Category: 5. Entertainment

Sam Nivola has raised an objection to old actors still getting great roles in Hollywood films.

Sam, 21, who has shot to fame with his performance as Lochlan Ratliff in The White Lotus season three, said “old movie stars” get plastic surgery to look younger and get “young roles.”

The actor complained about not many young actors breaking out in Hollywood.

“The old movie stars are getting plastic surgery, and they’re looking younger and they’re staying young. You have these really old people playing young roles,” he told Variety.

“And it’s not giving any space for the young’uns to move in and make a name for themselves,” he added.

“With all due respect to those people, one day they won’t be here anymore, literally, and they will have to create new stars,” he predicted.

He then gave the only example of a young star thriving in the industry. He named Timothee Chalamet as one of the “best actors alive.”

“He’s one of a very few examples I could come up with. But it’s a different kind of movie star; he’s not huge and jacked. He looks a little more like me,” Sam Nivola said, before remarking, “I wish!”

Tom Holland and his fiancée Zendaya in good mood as they were spotted filming together for the first time on set of Spider-Man: Brand New Day at Brookwood Cemetery in Surrey on August 7.

In the photos shared via DailyMail.com, the couple looked rehearsing their scene at the graveyard as they will be sharing the screen for the fourth time in this upcoming Spider-Man movie.

Tom was reportedly seen filming for the first time in Glasgow this week as they transformed the city in NYC for the sequel.

Although the final casting has not been confirmed, the English actor will be starring alongside Sadie Sink and Zendaya, who plays Peter Parker’s girlfriend MJ.

Interestingly, both stars will also appear together in Christopher Nolan’s adaptation of Homer’s epic, The Odyssey, set to be released in 2026.

Earlier in an interview with E! News, Image architect Law Roach revealed that the couple decided to delay their wedding due to their busy schedules.

“The process hasn’t even started yet,” said the 47-year-old stylist.

Law mentioned that Zendaya “is working on so many movies. She’s now filming the next iteration of Dune, so she’s away doing that. It’s so many movies, so we have time. We have a lot of time”.

Meanwhile, Tom will next be seen alongside Austin Butler in Amazon MGM Studios’ race car driving biopic called American Speed written by Dan Wiedenhaupt.

Law told the outlet that both stars’ nuptials might happen next year, adding, “I’m really excited because I know that they really love each other and they have for a really long time.”

Prince Andrew and Sarah Ferguson’s eldest daughter Princess Beatrice celebrated her 37th birthday with hope and happiness amid ongoing crisis within the royal family.

Beatrice – who turned 37 on August 8, 2025 – is said to be little upset on her special day due to the recent spate of allegations against her parents, the Duke and Duchess of York.

Royal expert Jennie Bond believes her special day could be overshadowed by his father’s ongoing scandals.

Bond believes the Princess of York’s day will be “tinged with sadness” after a week of “graphic headlines.”

The royal is presumably celebrating in private at home with her husband and children amid claims made by royal biographer Andrew Lownie in his upcoming book “Entitled: The Rise and Fall of the House of York.”

Beatrice opted to celebrate away from the spotlight as to not draw anymore attention to the York family. She will also feel protective over her parents.

Jennie Bond told The Mirror: “Love is blind, they say. And, in spite of all their faults, Andrew and Fergie have retained the unconditional love and loyalty of their two daughters.”

The expert continued: “This week’s avalanche of lurid reports about their father, and tales of their mother’s irresponsible extravagance, will have been an unwelcome 37th birthday gift for Beatrice — but her instinct will be once again to protect her parents and ignore the noise.”

“As any mum with three young children will know, life is hectic and I doubt that Beatrice has much time to sit and moan about the devastating claims made against her father in the new biography,” she added.

The royal expert also shared that Beatrice’s husband, Edoardo Mapelli Mozzi, will no doubt be doing everything he can with the couple’s three children to make his wife’s birthday as special as it can be.

Hostage is a political thriller, and observes the conventions in many ways. The pace is absolutely flawless, it’s twisty, it has emotional heft. The British prime minister, Abigail Dalton, played by Suranne Jones, faces her husband, Alex Anderson (Ashley Thomas), being kidnapped. Their marriage is well drawn – “it’s happy, it’s assured, they’re supportive of each other,” Jones says. As we chat in Netflix’s central London offices, she’s always saying five things at once, only one of them out loud. Here, the subtext (I’ve decided) is: it’s actually pretty skilled work, creating a not-schmaltzy, passionate but familiar love match in which all the audience’s hopes and prayers are with the abducted spouse. That’s why normally when fictional politicians are the victims of a family kidnapping, it’s one of their kids.

