Entertainment – LiveNews.co.nz

‘It’s a strange place’ – The Beths’ singer Liz Stokes on US tour

MIL OSI — Fri, 20 Feb 2026 16:57:50 +0000

Lead singer Liz Stokes tells RNZ’s Afternoons, she’s pleased to be back in Aotearoa, and excited to perform their fourth album Straight Line Was A Lie, to family and friends.

The band recently wrapped up an epic 70-show run which saw them travelling around the United States in a bus with 12 “coffin-sized beds” to enjoy, Stokes says.

“[The US] it’s a strange place… it’s a hard place at the moment… we’re seeing it as tourists where we go from music venue to music venue which are spaces where you know, it’s lovely people who are just wanting to support the culture…

“But obviously there is a lot of ugliness there, but we don’t see it…”

“When it got taken off the air we were like ‘never mind’, but when it was brought back it came through too.”

Stokes says it was cool being able to see the “movie magic” behind the scenes.

Actress Tessa Thompson was on the show the same night, Stokes says, but the band was shot earlier in the day before her or the audience came in.

The band performed the title track from their latest album Straight Line Was A Lie, an album Stokes says encapsulated a lot of her life over the last few years.

“I’ve been going through some big emotional and health journeys over the last few years and it’s really put all of that into the music that I’ve made… a lot of my life encapsulated in this album, like a horcrux or something.”

“I have a tendency to overshare, but it feels better to talk about it than be vague about it.”

She says she’s looking forward to finally doing a New Zealand tour.

“We’ve played this album now so much, but haven’t played it to New Zealand yet.”

But first, The Beths will be heading off to Japan on Monday, playing a sold-out show in Tokyo and another in Osaka.

“There’s definitely a big guitar music and alternative music scene in Japan.

“People there still buy CDs which is really lovely. “

The Beths will be playing shows throughout Aotearoa from 13-28 March.

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

Grown-ups, playing is good for you too

MIL OSI — Fri, 20 Feb 2026 00:08:19 +0000

Source: Radio New Zealand

Somewhere along the way to adulthood, time to play fades away. We tend to trade silliness and imagination for seriousness and busyness.

Yet there is clear evidence that adults benefit from playfulness just as children do.

Play has long been treated as something separate from adult life.

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Our research with New Zealand families highlights how supporting unstructured play can help adults feel less stressed and more connected, while also normalising playfulness in everyday family life.

In a world that demands constant busyness, play offers essential qualities we are at risk of losing: spontaneity, togetherness and the freedom to have fun.

Play in adulthood can look different from play in childhood. It is less about toys or games and more about how we approach everyday experiences.

Adult play can be physical, social, creative or imaginative. It might involve movement, music, humour, storytelling, problem-solving or simply doing something for the pleasure of it.

What makes an activity playful is not its form, but the mindset behind it: curiosity, openness and a willingness to engage without a fixed outcome. For adults, play is often woven into hobbies and moments of exploration that sit outside work and obligation.

The benefits of play in adult life

A recent study suggests a potential neurobiological pathway between playfulness and cognitive health in older adults.

At its core, play provides a space to reset, allowing us to step outside pressure and performance. In doing so, it supports not only stress regulation, but sustains emotional balance and quality of life across adulthood.

The value of playfulness also goes beyond the individual. Playful engagement in social contexts helps build shared emotional resources, shaping how people interact and cope together over time.

Playfulness in adults is also associated with higher emotional intelligence, including stronger ability to perceive and manage emotions in social situations. Observational studies further show that adults who engage playfully are more empathetic, reciprocal and positive in their interactions with others, reinforcing social connection and belonging.

Importantly, play has a unique ability to cut across age boundaries. When adults and children play together, even if unrelated, differences in age, role and status tend to fade, replaced by shared enjoyment and interaction.

Research suggests these inter-generational play experiences can strengthen relationships, support wellbeing and reduce age-based stereotypes. Play becomes a shared language, bridging age divides that are often reinforced by modern living.

As our work highlights, unstructured play remains both possible and meaningful in contemporary life, with families reporting benefits for children’s development as well as family cohesion and shared wellbeing. These findings suggest play can function as an ordinary, rather than exceptional, feature of family and community life.

Making room for play in everyday life

If play matters across the lifespan, the spaces we inhabit need to support it.

Yet most public environments continue to treat play as something designed primarily for children. Research in urban design suggests the most effective playful environments for adults are those that don’t announce themselves as playgrounds, but instead embed playful possibilities into everyday settings.

Features such as oversized steps, stepping stones, interactive seating or winding paths can invite exploration, balance and movement. In some cities, this extends to adult-sized play elements integrated into public space, such as musical swings that turn routine movement into playful interaction.

Despite these examples, play-oriented design remains the exception rather than the norm, with most public play infrastructure still concentrated in children’s spaces. Designing cities that invite adult play as part of everyday life could be a valuable investment in inclusion, social connection and population wellbeing.

Environments that support play are not just physical, but social. Just as urban design can invite or discourage playful movement, social norms shape whether play feels acceptable in adult life.

When play is treated as embarrassing, indulgent or something to apologise for, it quickly disappears. But when playful behaviour is visible and unremarkable, it becomes easier for others to participate.

Play has long been treated as something separate from adult life, confined to childhood or reserved for rare moments of leisure. Yet the evidence suggests playfulness continues to matter well beyond early development.

Reframing play as a legitimate part of adult life opens up new ways of thinking about wellbeing across the lifespan.

Scott Duncan is a Professor of Population Health, Auckland University of Technology. Melody Smith is a Professor of Health Science, University of Auckland, Waipapa Taumata Rau.

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

Toy Story 5 trailer drops: Woody and Buzz are back to take on tech

MIL OSI — Thu, 19 Feb 2026 22:42:39 +0000

Source: Radio New Zealand

The Toy Story franchise is back with its fifth instalment and this time – the toys are taking on technology.

By the time Toy Story 5 hits theatres in June, it will have been seven years since Toy Story 4 was released.

The trailer for the latest Disney and Pixar film has just been released today, with plenty of familiar characters.

Woody, Buzz Lightyear, Jessie and the rest of the gang are all back.

But the toys that remained with Bonnie after Andy gave them a new home at the end of Toy Story 4 have become second best to a new one – a Lilypad smart tablet.

The trailer shows Bonnie – now 8 years old – becoming obsessed with her tablet and Jessie growing angrier with its seemingly lack of interest in her concerns.

Jessie reaches out to Woody for help.

“Is it as bad out there for toys as they say it is?” she asks.

“We’re finding more abandoned toys each day,” he tells her.

“I don’t know, Jessie, toys are for play but tech if for everything.”

Understanding Jessie’s fears of “losing Bonnie to this device”, he finds his way back to the team to help.

As well as the much-loved characters from the previous films in the franchise, all new ones will be introduced in Toy Story 5.

According to a press release, Craig Robinson has joined the franchise as Atlas, a talking GPS hippo toy, Shelby Rabara voices a camera toy named Snappy, Scarlett Spears will voice now 8-year-old Bonnie, and Mykal-Michelle Harris voices Blaze, “an independent 8-year-old girl who loves animals”.

Tom Hanks and Tim Allen are both back voicing Woody and Buzz Lightyear with Greta Lee voicing Lilypad.

Toy Story 5 is directed by Andrew Stanton, also known for other animated hits like Finding Nemo, Finding Dory and Wall-E.

According to Variety, Stanton says the film is less of a traditional “good-versus-evil showdown” and more “an existential reckoning for toys facing obsolescence”.

According to The Numbers, the Toy Story franchise has grossed more than US$3.3 billion worldwide. Toy Story 4 and Toy Story 3 are its biggest earners so far, grossing more than $1b each.

Toy Story 5 will be released in New Zealand theatres on 18 June 2026.

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

Review: No Other Choice is impossible to predict

MIL OSI — Thu, 19 Feb 2026 00:12:52 +0000

Source: Radio New Zealand

You aren’t in much danger of walking out of No Other Choice wondering what it was about.

But director Park Chan-wook’s idiosyncratic, dark-comedy thriller is a masterclass in how hilarious, anxiety-inducing and chilling being on-the-nose can be.

When protagonist and former “Pulp Man of the Year’” Yoo Man-su loses his paper factory job in a takeover, his idyllic, summer barbeque-filled life comes under threat. As bills mount up, Yoo, his devoted wife and their kids (a boy and a girl – the daughter is a cello prodigy, of course) face the prospect selling their beautiful mid-century mansion.

This video is hosted on Youtube.

It’s a very corny opening and laid on very, very thick. We even watch their two golden retrievers being driven away in the back of a car.

Struggling to get work amid fierce competition in a dwindling, increasingly automated industry, Yoo decides the only thing left to do is to find and kill the rivals that threaten to beat him to a new job.

What follows is an equally riotous and disturbing serial killer comedy of as many errors as you’d expect when a “paper man” tries to play assassin.

Park (Oldboy, Decision to Leave) is, perhaps, best known for films where people do violence to each other with things like hammers. But much of the tension of No Other Choice is the violence that doesn’t happen – the hesitation, the doubt and the incompetence that make any given moment feel like it could go any way. It’s impossible to predict.

Every scene feels as likely to end in slapstick comedy and humiliating failure as it is to turn truly grim. What’s most remarkable isn’t the seamless pivots from comedy to darkness, but how easily it manages at go both ways at simultaneously.

