Category: 5. Entertainment

Below, everything else you need to know about this year’s ceremony:

Alexander Payne will chair the jury

American director Alexander Payne (Sideways, The Descendants, The Holdover) will take on the role of jury president at the 2025 Venice Film Festival, succeeding Isabelle Huppert. His appointment has proven controversial, however, given the filmmaker has faced allegations of sexual assault from actress Rose McGowan.

Kim Novak and Werner Herzog will receive honorary Golden Lions

Kim Novak made her final film appearance in 1991, in Mike Figgis’s Liebestraum, before retiring from Hollywood. This summer, however, Alfred Hitchcock’s iconic muse—best known for her role as Madeleine Elster in Vertigo—will return to the spotlight to receive a Golden Lion for Lifetime Achievement at the 2025 Venice Film Festival.

According to artistic director Alberto Barbera, who shared the news on June 10, the decision to honor the actress was an obvious one, as she is “one of the most beloved icons of an entire era of Hollywood films, from her auspicious debut during the mid-1950s until her premature and voluntary exile from the gilded cage of Los Angeles a short while later.”

Earlier this year, it was announced that Werner Herzog would also receive the same honor. With more than 70 films to his name—spanning fiction and documentary works created across the globe—the German filmmaker has left an indelible mark on the history of cinema. According to Alberto Barbera, Herzog has done so by “testing our ability to see, challenging us to grasp what lies beyond the surface of reality, and pushing the limits of cinematic representation in a relentless quest for a higher, ecstatic truth and new sensory experiences.”

When will the full lineup be released?

The full slate of films headed to the 2025 Venice Film Fesitval is expected to be unveiled at the end of July.

From Lana Del Rey to Beyoncé and Kendrick Lamar, the UK has already hosted a series of gigantic outdoor gigs this year. Having already played six Wembley Stadium shows on their Music of the Spheres tour in 2022, Coldplay are bringing it back for 10 more later this summer, plus two more in Hull. And now, here come Oasis, playing a total of 17 stadium concerts in Cardiff, Manchester, London and Edinburgh.

These are the kind of figures that get the music industry very excited. Last year, according to UK Music, 23.5m concertgoers spent a total of £10bn in the UK, supporting 72,000 jobs. “Artists are delivering spectacular performances, and there’s nothing like the feeling of being at a live show,” says Denis Desmond, UK and Ireland chair of the massive promoter Live Nation. “We’re seeing a real and sustained boom in outdoor shows, festivals and stadium concerts”.

Certainly, it looks that way. The Guardian has calculated that in London alone this summer, there are at least 100 single-day outdoor shows with a capacity of 15,000 or more, ranging from events in local parks to stadium shows. Festivals and arena shows have always been popular in the UK, but there have never been so many big outdoor gigs.

Industry insiders put the shift down to customer demand. That’s undoubtedly part of it – there are many people who enjoy standing in the sun with thousands of others listening to a selection of acts, but have no desire for it to involve camping in the middle of nowhere. One senior figure in the live industry says the changing nature of the music industry has driven the shift, too – social media and streaming mean many artists are popular enough to play to bigger audiences earlier in their careers, and outdoor shows provide the perfect opportunity.

It’s not just consumer-led, though. Local councils have been actively courting promoters to put on shows in parks, to raise money for local services; stadium operators have been trying to attract more shows (the Rugby Football Union wants to put on more shows each year at Twickenham, up from the three it is currently allowed, to nine next year, 12 in 2027 and 15 in 2028).

Either way, this current glut of shows is so immense that there are those wondering if it can be sustained. All summer, there have been stories of cheap last-minute tickets available on secondary ticketing sites, and Facebook-disseminated offers to shift unsold seats. And while the demand for Oasis tickets might have been enormous, not everyone can be Oasis. At the time of writing, there are seated tickets available in all areas for Catfish and the Bottlemen’s show at Tottenham Hotspur Stadium at the start of August (and plenty for their Cardiff Principality Stadium concert, too). Nor will you have any trouble getting into Post Malone’s two shows at Tottenham. Even at shows billed as sold out, venues don’t appear full – there were many pockets of empty seats when Dua Lipa played the first of two shows at Wembley Stadium.

That’s not necessarily bad news for the artists, who are paid a guaranteed fee, but it is very bad news for promoters, because shows at this scale tend only to break even when 90% of tickets have been sold. And that is where some industry figures sound a note of caution. “I think we’re all surprised at the amount of large-scale events London can sustain,” one says. “Will it continue at this same growth and to the same scale? Only time will tell.” Another says brusquely: “There are certainly a lot this year, and they’re not all doing well.”

Artists, too, are uncertain: the Guardian knows of acts who turned down slots high on stadium show bills this summer, because they were concerned about the reputational damage of playing to a crowd sparse enough to be mocked on social media.

