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BAFTA apologized to members on Friday (April 10) following an independent investigation that concluded it fell short of its diversity goals on awards night.
After an independent investigation concluded that the incident involving the N-word showed “structural weaknesses” within BAFTA, the organization addressed its members.
The organization sent an email to members on Friday (April 10), making apologies out to the Black community, “for whom the racist language used carries real pain, brutality, and trauma,” and the disability community for “including people with Tourette Syndrome, for whom this incident has led to unfair judgement, stigma, and distress.”
“What was supposed to be a moment of celebration was diminished and overshadowed. We have written to those directly impacted on the night to apologise,” the statement from the organization said.
While Michael B. Jordan and Delroy Lindo were presenting at the BAFTA Awards on Feb. 22, a shout from the audience interrupted them, specifically someone shouting the N-word. It was Tourette activist John Davidson, who was attending the event for the nominated film, “I Swear,” which is inspired by his experience with the neurological disorder. Later, it was explained that Davidson’s tics were causing him to involuntarily shout out the slur, as well as other curse words while different presenters took the stage throughout the night.
Many criticized BAFTA for creating an environment where such an incident was allowed to take place, and also the BBC for broadcasting the moment with Jordan and Lindo, even though the show was pre-recorded.
The independent review of the incident done by RISE Associates concluded that there was no “evidence of malicious intent on the part of those involved in delivering the event, but found “structural weakness in BAFTA’s planning, escalation procedures and crisis coordination arrangements.”
“In particular, the organisation did not fully appreciate the nature of the risk associated with a live broadcast appearance, early warning signs were not escalated, and the absence of a clear operational command structure limited BAFTA’s ability to respond effectively once the incident occurred,” RISE Associates wrote.
The review further explained its reasons for why it did not blame the BAFTA incident on institutional racism, instead pointing to BAFTA’s planning of the event, saying the organization fell short in its preparation and “risk governance systems.”
“However, it would be wrong to describe the event as evidence of institutional racism, as this misses an important point. Institutional racism means that racial bias is built into systems, policies, and culture,” the independent review said. “In such systems, discriminatory outcomes appear regardless of individual intent. The available evidence does not support that conclusion here. Instead, the evidence suggests something different. BAFTA’s planning and risk governance systems have not kept pace with its diversity goals.”

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Brown Sugar Babe is your go-to for captivating scents that uplift your well-being. Explore the magic of their new collection.
I’ve said it before and I’ll say it again: the hack to smelling good is simply Brown Sugar Babe. Ever since I was introduced to the brand by beauty expert Kayla Greaves, I have been in love. From the titles of the scents to the undeniable notes, BSB has cracked the code.
The Black-owned skincare brand was founded by Maekaeda Gibbons. It began as a personal journey into aromatherapy and self-care. She found that calming fragrances eased stress during a demanding time. Gibbons created the brand to help others access those same benefits. BSB believes self-care doesn’t have to be complicated. It uses scent to support mental, physical, and emotional well-being. What began as small batches has grown into a trusted brand. BSB remains committed to quality, customer feedback, and its core mission. That mission is creating effective, feel-good products that help people pause, reset, and truly be well.
Their latest itiration, Fragrance & Friendship, plays on the power of scents and sisterhood. Fortunately, we had the opportunity to speak with Maekada and Blake Newby, half of one of the bestie duos featured in this dynamic collection.
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In the film, the “exhale” represents a moment of release. Which fragrance in the collection do you feel best captures that specific moment of finally letting go and being yourself with your friends?
Maekaeda: Rebirth feels like the truest expression of that “exhale” moment. It captures that shift where you’re no longer holding anything in. You can show up fully as yourself, without explanation. That’s what friendship at its best offers: a space to release, reset, and just be. The scent itself reflects that emotional lightness. It’s airy, clean, and softly warm, almost like the feeling of taking a deep breath after you’ve let something go.
What does “playing” in this classic film mean for the modern Black woman’s luxury experience? How are you reclaiming or evolving that narrative for a new generation? 
Maekaeda: Referencing Waiting to Exhale was less about nostalgia and more about honoring a cultural moment that centered Black women choosing themselves. What we’re doing now is evolving that narrative to reflect where we are today. For us, luxury isn’t just about aesthetics, it’s about softness, ease, and having the space to exist without constant pressure.
This collection reframes friendship as part of that luxury experience. It’s about investing in the moments, the rituals, and the people that allow you to feel grounded and seen. 
Blake: ​​The seaweed in Agua Davina is such a nostalgic note for us. We spoke about this at the Atlanta launch event, but our first vacation together was to Mexico. For three straight days, we just relaxed by the beach, sipped margaritas, and enjoyed girl time. We know that vacations often make or break friendships. It’s where you figure out who enjoys traveling in the same manner as yourself — and it was there that we realized yet another synergy in our vibes. We’d also like to add that we have traveled to Miami together 4 times and have remained friends each time. LOL
Maekaeda: We approached each fragrance from an emotional standpoint first, rather than starting with notes. We asked ourselves what “Perfection” or “Rebirth” actually feels like in real life—how it shows up in your body, in your relationships, in your everyday moments.
From there, I picked scent profiles to mirror those feelings. For example, “Perfection” is less about flawlessness and more about balance, so it combines more refined, elevated notes with warmth to keep it grounded. “Rebirth,” on the other hand, leans into freshness layered with skin-like warmth, capturing that feeling of starting over while still feeling like yourself. The goal was for the fragrances to feel instantly recognizable on an emotional level, even before you can fully describe why.
Blake: Timeless is truly the fragrance that we’d assign to the current era of our friendship. With us becoming friends later in life, we’re now 100% in the era where we’re realizing that this is definitely a forever thing. She’s stuck with me, I’m stuck with her, it’s Timeless. 