Meanwhile, the French president, Julie Delpy’s Vivienne Toussaint, is also in Britain, is also being blackmailed, and has her own dilemmas: principally, does she go over to the dark side, by echoing the far right on anti-immigrant narratives, or stick to her principles, whatever those may still be. Delpy is hilarious on this, and actually most things. “That’s something I found interesting in the show. Sometimes I wonder, I truly wonder, is there any politician who really has a conscience? I look at Macron – I cannot believe someone with a conscience wouldn’t be questioning themselves, questioning who they have picked [as a cabinet], questioning what’s going on with French politics.” “You really wonder whether any politician has a conscience?” I ask, just to be clear. “Well, yes.”

Hostage came about through a lot of to-and-fro between Matt Charman, the writer and creator, and Suranne Jones – the pair shared an agent 10 years ago and always got on. He’s most famous for Bridge of Spies, which Steven Spielberg directed and the Coen brothers co-wrote, in 2015. “Every time I watch Suranne,” he says, “I’m aware of how relatable and human she is. I thought: ‘OK, if she were prime minister, maybe I would feel differently about political drama. What if we bought ourselves goodwill with someone like Suranne, that would allow an audience just for a second to say: ‘Hang on a minute. Let me hear her out’?”

As much as Charman is a storyteller, enamoured of the thriller form, he also has this surprising sense of civic purpose, of using the show to suggest that maybe if we thought of politicians as fully human, they might turn out to be, well, at least human-adjacent. “Someone used the phrase ‘sophisticated protein’, and it’s one of those American phrases that makes you wince, but truthfully it’s quite an interesting formulation. People might enjoy the propulsiveness of the thriller, but they want the values of the lead character to be about something and their backstory to be meaningful.”

The result is quite unusual, in so far as – unlike all political thrillers – it doesn’t remind you of any other. It’s a little biting but it’s not House of Cards cynical, it has a breakneck pace but it’s not 24, the dialogue is sharp but never played for laughs. Jones is relatable, patriotic, trying her best, absolutely in love with her kidnapped husband, an almost nostalgic portrait of an idealised prime minister from more innocent times. Delpy is far more worldly, far more compromised, both a better fit for the turbulence of modernity and more likely to be capsized by it. The whole dynamic marches in an interesting syncopation with the real-life politics that unfolded as they shot it, in which the far-right pressures on the European political landscape have become much more pronounced, and through that lens you could squint at it and see it almost as documentary drama. Then there’ll be a giant explosion outside Downing Street or a kidnapper in an eerie mask, and you’re back in the world of the blockbuster summer thriller.

“The hardest thing about writing something that’s in dialogue with where we are now,” Charman says, “is that every time something happens in real politics, mainly you’re thinking: ‘What does this mean for my kids, is the world OK?’ But on a low level, you’re thinking: ‘Does this mean my drama is going to be out of date when it comes out?’”

“I thought it was very clear as a story,” Delpy says. “To me it seemed very accessible, and actually quite entertaining.” She’s a breath of fresh air, talking about her work, never breathy, always surprisingly impartial, like a mother saying about her children: “Yes, the middle one’s quite intelligent, but the youngest, not so much.” She’ll never buy into the idea that politicians are inherently interesting – “at least in France, I’ve never really been amazed by any of them” – and thinks, in some ways, drama is miles from the reality of politics, by definition, because real life has lost the plot.

“The way politics works now, is that they bombard you with outrageous things, so that you forget what happened yesterday,” she says. “It’s almost impossible to stand against anything. It’s a very difficult time.” Yet one central theme, the demonisation of migrants for political capital, dominates her character’s arc. “She starts off as someone who isn’t flirting with the extreme right, and she slowly starts to go there – which is something you see happening a little bit to everyone in the centre; they’re not necessarily ideologically far right, but they’re feeling they have to flirt with it, to comply with the perceived demands of the electorate. They think it’s better if we slide to the right to stay in power, rather than having the far right in power. I think they really do believe that, you know.”

Drama is making its own, more subtle compromises with the new right, which is to avoid “not just leftwing projects but anything that has any views on social issues at all. Unless it’s pure entertainment with no political consciousness whatsoever, unless it’s The Troll 5, it’s hard to get it made,” Delpy says. “I made a film recently called Meet the Barbarians, it’s about refugees. And it was really hard to find funding for it. And it’s a comedy, it’s really entertaining. Hostage also was not the easiest thing on the planet. Of course they had Netflix, and once you have that all is well, but every project has its hurdle.”

