Iman has paid a moving tribute to her late husband David Bowie on the 10th anniversary of his death, revealing a new tattoo inspired by the legendary artist’s final album, Blackstar.

The supermodel and fashion icon shared a video on Instagram showing the intimate moment she received the tattoo, marking a decade since Bowie passed away in January 2016 at the age of 69.

The minimalist tattoo is based on the distinctive Blackstar artwork associated with Bowie’s final studio album, which was released just days before his death following a private battle with cancer.

The design features simple black shapes that subtly reference Bowie’s name, serving as a quiet but powerful symbol of his artistic legacy and lasting influence on music and culture.

Alongside the video, Iman shared a heartfelt message reflecting on love, loss, and remembrance. She wrote that while the pain of losing Bowie has not disappeared, it has transformed into something permanent and loving, echoing the meaning behind the tattoo.

The post was set to Bowie’s haunting track “Subterraneans” and included the hashtag #BowieForever, resonating deeply with fans around the world.

Iman and David Bowie were married for 24 years after meeting on a blind date in 1990. Their relationship was widely admired for its strength and privacy, and they shared a daughter, Alexandria “Lexi” Zahra Jones.

Since Bowie’s death, Iman has continued to honor his memory through thoughtful tributes on significant dates, celebrating both his personal impact on her life and his enduring global legacy.

Fans flooded the comments with messages of love and support, praising Iman’s tribute and remembering Bowie as one of the most influential artists in modern music history.

BLACKPINK member Jennie emerged as one of the most talked-about artists at the 40th Golden Disc Awards, earning widespread attention after repeatedly returning to the stage to accept multiple honors in a single night.

According to Xportsnews, the awards ceremony took place on January 10 at Taipei Dome, marking the event’s 40th anniversary and making history as the first Korean music awards show held at the venue. Hosted by singer Sung Si-kyung and actor Moon Ga-young, the night celebrated both current achievements and long-term influence in K-pop.

Jennie first appeared onstage after winning the Digital Song Bonsang for her solo track “Like Jennie.” During her acceptance speech, she expressed nervous excitement and thanked fans, her agency, and the team behind her album Ruby. She noted that it had been some time since she last attended the Golden Disc Awards and said she was grateful to reconnect with fans.

Shortly after leaving the stage, Jennie was called back to accept another Digital Song Bonsang on behalf of BLACKPINK for the group’s hit “Run,” which performed strongly on domestic and international charts in 2025. Representing the group alone, she acknowledged fellow members Jisoo, Rosé, and Lisa, and thanked producer Teddy for his continued support.

Jennie later returned a third time to receive the Global Impact Award, bringing her total wins for the night to three. BLACKPINK was also named to the Golden Disc Powerhouse 40 list, which recognizes artists who have significantly influenced Korean pop music over the past four decades.

Although she attended the ceremony without her bandmates, Jennie said she felt proud to represent the group and emphasized her desire to continue growing as an artist with a positive influence. Images of her repeatedly accepting awards quickly circulated online, fueling fan discussions and cementing the night as one of the most memorable moments of the awards show.

American guitarist and songwriter Bob Weir, a founding member of the revolutionary, psychedelic jam band Grateful Dead, has died aged 78, his family announced Saturday.

Weir was diagnosed with cancer in July and had beaten the disease, but “succumbed to underlying lung issues,” his family said in a statement on his personal website, without specifying where or when he died.

“For over sixty years, Bobby took to the road,” the statement said. “Bobby will forever be a guiding force whose unique artistry reshaped American music.”

“His work did more than fill rooms with music; it was warm sunlight that filled the soul, building a community, a language, and a feeling of family that generations of fans carry with them.”

Founded in San Francisco by Weir, Jerry Garcia, Ron “Pigpen” McKernan, Phil Lesh, and Bill Kreutzmann, the Grateful Dead became one of the leading music groups to emerge from the 1960s counterculture movement.

With its trademark improvisational, genre-blending style, the band became known for never performing the same show twice, winning an avid and diverse legion of fans, and selling millions of records.

