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The Strait of Hormuz has been a focal point during the ongoing war in Iran, with the U.S. Navy currently blockading entry to the port. 
Another day, another development that makes President Donald Trump’s claims that the war in Iran would be over within weeks look increasingly unlikely. While Trump indefinitely extended a ceasefire with Iran earlier this week, his order for the U.S. military to “shoot and kill” small Iranian boats deploying mines in the Strait of Hormuz seems to contradict the concept of a ceasefire. 
AP reports that Trump confirmed the order on Thursday in a post on Truth Social. “I have ordered the United States Navy to shoot and kill any boat, small boats though they may be … putting mines in the waters of the Strait of Hormuz,” Trump posted, adding that U.S. minesweepers “are clearing the Strait right now.” 
“I am hereby ordering that activity to continue, but at a tripled-up level!” he added. The posts came after the U.S. military seized several tankers that were reportedly smuggling Iranian oil. 
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The Strait of Hormuz has become one of the prominent focal points of the ongoing conflict in Iran. Before Trump decided to bomb Iran for dubious reasons, 20% of the world’s oil supply was shipped through the Strait of Hormuz. The rampant bombings at the start of the Iran war made it unsafe for oil ships to go through the Strait. Even after a ceasefire was declared, there were concerns that Iran had placed mines in the Strait of Hormuz. While ships passed through the Strait of Hormuz free of charge before the war, Iran has proposed charging a toll on any ship that passes through the Strait.
Negotiations for a permanent ceasefire have been stalled due to an impasse over the Strait of Hormuz. Trump said the U.S. won’t negotiate until Iran reopens the Strait of Hormuz, with no tolls or threat of military action. Iran said it won’t negotiate until the U.S. lifts its blockade of the Strait of Hormuz. 
Even if an agreement is reached on the Strait of Hormuz, the International Energy Agency (IEA) projects that it will take at least two years for the oil market to stabilize due to the war in Iran.
“Beyond the immediate disruption, the crisis is expected to have implications for the medium-term outlook. Damage to LNG liquefaction infrastructure in Qatar is set to reduce projected supply growth and delay the impact of the anticipated global LNG expansion wave by at least two years,” the IEA said in its quarterly report on Friday. 
Trump also posted that Israel’s ceasefire with Lebanon will be extended for another three weeks. Despite being under a ceasefire, Israel’s appetite for war does not appear to be satiated. 
According to NBC News, Israel’s Defense Minister Israel Katz released a video statement saying the country is “prepared to renew the war against Iran,” but the nation is waiting “for the green light from the U.S.” Katz added that Israel wants to return “Iran to the dark and stone ages” by “blowing up” energy and electricity facilities, and crushing the national economic infrastructure. 
Nothing says “we’re not a genocidal regime” quite like chomping at the bit to put millions of Iranian lives at risk. 
With the conflict only escalating at the Strait of Hormuz, and no deal for a permanent ceasefire appearing to be within reach, we may very well be in yet another protracted, unnecessary war in the Middle East. Don’t you just love U.S. imperialism? 
SEE ALSO:
Strait Of Hormuz Still At Standstill Despite Ceasefire

The Strait Of Hormuz Is Kinda Sorta Open: Let Me Explain
Trump Issues ‘Shoot And Kill’ Order For Mining Boats In Strait Of Hormuz was originally published on newsone.com

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Sanya Kantarovsky
Photo: Tina Tyrell
In this podcast, based on The Art Newspaper’s regular interview series, our host Ben Luke talks to artists in-depth. He asks the questions you’ve always wanted to: who are the artists, historical and contemporary, they most admire? Which are the museums they return to? What are the books, music and other media that most inspire them? And what is art for, anyway?
Sanya Kantarovsky was born in Moscow in 1982 and emigrated to New York City when he was ten years old. He still lives and works in New York today. His paintings present scenarios that are at once arresting and alluring.
Sanya Kantarovsky, Basic Failure, 2026
©Sanya Kantarovsky. Photo: Pierre Le Hors. Courtesy the artist, Capitain Petzel, Modern Art and VeneKlasen.
Notionally figurative, they reflect an elastic idea of how the body might be represented through paint, as figures appear in unlikely juxtaposition with other bodies and beings—even morphing into plant or animal forms—and occupy landscapes and spaces that are always infused with atmosphere and often potent with threat.
Sanya Kantarovsky, Effacement, 2016
© Sanya Kantarovsky. Courtesy the Artist.

Kantarovsky regularly uses the term ostranenija, a word in his native Russia that means “making strange”, as a guiding principle. Encountering his art, one is aware of one’s own role in continuing that process: how, after slow-looking, they only grow in complexity. And that richness absorbs many moods and registers, from brutality and solemnity to absurdity and out-and-out humour.
Sanya Kantarovsky, As ye sow, so shall ye reap, 2020
© Sanya Kantarovsky. Courtesy the Artist and Modern Art.

