Christmas in New York City is always such a wonderful time—there’s truly nothing better than experiencing the season through intimate, thoughtfully curated moments. One of those moments came this December at the newly opened Hyatt Regency Times Square, which kicked off the holidays with a celebration that felt both festive and distinctly New York.
Miami Art Week has never been short on spectacle, but during Art Basel 2025, Maison Perrier-Jouët offered something rarer: a moment of quiet attention. On the sands of Faena Beach, where sound systems usually compete with the ocean, the storied Champagne house unveiled Plant Pulses, a multidisciplinary installation by Polish artist and designer Marcin Rusak that invited visitors to slow down, listen closely, and reconsider what nature has been trying to tell us all along.
Unveiled from December 2–7 as part of Faena Art programming, Plant Pulses translated cutting-edge scientific research on plant communication into an immersive artistic experience — one that blurred the boundaries between art, ecology, and technology.
At the heart of Plant Pulses is a collaboration between Rusak and researchers Bartek Chojnacki and Klara Chojnacka of AGH University of Science and Technology in Kraków, whose experiments revealed that plants emit ultrasonic signals when under stress, such as dehydration. These signals subside when the plant returns to a healthy state — a form of communication that has long existed beyond human perception.
Rusak transformed this data into a soundscape and visual language that made the invisible audible and the inaudible emotional. Inside the installation, visitors were guided by multidirectional sound toward a monumental central sculpture: a contemporary herbarium encasing three “hero” plants vital to the Champagne ecosystem — the vine, European birthwort, and white clover — alongside chalk soil and end-of-life Perrier-Jouët vines. Suspended in resin, the sculpture functioned as a time capsule, preserving botanical matter while symbolizing the fragile continuity of ecosystems across generations.
The soundscape unfolded in three movements — dehydration, inter-plant communication, and rehydration — while circular screens evolved visually from stark linear graphics into organic, bubble-like forms, subtly nodding to Champagne itself. Even the seating, 3D-printed and embedded with plants Rusak collected in Épernay, encouraged visitors to pause, observe, and reflect.
The collaboration felt especially resonant given Perrier-Jouët’s botanical lineage. Founded in 1811 by Pierre-Nicolas Perrier and Rose-Adélaïde Jouët — both passionate lovers of art and nature — the House has long been shaped by horticulture and progressive viticulture. Its iconic Japanese white anemone, introduced by Art Nouveau pioneer Émile Gallé, remains a symbol of the brand’s symbiotic relationship with the natural world.
Rusak’s practice mirrors that ethos. Descended from flower growers, his work often incorporates discarded plants, questioning beauty, decay, and human intervention. As Rusak himself noted, visiting Perrier-Jouët’s vineyards revealed a shared philosophy: “the slow, patient process of creating champagne… much like my practice.”
That philosophy extended beyond the beach and onto the table. On December 2, Perrier-Jouët hosted the Banquet of Nature at Faena’s Mammoth Garden — a four-sequence dinner orchestrated by three-Michelin-star Chef Pierre Gagnaire, the House’s longtime ambassador and creative partner.
Designed in collaboration with experimental Dutch duo Steinbeisser, the dinner explored how design, tableware, and sourcing shape our relationship with food and nature. Guests were invited into conversations with Rusak himself, while vintage cuvées from the Belle Epoque Collection anchored the experience in Perrier-Jouët’s Champagne heritage.
The evening also marked the launch of A Banquet of Nature: Cooking Art and Ideas with Pierre Gagnaire, a new addition to the House’s Enchanting Library. Part cookbook, part cultural dialogue, the book gathers voices including philosopher Emanuele Coccia, botanist Marc Jeanson, novelist Maylis de Kerangal, and biologist Emmanuelle Pouydebat, framing cooking as a profound cultural link between species.
The conversation continued at Design Miami, where Rusak and Axelle de Buffévent, Global Culture & Creative Director of Maison Perrier-Jouët, participated in a public panel moderated by curator Glenn Adamson, exploring biodiversity through the lens of design.
This long-term thinking is central to the House’s mission. Since 2021, Perrier-Jouët has been rolling out an experimental regenerative viticulture program, with ambitions to convert 100% of its vineyards by 2030. Research like that behind Plant Pulses could one day inform real-time vineyard resource management — a tangible example of art contributing to environmental practice.
