Concert Pays Tribute to Swiss Fire Disaster Victims

Italian and French singer and songwriter Riccardo Cocciante (C), also known as Richard Cocciante performs during a tribute concert entitled “Au cœur de Crans” for the victims of the New Year’s Eve bar fire in Crans-Montana, at the Salle Métropole in Lausanne on April 22, 2026.  (Photo by Fabrice COFFRINI / AFP)
Italian and French singer and songwriter Riccardo Cocciante (C), also known as Richard Cocciante performs during a tribute concert entitled “Au cœur de Crans” for the victims of the New Year’s Eve bar fire in Crans-Montana, at the Salle Métropole in Lausanne on April 22, 2026. (Photo by Fabrice COFFRINI / AFP)
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Concert Pays Tribute to Swiss Fire Disaster Victims

Italian and French singer and songwriter Riccardo Cocciante (C), also known as Richard Cocciante performs during a tribute concert entitled “Au cœur de Crans” for the victims of the New Year’s Eve bar fire in Crans-Montana, at the Salle Métropole in Lausanne on April 22, 2026.  (Photo by Fabrice COFFRINI / AFP)
Italian and French singer and songwriter Riccardo Cocciante (C), also known as Richard Cocciante performs during a tribute concert entitled “Au cœur de Crans” for the victims of the New Year’s Eve bar fire in Crans-Montana, at the Salle Métropole in Lausanne on April 22, 2026. (Photo by Fabrice COFFRINI / AFP)

A benefit concert was held Wednesday in tribute to the victims of a New Year's fire that killed 41 people at an upscale Swiss ski resort, nearly four months on from the tragedy.

The concert brought together the families of victims and some of those who survived the fire, which erupted at a bar in the Alpine town of Crans-Montana in the early hours of January 1.

Most of those killed in disaster at Le Constellation bar were teenagers, while 115 people were injured.

At the concert, staged at the Salle Metropole theatre in Lausanne, the performing artists came onto the stage to a song written about the tragedy called "Etoile de nos coeurs" ("Star of our Hearts"), and lined up holding white roses.

Beforehand, the families of the victims gathered in the foyer. There were hugs, smiles and some tears.

"It's about solidarity. To all the victims, up there or here on Earth, it means one thing: we haven't forgotten you," Laetitia Brodard-Sitre, whose 16-year-old son Arthur was among those killed, told AFP.

"We're in survival mode. Half of our hearts have been ripped away," she added.

"It keeps alive the memory of all those who were hurt, both physically and emotionally."

Tickets cost from 90 Swiss francs ($115), with the proceeds going towards Swisshearts -- an association founded by parents affected by the disaster.

The participating artists -- performing for free -- included Gjon's Tears, who finished third for Switzerland at the 2021 Eurovision Song Contest.

"There were a lot of young people, and even today, four months later, they find it hard to talk about it," the singer told AFP.

"These were young people who just wanted to party and have fun.

"Being close in age to the majority of the victims... I think we can relate to it," the 27-year-old said.

Also on the bill was the veteran Italian singer Richard Cocciante.

"We need to think about the people who are no longer here," the 80-year-old told AFP, adding that music "certainly helps; I don't know if it can heal, but it helps".

A total of 13 people are under criminal investigation in connection with the disaster, including the bar's owners and several current and former local officials.

The fire hit the Lausanne region hard.

Several of those killed were from the suburb of Lutry. Its football team lost seven players in the fire, with more injured in the disaster.

For many survivors badly burned in the fire, the journey towards resuming a normal life, where possible, is far from over, with lengthy hospital treatment followed by spells in rehabilitation and readaptation clinics.

Switzerland's Federal Office for Civil Protection told AFP on Wednesday that 38 patients were still in hospitals and clinics, including 19 in neighboring countries.



