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K-pop group NewJeans have announced that they will return to record label Ador following a prolonged legal dispute. In a statement to Pitchfork, Ador—an imprint of Hybe—said that members Hyein and Haerin had “decided to respect the court’s latest ruling and adhere to their exclusive contract.” The group’s other members, Hanni, Danielle, and Minji, subsequently confirmed that they would be returning to the label as well, BBC News reports.
Hanni, Danielle, and Minji shared that their decision was made “after careful discussion” and “was relayed late as one member is currently in Antarctica, but as [Ador] is not responding at the moment, we are inevitably announcing this through a separate statement.” They added, “We will continue greeting you with sincere music and performances.”
NewJeans first announced their intention to split from Ador last year, after the dismissal of label CEO and the group’s mentor, Min Hee-Jin. Its members then accused the label of mistreatment, with singer Hanni alleging multiple instances of workplace harassment. NewJeans also attempted to rebrand to NJZ in an effort to work around their exclusivity deal with Ador; however, a Seoul court ruled that the group had failed to prove significant negligence on the part of the label.
At a concert last March, NewJeans announced that they would be indefinitely pausing all band activities. In June, a South Korean high court ruled—in a decision that was upheld by a Seoul district court last month—that the group would have to honor their seven-year contract with Ador, which extends through 2029. At the time, a legal representative for NewJeans told Rolling Stone that the group planned to appeal October’s ruling.
Ador’s statement to Pitchfork continued, “[Ador] is committed to providing its full support to [Haerin] and [Hyein] to ensure the seamless continuation of their artistic endeavors. We request the warm support from the fans and respectfully urge you to avoid engaging in unfounded speculation regarding the members.”
Read about NewJeans’ “Super Shy” at No. 13 on “The 100 Best Songs of the 2020s So Far.”
The Capital went a little Aussie chic recently as Australian First Nations fashion took over the runway. Hosted by the Australian High Commission along with Kirrikin and the Fashion Design Council of India (FDCI), the showcase brought together culture, art and style in one vibrant celebration.
The evening opened with a traditional Aboriginal dance, a cultural practice that dates back more than 60,000 years. Dancers moved to beats inspired by the kangaroo and emu, offering a glimpse into Australia’s storytelling traditions through movement, rhythm, and colour. The performance set the tone for what unfolded next.
Taking over the runway was Kirrikin, which means “Sunday’s best clothes” in the Wonnarua language. Founded by designer Amanda Healy, the Indigenous Australian label is known for turning hand-painted First Nations artworks into elegant, contemporary pieces. Designed in Australia and crafted in Noida, the collection reflected the growing creative bond between the two countries. “Fashion has always been a bridge and this showcase is a true meeting of cultures,” said Sunil Sethi, FDCI chairman.
For Healy, the night also carried extra meaning as it marked ten years of her label and Kirrikin’s debut on an Indian runway. Her collection, ‘Evoke’ was all about fitted blazers, wrap dresses, flowy skirts, and tailored pants in soft viscose crepe inspired by the Noongar people of southwest Western Australia. “I chose India as my major supplier because of the sheer fabulousness of your fabrics,” said Healy.
Fforme has found fans in a particular strain of New York cool girl celebrities, like Katie Holmes and Allison Williams, as well as Hannah Einbinder and Alexandra Daddario. The star dress, so far, has been the Mila bias cut sleeve dress from the fall 2025 collection, which Holmes wore in a brilliant shade of strawberry red, and Einbinder in a sumptuous royal blue.