Suranne Jones is also an executive producer on Hostage. “I was born with a clipboard,” she says, “literally, came out of my mum’s womb, ticking things off on my to-do list. I have no interest in directing, no interest in telling other actors what to do or my vision. But finding new talent, putting teams together, the writers’ room process, the imagining of what a show could look like, the aftermath – I love all that.” It made her very unprecious about the edit. “I really felt I needed to put the human into the prime minister, constantly. And, actually, we probably edited a lot of that out.”

Hostage is plainly female-led, in the sense that the leads are women, as are the two directors – Isabelle Sieb and Amy Neil – but that doesn’t feel like a laboured or radical act. You don’t get the sense that these fictional female leaders have brought an emotional range that men couldn’t possibly have, nor that you’re in an idealised near-future where electorates have finally woken up to the fact that women can be in charge. “In the US, they have this very negative view of women in politics, but it’s not like that in Europe,” Delpy says simply.

If anything, Hostage makes a subtler gender point, that the differences within the sexes are greater than any between them. “Suranne and Julie present such a different view of what a powerful female leader is,” Charman says. “Julie’s got this incredible directing career, an amazing track record in French and American cinema. And there are not many people who burn as brightly on screen as Suranne. I thought: ‘what would it look like for them to go toe to toe?’”

A lot of people have called Hostage the new Bodyguard, partly because it’s so satisfying as drama – the way it races, the way it pays off, the way you don’t feel as if you’re being played, even though someone’s always in charge of your emotions and it’s definitely not you. Yet you wouldn’t call it escapist, when so many moments and gestures in it clarify rather than distract from the chaos and impossible choices of the world we’re in. Or, at least, the world we’re in today. Julie Delpy says: “One friend of mine, who survived the second world war, said: ‘Things can always get worse. You think you’re in the worst situation but, unfortunately, there’s always worse than what you think is the worst.’” Against her sardonic pessimism, Charman can sometimes sound almost innocent. “If you can pull the humanity through the thriller all the way to the end, then hopefully you’ve got the journey that you always wanted to go on,” he says, winningly. After all, thrillers need some innocence.

Hostage is on Netflix on 21 August.

Princess Kate and Prince William’s Royal Foundation has gone from strength to strength, with its latest figures revealing a remarkable surge in support.

Originally launched in 2009 as the Foundation of Prince William and Prince Harry, the charity took on its current form after Harry and Meghan stepped down from royal duties and set up their own organisation, Archewell, which publishes its own annual accounts.

In 2023, the Royal Foundation raised an impressive £12.2 million in income, a leap from just under £8 million the previous year. 

The charity operates separately from Prince William’s ambitious environmental initiative, the Earthshot Prize, which also enjoyed a record-breaking year.

Earthshot reported a total income of £23.5 million for 2024, driven by a staggering 68 per cent rise in donations soaring from £12.8 million to £21.4 million. 

The figures cement the couple’s position at the forefront of royal philanthropy, as their projects continue to attract global backing and high-profile partnerships.

The UK Charity Commission has wrapped up its compliance case into Sentebale, issuing a Regulatory Action Plan to address governance weaknesses. 

The investigation highlighted confusion over roles particularly regarding powers delegated to the chair as well as the absence of a robust internal complaints process.

While the Commission found no evidence of systemic bullying, harassment, misogyny, or misconduct by Prince Harry or any other trustees, it acknowledged that several individuals felt mistreated and stressed those concerns should not be dismissed.

According to the Mail, the Sentebale trustees and executive management will decide whether to take further action, though a source close to the charity said their focus remains on delivering aid rather than revisiting disputes.

A confidant of Prince Harry dismissed the prospect of further action as “provocative and pitiful,” describing it as a “rehash of unsubstantiated allegations” the Commission had already found no proof of.

Privately, Harry is said to be “utterly devastated” and views the situation as nothing less than a “hostile takeover of his life’s work.”

Ana de Armas, 37, dazzled in a sheer black dress as she attended the Japanese premiere of From the World of John Wick: Ballerina at Toho Cinema in Roppongi Hills, Tokyo. 

She was joined by director Len Wiseman and Japanese co-star Rila Fukushima at the event, which marked the end of the film’s global press tour.

The stars were gifted custom Judo jackets embroidered with their names and the movie’s release date by Judo Olympic and World Champion Natsumi Tsunoda. 

Following the presentation, a traditional sake cask-breaking ceremony was performed to wish the movie’s success. This unique gesture added a touch of Japanese culture to the event.