He discusses the profound effect of his early access to the Pushkin Museum in Moscow, and particularly Picasso’s painting Girl on Ball (1905). He reflects on the influence of a huge breadth of historic painters, including Francisco de Goya, Giorgio de Chirico and Philip Guston, discusses his respect for a number of contemporary artists including Trisha Donnelly and Charline von Heyl, and talks about the significance of a number of figures from other disciplines on his work, from the poet Anna Akhmatova and the choreographer Tatsumi Hijikata to the filmmaker Andrei Tarkovksy. Plus, he gives insight into his life in the studio and answers our usual questions, including the ultimate: what is art for?
Sanya Kantarovsky, Boy with Cigarette, 2026
©Sanya Kantarovsky. Photo: Pierre Le Hors. Courtesy the artist, Capitain Petzel, Modern Art and VeneKlasen.
This podcast is sponsored by Bloomberg Connects, the arts and culture platform. Bloomberg Connects offers access to a vast range of international cultural organisations through a single click, with new guides being added regularly. They include several museums in which Sanya Kantarovsky has shown his work, including ICA/Boston, Aspen Art Museum, and The Drawing Center in New York. On the guide to the Drawing Center, you will find an extensive feature on the Center’s current exhibition, featuring the art of Ceija Stojka (cheya stoyka), the Roma artist, activist and writer born in 1933, who was a Holocaust survivor. Stojka only began working as an artist in her late 50s, and yet produced hundreds of paintings and drawings up until her death in 2013. On Bloomberg Connects, you can hear an introduction to the show by its curator, Lynne Cooke, in which she reflects on the extraordinary life and work of the artist, who was not formally educated in art and worked in her kitchen in Vienna. You can also explore reproductions of more than 40 pieces by the artist, reflecting her distinctive expressive language in paint and ink.
An in-depth podcast conversation on the painter’s big influences, from Chaim Soutine to Anne Sexton
Hurvin Anderson talks to Ben Luke about his influences—from writers to musicians, and, of course, other artists—and the cultural experiences that have shaped his life and work
An in-depth podcast conversation on the artist’s big influences, from Richard Tuttle to Sun Ra
An in-depth interview with the artist on her cultural experiences and greatest influences, from Maria Lassnig to Gertrude Stein

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The “Wicked: For Good” actress shared the experience to emphasize how airlines can often make traveling with a disability difficult, saying, “It is always something when I’m flying.”
“Wicked: For Good” actress Marissa Bode is calling out an airline she says did not allow her to board after realizing she uses a wheelchair.
“As long as airlines are sh–y, I’m going to continue talking about it,” she said.
In a video posted to TikTok on Thursday (April 23), Bode, who is paralyzed from the waist down and uses a wheelchair for mobility, explained that while trying to board her connecting flight with Southern Airlines, she was told by staff that she would not be able to board because she could not stand.
“They proceeded to tell me all the planes within this airline have stairs to get on the plane, Bode said in the TikTok. “Wild. Never heard of that before.”
She added, “Why are we waiting around for a disabled person to be present to even think about changing things or even accommodating things?” she said. “And even then, I know they’re not going to do it.”
Bode noted in the video that “it is always something” that goes wrong when she flies because of her wheelchair.
“I was like, disabled people are not an afterthought. Why, knowing that disabled people exist, which y’all clearly often forget, do you choose not to update your planes? And I was like, ‘This is blatant segregation.’”

@Southern Airways you should be ashamed
According to Bode, the airline staffer at the gate said that another issue with her boarding was the weight of her wheelchair, to which she responded that the chair was 35 pounds, which is under the luggage weight limit for most flights. Her manager, who booked the flight, also confirmed that the airline was aware of her disability when the ticket was booked and assured him that she would be accommodated accordingly.
Ultimately, the staff’s refusal to allow her on the flight forced Bode to take an “expensive” three-hour car ride to her destination, she said. Though the incident was blamed on a communication issue, she argued that there is much more to the problem and that it is “rare” when she gets through the airport without issues.
“It is more than bad miscommunication. It is so much more than a mistake, an oopsie,” she said. “These are our lives. This is our entire existence you’re talking about.”
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April 26, 2026
The alleged shooter has been identified as 31-year-old Cole Allen, a teacher from Torrance, California.
Details surrounding the shooting during the 2026 White House Correspondents’ Dinner continue to roll in.
According to the New York Post, the alleged shooter has been identified as 31-year-old Cole Allen of Torrance, California. It is believed that he is a teacher at C2 Education, a tutoring and test-prep company, based on a LinkedIn profile that matches his name and photo.
At this time, he is currently in custody and was reportedly armed with a shotgun, handgun, and multiple knives during the incident, which took place at approximately 8:35 p.m. at the Washington Hilton hotel in Washington, D.C. Shots were not fired at the gunman at the time of the shooting, however, he was charged and tackled to the ground before being taken to a nearby hospital for evaluation.
Armed Suspect Identified in Shooting at White House Correspondents’ Dinner https://t.co/AAPh7zr9Kn pic.twitter.com/6GQFG23WjH
In a video shared to Truth Social by Trump, Allen is seen opening fire and rushing toward the ballroom. He is currently being charged with the use of a firearm during a crime of violence and the assault of a federal officer.
The law enforcement officer who was shot on the scene was wearing a bulletproof vest and walked away with no real injuries. Assistant Attorney General Harmeet Dhillon confirmed a “facial bruise” as a result of the chaos that erupted when people heard the gunshots. Another elderly man in attendance appeared injured and was seen limping out of the ballroom with assistance.
An investigation is underway into how Allen managed to gain access to the hotel so close to the leaders, with roughly 2,500 guests in attendance. It is believed that he checked into the hotel, which Treasury Secretary Scott Bessent made sure to disclose was the same place where an assassination attempt on former President Ronald Reagan occurred in 1981, as a guest.
It has also been confirmed that Trump was at the center as a target in the attack. This is the first year Trump has attended the annual dinner as a sitting president.
“There were a lot of high-value targets in the room,” said Bessent. “The president and vice president were both up on the stage.”
Trump says he doesn’t believe that the attack is linked to the ongoing U.S.-Israeli war with Iran, and vowed to continue his approach to politics. He also promised to reschedule the dinner within 30 days and to change the language of his remarks, noting that he initially planned to “rip into reporters.”
“It’s not going to deter me from winning the war in Iran,” said Trump. “I don’t know if that had anything to do with it. I really don’t think so, based on what we know.”
He added, “A lot of other people, you know, you read stories when they become basket cases, to be honest with you. I’m not a basket case. I want to live because I want to make this country great. That’s why I want to live. When you’re impactful, they go after you.”
This is the third time Trump has allegedly been targeted in an assassination attempt. The first was in Butler, Pennsylvania, in 2024, when he was shot in his upper ear by a 20-year-old gunman who was shot dead by security personnel at the time. 
Two months after that incident, Secret Service agents discovered a man hiding in the bushes at the Trump International Golf Club in West Palm Beach, Florida, as Trump played rounds on the course. It was deemed an assassination attempt because the suspect was seen wielding a gun. He was sentenced to life in prison in February 2026.
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James Fortune Is Back “In The Room”
Billboard Gospel Air Play Charts (Week of April 25th, 2026) was originally published on praisedc.com