The group revolutionized fan engagement, as followers — famously known as “Deadheads” — recorded and swapped bootleg tapes of the concerts in a communal, drug-addled camp environment that traveled from stadium to stadium, a trend later copied by other bands’ fandoms.

The rockers disbanded in 1995, a few months after lead guitarist Garcia’s death at the age of 53, and a year after the group was inducted into the Rock & Roll Hall of Fame.

Weir would however continue to perform intermittently with other living bandmembers, more recently in the group Dead & Company, which also included guitarist and singer John Mayer.

“As we remember Bobby, it’s hard not to feel the echo of the way he lived,” the family said.

“A man driftin’ and dreamin’, never worrying if the road would lead him home. A child of countless trees. A child of boundless seas,” the family said, quoting the songs “Cassidy” and “Lost Sailor,” written by Weir and the late John Perry Barlow.

Following Weir’s death, 79-year-old drummer Kreutzmann became the last living co-founder of the Grateful Dead.

Bassist Lesh died in October 2024 at the age of 84, while keyboardist McKernan died aged 27 in 1973.

Drummer Mickey Hart, 82, joined the group in 1967.

In 2024, the final year of Joe Biden’s presidency, Weir and other living Grateful Dead members were given Kennedy Center Honors, among the highest American arts awards.

“The Grateful Dead has always been about community, creativity, and exploration in music and presentation,” Weir, Hart, Lesh and Kreutzmann had said at the time.

Pendants and brooches packed with artificial intelligence abounded at the Consumer Electronics show, using cameras and microphones to watch and listen through the day like a vigilant personal assistant.

The return of the wearable tech comes about a year after the discontinuation of a Humane AI Pin panned by reviewers after it was launched amid high expectations in early 2024.

It also comes as OpenAI chief Sam Altman and renowned industrial designer Jony Ive collaborate on a device for interacting with AI, expected to be ready by next year.

Not everyone is a fan of always-watching neckwear as a fashion accessory.

“Go make some real friends” became common graffiti on New York City subway ads for Friend brand AI pendants late last year to protest “surveillance capitalism.”

Nonetheless, at the CES show in Las Vegas, gadget makers have pitched AI pendants as note-takers or ways to remember beautiful or important moments of each day.

Technical advances including improved chips have helped overcome early problems with poor battery life, buggy software, and stumbling conversations that tainted early pendant models.

China-based laptop titan Lenovo unveiled a prototype pendant from its Motorola subsidiary that allows voice control of its AI assistant Qira.

The device worn around the neck will capture sound and images hands-free.

Amazon made a deal to buy wearable AI startup Bee last year, and Meta acquired AI device company Limitless.

Bee devices are worn on the wrist, belt or lapel, and primarily function as an assistant by taking notes, offering reminders and keeping calendars.

Meanwhile, Meta has made a priority of developing AI “superintelligence” and is successfully packing AI into Ray-Ban glasses.

Companies are taking an array of approaches to wearable AI.

Startup Vocci, which focuses on AI-assisted notetaking, has opted for a ring, while Plaud has a pin as well as a rectangular device barely thicker than a credit card for keeping track of what is being said.

Chinese startup iBuddi came to Las Vegas to present a prototype of a companion medallion aimed at combating screen fatigue.

“Our core philosophy is to build a body-worn AI companion that replaces some phone interactions, rather than adding another screen that absorbs attention,” iBuddi founder Yin Haitian told AFP.

The entrepreneur, who aims for a commercial launch in July, was adamant that iBuddi “is not driven by surveillance” but instead “reacts to the moments that matter instead of continuously recording everything.”

A Looki L1 AI wearable, on the other hand, continuously captures a wearer’s point of view, promising to advise when to avoid another cup of coffee, to comment on places or objects around you, and to summarize each day in a comic strip.

“Consumer expectations regarding privacy haven’t gone away entirely, but they are shifting,” said Avi Greengart, an analyst at tech research and advisory group, Techsponential.

“We’re already being surveilled by billions of smartphones, city camera networks and smart devices that we willingly placed in our homes.”