Ballerina takes place during the events of John Wick 3 and follows Eve Macarro, played by Ana de Armas, as she begins her training in the assassin traditions of the Ruska Roma. The movie was released in US theaters two months ago and is now available for purchase and streaming on digital platforms.

Ana de Armas wore a stunning Louis Vuitton outfit to the premiere, complementing her sheer black dress perfectly.

Dr. Amanda Gummer, Founder of FUNdamentally Children and of GoodPlayGuide.com recently sat down with Hello! to speak at length about the effect of all the enriching activities the princess seems to enjoy with her mom Meghan.

The conversation comes after Meghan started her own Instagram account sharing small snippets from her daily life with Prince Archie, Prince Harry and Princess Lilibet.

Among them were also snaps of some enrichment activities King Charles’ granddaughter enjoys, seemingly on a daily.

From baking to cutting and other odd jobs around the kitchen, the expert called it ‘enriching’ for a small child.

“Baking is a real treat for children,” she started by saying. “It’s hands-on, creative and usually ends with something tasty to enjoy, so it ticks a lot of boxes.”

Not to mention it scratches all the right itches as “children love the chance to mix, pour, decorate and taste along the way. It gives them a sense of independence and achievement, especially when they see the final result.”

Plus “along the way, they’re learning all sorts of useful things, from basic maths and science to fine motor skills, following instructions and even a bit of patience.”

But above all, “it’s also a lovely way for them to express themselves” because “spending time baking together creates space for connection. It’s relaxed, unhurried and gives lots of opportunities for talking and laughing.”

Furthermore, the child development expert believes Lilibet’s apparent love for baking suggests, “they both enjoy creativity and nurturing others. Baking often appeals to people who like to be thoughtful and hands-on, and who find joy in making something for others to enjoy.”

Discover more Featured Stories like this in The Strad Playing Hub 

On 25 July 2025, the 6th Schoenfeld International String Competition officially concluded in Harbin with a spectacular closing concert and award ceremony. After ten days of intense and exciting competition, 103 candidates from 22 countries displayed their best talent in this musical extravaganza.

Beyond the intense competition, a series of diverse activities were also curated in the Schoenfeld this year, including commissioned Chinese works, jury recital series, masterclasses of jury chairs, and community outreach events. These activities promoted the educational philosophy of the Schoenfeld sisters, Alice and Eleonore, in Harbin and China, to attract enthusiastic attention to classical music from across China and around the world. 

This year’s competition jury was chaired by Augustin Dumay and Arto Noras, and comprised Sergey Antonov, Anne Gastinel, Xenia Jankovic, Natalia Pavlutskaya, Pinfei Tang, Alasdair Tait, James Cuddeford, Roman Kim, Jennifer Koh, Vineta Sareika, Tianwa Yang, Lina Yu, with Wei He and Li Sheng serving as the distinguished artist panel.

At the closing and award ceremony on 25 July, Florian Riem, secretary general of the World Federation of International Music Competitions, gave a speech: ’Tonight, as we celebrate outstanding young artists, we also celebrate the city of Harbin, a city with multiple cultural origins, influences, and a fascinating history.

’Its sheer diversity, plurality, and cultural richness make it a true city of music, and no one else could be a better icon, could be more symbolic for it, than the two sisters Alice and Eleonore Schoenfeld. Born in Yugoslavia to Ukrainian and Polish parents, the sisters grew up in Germany, pursued their careers in America, and developed a strong affinity for China, which has helped launch the careers of numerous young artists.’ 

Winners announced after a fierce competition

The competition was divided into three divisions: violin, cello, and chamber music. Following pre-selection of hundreds of applications from all over the world, 35 violinists, 35 cellists, and 33 chamber musicians were shortlisted and advanced to the on-site competition in Harbin.

In the violin division, Chinese violinist Meng Zou won the gold medal with his brilliant performance of Sibelius’ Violin Concerto in D Minor. Chinese violinist Bo Cui and American violinist Audrey Park won silver and bronze medals respectively.

In the cello division, 15-year-old South Korean cellist Jeri Lee won the gold medal with a Romantic interpretation of Tchaikovsky’s Variations on a Rococo Theme.

After winning the award, she shared the reason for choosing the piece: ’I pay more attention to presenting the singing expression in the music, so I chose this piece that can fully display the timbre of this instrument. This stems from my persistence in personal musical philosophy rather than simply pursuing an advantage in the competition.’

She shared some insights on the competition, saying: ’What stayed with me most about the Schoenfeld Competition was how deeply it trusted its participants—not just as musicians, but as people. That sense of trust shaped everything: the atmosphere, the performances, and how we were heard.