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White House officials say the gunman traveled from California to Washington, D.C., and checked into the hotel where the White House Correspondents’ dinner was being held.
The suspected gunman who tried to attack the White House Correspondents’ dinner has been identified.
Law enforcement officials confirmed to the Associated Press that the suspect is 31-year-old Cole Tomas Allen, of Torrance, California, though investigators have not publicly released the suspect’s name. Acting U.S. Attorney General Todd Blanche also stated on Sunday (April 26) that White House officials believe the shooter was targeting President Donald Trump and his administration officials.
According to Al Jazeera, Allen worked in education, as Facebook posts associated with him show he was recognized with a “Teacher of the Month” award by the college test prep and tutoring company, C2 Education. A LinkedIn page linked to Allen says he graduated with a bachelor’s degree in mechanical engineering from California Institute of Technology in 2017 and earned his master’s degree in computer science from California State University, Dominguez Hills in May 2025. The page also indicates that he was an independent video game developer.

Blanche said officials believe that the shooter traveled from California to Chicago, then to Washington, D.C., this week to check into the hotel where the White House Correspondents’ dinner was being held.
The guns Allen carried into the event, a Maverick 12-gauge shotgun and an Armscor Precision .38 semi-automatic pistol, were legally purchased, per NBC News.
On Saturday night, President Trump, First Lady Melania Trump, and several other White House officials were evacuated from the hotel where the White House Correspondents’ dinner took place after shots were fired. The White House released a report to its press pool last night that the Secret Service apprehended a shooter, which was later confirmed by President Trump via Truth Social. The President also posted a photo to the account of a person being detained.
Though first writing to Truth Social that he “recommended” continuing the events of the correspondents’ dinner as planned, the president later said, “Law Enforcement has requested that we leave the premises, consistent with protocol. The First Lady, plus the Vice President, and all Cabinet members, are in perfect condition,” adding that the dinner will be rescheduled within 30 days.
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The new season appeared without warning—and disappeared just as quickly—leaving fans who didn’t binge in time searching for answers.
Fans of “The Oval” are sounding off after season 7 of the hit drama suddenly vanished from Paramount+ days after its surprise debut.
The latest season of the hit White House drama from Tyler Perry quietly dropped on April 15, giving subscribers early access to all 22 episodes. The unexpected release came months before the streamer’s planned integration with BET+, where much of Perry’s content typically lives.
For a brief window, fans were able to binge the new season in full. But by Wednesday (April 22), the episodes that had once been available on the streamer were gone. Subscribers who didn’t finish the season in time were left confused, with many taking to social media to question why the content had been pulled without warning.
“Anyone else find it weird that neither Tyler Perry nor the official series page have tweeted NOTHING about The Oval season 7 streaming on Paramount+?” one X user asked on April 21. “Surprise dropping a whole 22 episode season and not saying anything afterward is odd.”
Anyone else find it weird that neither Tyler Perry nor the official series page have tweeted NOTHING about The Oval season 7 streaming on Paramount+?