The analyst does not expect wearable AI to replace smartphones any time soon but sees them becoming common additions to personal tech ensembles along with smart watches, rings and glasses.

For those uncomfortable with idea of omnipresent surveillance, a startup at CES offered “Wearphone” — a mask with built-in earbuds and microphones designed to help keep conversations private.

In 2011, Altman became a partner at startup accelerator Y Combinator (YC), initially working on a part-time basis.In February 2014, he became president of YC. He aimed to expand YC to fund 1,000 new companies per year and sought to broaden the types of companies funded, particularly focusing on “hard technology” startups. In October 2015, Altman was involved in expanding YC’s scope. He contributed $10 million to the initial fund of Y Combinator Research, and announced YC Continuity, a fund to invest in maturing YC companies. In September 2016, Altman’s role at YC expanded to president of YC Group, which included Y Combinator and other units.

Ive has received accolades and honours for his designs and patents. In the United Kingdom, he has been appointed a Royal Designer for Industry (RDI), an Honorary Fellow of the Royal Academy of Engineering (HonFREng), and a Knight Commander of the Order of the British Empire (KBE). In 2018, he was awarded the Hawking Fellowship of the Cambridge Union Society. In a 2004 BBC poll of cultural writers, Ive was ranked the most influential person in British culture. His designs have been described as integral to the successes of Apple, one of the world’s largest information technology companies by revenue and market capitalisation.

Silent Hill f writer Ryukishi07 has said the Silent Hill series should be understood as a phenomenon rather than a physical location, reinforcing a theory previously introduced in Silent Hill: The Short Message that divided parts of the fanbase.

Speaking in an interview with Famitsu, translated by GamesRadar+, Ryukishi07 explained that the concept emerged during early discussions about setting Silent Hill f in Japan.

He said he questioned how a series named after an American town could logically exist in another country and raised the issue directly with series producer Motoi Okamoto.

High school student Shimizu Hinako[b] lives in the rural Japanese town of “Ebisugaoka” during the 1960s. She resents her parents as her mother is subservient to her abusive father, while her older sister Junko has left home after getting married. After an argument with her parents, Hinako meets up with her friends Shu, Rinko, and Sakuko, where Shu gives Hinako red capsules to help with her intense tension headaches. A monster wearing a shiromuku appears, engulfing Ebisugaoka in fog and red spider lilies, which kill Sakuko. Hinako escapes but Ebisugaoka has become overrun by monsters. While avenging Sakuko’s death, Hinako loses consciousness and awakens in the Dark Shrine, where she encounters a man called Fox Mask. Despite Fox Mask guiding and caring for her, she is continuously warned by a spirit possessing a doll from her childhood not to trust him.

After awakening in Ebisugaoka, which has become almost entirely deserted, Hinako reunites with Shu and Rinko.

As the bridge leading out of town is broken, the three plan to escape through a mountain path behind Shu’s house. Throughout their journey, Hinako travels back to the Dark Shrine whenever she loses consciousness or sleeps, and continues to follow Fox Mask while there. Fox Mask convinces Hinako to kill Shu, Rinko, and Sakuko to let go of her childhood. Additionally, Hinako participates in three rituals: her right arm is severed and replaced with a fox arm, her back is branded with a hot iron, and the top half of her face is sliced off and replaced with a fox mask. As Hinako prepares to marry Fox Mask, she transforms into the shiromuku.

“I discussed a lot of things with series producer Okamoto in a meeting after I received the request [to write Silent Hill f],” Ryukishi07 said.

“Like ‘Why is it set in Japan?’ and ‘What exactly is Silent Hill?’ In the end, we came to the conclusion that Silent Hill is not just the name of a place, it is a phenomenon.”

The idea aligns with a note found in Silent Hill: The Short Message, which refers to the “Silent Hill Phenomenon” as a recurring supernatural event named after an earlier incident in a US town. That explanation marked a shift away from the series being tied exclusively to a single location.