’Winning first prize was a great honour, but what has stayed with me even more was the feeling that my music had truly reached someone—both the jury and the audience. This experience reaffirms my belief that I am on the right path as an artist.’

’This experience reaffirms my belief that I am on the right path as an artist’ – Jeri Lee

The jury chair of the violin division, Augustine Dumay, who also judged the finals of the cello division, commented on Jeri’s performance as ’not bound by technical constraints, allowing rich imagination to run naturally and freely.’

The New Zealand cellist Matthias Balzat and the Russian cellist Bogdan Efremov won the silver and bronze medals respectively in the cello division.

In the chamber music division, Trio Archai won the gold medal and the award for the ’Best Performance of Beethoven’s Work.’ Berlinsky Quartet won the silver medal, and Mila Quartet from Tianjin Juilliard School won the bronze medal. The Trio Havisham and the Trio Azura ranked fourth and fifth, respectively.

The members of the Trio Archai said, ’Winning the Schoenfeld Competition is of great significance to us and gives us confidence; it allows us to continue our career as a chamber music ensemble.

’We regard this honour as an opportunity to reach new audiences in China and other regions, and we are also very much looking forward to returning to China again to share our love for chamber music with more people.’ 

Jury of the competition, and artistic role models for the young musicians

During the competition, the jury also shone brightly on the musical stages in Harbin. On 19 July, judge Vineta Sareika performed violin works by Brahms and Clara Schumann in the Chamber Music Hall of Harbin Concert Hall. Xenia Jankovic interpreted the classic cello masterpieces of Schumann, Debussy, and Stravinsky. Roman Kim performed violin works by Tartini, Chausson, and Paganini with a dazzling tone, as well as two romances he composed himself.

The jury performances drew a large audience, including many competition candidates. The artistry of the competition jury panel and the profound artistic attainments were reflected in the music they performed, and on 24 July, chairs of the jury, Arto Noras and Augustin Dumay, respectively, gave masterclasses on cello and violin at the Harbin Old Synagogue Hall.

Noras sincerely shared his feelings as a jury leader: ’I would like to sincerely thank the organisers, relevant parties, and everyone who has made efforts to make this competition happen.” It is precisely because of everyone’s selfless dedication and unremitting persistence that this top-notch music event was successfully held on this beautiful land of Harbin, allowing talented artists to showcase their talents, satisfying the people who love culture and music, and also enabling beautiful music to be spread more widely.’

He also hopes that the candidates can carry the spirit and enthusiasm they demonstrated in the competition to the world during his sharing in the closing ceremony:

’I would like to congratulate you [the candidates and winners] on your great success. You are all winners. I hope, and as a pedagogue, I know that the huge number of hours you have spent in preparing the demanding programme of the competition has helped you to reach a higher level as a musician.

’I wish you all the best for your future and I hope that you continue you’re playing with the same musical dedication and flame you have shown for us during this competition.’

When Augustin Dumay talked about the overall performance of the candidates, he believed that the competition will have a positive impact on their careers. He has very high expectations for their future development: ’I have always believed that no matter what competition the candidates win or what they do next, as musicians, they should find their own characteristics.’ 

It is necessary for candidates to clearly understand what personal characteristics are presented to the audience on the stage and what features of the musical works are to be performed. In his view, the classical music industry always looks forward to voices with unique personalities and profound insights.

The Chinese jury also demonstrated the Chinese leading force of string playing. On 24 July, Tianwa Yang, a Chinese jury member who has been based in Germany, held a solo concert at the Harbin Old Synagogue Hall, after the jury chair’s masterclasses.

She performed the pieces of Ysaÿe, Bach and Widmann with her peak techniques and control; when interpreting works by Bach, she used baroque bows to restore the charm of ancient musical voice; and in the second half of the concert she presented the audience with the avant-garde expression of the violin through Widmann’s music by singing and harmonising her voice with the sound of the violin. As a benchmark musician of China who has shone brightly on the international stage, her appearance undoubtedly highlights the dazzling charm of Chinese classical music talents.

The Schoenfeld International String Competition is the first and only string competition member in the World Federation of International Music Competitions (WFIMC) that sets up a chamber music division. It inherits the artistic concept of the Schoenfeld sisters, who advocated for chamber music.

Distinguished artistic panel Li Sheng, who was invited to judge the chamber music division, believes that this competition has made significant contributions to promoting the development of Chinese string education. Another jury member, Lina Yu said with satisfaction, ’I am deeply proud to see that young Chinese musicians have formed an overall strength to win the world’s most important music competition.’