You both navigate the beauty and media industry at high levels. What did you learn about the chemistry of fragrance during this process that surprised you?
Blake: While both of us have witnessed the fragrance process up close throughout our careers, this is the first time that we’ve so intimately experienced that process from a Black woman’s lens. Learning more about Maekaeda’s intricate approach to crafting BSB’s oils, while also being able to pick her brain on the sophistication of her nose, proved that fragrance isn’t just sensorial; it’s also cultural. 
With a price point of $65, these are positioned as accessible luxury. Was it a conscious decision to make high-end scent profiles—like caramelized fig and white tea—attainable for a wide community of women?
Maekaeda: Absolutely. That is the basis of my entire business. The oils are typically priced at around $65 for each launch. It was very intentional to create something that feels elevated while still being accessible to our community. There’s often a perception that high-quality fragrance has to sit at a certain price point, and we wanted to challenge that.
By incorporating more traditionally “luxury” notes like caramelized fig and white tea, we were able to deliver a scent experience that feels rich and layered, without making it feel out of reach. For us, luxury is as much about how something makes you feel as it is about the formulation, and we wanted more women to be able to access that feeling in their everyday lives.
On Timeless: The combination of fruit and coffee is bold. What kind of “shared moment” does this scent represent—is it a morning coffee catch-up or a late-night gala?
Maekaeda: Timeless really lives in that in-between space. It captures those moments that start one way and evolve into something else, like a quick get together that turns into hours of conversation, or a day out that lingers longer than expected. The fruit brings a brightness and ease, while the coffee adds depth and a bit of intrigue. Together, it feels familiar but slightly unexpected, which is very reflective of those shared moments that end up meaning more than you planned.
Maekaeda: Agua Davina definitely carries that sense of escape, but it’s less about a physical vacation and more about a mental reset. The sea minerals bring a clarity and openness, while the ginger adds a subtle warmth and energy. It’s grounded, but still expansive.
We thought of it as the scent you reach for when you need to step away and recalibrate whether that’s with your friends on an actual trip or just carving out a moment of stillness in your everyday life. It’s about creating that feeling of space, wherever you are.
Maekaeda: Rebirth felt essential because friendship and transformation are so deeply connected. The people closest to you are often the ones who witness your evolution in real time, they see you through changes, challenges, and new chapters.
Including a scent centered on Rebirth acknowledges that growth doesn’t happen in isolation. Your friends are part of that process, they support you, reflect you back to yourself, and create space for you to become who you’re meant to be next. The fragrance mirrors that duality of newness and familiarity, capturing the feeling of stepping into something new while still feeling fully grounded in who you are.
Exclusive: The Besties Behind Brown Sugar Babe’s New Drop Are Letting Us In was originally published on hellobeautiful.com

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April 11, 2026
Sticking to a disciplined budget and improving financial literacy are ways to help bolster debt management.
When it comes to debt management, Black Americans view that strategic approach differently than other groups.
Consider Blacks carry higher auto loan debt ($20,000 versus $18,000), medical bills ($6,100 compared to $5,600), and buy now, pay later debt ($1,345 against $1,221). Roughly 28% of Blacks possess student loans in contrast to 19% of all Americans.
The data was furnished to BLACK ENTERPRISE by Clever Real Estate, a platform that operates as a real estate marketplace. It quizzed 1,000 U.S. adults on their debt levels and attitudes on debt, including 202 Black Americans. Clever provided a breakdown of the statistics on the Black Americans surveyed.
Clever data analyst Clara Haverstic indicated by email that the findings that Black Americans are more likely to carry student debt are consistent with discoveries from this report.  According to her, the findings reveal a systematic lack of financial resources for Black students entering higher education, with generational financial disparity playing a large role.
“A history of low wages and an inability to build generational wealth continue to impact Black households when it comes to repayment,” she told BE.
Further, the data disclosed 22% of Black Americans are less likely to have a mortgage than 29% of Americans overall, reflecting broader numbers displaying lower homeownership rates for Blacks.
Some 54% of Black Americans with debt reported that they’ve missed or delayed a debt payment in the past year, 10 percentage points more than all Americans. Likewise, 66% of Blacks say they can pay all their bills on time, versus 72% for everyone.
However, Black Americans with debt have lower median debt amounts overall, $139,000, much less than $178,000, for all respondents. And 48% of Blacks are much more likely to say they see their finances improving in 2026 versus 38% for all.
Even so, 34% of Blacks with no debt are ten percentage points less likely to say they are prepared for an unexpected large expense against 44% of non-indebted Americans entirely, according to Clever data.
The upside is that there are multiple options to bolster debt control, reduce financial stress, and ultimately cultivate wealth.
The first step to managing debt is to avoid taking on new debt. The second step is to start paying off the debt with the highest interest rate first. Haverstic says, ”Paying off this debt first keeps it from growing higher.
Financial literacy is one of the best ways to become empowered and avoid being taken advantage of, Haverstic says. She indicated It  gives you tools to navigate major financial decisions like saving for higher education, buying a home, and investing for retirement. She suggested starting with resources like the FDIC or CFPB, or see what informational resources your bank offers.
Consider establishing a disciplined budget and sticking to it, helping you identify how much you are spending and where. Haverstic noted people frequently are not aware of how much they are spending, noting things like dining out add up. Thus, checking spending habits is essential. “It makes you stop and think before making a purchase. “
Research reveals other actions you may do well to consider. They include trimming needless costs like subscriptions and coffee runs, using the extra cash to pay off debt.  When you can, many experts advise making additional payments on your debt over what is required. This strategy can help to accelerate the time to erase liability.
Creating an emergency fund if you don’t already have one is also a good idea. This is a cash reserve set aside to cover unplanned expenses, such as car maintenance, home repairs, medical emergencies, and job loss. It is often recommended to have at least three to six months put away to take care of unforeseen costs.
Don’t forget to consider working with a credit counselor or financial advisor. Even though it might cost money, the investment might be worth it. They often can help with everything from creating a realistic budget based on your expenses and income to working with creditors to negotiating lower interest rates and monthly payments.
Another benefit is they can help make sure your creditors are paid on time and assist you with paying debt faster, both of which can help build credit scores.
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After claiming “he got Blacker” for his new R&B-inspired album, Monica, Harlow is once again the butt of the jokes after showing up in a ridiculous-looking hat in his new music video.
Jack Harlow is getting flamed again on social media, this time for his hat in his latest visual for his single “Say Hello.”
After claiming “he got Blacker” for his new R&B-inspired album, Monica, Harlow is once again the butt of the jokes after showing up in a ridiculous-looking hat in his new music video.
Normally, Jack Harlow would be the star of his video, but it’s his oversized olive green utility hat that stole the show as he walks down a busy New York City street singing the song.
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Just like when he dipped into his neo-soul bag, the jokes about his choice of headwear were instantaneous and downright hilarious on social media.
“I have NEVER seen a hat like this in all my natural life,” wrote popular social media comedian KevOnStage.