Fittingly, Art Week also marked the announcement of the inaugural Perrier-Jouët Design for Nature Award, created in partnership with Design Miami. The first recipient: Iris van Herpen, the Dutch haute couturier renowned for merging fashion, science, and living systems.
Van Herpen was awarded a carte blanche to create a design-led experience for Design Miami 2026, recognizing a practice that treats nature not as inspiration alone, but as collaborator. Her most recent couture collection, Sympoiesis, drew from oceanic ecosystems, translating ecological fragility into fluid silhouettes and layered, liquid-like forms.
As de Buffévent noted, the award is meant to push sustainability beyond rhetoric — toward joyful, optimistic experimentation. For van Herpen, it offers space to further explore “the ever-shifting relationship between our body and the living forces of nature.”
The good times rolled out in Baton Rouge during a stop for Raising Cane’s 6th annual Holiday Bike Giveaway.
There are people born the year RuPaul‘s drag race premiered who are now able to vote. People who have had the show their entire existence. What a wonderful world.
New York City celebrated the 18th season of the show with a star studded soirée featuring 14 Brand New queens vying for the crown – Athena Dion, Briar Blush, Ciara Myst, Darlene Mitchell, DD Fuego, Discord Addams, Jane Don’t, Juicy Love Dion, Kenya Pleaser, Mandy Mango, Mia Starr, Myki Meeks, Nini Coco, and Vita VonTesse Starr.
Aqua Roma hosted a night that was full of surprises and nostalgia, a mix of old and new, as our fresh-faced competitors were joined by 16 previous winners from both regular season and all stars franchises – Alyssa Edwards (Global All Stars winner), Angeria Paris VanMicheals (All Stars season 9 winner), Aquaria (season 10 winner), Bebe Zahara Benet (season 1 winner), Ginger Minj (All Stars season 10 winner), Jaida Essence Hall (season 12 winner), Jimbo (All Stars season 8 winner), Kylie Sonique Love (All Stars season 6 winner), Monét X Change (All Stars season 4 winner), Nymphia Wind (season 16 winner), Onya Nurve (season 17 winner) , Sasha Colby (season 15 winner), Sasha Velour (season 9 winner), Symone (season 13 winner), Willow Pill (season 14 winner), and Yvie Oddly (season 11 winner).
NEW YORK, NEW YORK – DECEMBER 09: Alyssa Edwards, Nini Coco, Ts Madison, and Kylie Sonique Love appear during RuPaul’s Drag Race S18 Premiere Event at Aqua New York on December 09, 2025 in New York City. (Photo by Santiago Felipe/Getty Images for MTV)
Hosts Ross Matthews, TS Madison and Variety’s Senior Culture and Events Editor Marc Malkin kicked off the night hyping up the crowd for some of these queens’ first public appearance since the new season was announced.
One by one, they strutted their stuff in front of a ravenous and frankly thirsty crowd. Sheer madness in our eyes.
It’s so tough for me to guess which of these queens is a front-runner because they all felt like stars. Though I can’t help but root for Kenya Pleaser basked on vibe alone. Hey auntie!
A mother daughter dance of sorts ensued, as our new queens were paired with the veterans in a runway presentation befitting one of the show’s fabulous finales.
NEW YORK, NEW YORK – DECEMBER 09: Yvie Oddly appears during RuPaul’s Drag Race S18 Premiere Event at Aqua New York on December 09, 2025 in New York City. (Photo by Santiago Felipe/Getty Images for MTV)
Then, from the shadows: ‘We’re from the same place.’
‘The Bronx?’
‘The world.’
The ever outspoken, iconic and inspirational law roach appeared from the wings to join our queens and hosts in the final toast before we turned the night fully over to our DJ. Making his entrance while quoting the year’s best meme? Legendary.
Electricity hung in the air as we saw the start of 14 new careers being launched into the stratosphere.
I’m a drag race is superfan and will be tuned into every episode, and I suggest you join me. Viva la dieciocho!
Carmela Zumbado, known for her breakout role in You as well as appearances in The Magicians and Chicago PD, has built a career rooted in a lifelong love of performing. Now featured in Power Book IV: Force, she reflects on where it all began.