As Yoo holds a giant pot plant over the edge of a building, preparing to drop it on a competitor, plant water begins to trickle out and then runs slowly down his face.

These scenes are boldly wrapped in eye-catching and idiosyncratic cinematography, as Park deploys every playful technique in the kit, and a few new ones.

Be ready for Dutch angles galore.

Even the music gets in on the comedy – although it’s a joke better not spoilt.

No Other Choice feels like a test of the limits of sympathy for the very unsympathetic goals of a mostly unsympathetic antihero.

As Yoo, Lee Byung-hun (KPop Demon Hunters, Squid Game) mugs, grimaces, panics and transparently lies his way between job interviews, killings and family time. He plays it big, exactly where the film needs it to be.

It’s also a portrayal of cowardice disguised as desperation that’s as sleazy as they come.

And while No Other Choice devotes much of its energy looking into the strange ways we deform ourselves to compete in a capitalist system that turns us on each other, it refuses to let its protagonist off the hook.

It’s just as much concerned with the kind of toxic masculinity that drives men to obsessive, silly, madness, and what it means for those around them.

These are ideas both incredibly of our times and, of course, as true now as they were in fiction hundreds of years ago.

But No Other Choice delivers them in a heart-stopping, side-splitting vehicle that is a hard to compete with.

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

Marlon Williams announces last NZ tour before he takes a break

MIL OSI — Wed, 18 Feb 2026 21:45:40 +0000

Source: Radio New Zealand

Marlon Williams and the Yarra Benders have promised to perform four New Zealand shows this year before “taking a break for a bit”.

“Tā te Manawa (literally “heart at rest”) is going to be the tour before the break,” the Silver Scroll winner said in a statement on Thursday morning.

The first show will be held at Auckland’s Civic Theatre on 22 May followed by a Wellington set at the Michael Fowler Centre the following night.

They will then play in Nelson at Trafalgar Centre on 27 May and at the Christchurch Town Hall on 30 May.

“Comprising songs from my last album Te Whare Tīwekaweka all the way back to my humble first album, and bits of everything in between. I would love to see you there,” Williams wrote in a statement sharing the dates.

Williams’ break will come after a run of shows across Europe and Australia, ahead of the local leg of the tour at the end of May.

“For nearly 20 years I’ve explored both the physical and musical world in the company of incredible musicians, songwriters and friends and it’s been an absolute pleasure,” Williams wrote in a newsletter to fans on Tuesday.

“The catch with it is that because it’s such a blessing to do what you love, it can be easy to overlook the toll it can take over time, on body and soul. So yes, I’m gonna have a cup of tea and a lie down and maybe get a dog.”

Tickets for the shows go on sale at noon on 24 February.

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

How much tax do influencers pay?

MIL OSI — Wed, 18 Feb 2026 17:12:24 +0000

Source: Radio New Zealand

Influencers must stay on the right side of the tax rules. (File photo) Supplied/123rf

Emily Holdaway, or Officially Em, as she is known to her thousands of online followers, says she is running a constant type of mental tally when it comes to what is a “business” expense and what is just the cost of normal life.

While Holdaway had more recently moved her focus to offering social media workshops and building an online community, she was previously best known for her blog Raising Ziggy and related work as a social media influencer.

Some of the admin questions she had to address as part of her business highlight the complexities the influencing industry navigates when it comes to staying on the right side of the tax rules.

Generally, self-employed people could claim their business costs in their tax returns, which reduced the amount of income on which they must pay tax. But people usually cannot claim deductions for personal expenses.

When your income comes from sharing your life, that can be a problem.

Holdaway said she claimed all the business-related expenses any other type of business would. “My computer, my phone, and then we have a percentage of our living expenses that we’re allowed to claim based on the floor area ratio of our office space compared to our house space.

“But for things like when I’m in my car and I’m sharing on my [social media] stories, I’m thinking is this work or is this not?”

She said she did not claim food costs or clothing, whereas other social media influencers might.

“I don’t claim my clothes but I also shop at secondhand shops. If I’m running an event or if I’m somewhere that’s because of work or I’m going to something I’m going to create content with, then yes.

“If I’m going out and getting lunch and sharing that I went to McDonalds I’m not going to claim that because it’s still part of your everyday living. But if I have an event where I’m getting together with a whole heap of people within the community then it’s a business expense.”

She said it was complicated for self-employed people, and particularly influencers.

“Is work the influencing or what you’re getting paid to influence? Is it work when you’re showing up because you’ve got a campaign for someone… or it just the get ready with me, hey I’m having my coffee let’s go for a walk. You could argue both ways, I think. Does my coffee become a work expense if I show that on my story every morning?”

Hnry chief executive James Fuller said, based on the 2023 census, influencers in New Zealand were paying up to $50 million a year in tax but that figure was fluid and growing.

Hnry co-founder James Fuller. (File photo) Supplied/Hnry

“It’s a really interesting development over the last 10 to 15 years in the economy that we have a whole group on the sole trader spectrum who are earning income in content creation and as influencers.

“That can stretch from everything from micro influencers who have a couple of thousand followers all the way through to people who have a couple of hundred thousand.

“I think often when people say ‘influencer’ they imagine someone with millions and millions of followers. But what we are seeing is actually the rise of content creators who are able to generate an audience, bring in brand deals, partnerships, sponsorships and then managing revenue effectively as a sole trader.”

He said people needed to be aware that if they were generating revenue, even if it was just from talking about life, that would come with the same obligations as any other business.

“As such there are things to consider such as the taxes, but also the expenses side of things.”

In the 2023 Census, 2646 people selected “multimedia designer” or “multimedia specialist” from the available occupation options, 228 of whom were self-employed.

“It can be quite tricky to work out, you know, actually is this my life? Am I being paid for being in business or am I being paid for being on social media? But, you know, in the eyes of IRD, it’s very clear that if you’re if you’re generating revenue from it, then it is a taxable activity and therefore you are in business and you have all of the opportunities that come from being in business when it comes to expenses, tax management, those sorts of things.”

Expenses that influencers would often be able to claim would include home office costs, travel expenses, music, the cost of giveaways or the games used by gaming creators.

Inland Revenue said people could claim expenses even in years where they spent more than they earned but there needed to be an intention to make a profit.

“If you monetise content and receive regular amounts from subscribers or platforms, then the amounts are likely income and taxable,” the department said.

Deloitte tax partner Robyn Walker said small scale social media use could sometimes be considered a hobby if there was not a clear intention of making a profit or there was not a lot of activity happening.

But there would always be a level at which it had to be treated as a business.

She said expenses claimed would need to have a sufficiently direct connection to the income-earning activity.

“The other thing to be aware of is that if you are buying assets and then you stop doing content creation that might have implications. If you bought a phone or a camera or a computer and you claim that deduction – normally as depreciation depending on the cost of the asset, if you stop doing then you will have to make tax adjustments to reverse out or effectively sell the asset back to yourself.”

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

Infinix NOTE 60 SERIES Brings Innovation with Interactive Design and Snapdragon Processor

MIL OSI — Wed, 18 Feb 2026 12:07:09 +0000

Source: Media Outreach

Designed as the next milestone in Infinix’s flagship journey, the NOTE 60 SERIES elevates the brand’s signature NOTE line with a sharper focus on flagship-class performance, expressive design, and immersive everyday experiences that go beyond expectations.

HONG KONG SAR – Media OutReach Newswire – 18 February 2026 – At its annual flagship showcase, Infinix today unveiled the NOTE 60 SERIES, featuring the NOTE 60 Pro and NOTE 60—demonstrating a new chapter in delivering premium technology experiences to global users.

Infinix NOTE 60 Pro

Advancing design and performance within its class, the NOTE 60 Pro marks a significant milestone as Infinix’s first smartphone built on the Snapdragon® 7s Gen 4 Mobile Platform, delivering exceptional responsiveness and seamless multitasking that befits flagship-level performance.

It further elevates everyday experiences with an avant-garde Active Matrix Display that stays invisible when inactive, yet transforms into a dynamic interface for personalized interactivity, intelligent notifications, and on-screen entertainment—expanding what a smartphone can do in everyday life. Paired with a fluid 144Hz 1.5K Ultra HDR Cinematic Display and immersive SOUND BY JBL, the NOTE 60 Pro sets a new benchmark for premium multimedia experiences within its segment, proving that exceptional technology can be both powerful and pleasurable.

“NOTE 60 SERIES is our annual flagship showcase—an ‘all‑out’ blockbuster created with industry leaders,” said Tony Zhao, CEO of Infinix. “Embracing a whole-series 5G strategy, we are bringing together the best of performance, design, and entertainment—from our first NOTE powered by Snapdragon from Qualcomm Technologies, Inc., to premium design craftsmanship with Pininfarina, and immersive SOUND BY JBL. This ensures we deliver a pleasurable, fun experience that lets our global consumers actively enjoy the best modern technology.”

Performance Without Compromise with Snapdragon

The NOTE 60 Pro is powered by the Snapdragon® 7s Gen 4 Mobile Platform, delivering robust multitasking and exceptional gaming efficiency with up to 75%¹ faster CPU performance and 210%¹ improved GPU rendering compared to the NOTE 50 Pro. Infinix and Qualcomm Technologies have collaborated for the NOTE 60 Pro, integrating Infinix’s proprietary performance engine to fully harness the hardware’s capabilities. These optimizations deliver up to 25%¹ enhancement in multitasking performance, significantly faster app launch speeds, and a smoother, more stable experience when switching between apps during heavy use.

