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Bigg Boss 19: Did Salman Khan’s security get a double boost amid threats?

Entertainment Home Videos Bigg Boss 19: Did Salman Khan’s security get a double boost amid threats? Salman Khan’s security on Bigg Boss 19 has been significantly increased due to death threats. The show’s producers have implemented measures such as no live audience, stringent background checks on all personnel, and increased security personnel on set. By: Video Desk  |  Published: September 10, 2025 7:36 PM IST The security measures for Salman Khan on Bigg Boss 19 have been beefed up considerably due to death threats from gangster Lawrence Bishnoi’s group. According to Rishi Negi, CEO of Endemol Shine India, the show’s production company, the absence of a live audience when Salman Khan is present on set is a significant change. Additionally, thorough background checks are conducted on all hired personnel, including permanent, temporary, and vendor staff, to ensure only trustworthy individuals are involved in production. The show operates with a workforce of around 600 people, divided into three shifts, working 24/7 to ensure smooth production and security. This team prioritizes content security and on-ground logistics, with a fair representation of women in the workforce. During Bigg Boss 18, Salman Khan was surrounded by 60 security personnel, with a strict no-outsiders policy in place whenever he was on set. Similar measures are being implemented for Bigg Boss 19. Don’t Miss Out on the Latest Updates. Subscribe to Our Newsletter Today! Read More

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Varun Tej–Lavanya Tripathi welcome baby boy: A look at their VIRAL wedding photos

Entertainment ENG हिन्दी   Follow Us Login Latest News & Gossip Bigg Boss Web Stories TV Photos Videos Celeb Reviews Movies South Style Web Series TV Shows Box Office Lifestyle About Us Disclaimer Privacy Policy Contact Us Terms & Conditions Archives Complaint Home News and Gossip Varun Tej–Lavanya Tripathi welcome baby boy: A look at their VIRAL wedding photos Varun Tej and Lavanya Tripathi welcomed a baby boy on Wednesday, 1.5 years after their marriage. The couple got hitched in November 2022 in Tuscany, Italy. Read more to know all about the wedding and the couple. By: Vaishnavi Tripathi  |  Published: September 10, 2025 7:18 PM IST TRENDING NOW Stay tuned to BollywoodLife for the latest scoops and updates from Bollywood, Hollywood, South, TV and Web-Series. About the Author Vaishnavi Tripathi A media student who likes to write on a variety of subjects, topics, and issues. You’ll always find me having opinions about culture, cinema, and entertainment. Don’t Miss Out on the Latest Updates. Subscribe to Our Newsletter Today! Entertainment Subscribe Now Enroll for our free updates By signing up, I accept the Terms & Conditions and Privacy Policy, and consent to receive newsletters Read More

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Karisma Kapoor’s children move Delhi High Court over late Sunjay Kapur’s Rs 30,000 crores estate, allege forged will by stepmother: Report

Entertainment Karisma Kapoor’s two children have filed a civil suit in the Delhi High Court over the estate of their late father, industrialist Sunjay Kapur, estimated at around Rs 30,000 crores. As per ANI, the siblings, represented by their mother as legal guardian, have accused their stepmother, Priya Kapur, of forging a will to gain control of the assets. Karisma Kapoor’s children move Delhi High Court over late Sunjay Kapur’s Rs 30,000 crores estate, allege forged will by stepmother: Report According to the plaint, Priya Kapur initially denied that Sunjay left behind a will and stated that his assets were held under the R.K. Family Trust. She later produced a document dated March 21, 2025, claiming it was his will, which the children allege is fabricated. The suit seeks partition of the estate, rendition of accounts, and a permanent injunction against the defendants. Estate and Known Assets The plaintiffs said they lack full details of their father’s wealth at the time of his death. While they attached a list of known properties, they alleged Priya Kapur concealed information and failed to disclose the complete extent of her assets. Sunjay Kapur died on June 12, 2025, while playing polo in Windsor, UK. His children claim he had assured them of their financial future, launched ventures in their names, acquired assets on their behalf, and identified them as beneficiaries of the family trust. Defendants in the Case The first and second defendants are Priya Kapur and her minor son, both residing at the family farmhouse in Rajokri, Delhi. The third defendant is Sunjay’s mother, while the fourth is a woman identified as the executor of the contested will. The children further allege that after their father’s death, his funeral was held on June 19 at Lodhi Cremation Ground—Priya Kapur limited their access to trust documents and financial assets. They also claim they were summoned to corporate meetings of Sona BLW Precision Forgings Ltd. (Sona Comstar) and asked to sign paperwork without being given clarity on the trust deed and related records. Close Bond With Father The plaintiffs described their relationship with their father as close, marked by frequent holidays, business conversations, and personal milestones. They argue that these interactions reflected his commitment to their future security and well-being. With suspicions over the alleged will and mounting concerns about transparency, the children have approached the Delhi High Court, which will now examine the validity of the contested document and the division of assets. Also Read: Shah Rukh Khan, Kareena Kapoor, Aryan and Suhana Khan react as Karisma Kapoor dances to ‘Badli Si Hawa’ from The Ba***ds of Bollywood; fans notice SRK’s rare ‘like’ on social media BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More