Surprise dropping a whole 22 episode season and not saying anything afterward is odd.
As of now, only seasons 1 through 6 remain available on Paramount+, leaving a noticeable gap where the newest installment once sat. The sudden removal has sparked frustration among viewers who felt blindsided by the platform’s lack of communication.
The timing adds another layer to what’s already been a chaotic month for Paramount+. Just days before “The Oval” debuted, the company was dealing with fallout from a major leak involving “The Legend of Aang: The Last Airbender,” an animated film that surfaced online months ahead of its intended release.
While some fans speculate that the early drop of season 7 may have been accidental or tied to licensing agreements ahead of the BET+ merger, that theory raises more questions than answers. As of publication, the latest season isn’t available on BET+ either.
For now, viewers are left waiting for clarity—and hoping the missing episodes return sooner rather than later.
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Drake, Adin Ross, and DJ Akademiks are being sued in New Jersey for allegedly promoting illegal gambling through Stake.
Drake has been hit with another gambling suit courtesy of his partnership with Stake, which also names Adin Ross.
The lawsuit was filed in New Jersey on April 22 and accuses all parties, including DJ Akademiks, of illegal gambling and racketeering.
The plaintiff is Jason Nufio of Roselle, New Jersey, who claims he lost money on Stake and that the online casino violates state gambling regulations. The accusation comes on the heels of New Jersey’s passage of a new law in August 2025 that prohibits anyone statewide from playing in a sweepstakes casino.
And Drake, Ross, and Akademiks are to blame because they’ve “all used their celebrity status to promote Stake while hiding their deals with the platform so they were really financially harmed while gambling.”
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“They have inflicted harm on consumers across the State who have lost real money chasing gambling wins on the Stake platform,” Nufio’s attorneys wrote, adding that Stake “concealed the fact that Drake and Ross faced no genuine financial risk, while ordinary consumers who followed their lead and placed similar wagers stood to lose real money.”
Akademiks is specifically called out for “knowingly and directly [assisting] Drake’s inflation of his streaming numbers through bot networks by publishing and promoting information that he knew to be false” and was paid through Stake’s tipping function.
For his troubles, Nufio wants unspecified damages and is demanding a refund of the money he spent gambling on Stake.
The suit echoes issues raised in other lawsuits in Virginia, New Mexico, and Missouri, where the first filing originated. The paperwork accuses Stake of “promoting illegal online gambling practices “under deeply fraudulent pretenses, and even calls Drake the company’s “unofficial mascot.”
It again accuses Drake and Ross of playing with house money, so “any reported losses are part of a marketing tactic designed to draw attention. Stake’s influencer marketing, especially through Drake and Ross, is directed, among others, at teenagers in Missouri and in other states.”
Ross has been pretty dismissive of the lawsuit, calling it “f-cking bullsh-t,” while Drake appears not to budge, with Stake still being the very first brand mentioned in his Instagram bio.

Drake & Adin Ross Named in Another Illegal Gambling & Racketeering Lawsuit With Stake was originally published on cassiuslife.com

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A visitor to Lacma in 1967 Photo: © Museum Associates/LACMA
Every day, couples get engaged, tourists take photos, friends meet and museum-goers delight amid the lampposts of Chris Burden’s Urban Light, the stunning sculpture in front of the Los Angeles County Museum of Art. It’s hard to believe that this magnetic piece of public art has only been there since 2008—it is already almost as recognisable as the famed Hollywood sign.
Urban Light is representative of both the big swings and intentional investments that have nurtured the museum from a fledgling offshoot of the catch-all LA Museum of History, Science and Art (now split into the Natural History Museum of LA County) to a world-class art institution. Much like Los Angeles itself, LACMA has a startup mentality and a willingness to take risks that has served it well since it opened the doors to its current location on Wilshire Boulevard in 1965. Every 20 years or so, the museum has committed to a new phase, from the initial move from Exposition Park in the mid-1960s, opening the Pavilion for Japanese Art in the 80s or building the Resnick Pavilion in 2010, to today’s David Geffen Galleries.
Henri Matisse’s La Gerbe (1953), which has been carefully moved into a new location in the David Geffen Galleries
© Succession H. Matisse/Artists Rights Society (ARS), New York; photo: © Museum Associates/LACMA
Stephanie Barron, Sharon Takeda and Nancy Thomas have all been at the museum for the majority of the last half-century and have worked in their respective specialty areas to build the current collection.
Barron, the senior curator and head of the department of Modern art, recently celebrated 50 years at LACMA. “For me, it’s about cultivating collectors, cultivating an audience and building it slowly,” she says. “And you realise that, after decades, it has changed profoundly.”
Soon after its founding, LACMA earned its place in the museum world by building a first-class exhibition programme. With a growing population, LA was hungry for a grand space to see the wonders that regularly came through other big cities in the US and abroad. “Purchasing art is hard when you don’t have a lot of money,” Barron says, noting that strong local relationships, like the longstanding one with the Ahmanson Foundation for the European collection, were built over time. “That is a perfect example, I think, of how a teaspoon at a time will eventually fill the pail.”
LACMA also began using its strength in hosting and organising exhibitions as a tool for acquiring art for the permanent collection. “One of our ways of getting great pieces was that we organised major international loan shows,” Takeda, the senior curator and department head of costume and textiles, and Japanese art, says. She notes that early exhibitions with the Tokyo National Museum and the National Museum of Japanese History were key to this approach.
“It was the opportunity to hang or find a major piece for your collection so something in LACMA’s collection was in that exhibition. That was a good way of getting something really major,” says Takeda. She adds that because most catalogue publishing in the US used to be centred on the East Coast, developing its own exhibition catalogues also helped to establish LACMA as an important institution.
These early moves set the stage for the current chief executive and director Michael Govan’s leadership, with the permanent collection additions picking up pace in the past quarter century. “When Michael came, his first meeting with the curators [set out the aim] to raise the bar high in terms of acquisitions, and not be afraid of prices,” Takeda says. She adds that Govan encouraged his team to make “newsworthy” choices, like the Fashioning Fashion: European Dress in Detail, 1700-1915 exhibition, which inaugurated the Resnick Pavilion in 2010 before travelling to the Musée des Arts Décoratifs in Paris and beyond.
The 2010 exhibition Fashioning Fashion: European Dress in Detail, 1700-1915 © Museum Associates/LACMA
Thomas, a senior deputy director for art administration and collections, is spending the majority of her time on the David Geffen Galleries and says that much of the art there is new to the museum. “If you look at the checklist for the Geffen installations, it reflects acquisitions largely from the last 20 years, with some major exceptions,” she says. “So when you look at the installations in the Geffen galleries, they’re really built upon the curators’ interests and thematic recognition of the collections that we have built most recently.”
Barron says that museum visitors will see some familiar works when they come into LACMA anew—and that is on purpose. “There is one big Modern piece in the new galleries. Matisse’s La Gerbe (1953),” she says. “The large ceramic piece was very, very carefully moved into its new home… and you can see it from the plaza. It’s like an old friend greeting you.”
This vast, visionary new building on the Los Angeles County Museum of Art campus flaunts strengths in displaying antiquities
The David Geffen Galleries, which officially opens next April, recently hosted a preview event and performances by Kamasi Washington and an ensemble of 100 jazz musicians
Museum leaders are hoping to organise public programming in the empty building next year
A vast concrete beauty that has been 20 years in the making is opening on 19 April, aiming to serve the local community and provide a welcoming focal point for the Los Angeles area