Powered by its strong Snapdragon chipset, the NOTE 60 Pro takes gaming performance even further, delivering smooth high‑frame‑rate gameplay across popular titles. Mobile Legends: Bang Bang and Honor of Kings run up to 120 FPS, ensuring ultra‑responsive, fluid action even during intense team battles. To maintain consistent performance, the NOTE 60 Pro also introduces an upgraded 3D IceCore Vapor Chamber cooling system featuring a 0.36 mm copper sheet that directs heat from the chipset to the vapor chamber, reducing temperature by up to 3 °C¹ during intense gaming for stable, sustained performance.

Active Matrix Display: Functionality Through Design

Featured on the back of the NOTE 60 Pro, the all-new Active Matrix Display represents a major design innovation for the NOTE SERIES.

This miniature, interactive LED interface stays invisible until activated, then instantly lights up to show smart notifications, animated pets, or mini-games. It enables at-a-glance information, versatile alerts, and moments of playful interaction. Users can personalize it with custom signatures, emojis, or dynamic patterns, giving users a creative outlet to express their personality and emotions, and turning the phone into a more emotionally connected personal companion.

Built around a robust one-piece frame of high-strength aluminum alloy with a refined micro-matte texture, the NOTE 60 Pro delivers a sophisticated, high-end feel while offering durable practicality and dependable IP64 protection² against dust, splashes, and everyday wear. Infinix NOTE 60 SERIES introduces multiple practical functions on the robust middle frame, including the new One‑Tap Button providing instant, customizable activation of Silent Mode or tools like the flashlight. It also features an industry-exclusive Advanced Health Monitor, providing proactive wellness tracking of key vitals like heart rate, blood oxygen, and long-term HRV to deliver actionable health insights.

Immersive Entertainment: A Stunning 1.5K Display Paired with SOUND BY JBL

The NOTE 60 Pro is engineered for an immersive, all-day comfortable audiovisual experience. It features a vivid 1.5K display with ultra-slim bezels, reaching 4500 nits peak brightness for visibility in any light and a 144Hz refresh rate for ultra-smooth visuals. The display is designed for extended viewing comfort, featuring motion sickness prevention technology, which helps users stay comfortable while reading, watching videos, or gaming when commuting or traveling. Last but not least, NOTE 60 Pro is protected by durable Corning® Gorilla® Glass 7i, and this visual excellence is complemented by a high-fidelity stereo sound system with SOUND BY JBL, to complete a truly compelling entertainment experience.

Capture Anything, Day or Night: The Pro-Grade Camera Setup

At the core of the Infinix NOTE 60 Pro’s imaging system is the exclusive 50MP OIS Night Master Camera, engineered to deliver crystal-clear photos and stable videos even in low light. Paired with a 112° ultrawide sensor, the system effortlessly captures everything from expansive landscapes to group portraits.

The device marks a major leap in imaging with Infinix’s first Ultra HDR pipeline, enabling full-chain HDR imaging, from capture and processing to display for brilliant, true-to-life photos. This high-end shooting mode preserves details in shadows and highlights that standard shots often miss, resulting in greater dynamic contrast range and rendering everything from daylight to neon with perfect clarity. Complementing this, the new Live Photo mode captures life as it happens and turns every photo into a vivid, pocket-sized memory.

Rounding out the professional imaging suite are intelligent features like 2x Lossless Portrait Zoom for studio-quality framing, 4K Ultra-Steady Video recording³ with creative filters, and the Infinix AI Studio for effortless, intelligent editing.

All-Day Power, Intelligent Care

The NOTE 60 Pro features a battery capacity up to 6500mAh⁴, a substantial 25%¹ increase over its predecessor. This provides ample power to support all-day browsing, messaging, and gameplay. To ensure power and performance are maintained in the long run, Infinix combines the increased energy density with an industry-first active healing system that automatically repairs internal battery materials in the long term, extending the battery longevity up to 200 cycles over time and ensuring at least 6 years of effective, hassle-free battery performance. The NOTE 60 Pro keeps you charged with 90W wired and 30W wireless⁵ charging. For the fastest wireless experience, an Infinix MagCharge phone case⁵ is included to guarantee perfect alignment. This gives you both the speed and the flexible convenience to power up seamlessly throughout your day.

Infinix NOTE 60: Flagship Implementation with Greater Accessibility

A design similar in high-end refinement to the NOTE 60 Pro’s graces Infinix NOTE 60, another 5G phone featuring a premium metal frame, a 1.5K Ultra HDR display at up to 144Hz, and exceptional battery capacity with advanced charging and longevity management. It’s built around the ultra-efficient MediaTek Dimensity 7400 Ultimate 5G mobile platform and delivers true 5G performance. The NOTE 60 sports many of the quality features common to the latest NOTE lineup, including Active Halo notification lighting, highly optimized system-level software, and the 3D IceCore Vapor Chamber cooling system. It retains the 50MP OIS Night Master Cam and Live Photo mode of NOTE 60 Pro, promising fun memory capture, editing, organization, and sharing with family, friends, and more.

Beyond “Pro”: Expanding the NOTE 60 SERIES

As a key step in its flagship journey, Infinix also previewed the NOTE 60 Ultra, marking a bold move into the premium segment. Designed by Pininfarina, the NOTE 60 Ultra introduces breakthroughs in form and delivers comprehensive upgrades in imaging, performance, and connectivity—representing the pinnacle of performance and experience within the NOTE 60 SERIES. More details about the NOTE 60 Ultra will be announced at a later date.

Demonstrating Infinix’s commitment to long‑term user support, the entire NOTE 60 SERIES comes equipped with the upgraded XOS 16, offering three generations of XOS platform upgrades and five years of security patches⁶. In addition, the whole series also supports eSIM connectivity⁷, providing users with greater flexibility and convenience in managing their mobile network experience.

Product availability

NOTE 60 Pro is available in five colors:* Mist Titanium, Solar Orange, Deep Ocean Blue, Mocha Brown, Frost Silver, Torino Black (Design by Pininfarina)*

It will be available in three variants:* 8GB + 128GB, 8GB + 256GB, 12GB + 256GB

NOTE 60 is available in five colors:* Mist Titanium, Rose Gold, Fizz Blue, Midnight Black, Mocha Brown

It will be available in two variants:* 8GB + 128GB, 8GB + 256GB

*Availability may vary by country/region. The Turino Black (Design by Pininfarina) will be released at a later date. Please consult local retailers and third-party shopping websites for more purchasing options.

*Available storage and RAM are less than the total memory due to storage of the operating system and software pre-installed on the device.

Price and availability vary between markets and sales channels. Please refer to the Infinix Official website for product availability and detailed regional sales information.

Disclaimer

Snapdragon is a trademark or registered trademark of Qualcomm Incorporated. Snapdragon is a product of Qualcomm Technologies, Inc. and/or its subsidiaries.

¹All data comes from Infinix laboratories. The testing data may vary slightly between different test versions and testing environments.

²The phone is dustproof and splash-proof under normal use. Under controlled laboratory conditions, its performance can reach IP64 level under IEC 60529 standard. Differences exist between real-life scenarios. Any damage caused to the phone by immersion in liquid is not covered under the warranty.

³Record at up to 4K 30 fps, with ultra-steady stabilization and a wide range of creative filters.

⁴Battery capacity and configurations may vary by market.

⁵MagCharge requires using the Infinix-branded magnetic attachment phone case.

⁶The specific XOS upgrade plan for each model will be announced separately. Please note that availability of this upgrade may be limited in certain countries.

⁷eSIM availability is carrier and region-dependent; it may not be supported in all countries.

Hashtag: #Infinix

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.

Outgoing Netball NZ chairperson denies any pressure to step down

MIL OSI — Wed, 18 Feb 2026 03:15:38 +0000

Source: Radio New Zealand

AAP / www.photosport.nz

The outgoing Netball New Zealand chairperson says changes at the top will help inject new energy into a sport that is facing significant challenges.

The national body last night confirmed that chairperson Matt Whineray and three appointed board members had decided to step down.

It followed the resignation of CEO Jennie Wyllie in December after a disastrous year for the sport, which included the suspension of Silver Ferns coach Dame Noeline Taurua, who was later reinstated.

The story dominated headlines for weeks and calls for “heads to roll” at Netball NZ were loud.

Whineray denied anyone felt pressure to step down but said the board accepted the netball community expected some changes at the top after a difficult 2025 and new blood would be beneficial.

“It really came out of individual reflections on what was right for them personally and what we think is right for Netball New Zealand going forward. So the opportunity to get some new perspectives, new capabilities, some new energy and really reset the momentum and focus on the really important next couple of years is what we’re all thinking about,” Whineray said.

The national body was working in an environment that had changed rapidly in the past decade, including greater competition from other female codes. The future of the ANZ Premiership was still up in the air, with no broadcast rights agreement in place from beyond 2026.

While participation rates at grass roots are pleasing, Whineray believed the next CEO has a tougher job than what it entailed a few years ago.

“The media landscape, broadcast rights opportunities, and commercial environment has all changed. The person who is heading up a national sporting organisation has to be able to manage the commercials on one hand and balance that with the delivery of the community game and high performance programmes and that’s a challenging space to be.”

