returning again, saying: “If these guys called me and said, ‘Would you show up tonight to hang out and goof around?’ or ‘Would you show up to do this movie or read a scene or do a Spider-Man thing?’ it would be a ‘yes!’ Because why wouldn’t I want to do that?”

The same goes for Garfield, who has said on multiple occasions since “No Way Home” opened in theaters that he would love to play Spider-Man again under the right circumstances.

“It would have to be very weird,” Garfield said at Middle East Film & Comic Con earlier this year. “I would like to do something very strange. Something very unique, and offbeat and surprising, kind of like the creative freedom they have with the animated ‘Spider-Verse’ movies.”

Garfield added in a separate interview with Esquire: “For sure, I would 100% come back if it was the right thing, if it’s additive to the culture, if there’s a great concept or something that hasn’t been done before that’s unique and odd and exciting and that you can sink your teeth into. I love that character, and it brings joy. If part of what I bring is joy, then I’m joyful in return.”

Holland is confirmed to be coming back as the web-slinger in Marvel’s “Spider-Man: Brand New Day,” which is set for release in July 2026.