Another person wrote, “Jack Harlow heard the critiques and got a bigger hat. Unbelievable.”
“This can’t be serious fr… like he done jumped straight into his neo-soul Jill Scott era this is way too deep in that Black cosplay lane. Labels really be shelving actually talented Black artists but approving this?? I’m irritated,” another post read.
The criticism of Harlow’s hat follows after social media blessed him with some clever names after he announced his new project and those headass statements that followed.
We’re not sure if this is the publicity Harlow wanted, but you know what they say: “bad publicity is still publicity.”
Maybe Harlow can channel the jokes and memes into some album sales.
You can see more reactions below.
Jack Harlow Clowned Over His Oversized Utility Hat In Video for ‘Say Hello’ was originally published on hiphopwired.com

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One of the works repatriated to Turkey from Canada this week Courtesy of the Turkish Culture and Tourism Ministry
The first repatriation of Turkish artefacts from Canada took place earlier this week, marking a historic milestone and setting an important precedent in international law. Turkey’s minister of culture and tourism, Mehmet Nuri Ersoy, announced via social media that seven manuscript pages, two printed work pages and two modern calligraphy works have been returned through a Canadian federal court ruling.
“This development has been recorded as the first official repatriation of cultural property from Canada to Türkiye,” Ersoy wrote on 31 March. “We protect our heritage and return history’s entrusted treasures to the lands where they were born.”
Dating from the 17th to 19th centuries, the Ottoman-era manuscripts being repatriated feature Arabic and Turkish calligraphy on a range of topics from Islamic jurisprudence, Sufism, history and literature. While analysis revealed the removal of the original bindings from some pages and the addition of some modern miniatures—interventions deemed commercial and not authentic—the items retained their status as cultural heritage.
One of the works repatriated to Turkey from Canada this week Courtesy of the Turkish Culture and Tourism Ministry
Ersoy added that the repatriation is a “meticulous process” initiated by the Canada Border Services Agency (CBSA) that “carries significant weight as a strong international precedent”. He thanked a team that includes the Turkish General Directorate of Cultural Heritage and Museums, the Presidency of Turkey’s Manuscripts Institution, the Museum of Turkish and Islamic Arts and the Turkish embassy in Ottawa.
The artefacts were handed over dur­ing an offi­cial cere­mony on 30 March at the Cana­dian Conser­va­tion Insti­tute in Ott­awa, where rep­res­ent­at­ives of Turkey’s ministry of cul­ture and tourism received the items from Cana­dian offi­cials, com­plet­ing a legal and dip­lo­matic pro­cess that began more than a year ago.
According to Ersoy, the artefacts were first intercepted by the CBSA as they were being transported from Istanbul to Vancouver. After the case was referred to the Canadian Ministry of Heritage, official communication with Turkey initiated the technical and legal proceedings. Scientific reports and legal documents presented by Turkey led the Canadian Federal Court to rule that the artifacts are Turkish cultural property under national law, authorising their return.
Canadian and Turkish officials during the repatriation ceremony on 30 March at the Canadian Conservation Institute in Ottawa Courtesy of the Turkish Culture and Tourism Ministry
He emphasised that the repatriation not only restores Turkey’s cultural property but also highlights the progress of international cooperation in protecting cultural heritage, in line with the 1970 Unesco Convention. No information has been released indicating whether the buyer of the artefacts had purchased them knowing their illicit provenance or believing them to have been legally exported.
Experts consulted by The Art Newspaper said that while Turkey is a significant channel for antiquities smuggled from across the Middle East, Eastern Europe and Western Asia, they were surprised that the first interception of Turkish artefacts happened in Vancouver rather than Toronto. British Columbia has Canada’s third largest community of Turks, after Ontario and Quebec, estimated at over 8,000 in the last census in 2021, with most settled in Vancouver. Turkish Airlines began non-stop flights between Vancouver and Istanbul a few years ago to serve the growing community.
“It’s excellent news that the pages were intercepted and returned,” says Dominique Langis-Barsetti, an archaeologist at Université Laval in Québec City who has worked extensively in Turkey. “That’s the heart of the 1970 Unesco Convention to prevent the illicit import/export of cultural property,” of which both Canada and Turkey are signatories.
“Art historians everywhere welcome the recovery of works of art removed illegally from their country of origin,” says Hector Williams, a Vancouver-based archaeologist, professor emeritus at the University of British Columbia and the secretary of the Canadian Committee for the Restitution of the Parthenon Marbles. “It is a welcome first step for Canada’s cultural relations with the Republic of Türkiye, a valued Nato ally, that our officials should have intercepted and returned these artworks to their country of origin, especially at a time when Canada is benefitting from the return of First Nations works from major collections like those of the British and Vatican museums.”
Investigations by both the museum’s internal team and experts from Turkey’s Ministry of Culture suggested the gold and carnelian artefact was exported illegally
Hundreds of ancient objects have been repatriated and ground-breaking new discoveries have emerged from the country’s heritage ambitions in recent years
Critics say Turkish government polices give short shrift to religious minorities’ cultural heritage

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The couple has been in divorce proceedings since 2023, Sidora saying in her initial filing that “there is no chance or hope of reconciliation” between the two.
A judge has ordered actress and “Real Housewives of Atlanta” star Drew Sidora to vacate her shared home with her estranged husband, Ralph Pittman.
The update comes after the couple officially separated almost three years ago. According to court documents obtained by TMZ, a judge has ruled that due to the “current financial circumstances of the parties,” Sidora and Pittman must continue splitting the expenses of the home until she has moved out. The reality star has a deadline of May 31 to leave the home.
Pittman will temporarily take over primary custody of their two children, Machai and Aniya, during the school year. Previously, Sidora had primary custody. In August, she and Pittman will have an alternating weekend schedule.
According to TMZ, the judge’s decision came after claims that under Sidora’s custody, the children had excessive absences from school.
Addressing this latest update, the lawyer for Sidora told the publication, “This matter is still being actively litigated, and is in the middle of the final trial. The Second Temporary Order is, in fact, temporary, and does not reflect the final outcome of the case.”
The couple both filed for divorce in 2023, after nine years of marriage, within one hour of each other.
Sidora said at the time of her filing, “there is no chance or hope of reconciliation” between the two. She later called Pittman a serial cheater and said he was mentally and financially abusive in their relationship, as well as physically aggressive on one occasion.
In recent seasons of “Real Housewives of Atlanta,” Sidora showed that she and Pittman were still living together, but he was in the basement and was allowed upstairs to prepare their children for school in the mornings.

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The exit take-up means that no compulsory redundancies are on the horizon at the National Gallery
Photo: Travers
London’s National Gallery will save £2m a year through staff cuts, which it initiated to help tackle an anticipated £8.2m deficit. An annual £1.5m will be saved by staff deciding to depart as part of a “voluntary exit scheme”, announced in February, and a further £500,000 per year through what a spokesperson calls a “recruitment pause”.
“Taken together, this means we have delivered the targeted £2 million in savings that we set out to achieve through the VE [voluntary exit] scheme,” a gallery spokesperson says. The news was first reported by Arts Professional and confirmed by The Art Newspaper.
All staff of the gallery and its commercial arm, who together number nearly 500, were told in February they would be offered compensation if they chose to leave. The gallery did not give the number of staff who have taken part in the exit scheme. The amount paid to the departing staff will depend on their number of years of service.
The exit take-up means that no compulsory redundancies are now on the horizon. The gallery spokesperson tells The Art Newspaper that the “voluntary exit scheme” has enabled the gallery “to make progress” towards dealing with the anticipated deficit.
Further savings in non-staff costs, however, will need to be made, to deal with the previously anticipated £6.2m deficit in the current financial year, which began on 1 April, and an estimated £2m deficit in the year that has just ended.
The National Gallery is currently considering how to further reduce costs, though whatever the choices are they will almost certainly impact the institution’s public offering. For example, the cuts could mean fewer free exhibitions, fewer ticketed shows each year, less international borrowing of works of art and more expensive tickets. A spokesperson said in February that the gallery “must make difficult and painful decisions”.
The gallery has stressed that its current financial problems will not affect its long-term project to build a new extension on the site of St Vincent House and expand its collection beyond early 20th century paintings to the present.
Last Tuesday it announced that the winning architect for the extension is the Japanese firm of Kengo Kuba and Associates. The building is expected to cost around £350m. It is part of a wider £750m plan, entitled the Project Domani, to safeguard the financial future of the gallery and expand its collection. One element will be an endowment fund, to deal with financial crises such as the one currently facing the gallery.

Correction 11/04/2026: The headline of this article was amended to reflect the fact that staff are departing the National Gallery via a “voluntary exit scheme” rather than a redundancy scheme
The Tokyo-based Kengo Kuma and Associates, whose previous museum projects include V&A Dundee, will design the building located on the site of St Vincent House
First phase of the work is due to be completed by May 2024, in time for the gallery’s 200th anniversary
Ahead of a public consultation on the £25m-£30m project, further details of the Selldorf Architects redesign of the Sainsbury Wing entrance have been unveiled
With £20 million each, plans progress for the British Museum Great Court and the V&A’s spiral

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Who did it, who done it, and who needs to quit it? If you missed the latest drop from DJ Misses on her “Trending on the Timeline” segment, grab your cup because the tea is piping hot. From alarming reports of violence to unexpected legal troubles, she delivered the facts straight to the forefront. Let us dive into the details she shared about some of the most talked-about figures in hip-hop right now.
Offset faced a terrifying ordeal. Reports confirmed that the rap superstar experienced a shooting incident near the Hard Rock Hotel and Casino in Florida. News like this always shakes the community, but thankfully, representatives for Offset quickly stepped up to assure everyone that he is safe. They confirmed he remains in stable condition following the frightening event. DJ Misses also noted that various entertainment blogs recently shared photos of Offset standing comfortably outside the local hospital. The images suggest he was preparing for a standard discharge to head home and recover. Seeing him upright and okay brought a massive wave of relief to his supporters everywhere.