Silver Ferns coach Dame Noeline Taurua after her reinstatement. RNZ / Cole Eastham-Farrelly

There were eight members on the Netball NZ board, split between four elected members and four appointed members, including Whineray.

Aliesha Staples, Stephen Cottrell, and Pavan Vyas are the other appointed members leaving their roles. Appointed members help ensure a board has a range of skills and experience to call on across a number of fields including commercial, legal, IT and tech.

Cottrell for instance brought 25 years of experience, including strategy and project management roles for New Zealand Rugby. He currently works for a global events and entertainment company, and is a principal in his own sports advisory law firm.

The Netball NZ constitution sets a maximum of three terms of three years. With Whineray’s nine year limit on the board due to finish at the start of next year, he said stepping down now made sense as his replacement will be in charge of recruiting the next CEO.

Jane Patterson was brought in as interim CEO but the board will advertise for a permanent boss in a few months.

The board positions will be advertised soon and an appointment panel will be made up of a couple of board members and one external member, expected to be veteran administrator Kereyn Smith.

Netball NZ has called in Smith, who in recent years has helped cycling and yachting with their issues.

“Kereyn’s been giving us a hand on a number of fronts and helping both within Netball New Zealand but also with our connections with the wider netball community so it’s been very helpful to have her in there, given her really deep experience in sports administration but also really great connections across the netball system.”

Matt Whineray has served on the board for over eight years. Supplied/NZ Super Fund

Whineray said Smith had been involved in looking at some high performance changes but said that was now largely being run by Chelsea Lane, who was appointed as Head of Performance – Silver Ferns, in the new year.

The decision to suspend Dame Noeline and her coaching team in September was met with widespread shock in the netball community. The lack of information led to a lot of speculation and fans vented their frustrations on social media, mostly directed at Wyllie and the board.

Whineray emphasised that the decision to suspend the Silver Ferns coaching team, was a board decision, not driven by any individual.

“The board made that decision on advice from our legal advice.”

He said the board can not make decisions on how the public might react.

“That’s the board making a decision about what’s in the best interests of the Silver Ferns environment and of the players and all of those who are working in the environment. Ultimately we have to wear the public response but you shouldn’t be making decisions like that with an eye on how the public is going to react.

“The board were all involved in this, we were supporting Jennie and working with Jennie through this process and I think the personal insults and the abuse were awful for all involved.”

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

Photographer invites you to become part of living archive

MIL OSI — Tue, 17 Feb 2026 22:57:35 +0000

Source: Radio New Zealand

A Canterbury photographer, who has a project that turns portraits into time capsules, is inviting new faces into his lens at a Christchurch studio next week.

For more than a decade, Charlie Fox has been creating time-lapse portraits. The full-size versions are a towering 1.2 metres-tall and rendered at a staggering 150 megapixels. The detail, in full on his website, is to the point out that viewers can see skin follicles.

“I encourage people to put their noses up against the paper and just drink in the quality,” Fox told Nights.

“The eyes of the images especially, you can see the reflection of me in the catch light. That’s the level of detail that we’re playing with…

“I think the subjects are very brave to participate because they’re shown in such extreme levels of detail and quality that I haven’t really seen it anywhere else.”

The project, Panochron, began in 2013 and has since captured 30 people, including 12 repeat participants.

Fox hopes to reconnect with his earliest subjects and photograph them again, building what one friend described as a “longitudinal study” of the human face.

Some participants under 18 return annually, which Fox hopes will serve as a mini-movie of their journey into adulthood.

“In life, you have a lot of choice about things, but you don’t have any choice at all about the passage of time, that’s just a steady fact.”

Alongside the portraits, he now records brief interviews, asking subjects what they would say to their younger selves and inviting them to leave a message to be heard in a decade’s time.

“Some really interesting conversations will be had between them with themselves, I think, through this.”

Fox, who has spent 25 years behind the camera, traces his fascination with this portrait style back to a black-and-white 35mm portrait that first captivated him.

“Ever since then, I’ve just been sort of driven to keep capturing images in this style.”

Bookings with Fox for Sunday and Monday are available through the Photosynthesis Studio website.

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

Foo Fighters returning to rock out in New Zealand at two stadium shows

MIL OSI — Tue, 17 Feb 2026 22:46:06 +0000

Source: Radio New Zealand

Foo Fighters have announced two huge stadium shows for New Zealand in January 2027.

They will play in Christchurch on 19 January, before performing at Auckland’s Western Springs Stadium on 22 January.

Hawkins had been a member of the Foo Fighters since 1997. They have become one of rock’s most popular bands, winning 12 Grammy Awards including Best Rock Album four times.

The Foo Fighters – currently made up of Dave Grohl, Nate Mendel, Chris Shiflett, Pat Smear, Rami Jaffee and Ilan Rubin – have visited New Zealand several times. They were last here in January 2024.

General tickets go on sale 25 February.

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

Marlon Williams announces he’s taking a break from music

MIL OSI — Tue, 17 Feb 2026 05:08:50 +0000

Source: Radio New Zealand

Kiwi folk singer Marlon Williams has announced he will be taking a break from performing “for a wee while”.

“For nearly 20 years I’ve explored both the physical and musical world in the company of incredible musicians, songwriters and friends and it’s been an absolute pleasure.

Williams’ break will come after a run of shows across Europe and Australia, and a tour of New Zealand at the end of May.

In Australia he and his band the Yarra Benders will play festivals, and in Europe, perform with The Maes in support.

The New Zealand support act will be announced on Thursday, Williams said, alongside the release of presale tickets.

“Please come and join in the fun while it lasts.”

Williams (Kāi Tahu, Ngāi Tai) won the APRA Silver Scroll Award in 2025 for the song ‘Aua Atu Rā’, co-written by KOMMI (Kāi Tahu, Te-Āti-Awa), and in in 2018 for ‘Nobody Gets What They Want Anymore’.

“Like all modern music it is a hybrid, blending elements of country, folk, pop and rock’n’roll, yet it is one that could only come from here, and it’s for all of us. This is the sound of home.”

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

A new major streaming service is coming to New Zealand

MIL OSI — Tue, 17 Feb 2026 05:08:42 +0000

Source: Radio New Zealand

A new streaming service will launch in New Zealand this year – HBO Max – with Sky TV confirming the end of its deal with the major programme provider.

The HBO Max direct-to-consumer streaming service will be available mid-2026, Warner Bros. Discovery announced on Tuesday.

Details about subscriptions and pricing will be shared down the line, it said in a statement.

Scene imagery from Season 2 of The Pitt, on Neon.

Supplied

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Max Originals will join the lineup like The Pitt and And Just Like That…as well as the new Harry Potter series and the DC Universe franchise.

The platform will be the place to watch Warner Bros. blockbuster films like One Battle After Another and Sinners.

HBO Max launched in Australia in 2025. It dropped in Germany and Italy this year so far, with the UK and Ireland scheduled for next month. NZ is in the next wave.

HBO Max currently lives in a branded environment on Neon and with Sky entertainment subscriptions, but Sky TV confirmed this afternoon it was cutting links with the major programme provider.

Sky chief executive Sophie Maloney said the split followed a review of what subscribers to SkyTV and the Neon streaming service were watching.

“That work has led us to a strong conclusion: this is the right decision for Sky’s customers, and for our shareholders.”

She said Neon’s subscribers numbers were not high enough, but there was no doubt over its future.

“Neon is still a vibrant part of our offering, and I think the content we’re going to be able to offer up through the new Paramount deal that we have and with other key studio providers like BBC and Sony is going to help us get to a better place.”

Shows such as The White Lotus, Euphoria, Succession and The Pitt will remain accessible on Sky and Neon until mid-June.

Maloney said its research showed that many of its most popular programmes were from other providers, and she said there would be more details on content and business developments at next week’s six monthly earnings report.

SkyTV would continue to carry other Warner Discovery channels including Discovery, Discovery Turbo, TLC, ID, Animal Planet and CNN, as well as programmes on the former Discovery owned TV3 stable of channels.

Investment analyst Benjamin Crozier of Forsyth Barr said the end of the content deal and HBO’s own planned service were likely to be negative for Sky, but the deal had been expensive because Sky had to take all HBO content rather than selecting itself.

“SKT’s new entertainment strategy is to back itself to procure entertainment content based on its NZ viewership data and from a wider variety of studios to keep NZ viewers subscribed.”

He said he expected savings from the HBO contract would likely be reinvested in content from other providers, but it would take time before the full impact on Neon became clear.

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

Logan Paul’s ‘holy grail’ of Pokémon cards sells for $27.3 million

MIL OSI — Mon, 16 Feb 2026 20:42:54 +0000

Source: Radio New Zealand

Five years ago, Logan Paul set a world record when he purchased a Pokémon card for US$5.275 million (NZ$8.74 million). It proved a sound investment – the influencer and wrestler sold that card for a jaw-dropping $16.492 million (NZ$27.3 million), with a diamond encrusted necklace thrown in.

The rare Pikachu Illustrator card –– one of just 39 created for a Pokémon illustration competition in the late 90s –– went under the hammer on Goldin auctions on Monday.

It is believed to have earned the WWE star more than NZ$13 million in profit after auction fees, a sale he called “absolutely insane”.

The auction had been running for 42 days but came to an end after hours of extended bidding Monday, with Paul saying “we may have tired someone out” during a YouTube live stream.