It’s perhaps a measure of industry uncertainty that so few people within live music were willing to talk on the record about this year’s boom, and certainly not to confront the issue of whether sellouts or sparsely attended washouts are likely to shape next summer’s bookings. Desmond, though, remains optimistic. To him, these shows are a chance to build memories: “We’re seeing generations come together – fans who saw the Beatles or the Rolling Stones in the 60s are now attending shows with their children and grandchildren. A connection that only live music can create.”

Nevertheless, whether those younger generations will need the older ones to pay for the incredible cost of a ticket, and whether the live music sector can continue to operate at the scale that it is, remain points of debate in the industry.

Long summer days call for, you guessed it, summer shorts. While classic denim cut-offs have long been a seasonal staple, we’ve been noticing more innovation in the category as of late. On the runways at Chloé, for example, models sauntered out in bloomers and frilly crochet, while at Paco Rabanne, striped boxer-like styles mingled with boyish separates.

The key here is a departure from youthful pairs, with thoughtful styling that reflects a more considered mood. At times preppy, at times boho, other times polished—shorts this season have a truly elevated appeal. Here are eight fresh ways we’ll be wearing them all summer, and perhaps, you now, too.

Vogue’s Favorite Summer Shorts

Featured in this article

The Romantic Eyelet

Dôen Arbre broderie anglaise cotton shorts

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The Sweet Stripe

The Frankie Shop Lui striped cotton-poplin shorts

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The Lightweight Linen

Suzie Kondi Hera Bloomers linen-chambray shorts

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The Mini Denim Short

A peach mini short form Chloé takes on a Birkin-like attitude with a knit henley, basket bag, and gladiators.

The Pleated Bermuda Short

Lean into the elegant appeal of pleated Bermuda shorts by pairing them with a classic belt and button up.

The Jort

Knee-length denim shorts and a linen halter make for a high-low ensemble that works day or night.

The Lace Trim

Double down on the eyelet trend with trimmed shorts and a breezy tank. Bonus points for adding Miu Miu’s lace bandana.

The Sporty Short

Part sporty, part preppy–pair a pink and white polo with Adidas’s pinstripe satin shorts. Suede loafers and a paracord bracelet add balance to keep things interesting and fashion-forward.

The Knit Short

Stripes are undoubtedly the print of the summer, and we love them here in the form of a cute knit set with flip-flops and a woven basket bag.

The Linen Bloomers

Emphasize the girlish innocence of bloomer shorts by adding a ruffled blouse and raffia Mary Janes.

The Silk Short

Aflalo’s long-line printed shorts join with a tube top and kitten heels for a cute girl’s night out ensemble.

Shop More Shorts:

While accepting the President’s Award during the opening night of the 59th edition of the Karlovy Vary Film Festival on Friday, actor Peter Sarsgaard spoke out on the current political division in the U.S., stating: “As my country retreats from its global responsibilities and tries to go it alone, it is also being divided into factions from within, factions of politics, gender, sexuality, race, Jews split over the war. But when there’s a common enemy, there is no going it alone. Enemies are the forces that divide us, that individuate us. We all know who they are.”

Asked by Variety why he decided to go political with his acceptance speech, the Golden Globe nominee says, “To me, it is not political at all to say we’re being divided into smaller and smaller groups.”

“This is the way authoritarianism works, right?” adds the actor. “They’re making you feel bigger and that person feels smaller. You are worried about your job, your status, being deported, all that sort of stuff, so if you’re safe, you are holding onto the life raft. Maybe you’re a little sad about the other person who’s drowning, but you hold on.”

Closing his acceptance speech, the American actor quoted Czech statesman and playwright Vaclav Havel, saying that “one half of a room cannot remain forever warm while the other half is cold.” Commenting on why he chose the quote, Sarsgaard says, once again, that he feels it is not a “political” sentiment. “That’s just humanitarian.”

“I don’t know that you could tell who I voted for,” he continues, bringing up the 2024 U.S. presidential election. “I mean, you could probably tell I didn’t vote for Trump, right? But I wouldn’t say that Biden was my person either. I consider myself a humanitarian. Politics are not that interesting to me.”

The actor adds that what “impressed” him about the Czech statesman growing up was “a willingness to sacrifice yourself personally for a greater good,” something he doesn’t believe the left “or even the anti-Trump group” in the U.S. possesses. “The left in my country that has been vocal is typically wealthy and satisfied. The hippies got rich and we’re just happy chilling out and not doing much. They don’t want to lose their stuff, they don’t want to go to jail. Havel chose jail over exile. No one that I know would do that.”

“While a lot of people in my country were struggling, the left was cruising by, drinking their cappuccinos,” he goes on. “It’s time to suffer, you know? My daughters are going to be willing to do that, even though they grew up in a nice, cushy environment. Their futures are on the line and they know that.”

