arts

“Curly” Williams returned to his old high school campus last week for the first time in 76 years, but did so under his given name — the same name emblazoned on North Hollywood High’s newest attraction: the John Williams Performing Arts Center.

Williams, 94, attended the ribbon-cutting ceremony last Wednesday, which commenced with the composer’s rousing “Raiders March” played by the school’s marching band and accompanied by its blue-clad cheerleaders.

“I think you played that better than we could have,” Williams said, speaking from a wheelchair under the sign of his namesake venue in front of other accomplished alumni and friends, including producer Kathleen Kennedy. “That’s a hard piece.”

The ambitious construction project, initiated in 2015 and designed by CO Architects occupies 35,000 square feet and seats 800. Michael Stebbins, project manager for the BroadStage in Santa Monica, served as project manager. The center is equipped with state-of-the-art amenities to host student performances and school assemblies, but also to train the next generation of theater technicians. Besides an enormous stage, blue velvet curtains, a mixing console and safe catwalks, the building also features new classrooms and rehearsal spaces.

Students, faculty and guests stand for the national anthem before a concert inside the new John Williams Performing Arts Center, named for one of North Hollywood High’s most famous alumni.

(Genaro Molina / Los Angeles Times)

A 75-foot hand-painted mural in the lobby, still in the works by artist Ian Robertson-Salt, is inspired by Williams’ formidable filmography, which serves “as a daily reminder to every student who walks these halls that greatness can begin right here,” remarked Andrés Chait, acting superintendent of Los Angeles Unified School District.

Due to health complications, Williams has made few public appearances in the last two years. He last conducted a concert in February 2024 — and he has also consistently turned down requests to name buildings after him, including at his beloved Tanglewood in Massachusetts, although the Hollywood Bowl did recently name its stage for Williams. It’s a testament to his affection for his time at North Hollywood High, and his regard for the next generation of students, that he not only blessed this dedication but showed up and spoke to a gathered crowd of hundreds.

“I’m sort of silly happy to be here,” he said, calling the dedication “a singular honor in my life.”

Other showbiz alumni on hand included “Beauty and the Beast” producer Don Hahn (class of ’73), “Independence Day” writer-producer Dean Devlin (’80), and Rob Friedman (’81), CEO of Ascendant Entertainment. Partly due to its proximity to the entertainment industry, North Hollywood High has produced a host of famous artists over the decades, including the late Michael Tilson Thomas, who attended in the early 1960s.

John Williams smiles while applauding a performance by the North Hollywood High School band at the dedication ceremony of the John Williams Performing Arts Center on campus.

(Genaro Molina / Los Angeles Times)

“At some point you have to stop calling that a coincidence,” said Kennedy, a longtime collaborator of Williams who gave brief remarks before handing him the microphone. “Something happened here, and something can happen again.”

Williams moved to North Hollywood with his family in 1947, having grown up in Queens. He transferred to North Hollywood High as a 15-year-old sophomore, and joined the band and orchestra as a jazz-loving trombonist. His classmates included Susan Sontag (“I remember her teaching a class in civics, when the teacher would sit down and listen to her,” he told me in 2023) and many future actors, including Barbara Ruick, who played Carrie Pipperidge in “Carousel.” But his best friends were all music-inclined guys whose dads, like his, were famous musicians.

A poster board featured yearbook photos of John Williams, left, performing with the North Hollywood High School Band, class of 1950, in the lobby of the new John Williams Performing Arts Center on the North Hollywood High School campus.

(Genaro Molina / Los Angeles Times)

Williams embraced the nickname “Curly,” given to him by a fellow student in response to his curly red hair, and quickly created his own jazz band with classmates. Ruick sang with them at school events and dances, and they became the house band at a new teens-only venue in Van Nuys called the Dri-Nite Club. Broadcast on local radio, they caught the attention of Time magazine, which ran a story on “Curly’s” band in October 1949.

A newspaper story about John Williams’ high school band from the Los Angeles Unified School District’s archives.

(Los Angeles Unified School District)

Williams has said he fondly remembers his civics and French classes at North Hollywood High, but his time and passion were almost exclusively devoted to music. He rigorously practiced the piano at home, studying with a local concert pianist and MGM arranger named Robert Van Eps; on Wednesday nights he played in jam sessions with his father (Johnny Sr., a drummer) and the Columbia Pictures orchestra. He bopped around clubs in L.A. listening to jazz greats like Oscar Peterson (whose style influenced Williams’ recent piano concerto), and started making a name of his own as a wunderkind performer and arranger.

Long before he scored “Star Wars” or “Harry Potter,” Williams did his earliest arranging and orchestrating for theater productions at North Hollywood High. The impact of his time at North Hollywood High cannot be overstated.

John Williams featured with members of the class of 1950 in the North Hollywood High School Yearbook.

(Los Angeles Unified School District)

During his remarks about the performing arts center on Wednesday, Williams said he felt particularly overwhelmed because the school was “formative in my thinking and my professional work … This is a great, magical place, North Hollywood.”

Williams eventually married Ruick, his high school sweetheart and mother of his three children. Ruick was instrumental in making many of Williams’ earliest career connections. She died from a brain aneurysm in 1974, at the age of 41, just one year before Williams’ career catapulted with “Jaws.” The couple’s youngest son, Joseph, lead singer of Toto, stood proudly behind Williams during the theater’s dedication.

The John Williams Performing Arts Center (JWPAC) is the crescendo of a $319.5 million modernization project at North Hollywood High, which also includes modern classrooms and athletic facilities. It’s a reflection of the diverse public school’s commitment to the arts; students here can play in the orchestra, marching band or modern band, and study drama or modern dance.

“As I think about what else I might say to all of you younger people, students here,” Williams said at his homecoming Wednesday, “two words about this beautiful building: simply use it. Make sure you all use the place.”

Tim Greiving is the author of “John Williams: A Composer’s Life.”

Seoul – Shekinah Yawra had no other option but to spend the night at a South Korean jjimjilbang, a 24-hour bathhouse, after every hotel near central Seoul sold out in late March.

But sleep was secondary for the 32-year-old Filipino who had made her way to Seoul’s Gwanghwamun Square at 7am to secure a spot in a crowd that city officials estimated would grow to hundreds of thousands.

All this was for a glimpse at the seven-member K-pop supergroup BTS, who returned to the stage on March 21 after almost four years away from the limelight for their staggered, mandatory military service.

Though she failed to secure one of 22,000 free tickets for BTS’s first return concert in the square, Yawra was still ecstatic to stand on the sidelines and watch the concert live on a big screen set up for the occasion.

“We all came just for this,” she told Al Jazeera, recounting how friends had flown in from the Philippines for a single night to catch the concert.

Worldwide, more than 18.4 million viewers tuned in for the Netflix livestream of the concert.

With an estimated 30 million fans worldwide – who refer to themselves as the BTS ARMY – the K-pop group is the most visible symbol of “Hallyu”, or the “Korean Wave”, and the global surge of interest in South Korean popular culture and the financial revenues being generated as a result.

In late March, BTS’s 10th studio album, Arirang, topped the charts in the United States, Japan and the United Kingdom, the world’s three largest music markets. The group’s upcoming world tour is expected to generate more than $1.4bn in revenue across more than 80 shows in 23 countries.

Domestically, inbound tourist numbers for the first 18 days of March rose 32.7 percent from the previous month, according to Ministry of Justice data, as the return concert approached and hotel prices surged across central Seoul amid the demand for rooms.

In the week leading up to the concert, sales of BTS merchandise – from BTS glow sticks to blankets – surged 430 percent at the Shinsegae Duty Free retail outlet in central Seoul, the company said.

Over the concert weekend, revenues also rose 30 percent at the city’s Lotte Department Store and 48 percent at Shinsegae overall, compared with the same March weekend a year earlier, in 2025.

As far back as 2022, the Korea Culture and Tourism Institute (KCTI) – a government-sponsored think tank and research organisation – estimated that a single BTS concert in Seoul could generate up to 1.2 trillion won ($798m) in overall economic impact.

KCTI researcher Yang Ji-hoon told Al Jazeera that a sample study of the crowd at the BTS comeback event at Gwanghwamun Square highlighted the uniqueness of fandom-driven tourism. More than half of those at the concert were foreign visitors and many required long-haul travel to attend.

“In Europe and the United States, travel tends to be concentrated within its own regions,” Yang said.

“So, for people to overcome such travel barriers and come to South Korea, it usually requires more than just ordinary motivation or typical spending – it’s not something that happens easily,” he said.

K-pop’s transition to the global mainstream

The scale of BTS’s return to the entertainment world reflects a broader state-backed strategy.

When music promoter Hybe requested Seoul city support for the Gwanghwamun square comeback concert, authorities approved it on public-interest grounds, treating the event as a showcase of national cultural influence.

Almost befitting an official event, more than 10,000 state personnel were deployed for security, logistics and crowd control.

According to data retrieved by South Korean publication Sisain, through a public information disclosure request to the Seoul government, close to 130 million won ($87,400) of city funds were spent as part of logistics for the comeback concert.

South Korean government support for BTS has a precedent.

As members of the boyband approached South Korea’s mandatory military service age, policymakers debated special exemptions for members of BTS, which was estimated to have generated $4.65bn annually to the country’s economy.

After BTS’s forthcoming concerts in Mexico City sold out in just 37 minutes, Mexican President Claudia Sheinbaum urged South Korea’s President Lee Jae Myung to “bring the acclaimed K-pop artists more often”, noting nearly one million fans in Mexico had attempted to secure 150,000 tickets.

South Korea’s cultural influence is also extending beyond music.

South Korea’s cosmetics exports surpassed $11bn last year, according to global accountancy firm PricewaterhouseCoopers (PwC), overtaking France in cosmetics shipments to the US, while South Korean food and agricultural exports reached a record $13.6bn, according to data from the Ministry of Agriculture, Food and Rural Affairs.

KCTI researcher Yang described the growing interest as a phase of “transition to the global mainstream”, where South Korean products are internationally recognised and content output is measured against worldwide benchmarks such as the Billboard charts and the Academy Awards.

He also warned that structural reform is now essential to keep pace with the wave of interest in South Korea.

“As the industries expand in scale, they must also evolve in its underlying systems, infrastructure, and workforce,” he said.

“Rather than focusing solely on direct financial support, future governmental policies should move toward strengthening foundational conditions – such as improving labour environments, addressing unfair practices, building relevant infrastructure, and establishing more robust statistical and data systems,” he said.

Politicians appear to be paying attention.

During his election campaign last year, President Lee framed the next phase of cultural expansion as “Hallyu (Korean Wave) 4.0”, with promises to grow the sector into a 300 trillion won ($203bn) industry with 50 trillion won ($34bn) in exports.

In line with this vision, the government set the budget to bolster “K-content”, support the “pure” arts sector and strengthen the overall culture-related fields at a record 9.6 trillion won ($6.5bn) — reflecting the president’s view of the cultural sector as a strategic national industry rather than merely a consumer market.

South Korea’s strategy appears to be paying off.

South Korea now ranks 11th globally in “soft power”, according to Brand Finance’s Global Soft Power Index, placing the country as both “influential in arts and entertainment” and “products and brands the world loves”, just behind the US, France, the United Kingdom and Japan.

The darker side of K-pop: Pressure to become a perfect idol

Amid its global success, the darker side of the K-culture industry has received more scrutiny.

Mega-promoter Hybe has been embroiled in a prolonged dispute with K-pop’s New Jeans, a band considered to be a potential heir to BTS and their all-female colleagues Blackpink. The highly public legal dispute that started in 2024 highlights industry tensions over creative control and artist autonomy.

Since the early 2000s, K-pop has also grappled with the legacy of “slave contracts”, or highly restrictive agreements limiting artists’ freedom. Although reforms by the Fair Trade Commission have improved protections for performers, contractual obligations in the K-pop industry are exacting on new performers and their strict work routines have long been documented.

From their trainee years, aspiring idols endure gruelling schedules that involve long workdays and little sleep.

Many top stars often face contractual restrictions on socialising, using their phones or dating. They are also typically limited in what they can say publicly, relying on agency-managed messaging to communicate with fans and the media.

While the rise of social media and other online platforms has opened new avenues for more direct expression and interaction in recent years, concerns over burnout and depression have continued to shadow the industry, with several high-profile stars taking their own lives.

Beauty standards associated with the K-culture genre have also become another flashpoint for controversy.

A 2024 report by South Korean economy news site Uppity found 98 percent of 1,283 respondents born between 1980 and 2000 viewed physical appearance as among the most desirable “social capital” an individual can possess.

Nearly 40 percent of respondents in the survey had undergone cosmetic procedures, while more than 90 percent held neutral or positive attitudes regarding undergoing medical procedures to enhance beauty.

According to the International Society of Aesthetic Plastic Surgery, South Korea has the world’s highest rate of procedures, with 8.9 per 1,000 people compared with 5.91 per 1,000 people in the US and just 2.13 per 1,000 in neighbouring Japan.

Yoo Seung-chul, a professor of media studies at Ewha Womans University in Seoul, said that K-culture has reinforced the normalising of beauty as a significant metric of personal and social value.

“K-culture has reinforced systems and structures around self-expression,” Yoo told Al Jazeera.

“With the rise of webtoons that incorporate themes like plastic surgery, there has been a noticeable reduction in the stigma towards going under the knife among younger audiences in their teens and early twenties,” Yoo said, explaining that popular plastic surgery platforms such as Unni have further normalised the trend by connecting people to clinics and reviews of these clinics and their surgeons.

At the same time, globalisation has reshaped the K-culture industry itself. Many new K-pop acts now include international members to broaden appeal.

Hybe has expanded this strategy through its US subsidiary, Hybe America, producing globally oriented groups like Katseye, which only has one South Korean member in its six-member girl group.

The shift has prompted debate.

Even BTS’s latest album Arirang – a nod to South Korea’s most iconic folk song – has divided fans over its use of English lyrics and foreign producers.

“K-content is being designed with global audiences in mind from the outset. In film, there has been a noticeable rise in genres like horror and science fiction, which are easier to export internationally,” Yoo said.

“This global orientation is also reflected in K-pop agencies recruiting foreign members for idol groups,” he said.

But international audiences do not always prefer highly globalised versions of Korean content, Yoo said, adding, in fact, that many are drawn to K-pop’s “sense of locality”.

As audiences increasingly seek authenticity, Yoo argues the industry faces a defining challenge.

“Industries and companies need to figure out how to preserve a sense of local identity while effectively marketing to global audiences,” Yoo added.

“Striking that balance will be crucial in shaping the next phase of Korea’s cultural exports.”

Banksy has unveiled a new sculpture of a man stepping off a stone base with his face obscured by a flag. The overnight installation in Waterloo Place, London, was revealed in a video shared by the artist, and has drawn fans of his politically charged works.

Chinguetti, Mauritania – Bookkeeper Muhammad Gholam el-Habot gently pulled a pair of white gloves onto his slender hands and set about his routine in his high-ceilinged, cool library lined with steel bookshelves.

He opened a thick manuscript printed in Arabic. After leafing through its brown and frail pages, looking for damage, el-Habot closed the book with a satisfied thud, rubbed his fingers over the wrinkled leather cover, and carefully placed it in a white cardboard box.

“These books are very important to my family and me,” the librarian said, as the midday sunlight spilled in through open wooden doors. He spoke in Hassaniya Arabic, the dialect spoken in Mauritania, his voice low, his sentences halting and poetic. Fat flies buzzed around his long oval face as he worked.

“My relationship with them is like that of a father and his son,” he continued. “We must protect them until God takes the land and all the people who are on the land.”

The el-Habot family library is only one of a handful of its kind still operating in Chinguetti, a medieval fortress town or ksar in Mauritania’s northern Adrar region. Once a centre of commerce and Islamic learning between the 13th and 17th centuries, it is now largely abandoned as, over the decades, locals have sought opportunities in bigger cities.

Chinguetti is also at the mercy of a changing climate.

Mauritania, in northwest Africa, is 90 percent Sahara desert and has faced desertification for centuries. Now, human-induced climate change is an accelerant. Sand and flash storms occur more frequently, while extreme hot or cold seasons last longer than usual.

Those pressures are a “big deal” for precious books, said Andrew Bishop, a researcher at the University of Wyoming studying climate impacts on Saharan cultures.

“Extreme heat and less predictable rainfall patterns means that texts are increasingly damaged by water or heat, making many manuscripts beyond repair. More than that, the mud libraries themselves are not built for sudden rain and longer summer of over 40 degrees (Celsius, or 104 degrees Fahrenheit),” he told Al Jazeera.

Many of Chinguetti’s 4,500 residents now live in cement buildings outside the original confines of the abandoned ksar, built out of dry stone and red mudbrick. There are fears that the entire area, which is about 500 square kilometres (200 square miles) – about the size of Prague – is at risk of being buried by surrounding sand dunes in the long run, although there is not a clear timeline yet.

Islam’s ‘seventh holiest city’

El-Habot did not always want to be a bookkeeper.

But when his father grew sick in 2002, he took over the approximately 1,400 manuscripts out of obligation. It was an honour in his culture to be selected, he said.

It would be out of the question now, the 50-year-old librarian said. He imagines that his two sons would reject the duty, as many of their peers have left to explore economic opportunities in the capital city, Nouakchott, or elsewhere.

“This is something that we have to do; it is a family obligation,” el-Habot said, with a bewildered expression. “This is not even a question to be asked.”

The family manuscripts are sacred because they are rare. The bookkeeper’s ancestor, Sidi Mohamed Ould Habot, was one of about two dozen Chinguetti scholars who travelled around the Muslim world between the 18th and 19th centuries, from Egypt to Andalusia, in search of knowledge.

Between them, the scholars amassed a vast fortune of about 6,000 scripts. They covered almost every topic: Islamic jurisprudence, the hadith or teachings of the Prophet Muhammad, mathematics, medicine, and poetry. Some of the works came from the scholars themselves, including the older el-Habot, who wrote about the science of poems.

The books were stored in about 30 libraries in Chinguetti, open to people from all over the world.

At the time, the town was famous because of its location at the crossroads of trans-Saharan trade routes linking the Sahel and the Maghreb. Camel caravans guided by nomadic Berber traders transporting goods – mostly salt and gold – between northern Africa and the southern empires used the city as a way station, transforming it into a commercial hub.

Muslim pilgrims on their way to Mecca on foot or camel would gather in Chinguetti and prepare themselves spiritually and mentally for their long, difficult journey before heading on to Cairo. Islamic and scientific texts were exchanged, bought and sold in the town.

In West African lore, Chinguetti was referred to as Islam’s seventh holiest city. Others nicknamed it the “Sorbonne of the Sahara”, according to UNESCO.

Generation after generation managed the libraries. Over time, as the caravan trade declined due to new European sea routes, the old town emptied and several libraries closed.

“Chinguetti was the mother of all people,” el-Habot said, referring to the town’s old status as the main capital of the region. Indeed, the area now known as Mauritania was called “Bilad Shinqit” or Land of Chinguetti. In the local Soninke language, it translates to “spring of horses”.

“People had to go because they wanted to feed themselves, get education for their kids, and get better opportunities for themselves too,” el-Habot said, adding that there were no universities close by, and only a handful of primary and middle schools.

Some within his family have moved on, as well, the bookkeeper said. Those, like him, who stayed back, wanted to respect their ancestor’s three wishes.

