Who is Khaby Lame – the world’s most followed TikToker?

Source: Radio New Zealand

His name is Khabane Lame, but he is known worldwide as Khaby Lame. Born in Dakar, Senegal, he is the most followed content creator on TikTok.

He became famous for video clips in which he reacts to absurd “life hack” videos with a blank, slightly annoyed face, showing the hack wasn’t needed.

At the time of writing he has over 160 million followers: a world record achieved without uttering a single word. In January he sold his brand rights for nearly US$1 billion.

Khaby Lame attending the 2025 Met Gala Celebrating.

AFP/DIA DIPASUPIL

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But there’s another dimension to his story that the western media rarely mention: Khaby Lame is a practising Muslim and a hafiz, a Muslim devotee who has memorised the entire Quran. This after being sent to a Quranic school near Dakar at the age of 14.

The tension between the sacred body of the hafiz and the commercialisation of the influencer’s digital life makes his journey a rich case study.

For me, as a researcher of digital identity, his online career also raises questions about turning personal data into digital assets.

From the suburbs of Turin to the top of the global stage

Khaby Lame’s story reads like a modern-day myth. Not because it’s hard to believe, but because it mirrors the core narratives of digital modernity. It starts with hardship, goes through a period of creative isolation and ends with global recognition.

This is what the French thinker Roland Barthes called “mythical speech”, a story that seems natural and simple, but is actually shaped by deeper forces and structures.

In 2020, at the beginning of the Covid pandemic, Khaby Lame lost his job as a factory worker. He was stuck at home and locked down in social housing in the suburbs of Turin, Italy, where his parents had moved when he was a baby.

Out of this hardship he made a simple decision: he started filming short videos. Just 17 months later, he reached more than 100 million followers on TikTok. He was the first content creator based in Europe to reach that milestone.

His story reflects the promise often promoted by TikTok that the platform can lift anyone up. All you need, it suggests, is a mobile phone, and talent will quickly be rewarded with global fame.

This should be celebrated. But the myth of instant success also needs a closer look. Behind every viral rise lie smart decisions, hard work, and the powerful, and often unpredictable, role of the platfom’s algorithm.

TikTok account of one of the most followed people on the app, Senegalese-Italian Khaby Lame.

Riccardo Milani / Hans Lucas / Hans Lucas via AFP

Comic tradition

What sets Khaby Lame apart from almost all the creators before him is the semiotic system (of signs and symbols) he invented – or rather reactivated. He brought back an old comic tradition.

Many compare him to British comedy actor Charlie Chaplin. Others see echoes of US comedian Buster Keaton. Both were masters of Hollywood’s silent slapstick comedy.

Khaby Lame revives the codes of 1930s Hollywood silent comedy cinema: mime, meaningful glances, no dialogue, and burlesque sketches (short theatrical scenes) that convey messages. But the Chaplin connection ends there, as the two men inhabit their bodies in radically different ways.

Chaplin’s films carry emotional weight, driven by social and political themes. His character, the tramp, is a poor wanderer pushing back against an unfair industrial world.

Khaby Lame’s style is closer to Keaton’s. He says nothing. He simply shows how unnecessary and complicated these internet quick fixes are. His absolute impassivity in the face of the absurd is what Keaton perfected with his famous “great stone face”.

But while the comic structure is similar, their relationship to their bodies is not. Throughout his life, Keaton remained completely indifferent to religion or metaphysics in any form. Khaby Lame is the opposite. He is a hafiz. The separation of his digital identity from his physical person is notable.

Wordless humour allowed him to build a global audience because there are no language barriers, just as silent film stars like Charlie Chaplin became global icons a century ago.

TikTok’s algorithm favours content that anyone can understand instantly. Chaplin needed a movie theatre, Khaby Lame needs only a phone and an algorithm. The mechanics are similar. The way it spreads has completely changed.

Digital identity

In January 2026, Khaby Lame’s carefully crafted expressive persona took on a new status. It became a financial asset. He sold his company, Step Distinctive Limited, for US$975 million to Rich Sparkle, a publicly traded company based in Hong Kong. The agreement includes the transfer of rights to use his image, voice and behavioural models to create an artificial intelligence-powered digital twin.