While the actor doesn’t feel hopeful about his generation, he nurtures hope for the younger ones. “The middle and left are talking about leaving the country and handing over everything for [their] personal comfort. The United States has a huge responsibility. We have nuclear weapons, a massive economy that controls so much of the world… It’s worth fighting for. Where are you going to run to? The planet’s not that big. I don’t know what it means to fight, but I do know it means to put down your cappuccino,” he concludes, taking a sip of his coffee.

Sarsgaard, who was raised Catholic, also spoke about the religious sentiment of “love your enemy,” particularly during troubled times sociopolitically. “I was extremely Catholic, I was an altar boy and Jesuits were my heroes in high school. I didn’t have pedophile Jesuits around me. For me, Catholicism was a great experience. Love your enemy is a complicated term; it doesn’t mean everything they’re doing is ok, it’s more like being interested in them, don’t discount them. And that’s what an actor does. I don’t just play ideal people.” 

Elsewhere in the conversation, the actor reminisced on coming up in the scene in the 90s and working on films like “Boys Don’t Cry” alongside Chloë Sevigny and Hillary Swank. 

“There was no movie star in that movie,” he emphasizes. “It used to be like that, where you could go to watch a movie and you might not recognize every actor in it. Now I don’t know how a young actor comes up and gets into anything interesting in the States. The government doesn’t give any money to the movies, and even less now to the arts. I’ve been doing a lot of movies that are not shooting in the States, not because I don’t want to, but because it certainly has dried up.”

On working with his wife, filmmaker and actor Maggie Gyllenhaal, Sarsgaard says he is “probably tougher” on her than any director he’s worked with. The actor starred in Gyllenhaal’s directorial debut “The Lost Daughter” and her upcoming sophomore effort, “The Bride.” “She says I’m very tough with her, but that’s just because I can, I guess [laughs]. But I respect her and would do anything for my wife, not just because she’s my wife but because she’s so talented. I really believe in her talent.”

One of the best South Korean thrillers, Squid Game, finally wrapped up after three seasons on Netflix. It was first released in 2021, with director Hwang Dong-hyuk having no idea it would go on to become a global sensation.

So, the creator decided to continue the story of survival in a world consumed by greed beyond Season 1. Even though completing the series brought him peace, the weight of global expectations made the process challenging. Even with its massive success, the ending of Squid Game Season 3 has left fans split, with some praising its bold choices and others feeling let down.

One of the most debated aspects is the final twist: every single character who enters the game dies, and the only one left alive is a newborn baby. Interestingly, this wasn’t the original plan. Hwang said in an interview with The Korea Times:

“I initially vaguely considered a storyline where Gi-hun would survive with a few other contestants and eventually go to meet his daughter in the U.S.”

He continued:

“But I reconsidered what story I really wanted to tell with this project and felt that Gi-hun’s journey should end here.”

Hwang Dong-hyuk also mentioned that while the show brought him incredible fame and success, but also brought exhaustion and pressure. He even lost some teeth while making Squid Game, but didn’t give up.

Keep reading to explore more about the finale and Hwang Dong-hyuk’s insights.

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Squid Game creator thought of Gi-hun’s survival, but changed his mind

Since Squid Game Season 3 came out on Netflix, fans couldn’t stop discussing the shocking finale no one saw coming. While deaths were expected, many didn’t think of the main character, Gi-hun’s death.

As seen in the finale episode, the players participate in the Sky Squid Game, where they’re placed in huge towers, resembling the three iconic shapes of the survival thriller. The players were tasked with killing others to enter the final round, and Gi-hun, despite carrying the baby, managed to reach the last tower.

However, since only one player was meant to survive, Gi-hun chose to sacrifice himself, saying that they’re all human and that some people still choose humanity over greed. This was a heartwrenching part of Squid Game that Hwang Dong-hyuk created to reflect the harsh realities of the world today.

As mentioned earlier, this wasn’t the ending he originally had in mind. The creator first thought of Gi-hun’s survival and reunion with his daughter in America. But he eventually realized that worsening inequality, continuing wars, and the sense that society is failing to solve its biggest problems were more in line with the message he wanted to leave behind.

He said:

“Because ultimately, this project is about the world we live in. Economic inequality has worsened since I made Season 1, the lives of ordinary people have become more difficult, and wars show no signs of ending.”

Hwang sensed a much darker future coming, and that inspired him to create an ending that fits that emotional tone. He shared that many young people today feel hopeless about the future, and he sees the baby as “our future”. By placing the child in the game, he wanted to show that protecting the next generation, our conscience, and the future requires real struggle and sacrifice.

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Also Read: Leonardo DiCaprio is the Squid Game showrunner’s choice to play the lead in the US rendition— Here’s what he said

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