Photo: Getty Images
Photo: Getty Images
Photo: Getty Images
Photo: Getty Images
Now in the full flow of the “Die My Love” press tour, Lawrence often leans on her Dior ambassadorship for her red carpet and promotional appearances. But of recent, and in cahoots with her stylist, Jamie Mizrahi, Lawrence has cast a wide sartorial net: at the San Sebastian Film Festival in late September, she doubled up on Phoebe Philo, wearing an oversized black T-shirt with a dramatic train and, later, an asymmetrical tobacco melange dress. Then, for the 2025 BFI London Film Festival, she zhuzhed up a vintage black Armani Privé halter dress with her sculptural Glenn Spiro torque necklace. It was only at the 2025 Rome Film Festival that she made her debut in Jonathan Anderson’s Dior womenswear spring 2026 debut: wearing look 56, the actor hit the carpet in a dusty gray-brown pullover with black cuffs and a matching V-neck collar draped over her shoulders, with a gauzy white polka-dot skirt with a black ribbon separating its bubbled tiers.
Whether swathed in The Row, Fforme, or J.W.’s Dior vision, the Jennifer Lawrence book of style stays elegant.
Ben Stiller has shared his views on the nepo-baby discourse, explaining that he sees why people who’ve grown up with parents in showbiz might follow in their footsteps.
The former Severance director was discussing his own status after he paid tribute to his parents, the comedians and actors Jerry Stiller and Anne Meara, in the documentary Stiller & Meara: Nothing Is Lost, released on Apple TV on Friday (October 24).
It comes at the same time as fellow actor Stellan Skarsgård hit out at the nepo-baby label himself, explaining that his teenage son Kolbjörn is affected by the label.
On SiriusXM’s The Howard Stern Show, Stiller said that he understands the arguments “about access” but sees it as a “selling point” that nepo-babies have grown up familiar with the industry.
“I think it’s kinda like that Brat Pack thing, right? New York Magazine, they coined a phrase, and then it just became a thing,” he said of the nepo-baby label, which was popularised by the magazine in 2022.
“But it’s always been what it is, in humanity and life,” he said. “It’s like, you buy a violin, a Stradivarius or whatever, it’s been in the family for hundreds of years. That’s a selling point.”
He added: “But I also understand there are other arguments to be made about access and all those things. My feeling is … if it’s in your blood, if it’s your passion and you grew up around it — for me, I think growing up around it, talking about all these things that I saw with my parents, you, actually as a kid, see the dark underside of it, the stress, the effects it has on relationships. You see that up close as a kid, and then you still wanna go into it.”
He did admit that he got his first job, in the 1986 off-Broadway revival of House Of Blue Leaves after he got an audition “as a favour” for Meara, after he “couldn’t get in ‘cause the casting director didn’t wanna see me.
“But I felt like, doing that audition, I knew that I had done what I needed to get the part,” he added. “If you have the passion, you need to do it. You need to go for it.”
Stiller himself has two children with his wife, actress Christine Taylor. They have a daughter, Ella, and a son, Quinn. Both have followed their parents into the world of acting, with Ella starring in the off-Broadway play Dilaria earlier this year and them both having small roles in Happy Gilmore 2 alongside their father.
Also in the Stiller & Meara documentary, Quinn told his dad that he felt he sometimes put being a father last, explaining: “You have all these hats that you’re trying to balance, you know, being a director, an actor, you know, a producer, a writer, but also, just like a father, right? And sometimes I felt that that would come, you know, last to these other things.”
During a Q&A at the New York Film Festival premiere of the film earlier this month, Stiller said of the moment: “As a filmmaker, I’m like, ‘Oh this is a good moment for the movie,’ you know. As a person I’m like, ‘That sucks.’ ”
Also earlier this month, meanwhile, Stiller described making comedy as being “more challenging” in the current political climate. He told Radio Times, “We live in a world where taking chances with comedy is more challenging. You’re seeing that front and centre in our country … But I think it’s important that comedians keep doing what they’re doing, speaking truth to power and being free to say what they want. That’s the most important thing.”
A new album of Malawian roots music is the inaugural release of a new record label from the Massachusetts Museum of Contemporary Art (Mass MoCA). A collaboration with California label Hen House Studios, Mass MoCA Records released the Kasambwe Brothers’ self-titled album today, and you can hear it below.