Karisma Kapoor’s children move Delhi High Court over late Sunjay Kapur’s Rs 30,000 crores estate, allege forged will by stepmother: Report Read More »

EXCLUSIVE: Vedika Pinto to sizzle in special dance number in Anurag Kashyap’s Nishaanchi

Entertainment Anurag Kashyap’s upcoming film Nishaanchi is already making waves for its unconventional storyline and powerful cast. Adding to the excitement, the film’s lead actress, Vedika Pinto, will be seen setting the screen ablaze with a special dance number that promises to be a highlight of the movie. EXCLUSIVE: Vedika Pinto to sizzle in special dance number in Anurag Kashyap’s Nishaanchi The song is described as vibrant and peppy, which is expected to showcase the dancing skills of Vedika. The actress, who has been steadily carving a niche for herself with her acting and screen presence, will now showcase another dimension of her talent through this performance. A source close to the project exclusively shared, “Vedika Pinto, the lead actress of the film, will be seen performing a special dance number in Nishaanchi. This song is vibrant, peppy, and Vedika has delivered it with full energy. Her moves are sizzling and sure to impress the audience. She has really worked hard on her body and overall fitness for this song, as it demands very high energy. Vedika also put in many hours of rehearsals, practicing day and night, to perfect every single move for this dance number.” Kashyap, known for blending raw storytelling with striking visuals, is expected to stage the number in a way that adds both glamour and narrative value to the film. Nishaanchi marks the launch of Aaishwary Thackeray while the film also stars Viineet Kumar Siingh, Monika Panwar, Mohammed Zeeshan Ayyub and Kumud Mishra. The film is all set to release in theatres on September 19. Also Read: Akshay Kumar calls Nishaanchi trailer ‘fantastic’; praises Aaishvary Thackeray’s debut More Pages: Nishaanchi Box Office Collection Tags : Aaishvary Thackeray, Anurag Kashyap, Bollywood, Bollywood News, Dance, Music, News, Nishaanchi, Number, Song, Track, Vedika Pinto BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More

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Indian Motion Picture Producers’ Association (IMPPA) requests Prime Minister Narendra Modi’s intervention to release The Bengal Files in West Bengal