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Rapper Lil Tjay found himself wrapped up in a completely different kind of trouble at the exact same location. Broward County Sheriff’s Office records show authorities took Lil Tjay into custody on Monday. They booked the young artist on a misdemeanor charge of disorderly conduct. According to police statements, Lil Tjay engaged in a physical altercation right before the shooting incident involving Offset. Officers also detained a second individual at the scene, though they did not file formal charges against that person. Seeking to clear the air, an attorney for Lil Tjay recently spoke out to clarify the actual timeline of events. The legal representative firmly stated that Lil Tjay had absolutely zero involvement in the shooting at the Hard Rock. The attorney confirmed authorities did not charge the rapper with anything related to the gunfire, and officials have since released him from custody.
Adding another layer to this intense story, DJ Misses highlighted an alleged financial dispute brewing between the two artists. Rumors suggest Lil Tjay loudly claims Offset owes him a significant amount of money. This underlying friction adds crucial context to the tension surrounding the events in Florida. The community hopes both talented artists can resolve their differences peacefully and avoid any further conflict.
Follow your girl on the ‘Gram (@djmisses) and check out Posted On The Corner for more updates.
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Isabelle Brourman’s Poisoning the Country’s Lungs (The Battle of Eat Street) (2026), which was made in Minneapolis during protests against violent Immigration and Customs Enforcement agents Courtesy the artist
When the artist Isabelle “Izzy” Brourman arrived in Minneapolis in January, with her partner Peter Hambrecht and her best friend Jeannette Berlin, the trio planned to continue documenting the Trump administration’s aggressive immigration tactics as part of their long-term project Starring America News. But on 24 January, the same day the hospital nurse Alex Pretti, 37, was killed by federal agents, the three were on the scene, capturing the protests against Immigration and Customs Enforcement (Ice) violence in drawings and video—when they all became part of the story.
A masked agent spotted Brourman sketching, dropped to one knee and fired pepper balls at her at point-blank range, she recalls. Somehow sensing the
danger—which the artist attributes to her time spent recording the recent raids at immigration courts, where she would keep an ear trained on the hallways, listening for agents who would ambush people arriving for hearings—Brourman raised her drawing board just in time and blocked the projectile.
“I looked up and saw him looking right at me, and I’m just glad I moved right, because moving left would have basically sent me into the centre [of the shot],” she says. “I had been shielding myself from pepper balls with the board for a while at that point, and it just left a little dust on the back of the board.” This time, there was a hole and a jagged dent through the wood and paper. That same damage could have easily been inflicted on her body. “Just thinking about what could have happened, my faculties are really important to me and should be for everyone. It’s such a callous thing to do, that lack of empathy or humanity.”
Berlin and Hambrecht, who have both worked as news journalists, captured the scene on video from different angles, showing that Brourman had done nothing to provoke the agent. “What people need to understand is that what happened to Izzy is happening every single day to people holding protest signs,” Berlin says. “We happen to have two cameras on it, and Izzy happens to be well regarded and people happen to care what happens to her. But this was not the first time that we saw someone be purposefully shot by a federal offi cer with a ‘less lethal’ round that could have blinded them.”
While they are still processing what happened, the experience has not cowed them. They plan to continue drawing attention to government abuses and delivering the truth about what is happening to the public, both through Brourman’s somewhat abstracted drawings, which carry a sense of immediacy and touch of chaos, and through short-form video “portraits” that are posted on their website and Instagram account. They are also working on a longer-form documentary, with footage they have been collecting since Donald Trump’s fraud trial in New York in 2023.
“People are so hungry for an alternative image making that isn’t contrived, and that is reflective of reality,” Berlin says, particularly at a time when trust in the media has been eroded and newsrooms have been decimated by profit-focused ownership. “Izzy’s art has never pretended to not be subjective.”
Brourman says she is a “changed person” since covering the Trump trials and immigration court cases, and making art has become “a survival tool”, a way for her to ensure her perception of increas ingly unbelievable events is preserved on paper.
Berlin stresses that local news is doing “the best job covering the tentacle-like impacts of the Trump administration’s mass deportation campaign”, and that without it the public would not have reliable sources of information at a time when such necessities can save lives. But a new generation of bootstrap independent media, like Starring America News, “is working to fi ll gaps”, Berlin says. “People are looking for coverage that refl ects their reality, and they are fi nding that coverage in new places.”
Brourman says the trio has also started to discuss the idea of touring the country and screening some of the drawings and videos they have made in a makeshift gallery in a rental van or other vehicle. “If we can put together different local organisations where people can get that information, in small towns or cities, it seems like a nice way to do what we have dreams of doing.”
The group is now hoping to raise funds so they can go to places where their artistic and visual coverage is needed. “People need new ways to look at what’s happening because of how exhausted everyone is and how distrustful of one another people are,” Berlin says. “Izzy and her openness, authenticity and willingness to see, and the work that she makes, what it looks like and feels like, that is a new entry point for people and it’s something that any other presentation doesn’t offer.”
Isabelle Brourman, an artist known for her courtoom sketches from high-profile trials, is showing in a pop-up exhibition at the Rice Hotel
The gallery Dreamsong launched the project—which will also be available on its Frieze Los Angeles stand—to support Minnesotan immigrants and a rapid response fund

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With a bitter labor fight behind them, WNBA players are starting to reap the rewards after years of gross underpay, even as the league continues to grow.
A new CBA has officially set the WNBA in uncharted territory. And Black women are reaping the early benefits.
As free agency began earlier this week, several players made big moves, from Angel Reese being traded from the Chicago Sky to the Atlanta Dream to Brittney Griner being dealt to the Connecticut Sun, who will soon be the Houston Comets. However, the biggest splash came in the form of Jackie Young becoming the league’s first million-dollar player.
Young, unlike teammates A’ja Wilson and Chelsea Gray, is the subtle member of the Aces’ big three and lets her game do most of the talking on the court. By signing a one-year, $1.19 million deal on Thursday, Young is setting a precedent, one that more WNBA stars will likely follow.
Consider what Young’s earnings were under the previous collective bargaining agreement. As the Aces rolled to a third WNBA title in 2025, Young made $169,950 after making her fourth All-Star Game and being named as a second-team All-WNBA selection. Her new salary is more than six times what she made in 2025, and other stars, including Wilson, Alyssa Thomas, Breanna Stewart and Arike Ogunbowale, are likely to join Young in the $1 million club, with Wilson, Thomas and Stewart likely to earn the league’s supermax distinction of $1.4 million a season. Kesley Mitchell, a star guard on the Indiana Fever, became the first player to sign a supermax deal when she re-signed with the Fever on Friday.
With the addition of the Portland Fire and Toronto Tempo to the league for the 2026 season, the league currently fields 15 teams. Three more teams are set to join the WNBA in the near future. On Thursday (Apr. 9), the WNBA and the NBA Board of Governors approved expansion teams for Cleveland, Detroit and Philadelphia. Cleveland will begin play in 2028, Detroit in 2029 and Philadelphia in 2030.
The move brings a bit of renewal to the cities of Cleveland and Detroit. Cleveland was part of the WNBA’s inaugural group of franchises in 1997 with the Rockers. In 2001, they had their best season before being shocked in the playoffs by the Dawn Staley-led Charlotte Sting. Two years later, the franchise folded. Detroit also had a WNBA franchise, the Shock. Five years after entering the league in 1998, they would win the first of three WNBA titles before relocating to Tulsa and later Dallas. The old Shock are now the Dallas Wings. It’s unclear whether the Detroit franchise will inherit all of the Shock’s prior records and history once the new franchise begins play.
The WNBA is riding a wave of expansion heading into its 30th season. Buoyed by marketable stars, increased television ratings and interest in the game, there will be more revenue and financial records broken when it’s all said and done. With Young setting the early standard, it won’t be long before the bank keeps getting broken over and over again by players and stars who benefit from the legends who played before them.