While the original Silent Hill games were set in and around the fictional American town, later entries have expanded the series’ scope. The focus has increasingly centred on the otherworld, a supernatural realm shaped by the psychological trauma of those who encounter it.

Fan responses to the theory have been mixed, but reactions to Silent Hill f have generally focused on interest in seeing the franchise explore new settings beyond the United States.

‘Avatar: Fire and Ash’ has once again claimed the top spot at the weekend box office, marking its fourth consecutive weekend as the highest-grossing film in North America.

The latest installment in James Cameron’s long-running sci-fi franchise earned an additional $21.3 million domestically, pushing its North American total to $342.6 million.

On the global stage, the film has now surpassed $1.23 billion in worldwide box office revenue. While these numbers fall short of the record-breaking runs of the previous Avatar films, the performance still places Fire and Ash among the biggest theatrical releases of the year. The film’s success reinforces the continued appeal of Pandora and Cameron’s large-scale, effects-driven storytelling.

The strong showing also contributes to an impressive year for The Walt Disney Company. Avatar: Fire and Ash becomes Disney’s third billion-dollar release from 2025, following the box office success of the live-action Lilo & Stitch and Zootopia 2. Notably, Zootopia 2 continues to perform well in theaters, earning another $10.1 million domestically in its seventh weekend. The animated sequel has now reached a massive $1.65 billion worldwide, making it the highest-grossing film in Walt Disney Animation Studios history.

Recent industry speculation questioned whether future Avatar sequels would move forward if Fire and Ash underperformed. James Cameron previously acknowledged that he was prepared to step away from the franchise if the film failed to meet expectations. However, with the movie comfortably crossing the billion-dollar mark, the likelihood of the remaining planned installments reaching production appears strong.

Set once again on Pandora, Avatar: Fire and Ash follows Jake Sully, Neytiri, and their family as they face new challenges in an expanded Na’vi world. With sustained box office momentum and global interest, the franchise continues to prove its staying power in the modern theatrical landscape.

Development of Avatar began in 1994, when Cameron wrote an 80-page treatment for the film. Filming was supposed to take place after the completion of Cameron’s 1997 film Titanic, for a planned release in 1999; however, according to Cameron, the necessary technology was not yet available to achieve his vision of the film.

Work on the fictional constructed language of the Na’vi began in 2005, and Cameron began developing the screenplay and fictional universe in early 2006. Avatar was officially budgeted at $237 million, due to the groundbreaking array of new visual effects Cameron achieved in cooperation with Weta Digital in Wellington. Other estimates put the cost at between $280 million and $310 million for production and at $150 million for promotion. The film made extensive use of 3D computer graphics and new motion capture filming techniques, and was released for traditional viewing, 3D viewing (using the RealD 3D, Dolby 3D, XpanD 3D, and IMAX 3D formats), and 4D experiences (in selected South Korean theaters).The film also saw Cameron reunite with his Titanic co-producer Jon Landau, whom he would later credit for having a prominent role in the film’s production.

Avatar premiered at the Odeon Leicester Square in London on December 10, 2009, and was released in the United States on December 18.

The film received positive reviews from critics, who highly praised its groundbreaking visual effects, though the story received some criticism for being derivative.

During its theatrical run, the film broke several box office records, including becoming the highest-grossing film of all time, surpassing Cameron’s previous film, Titanic. In July 2019, this position was overtaken by Avengers: Endgame, but with a re-release in China in March 2021, it returned to becoming the highest-grossing film since then. It also became the first film to gross more than $2 billion and the best-selling video title of 2010 in the United States. Adjusted for inflation, Avatar is the second-highest-grossing movie of all time, only behind Gone with the Wind (1939), with a total of a little more than $4 billion.

Avatar was nominated for nine awards at the 82nd Academy Awards, winning three, and received numerous other accolades. The success of the film also led to electronics manufacturers releasing 3D televisions[26] and caused 3D films[27] to increase in popularity. Its success led to the Avatar franchise, which includes the sequels The Way of Water (2022), Fire and Ash (2025), Avatar 4 (2029), and Avatar 5 (2031).