Entertainment Vivek Ranjan Agnihotri’s The Bengal Files has finally hit the big screens, standing tall as one of the boldest films ever made in Indian cinema. The narrative moves seamlessly between the past and the present, uncovering the harsh truths of Direct Action Day on 16th August 1946. While the film has been released worldwide, exhibitors in West Bengal are refraining from screening it in theatres due to political pressure. Since the film has been certified by the CBFC, the Indian Motion Picture Producers’ Association (IMPPA) has requested the Honorable Prime Minister of India, Shri Narendra Modi, to intervene in the matter and help facilitate the release of the film in West Bengal. Indian Motion Picture Producers’ Association (IMPPA) requests Prime Minister Narendra Modi’s intervention to release The Bengal Files in West Bengal The Indian Motion Picture Producers’ Association (IMPPA) has written a letter to the Honorable Prime Minister seeking his intervention for the release of The Bengal Files in West Bengal. The request has been made for urgent action to ensure the film’s release in the state. As the film has already received certification from the Central Board of Film Certification (CBFC) for public exhibition, it should be allowed to release in West Bengal so that the rule of law is upheld and certified works of art can be freely and safely exhibited across the country. IMPPA has further stated that the producers and distributors are facing intimidation and obstacles, while the State Government has failed to ensure the basic safety and law-and-order environment necessary for the free and fair release of the film. Filmmaker Vivek Ranjan Agnihotri took to his social media and shared the letter from IMPPA and wrote – “Indian Motion Picture Producers’ Association comes out strongly in support of #TheBengalFiles and writes to @PMOIndia @narendramodi to intervene against the illegal and unconstitutional banning of the film by the West Bengal government of @MamataOfficial.” Indian Motion Picture Producers’ Association comes out strongly in support of #TheBengalFiles and writes to @PMOIndia @narendramodi to intervene against the illegal and unconstitutional banning of the film by the West Bengal government of @MamataOfficial. pic.twitter.com/hkaUpaM1Cl — Vivek Ranjan Agnihotri (@vivekagnihotri) September 9, 2025 The Bengal Files is written and directed by Vivek Ranjan Agnihotri and produced by Abhishek Agarwal, Pallavi Joshi and Vivek Ranjan Agnihotri. The film, presented by Tej Narayan Agarwal & I Am Buddha Productions, is part of Vivek’s Files trilogy, which includes The Kashmir Files and The Tashkent Files. The film was released in theatres on September 5, 2025. Also Read: FWICE condemns undeclared ban on Vivek Ranjan Agnihotri’s The Bengal Files in West Bengal theatres More Pages: The Bengal Files Box Office Collection BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More

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O Gaanewali Uses Music to Honor India’s Courtesans Through the Female Gaze