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Renderings. Left: The entrance to the new wing. Right: the new bridge connecting the National Gallery’s old and new wings, above the activated public realm of Jubilee Walk
Kin Creatives
The National Gallery in London’s major new extension will be designed by the Japanese architects Kengo Kuma and Associates. The new building, costing an estimated £350m, is due to open in the early 2030s.
Kuma’s firm was among 65 architects which made a submission to a competition launched last September. Six were then shortlisted in December. They included New York-based Selldorf Architects, the designers behind the refurbishment of the gallery’s Sainsbury Wing.
Gabriele Finaldi, the National Gallery’s director, said in a statement that “Kengo Kuma’s trajectory as an architect demonstrates exceptional design elegance, a keen sensitivity to location and to history, and a supremely beautiful handling of light and of materials”. Two UK-based design companies will work with Kuma on the project: Building Design Partnership (BDP) and MICA.
The new extension, just to the north of the 1991 Sainsbury Wing, will be built on the site of St Vincent House, which is owned by the gallery and is due to be demolished. Light-coloured Portland stone will clad the exterior of the Kuma-designed building.
The new extension’s ground floor will be for public facilities and temporary exhibition galleries. Street-level access means that shows could, if desired, open for longer hours than the permanent collection.
Higher up, the main and the upper floors will provide space for a continuation of the permanent collection, with bridge links to the Sainsbury Wing and the Wilkins building. These two floors are expected to be hung with paintings from the late 19th century up to the present. Until recently, the National Gallery’s collection encompassed works made up until around 1900, but last year Finaldi announced a radical change to the gallery’s acquisition strategy, which will see this cut-off extend to the present day. At the top level of the extension there will be a public roof garden, with views towards Leicester Square.
Architecturally, each of the floors will have a different atmosphere. The jury panel for the competition said about the Kuma plan in a statement: “The style of the galleries is very simple and clean, with a contrast between the main floor that incorporates vaults and arches, while the upper floor has a more geometric design. As a result, the main floor of galleries presents a continuum with the Sainsbury Wing and North [Wilkins] Galleries, but the upper floor has its own style, which adds variety and a change of design pace to the overall scheme.”
In terms of hanging space, the permanent collection will gain 1,500 sq m, which compares with 9,500 sq m across the original Wilkins building and the Sainsbury Wing—an increase of just over 15%.
For temporary exhibitions, the new ground floor gallery will have 800 sq m, which is nearly double the space of the Sainsbury Wing basement gallery, which has 450 sq m (there is also 240 sq m of temporary exhibition space in the Wilkins building). The National Gallery will therefore be able to mount much larger exhibitions or divide the space for smaller shows.
The Tokyo-based Kengo Kuma and Associates’ other museum projects include V&A Dundee, the Besançon Art Center in France, part of the Calouste Gulbenkian Foundation in Lisbon and a considerable number of buildings in Japan.
Kengo Kuma, the firm’s founder, said in a statement: “It is a privilege to join the National Gallery in this historic project. The National Gallery‘s collection is a treasure of humanity, and to be entrusted with the expansion that will hold these masterpieces is a responsibility we carry with the greatest care and humility.”
The new extension is the key element in a wider £750m National Gallery project, named Domani (“tomorrow” in Italian). This project will include a planned endowment fund which should enable the gallery to avoid financial deficits. The gallery recently embarked on a cost-cutting scheme, including a “voluntary exit scheme” for staff, to tackle a projected £8.2m deficit by 2026-27.
First phase of the work is due to be completed by May 2024, in time for the gallery’s 200th anniversary
Gabriele Finaldi responds to criticism over the gallery’s proposed redesign for the Sainsbury Wing
An unprecedented £375m has already been raised for the extension, which will have space for hundreds of paintings—while Tate is collaborating with the gallery on a revised acquisition strategy