This digital twin will produce multilingual content, including material for advertising and promotions. Companies will be able to run commercials in several countries without Khaby being physically present. According to Rich Sparkle, this could help generate over US$4 billion in annual sales, especially through livestream e-commerce (a format already dominant in Asia), broadcast simultaneously around the world.

This transaction marks a turning point. Digital identity no longer merely represents a person. It becomes an asset that can be separated from the individual who created it. Now, a creator is no longer a brand ambassador, but a brand in its own right. In theory, Khaby Lame’s digital being is now legally separate from Khaby Lame himself.

The digital twin is, in this sense, the Buster Keaton body that digital platform capitalism has always dreamed of – impassive, reproducible, available across all time zones.

Signature gesture

Khaby Lame’s signature gesture is to place both palms open and turned upward. This seems simple and easy to understand, a light and humorous sign of of disbelief. But the gesture carries deeper meanings.

In Islamic tradition, as in many African cultures, this same gesture is linked to dua, the act of raising one’s hand in supplication to God. What millions of viewers read as a comic signature is also a spiritual practice.

Yet Khaby Lame’s digital double is not simply an image. It can act in his name. It can speak with his voice. It can repeat his familiar gestures. This is no longer simple representation. It is a form of transferring his way of expressing himself onto a digital system.

The same open hands, the same expressive gaze, the same voice that once recited the suras of the Quran in a school in Dakar are now the attributes of a commercial transaction valued at nearly a billion dollars.

There is an ethical question in handing over his active identity to financial markets.

An ethical question

For many young Africans, especially in Senegal, Khaby Lame embodies the possibility that digital spaces are territories where Africans can succeed, where the hierarchies inherited from colonial history can, at least symbolically, be overturned.

But the deal raises a difficult question: what does it mean to sell your digital self in a world where Black and African bodies have been used and profited from for centuries without consent and fair compensation?

Is this a win or a new form of exploitation? Can the financial benefits balance the transfer of his identity?

More African creators are building global audiences every year. That means these questions will become harder to ignore. Who owns a creator’s digital twin once it’s sold? Who set the rules for its use?

Khaby Lame is not just a social media success story. He is a revelation of the future and, perhaps unwittingly, a pioneer.

– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

Review: Project Hail Mary is a Ryan Gosling-powered hope rocket

Source: Radio New Zealand

As Project Hail Mary‘s amnesiac hero problem-solves his way around the spaceship he’s woken up on alone, he asks: “Am I smart?”

It’s a bold question to put in the air at the start of a film that fuses a silly, human-alien buddy comedy and a deeply earnest tale about how science and cooperation may yet save humanity.

And while the answer is that this sci-fi spectacular is perhaps a smidgen goofier than it is clever, it’s also charming, looks stellar, and is non-stop ride fuelled by a message of hope and powered by a star.

This video is hosted on Youtube.

– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

Mudfish pulls off last-minute upset to claim Fish of the Year 2026

Source: Radio New Zealand

A Northland mudfish with a ruler for scale. DOC

A deeply unglamorous and rarely seen creature that spends most of its life in mud has pulled off a last-minute upset by winning the title of Fish of the Year.

The Northland mudfish was not even in the top ten at the competition’s halfway point, but surged ahead in the final 24 hours – bumping the longfin eel, or tuna kūwharuwharu, out of the top spot.

Just under 6000 people around the country voted in the contest, which is organised annually by Mountains to Sea Conservation Trust.

Trust founder Samara Nicholas said the humble, secretive Northland mudfish – which was found only in a few wetlands around Kaikohe and Lake Ōmāpere – benefited from strong campaigns by the regional council and a local radio station.

“Even the Northland Rugby Union claimed they may actually change the Northland Taniwha name to the Northland Mudfish,” she said.

“I think people just got really fascinated by the fact that it’s so rare, it’s highly threatened. Not a lot is known about it. And it’s just was just so quirky that it seemed to capture the imagination of people.”

The secretive, wetland-dwelling Northland mudfish has been named Fish of the Year 2026. Supplied / Mountains to Sea Conservation Trust

Until the late surge by the mudfish, the longfin eel, the seahorse and the whale shark – the world’s biggest fish – appeared to be top contenders.