“Oh my gosh, this is crazy,” he added once the auction closed and confetti rained down.

Moments later, a Guinness World Records official appeared onscreen and confirmed Paul had sold the most expensive trading card ever at auction.

This time around the card was sold inside a custom necklace worn by Paul at WrestleMania 38 and with his promise to hand-deliver it to the winning bidder.

Pokémon is the world’s highest-grossing media franchise, surpassing even Disney and Star Wars. Cards have rocketed in value, outpacing sports cards and beating the S&P stock market by 3000 percent in the past 20 years, Goldin founder and CEO Ken Goldin told CNN in December after Logan confirmed he would be auctioning off the card.

“This is the most coveted trading card in the world,” he said.

Goldin said the Illustrator is considered “the holy grail of all Pokémon cards” and Paul’s card was what everybody wants because it’s virtually flawless – the only Illustrator card considered a Grade 10 card by authentication agency PSA.

As Monday’s bidding drew to a close, the price initially held at $11.41 million until a flurry of last-minute offers during an extended bidding period lasting several hours drove the final auction total to $27.33 million from 97 total bids.

Paul has a reputation for taking collectibles to extreme levels and has spent millions to secure some of the rarest items ever produced, including NFTs – unique, verifiable digital assets traded on the blockchain.

The WWE wrestling star bid farewell to the card on Saturday in an Instagram post, saying “goodbye my friend. What a privilege it’s been to be the owner of the greatest collectible in the world.”

The card is just one of 20 Illustrator cards graded by PSA.

Paul got his hands on the ultra-rare Grade 10 card by swapping a PSA Grade 9 Pikachu Illustrator card he previously owned – worth $2.11 – and $6.6 million in cash for it in July 2021.

Only eight of the Pikachu Illustrator cards have been awarded a PSA Grade 9 and Paul’s sale is the only PSA Grade 10, the highest and most desirable grade assigned by PSA.

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

Oscar-winning actor Robert Duvall dead at 95

MIL OSI — Mon, 16 Feb 2026 20:42:47 +0000

Source: Radio New Zealand

Robert Duvall, the Oscar-winning actor best known for The Godfather, Apocalypse Now and many other tough-guy roles over an acclaimed screen career that spanned six decades, has died. He was 95.

Duvall died “peacefully” at his home in Middleburg, Virginia on Sunday (US time), according to a statement sent by his public relations agency on behalf of his wife, Luciana.

Duvall memorably played the Corleone family consigliere, or key adviser, in Francis Ford Coppola’s The Godfather, earning his first of his seven Academy Award nominations for the 1972 film before reprising the role two years later in The Godfather Part II. Duvall noticeably skipped a long-delayed second sequel, The Godfather Part III, due to a pay dispute.

Robert Duvall in Apocalypse Now.

Photo12 via AFP

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He attended Principia College in Illinois and served in the army during the Korean War before moving to New York and studying drama under famed acting coach Sanford Meisner. During that period, he shared an apartment with Dustin Hoffman and hung out with Gene Hackman, another young actor who would go on to great success.

Duvall appeared in a number of plays before being cast in the film version of To Kill a Mockingbird in the small but pivotal of Arthur “Boo” Radley in 1962. (He later named one of his dogs “Boo.”)

An array of film roles followed, among them the bad guy opposite John Wayne in Wayne’s lone Oscar-winning performance, True Grit; the part of Major Frank Burns in the Robert Altman movie M*A*S*H; and the lead in Star Wars director George Lucas’ dystopian 1971 sci-fi directing debut, THX 1138, in which Duvall (and everyone else) sported shaved heads.

That came out the year before The Godfather, and his role as Corleone family attorney Tom Hagen propelled Duvall into another echelon. The actor worked constantly thereafter, playing a network executive in the satire Network, and migrating to television in the blockbuster TV miniseries Lonesome Dove.

Duvall won a lead acting Oscar for portraying a country singer in the 1983 movie Tender Mercies, in which he did his own singing.

He also earned nominations as a marine at odds with his family in The Great Santini, and as Lt. Col. Kilgore in the Vietnam War epic Apocalypse Now, which reunited him with Coppola and featured him delivering the oft-quoted line, “I love the smell of napalm in the morning”.

Roles in other Westerns were also a part of his oeuvre, such as Open Range opposite Kevin Costner, and his Emmy-winning role in another miniseries, Broken Trail.

Duvall also became a filmmaker, writing, directing and costarring in the 1997 movie The Apostle, about a troubled preacher, and later directing the films Assassination Tango and Wild Horses. He was again nominated for an acting Oscar for his work in The Apostle.

He remained active well into the 2010s, earning another Oscar nomination at 84 for The Judge in 2014, and appearing in such films as Jack Reacher and Widows.

In an interview with Larry King, Duvall called his decision not to appear in the third Godfather movie “a matter of principle”, telling Bob Costas that Al Pacino was going to get paid five times the amount he was offered, which was “totally unacceptable”.

“Everybody did it for money,” Duvall said at the time. “Why wait 15 years to do a sequel?”

Duvall played a number of historical figures during his career, including Robert E. Lee (Gods and Generals), Joseph Stalin (in the HBO movie Stalin) and Nazi war criminal Adolf Eichmann (The Man Who Captured Eichmann).

Married four times, Duvall’s last marriage was to Argentinian actress-director Luciana Pedraza, who was 41 years younger, in 2004.

Duvall had a history of supporting Republican candidates, attending George W. Bush’s inauguration, and raising money for Mitt Romney’s candidacy and narrating a video at the Republican National Convention in 2008.

He was awarded the National Medal of Arts during the Bush administration in 2004.

Duvall’s representative’s statement added on Monday that no formal service will be held. Instead, “the family encourages those who wish to honour his memory to do so in a way that reflects the life he lived by watching a great film, telling a good story around a table with friends, or taking a drive in the countryside to appreciate the world’s beauty”.

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

Ushering in a Year of Prosperity: Celebrating Thailand’s Chinese New Year Festival Siam Paragon Joins Forces with TAT and Kasikornbank to Launch “Siam Paragon A Prosperous Chinese New Year 2026”

MIL OSI — Mon, 16 Feb 2026 03:20:51 +0000

Source: Media Outreach

Showcasing Spectacular Entertainment and Chinese Cultural Performances, Featuring Renowned Chinese Artist “Zhu Zhengting” to Bless the People of Thailand in the Heart of the City

BANGKOK, THAILAND – Media OutReach Newswire – 16 February 2026 – Siam Paragon, Thailand’s premier global landmark and the top destination in the hearts of Thai people and international tourists, has partnered with the Tourism Authority of Thailand (TAT) and Kasikornbank, ushers in a grand celebration for the Year of the Horse. The event “Siam Paragon A Prosperous Chinese New Year 2026,” bringing an array of rare cultural performances from China to offer a magnificent experience in the heart of Bangkok, The celebration also features special performances by leading Thai artists and an exclusive appearance from Chinese superstar “Zhu Zhengting,” who flew in to deliver New Year blessings to Thai fans at Parc Paragon, Siam Paragon.

The Grand Opening Ceremony, held on 14 February 2026, was honored by the presence of Atthakorn Sirilatthayakorn, Minister of Tourism and Sports, alongside Mr. Han Zhiqiang, Ambassador Extraordinary and Plenipotentiary of the People’s Republic of China to Thailand, who both joined in delivering Chinese New Year blessings. Also in attendance were Thapanee Kiatphaibool, Governor of the Tourism Authority of Thailand (TAT); Chadatip Chutrakul, Chief Executive Officer of Siam Piwat Group; and Mayuree Chaipromprasith, President of Corporate Affairs and Communications at Siam Piwat Co., Ltd., all gathered amidst a grand and festive atmosphere. The event captivated the audience with special performances, including “Chinese New Year Welcome Dance” from China and the “Siam Noble Steed Dance” from Thailand, symbolizing the deep-rooted ties between the two nations. The celebration also featured rare and exquisite Chinese cultural showcases from four renowned troupes originating from Beijing, Chongqing, Henan, and Fujian.

The highly anticipated highlight was the appearance of renowned Chinese artist “Zhu Zhengting,” who joined the festivities to wish fans wealth, happiness, and prosperity for the year ahead, while delivering a special performance as a New Year gift. Additionally, the celebration featured mini-concerts by leading Thai T-Pop artists, including Better Weather and Daou Pittaya, who brought joy and left a lasting impression amidst the spectacular sight of giant auspicious lanterns illuminating the entire of Parc Paragon.

The grand celebration of “Siam Paragon A Prosperous Chinese New Year 2026″ presents a magnificent parade of entertainment to deliver joy and prosperity for the Year
of the Horse, running from today until 18 February 2026. In addition to the spectacular colors of giant auspicious lanterns and exquisite cultural performances from the People’s Republic of China, there are concerts from leading Thai artists performing on a rotating schedule to provide non-stop fun at Parc Paragon and Fashion Hall.

The lineup includes:

15 February 2026: Enjoy performances by HERS and MEAN Band;
16 February 2026: Meet 2Ectasy, Jeffy, Kakagoesbackhome, and Slapkiss;
17 February 2026: Have fun with SERIOUS BACON and Klear;
18 February 2026: Concluding with Wanyai and OABNITHI.

Simultaneously, Siam Paragon is packed with activities to enhance luck and wealth across various areas, featuring many more highlights such as:

Be mesmerized by the art installation “The Fortune Guardians,” depicting a pair of lions in a rhythmic and lively spirit of celebration, created by Suthipa Kamyam, a renowned artist and illustrator who has collaborated with numerous international brands. She has transformed the Jewel zone and Cascade on the M Floor into an artistic landmark for the Chinese New Year, symbolizing the opening of gates to welcome positive energy, inviting luck and joy to flow in and reach all visitors.
The Sculpture Exhibition by Ren Zhe: This exhibition features the work of the renowned Chinese sculptor, celebrated for his masterful fusion of Eastern cultural roots with a contemporary global perspective. His powerful sculptures are imbued with dynamic movement, harmoniously communicating Eastern philosophical values through modern materials. The exhibition will be on display from 5 March 2026 at the Glass Wall on the M Floor.
NEXTOPIA, the prototype for the world of tomorrow, welcomes the Chinese New Year festival with the heartwarming concept “Let Good Things Grow: Lucky in Love, Lucky in Green.” This initiative invites everyone to share positive energy through self-care, meaningful connection with others, and sustainable growth alongside the planet. Visitors can immerse themselves in contemporary interactive activities and workshops that are engaging and accessible to all ages. We invite you to fulfill your special moments at NEXTOPIA with eco-friendly, heart-healthy menus amidst a romantic atmosphere and melodies —perfect for hanging out until midnight.
For those seeking spiritual guidance and an opportunity to give back, the Siriwattana Cheshire Foundation under the Royal Patronage of Her Majesty the Queen presents the “Siriwattana Fortune Telling for the Disabled” charity event. To welcome the Year of the Horse, the event features 40 renowned experts specializing in various disciplines. The event takes place from February 13–20, 2026, at Crystal Court, 2nd Floor (North Zone), Siam Paragon, from 10:30 AM to 7:00 PM. Fortune-telling tickets are available at the venue for 400 THB.

Beyond the exceptional experiences offered across all zones, Siam Paragon delights shoppers with the exclusive “A Prosperous Chinese New Year 2026,” promotion, running from today until 22 February 2026, featuring discounts of up to 50% at participating stores. Shoppers meeting the spending requirements can receive Siam Gift Cards and Paragon Department Store Cash Coupons with a total value of up to THB 1,700. Special privileges are also available for Kasikornbank credit cardholders, while ONESIAM members can earn 4x ONESIAM Coins upon qualifying spend, along with up to 15% credit cashback from participating credit cards, or 0% interest installments for up to 6 months on Siam Gift Card purchases.

Additionally, the special “Lucky with Love” promotion will run from today until 17 February 2026. Shoppers meeting the spending requirements can redeem Siam Gift Cards and Paragon Department Store Cash Coupons with a total value of up to THB 31,800, plus an additional bonus of up to 1,550 ONESIAM Coins when spending via ONESIAM KBank Credit Cards. Furthermore, purchases of THB 2,000 or more will be rewarded with an extra Ang Pao (containing gift vouchers or discount coupons from participating stores). For top spenders at participating luxury brands, an exceptional prize of 2 Baht weight of gold, valued at THB 149,500 (price as of 26 January 2026), will be awarded to those with a cumulative spend of THB 4 million or more.

Experience the grandeur of the Chinese New Year celebration, a spectacular and radiant start to a prosperous Year of the Horse at “Siam Paragon A Prosperous Chinese New Year 2026.“ Join the festivities at Siam Paragon from today until 20 February 2026. For more information, please visit Facebook: SiamParagon

Hashtag: #SiamParagon #SiamParagonCNY2026

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.

Bic Runga’s Red Sunset is a thrilling mix of familiarity and forward-thinking

MIL OSI — Sun, 15 Feb 2026 23:28:29 +0000

Source: Radio New Zealand

Partly written and recorded in Paris, Red Sunset may have found its thematic heart in that location. Runga’s new album sounds French and seemingly draws inspiration from thatcountry’s pop music of the ’60s and ’70s.

Or perhaps the acoustic strums, dampened drums and vintage synths here just coalesced into these particular forms. Certainly, they’re familiar elements for Runga and her co-writer Kody Nielson.

But with the advent of each circuitous melody and elaborate chord progression, the comparison feels more apt.

Runga spent three years in Paris during her mid-twenties, and told The Post she wanted to “bookend the parenthood years” by heading back and seeing it through her children’s eyes.

The trip unlocked something creatively, and she wrote and recorded parts of Red Sunset on a grand piano at an Airbnb where she and her family stayed.

Runga (Ngāti Kahungunu, Rongomaiwahine) was still in her teens when she released her debut single ‘Drive’, and it’s worth noting that on the three albums which followed – Drive (1997) Beautiful Collision (2002), and Birds (2005) – she wasn’t just the sole credited songwriter, but producer too.

That changed on 2011’s Belle, and its mostly-cover-songs follow-up Close Your Eyes, which both featured production from Runga’s partner Neilson (as does Red Sunset).

The former-Mint Chick member’s maximalist impulses were always an interesting pairing with her mellower inclinations, and here their collaboration feels effortless.

It’s the second half of Red Sunset that really evokes the era of Françoise Hardy and Serge Gainsbourg; the first flirts with more modern sounds, like the drum machine thump on ‘Paris in the Rain’ and synth adornments of the title track.

Crisp acoustic lead and pan pipe sounds on ‘Ghost in My Bed’ are the most specific nod back, but the track also contains a roaming synth bass connecting it to the present day.

These three were all singles and form a statement: Runga is trying new, unexpected things. It’s a thrilling start to the album, not to mention a brave move from an established artist.

On the Podcast Listen Carefully she said Red Sunset’s final two tracks ‘Hey Little One’ and ‘Home Run’ have existed in unfinished forms for many years. They’re both stunners, building to choruses which move in unexpected yet welcome directions, and feature spine-tingling vocal work.

There’s a hint of The Beatles on the nursery rhyme-esque ‘You’re Never Really Here (Are You Baby)’, and even more on the album’s most upbeat tune, ‘Won’t You Come Home’ and its dazzling web of harmonies.

What has emerged is fascinating; part tribute to a place she used to call home, part merging of older, familiar material with a new, more challenging direction. It’s an exciting release from someone who could have rested on her laurels but would prefer to keep moving forward.

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

Lee Kum Kee Sauce Serves as Platinum Sponsor of the 2026 Chinese New Year Festival & Market Day

MIL OSI — Sun, 15 Feb 2026 22:05:40 +0000

Source: Media Outreach

AUCKLAND, NEW ZEALAND – Media OutReach Newswire – 16 February 2026 – Lee Kum Kee Sauce (“Lee Kum Kee”), the global leader of Asian sauces and condiments, marked a successful debut as the Platinum Sponsor of the 2026 Chinese New Year Festival & Market Day in Auckland. Co-hosted by the Auckland Chinese Community Centre (ACCC) and Channel 33, this festival was held on 14 February 2026, in celebration of the upcoming Year of the Horse, bringing together families, community groups, and cultural performers.

The Lee Kum Kee booth draws strong crowds at the 2026 Auckland Chinese New Year Festival & Market Day.

Set against the backdrop of the Auckland Showgrounds, the festival featured over 200 specialist stalls offering traditional Chinese hot delicacies, festive foodstuffs and traditional arts and crafts, attracting over 20,000 visitors. The extensive entertainment programme included lion dances, traditional Chinese songs and performances that brought the spirit of the celebrations to life.

Lee Kum Kee set up a captivating booth experience for festivalgoers of all ages, allowing them to explore an extensive range of sauces through delectable tastings, exclusive promotional sales, and the exciting “Chopstick Lucky Dip” prize-giving game, which drew enthusiastic participation throughout the event.

A visitor tries his luck by drawing chopsticks from the luck dip game.

Gary Hui (left), Business Development Director – Oceania of Lee Kum Kee Sauce, presents a cheque to the ACCC as a Platinum Sponsor of the event.

In serving the local community, Lee Kum Kee aims to bring traditional festive moments to life. Gary Hui, Business Development Director – Oceania of Lee Kum Kee Sauce, remarked, “Spring Festival represents family, togetherness, and the joy of sharing meals. We are proud to support an event that reflects these values. Whether you are discovering new tastes or enjoying familiar favourites, we hope this festival brings joy and connection to all.”

(Fourth from left) Vincent Wong, President – APAC of Lee Kum Kee Sauce, pictured with the New Zealand market team at the booth.

A trusted household name for generations, Lee Kum Kee is renowned for its authentic Asian sauces that inspire home cooking and festive dining. Through on-going community partnerships and cultural celebrations, Lee Kum Kee remains committed to supporting local communities while promoting Chinese culinary culture worldwide through the joy of food.

https://www.LKK.com

Hashtag: #LeeKumKee #LKK

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.

Documentary series ‘My China Story’ shines spotlight on US martial artist Jake Pinnick

MIL OSI — Sun, 15 Feb 2026 06:50:45 +0000

Source: Media Outreach

BEIJING, CHINA – Media OutReach Newswire – 14 February 2026 – The People’s Daily has launched two seasons of the documentary My China Story, featuring 10 foreigners who have pursued their careers in China. Season one features tech entrepreneur Nikk Mitchell, US zoologist Kevin Messenger, US ceramist Matt Watterson and Argentinian motorcycle designer Rodrigo Álvarez. The newly released season two of the series puts the spotlight on Neil Schmid, a US expert on Buddhist studies and Dunhuang; US martial arts lover and Taoist Jake Pinnick; French spelunker Jean Bottazzi and Russian vlogger Anton Butov, all of whom have shared their distinctive life paths in China.