Zumbado grew up in Miami as one of three sisters, all of whom became actresses. Their childhood in South Florida revolved around dance classes, theater programs, and school productions. Performing was simply part of their lives. Supported by parents who encouraged their artistic interests, the sisters naturally transitioned from high school drama rooms to full-time work in the industry.
When speaking to The Knockturnal, Zumbado reflected on the early hurdles of breaking into entertainment and the questions she receives from aspiring actors. Zumbado often emphasizes the value of starting in smaller markets with less competition and more opportunities to learn. That approach allowed her and her sisters to build real experience before eventually making the move to Los Angeles.
“It was really hard to gain a foothold in South Florida because [there’s not too many TV and film productions] there.” said Zumbado. “So instead of just making the big jump to LA and being a small fish in a big pond, we decided to build our resumes in smaller markets like New Orleans and Atlanta, where a lot of things were filming.”
Zumbado often encourages aspiring performers to get a feel for the industry by working as background actors in their own cities. She notes that most major cities eventually host a few television or film productions, and signing up for background work can offer an invaluable first look at how a set actually operates. It provides a crash course in the rhythm of a production and the many roles that keep it moving.
Zumbado also points out that the experience can open unexpected doors. While some newcomers may arrive thinking only about acting, time on set can reveal an interest in other creative departments such as costumes, props, locations, or set design. Background work, she explains, is often the simplest and most accessible way to discover where someone truly fits within the world of filmmaking.
It is a strategy that helped shape the career she has today, leading to the roles audiences now recognize her for, including her work in this week’s episode of Power Book IV: Force.
“The Last Dance” Carmela Zumbado (“MIREYA GARCIA”), Joseph Sikora (“TOMMY EGAN”). Photo Credit: Starz
When discussing the emotionally charged episode in which Mireya enters an abortion clinic and ultimately decides not to terminate the pregnancy, Carmela Zumbado reflected on the collaborative process behind crafting those moments. The conversations between Zumbado, Joseph Sikora, and the episode’s writer and producer were centered on grounding Mireya’s decision in authenticity and emotional truth. They worked closely to make sure every beat felt earned, especially given the weight of the storyline.
The episode was directed by Lisa Demain, whom Zumbado describes as a remarkable creative force. Demain’s extensive television experience gave her a steady hand in guiding the cast through the episode’s most delicate scenes. Zumbado noted that Demain’s strength lies in her open-minded approach. She encourages exploration and is willing to try scenes in multiple ways, allowing the actors to find the most honest version of a moment.
“She might want us to go level ten emotion here, but then maybe try to bring it back to a five and pull it back a little bit more,” she said. “So the reason Joseph and I were able to really dive into this whole range of emotion is because Lisa was willing to be patient and take the time to decide in every scene, what level of intensity are we going to be at? What’s the backstory here? What happened right before the scene? What’s going to happen later on in the season? That’s going to need to match this? So I give her all the credit for the performances, especially in this episode. She was a really great guide.”
Zumbado also highlighted the dinner-table scene with Tommy and Miguel, a moment that required a different type of collaboration. The three actors approached it with the understanding that their characters are now tied together as a family, and that their choices must reflect a shared future rather than individual impulses.
“Joseph and Manny are my great friends, so it wasn’t awkward at all. We were in between takes, laughing and having a great time, and both of those men are nowhere near as intense as their characters are,” she said. “They’re both goofballs. They’re both hilarious, so it’s just so funny to see them snap into character when the director yells ‘action!’ and have to make it seem like it’s awkward. Because in real life we were just actually having a great time.”
When talking about Tommy Egan finding out he’s going to be a father, Carmela Zumbado said she immediately felt it would push him to change, and maybe even for the better. She sees fatherhood as something that can sharpen a person, make them think faster on their feet, and add a new kind of strength that boosts everything they already bring to the table. In her view, that responsibility could end up making Tommy an even more powerful version of himself.
“I’m interested to see where he takes that. I don’t think he’s going to need to choose between being Tommy Egan and being a father. I think becoming a father might just fortify who he is,” said Zumbado.