“It was just the buzz and the sheer amount of people getting behind the mudfish. And that’s what we want to do. We want this competition to create friendly competition between different organisations campaigning for their fish. The campaign went crazy in those last 24 hours, and the mudfish completely took it out.”

New Zealanders’ love of the underdog was also a likely factor.

Nicholas said the purpose of the competition was to shine a spotlight on creatures that were usually “out of sight, out of mind” – as was the case with many of New Zealand’s native fish.

With a maximum length of 15cm, the Northland mudfish was the smallest winner to date. It was also the first freshwater fish to take out the title, and so obscure it was only discovered in 1998.

Map showing the distribution of Northland mudfish. Supplied / Earth Sciences NZ

Its unique talents included the ability to survive droughts by burying itself in mud and breathing through its skin, Nicholas said.

That skill helped mudfish survive when a fire ripped through 15ha of conservation land next to Kerikeri airport in 2010.

However, the main threat to the survival of the Northland mudfish – and the four other species of mudfish around the motu – was the destruction of wetlands.

“We’ve drained around 90 percent of our wetlands in the last 150 years, and that has had a disastrous impact on our native galaxiids, including mudfish,” Nicholas said.

“We urgently need to protect and restore wetlands and riparian areas across the country to give freshwater fish, like the Northland mudfish, a fighting chance.”

It was the fifth time Mountains to Sea had run the Fish of the Year competition.

Last year’s winner was the bizarre, and aptly named, blobfish.

The Northland mudfish is sometimes also called the burgundy mudfish because of the colouring around its gills and belly.

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– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

Retired Supreme Court judge to lead government inquiry into Tauranga landslides

Source: Radio New Zealand

The slip at Mauao, Mount Maunganui as seen from the air. Screengrab / Amy Till

Retired Supreme Court judge Sir Mark O’Regan will lead the government’s inquiry into the Tauranga landslides which killed eight people.

The terms of reference, released on Tuesday, task him with investigating how the landslides occurred and whether relevant agencies took appropriate steps to manage any risk.

That includes whether they missed any opportunities to warn or evacuate people.

Investigators will consider evidence including what agencies already knew about the risk of landslides, as well as the weather forecasts, storm alerts, and any warnings from the public.

The inquiry has no power to determine criminal or disciplinary liability, but can make “findings of fault”.

The government said it does not expect the inquiry to hold public hearings and can seek evidence from overseas, but without travelling itself.

In a statement, the responsible minister Chris Penk said the government recognised the significant public concern surrounding the tragic events and the importance for the families and wider community of determining exactly what happened.

“Those responsible for the Inquiry will be required to communicate with the families of the victims about its progress. It is my expectation that this engagement will be conducted with respect and sensitivity, and that the work will proceed as efficiently as possible,” Penk said.

Sir Mark will be assisted by a former public sector boss Helen Anderson and lawyer Steve Symon.

They will start considering evidence at the end of the month, to report back with recommendations by early December.

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My Food Bag on track for profit growth

Source: Radio New Zealand

My Food Bag is forecasting its full-year net profit will be between $6.4 million and $6.8 million

Strong sales in the second half of the year have helped put My Food Bag on track to deliver year-on-year profit growth.

The NZX-listed company is forecasting its full-year net profit will be between $6.4 million and $6.8 million, up from $6.3 million in the 2025 financial year.

Revenue is tipped to grow 4.9 percent on the previous year, with the level of retained customers in the meal kit business up year-on-year, according to chief executive Mark Winter.

“We’ve prioritised providing our customers with greater flexibility, offering the more convenience and reiterating the value of our offering,” he said.

Winter says the meal kit business has expanded in the past year to target more health-conscious customers, and now offers a high protein option, a diabetes plan and meals tailored to those taking weight loss drugs.

My Food Bag chief executive Mark Winter. Supplied

Rising cost of ingredients a headwind

Ingredient price inflation is still a challenge for My Food Bag, said Winter, with food prices generally up 4.5 percent in the year to February, according to Stats NZ.

But Winter said the company has managed to improve its gross margin for the second half, compared to the prior year.

“We’ve always prioritised what we can do internally to take unnecessary cost out that the customer doesn’t value and that includes at assembly sites around productivity.”