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The Hollywood blockbuster producer spoke with TheGrio on the red carpet of the film’s flower-decked New York premiere.
As the room buzzed at Jazz at Lincoln Center Wednesday night, packed with fabulous fits, lush florals and Aperol spritzes for an Italian vibe, Hollywood producer, Will Packer, was seeing a dream come true, right on time.
“This movie is hopeful, it’s about joy,” Packer told TheGrio on the red carpet. “It is a romantic comedy, and it shows in every sense of the word. I think we need that now more than ever.”
That You, Me & Tuscany joy is captured in a delightful performance by actors Halle Bailey and Regé-Jean Page, who play Anna and Michael — two young people who find themselves in Italy for different reasons but brought together by a twist of fate that blossoms into attraction. Bailey’s character is Anna, a culinary school dropout who has abandoned her dreams of becoming a chef and is coasting through her twenties, making messy decisions. When a chance encounter leads her to a vacant Tuscan villa, she finds herself in the middle of an Italian family drama, and an unexpected romance with Michael (Page), the cousin who runs the family vineyard.
“The world is so heavy right now,” Packer said. “The world is tough, it’s upside down. Now, that’s not new; it has been tough before, and we’ve gotten through these moments. But one of the reasons that we get through it is community.”
Packer wants that community feeling to translate into people showing up in theaters to watch You, Me & Tuscany, at a time when fewer people are going to the movies, thanks to habit changes from the COVID era and the explosive growth of streaming.
“People say, ‘When’s it coming out on Netflix?’ No, uh-uh, you’re missing the point. This is all about the big screen. Sit in the dark theater, sit with somebody, it may be a stranger to your right or your left. And fall in love with the concept of love again.”
It’s a vision that took real creative intention to execute. The film was shot entirely on location in Tuscany and Rome and in a vineyard, which becomes central to the storyline. It’s the perfect backdrop to feel wanderlust and the joy of traveling while Black that has become so popular.
Packer’s films have covered love in many forms, in all its messiness and imperfection, from Think Like a Man to Girls Trip. But You, Me & Tuscany puts a young Black woman in the middle of a European rom-com, which isn’t normally what we’ve come to expect on the big screen. Bailey’s portrayal of a Black twenty-something navigating love, professional shortcomings, and the beauty of Italy is a breath of fresh air and a welcome break from the often heavy conversations racing across the internet about romantic relationships between Black men and women.
“Healthy Black love is true, it’s honest, it is not pretentious, and it’s transparent about what it wants and what it’s looking for. That is healthy Black love,” Packer told TheGrio. “No trauma needed.”
You, Me & Tuscany gave last night’s audience plenty of laughs, emotion, and eye-candy moments to bond over. It managed to be full of action and plot twists that still feel light and fun as the drama unfolds, part of why Packer is such a cherished producer in his genre. It’s why Universal Pictures bet on Packer to bring this story to life.
“It’s hard to get any movie made right now, and this movie is no exception,” Packer told the audience last night.
Packer credits a big part of his success to going to an HBCU, which gave him the foundation to not only create main characters, but also to be the main character of his own life.
“From an HBCU you can get anywhere,” Packer tells theGrio. “I am where I am because I found my voice at Florida A&M University without a doubt. At an HBCU you are not othered, you are central. You are centered, you can find a belief in yourself that you may not even know that you have.”
You, Me & Tuscany opens in theaters April 10.
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The Canadian songstress is back on Broadway for the first time since portraying Glinda the Good Witch for “The Wiz” and this time she’s having even more fun.
Deborah Cox has long found ways to pay it forward in her career. With her latest stint on Broadway, she’s honoring a connection that dates back more than 30 years.
Cox is set to star in “Titanique,” a musical comedy that serves as a parody of the 1997 hit film “Titanic” starring Leonardo DiCaprio and Rose McGowan. The film went on to win a record 11 Academy Awards in 1998, including Best Picture and Best Original Song for “My Heart Will Go On.”
The singer of said song? Céline Dion, who Cox credits for helping launch her career as she sang background for her in the early ’90s.
“I toured with her for a year,” Cox told PEOPLE. “I was discovering what my musical voice was going to be,” Cox tells PEOPLE. “And in the interim, we would go to all these different functions and television shows and award shows and stuff. And I think it was about a year in is when I decided to leave the tour because I wanted to take a chance on myself and see if I could land a record deal.”
She added, “So I feel like this show in some ways is not only a love letter to Céline because of the story and everything, but a real full circle moment for me just as an artist and a performer. She was somebody that was one to watch as far as her discipline in the way that she took care of her voice, took care of her, the way she had such stamina throughout the tour. She was just a really kind boss.”
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Cox’s time on tour eventually led her to spread her wings. After exiting, she would score a chance meeting with music executive Clive Davis, the man behind powerhouses such as Whitney Houston. Not long after the meeting, Cox was signed to Arista Records in 1994. Despite releasing her debut album in 1995, Cox would have to wait three years before she broke through for R&B and pop audiences with “Nobody’s Supposed To Be Here.” The single peaked at No. 2 on the Billboard Hot 100 chart and eventually helped her sophomore album, 1998’s “One Wish,” achieve platinum status.
The irony of “My Heart Will Go On” as it pertains to both “Titanic” and “Titanique” is that, even though it is widely considered Dion’s most recognizable song, neither the Canadian songstress nor her contemporary had ever seen the musical parodying the movie.
Cox has carved out a bit of a career on Broadway. In 2004, she starred in “Aida” as a replacement, though it would be another nine years before she would get the stage bug again. She performed as Lucy Harris in an adaptation of “Jekyll & Hyde” in 2013, and then in 2024, she starred as Glinda the Good Witch in an adaptation of “The Wiz.”
What keeps her motivated and passionate to pay it forward? Finding new challenges.
“I wanted to come back to Broadway doing something very different,” she said. “That to me is what keeps me on my toes, keeps me intrigued and happy about new projects to take on. And comedy, I mean, I love sketch comedy. I love Whoopi Goldberg and Goldie Hawn and Carol Burnett. Those were the women that I grew up watching.”
“Titanique” has a 16-week limited engagement at the St. James Theatre in New York. Opening night is Sunday, April 12 and features Melissa Barrera in her Broadway debut alongside Cox, Frankie Grande and Jim Parsons.
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Attendees gather in São Paulo for SP-Arte, Brazil’s leading art fair. Courtesy of SP-Arte
São Paulo’s Ibirapuera Park hosts the 22nd edition of SP-Arte this week (April 8–12), as over 180 galleries, design studios, and cultural institutions fill the Oscar Niemeyer-designed biennial pavilion for Brazil’s largest art fair amd one of South America’s most closely watched art events. As established art markets around the world recalibrate, galleries in this part of the world seem to only be gaining strength.
“The Latin American market is a market accustomed to crises. We are truly resilient,” SP-Arte founder Fernanda Feitosa, tells The Art Newspaper.
According to the most recent Art Basel and UBS Global Art Market Report released last month, art dealers in South America reported strong sales over 2025, driven by a 21% increase year-on-year by Brazilian galleries.
“Latinos are warriors. Brazilians are warriors. We manage to thrive despite everything, despite economic crises, political crises and a lack of cultural policies in our respective countries,” Feitosa adds. Ricardo Gonzalez Ramos, founder of Galería RGR, based in Mexico City, agrees.
“Every country in Latin America has a very distinctive culture and history. For collectors in Europe and the United States, this plurality is attractive,” he says. In his third year at SP-Arte, Gonzales is confident regarding sales.
“The economic and political troubles around the world have impacted the art market, but overall we are a very resilient sector,” Gonzalez Ramos says. “There are always important collectors and institutions that keep buying and promoting artists.”
Saltamonte (2024) by Santiago Yahuarcani. Courtesy of Crisis Galeria
Juan Luis Balarezo, director of Crisis Galeria from Lima, Peru, a newcomer to this year’s fair, sees the resilience of Latin American galleries as a result of their structure.
“Galleries in Latin America are not as large and don’t have the same cost structure as those in the US or Europe,” he says, adding that the international art market has begun, in recent years, to properly value Latin American work: “People are just realising that there shouldn’t be a premium on so-called Western art. Works should be valued the same.”
Although some international galleries are present at this year’s SP-Arte, the vast majority are Brazilian, and most works on display are by Brazilian artists.
“SP-Arte is a Brazilian fair to anchor national production,” says Feitosa. “It has international participants, but it is a fair with a Brazilian identity, just as Zona Maco has a very Mexican identity.”
That local identity, she argues, is increasingly an asset. “Many of the large international fairs are devoid of personality [and] of a certain local connection,” she notes.
Cities like São Paulo, Mexico City, Bogotá and Buenos Aires, she says, have every condition to become international art hubs, with erudite markets and sophisticated consumption patterns, but are held back by political and structural constraints that keep their fairs largely local. Interest in Brazilian art is growing, buoyed by a broader shift in the global art world toward greater inclusion of women, Indigenous, Black and street artists. It is a rebalancing in which Brazil, says Feitosa, is a natural protagonist.
“We have all of this; we check all the boxes,” she says.
Galleria Foco’s stand at SP-Arte. Courtesy SP-Arte
With those characteristics, the Brazilian art scene is attracting the attention of museum curators like Jennifer Inacio, associate curator at Pérez Art Museum Miami (PAMM). One of PAMM’s focuses is to bring artists from Latin America and the Caribbean to the museum. She notes that there is much interest from curators at American and European museums in holding exhibitions of Latin American and Brazilian artists.
“To have a global conversation, more museums need to include artists from Latin America and artists from the Global South in their collections,” Inacio says.
SP-Arte has also in the last few years cemented its role as a major showcase for design. Since its introduction, in 2016, the design sector has grown from 23 to 64 stands, and this year introduces a new section dedicated to contemporary Brazilian design. The new sector, DesignNOW features ten creators who work independently, with no links to major design houses.
“Brazilian design is extremely powerful, but it was waiting for an event worthy of its output,” says Feitosa. “When you create a calendar for the sector, it thrives.”
The fair’s growing international pull is perhaps best illustrated by Australian art advisor and consultant, Fiona McIntosh, who is part of a group taking a deep dive into Brazil’s art scene, with stops in São Paulo, Rio de Janeiro and the Inhotim Institute.
“What is exciting about this fair is that it is such a local event,” she says, showing works she and her fellow Australians have already purchased. “Fairs like Basel and Frieze tend to reflect the international art scene. SP-Arte is much more about Brazil, and that has been very exciting for us.”
The São Paulo art fair’s third edition adds a new section for monumental works while staying relentlessly focused on the national scene
The 19th edition of SP-Arte features a small but optimistic set of international dealers who say navigating the country’s complicated and expensive customs rules is worth the trouble
While earlier editions saw more global participation, South America’s biggest art fair has become a regional showcase and a more inclusive reflection of Brazilian contemporary art