Distinguished artistic panel member Wei He believes that this competition provides a platform for young chamber music talents around the world to showcase their talents and exchange and learn from each other.

This competition not only brought classic interpretations of Western classical music but also enabled the original works of Chinese composers to be heard more widely on the international stage. The new Chinese works commissioned by the competition – Chengqian Xue’s violin piece The Song of Yimeng and Bin Zhu’s cello piece Ningjibula – were performed as compulsory pieces for the competition and were exquisitely presented by the world’s top young string artists.

Among them, the Best Chinese Work Performance Award for violin was won by the silver medalist and Chinese violinist Bo Cui, and the Best Chinese Work Performance Award for cello went to Chinese semi-finalist cellist Runing Li. The passionate performances of the two at the closing ceremony, which was accompanied by the Harbin Symphony Orchestra, brought the characteristic heritage of Chinese music and its diversity on this international platform.

Roman Kim was amazed by the performance of the Chinese violinist, who ’had a profound and powerful quality, demonstrated a resonance with the philosophical thoughts of both the East and the West.’ Jury member of the cello division Anne Gastinel was deeply impressed by Runing Li’s interpretation of Ningjibula, believing that her performance contained an emotional depth beyond her age and a profound understanding of the work, which made her feel the extraordinary nature of Chinese music culture.

The Harbin Symphony Orchestra, conducted by Jindong Cai, accompanied the finalists of the violin and cello divisions and the closing ceremony. Cai highly recognised the value and level of this competition: ’Chinese classical music has demonstrated unique vitality on the basis of integrating Western traditions and Chinese culture and has been continuously growing through international exchanges. Harbin’s Schoenfeld International String Competition is a perfect example.’ 

The Schoenfeld’s International String Competition’s inspirations to connect different parts of the world

The Schoenfeld International String Competition acts like a bridge connecting Eastern and Western cultures, and it is even more closely linked to the past and future of Harbin. The development of the Schoenfeld attests to the transformation of the nation and encourages its stronger connection with the global musical landscape.

Suli Xue, president and artistic director of the Schoenfeld International String Competition, looks forward with great anticipation: ’We aim to turn the competition into a high-quality platform for dialogue between Eastern and Western musical civilisations and continuously promote Chinese works to the world.’

’In the future, this competition should not only be ”Harbin’s Schoenfeld,” but also “the Schoenfeld’s Harbin,” and allow more music lovers, young talents, and world-class musicians from all over the world to know and experience Harbin through the event. They can get to know, understand, and fall in love with this city, and use the composition as an engine to promote the culture and musical mission of the city.’

Harbin Modern Culture and Tourism Investment Group Co., Ltd. was the sponsor partner of the 6th Schoenfeld International String Competition. After each round of the competition, there were feedback sessions for the jury to exchange their views with the candidates and give them encouragement and development suggestions. The candidates also tasted the Harbin Modern ice cream (also known as Madieer ice cream, which is a popular and iconic treat in Harbin, China). In this edition, the Schoenfeld successfully combined with Harbin’s culture, art, and tourism. The Harbin Municipal Bureau of Culture, Radio, Film, and Tourism presented every candidate with characteristic souvenirs, giving them a unique memento from Harbin.

As a city with a century-old musical tradition, Harbin has witnessed the early integration of Western music and Chinese culture. The sound of the Russian bayan on Central Street and the reverberation of music in the Old Synagogue Hall have long planted the genes for the ’City of Music.’

The continuation of the Schoenfeld International String Competition not only carries forward this cultural heritage but also injects new vitality into the city with international and cutting-edge artistic perspectives. Young musical talents draw nourishment for growth here, and the understanding of classical music among the citizens grows as well through the diversified and high-level performance activities of the competition, making the ’City of Music’ brand shine even brighter in the new era.

All images courtesy Schoenfeld International String Competition.

The highly anticipated global Oasis Live ’25 reunion tour arrives in Dublin for two performances at Croke Park on August 16th and 17th. The tour marks the duo’s first live appearance since they spilt in 2009.

The band, originally comprised of brothers Noel and Liam Gallagher, Paul “Bonehead” Arthurs, Paul “Guigsy” McGuigan and Tony McCarroll, formed in their native Manchester in 1991. Their debut album Definitely Maybe released in 1994 propelled them to pop stardom, the group quickly becoming one of the defining bands of the Britpop era. Between 1991 and 2009 they released seven albums and had eight number one singles and 23 top 10s.