“We invested a substantial amount of money a couple of years ago in implementing light automation, so initiatives like that have allowed us to partially offset the food price inflation costs that we’re seeing come through.”

With the Middle East conflict generating an uncertain outlook for inflation, Winter said the company is keeping a close eye on developments and staying in contact with suppliers.

The company expects to release its confirmed full-year results in May.

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– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

New rating system for schools unveiled as ERO reports overhauled

Source: Radio New Zealand

The Education Review Office is introducing a colour-coded, four-point scale for rating schools’ performance.

It said the new system would apply to ERO review reports for schools visited from term two and would be easier for families to understand.

The new-look reports would rate schools’ as excelling, doing well, working towards or requiring improvement across 14 areas with colour coding of dark green, light green, orange, and red.

The reports would start with a “snapshot” table showing the number of areas in which each school was excelling, doing well, working towards, or required improvement.

They would then provide an overview of the school’s ratings in 14 areas including student achievement, student progress, teaching, reading and writing, maths and attendance.

ERO said the new reports would be easier for families to understand.

The new-look ERO report, Education Review Office

ERO last changed the way it reported on schools at the end of 2024 when it introduced short descriptions of performance in areas including how well learners were succeeding and the quality of teaching.

It also introduced brief outlines of schools’ performance in reading, writing, maths and attendance.

England’s school reviewer, Ofsted, recently introduced a colour-coded, five-point scale for schools’ performance in areas including attendance, behavour, acheivement, and personal development.

The scale was exceptional, strong standard, expected standard, needs attention, and urgent improvement with colour-coding ranging from blue, through green to orange and red.

Education Minister Erica Stanford said the new reports would provide parents with clearer, more useful information.

“To date, reports on school performance through ERO have not sufficiently focused on the details most relevant to parents and have been dense and complicated to read and understand,” she said.

RNZ / Nick Monro

Stanford said the reports would provide more detail on twice as many topics.

“The new reports will recognise successes as well and provide a roadmap for improvement. They focus on the key changes that will make the most difference for students,” she said.

Stanford said the reports would help the Education Ministry target support to the schools that needed it.

“Overall this is really about good data and making sure that we are targeting resource to the areas we need it the most so we can raise achievement standards across the board,” she said.

She said the review office had not changed how it reviewed schools, just how it reported its findings.

Chief review officer Ruth Shinoda said parents did not understand some of the language ERO used.

“Sometimes words are clear to us but not clear to schools and parents,” she said.

“For example, the word ’embedding’, which is one of our judgements – it means a lot to us in education, parents have no idea what this word means so we’ve changed it to ‘doing well’.”

Shinoda said a focus on progress would celebrate the difference schools made in challenging circumstances.

She said the reports would show how many areas a school was excelling in, how many areas it was good at, and how many it needed to improve.

They would also provide more clarity about what schools needed to do next.

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– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

Simon Kneebone joins Black Ferns coaching team

Source: Radio New Zealand

Simon Kneebone has been appointed a Black Ferns assistant coach, focusing on set pieces. SUPPLIED

The Black Ferns have a new assistant coach who will focus on their set piece.

Simon Kneebone completes the coaching group, joining head coach Whitney Hansen, and assistants Tony Christie (attack) and Riki Flutey (defence).

Christie and Flutey had been assistants during Allan Bunting’s reign, which ended when the Black Ferns finished third at last year’s World Cup.

Kneebone has come through the ranks in women’s rugby coaching and helped Canterbury win back-to-back Farah Palmer Cup titles in 2018-19 as their forwards coach.

After returning to the Canterbury team in 2024, he was appointed assistant coach for Matatū in Super Rugby Aupiki and assistant coach for the Black Ferns XV.

“Coaching in the women’s space is incredibly rewarding, I love how motivated the players are for growth both on and off the field, and supporting them as they chase greatness. The Black Ferns are a special team with a proud history and I’m excited to contribute to the success of our players as they reach their highest potential,” Kneebone said in a statement.

Hansen, who was appointed head coach at the end of last year, said Kneebone would bring much to the Black Ferns’ set piece.

“I’ve had the privilege of witnessing Simon’s coaching journey throughout the ranks and his knowledge around set piece is outstanding. His understanding of the style we want to play combined with his passion for skill development will be invaluable to this group in bringing out the best of our players, experienced and new.