US Gamers Getting Older as Industry Reports Growth

People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
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US Gamers Getting Older as Industry Reports Growth

People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)

Video games are having a moment in the United States -- but the players are getting older.
The average American video game player is now 37 years old -- up from 29 about two decades ago -- as the industry reports activity climbing back to their highest levels since the pandemic-era boom, a new report reveals.
The findings, from the Entertainment Software Association's annual Essential Facts report, challenge enduring stereotypes about who plays games while underscoring the industry's recovery from a post-pandemic slowdown.
"It mirrors in large part the demographics of the nation," ESA president and chief executive Stanley Pierre-Louis told AFP, noting that more than half of all players in the United States are now 35 or older.
The steadily rising average player age reflects both the aging of a generation that grew up with consoles and a wave of older adults who have since picked up the hobby.
The gender split also defies the stereotypical image of the young male gamer.
Men account for 53 percent of players and women 46 percent, with women actually outnumbering men among Baby Boomers, the ESA said.
Overall, 67 percent of Americans play video games for at least an hour a week -- a figure broad enough to encompass everything from blockbuster console titles to casual mobile games like Wordle.
Revenues -- totaling $60.7 billion in 2025 -- have rebounded to their highest point since 2021, when pandemic lockdowns drove an outsized surge in both players and spending.
After a pullback as restrictions lifted, the industry has returned to growth, Pierre-Louis said.
- Self-regulation -
As lawmakers in the United States and Europe weigh tougher regulations on screen time, age verification and in-game spending, Pierre-Louis argued the US gaming industry's track record of voluntary self-regulation sets it apart.
That voluntary framework, he said, has given the industry credibility with US lawmakers that social media platforms lack.
Those platforms, he noted, "traditionally didn't have the same level of parental tools that video games had" -- a gap that has fueled the regulatory backlash now engulfing companies such as Meta and TikTok.
"Safety is not a competitive issue in our industry -- it's one of collaboration," Pierre-Louis said.
"Being on the ecosystem and staying on the ecosystem means you feel like you're in a trusted environment."
- 'Satisfaction' -
The ESA was founded in 1994 partly in response to congressional concern over violent content in games, and almost immediately established the Entertainment Software Rating Board, which assigns age ratings from E for Everyone to M for Mature for titles sold in North America.
The system also flags details about online interactions and in-game purchases.
Major console platforms including Xbox, PlayStation and Nintendo Switch now offer parental control tools that allow families to restrict what games children can access, cap spending and limit screen time -- capabilities Pierre-Louis said have been refined over decades in direct response to parent and policymaker feedback.
The argument, however, faces increasing pushback in the United States.
The gaming industry is facing growing scrutiny as platforms expand into social media-like features, with ESA member Roblox especially under pressure over child safety issues with regulators and in courts.
Legislative proposals range from mandatory age verification for games with chat features to bills that would impose national safety standards.
For the industry, such legislation should not be necessary.
"It's a matter of how do we get everyone up to speed on what the video game industry has been doing, so that there's satisfaction around the practices and trust and safety mechanisms we have in place," Pierre-Louis said.


Actor Anthony Head, Known for ‘Buffy the Vampire Slayer,’ Has Died at 72

Anthony Head arrives for the European premiere of 'The Iron Lady' on Wednesday, Jan. 4, 2012, in London. (AP)
Anthony Head arrives for the European premiere of 'The Iron Lady' on Wednesday, Jan. 4, 2012, in London. (AP)
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Actor Anthony Head, Known for ‘Buffy the Vampire Slayer,’ Has Died at 72

Anthony Head arrives for the European premiere of 'The Iron Lady' on Wednesday, Jan. 4, 2012, in London. (AP)
Anthony Head arrives for the European premiere of 'The Iron Lady' on Wednesday, Jan. 4, 2012, in London. (AP)

Anthony Head, the suave, smooth-voiced British actor known for roles in "Buffy the Vampire Slayer" and "Ted Lasso," has died, his family said Friday. He was 72.

Head’s daughters, actors Emily and Daisy Head, told the Press Association news agency that the actor passed away due to complications from pneumonia.

The performer became known to British TV audiences in the 1980s as one half of a will-they, won’t-they romantic couple in a series of ads for Nescafe instant coffee.

Head achieved US fame as librarian Rupert Giles, mentor to the title character in the cult-favorite supernatural series "Buffy the Vampire Slayer," which ran from 1997 to 2003.

He most recently played Rupert Mannion, the villainous ex-husband of Hannah Waddingham’s character Rebecca, in "Ted Lasso."

"Our grief is far greater than the hole he has left behind, but we know his legacy will live on, in the shows he was a part of, and in the audiences that love them," his daughters said. "How lucky we are to know we are able to watch him doing what he loved, even when he is no longer with us."