“His wishes were that the library stay in Chinguetti, that it should be open to all seekers of knowledge, and that a male descendant of his who is religious and morally upright be the bookkeeper,” el-Habot explained. Not following those instructions, he said, could invite God’s anger.

Chinguetti’s decline is largely due to the lack of support for its traditional lifestyle, Bishop said. Annual rainfall in Mauritania has decreased by 35 percent since 1970, making it harder for herders to graze or for date palms to produce fruit.

In 1996, UNESCO granted Chinguetti and three other Mauritanian ksour World Heritage Status, cementing their rich legacy. The few people still living in the old town are allowed to renovate but only minimally, to keep its original stone architecture and the typical Moorish structuring where houses are lined up along narrow alleys that lead to a mosque with a square minaret.

Just outside Chinguetti are the excavated ruins of Abweir, a town of 25,000 believed to have been founded in 777 AD, and believed to be the “original” Chinguetti. Its residents moved from the settlement, locals believe, in 1264 – likely after a conflict. Over time, the area was completely swallowed by sand.

Saving the manuscripts

El-Habot’s job, while enjoyable much of the time, is also taxing, he admitted.

Preserving old books by reprinting or digitising the most worn-out manuscripts before they become unreadable is a costly process. He often needs chemicals to keep away book-eating insects and has to fund more suitable storage.

Then, there is the weather, which is out of his control. Mauritania swelters in the dry season between April and December, and is bitingly cold in the winter months that follow. Old pages are sensitive to both extremes and can become brittle, el-Habot said. Sometimes, when it is really hot, he places buckets of water around the library hall to spur humidity.

Flash floods, meanwhile, threaten water damage.

Visitors to the library usually pay a small fee, but tourist numbers dropped drastically across Mauritania in the mid-2000s, when armed groups attacked foreigners. The COVID-19 pandemic also reduced the flow of travellers.

Mauritania has since clamped down on violence. Tourists are slowly coming back, el-Habot said, and some of the locals who left have also returned.

In 2024, a $100,000 UNESCO restoration project provided air-conditioning units, computers and printers, as well as shelving units and storage boxes to 13 family libraries to stimulate the sector. But most libraries remain closed, their texts scattered among members. The lack of capacity of young people who are not as interested in preserving Chinguetti’s culture will continue to pose a challenge, Bishop said.

Back in the library, el-Habot continued working, his thin frame bent over his manuscripts. He opened one book and pointed excitedly at its pages: They depicted the moon in its luteal phases, and an eclipse. A third page showed the holy cities of Mecca and Madina.

“I have to protect this heritage,” el-Habot said in his low voice. “As mine, and also for all of humanity.”

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

The dawn of a new ‌era at light heavyweight commenced in Miami in the ⁠main event of ⁠UFC 327, which saw Carlos Ulberg win the vacant Ultimate Fighting Championship light heavyweight title over former champion Jiri Prochazka.

With United States President Donald Trump sitting cageside on Saturday, Ulberg delivered a perfect left hook to Prochazka’s chin and won the undisputed belt with a knockout at the 3:45 mark of the first round.

Ulberg (14-1 MMA, 10-1 UFC) finished Prochazka (32-6-1 MMA, 6-3 UFC) after nearly losing the fight due to a knee injury, catching Prochazka coming in with a left hook, followed by strikes, to win the ⁠title.

“I blew out my knee, but I never counted myself out,” Ulberg said. “I knew all I needed was that one shot, and I ended up getting it. So I knew that Jiri was hesitant to come forward. And as soon as I landed my left hand, he’s going.

“It’s about getting those moments.”

Ulberg has won 10 in a row, whereas Prochazka has fallen to 1-3 in UFC title fights since June 2022. Two of those losses were to Alex Pereira (13-3).

Ulberg (15-1-0) appeared to tweak something early in the first round when he planted his foot and his right knee buckled awkwardly. Prochazka (32-6-1) immediately went to work on Ulberg’s left leg, repeatedly landing kicks with hopes of taking both legs away, rather than attacking aggressively to end it.

“I felt sorry [for] him, and this is one of the biggest lessons in my life,” Prochazka said. “That fight was won, I had it, it was in my hands. I saw his injury, and … I will be back. Life is about that, learn and be better.”

The matchup was made after former champion Alex Pereira vacated the belt to move up and challenge for the interim heavyweight crown at UFC Freedom 250 at the White House on June 14, on what will be Trump’s 80th birthday.

Earlier, on his way to the arena, Trump’s Truth Social account posted an advertisement for the event.

Trump entered the Kaseya Center accompanied by UFC president Dana White and several members of the Trump family.

As a Kid Rock song blasted from the speakers, Trump walked to his seat, where Secretary of State Marco Rubio was waiting. Also nearby was Sergio Gor, the US ambassador to India.

Earlier, Paulo Costa rallied in the third round to ‌halt Azamat Murzakanov’s undefeated record. Costa (16-4) has won his last two fights, as he used to fight primarily at middleweight. Murzakanov (16-1) had won five of his first seven fights in the UFC by KO/TKO dating back to 2022.

In the co-main event, Azamat Murzakanov (17-0-0) used a right roundhouse to the head to drop Paulo Costa (15-5-0) and end the bout at the 1:23 mark of the third round.

Murzakanov stepped onto the apron of the Octagon after his victory to shake Trump’s hand, and the president praised him. Murzakanov acknowledged Trump during his post-fight interview with Rogan.

Josh Hokit (9-0-0) and Curtis Blaydes (19-6-0) battered each other in the slugfest of the night, with Trump excitedly watching the heavyweights as fans chanted “This is awesome!” while the fighters bloodied each other’s faces. Hokit won by unanimous decision (29-28, 29-28, 29-28).

Lewis vs Hokit added to White House fight card

White took to social media after Hokit’s win to reveal that a matchup between Hokit and Derrick Lewis had been added to UFC Freedom 250. According to White’s video, Trump asked why Lewis was not on the White House card.

The UFC chief said he called Lewis and offered him a fight, and when Rogan jokingly asked during the broadcast if there was room for Hokit on the card, the match came together.

“President Trump built half of that fight, Rogan built the other half,” White said in the video. “Both guys have agreed and accepted the fight.”

Former two-time champion loses his fourth straight bout after being stopped by Pyfer in the second round.

Joe Pyfer sent former Ultimate Fighting Championship middleweight champion ‌Israel Adesanya back to the drawing board in Saturday’s UFC Fight Night headliner in ⁠Seattle, stopping Adesanya ⁠at 4:18 of the second round to cap the night.

Before the technical knockout (TKO) finish, both fighters exchanged their best punches in a stand-up battle until a Pyfer (16-3 MMA) takedown signalled the beginning ⁠of the end.

“I just have this mentality where I don’t care; I’m going to search and destroy,” Pyfer said, following the stoppage, securing the finish in top control.

Adesanya (24-6 MMA), fighting out of New Zealand, has not won a ⁠bout since regaining middleweight gold in April 2023 at UFC 287, and confirmed he has no plans to retire.

“I’m just going to keep going and going and going,” Adesanya said.

Grasso dominates Barber in rematch

A rematch five years in the making commenced at flyweight as former champion Alexa Grasso made short work of Maycee Barber with a TKO stoppage at 2:42 of the ‌opening round. The Mexican used a left hook to down Barber before jumping on top of her immediately as the referee stepped in.

The two first met in February 2021, with Grasso earning a decision. Grasso (17-5-1 MMA) snapped a two-fight losing skid, whereas Barber (15-3 MMA) had not lost since the first meeting with Grasso, having won her previous seven fights.

In his final MMA fight, welterweight Michael Chiesa (20-7 MMA) had a hometown send-off as he submitted Niko Price (16-11 MMA) with a first-round rear-naked choke. Chiesa needed just 63 seconds ⁠to put a bow on his UFC career, one that spanned a decade-plus ⁠and included winning the 15th season of The Ultimate Fighter in June 2012.

Chiesa ended his UFC career at 15-7, while Price, who has been in the promotion for over a decade himself, now sits at 8-11, with two no contests in the Octagon and has ⁠dropped four straight fights.

The finishes were a theme on the night, as featherweight Lerryan Douglas (14-5 MMA) of Brazil needed 3:33 of the opening round to deliver ⁠a devastating TKO against Julian Erosa (31-13 MMA). Douglas has now won his ⁠last six in a row while Erosa continues to struggle at 9-9 in the UFC.

At middleweight, Yousri Belgaroui of the Netherlands scored a third-round TKO stoppage against Mansur Abdul-Malik by landing a perfectly timed knee to end the fight in a back-and-forth battle. Belgaroui (10-3 MMA) has ‌won five straight and remains undefeated in the UFC. Conversely, it was Abdul-Malik’s (9-1-1 MMA) first professional loss, as he had won seven of his 11 outings by KO/TKO.

The main card got under way in emphatic fashion in the ‌opener, ‌with lightweight Terrance McKinney needing just 24 seconds to dispatch Canadian Kyle Nelson with a series of punches following a head kick. McKinney (18-8 MMA) has won three of his last four, while Nelson (17-7-1 MMA) has lost two of his last three.

Movsar Evloev rallies after a point deduction against the unbeaten Lerone Murphy to win the contest in London.

Russia’s Movsar Evloev ‌overcame a point deduction for a foul to edge a majority ⁠decision win over ⁠Lerone Murphy at Saturday’s UFC Fight Night 270 at the O2 Arena, likely punching his ticket to a title fight against featherweight champion Alexander Volkanovski ⁠in his next bout.

With the two fighters putting their undefeated records on the line to decide who will face the 37-year-old Australian Volkanovski for the belt, ⁠the bout turned into an intriguing clash of styles.

Evloev, who is known for his wrestling, tried to showcase his striking, while Murphy displayed some superb defensive work on the ground.

Murphy evaded the fearsome grappling attack of his Russian opponent for the ‌first two rounds of the five-round bout, using a selection of stiff right hands to keep him at bay. Evloev took the chance to exhibit some of the dangerous spinning strikes he has added to his repertoire since his last fight in December 2024.

Evloev finally managed to take the fight to the mat early in the third round, but Murphy was quickly ⁠back to his feet, uncorking a spinning back kick of ⁠his own shortly afterwards.

However, it was his opponent who finished the frame strongest with a big overhand right, followed up by a flurry of strikes.

His momentum was derailed somewhat when he landed ⁠a second kick to Murphy’s groin early in the fourth round, and referee Marc Goddard deducted a point from ⁠Evloev for the foul.

Knowing that the deduction could be ⁠decisive if the fight went to the judges’ scorecards, Evloev turned up his energy-sapping grappling attack in the fifth and final frame as he chased a finish, but again Murphy was able to ‌get back to his feet with relative ease.

Despite not really threatening to submit his opponent on the ground, it proved to be enough for the 32-year-old Evloev, ‌with ‌two of the judges scoring the fight 48-46 in his favour and the third scoring it a draw 47-47 after the point deduction was taken into account.

Chuck Norris, a former martial arts champion and 1980s action-film hero, has died at the age of 86, according to his family.

In a statement posted to Instagram on Friday, his family described Norris’s death as sudden.

“It is with heavy hearts that our family shares the sudden passing of our beloved Chuck Norris yesterday morning,” the Norris family wrote.

“While we would like to keep the circumstances private, please know that he was surrounded by his family and was at peace.”

According to the publication Variety, Norris had been hospitalised in Hawaii since Thursday, though details were not disclosed.

Norris was the six-time undefeated World Professional Middleweight Karate Champion from 1968 to 1974. But he rose to wider fame in a series of action films, including 1985’s Code of Silence, 1984’s Missing in Action and 1986’s The Delta Force.

He further cemented his status as a household name when he starred from 1993 to 2001 in the popular TV series Walker, Texas Ranger, playing a principled lawman.

Norris’s tough-guy image made him an internet meme in his later years, though he received pushback for his far-right political views and embrace of conspiracy theories.

His family expressed gratitude to fans for their prayers during his hospitalisation.

“He lived his life with faith, purpose, and an unwavering commitment to the people he loved,” the post read. “Through his work, discipline, and kindness, he inspired millions around the world and left a lasting impact on so many lives.”

‘The ultimate tough guy’

Norris starred in more than two dozen films, often portraying stoic loners, soldiers, lawmen and all-American heroes who captured criminals and rescued hostages.

He made his film debut in 1973’s The Way of the Dragon, where he famously faced martial arts icon Bruce Lee in Rome’s Colosseum.

In 1985, Time magazine dubbed him “the ultimate tough guy” and “the undisputed superstar” of the B-movie action genre.

On screen, Norris was known for his signature roundhouse kicks, shrugging off gunfire and dispatching opponents with ease. His tough-guy persona made him a box-office draw and a television staple.

Decades later, he joined fellow action stars Sylvester Stallone, Arnold Schwarzenegger and Bruce Willis in 2012’s The Expendables 2, helping defeat a villain played by Belgian fighter Jean-Claude Van Damme.

He also became an unlikely internet phenomenon. In 2005, “Chuck Norris Facts”, a series of satirical jokes about his strength and masculinity, went viral and inspired several books.