“His ability to build trust will be critical to enhancing our environment alongside our other coaches and management. I believe we’ve got the best people in place,” Hansen said.

Jenelle Strickland will continue her role as Black Ferns team manager.

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– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

Have women quit cutting their hair short when they get older?

Source: Radio New Zealand

Rebecca Wadey can’t imagine ever cutting her hair.

The Auckland-based writer and former editor of online magazine Ensemble will turn 50 this year. Her hair, which she describes as “big, curly and coarse”, reaches well below her shoulders “to my elbows if I straighten it”.

When she surfs, it blinds her; if it gets wet after in the late afternoon, it won’t dry overnight. “It’s a pain in the arse,” she admits.

Rebecca Wadey’s wild and unruly hair.

Supplied

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But she can’t envisage cutting it.

Superstition is part of it. When she was 26 she had breast cancer and the treatment caused her hair to fall out. “For me, long hair represents great health.”

But there are other reasons.

“It is much easer to have it long. I can do pretty much anything with it. I can hide behind it, flick it up in a pony tail or pull it over my face so I can do an amazing air guitar at a party.”

Long hair doesn’t have anything to do with feminity, she says.

“I just think we don’t have play by the rules any more. We’re doing it for ourselves rather than believing we have to cut it off because society thinks we should start conforming.”

She says her hair is an outward expression of who she is: “A little bit wild and lazy.”

Rachel Waldegrove, 52 also has no plans to cut her naturally blonde hair that now reaches the middle of her back.

The Hamilton real estate agent and mother of four has grown her hair long off and on since she was a child.

Rachel Waldegrove.

Supplied

When she became a mother in her 20s, she was influenced by the convention of the day that if you were an at-home mum, you had short, practical hair.

“I took a picture of Halle Berry with a pixie cut into my hairdresser and said ‘cut it like that’.”

She didn’t like it and immediately began to grow her hair again. Apart from a trim every ten weeks, she hasn’t had it cut since.

These women are typical of their generation. says 32-year-old Zac Harries, a senior stylist at Kitzo hair salon in Hamilton.

He estimates 75 to 80 percent of his female clients now wear their hair long.

“Very rarely do they ask for it to be cut short. And if they do, they sometimes regret it.

“Women are far less bound by old rules about hair length,” he says.

“Whereas 20 to 30 years ago, women once cut their hair at a certain age, hair length now is not dictated by convention. It’s an expression of individuality.“

Janine Simons, a hairdresser and executive board member of Hair and Barber New Zealand, agrees.

She says in the early 2000s, she began to notice hair trends change for older women.

“Youth culture stretched; women stayed visible in careers longer and remained socially active. The idea that short hair marked a stage, started to feel outdated.”

She says in the 1950s and 60s, older women’s hair was structured and controlled.

“Above the ears, neat napes and lots of roller sets. And perms were popular.

“Hair was sculpted into place and sprayed solid. It signalled you were grown up, responsible and respectable.

“That was very much shaped by social expectations and, if we’re honest. by a fairly narrow view of how women were meant to present.

“Now there’s less pigeonholing, less subtle pressure to shrink or age visibly on a schedule.”

She says women aged in their 50s last century looked older than women of the same age today.

“The tight sets, helmet shapes and heavily structed cuts of previous decades added years because they were associated with ‘maturity’ at the time. Just compare The Golden Girlswith Sex in the City. The actresses are at similar life stages yet The Golden Girls looked decades older.”

This video is hosted on Youtube.

Wearing hair below the shoulders and loose represents something bigger than hair.

“It reflects women having more say or more freedom over their identity at any stage of their life,” she says.

“Hair signals era, energy and expectation. Change the hair and you change the age we think we are looking at.”

US actress Demi Moore attends the 98th Annual Academy Awards.

AFP / Angela Weiss

Hair products have also meant hair can remain healthy for longer, though some older women with long hair ask for hair extensions to add thickness.

Hairdressers say the trend for women to wear their long hair for longer in life may also have been influenced by Covid.

“Women couldn’t go to a hairdresser for so long, they got used to wearing their hair longer and liked it,” says Harries.