Taylor Swift’s ‘Toy Story 5’ Song Is a Return to Pop Country

 This image released by Pixar shows the characters Bullseye and Jessie, voiced by Joan Cusack, center, in a scene from "Toy Story 5." (Pixar-Disney via AP)
This image released by Pixar shows the characters Bullseye and Jessie, voiced by Joan Cusack, center, in a scene from "Toy Story 5." (Pixar-Disney via AP)
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Taylor Swift’s ‘Toy Story 5’ Song Is a Return to Pop Country

 This image released by Pixar shows the characters Bullseye and Jessie, voiced by Joan Cusack, center, in a scene from "Toy Story 5." (Pixar-Disney via AP)
This image released by Pixar shows the characters Bullseye and Jessie, voiced by Joan Cusack, center, in a scene from "Toy Story 5." (Pixar-Disney via AP)

Taylor Swift's new song for the Disney and Pixar's forthcoming “Toy Story 5” film is here. On Friday, Swift released “I Knew It, I Knew You,” a bit of a return to country music for the performer who first made a name for herself in the Nashville music scene before taking over the world.

Swift doesn't sing with a familiar twang on “I Knew It, I Knew You,” but no matter — the song features some elements inextricable from the country genre: Live instrumentation, plucky banjo and harmonica that opens the track.

Most view Swift's last official foray into the country music genre to be 2012's “Red,” though the album is much more of a crossover experiment. It would be more astute to label “Speak Now” as her last true-blue, full-length, country music release — and that was more than 15 years ago.

Additionally: “I Knew It, I Knew You” is also Swift's first original material since “The Life of a Showgirl” was released in October.

The song is also co-produced by Jack Antonoff, her former, frequent collaborator. Swift started working with Antonoff on 2014's “1989” through 2024's “The Tortured Poets Department.”

Notably, the pair started their long collaboration after Swift's country era, perhaps with the rare exception of “Betty” from her 2020 “Folklore” album.

“Writing this song felt like a musical departure and coming home at the same time. Creating something for Jessie was a new challenge and also felt like second nature all at once,” Swift wrote on social media Friday, referencing the beloved cowgirl character. “And being a ‘Toy Story’ kid from the age of 5 til now... is an adventure I plan to be on, to infinity and beyond.”

Last weekend, billboards with the initials “TS,” stylized like the “Toy Story” logo, appeared in Los Angeles, Chicago, Dallas, San Francisco, Toronto, Mexico City and London — fitting, as “TS” works both for the beloved franchise and the musician.

On Monday, Swift confirmed the song was forthcoming, writing on Instagram, “I’ve always dreamed of getting to write for these characters who I’ve adored since I was a 5-year-old kid watching the first Toy Story movie. I fell instantly in love with Toy Story 5 when I was lucky enough to see it in its early stages, and I wrote this song as soon as I got home from the screening. Sometimes you just know, right?”

She also shared that preorders for three CD single versions of the track were available on her site. They quickly sold out: One features the song as it appears in the film, another is an acoustic version and the last is a piano version.

“It’s incredible just how meaningful it’s been having Taylor write and perform this song. Her connection to Jessie and the immediate way she understood what the character was going through was undeniable,” “Toy Story 5” director and writer Andrew Stanton said in a press statement at the time. “The song is so deeply connected to ‘Toy Story.’ So much so that on first listen, it instantly felt like it had always belonged there, like a long-lost family member. It was kismet.”

Some fans online have begun speculating: Could this be an Oscar contender in the original song category?

Quite possibly, if it adheres to all relevant rules and regulations! For 2027 Academy Awards consideration, a feature film — and its song submissions — must have a qualifying theatrical release between Jan. 1 and Dec. 31 this year. “Toy Story 5” will be released in theaters worldwide on June 19, so it qualifies there.

It also depends on when “I Knew It, I Knew You” is placed in “Toy Story 5.” There's a new rule this year: If the song plays over the end credits, it must also overlap with the last 15 seconds of the film before the credits actually begin.

At any rate, if Swift's song is submitted — and if she were to win — she'd be just that much closer to an EGOT. She has 14 Grammys and an Emmy. An Oscar would mean she'd only need a Tony. Could Broadway be next?