During Miami Art Week, Lavazza delivered one of the most compelling cultural experiences of the season with the debut of its “2026 Pleasure Makes Us Human Calendar“, photographed by acclaimed Magnum photographer Alex Webb.
“When I studied at NYU, when I went to NYU film, the first thing they tell you is the hardest thing in film is animals and children,” director Sarah Goher told the audience at a screening of her debut feature Happy Birthday at the IFC Center.
However, being a mother herself helped her overcome this particular challenge.
“As someone who has two children, I’m very grateful I had those two children before I made this film because it just taught me so much about kids,” she said. “Like, if you really prepare kids and you really earn their trust and you really prepare them for what’s to come, they won’t just give you a hundred percent, they could give you a hundred and fifty percent.”
Happy Birthday, Egypt’s nomination for the 98th Academy Awards in 2026, follows eight-year-old Toha, a child maid for a wealthy Cairo family who forms a special bond with her employer’s daughter, Nelly. Having never celebrated her own birthday, Toha becomes determined to ensure Nelly has a perfect party, secretly hoping to experience the joy she’s never known. As Toha’s relationship with Nelly’s mother, Laila, begins to transcend typical employer-servant boundaries, deep-rooted social hierarchies are threatened, forcing the young girl to confront the realities of class division in modern Egypt.
These realities, however, are communicated in the film through soft whispers.
“At some point, two European sales companies, low-key suggested I add more violence to the film,” Goher explained, “I think they were expecting kind of like Parasite, perhaps I would have something that was much more of a ‘big bang,’ a message about class and about division. And I didn’t for two reasons.”
“I didn’t feel that was true to the reality,” she continued, ”I think there’s a lot more nuance to the reality of these situations. And I feel that at the end of the day, I also want to make a film that I’m not trying to get into a European festival, I’m not trying to sell this to the West.”
“I want a film that when I show this to people in my family, to friends who think that this is okay or who don’t want to acknowledge that there’s something wrong with this kind of situation, the invisibility of certain people in society, that it actually gets to them.”
As it turns out, despite the best efforts of child labor laws, this story resonates with audiences around the world. Happy Birthday is very much a film that pushes back against the notion of giving kids a “better life” via servitude in higher class communities.
“I’ve shown this film to lots of audiences. I get people from India, Honduras, Latin America, Mexico, um, even in Spain, which surprised me. This situation happens,” Goher shared with the audience. “Now, by law, child labor is forbidden in Egypt. But there are kids who exist in this [invisible] limbo under the false pretense of goodwill.”
Still, it was important to Goher that Doha Ramadan (Toha), who the director discovered on the streets of Cairo, didn’t just see her character as a servant.
“The other thing is, when I was directing her, I never told her you’re playing a maid because I didn’t want her to project that,” she explained. “I felt like her prerogative was if I’m this little girl, and this is what I saw with the actual girl who inspired the character, she wants to see herself as a child first.”
“And she would come up with suggestions and be like, ‘Sarah, what if I blah blah blah blah blah,’ or ‘why don’t we blah blah blah blah blah?’ And I would let her do what she felt curious about because I started to find myself like while I was shooting the film, it doesn’t matter what, you know, all the kind of ambitious directing stuff you want to do.”
Since wrapping Happy Birthday, Goher also shared how she stays in touch with Ramadan.
“I didn’t want to be one of those filmmakers who plucks a kid out of obscurity, puts them in front of the camera, and then forgets about them,” Goher shared, “And I’ve seen this happen, and it’s very unfortunate. I’ve been to her school, she does go to a school, it’s not a good school. So I got her a private tutor who, since June of 2024, until now, he teaches her three times a week, and now she can read and write really well.”
“There’s not a lot of outreach for the arts in these communities, so I enrolled her at Cairo Opera House’s Youth Talent Center. So she was doing music, and she hated the singing part, so she’s just doing ballet. So she’s been doing that since June of 2024.”
Happy Birthday, which received several honors at the Tribeca Festival, is Egypt’s submission for the 98th Academy Awards for Best International Feature Film.
K-pop group VERIVERY, seasoned performers in the scene, has returned with their long-awaited single album Lost and Found, unveiling a sound the group hasn’t explored since their last comeback two-and-a-half years ago.