Cost of living is another factor. Long hair requires fewer visits to the hairdresser. Whereas a woman with a short cut may visit the hairdresser every four or five weeks, women with long hair may only need a trim every two to three months. With hair cuts in major salons costing upwards of $100, that represents an annual saving of around $500.

Janine Simons says the industry has seen clients extending time between visits and choosing lower maintenance service as they juggle discretionary income.

So, will the trend continue? Simons thinks things could change again.

“There are subtle shifts to shorter shapes. These things simmer before they surge. All it takes in the right cultural moment and suddenly, what felt dated, looks fresh and directional again.”

A roller set anyone?

Venetia Sherson is a 78-year-old former editor who wore her hair long in her 30s and immediately regretted it. She has never been bold enough to grow it again.

Halle Berry is known for her cool, cropped hair.

SCOTT NELSON

– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

At the Oscars after-party, the fashion was sexy, strange and sensual

Source: Radio New Zealand

The Oscars red carpet is typically viewed as the apex of awards season dressing. What the stars wear to the Dolby Theater is the culmination of months of business negotiations between talent agencies, stylists and fashion houses, generating millions of views for brands and, when successful, can cement an actor’s relevancy in a fast-moving industry.

Once the Academy Awards wrapped up on Sunday evening, stars poured into the Los Angeles County Museum of Art (where the famed Vanity Fair after-party moved to this year for the first time), several wearing clothes that were sexy, strange and practically R-rated.

It was like a fashion watershed. If the Oscars delivered variations of “tradwife” dressing — think Old Hollywood glamour, with enough embroidered flowers to fill a meadow and dramatic, full silhouettes of a bygone era — then the after-party hinged on 21st century sex appeal.

Mikey Madison attends the 2026 Vanity Fair Oscar Party.

NEILSON BARNARD

Oscars 2026: The full winners list

55 photos

Last year’s best actress winner Mikey Madison arrived in a dress that seemed to capture the moment of getting undressed. The champagne-colored skirt was ruched at the hips, as if the top-half had been seductively unzipped and shunted down to expose her black mesh corset.

Jeff Goldblum and his wife Emilie Livingston, who wore a pair of tights and a thong leotard from the Californian label ERL Artisanal, looked like they had gotten lost on their way to a different kind of party as they seductively posed for photos, both wearing a draped fur boa.

US actor Jeff Goldblum (R) and his wife Canadian dancer Emilie Livingston.

JEAN BAPTISTE LACROIX

Renate Reinsve swapped out her minimalist, 90’s-style Louis Vuitton gown for a peek-a-boo second-skin mesh dress, also by the brand.

Norwegian actress Renate Reinsve attends the Vanity Fair Oscar Party.

JEAN BAPTISTE LACROIX

While Heated Rivalry co-stars Connor Storrie and Hudson Williams each wore a transparent mesh blouse that exposed their chests, Storrie paired his with a fur stole.

US actor Connor Storrie and US actor Hudson Williams attends the Vanity Fair Oscar Party.

JEAN BAPTISTE LACROIX

In lieu of a top, Suki Waterhouse wore two peacock feathers, designed by Tamara Ralph, rendered in gold crystal — the glittering tendrils just about protecting her modesty.

Suki Waterhouse and Robert Pattinson attend the 2026 Vanity Fair Oscar Party.

NEILSON BARNARD

In recent years the after-party has been giving the Oscars red carpet a run for its money when it comes to fashion. Here, the outfits felt less prescriptive and more expressive, as A-listers who may feel hemmed-in by the traditional glamazon gowns and suits expected at the Academy Awards seemed to let their hair down.

Stars might feel emboldened by the fact the event isn’t televised (although it is livestreamed on YouTube and VanityFair.com), so celebrities needn’t worry about wardrobe malfunctions broadcast to the tens of millions of TV viewers, or having their more risqué looks dissected live by red carpet critics. Similarly, the larger guest list means there are more attendees up for causing a stir with their clothes. The result not only tends to be sexier, but outfits that are generally a bit wackier.

Anya Taylor-Joy, for example, was one starlet who opted for the unexpected. Instead of an ethereal floor-length frock, Joy looked like a theater performer of a different time in a short black playsuit from John Galliano’s Fall-Winter 1994 collection for Dior and headpiece that resembled a neatly propped-up ribbon.