Entertainment With over 60 performances and a new EP, the project by vocalists and performers Avanti Patel and Rutuja Lad pays tribute to the women who shaped India’s classical traditions while confronting the stigma that silenced them Deep into the research phase of a musical project dedicated to India’s courtesan history, Hindustani classical musician Avanti Patel was struck by a realization: most mainstream media representations focused on the dancers, completely overlooking the singers. “None of them [were showing] singers, which is ridiculous, because all the big names whose music has come through that generation are women musicians,” she tells Rolling Stone India, referencing the likes of Gauhar Jaan, one of India’s first recording artists, Jankibai, a celebrated performer from Allahabad, and Rasoolanbai, a specialist in the Purab Ang style of thumri. This, she pointed out, was likely because some of the most notable films and portrayals of courtesan culture, from Umrao Jaan to Heeramandi, were helmed by men.  Popularly known as tawaifs, these courtesans—highly accomplished in the arts of singing, dancing, and poetry—played a central role in shaping India’s pre-independence musical legacy. Yet they were often reduced to a highly sexualized image because their autonomy and freedom defied the norms imposed on women at the time. They were also casually dismissed with the derogatory label “naachne gaanewali.” So when Patel set out to flip the script and transform their stories into a musical tribute, the name O Gaanewali felt like a natural fit.  With more than 60 live performances across the country since 2022, and a recently released six-track EP called O Gaanewali Session 1 that serves as a digital extension of their on-stage experience, the musical project is dedicated to the women performers who shaped the evolution of classical forms, including thumri, dadra, ghazal, hori, and more.  The show features Patel alongside vocalist Rutuja Lad, who she trained with under Padma Shri awardee Dr. Ashwini Bhide Deshpande, as well as a rotating cast of musicians who play the tabla, sarangi, and harmonium—all instruments considered essential in evoking the soundscape of a 19th-century kotha. Each live performance threads together contemporary interpretations of the classical traditions with the most extraordinary stories from the golden age of tawaifs.  Referring to the O Gaanewali performance as an “alive experience,” Patel points out that the beauty of the show is that it is always changing. “The music and stories are so vast that we can’t possibly bring it all together in a 120-minute show. So, depending on what time of the year it is, what season it is, we change the script, the songs, and the set list.”  Photo by Narendra Dangiya Whether recounting the bewildering anecdote of Gauhar Jaan spending thousands of rupees on her cat’s wedding (an extravagance unheard of at the time), or correcting new-age adaptations that alter the lyrics of the song “Phool gendwa na maaro, laage jobanwa pe chot” from jobanwa (body) to karejwa (heart), each performance attempts to conjure a vivid portrait of these women’s storied lives.  Having extensively researched the subject through books, conferences, and panel discussions by the likes of Saba Dewan, Vikram Sampath, Yatindra Mishra, Shubha Mudgal, and other historians, the project takes on an almost journalistic rigor, careful not to propagate stories that cannot be factually corroborated. “There’s an incident mentioned in Saba Dewan’s book where an artist is performing at a pre-wedding ceremony,” recounts Patel. “When she finishes, money showers down on her from a tree, showing how wealthy the family [she was performing for] was. Then, there are gunshots and a scene of suspense unfolds. She’s kidnapped, and eventually escapes. These are the kinds of stories we haven’t brought into the show, because so much of it is hearsay and can’t be verified.” But it is these very stories, Patel points out, that infuse the music with a deeper context. Lad chimes in that the show has helped her tap into a more introspective side of herself as a vocalist, allowing her to access emotions she might not ordinarily have been able to. “We tend to focus on the content of the song, but there are so many other things that affect one’s musicality,” she explains. Working with a team of theatre directors, Lad was able to grasp the different ways she could communicate the same line—through intonation, accents, subtext and even restraint. “These things were not a part of my work as a performer, but O Gaanewali has allowed me to express an idea musically, and shown me that the way you think and speak can also seep into the way you sing. Now, the general inclination is [to ask questions like] in what period this was sung, or, who were the composers? What was the kind of life that they led at that time? And how did these other factors [impact the] music. Because these are all interrelated factors.”  From their first release, “Muddat Hui Hai,” a ghazal by Mirza Ghalib that was famously sung by Iqbal Bano, to “Rangi Saari,” a thumri popularized by vocalist Shobha Gurtu (which got a popular Bollywood reimagining sung by Kavita and Kanishk Seth), to “Chha Rahi Kali Ghata,” a thumri by Begum Akhtar that was also performed on Coke Studio Pakistan in 2013, each of O Gaanewali’s interpretations play with different treatments and musical arrangements. Their music swells with an ethereal grandiosity, intimate but haunting. Powerful yet laced with a fragile tremble, each track echoes the voices that once drifted through royal courts and salons, carrying stories of longing, defiance, and grace. When asked how they translated the nuances of a live performance reliant on the kind of ornamentation and flourishes that can only come from a certain physical presence, Patel answers without hesitation: “Some of the songs are really contemporized in their arrangement, but in terms of the vocal ornamentation, the flourishes, the alaps, the bol banau, all of that definitely has grounding that comes from our taalis,” she explains. “So it doesn’t feel like a quote, unquote song, while still bringing

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Which Internet Aesthetic Are You?