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From the yard to your screen, Hillman’s homecoming is on the way to Netflix and we’re weighing in.
Today, the brands released a new episode of The Black Watch, an editorial-led series examining the biggest cultural moments in film and entertainment.
The latest installment of the series brings together BOSSIP’s Managing Editor Dani Canada, iONE Digital Vice President of Video Tanya Hoffler-Moore, iONE Digital Director of Content for the Men’s Division Alvin Blanco, and producer Xavier Francis for candid commentary on A Different World.
As previously reported, the sequel, which will span 10 half-hour episodes in a single-camera format, follows Deborah, the rebellious daughter of Dwayne Wayne and Whitley Gilbert, as she begins her freshman year while grappling with her parents’ legacy.

That legacy looms large over the panel’s discussion.
“I don’t know yet,” admits Tanya. “Sometimes when we have amazing shows like A Different World, it’s like leave it alone.”
“Expectations are lofty,” said Alvin. “I want it to succeed, I want it to be great. The original is like a classic Hip-Hop album, it inspired me to want to go to college.”
“I think it’s needed in this time,” adds Xavier. “I’m gonna watch it, no matter what, I’m gonna ride for it but I’m hoping it does what it needs to do for this generation and generations ahead.”
Still, amid the cautious optimism, Dani offers a note of reassurance about the creative team steering the sequel.
Pointing to showrunner Felicia Pride, whose credits include Bel-Air and Grey’s Anatomy, alongside returning executive producer Debbie Allen, Dani makes it clear she feels confident in the project’s foundation.
“She understands the weight of this… how big this is for the culture,” Dani says of Pride, adding that Allen’s involvement further solidifies the show’s credibility and connection to the original.
The conversation also highlighted why the show remains so beloved, with panelists reflecting on their favorite characters from the original series.
“It’s absolutely Freddie,” says Xavier. “I had the biggest crush on Freddie. She was the one.”
“I’m a Whitley girl, I love me some Whitley Gilbert,” says Dani. “I love the ridiculous accent, I love how she dressed, I love how they pretty much made her an AKA. I fell in love with Whitley.”
Others pointed to Dwayne Wayne as the heart of the show.
“He was our Zack Morris…he was the star of the show in my eyes. it didn’t feel like an episode without him,” says Tanya.
“His sneaker game, we locked in. It was the show where we checked in,” adds Alvin.
Ultimately, the group agrees that they’re emotionally connected to the show that was an important part of their upbringing.
That emotional connection is exactly what the Netflix sequel is aiming to tap into, blending returning cast members with a new generation of talent. Legacy stars including Kadeem Hardison, Jasmine Guy, Darryl M. Bell, and Cree Summer are set to reprise their roles, joined by newcomers like Cliff “Method Man” Smith and Norman Nixon Jr.
Ultimately, the consensus is clear: the sequel must honor what came before while carving out its own lane.
Will YOU be watching the A Different World sequel?
If you enjoyed BOSSIP and Cassius’ take, be sure to tune into new episodes of The Black Watch for more conversations on the culture’s biggest moments.