British-US actress Anya Taylor-Joy attends the Vanity Fair Oscar Party.

JEAN BAPTISTE LACROIX

Julia Fox, a deft hand at selecting conversation-driving outfits, wore a surrealist Viktor & Rolf gown whose exaggerated shoulders gave the dress an Alice in Wonderland edge — as if Fox had been snapped shortly after chugging the shrinking potion labelled “Drink Me.”

Italian-US actor and model Julia Fox attends the Vanity Fair Oscar Party.

JEAN BAPTISTE LACROIX

But it was perhaps Cara Delevingne’s naked dress by Thom Browne that best summed up the energy at the after-party, with its subversive trompe l’oeil print featuring a man’s torso in red, black and white crystals. It was silly, sexy and — most importantly — something you wouldn’t see at the main event.

British model Cara Delevingne attends the Vanity Fair Oscar Party.

JEAN BAPTISTE LACROIX

More looks from the Vanity Fair Oscar’s After-Party

Danielle Brooks attends the 2026 Vanity Fair Oscar.

NEILSON BARNARD

Timothée Chalamet and Kylie Jenner attend the 2026 Vanity Fair Oscar Party.

AMY SUSSMAN

US singer Lizzo attends the Vanity Fair Oscar Party.

JEAN BAPTISTE LACROIX

Audrey Nuna attends the 2026 Vanity Fair Oscar Party.

AMY SUSSMAN

Odessa A’zion attends the 2026 Vanity Fair Oscar Party.

NEILSON BARNARD

Priyanka Chopra Jonas and Nick Jonas attend the 2026 Vanity Fair Oscar Party.

NEILSON BARNARD

Teyana Taylor attends the 2026 Vanity Fair Oscar Party.

AMY SUSSMAN

– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand

Mince records biggest annual increase since data began

Source: Radio New Zealand

The average price of a kilogram of beef mince was now $4.60 more than the same time in 2025. RNZ / Vinay Ranchhod

Food prices were up 4.5 percent in the year to February, and mince has recorded the biggest annual increase since data began.

Meat, poultry and fish led the increases, up 7.5 percent annually.

Fruit and vegetables lifted by 9.4 percent.

Sirloin steak was up 21.5 percent annually and even beef mince was up 23.2 percent, to an average $24.46 a kilogram.

Chocolate was up 20.3 percent annually.

Stats NZ’s price and deflators spokesperson Nicola Growden said the average price of a kilogram of beef mince was now $4.60 more than the same time in 2025.

“This is the largest annual price increase in beef mince prices since the series began in June 2006.”

Westpac senior economist Satish Ranchhod said export beef prices were up, which was being reflected in local prices.

Westpac is expecting beef prices to move higher still through this year, as global supply remains tight.

BNZ chief economist Mike Jones said international meat prices were at record levels. “Driven in particularly by a real tightening in the US market. US cattle numbers are at the lowest level since 1951, so they are short of beef and that is pushing the global price up. We’re now seeing that reflected more in the retail prices that we pay,”

He said it was hard on households who might have relied on mince to be a cheaper staple.

“If you look at the food price index, you’ve got much higher mince and meat prices, you’ve got bread, veggies all going up in some cases in double digits.

“And we’re starting down some big increase in petrol prices as well, so it is very much concentrated in some of those essential categories so it’s going to be particularly tough going for households that never got much relief from the cost of living. We’re going to have to have a pretty hard look at some of our forecasts for things like consumer spending over the rest of the year.”

Infometrics chief forecaster Gareth Kiernan said the increases were concentrated in red meat, rather than chicken or pork.

“The price at the sale yards for beef has gone up 71 percent since March 2024. Lamb is up 85 percent and that’s driven by strong demand out of China and the US. At the same time, global supply coming out of New Zealand and Australia is quite weak as well.”

Some things did get cheaper – olive oil was down 22.1 percent over a year and potato crisps down 3.2 percent.

Growden said chocolate biscuits also fell in price.

Food prices are expected to increase in the coming months as disruption in the Middle East pushes up oil prices.

Kiernan earlier told RNZ that sectors such as fishing were particularly exposed to increases in oil prices.

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– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand