It’s hard to keep your eyes off “Split-Rocker,” the 37-foot-tall sculpture by contemporary artist Jeff Koons.
Sitting atop a hill at Glenstone museum in Potomac, Maryland, it features the heads of toy rockers — a horse on one side and a dinosaur on the other — and is adorned all over with blooms that make the artwork come alive.
The annual planting comes as Glenstone celebrates its 20th anniversary this year. The museum is open from 10 a.m. to 5 p.m. Thursday through Sunday.
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The Cannes Film Festival is known for its strict dress codes. But one event, created by filmmakers who were frustrated by the exclusivity of Cannes parties, has a different clothing requirement: You must wear pajamas.
The film festival runs until May 23.
Ice floats because water is one of the only substances that expands when it freezes, The Post’s @genepark writes. The same matter is spread thinner, taking up more space without adding any mass.
According to Park, it’s a useful frame for what Drake did Thursday night, releasing three albums with 43 songs two years after his global humiliation at the hands of Kendrick Lamar. “I listened, and it might be his strongest work since the beloved-but-corny ‘Views’ in 2016 and the hits-laden double-album ‘Scorpion’ two years later. The quality of his music has dropped over the years. This year, the likability comes through sheer quantity,” he writes.
The album trio is the same Drake spread thinner — buoyant because of its restructuring, not because of more substance. Same Drake, more square footage.
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One day, one of Hannah Harper’s kids started badgering her to open his packet of string cheese. “I’m like, ‘Leave me alone with the dadgum cheese!’” Harper said, her voice choking up as she recounted her frustration to the judges on ABC’s “American Idol.” Harper, who has three sons, said she suffered from postpartum depression after her youngest was born.
“And I finally opened his cheese. And when I did, I realized that God had put me in that place, and that where I was in my house was the biggest ministry that I could ever have. … I realized that that was exactly what I wanted, and I kind of kicked the postpartum depression in the butt.”
That moment spurred Harper, a singer who grew up performing on the road with her family’s bluegrass gospel band, to write a song called “String Cheese.”
Harper’s victory was a likelihood after that first episode: “Idol” contestants sing original songs all the time, but rarely do they cause a stir like this one.
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We see too much media whose fundamental message is “Don’t give up on your dreams,” The Post’s @shaneisland writes.
“The Comeback,” which wrapped up its third and final season Sunday on HBO, was the rare show that honestly depicts what that looks like — the humiliations, risks, rewards and trade-offs. Especially the trade-offs.
The first season, which aired in 2005, was about a former sitcom star named Valerie Cherish (Lisa Kudrow) staying relevant by doing reality TV. The second season, which aired in 2014, saw Valerie stay relevant by doing a “gritty” HBO show. By the third season, 20 years on, relevance meant appearing in “the first sitcom written by AI.”
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Michael B. Jordan will join as executive producer to Amazon MGM Studios’ adaptation of the best-selling romantasy book “Fourth Wing,” alongside author Rebecca Yarros, according to an announcement at Amazon’s upfront presentation and reported by Deadline.
Following dueling dragon riders at a military training school, the first installment of the book series debuted on the New York Times bestseller list in May 2023. With the sequel, “Iron Flame,” which published in November of the same year, the series has dominated #BookTok, a sales-driving corner of TikTok, bringing in over a billion views across its related hashtags. “Onyx Storm,” the third book, was the fastest-selling adult novel in 20 years, according to Bookscan.
Amazon MGM Studios acquired the rights for a television adaptation with Yarros as the executive producer, six months before the first book even hit the shelves.
For nearly five months, Jake Reiner had remained publicly silent in the wake of the deaths of his parents, legendary Hollywood director Rob Reiner and his wife, photographer and film producer Michele Singer Reiner. In April, he published a personal essay about his family’s staggering loss.
“I know that not everybody’s grief is the same,” he said, but “I’m sure that there are aspects of everyone’s grief that we can all connect with.”