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Tia Mowry is embracing every version of herself in her latest Instagram post as she struts to the tunes of Bey in black lace lingerie.
We are obsessed with Tia Mowry and her grown-woman era, and her latest social media post is proof of that. The actress recently shared a video of herself confidently strutting in a sheer black lace slip, owning every step as Déjà Vu by Beyoncé played in the background. Her caption added to her steamy video as she wrote, “Maybe it’s déjà vu, or maybe I’ve always been this woman.” And honestly, we think it’s both.
In the video, Mowry snapped as she pounced around in sexy regalia that exposed a fit body draped in a strapless bra and bikini underwear. The multi-hyphenate adorned her alluring look with a black leather trench coat, ankle-strap heels, and black shades. Not only was her outfit eye-catching, but the reel radiated liberation and a palpable fierceness that demanded repeat views.
This current post isn’t the first time Mowry has displayed confidence like no other. The veteran actress has been leaning all the way into her glow-up over the past few years, serving fashion, personality, and an unapologetic sense of self across her social platforms. Whether she’s dancing in her kitchen, stepping out in bold looks, or sharing glimpses of her personal evolution, she’s showing the world that she is well aware of who she is.
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The timing of this newfound confidence is perfect. Alongside her radiant solo energy, there’s been buzz that she and her husband may have found their way back to each other. While neither has fully confirmed the details, the possibility adds another layer to her gorgeous glow.
Still, what stands out most is how Mowry continues to show up for herself. She’s long been a fan favorite for her relatability and warmth, but now, she’s pairing that with a bold edginess that feels both fresh and authentic. Her social media has become a space of joy, style, and self-discovery, and we are hooked.
If this really is déjà vu, it’s only because she’s finally embracing the woman she’s always been.

Tia Mowry Sends The Internet Into A Frenzy With Black Lingerie Look On Instagram was originally published on hellobeautiful.com

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