Beyoncé, Bad Bunny and Janelle Monáe Take Artistic Liberties with Met Gala Dress Code

US singer and daughter of Jay-Z and Beyonce Blue Ivy Carter arrives for the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art, in New York, on May 4, 2026. (Photo by ANGELA WEISS / AFP)
US singer and daughter of Jay-Z and Beyonce Blue Ivy Carter arrives for the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art, in New York, on May 4, 2026. (Photo by ANGELA WEISS / AFP)
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Beyoncé, Bad Bunny and Janelle Monáe Take Artistic Liberties with Met Gala Dress Code

US singer and daughter of Jay-Z and Beyonce Blue Ivy Carter arrives for the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art, in New York, on May 4, 2026. (Photo by ANGELA WEISS / AFP)
US singer and daughter of Jay-Z and Beyonce Blue Ivy Carter arrives for the 2026 Met Gala celebrating "Costume Art" at the Metropolitan Museum of Art, in New York, on May 4, 2026. (Photo by ANGELA WEISS / AFP)

Met Gala guests from Beyoncé and Naomi Osaka to Emma Chamberlain did not play it safe this year for the Met Gala, delivering custom works of art in honor of the dress code “Fashion is art.”

Beyoncé left the cowboy hat at home and dazzled in a custom Olivier Rousteing sculptural skeleton dress with a cream and dust blue feathered train fitted with a diamond crown for “Queen Bey.” The Grammy winner and her husband Jay-Z and daughter Blue Ivy stopped to pose together on the Metropolitan Museum of Art steps, The Associated Press said.

Osaka stunned in a edgy Robert Wun white sculptural fitted dress featuring exaggerated shoulders and adorned with red feathers and a matching headpiece. To complete her show-stopping look, Osaka wore two-toned red gloves. A similar look by Wun sits inside the Met's Costume Institute exhibit, “Costume Art.”

On the carpet, Osaka opened her dress and removed her headpiece for a grand reveal underneath. She wowed in a sleek red beaded gown embellished with the human anatomy.

Chamberlain arrived in a breathtaking Mugler by Miguel Castro Freitas hand-painted dress. The star was dipped in a rainbow of colors from her décolletage down to the spiral train of her body-hugging dress with fringe falling down the cuffs of the long-sleeve gown.

With all the fanfare around “The Devil Wears Prada 2,” Met Gala co-Chair Anna Wintour opted for a cool mint ensemble — not the trendy cerulean blue from the first film. Wintour’s look featured a feathered cape and a beaded dress by Matthieu Blazy for Chanel that she classically paired with her signature bob and oversized sunglasses.

Other co-Chairs of the evening Nicole Kidman and Venus Williams chose more subdued glamorous looks. Williams wore a sparkling black off-the-shoulder gown with a dazzling Swarovski neckpiece in homage to a painting of herself done by Robert Pruitt for the National Portrait Gallery. Event sponsor Lauren Sánchez Bezos arrived in a form-fitting Schiaparelli gown, which she told Vogue was influenced by John Singer Sargent’s 1884 painting “Madame X.”

Artistic references

When guests were not wearing art, they were making references to it. Head of Editorial Content for US Vogue Chloe Malle wore an apricot orange Colleen Allen dress inspired by Sir Frederic Leighton’s “Flaming June” painting. Actor and author Lena Dunham collaborated with Valentino designer Alessandro Michele for her red feathered dress to depict his interpretation of “Judith Slaying Holofernes.” As a child, Dunham told Vogue, she would visit the Met museum on Sundays and admire the paintings in the Renaissance section.

“One of my favorite painters from that era is Artemisia Gentileschi, who was one of the only women painting professionally in that moment,” she told Vogue. “So I sent some of the images to Alessandro, and because he’s a genius, instead of dressing me like her, he said, ‘You are actually the blood spatter as ... Judith cuts the neck off a man.’”

Stars also celebrated the dress code with their accessories. Actor and fashion muse Gwendoline Christie playfully covered her face on the carpet with a mask of her own face while pop star Katy Perry opened and closed her fencing-like mask on the carpet to smile at the cameras.

Venus Williams was not the only guest to break the fourth wall with an artistic reference to herself. It was a trend of the night, with gala host committee members Amy Sherald in a Thom Browne look inspired by her own work of art and singer Sabrina Carpenter wearing a Dior dress designed with film strips from the 1954 movie “Sabrina.”

Fashion as canvas

Some guests brought out their artistic side as they transformed their dresses into works of art. TikTok followers watched along as Jessica Kayll, who designs colorful silk robes, finished painting her dress in the days leading up to the gala. Kayll painted her own take on the famous Monet water lily scene right on top of her dress for the gala.

While her “The Devil Wears Prada 2” castmates kept it classic in black, Anne Hathaway made a statement in her custom Michael Kors Grecian-inspired strapless dress, which was hand-painted with a dove of peace.

“She is the goddess of peace,” Kors told Vogue.

Performance art Madonna makes any carpet her stage. A group of women circled around her in colorful dresses as they held onto sheer fabric wrapped around her pirate ship headpiece on the carpet.

Janelle Monáe also knows how to stand out. The performer delivered a message with her sculptural art piece that featured cords overtaken by moss wrapped around her form with moving animatronic butterflies.

“Remember what made you human,” Monáe told The Associated Press. “Nature is talking to us.”

Dressed body Rather than wear art, models showed off their toned bodies as part of the “Costume Art” exhibit's theme celebrating artistic representations of the body. Supermodels Gigi Hadid and Irina Shayk both wore revealing looks on the carpet.

Bad Bunny went full costume, carrying a cane and dressing up as an older version of himself with gray hair and special effects makeup to add years to his face. The artist joked with Vogue that it took 53 years to finish the look. Supermodel Heidi Klum, known for taking her Halloween costume to new heights, brought that same dedication to the Met Gala as she arrived as a draped statue.

Instead of opting for a body-hugging gown, Kim Kardashian wore a bright orange metallic body plate from the '60s designed by Allen Jones.

The physical form was modeled throughout the night with body parts draped over gowns or overlaid on garments in printed form in a trompe l’oeil. Theater producer and performer Jordan Roth had a 3D figure looming behind him as part of his velvet Wun getup while other celebrities had carefully placed sculpted hands attached to their gowns.

For her first Met Gala, Chase Infiniti donned a colorful sequined Thom Browne gown with the female form embellished with sequins on the front and back of her dress.

In typical fashion, singer and fashion powerhouse Rihanna shut down the carpet as the final guest to arrive, much earlier than in years past. Dressed in a metallic jewel-encrusted cocoonlike dress, Rihanna emerged onto the carpet with her partner A$AP Rocky.

“I feel like a pearl out of an oyster,” Rihanna said to reporters on the carpet.



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?