The “Facts” included jokes like “Chuck Norris has a mug of nails instead of coffee in the morning” and “Chuck Norris doesn’t do push-ups; he pushes the Earth down.”

‘Texas has lost a legend’

Carlos Ray Norris was born on March 10, 1940, in Ryan, Oklahoma, the oldest of three brothers. The family moved to California after his parents divorced.

He described himself as extremely quiet and introverted as a young man, which he attributed to his father’s alcoholism and the family’s poverty.

“In school I was shy and inhibited,” Norris wrote in his 2004 memoir, Against All Odds: My Story. “If the teacher asked me to recite something aloud in front ‌of the ⁠class, I would just shake my head no.”

According to Norris, he was also not a natural athlete growing up, and he credited his martial arts career to intense training.

After graduating from school, he enlisted in the US Air Force in 1958. While stationed in South Korea, he learned Tang Soo Do, a form of karate, and other martial arts.

The future film star started teaching martial arts in California after his discharge. Actor Steve McQueen, who was one of Norris’s students, eventually encouraged him to try acting.

Tributes poured in following news of his death, including from political figures who shared Norris’s far-right leanings.

“Texas ‌has lost a legend,” Texas Governor Greg Abbott wrote on X, referencing Norris’s work on Walker, Texas Ranger.

“He electrified generations of conservatives. Giving them a passion and voice to fight for the principles that make America the greatest nation on earth.”

Israel’s Prime Minister Benjamin Netanyahu also paid tribute, calling Norris “a great friend of Israel and a close personal friend”.

High-profile stars and artists also mourned Norris’s passing, including several of Norris’s colleagues.

Stallone, for instance, wrote in a statement, “I had a great time working with Chuck. He was All American in every way. Great man and my condolences to his wonderful family.”

Author Stephen King, meanwhile, shared a memory of being thrilled — and scared — by Norris’s performance in the action-horror film Silent Rage.

“I thought he was great,” King said.

WASHINGTON — A federal arts commission on Thursday approved the final design for a 24-karat gold commemorative coin bearing President Trump’s image to help celebrate America’s 250th birthday on July 4.

The vote by the U.S. Commission of Fine Arts, whose members are supporters of the Republican president and were appointed by him earlier this year, was without objection. It clears the way for the U.S. Mint to begin production on the coin, whose size and denomination are still under discussion.

“As we approach our 250th birthday, we are thrilled to prepare coins that represent the enduring spirit of our country and democracy, and there is no profile more emblematic for the front of such coins than that of our serving President, Donald J. Trump,” U.S. Treasurer Brandon Beach said in a statement.

The unprecedented move marks yet another example of Trump and his allies circumventing conventional past presidential practices — and even the law — to get what he wants. It’s the latest instance of Trump putting his name and likeness in the historical archive, following his renaming of the U.S. Institute of Peace, the Kennedy Center performing arts venue and a new class of battleships, among other tributes.

Federal law says no living president can appear on U.S. currency. But Megan Sullivan, the acting chief of the Office of Design Management at the Mint, said the Treasury secretary has authority to authorize the minting and issuance of new 24-karat gold coins, which Scott Bessent has used to get around that prohibition and put Trump on a coin.

She presented the coin’s final design at the commission’s March meeting on Thursday and said Trump had approved it.

“It is my understanding that the secretary of the Treasury presented this design, as well as others, to the president and these were his selection,” Sullivan said.

The White House and the Mint did not immediately respond to electronic and telephone requests for comment.

The front of the coin features an image of Trump in a suit and tie and with a stern look on his face. His fists rest on top of what is supposed to be a desk as he leans forward. Lettering on the top half of the coin spells “LIBERTY” in a slight arc. Directly underneath that are the dates 1776-2026. The words “IN GOD WE TRUST” are at the bottom, with seven stars on one side of the coin and six stars on the other side.

The reverse side depicts a bald eagle midflight with “UNITED STATES OF AMERICA” on the right side and “E PLURIBUS UNUM” on the left side.

“I know it’s a very strong and a very tough image of him, and I think it’s fitting to have a current sitting president who’s presiding over the country over the 250th year on a commemorative coin for said year,” said Commissioner Chamberlain Harris, a top White House aide to Trump.

The coin will be part of a “very limited production run,” Sullivan said, but the number has not been determined. The size and denomination of the coin also have not yet been decided, she said. Some commissioners noted Trump’s fondness for big things as they advocated for the largest size coin.

The Mint, which is part of the Treasury Department, has looked at a size for the Trump coin that is larger than its 1-ounce gold coin, which is about 1.3 inches in diameter, Sullivan said.

Its largest coin is 3 inches, “so we’re looking somewhere in there,” she said.

“I think the president likes big things,” said Commissioner James McCrery II, who was the architect on Trump’s design proposal for a 90,000-square-foot ballroom addition to the White House. The fine arts commission approved that proposal at its February meeting.

Harris told McCrery she agreed with him. She works in the White House as a special assistant to the president and deputy director of the Oval Office.

“I think the larger the better. The largest of that circulation, I think, would be his preference,” Harris said, speaking of Trump.

Superville writes for the Associated Press.

The United States Commission of Fine Arts, a federal agency, has approved plans for a commemorative gold coin that features one of Donald Trump’s recent presidential portraits.

The commission, made up of Trump appointees, voted unanimously in favour of minting the coin on Thursday. But the legality of such efforts has been repeatedly questioned.

Federal law prohibits the depiction of living presidents on US currency. Thursday’s coin, however, may sidestep the rule, as it is intended as a commemorative item, not for circulation as currency.

Still, the Trump administration has advanced other plans to put the president’s face on a $1 coin, in addition to the commemorative gold coin.

Critics denounced both initiatives as unlawful and inappropriate for a sitting leader.

“Monarchs and dictators put their faces on coins, not leaders of a democracy,” Senator Jeff Merkley told the news agency Reuters.

The Citizens Coinage Advisory Committee, a bipartisan federal panel, has previously pushed back against efforts to mint Trump-themed coins.

One of its members, Donald Scarinci, said that the panel and the Commission of Fine Arts are both supposed to approve such designs.

“But we still fully expect them to plough ahead and mint both coins,” Scarinci said of the commission.

The gold coin is set to feature a bald eagle on one side, and Trump on the other, leaning with both fists on the table and staring straight ahead.

The image is a facsimile of a black-and-white image of Trump taken by photographer Daniel Torok and featured in the National Portrait Gallery in Washington, DC.

“I know it’s a very strong and a very tough image of him,” said Chamberlain Harris, a Trump aide who was appointed to arts commission earlier this year.