The Kasambwe Brothers are a band of four decades, based in the Ndirande township near Malawian capital Blantyre. They found their way to a Mass MoCA residency with help from Hen House and Luc Deschamps, the director of the Jacaranda Foundation and France’s honorary consul to Malawi. Watch a documentary on the making of the album, which involves collaborators from the Massachusetts music scene, below. Clement Kammwamba is the artist behind the cover painting.
Mass MoCA Records will operate in tandem with the museum’s curatorial ethos, a press release notes, and is running as a three-year pilot. Museum director Kristy Edmunds said, “By joining forces with Hen House Studios and being able to tap into the remarkable number of music studios and intimate venues in the local area—the ingredients for a hand-made record label were all around us. I see this label as an extension of how we innovate to support the mobility of artists’ ideas and connect audiences the world over.”
Harlan Steinberger, the producer and engineer behind Hen House, added, “Though technology today can work wonders, the digital world has de-humanized us. I believe in an older-world method that emphasizes the magic of a band making music together in one room, playing off the creativity of the moment. The humanistic approach creates a deeper emotional listener experience that can not only be heard, but also felt.”
An album from Compton jazz artists Black Nile will follow in 2026, the press release notes.
A new album of Malawian roots music is the inaugural release of a new record label from the Massachusetts Museum of Contemporary Art (Mass MoCA). A collaboration with California label Hen House Studios, Mass MoCA Records released the Kasambwe Brothers’ self-titled album today, and you can hear it below.
The Kasambwe Brothers are a band of four decades, based in the Ndirande township near Malawian capital Blantyre. They found their way to a Mass MoCA residency with help from Hen House and Luc Deschamps, the director of the Jacaranda Foundation and France’s honorary consul to Malawi. Watch a documentary on the making of the album, which involves collaborators from the Massachusetts music scene, below. Clement Kammwamba is the artist behind the cover painting.
Mass MoCA Records will operate in tandem with the museum’s curatorial ethos, a press release notes, and is running as a three-year pilot. Museum director Kristy Edmunds said, “By joining forces with Hen House Studios and being able to tap into the remarkable number of music studios and intimate venues in the local area—the ingredients for a hand-made record label were all around us. I see this label as an extension of how we innovate to support the mobility of artists’ ideas and connect audiences the world over.”
Harlan Steinberger, the producer and engineer behind Hen House, added, “Though technology today can work wonders, the digital world has de-humanized us. I believe in an older-world method that emphasizes the magic of a band making music together in one room, playing off the creativity of the moment. The humanistic approach creates a deeper emotional listener experience that can not only be heard, but also felt.”
An album from Compton jazz artists Black Nile will follow in 2026, the press release notes.
Allison Williams doesn’t accept the nepo baby label – insisting she put in the hard work before making her breakthrough as an actress.
Allison Williams insists she had to work for her acting career despite her nepo baby status
The Girls star – who is the daughter of former NBC news anchor Brian Williams and TV producer Jane Gillan Stoddard – has faced accusations that she is a nepo baby, but explained that she spent plenty of time working behind the scenes on movies and TV shows instead of “being hatched out of an egg” and getting roles.
In conversation with Girls co-star Andrew Rannells for Interview magazine, Allison said: “That is exactly what people picture for nepo babies, and they’re not that wrong. But there were some stops along the way.
“Before I started acting professionally, I did several jobs on sets in support positions. One of them was being Tina Fey’s second assistant the summer she was shooting 30 Rock.
“I was also a PA, technically an intern, on A Prairie Home Companion, which was Robert Altman’s last movie. That was a stacked cast. I learned so much from that job.”
The M3GAN star continued: “And then I was the utility stand-in on the pilot of Boardwalk Empire, the summer going into my senior year of college. That was a job that I got from family connections. It’s not a level playing field.
“This girl shows up and is hired, not because I was a good height for this show – sometimes I was on apple boxes. (Martin) Scorsese deserved better, but here he was with me.
“But every one of these roles was an opportunity to see the machinations of a set, to understand how the rhythm of the day works. Where there’s tension, you can feel it.