However, the brothers’ relationship was always fraught and tumultuous – they would often be seen arguing on or off stage and private screaming matches between the two were regularly reported in the press. Both brothers made numerous threats to leave the band before eventually splitting in 2009 during their Dig Out Your Soul Tour.

After the group disbanded Noel and Liam each formed their own bands, regularly slinging insults back and forth in the press, with Liam suing Noel over comments made about the cancellation of a 2009 V Festival performance.

In 2019 Liam Gallagher said he would like to reunite with Noel but accused him of wanting to be a solo artist in order to, “get all the coin and be surrounded by yes men you can fire and hire whenever he wants”.

Last summer speculation began mounting that the duo were set to reunite for a 30th anniversary tour. When the announcement came of their reunion tour, on August 27th last year, tickets for all UK and Ireland dates sold out in less than a day.

When and where will they play?

The band will play two concerts at Croke Park in Dublin on Saturday, August 16th, and Sunday, August 17th.

Are tickets still available?

While the tour did immediately sell out, the odd very pricey resale ticket has been popping up on Ticketmaster. The resale website Twickets is Oasis’s official resale partner.

To avoid looking back in anger, buy tickets from accredited sources only.

How does my ticket work?

The organisers have advised concertgoers to download their tickets from the Ticketmaster website or app on to their phones in advance of the event. Screenshots will not work as the barcodes on the tickets are live and updated regularly.

Where should I go if I have a problem with my ticket?

The Ticketmaster box office will be located at Mountjoy Square East, marked on the map below with a blue ‘t’.

Who are the support acts?

Get ready for an evening of complete Britpop nostalgia as English singer-songwriter Richard Ashcroft, former frontman of ’90s alternative rock band The Verve, and Liverpool indie rock band Cast, provide support.

What time should I arrive?

Doors open at 5pm, with the support acts expected to begin at 6pm. Oasis have typically been starting their two-hour set around 8.15pm. The concert is expected to end around 10.30pm. As the venue is expected to be very busy, concertgoers should aim to be at Croke Park 45 minutes before the show starts.

Merch will be available at the gigs, and at the official Oasis pop-up shop at St Stephen’s Green Shopping Centre.

How do I get there and home again?

Fans should allow for sufficient travel time to and from the venue. As traffic and parking delays are inevitable, you are encouraged to walk, cycle, use public transport and private coach services.

By train: The nearest railway stations are Drumcondra and Clonliffe Road which are both about a five-minute walk from Croke Park. The closest Dart stations are Connolly, which is a 15-20 minute walk, and Clontarf, which is a 20-25 minute walk.

By Luas: The closest Luas stop on the Red Line is Parnell and, on the Green Line, Marlborough (from northside) and O’Connell Upper (from southside) – both a 15-minute walk.

By bus: Dublin Bus routes 1, 7, 13, 14, 16, 19, 27a, 29a, 31a, 31b, 32, 33, 40, 40b, 40d, 41, 41b, 41c, 42, 43, 44, 53, 123 and 122 serve Croke Park. Expressway is working with the concert’s promoters and offering return coach services both days from Cork, Limerick and Galway to Croke Park. Other commercial coach operators, like Concert Buses, Irish Concert Travel, Concert Bus, Concert Express, Murray and Son Coaches, will also serve Croke Park

By car: There is no public parking at Croke Park and traffic cordons will be in place at least two hours before the event. The organisers advise against parking in local residential areas. If you must drive you are advised to use a car park in the city centre, like Claremont Parking or Q-Park, and then get public transport to the venue.

By bike: The nearest Dublin bike locations are on the North Circular Road and at Mountjoy Square. There are cycle locking facilities around the stadium, including the Cusack Stand car park and two-tier bike storage in the Davin Stand car park.

Irish Rail has added a late-night service for the concert on Sunday, August 17th, from Heuston to Galway, leaving Heuston at 00:30.

What’s the deal with all the different venue entrances?

Your ticket will tell you which entrance to use. If you go to the wrong entrance you will be denied entry. There are four entrances:

Blue route: Enter via Jones Road/Russell Street (for Hogan Stand Seating/Premium Seating).

Red route: Enter via St James Avenue off Cloniffe Road (for Cusack Stand Seating/Premium Seating).

Yellow route: Enter via St Margaret’s Avenue (for Davin Stand Seating).

Green Route: Enter via Foster Terrace (for Standing).

What will they play?