Harris indicated that the Trump gold coin would be as large as possible. The US Mint currently produces coins as large as 7.6 centimetres, or three inches, which is what Harris said the Trump administration would aim for.

“I think the larger the better. The largest of that circulation, I think, would be his preference,” Harris said, referencing her discussions with the president.

Megan Sullivan, the acting chief at the Office of Design Management at the US Mint, also indicated that Trump had given the design his approval.

“It is my understanding that the secretary of the Treasury presented this design, as well as others, to the president, and these were his selection,” Sullivan said.

Since taking office for a second term, Trump has pushed to leave his mark on the federal government.

In addition to the gold coin and $1 coin that are slated to bear his image, he has placed his name on the US Institute of Peace and the Kennedy Center for the Performing Arts.

Both efforts are the subject of ongoing lawsuits. An act of Congress gave the Kennedy Center its name, designating it as a living memorial to the late John F Kennedy, a president who was assassinated in office in 1963.

Likewise, the US Institute of Peace was established by Congress as an independent think tank dedicated to conflict resolution.

It was the subject of a standoff between its leadership and members of Trump’s Department of Government Efficiency (DOGE) last March, culminating in its employees being forcibly evicted.

Trump has also placed his face on government buildings around Washington, DC, in the form of long banners.

Even the architecture of the city is changing to reflect his tastes: Last October, he tore down the White House’s East Wing in order to build a massive ballroom, and he has plans to build a triumphal arch in the capital, similar to the one in Paris, France.

Trump has pitched many of the changes as part of the country’s 250th anniversary celebrations, which culminate this July.

At Thursday’s meeting to discuss the gold coin, his officials repeated the argument that celebrating Trump was a good way to mark the anniversary.

“I think it’s fitting to have a current sitting president who’s presiding over the country over the 250th year on a commemorative coin for said year,” said Harris.

Oscar winner Pavel Talankin called for ‘an end to all wars’ as he received the best documentary award for “Mr Nobody Against Putin”.

One Battle After Another was the big winner of the 98th Academy Awards, taking home six Oscars.

Paul Thomas Anderson’s black comedy about a has-been revolutionary won Best Picture, Best Director, Best Adapted Screenplay, Best Supporting Actor, Best Film Editing, and Best Casting.

Sinners, which entered the ceremony with a record 16 nominations, was the second-biggest winner of the night, with four awards.

Michael B Jordan earned Best Actor for his leading role, while director Ryan Coogler picked up his first Oscar for Original Screenplay.

In the acting categories, Jessie Buckley won Best Actress for Hamnet, marking her first Academy Award, while Amy Madigan was recognised as Best Supporting Actress for Weapons.

Elsewhere, the South Korean musical fantasy KPop Demon Hunters won two Oscars, while Frankenstein also secured two awards.

Here is the full list of winners:

Best Picture
One Battle After Another 

Best Actress
Jessie Buckley, Hamnet

Best Actor
Michael B Jordan, Sinners

Best Supporting Actress
Amy Madigan, Weapons

Best Supporting Actor
Sean Penn, One Battle After Another

Best director
Paul Thomas Anderson, One Battle After Another

Best Original Score
Ludwig Göransson, Sinners 

Best Animated Film
KPop Demon Hunters

Best International Feature
Sentimental Value

Best Documentary Feature
Mr Nobody Against Putin

Best Casting
Cassandra Kulukundis, One Battle After Another

Best Sound
Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A Rizzo and Juan Peralta, F1

Best Original Screenplay
Ryan Coogler, Sinners

Best Adapted Screenplay
Paul Thomas Anderson, One Battle After Another

Best Documentary Short
All the Empty Rooms  

Best Live Action Short Film
The Singers and Two People Exchanging Saliva (tie)

Best animated short film
The Girl Who Cried Pearls

Best Music (Original Song):
EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park for Golden, KPop Demon Hunters

Best Film Editing:
Andy Jurgensen, One Battle After Another

Best Cinematography:
Autumn Durald Arkapaw, Sinners

Best Production Design:
Tamara Deverell and Shane Vieau, Frankenstein

Best Costume Design
Kate Hawley, Frankenstein

Best Makeup and Hairstyling
Mike Hill, Jordan Samuel and Cliona Furey, Frankenstein

Best Visual Effects
Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett, Avatar: Fire and Ash

As anticipated, it ended up being One Battle After Another’s night at the 98th annual Academy Awards, with the political thriller carting away six Oscars out of a total of 13 nominations.

But while Paul Thomas Anderson’s magnum opus continued its march towards award-season domination, there were moments of genuine surprise and subversion in Sunday’s ceremony.

Some of those moments had to do with the current political climate in the United States.

Host Conan O’Brien and his fellow presenters deftly avoided mentioning President Donald Trump by name, but their barbs took direct aim at his policies since returning to office.

Other surprises came from within the filmmaking community itself. For only the seventh time in Oscar history, a tie was announced: Two films had gotten an equal number of votes for Best Live Action Short.

As a result, both the surrealist thriller Two People Exchanging Saliva and the moody bar-room drama The Singers shared the Academy Award.

Here are six key takeaways from the night.

A two-horse race between Sinners and One Battle

The vampire film Sinners came into Sunday night’s ceremony with a record 16 Oscar nominations. But the big question of the night was: How many nods could it actually convert into wins?

Its biggest competition was, of course, Anderson’s One Battle After Another, which had the second highest tally of nominations.

Sinners director Ryan Coogler and Anderson were in direct competition in several top categories, including Best Picture and Best Director.

In both cases, Anderson came out ahead, though he acknowledged how fickle such awards can be.

“ I just want to say that, in 1975, the Oscar nominees for Best Picture were Dog Day Afternoon, One Flew Over the Cuckoo’s Nest, Jaws, Nashville and Barry Lyndon,” the four-time Best Director nominee said, listing films now considered to be Hollywood classics.

“There is no best among them. There is just what the mood might be that day.”

In the categories for Best Supporting Actor and Best Film Editing, One Battle After Another also triumphed, as well as for the inaugural award for Best Casting.

But in a sign of how well matched their two films were, both Coogler and Anderson emerged from the night with writing Oscars.

Anderson picked up Best Adapted Screenplay award for his use of the Thomas Pynchon novel Vineland, while Coogler made off with the Best Original Screenplay Oscar for Sinners, a work inspired by his uncle’s love of the blues.

Jordan dunks on Chalamet in Best Actor race

Sinners, which won four Academy Awards overall, earned some of the most emotional, nail-biting victories of the night.

In the Best Cinematography category, for instance, Autumn Durald Arkapaw became the first woman to top the field.