My China Story gives the world a window into foreign residents who have lived across different regions with a wide range of career choices. This documentary series has gained a significant number of overseas viewers on a variety of social media platforms, including Youtube, Tiktok and X. Among all the episodes, the viewers have shown the most interest in Pinnick, who was born in the 1990s in the US, and came to China following an obsession with Chinese martial arts and Taoism studies. This contrasting background has made viewers more eager to learn why and how he lived in China ‘s Wudang Mountains for over a decade.

2025 marked a remarkable year for Pinnick. In April, he received China’s Foreign Permanent Resident ID Card — the “Five-Star Card” — and in May, he was named an Honorary Citizen of Shiyan City at an inaugural ceremony. These honors stand as powerful testaments to his decade-and-a-half journey of cultural immersion.

Pinnick’s story began in 2010 when, inspired by kung fu movies, the then-20-year-old arrived at the foot of the Wudang Mountains with zero martial arts experience and no knowledge of the Chinese language. He carried only a dictionary and a handwritten note that read, “I want to go to the Wudang Mountains.” Emerging from the morning mist, he found his purpose the moment he saw a master leading disciples in practice.

The path from novice to master has been paved with rigorous discipline. Pinnick mastered Tai Chi and various weapon techniques. Beyond the physical movements, he delved into the spiritual heart of China, studying the Tao Te Ching and learned to play Taoist music. During his toughest moments of exhaustion and homesickness, it was his “kung fu family” that gave him the strength to persevere.

Over the past 16 years, Pinnick has not only transformed personally but also witnessed China’s rapid development. He vividly remembers that reaching Wudang once required a slow train to Yibin; today, the journey is defined by high-speed rail and an expanding airport now welcoming international travelers.

Today, Pinnick serves as a vital cultural bridge. Through social media and live performances, he shares the wisdom of Wudang with a global audience. “I originally came for martial arts,” Pinnick reflects, “but I stayed for the culture and history.” Guided by his master’s philosophy that “Kung fu knows no borders,” Pinnick continues to demonstrate that martial arts is not about conflict, but about inclusivity and connecting a diverse world.

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.

Politics – Seymour’s calls for small government lazy politics straight from hard-right playbook – ignores NZ’s growing challenges – PSA

LiveNews Publisher — Sun, 15 Feb 2026 03:58:28 +0000

Source: PSA

ACT Leader David Seymour’s latest attack on the public sector is straight out of the hard-right playbook – slash and burn now, worry about the consequences later.

“We’ve seen this movie before Iin the 1980s and 90s and we know how it ends – with worse services for New Zealanders and the country less able to deal with the challenges we face,” said Fleur Fitzsimons, National Secretary for the Public Service Association Te Pūkenga Here Tikanga Mahi.

“The last thing New Zealand needs is more ideologically driven re-structuring designed to meet some arbitrary numerical target and bugger the impact on what really matters – the future of our country and the health and well-being of New Zealanders.

“This is lazy politics from David Seymour and an attempt to distract from the failure of the Government to address the high cost of living facing New Zealanders.

“Seymour wants to cut agencies at exactly the wrong time. New Zealand’s population is growing rapidly and aging. We face a massive infrastructure deficit. Climate change is here right now, as recent severe storms even this week show.

“On top of that, we have our unique bicultural obligations under Te Tiriti o Waitangi, severe homelessness and high unemployment, and being an isolated island nation dependent on biosecurity – these challenges are complex and require more capability, not less, they need specialist agencies.

“Now is the time to be investing in the public services here to support New Zealand, not make more damaging cuts.

“The sad irony is that every time there’s a crisis – whether it’s Pike River, the Christchurch earthquakes, or the 15 March mosque attacks – the Royal Commissions consistently recommend more resources and clearer accountability, not fewer agencies.

“What Seymour dismisses as ‘vanity portfolios’ are often responses to specific community needs and advocacy. The Cancer Control Agency exists because cancer advocates fought for years for independent national leadership. Agencies serving women, Pacific peoples, and ethnic communities exist because these groups were historically underserved by government.

“Seymour claims reducing agencies will magically boost productivity and wages. That’s fantasy economics. Countries with strong public services – like Norway, which he name checks – invest heavily in their public sector and pay their workers well.

“ACT’s ideological belief in a minimal state will leave ordinary Kiwis to fend for themselves while the wealthy like Seymour’s landlord mates get tax cuts.

“The truth is New Zealand needs a capable, well-resourced public service to tackle the challenges ahead. Seymour’s slash-and-burn approach would leave us weaker, less prepared, and less able to protect New Zealanders when they need it most.

“Voters will have a clear choice this election – and the PSA will be saying loud and clear that ACT wants to sacrifice our future all for a deeply flawed ideology.”

The Public Service Association Te Pūkenga Here Tikanga Mahi is Aotearoa New Zealand’s largest trade union, representing and supporting more than 95,000 workers across central government, state-owned enterprises, local councils, health boards and community groups.

MIL OSI

Adolescence writer Jack Thorne on his new TV adaptation of castaway novel Lord of the Flies

MIL OSI — Sat, 14 Feb 2026 22:09:41 +0000

Source: Radio New Zealand

Adolescence writer Jack Thorne hopes the UK will follow Australia in introducing a social media ban for children under 16.

“I think it’s amazing that Australia is ahead of the world in terms of the social media ban,” Thorne says.

“It’s hopefully going to spread like wildfire through the world, because I think it’s an incredibly important thing.”

Lord of the Flies and Adolescence were written and filmed at the same time.

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Adolescence, the story of 13-year-old Jamie being arrested for the murder of his classmate Katie, won a slew of Golden Globes and Emmys and landed on many lists of the best TV shows of 2025.

It sparked conversations around the world about toxic masculinity, boyhood and how social media can be used to disseminate harmful ideas.

Thorne — who won an Emmy for writing Adolescence — has long supported a ban like the one in Australia, where social media companies face fines of up to $49.5 million, to address some of the issues raised in the show.

In an opinion piece last year, he called for the introduction of a “digital age of consent” in the UK, which would restrict access to social media for children under 16.

“Spend any time on most social media platforms and you end up, quite quickly, in some dark spaces,” he wrote.

“Parents can try to regulate this, schools can stop mobile phone access but more needs to be done.”

The latest project from the writer of Adolescence, Jack Thorne, is the first-ever TV adaptation of Lord of the Flies.

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But while Australia’s eSafety commissioner says 4.7 million under-16s social media accounts have been deactivated or removed since the ban was implemented in December, many, including young people, have concerns about its efficacy.

The conversation about social media, childhood and ideas of masculinity spurred by Adolescence continues this month, as Thorne releases his next project, a new TV adaptation of British author William Golding’s 1954 novel Lord of the Flies.

Today’s crisis in masculinity

Thorne’s new TV show is another harrowing story that sits at the intersection of vulnerability, violence and masculinity.

“In Adolescence, we were looking at the context in which teenage boys currently live,” Thorne tells ABC Arts.

“At the moment, teenagers are navigating a world where hate has been given an outlet in all sorts of different places: in government, in social media spaces and everywhere else.”

Thorne sees resonances between today and the “climate of populism and hate” in which Lord of the Flies author William Golding was writing during the 50s, in the wake of World War II, where he served in the navy, and in the early days of the Cold War.

“He was terrified by it,” Thorne says. “Obviously, we are not living in as extreme a moment as that.

“But it does feel like we are living at a time when opposition to others is more attractive than agreement.”

When Thorne set out to write Adolescence with actor Stephen Graham, the pair were thinking about that climate and the influx of knife crimes perpetrated by teenage boys against girls in the UK.

Thorne and Graham started the process of writing by talking about masculinity and their younger selves.

“We talked about our rage, our cruelty, and moments when we weren’t the people we wanted to be,” he says.

It was an interesting exercise — partly because the two are so different, even just in terms of their physicality.

If someone was asked to draw a man, I think they would draw some version of Stephen,” Thorne says. “They wouldn’t draw me.”

Still, they found similarities between their experiences — particularly their relationships with shame.

“It wasn’t healthy for us and certainly wasn’t healthy for the people around us.”

Those feelings of cruelty and shame fed into Adolescence — and now Lord of the Flies.

British playwright Jack Thorne (L) and British actor Stephen Graham at the Emmy Awards, September 2025.

FREDERIC J. BROWN

Why adapt Lord of the Flies in 2026?

Lord of the Flies is the story of a group of boys left stranded on a remote island after they survive a plane crash.

First, they work together to survive, after they elect the kind and fair Ralph as their leader. But their camp soon descends into warring factions, violence and brutality.

Though Golding’s book has been adapted for cinema and stage before, Thorne’s new version is the first for TV.

It’s something the 47-year-old writer has wanted to do for almost 20 years, first pitching it to a British TV channel when he was in his early 30s.

He was nine years old when he first read the book and over-identified with Simon, the dreamer of the group of castaways, who is drawn to nature, rather than either faction.

“I was quite an emotional kid, but quite a privately emotional kid,” Thorne says.

“I found huge understanding in the book for the kid I was then, which is sort of an outsider.”

Like many young readers, Thorne was reminded of school bullies when he encountered the character of Jack, who uses his strength and arrogance to encourage the other boys to hunt and follow their base instincts.