Entertainment Whether you grew up on Tumblr feeds or Pinterest mood boards, it’s time to uncover your true aesthetic If you were creating hyper-specific moodboards or finding Pinterest inspiration for a niche reference that only you and your three-person group chat were aware of, then congratulations, you were already a part of the online phenomenon of internet aesthetics. Be it curating playlists or re-blogging pictures, these digital microgenres, which were primarily proliferated via social media platforms like Instagram, Pinterest, YouTube and Tumblr, were the early precursors of what is now mainstream culture, lifestyle and entertainment. Easily recognizable by suffixes like “core,” “punk,” and “wave”, their origins date back to the 80s, wherein niche literary genres like “Cyberpunk” were just starting to gain momentum. Fast forward to the early 2000s, music and internet platforms such as “Myspace” gave rise to distinct visual styles like “indie sleaze” and “mall Goth.” Cut to the present, the post-pandemic world revolves around a flurry of nostalgia bait, algorithms and lifestyle-based microtrends, such as “cottagecore,” “coquette,” and “Dark Academia.” All in all, the internet is our post-digital archive. So are our wardrobes and playlists, steeped in nostalgia. Be it the bands we stanned, the designers we fawned over or the blogs we posted, our online tastes are anthropological pit-stops, a reflection of our growing identities. That being said, have you ever wondered which internet aesthetic speaks to your soul? Read below and find out. Older Brother Core Whether it’s shredding the electric at “Guitar Hero” or dressing like an extra in a Nirvana video, we’ve all known somebody like this at some point. The biblical equivalent of Reese Wilkerson (Justin Berfield), Rodrick Heffley (Devon Bostick) and Prateek (Armaan Verma) from Ra.One, this aesthetic is reminiscent of the 1990s and early 2000s—an inherently masculine archetype of chaos and rebellion, defined by radioactive colors, video game soundtracks, and alternative music.  If your room has always been clobbered with bulky PCs, Call of Duty posters, and strewn energy drink cans, you might be the quintessential “Older Brother.” Here, the messy bedroom becomes a shrine of entertainment, buzzing with distorted grunge riffs and angsty, moody energy.  The aesthetic feels oddly comforting, like bumping into an old, troublemaking friend. Frutiger Aero You remember the sound of the old iPhone ringtone and the glossy blue of Windows Vista? That’s Frutiger Aero at its finest, an aesthetic that defined our Web 2.0 childhood. A digital Eden of ethereal tech, it is a memorable aesthetic that is characterized by ambient soundscapes, glossy textures and nature-centric visuals. Coined in 2017 by Sofia Lee, a member of the Consumer Aesthetics Research Institute, it reigned as the supreme design language, marking a period of technological transition. Its influence extended beyond visuals into sound, to other genres such as recession, electro and hyper pop. With synth-heavy layers, distorted effects, IDM-style palettes, and airy vocals rooted in Y2K futurism, it carried a distinctly futuristic mood.  If you still miss Windows 7 and find yourself retreating to nature at the slightest inconvenience, chances are you’re Frutiger Aero personified. Vaporwave If you had “Macintosh” on repeat in your playlist, you already know what comes next. A trickled-down product of Hypnagogic pop and electronic music, Vaporwave has an uncanny yet atmospheric soundscape, the kind that plays while wandering in abandoned spaces. Drenched in distortion and reverb, it’s deliberately artificial, drawing from ’80s and ’90s R&B, lounge, and jazz.  Borrowing heavily from Memphis design, the aesthetic spills across both music and art. Think of it as a post-capitalist collage: a commentary on consumerism and the futuristic “utopia” that never materialized. Roman statues float alongside Japanese text, pastel gradients wash over screens, and warped Windows 95 interfaces flicker with trippy nostalgia. A hybrid of the archaic and the digital, Vaporwave continues to attract the creative, the philosophical, and the delightfully apathetic—those who find comfort in a warped blast from the past. Thought Daughter Hug your fellow writers, filmmakers and artists—they probably need one. Rivaling the protagonists of a  Greta Gerwig movie, the “thought daughter” emerged as a media-obsessed, intellectualist archetype, with tastes orbiting around “esoteric” fashion, film, and music.  What began as a meme (Gay son vs. Thot daughter) quickly matured into a full-blown identity. Defined by perpetual overthinking, she’s haunted by metaphors and symbols while Lana Del Rey hums in her headphones at 5 p.m. on public transport. Antiquity is her comfort zone: vintage French cinema, niche perfumes and leather-bound journals.  Her playlists are grief-stricken mosaics. Be it Phoebe Bridgers, Jeff Buckley, Adrienne Lenker, Jagjit Singh, or Rekha Bharadwaj, the songs trace the five stages of mourning. Melancholy is her muse, and her Notes app is littered with fragments of the magnum opus she’s been drafting in transit. Cyber Angel If Serial Experiments Lain were a playlist, this would be it. Otherworldly and ethereal, Cyber Angel feels like scrolling through forgotten internet archives searching for obscure anime, underground DJs, and eccentric architects. Born of the Tumblr era, it thrives in VHS overlays, robotic-celestial imagery, and soft blue glows. A hybrid of retro-futurism, sci-fi, and early-2000s Y2K aesthetics, it extends beyond visuals into fashion and accessories. Nostalgia here comes cloaked in angelic motifs: chromatic color schemes, layered images, video game iconography, and luminous halo-like filters. For those who grew up worshipping Neon Genesis Evangelion and treating the old internet as sacred ground, Cyber Angel is less an aesthetic and more a digital sanctuary. 2014 Tumblr The holy blueprint: flower crowns, velvet chokers, and unfiltered trauma dumping. Tumblr was the epicenter of one of the biggest contemporary aesthetic movements, endlessly referenced and recycled. In the age of hedonism, unhealthy coping mechanisms and restless re-blogging, the platform became a playground where people hand-picked and curated their identities.  Fandom and alternative fashion culture—especially Japanese subcultures—shaped the very idea of “cool,” spawning a spectrum of styles: pastel grunge, kawaii, indie sleaze, hipster, and beyond. The playlists carried the weight of teenage angst, soundtracked by The 1975, Lorde, the F16s, and Peter Cat Recording Co.  Even today, it