Oasis are likely to play all their greatest hits. Here is their set list from August 3rd when they performed at Wembley Stadium in London:

1. Hello
2. Acquiesce
3. Morning Glory
4. Some Might Say
5. Bring It On Down
6. Cigarettes & Alcohol
7. Fade Away
8. Supersonic
9. Roll With It
10. Talk Tonight
11. Half the World Away
12. Little by Little
13. D’You Know What I Mean?
14. Stand by Me
15. Cast No Shadow
16. Slide Away
17. Whatever
18. Live Forever
19. Rock ‘n’ Roll Star
20. The Masterplan
21. Don’t Look Back in Anger
22. Wonderwall
23. Champagne Supernova

What’s the story with security?

Strict security checks will be in operation; everyone will be subject to a search.

Due to health and safety regulations, there are no camping/collapsible chairs permitted on site.

Concertgoers are advised not to bring large bags/backpacks as they may experience delays or be refused entry. There will be no storage facilities on site.

Bags larger than A4, signs/flags bigger than A3, flag poles, glass or cans, umbrellas, alcohol, selfie sticks, flares, professional cameras and audio recording equipment will not be permitted; see the full list of prohibited items on MCD’s website.

Soft, collapsible water skins permitted in seated blocks. No hard plastic, metal or glass reusables permitted. There will be free water points for pitch customers.

What about disabled access?

If you have a general admission ticket and would benefit from accessible accommodation you can request it here. Please note that all forms close five days in advance of the event date.

Accessible ticketholders don’t need to contact the concert organisers as they will be contacted directly regarding accessible parking options. All accessible parking must be arranged in advance.

Anything else I should know?

There will no be readmission to the concert if you leave.

All under-16s must be accompanied by an adult over 25 at all times. Unaccompanied 16s will be refused entry without a refund. This concert is not recommended for those under five years of age.

What’s the weather forecast?

Met Éireann has said that high pressure will be dominating the weather in Dublin the week of the concert. This will bring predominantly settled conditions with much drier than average conditions. Mean air temperatures will be above normal for the time of year.

The chief executive of the Royal Albert Hall has apologised to an 81-year-old concertgoer who was stopped from entering the auditorium because he had a Palestine flag pin in the lapel of his blazer.

Roger Cauthery and his wife, Angele, from north London, were attending a BBC Proms concert at the venue in Kensington last Friday featuring the pianist Yunchan Lim performing Rachmaninov.

After the couple showed their tickets and had their bags searched in the foyer, two contractor staff spotted the lapel pin and said he would not be allowed into the concert because he was wearing it. One of them asked a colleague stationed at one of the entry doors to the auditorium not to let Cauthery in.

The couple were left standing in the foyer for 15 minutes before a supervisor arrived, overruled the earlier decision and said the couple could attend the concert after all.

“We felt extremely upset, not to say humiliated, by their behaviour towards us. I’m a middle-class ex-public school boy brought up to believe that Brits are decent and law abiding and that one can live one’s life freely,” Cauthery said.

“I was merely showing solidarity with the Palestinian people and expressing my support for what I believe, and the UN believes, is a legitimate state. My wife and I feel strongly that Palestine should be recognised as a state and indeed it seems that our government is finally about to do so.

“I have lived in London all my adult life and am very proud of the diversity of my city. It is tragic that this small pin badge should be seen as a threat to the Royal Albert Hall which surely should be one of the symbols of our democracy. The result of this incident was that we were too distressed to enjoy the concert and left at the interval.”

After being contacted by the Guardian, James Ainscough, the chief executive of the Royal Albert Hall, issued an apology to the couple.

He said: “I have written to apologise to Mr and Mrs Cauthery, who were initially halted at the door on Friday by one of our contractors. This isn’t in line with our policy and was a mistake. The duty manager who stepped in to resolve the situation was correct to authorise their subsequent entrance.

“As well as writing to apologise for an experience that was understandably upsetting and humiliating, we have offered a full refund and an invitation to return to the hall as our guests, so we can give the couple the warm welcome that was sadly lacking on Friday.

“We have also spoken to our contractor to ensure that a similar situation doesn’t arise again.”

Cauthery said he would donate the refunded ticket fee to the charity Medical Aid for Palestinians, which Ainscough said was “laudable”.

In a letter of apology to the couple, Ainscough said: “Music has an enduring power to bring people together, and we want the Hall to offer a warm welcome to all who come to enjoy our concerts. It is very sad to think that your experience with us on Friday was the very opposite of that. I do hope you will consider returning to the hall in the near future so we have an opportunity to give you the warm welcome you should expect.”

Cauthery said: “I’m very grateful to RAH for responding in this way. Of course we will continue to go and enjoy concerts there.”