“And I found myself, as I was shooting the pilot for Girls, so grateful not to be learning everything at the same time.”
Allison finds acting to be a “stressful” career, even though she has the “safety netting” that most other performers do not, thanks to her parents’ background.
The 37-year-old star said: “It’s stressful. One of the things that is true about nepo babies, certainly for me, is that there was a floor through which I was not going to fall.
“There was safety netting, and that fundamentally changes your risk calculation.
“But a lot of people, when they’re deciding to become actors, have to really fortify themselves against the fight that’s coming, the years and years of rejection, trying to figure out how to pay the bills. I certainly got luckier than most.”
Alex Gallardo from Sony Music Latin accepts the Top Latin Albums Label of the Year Award from Kapo.
Rod Wave, widely known for pouring raw emotion and pain into his music, has sparked yet another debate online. If you remember back in 2022, he told fans that ‘Beautiful Minds’ would be his last “sad” album. Since then, he’s dropped three more bodies of work, each showing growth, new vibes, and deeper storytelling. Now, social media is buzzing about whether Rod Wave is truly a “sad artist” or just one of the most relatable voices of his generation.
On Friday, a clip of Rod Wave sitting down with The Joe Budden Podcast surfaced online. In the interview, the rapper shared that he no longer wants to be labeled as the “sad artist.” The conversation started when Joe Budden asked, “Pardon my ignorance, but do you have happy songs?”
Rod responded candidly, saying, “See, sh**like that make you be like, I don’t want to be the sad n***a. Every time I walk in the room, b****** be like, damn… I don’t wanna keep being the sad n***a.” He also explained that he’s hesitant to walk away from that sound completely, knowing many fans still connect deeply with his pain and feel like they need that from him.
Rod Wave says he doesn’t want to be known as the sad artist anymore📍
Joe Budden: “pardon my ignorance but do you have happy songs?”
Rod Wave: “see sh*t like that will make you be like, I don’t want to be the sad n*gga… every time I walk in the room, b*tches be like damn… I… pic.twitter.com/DyZkNxhbHy
— SOUND | Victor Baez (@itsavibe) October 17, 2025
Across social media, fans have joined in on the ongoing debate about the kind of music Rod Wave creates. While some listeners claim many of his songs lean toward the sad or depressing side, his loyal supporters were quick to step in. They made it clear that although Rod first blew up off emotional tracks, th
Instagram user @theteeta wrote, “It ain’t sad it’s just real, what else he gon talk about? Sliding and spinnin on opps and 505 how much money he got?? Don’t switch up….”
Instagram user @dontpaniccccc5 added, “Rod wave music is super relatable everyone go through things I don’t care how tough you think you are”
Instagram user @jassyblackgirl wrote, “His music not even sad fr yall just not listening HE A REAL ONE”
Then Instagram user @_bigtoy added, “It’s not sad, it’s healing”
Instagram user @banods_ wrote, “He blew up off sad music because that’s his passion and that want God is using him for. He says how a lot of pol be feeling but will never say.”
Instagram user @kdgdoji added, “Aint shit peaches and ice cream rn we need ts gang”
While X user @NasirAMubarak wrote, “why would he go on a podcast where nobody listens to him, bra has A LOT of happy/motivational songs”
X user @ZooFTG_XB wrote, “ “You’re not a real Rod Wave fan if you think the nigga only sings about being in sad times. Although that’s what we love from him. He has other bangers that don’t give a sad vibe. He’s also motivational. Got me off my feet a quite a few times with ALOT of his music”
X user @sayjuhnay added “Turks & Caicos, Smile, Get A Bag & Pressure just to name a few.”
Despite what fans have to say, Rod Wave is letting is ready to let his music do the talking. Earlier this week, he dropped his new single “Leavin’” and announced dates for his upcoming Redemption Excellence Tour. But Rod didn’t stop there. he also took to Instagram with a photo dump captioned, “just turned my album in,” sending fans into a frenzy and fueling excitement for what’s next.
What Do You Think Roomies?