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Lee Byung-hun and Jun Ji-hyun in Talks for Gripping Spy Drama

Entertainment The actors are reportedly set to play a married couple leading double lives as spies in the Korean remake of ‘The Americans’ Lee Byung-hun (left) and Jun Ji-hyun (right). Photo: Netflix, courtesy of Han Cinema. Lee Byung-hun and Jun Ji-hyun, two of South Korea’s finest actors, have been offered roles in the Korean remake of the popular American period spy drama, The Americans (2013-2018). Koreans, a working title for the Korean adaptation, will feature the two superstars in the lead roles, marking their first time on screen since their television series Happy Together in 1999. The remake brings the original’s thrilling Cold War spy story to South Korea’s 1980s military dictatorship period, following a married couple who pose as ordinary citizens while spying for their country. Lee Byung-hun and Jun Ji-hyun will star in the espionage drama as the married spy couple caught in the crossfire – just like in the original, where a pair of Russian spies living in Washington D.C. with their kids convincingly played the part of an American family while spying on the U.S. government. Koreans is a high-budget drama to be helmed by director Ahn Gil-ho, who has a string of hit K-dramas to his credit—notably, Stranger (2017), Memories of the Alhambra (2018), Record of Youth (2020), Happiness (2021), The Glory (2022-2023), and Marry My Husband: Japan (2025). His upcoming titles also include Kim Woo-bin and Bae Suzy’s highly anticipated fantasy rom-com Genie, Make a Wish, releasing on October 3. According to Soompi, neither actor has given their approval for the project, but they are reviewing it. Lee Byung-hun’s recent works include the final season of Squid Game and the movies KPop Demon Hunters (2025) and No Other Choice, which premiered at the 82nd Venice International Film Festival on August 29 to widespread critical acclaim and is set for a theatrical release on September 24. Jun Ji-hyun, meanwhile, is set to make her comeback in the K-drama series Tempest, an espionage romance that will be released on September 10, co-starring Gang Dong-won, following her last series Jirisan in 2021. Read More

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How the Oasis Reunion Became the Feel-Good Event of the Year