The Black Watch’: BOSSIP & Cassius Travel To Hillman To Talk ‘A Different World’ On Netflix–’It’s Needed’ was originally published on bossip.com

COMMENTARY: 5 Reasons Why Obama Will Beat Romney
The 30 Most Beautiful Black Women In Hollywood
Rest In Power: Notable Black Folks Who We’ve Lost In 2026
Donald Trump’s Mental Fitness The Subject of Intense Scrutiny Following Zany Fox News Interview
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From Keke Palmer to Coco Jones, this year’s honorees didn’t just shape culture; they defined the night’s most memorable style moments.
The world’s most influential figures gathered under one roof at TIME’s annual TIME100 Gala, celebrating leaders, creatives, and changemakers who are pushing culture forward across industries. Beyond the accolades, the night served as a masterclass in red carpet storytelling, where fashion became its own form of expression.
Among the evening’s standout honorees were Keke Palmer, Sterling K. Brown, Zoe Saldaña, Coco Jones, health advocate Precious Matsoso, and model Anok Yai. This lineup reflects the global and cultural reach of this year’s list. Each honoree represents a different lane of impact, from entertainment and advocacy to fashion and public health, reinforcing TIME’s ongoing commitment to spotlighting those shaping what’s next.
And while the list itself carried weight, the red carpet delivered a visual narrative all its own.
La La Anthony arrived in a gold tassel gown that moved with intention. The corseted structure gave the look a sculpted edge, while layered fringe added dimension from neckline to hem. Styled with black cat-eye glasses and statement gold jewelry, the ensemble balanced drama with precision.
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Yai, never one to miss, commanded attention in a green crocodile-textured gown fresh off the couture runway. The sculptural neckline framed a diamond statement piece, while the structured skirt created a silhouette that felt both modern and regal. It was a reminder of her ability to turn high fashion into a moment.
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Keke Palmer leaned into contrast, pairing a corseted black top with a velvet checkered skirt that played with texture and shape. A lace-trimmed slip detail added softness to the structured look. At the same time, her finger-waved pixie and diamond accents kept the styling sharp and polished—effortlessly blending vintage inspiration with contemporary flair.
Then there was Coco Jones, who delivered one of the night’s most romantic looks. Wearing a strapless gown with a black corseted bodice and bold red rose detail, she let the drama unfold through a voluminous white tulle skirt. The silhouette struck a balance between classic elegance and modern statement-making, cementing her as one of the evening’s standout style stars.
Together, the night’s honorees didn’t just celebrate influence; they embodied it.

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Master of the Schöppingen Altarpiece’s Crucifixion of Christ and Scenes from His Passion (1450-60) was among the works destroyed in the 1945 fire
Staatliche Museen zu Berlin, Gemäldegalerie/Gustav Schwarz
Works by Caravaggio and Peter Paul Rubens lost in a fire in the Second World War will soon be viewable online. The Gemäldegalerie in Berlin, home to one of Europe’s most comprehensive collections of Old Master paintings, has finished digitising its high-resolution glass‑negative archive of hundreds of destroyed paintings, giving scholars and the public access to one of the most consequential museum losses of the era.
In May 1945, at the end of the Second World War, two fires swept through the Friedrichshain flak tower where around 430 large-format works from the museum had been stored for protection. Among them were paintings by some of Europe’s most celebrated artists, including ten by Rubens, five by Paolo Veronese, five by Anthony van Dyck and three attributed to Caravaggio. The losses have long represented a major gap in the visual record and in attribution, provenance and conservation research. The surviving photographs stem from a systematic campaign begun in 1925. Most of the negatives were made by Gustav Schwarz (1871-1958), a photographer who began working for the Berlin museums in 1906. Katja Kleinert, the Gemäldegalerie’s deputy director and project leader, says works were typically photographed soon after acquisition. The series continued until 1944 and includes wartime acquisitions.
The glass negatives were originally produced both to document the collection comprehensively and create photographic reproductions for publications and postcards. Organised by format and catalogue number, the plates were stored for decades in the Kaiser-Friedrich-Museum archive on Museum Island. They were moved to the Kulturforum at Potsdamer Platz when collections in the formerly divided city were merged in 1998.
Kleinert explains that, with few exceptions, the glass negatives have survived in very good condition—and their sharpness is striking.
“They have tremendous documentary value—not only for the museum and the collection itself but also for the public,” she says. “By digitising the glass negatives, the significance of the collection can be understood in a completely new way.”
Kleinert says this accessibility is also important for provenance research, as the glass negative collection is essentially the main visual source for many of these lost works. “People regularly send us images of paintings and ask whether they might correspond to works believed to have been destroyed or lost during the war,” she says.
Digitisation was carried out in the Gemäldegalerie’s photo archive room to avoid transporting the highly sensitive plates. Rather than scanning them, the team re-photographed each negative with a high-resolution camera setup. The images were then edited, cropped and prepared for upload.
Although there were a few colour photographs among the collection of black-and-white images, those colour plates were not digitised as part of this project because the process is more complex.
Franziska May, a provenance research associate, says each negative had been placed in a paper envelope labelled with the catalogue number, title and artist’s name. During the digitisation project the negatives were unpacked and rehoused in acid-free paper and archival boxes to ensure better long-term protection.
“Considering their fragility, it is remarkable how well the collection has survived,” she says. “Only a very small number of plates had damage.” The digitisation itself took just under six weeks; editing, database preparation and online publication extended over several months.
Once they are published in the Gemäldegalerie’s online collections database—probably later this year—the images will grant a global audience high‑resolution viewing of works previously accessible mainly through printed loss catalogues with small illustrations. Users will be able to zoom in and enlarge the images, and downloads will also be possible, although the downloadable versions will not be the full highest resolution.
Kleinert says that the museum plans to digitise glass negatives for other losses recorded in its catalogues, including old loans never returned, paintings confiscated by the Soviet military and not repatriated, pre‑1945 losses, and works recorded as stolen or destroyed—bringing the wider loss inventory to roughly 585 objects.
“There is a certain relief once they are digitised because then they are preserved digitally,” Kleinert says. “When you hold the glass negatives in your hands you realise how fragile they are. You’re thinking: I must not drop this.”
Culture minister Monika Grütters enlists international experts to help create a central institution but critics question necessity and feasibility
There are plenty of grants for new digital projects but finding long-term funding could be much harder