It was her first nomination and first win, with Arkapaw besting veteran cinematographers like Marty Supreme’s Darius Khondji and Frankenstein’s Dan Laustsen, both multiple nominees.

Another big win for Sinners came in the form of Michael B Jordan, the actor whom Coogler has cast in every film since his directorial breakout in 2013’s Fruitvale Station.

Jordan, 39, was in a tight race for Best Actor with another young performer, 30-year-old Timothee Chalamet of the 1950s ping-pong drama Marty Supreme.

But Chalamet’s aggressive campaigning may have ultimately sabotaged his prospects. Multiple cracks were taken throughout the night at Chalamet’s recent comments disparaging opera and ballet.

“Nobody cares anymore” about either art form, Chalamet said in an interview last month.

“We can change society through art, through creativity, through theatre and ballet and also cinema,” director Alexandre Singh said pointedly during his acceptance speech for Best Live Action Short.

O’Brien, meanwhile, acknowledged the backlash with a joke about heightened security at the night’s Oscar ceremony.

“I’m told there are concerns about attacks from both the opera and ballet communities,” O’Brien said, before turning to Chalamet. “They’re just mad you left out jazz.”

A conga line of snubs

Given the dominant performances from Sinners and One Battle After Another, plenty of critically acclaimed films left empty-handed, or nearly so.

Guillermo del Toro’s Frankenstein, as expected, earned three wins in technical categories, including Best Production Design, Best Costumes and Best Hairstyling and Makeup.

Netflix’s smash hit KPop Demon Hunters, meanwhile, also fulfilled expectations that it would dominate in its categories, Best Animated Feature and Best Original Song.

But then there were former frontrunners like Hamnet that failed to generate much traction, including for director Chloe Zhao, a past Oscar winner. Out of eight nominations total, it only came away with one win: a Best Actress trophy for Irish performer Jessie Buckley.

Marty Supreme and the Brazilian film The Secret Agent fared worse, however. Despite having nine nominations and being considered an early shoo-in for Best Actor, Marty Supreme scored no wins.

The Secret Agent, which swept the Best Actor and Best Director categories at the 2025 Cannes Film Festival, also earned nothing at this year’s Oscars.

Same was true for the quirky kidnapping drama Bugonia, from Oscar darling Yorgos Lanthimos.

Fears about artificial intelligence

The ceremony, however, did occasionally veer away from the competition between the films to discuss issues facing the film industry and the country as a whole.

Among those was the creeping growth of artificial intelligence (AI) in the creative sector.

In the weeks leading up to the 98th Oscars, an AI-generated video clip had gone viral, appearing to show Hollywood icons Brad Pitt and Tom Cruise in a rooftop brawl worthy of a James Bond movie.

The clip had been generated through AI software developed by the Chinese firm ByteDance, and Hollywood leaders quickly denounced it as a threat to their livelihood, not to mention a copyright infringement.

Those concerns reverberated on the Oscar stage on Sunday, with O’Brien and others addressing the growing use of AI.

“Tonight we are celebrating people, not AI, because animation – it’s more than a prompt,” actor Will Arnett said emphatically as he introduced the animation awards.

O’Brien, meanwhile, joked that, by next year, his hosting gig would be taken by “a Waymo in a tux”.

Trump skewered for threatening free speech

Another concern looming over the night’s Oscar ceremony came in the form of President Donald Trump, who has courted controversy by launching deadly military attacks in Venezuela and Iran, as well as leading a violent immigration crackdown in the US.

At no point was Trump mentioned by name. But his leadership was alluded to throughout the night.

O’Brien, the host, set the tone early on with his oblique jabs at the Republican president in his opening monologue.

“When I hosted last year, Los Angeles was on fire,” the two-time Oscar emcee said in remarks dripping with sarcasm. “But this year, everything’s going great.”

Fellow comedian Jimmy Kimmel was even more direct. Last September, his show was briefly suspended after Trump criticised the comedian.

The head of the Federal Communications Commission, a Trump appointee, subsequently threatened the broadcasting license of the TV channel Kimmel performs on.

“There are some countries whose leaders don’t support free speech. I’m not at liberty to say which. Let’s just leave it at North Korea and CBS,” Kimmel quipped, referring to another channel that cancelled a fellow late-night comedy show.

Several filmmakers honoured at the Oscars likewise waded into the controversies surrounding Trump.

Best Documentary Feature winner David Borenstein, for instance, implied a parallel between his film — an exploration of authoritarianism in Russia — and what is currently happening in the US.

“Mr Nobody against Putin is about how you lose your country,” Borenstein explained.

“What we saw when working with this footage is that you lose it through countless small little acts of complicity: when we act complicit, when a government murders people on the streets of our major cities, when we don’t say anything, when oligarchs take over the media.”

Political speeches avoid mention of Iran war

The Oscars come roughly seven months ahead of the pivotal midterm elections in the US, which could see Trump’s Republican Party lose its majorities in Congress.

But while several filmmakers did hint at their anti-Trump stances, few explicitly denounced his policies.

For example, Norway’s Joaquim Trier, the winner of the Best International Feature category, veiled his criticism in a James Baldwin quote about the duty to protect children.

“Let’s not vote for politicians who don’t take this seriously into account,” Trier said.

No artist during the night referenced the US and Israeli war against Iran either, though its effects were felt among the participants of this year’s Oscar crop.

Writer-director Jafar Panahi, whose work was up for two Oscars on Sunday, has already said he plans to return to his native Iran after the awards season concludes.

Meanwhile, Iranian politician Sara Shahverdi — the subject of a nominee in the Best Documentary Short category — was prevented from attending the Oscars at all due to Trump’s ban on visas for 39 countries.

Palestinian actor Motaz Malhees, star of the Oscar nominee The Voice of Hind Rajab, likewise told media outlets he could not be present at the ceremony due to the travel ban.

The most pointed acknowledgements of the US-led and US-backed conflicts in the world were brief. When Spanish actor Javier Barden took the Oscar stage to present an award, he offered up six words, “No to war, and free Palestine!”

Russian filmmaker Pavel Talankin, meanwhile, made a similar appeal to the audience. “In the name of our future, in the name of all of our children, stop all of these wars now,” he said.

But by and large, the Oscar winners and presenters kept their remarks vague, emphasising global unity over political criticism.

“If I can be serious for just a moment, everyone watching right now around the world is all too aware that these are very chaotic, frightening times,” O’Brien told the audience at the outset of the night.

“It is at moments like these that I believe that the Oscars are particularly resonant. Check it out. Thirty-one countries across six continents are represented this evening, and every film we salute is the product of thousands of people speaking different languages.”

Cinema, he and others argued, transcended borders. The talent on stage was not the US’s alone.