Entertainment Many thought the tour would never happen. Instead, its immaculate vibes cut against much of what’s going on in the world, and the Gallagher brothers’ history My favorite moment from the Oasis show wasn’t watching them sing “Wonderwall” or “Champagne Supernova.” It wasn’t the fireworks at the end of the night or Liam Gallagher’s growling banter. My favorite moment of the night — the first of two concerts at MetLife Stadium in East Rutherford, New Jersey — took place outside a Carvel’s stand on the first-level concourse, where I watched two passing men point at each other’s chests and hug tight. Why the embrace? Because they had the same 1998 Oasis tour T-shirt on.  “Original?” said one  “You bet!” said the other. Beyond being the tour of the summer, these Gallagher brothers shows, by all reports, have been surprising in their positivity. “There are New Jersey vibes in the area!” said Liam when he first got to the microphone. “There are Oasis vibes in the area!” Who would’ve guessed Jersey vibes and Oasis vibes would be so … cuddly and buoyant? A few years ago, the event even taking place seemed unlikely. The Gallagher brothers have spent the better part of the past 15 years pelting each other with insults. Liam would tweet photos of Noel with the caption “potato,” and Noel would characterize Liam as useless, expendable, difficult, ungrateful, and more. My favorite burn from this feud — maybe any feud, actually — is Noel describing Liam as so frustrated and helpless that he was like “a man with a fork in a world made of soup.” Truly a top-tier insult — but depressing. For people who cared, the Gallagher situation was part of the broken timeline we find ourselves in: a moron for a president, aluminum in our deodorant, and one of the coolest bands in the world not on tour because two brothers couldn’t stop hitting each other in the back seat.  And then, suddenly, that last thing got fixed.  Oasis announced they were going on the road. Like tens of thousands of others, I secured tickets, planned out how to get to the Jersey swamps from New York City, and tried to not get too excited, even though rapturous footage from their U.K. leg was showing up on Instagram. “There’s a chance,” said a friend of mine, “that they never make it to the stage.” There may be — as my fellow concertgoer Sloane Crosley guessed — separate greenrooms, but when they come on holding hands, it feels like everyone is thinking the same thing: “Oh, my god, it’s happening.” You don’t have to just think it, either. You can shriek it, like the man in front of me did.  There is a sense of occasion to this. The walk to the stadium through the vast expanse of parking lot feels like the walk to Wembley from the tube. There’s tailgating and unauthorized merch and people in bucket hats. There’s Man City colors and Oasis Adidas jerseys that were gone from nearly every merch stand before Cage the Elephant had finished their opening set. A religious experience, if the religion was “football hooligan.” And Oasis sounds great, by the way. Liam’s voice sounded like it did on the albums, like he still sounds in your headphones, like you remember from Oasis being background music at the first house parties you got drunk in. And they play mostly the hits, mostly pre-1996 stuff, mostly sing-along-friendly stuff. An unexpected highlight is “Half the World Away,” a theme song to a British sitcom that didn’t chart in the United States, but whose chorus is enthusiastically echoed by the crowd when the band leaves room for them. And beyond getting to witness the concert, you got to witness people for whom this was long-awaited: the guy in front of me was a Brit in his sixties; I didn’t get his name when he shouted it into my ear, but I’ll call him Terry. When he first saw Oasis, he told me, he had just met his wife, and his children existed only in his imagination. Now, he was standing next to that wife and a daughter — who works for Gotham FC, the tristate area’s National Women’s Soccer League team — drunk on Heineken and Britpop and the time machine he found himself in. “I think,” Terry said, close to tears, “this might be the best night of my life.” You get the sense from the production — intentional, but surprisingly spare outside of ear-busting sound and a closing fireworks show — that these Oasis concerts seem to know exactly what they are: a collective exercise in nostalgia, without the sad patina of has-beenship. The attraction is the boys back together — and you being there, getting to roar the songs along with them. “You may have been wondering what it’s like to sing this along with 60 or 70,000 Oasis fans. You’re about to find out,” said Noel, introducing “Don’t Look Back in Anger.” I had actually never wondered that, but I really enjoyed getting to do it when the moment came.  Noel, almost entirely tight-lipped through the first half of the show, mostly leaving the posturing to his younger brother, seemed genuinely emotional. “Nobody has fans like these,” he said. “Nobody.” It’s obviously not unusual for people to sing along with a concert, especially in a stadium, but the lack of self-consciousness was noteworthy. These two Mancunians — especially Liam — are nearly characterized by the presentation of coudn’t-give-a-fuckness. But you don’t squash a Cain-and-Abel feud, sell a million tickets in less time than it takes to watch an episode of Friends, and design endless amounts of custom merchandise on a lark. You don’t pay $40 for parking on a lark. You don’t drive to New Jersey for fun. You do it because you want to, and because you’re a decade past pretending you don’t. Oasis in 1996 felt subversive in its naked desire to be rock stars. Oasis in 2025 is subversive in understanding that it’s

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VMAs Burning Questions: From Gaga’s High-Speed Exit to Sabrina Carpenter’s Trans Rights Sign