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When a film dares to take on someone as iconic as Michael Jackson, you already know the conversation is going to be bad in the best way possible.
When a film dares to take on someone as iconic as Michael Jackson, you already know the conversation is going to be bad in the best way possible. But Michael, directed by Antoine Fuqua, isn’t just here to show off MJ’s moonwalk and countless hits—it’s pulling us all the way into the family, the pressure, and the making of a legend.
When MadameNoire sat down with Nia Long, Colman Domingo, and rising star Juliano Valdez, it was clear this wasn’t just another retelling. Under the direction of Fuqua, Michael doesn’t just revisit the performances we know by heart—it leans into the tension, tenderness, and transformation that shaped a global icon.
What unfolded in our conversation was equal parts reverence and realness, but also a surprising amount of humor, especially when it came to stepping into roles that required them to bend time, age, and expectation.
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When I joked that Nia didn’t seem “old enough to play nobody’s mama,” she didn’t miss a beat. “I actually am,” she said with a laugh, before grounding the role in something deeper. “Catherine was a young mother… you have to think about what women carried in the early ’60s. She had a lot of children, very young.” Then, with a wink to every black woman on the planet, she added, “Most importantly… we don’t age.”
That moment opened the door for playful banter between her and Domingo, who jumped in, mock-offended: “Wait a minute… you thought I was too old? I’m young and fun.” The exchange was light, but it underscored something essential about the film itself. This is a story about family, about dynamics, about how we see each other versus who we really are.
Domingo, who underwent hours in prosthetics to transform into Joe Jackson, spoke about the responsibility of portraying a man so often reduced to a single narrative. “We really wanted to shade a nuanced color of this family that we all think we know,” he said. “But now we get to get more into their interior lives… showing a different lens of Michael and the makings of Michael.”
And at the center of it all is the emotional push-and-pull between father and son—a tension the film doesn’t shy away from. “It wasn’t just a random spanking,” Domingo explained. “It was two people at odds… a parent trying to parent the only way he knows how, and a young Michael trying to find his voice.”
That emotional weight was something Juliano Valdez carried with him throughout filming, especially in the more difficult scenes. To portray those moments authentically, he said, he simply thought about the reality of Michael’s childhood. “He wanted to be a regular kid… but he didn’t get to do that because he was always rehearsing.”
Still, Michael isn’t just about pain—it’s about purpose, artistry, and legacy. And for Nia, that’s what she hopes audiences walk away with. “Michael was a humanitarian, an artist, a sensitive soul… someone who really cared.”
Michael is in theaters now. Watch the full interview above.
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The Makings Of ‘Michael’ — Nia Long & Colman Domingo On Bringing The Jackson Family Drama To Life [Exclusive Video] was originally published on madamenoire.com
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Comedian KevOnStage latest interview sparks massive online debate
KevOnStage is in the middle of a massive debate right now after sharing his thoughts on LGBTQ inclusion in the church during an interview with Cam Newton. Because he’s always been so open about his church upbringing, his comments really struck a chord with both his fans and the broader Christian community.
In the interview, Kevin basically said that he chooses to lead with love rather than judgment. He pointed out that “Christian” literally means to be like Christ, and in his view, Jesus always prioritized love and spent His time with the people society considered outcasts. He made it clear that he doesn’t see himself as a pastor or a teacher, just a “church kid” sharing his perspective, and he told people they shouldn’t even be getting their theology from him anyway.
To explain his stance, he shared a personal story about his brother. He talked about how his brother was welcomed and loved by their church even while he was living a lifestyle that many would consider sinful, eventually moving from the back row to becoming a deacon. At the same time, Kevin noticed that the same grace wasn’t always extended to LGBTQ people. He mentioned a time when he was a youth pastor and saw a deacon chase off a gay student who had been coming to church all summer. Seeing how love brought one person in while judgment pushed others out really changed how he looks at things.
The reaction online has been pretty split. A lot of people are praising him for being honest and compassionate, but others are coming at him pretty hard. Critics are saying he’s “lukewarm” or that he’s choosing feelings over scripture. They argue that real love requires telling people what the Bible says about sin rather than just being accepting.
Kevin eventually followed up with another video to double down on his stance. He explained that his walk with God has evolved as he’s gotten older. He admitted that there are things he used to be 100% sure were sins, like tattoos or drinking, that he doesn’t feel the same way about anymore. For him, it’s more about letting his light shine and focusing on his own relationship with God rather than trying to correct or condemn anyone else.
KevOnStage: Is KevInTrouble? was originally published on praisedc.com