Across the vast public outpouring of grief, many called the tragedy unimaginable. But for some parents of children who had been diagnosed with substance use disorder and mental illness, the news resonated intimately — carrying a uniquely personal and painful sense of recognition.
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If you’ve ever wanted an interactive John Hughes movie, “Mixtape” arrived this week as the perfect answer.
Developed by the small Melbourne-based team Beethoven & Dinosaur, “Mixtape” is a $20, three-hour interactive experience that repackages classic Hughes coming-of-age beats into short bursts of minigames and visual storytelling.
Released on PC, Xbox, PlayStation 5 and Nintendo Switch 2, it leans hard into late-’80s and ’90s nostalgia, following 17-year-old Stacey Rockford on her last day in 1999 before leaving for a New York university. She’s obsessed with music, a walking encyclopedia of trivia spanning post-punk to Roxy Music. We all know someone like that. I used to be someone like that.
That’s roughly where my connection to this era ends, which is strange considering I graduated the same year as Stacey, writes The Post’s @genepark . But I grew up in Guam, in a majority Brown community, and the John Hughes universe was alien to me.
That isn’t to say “Mixtape” doesn’t land. It’s a meditation on the transience of life, on cherishing every moment and every connection. The writing explicitly asks us to leave nothing unsaid — a simple reminder, but a vital one.
Read the full review at the link in our bio.
New banners appeared in Washington, D.C., thanking President Trump for construction projects and sparking controversy in a city that largely opposed him in the 2024 election. Critics liken the banners to authoritarian displays, while scholars discuss the complex nature of credit and gratitude in politics. The Post’s critic Philip Kennicott argues that the signs twist appreciation and patriotism into an authoritarian knot.
The names of governors are frequently attached to signs announcing new bridges, tunnels and highways. Members of Congress have never been shy about advertising the money they secure for local projects. At the presidential level, however, giving and taking credit is more fraught.
“Compared with the giant banners of Trump’s glowering image hanging on federal office buildings, including the once-independent Justice Department, and the renaming for Trump of public landmarks and memorials such as the Kennedy Center for the Performing Arts, these banners are a relatively small authoritarian incursion into the public realm,” writes Kennicott.
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South Korean K-pop group BTS appeared on a balcony of Mexico's National Palace on May 6.
Thousands of fans gathered cheering and chanting for BTS in the capital's Zocalo after a meeting with Mexico’s President Claudia Sheinbaum.
The appearance followed a meeting between BTS and Sheinbaum.
The Golden Age love letter “Schmigadoon!” and the soaring vampire tale “The Lost Boys” led the 79th Tony Award nominations with 12 nods apiece Tuesday, setting up a down-to-the-wire race for best musical.
“Two Strangers (Carry a Cake Across New York),” a charming British import that landed eight nominations, also lingers as a dark-horse contender at the ceremony honoring the best of the 2025-2026 Broadway season. The Celine Dion-powered parody “Titaníque” rounded out the best-musical field.
The Lincoln Center’s majestic “Ragtime” staging led all musical revivals with 11 nods during the announcement hosted by actors Darren Criss and Uzo Aduba. “Cats: The Jellicle Ball” and “The Rocky Horror Show,” the other nominees for best musical revival, scored nine each.
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A union representing Kennedy Center workers filed federal labor charges accusing the institution of illegally laying off dozens of employees without first negotiating with the union — and
using a planned two-year closure as cover to “permanently eliminate” jobs.
The International Alliance of Theatrical Stage Employees filed unfair-labor-practice charges with the National Labor Relations Board, accusing Kennedy Center officials of violating the union contract by laying off workers without first bargaining over the impact of the closure, which is planned to start in July.
“This is not a normal closure-related layoff,” said Matthew D. Loeb, the union’s international president. “The Kennedy Center appears to be using a temporary closure as cover to permanently eliminate union jobs in violation of its contract and federal labor law.”
The filing marks the latest challenge to the Kennedy Center’s sweeping transformation under President Trump, who announced in February that the center would close July 4 for about $200 million in renovations.
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