Entertainment Veteran MTV producer Van Toffler breaks down this year’s Video Music Awards and reveals that he doesn’t love those widely criticized commercials for ICE and the Department of Corrections, either What does the morning after the VMAs feel like? A splitting headache for Van Toffler, producer of the 2025 show, which aired on CBS for the first time, in addition to MTV and Paramount+. The veteran television producer and former head of MTV has had a front-row seat to dozens of awards shows, and he knows the intricacies and complications involved with coordinating 13 performances. Toffler spoke with Rolling Stone about the night’s standout moments, including Mariah Carey‘s hits medley, Sabrina Carpenter‘s rain-soaked “Tears,” Lady Gaga‘s rapid exit from Madison Square Garden, and the emotional tribute to Ozzy Osbourne featuring Steven Tyler, Joe Perry, Yungblud, and Extreme’s Nuno Bettencourt. What are the challenges these days with award shows? You need to get the big-name talent, but you also need to showcase who’s coming up. And these productions are very expensive. How do you weigh all those things to get the best lineup?The first thing is you have to be is rabid about researching and understanding who your audience is. And for this show, unlike others, it traversed multiple platforms with different demographics because you have MTV, CBS, and Paramount+. That really merited going from hit iconic artists with catalogs to brand-new artists. You saw LL Cool J host in the first act, and then introduce Kenny G performing with Doja Cat into the expanded play stage with Lola Young. And you have Gaga in between winning an award. So that’s kind of a microcosm of what you’d like to do, where you bring out new acts with emerging songs. You don’t just spring them on the audience. Talents like Sombr and Conan Gray and Megan Moroney are so wonderful that you want to expose them on the big stage. But you can’t just have a show of new acts, just like you can’t just have a show of established acts. It is a balance. Who’s got the biggest songs of the year, like Sabrina [Carpenter] and Tate [McRae], who are great performers, and who are some heritage acts that get these iconic awards? It definitely is a delicate dance. And also, where do you format them in the show? How you juxtapose one versus the other? It’s a mixture of art and science, because you also have to see the performances and rehearsals to understand. “Does this go next to this one?” Were there people you wanted to get that you couldn’t get?Oh, undoubtedly, absolutely. Justin Bieber? Taylor Swift?Beyoncé, Bieber … Taylor’s not in cycle, so, you know, she’s done so many MTV awards when she is in cycle. It just didn’t feel right. But Miley’s putting out new music, and … I’m trying to think of others that I would have loved to have had. I wanted to have Harry Styles and Stevie Nicks perform together. So, you know, you shoot for the moon. Some people are recording or out of cycle. You pull together the best show you can, and the best of the year. With the Sabrina Carpenter performance, there seemed to be some messaging in her staging. Were you aware of that?Oh, yeah, definitely. There was messaging, and then there was a sexy performance with water. So I’m not sure it all got through, but I’m sure her fans will read well into it, accurately and inaccurately. Was it intentional to cut away from the “trans rights” sign?No, no, I think it’s just a director making choices. That’s all. It was so interesting that therapy got so many shout-outs during the show. These kids who have so much pressure, I don’t know how they get through a day, never mind the VMAs.We noticed it. It is generational that so many of these young artists would thank their therapists. So many of these artists are confronted with daily pressures to make their lives seem great. And they have to live on socials. There’s no real downtime. And we talked about it. I can imagine 20 years ago, artists thanking their therapist would be like, “You’re in therapy, dude? Are you kidding me?” So it is definitely generational. It was cool that Ariana Grande read out all the credits of her video. I’ve never seen that happen before.I can honestly say in my memory, and I don’t have a good one, but that may be the only time craft services have been thanked. That really meant a lot, actually, from an industry standpoint. It was very smart.She doesn’t come out a lot. She really doesn’t do a lot of these things, and she’s filming a movie. I think obviously she was nominated a lot, but she’s got a warm spot for Mariah. I think that helped bring her out to this stage. What was up with the microphone? It wasn’t one that drops into the stage and adjusts for height?Not all productions go smoothly. I think that her mic was definitely too high. We used a lot of handheld mics. Those mics on stands tend to get in the way of a performer’s face. We don’t love them, but obviously we needed them for the award presentations. But it’s a lesson learned. We’ll have it come from the ceiling next time, if there is a next time. It’s a legit situation. We did an article in Variety where we talked to stage hands about it. Sometimes you have a LeBron James and then Sabrina Carpenter. The height difference is massive.Oh, my God. You really need to overprepare for that stuff. The thing is, someone like Steven Tyler just keeps adjusting his mic, no matter where you put it. It’s never the right height, let’s put it that way. You know who wasn’t good at holding a microphone? Meg Stalter. That microphone hit her entire face.I think she maybe had an issue with her ankle beforehand and was having trouble walking. She had a rough evening. But she’s funny. She’s a funny woman. Tell me about coordinating Gaga and getting her out to Long Island

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