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In a new interview with Vibe published April 22, Kehlani revealed that she finally has the “tools” to navigate challenges with her Borderline Personality Disorder (BPD) diagnosis.
In a new interview with Vibe published April 22, Kehlani revealed that she finally has the “tools” to navigate challenges with her Borderline Personality Disorder (BPD) diagnosis. The “Folded” singer revealed she had been diagnosed with the mental health condition in April 2025. 
“When you finally have the tools, you have the diagnosis. But along with the diagnosis comes the work,” Kehlani, who turned 31 on April 24, told Vibe. “So upon getting diagnosed, I got medicated and [did] different forms of therapy [like] somatic healing, but I also gained this tool belt of awareness. I’m starting to recognize my symptoms and triggers. I’m starting to learn what kind of life I have to lead as a person whose mind is different.”
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According to the Mayo Clinic, Borderline Personality Disorder (BPD) is a mental health condition that triggers intense and unstable emotions, including impulsive behaviors and a distorted self-image, among other challenges. It primarily affects emotional regulation and can involve fear of abandonment, self-harm, and persistent feelings of emptiness.

For the mother of one, being open about her struggles is essential when triggers begin to surface. She relies on a trusted circle for support, explaining to Vibe that she often tells them, “Hey, if you see these signs [of] I’m not sleeping, I’m not eating, I’m talking really fast. All of a sudden, I want to pick up 17 new hobbies, and I might dye my hair pink, maybe call me in and tell me I’m tripping. Call my psychiatrist. I’m in crisis.”
The “After Hours” singer said she sought professional help after reaching a point of “extreme paranoia,” which she connected to the ongoing humanitarian crisis in Gaza.
“I [was] having a hard time going outside and being in my house,” she said. “I’m yelling at the phone every day, thinking that me shaming everybody and being so angry was going to teach everyone. It [was] making my paranoia and anger worse.”
She continued, “Watching babies get blown to bits should do something to you. All of that combined with me not knowing what to do with my position [and] the survivor’s guilt. You’re a thriving celebrity in a time when people are struggling to get their needs met and are being murdered for existing. All of that just made me snap. I wouldn’t say thank God for the snap, but I wouldn’t have gotten the diagnosis if I didn’t fly off the handles the way that I did.”
Navigating life in the public eye has added another layer of difficulty. When it comes to balancing her career with her mental health, Kehlani said she has come to accept that negativity is unavoidable, especially in today’s climate.
“I don’t have that hope anymore that people can just have fruitful careers without the bullsh-t. I see people who I deem perfect angels getting ripped to shreds [online] for nothing,” she said bluntly. “As soon as I [saw] ‘Olivia Dean discourse,’ [I was like] nobody knows what they want and all this sh*t isn’t real. For a really long time, I had a really hard problem with people misunderstanding me. It was the bane of my existence,” she explained, adding:
“At some point, no matter what you say or how you present, you can’t prevent any reaction that’s going to happen. So once the shackles of being understood freed me, I was like let me just make some damn music and live my life.”
Kehlani first publicly shared her BPD diagnosis in a social media post celebrating her 30th birthday in April 2025.
“I never saw myself making it to 30 growing up. 1 in 10 BPD diagnosed people die at their own hands,” she wrote on Facebook. “7 in 10 people make an attempt. I’ve had a crazy life… but the last year changed my world. Accountability, commitment, growth and change. Finally having a diagnosis (BPD & Bipolar disorder), medication, routine, discipline, sobriety, solitude, GOD and commitment to wholeness alone… changed my world.”
At the 2026 Grammy Awards, Kehlani earned her first two Grammys, Best R&B Performance and Best R&B Song, for her hit song “Folded.” She released her self-titled debut album Kehlani on April 24. 
On Friday, she shared a photo of her younger self, thanking herself for seeing the project through. ​​
“I love you little one. I’m so proud you never gave up,” she penned. “I’m so honored to make this album for you. Because of you. You inspired this. You sang this. You wrote this. You are walking in this. 31. I don’t take a single thing for granted, and I wouldn’t change a single thing no matter how painful. I love you Kehlani Ashley. Don’t ever stop thanking God. It’s all above us. Amen.”
RELATED CONTENT: Kehlani Slams Cornell University After Their Show Is Canceled: ‘This Is A Played-Out Game’
The post I Was ‘In Crisis’ — Kehlani Reveals The Dark Spiral That Led To Her Bipolar Disorder Diagnosis appeared first on MadameNoire.
I Was ‘In Crisis’ — Kehlani Reveals The Dark Spiral That Led To Her Bipolar Disorder Diagnosis was originally published on madamenoire.com

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