Returning to Lord of the Flies as an adult Thorne felt a lot more empathy for Jack, something he attributes to Golding’s writing.

“[The book is] full of a lot of care for all of the boys,” he says.

“People see this book as being about opposition and hate and, actually, it’s a lot more complicated than that and a lot more beautiful than that.”

The audience for the Lord of the Flies TV show is invited to care for each of the boys by hewing closely to one per episode, starting with Piggy (David McKenna). He’s a chubby, bespectacled, somewhat anxious boy who tries to establish order and structure in the camp but soon finds himself bullied.

In the following episodes, the focus moves to Jack (Lox Pratt) in his efforts to hunt a wild pig and overthrow Ralph, to dreamer Simon (Ike Talbut), and finally, Ralph (Winston Sawyers) as the camp falls further into chaos.

It was especially important, Thorne says, to get inside the mind of Jack.

“Faces are the way we tell stories in our medium,” he explains.

“Just spending that much time on Lox’s face, on Jack’s face, you do get brought into his view of the world, and you do, I hope, care for him in the way that Golding cares for him.”

Thorne wanted to create a conversation around the book and its themes: “People talk about books without reading them.”

Stan

A distinct voice

Thorne is best known for his shows tackling social issues in the UK.

The Hack, released last year, stars David Tennant (Doctor Who) as a journalist determined to get to the truth of the News of the World phone hacking scandal.

In Toxic Town, released on Netflix last year, Jodie Whittaker (also Doctor Who) plays Susan, a mother of a child with a congenital birth defect, who becomes one of the main organisers behind the Corby toxic waste case in England in the 00s.

Thorne recalls reading the brief for Toxic Town and thinking, “My dad is Sam Hagen”, the Corby council worker who leaked documents to Susan’s legal team.

He says he’s drawn to shows where “there’s something of me that can play a role”.

“I knew people like Susan,” he says. “I felt like there was enough there for me to grapple with.”

In 2021, Thorne and Graham, as executive producer, collaborated on the TV movie Help, about Sarah (Jodie Comer) who works in a care home during the COVID-19 pandemic.

The telemovie won an International Emmy in 2022, but Thorne says it was difficult to find international distribution.

“I was told, ‘The accent’s too strong, it’s about British issues that don’t travel, and it’s about British governmental institutions that aren’t interesting to the rest of the world’,” he recalls.

He says an international streamer like Netflix, meanwhile, has celebrated the distinctness of the stories he tells.

What Netflix have done — not just with Adolescence, but with Baby Reindeer, Squid Game, Narcos — is realise that when you tell a story with detail and with precision, then people can get it wherever they are in the world.”

Lord of the Flies is streaming on TVNZ+

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

Earth Tongue get a taste for analogue on new release

MIL OSI — Sat, 14 Feb 2026 07:47:32 +0000

Source: Radio New Zealand

Wellington psych rock duo Earth Tongue’s latest album was recorded old school in LA with Ty Segall on production duties.

Multi-instrumentalist garage king Segall is famous for his lo-fi approach to recording, the result was Dungeon Vision a raw record, drummer Ezra Simons told Music 101.

“I don’t wanna say rough around the edges, but it’s a raw record. And we worked with a pretty punk rock producer, you know. It was all fully analogue.

Earth Tongue.

Nicola Sandford

. So, we were quite limited in what we could do, with how many takes we could have.”

However, the back-to-basics approach was in some ways freeing, vocalist and guitarist Gussie Larkin says.

“It was quite hard to let go initially because we’d do a take and then we’d kind of debrief after like, ‘oh, I stuffed up this bit’ and ‘no, this bit wasn’t good.’

“And that was when Ty would come in and just be like, ‘that had the feel’, like ‘that had the thing, the magic. Don’t worry about the mistakes’.”

Larkin and Simons who are now based in Berlin wrote all the songs for Dungeon Vision there before decamping to warmer climes in California to record it.

With no click tracks or computers, every track was recorded live to tape, Simons says.

“We mixed it in three days as well, together with him just after we recorded it. So, it was a pretty different recording experience for us.

Ty Segall produced Earth Tongue’s latest albumDungeon Vision.

Supplied

“And we’re really happy with the outcome because I feel like there’s too many bands in our genre that are just kind of too produced these days.”

Larkin had to let go of her “very deep perfectionism,” she says.

“This is a rock and roll record. And yeah, there’s little fluff ups in some of the tracks, and I love them now.

“We just had to show up and really do a great performance. There was nothing to hide behind.”

When it came to mixing Dungeon Vision, it was from studio to Segall’s trusty mini “mixing” van to see how the tracks sounded coming out of regular speakers, the award-winning duo say.

“He said, in all his records, which is probably like over 30 albums, he had done one record where he didn’t do the minivan test, and he doesn’t like the way it sounds. So, there was a bit of superstition around it as well,” says Larkin.

Earth Tongue are in New Zealand for a six-date tour taking in Kerkeri, Auckland, Hamilton, Dunedin, Christchurch including a matinee show before wrapping up in Wellington on 21 February.

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

Spring Fair at VEC Marks Vietnam’s Most Ambitious Showcase Yet

MIL OSI — Sat, 14 Feb 2026 07:43:05 +0000

Source: Media Outreach

For 12 days, the Spring Fair transformed VEC into a walkable map of 34 provinces, blending cuisine, culture and commerce inside Southeast Asia’s largest exhibition complex.

HANOI, VIETNAM – Media OutReach Newswire – 14 February 2026 – For nearly two weeks, the Spring Fair 2026 turned the Vietnam Exhibition Center into something few destinations manage to become: a condensed, high-definition portrait of an entire country.

As the fair drew to a close, what remains is not simply a tally of booths or sales figures, but the impression of a place that allowed visitors to move ‘through Vietnam’ at remarkable speed. Within a single afternoon, one could travel from the northern mountains to the Mekong Delta without leaving a 90-hectare venue on the outskirts of Hanoi.

Framed as “A Marketplace of 34 Provinces,” the event gathered regional economies, culinary traditions and cultural performances under one monumental roof. For many international visitors in Hanoi this spring, it became a defining stop on the city’s New Year cultural calendar.

A Country in One Afternoon

The scale was unapologetically large. More than 3,000 standard booths. Around 2,500 enterprises. Participation from 34 provinces and cities across Vietnam. Over 12 continuous days, the fair aimed for direct revenue of 1,000 billion VND and operated at a pace that rarely slowed.

Inside, the exhibition floor was organized into thematic zones such as “Vietnamese Cultural Essence” and “Vietnamese Agricultural Products – Connecting Spring”. The layout encouraged visitors to drift geographically. One moment, they stood in the northern region. Minutes later, they were tasting specialties from the south.

In the section representing Bắc Ninh, trays of bánh phu thê (sticky rice cake filled with mung bean paste, traditionally served at weddings) glowed under warm light. Nearby, vendors rolled out bánh cuốn Mao Điền (thin rice sheets wrapped around seasoned minced pork and wood ear mushrooms), the steam rising gently into the air. Nem chua (fermented pork sausage) was sliced into neat portions, while bundles of mì gạo chũ (sun-dried rice noodles from Bắc Giang) were arranged in pale, orderly stacks.

Further along, the scent shifted. At a booth from Sơn La, strips of thịt trâu gác bếp (smoked buffalo meat) were cut from darkened slabs and dipped into a dense sauce flecked with mắc khén (wild mountain pepper with a citrusy heat). The taste was smoky, slightly sweet and sharply spiced. At another stand, mắm tôm chua (fermented shrimp paste with chili and garlic) from Huế was wrapped with boiled pork belly and green banana slices, layered with fresh herbs to soften its tang.

In the southern cluster, bánh pía (flaky pastry filled with mung bean, salted egg yolk and durian) from Sóc Trăng were sliced while still warm, their layered crust collapsing delicately to reveal a rich interior. The aroma of durian lingered in the air, unmistakable and confident.

“I really liked how the space was designed according to each province’s characteristic… not only products, but also culture – music, people, traditional dress. It clearly shows very thoughtful experiential design,” said an American visitor during the event.

For business delegations, the appeal went beyond atmosphere.

“We came here to find Vietnamese partners for cashew nuts, cacao and coffee,” said Mandel V. Panizares, representative of Green Agricultural Products Trading in the Philippines. “Seeing the products directly and discussing at the booth; this ‘see and touch’ approach helps us evaluate quality and production capacity more clearly than just looking at profiles or images.”

Cultural performance threaded through the marketplace. Visitors found themselves mesmerized watching more than 50 performers in restored Nguyễn-era garments entered the main corridor for the “Hundred Flower Parade”. Gold embroidered nhật bình (formal imperial robes) shimmered beneath the hall’s lights. Ceremonial horses stepped carefully across polished floors as shoppers paused mid-conversation to watch.

“The parade is not just a performance, but a living cultural experience, where traditional Vietnamese attire, rituals, aesthetics and people exist together within the flow of daily life and commerce,” said Nguyen Thanh Nam, a member of the project team.

Across the 12 days, more than 40 cultural programs and hundreds of performances unfolded, including shows by the Vietnam Circus Federation and the Vietnam Puppet Theatre. Music, acrobatics and folk art existed in easy proximity to contract discussions and product demonstrations.

By the final weekend, it was clear that the Spring Fair had evolved into something more than an exhibition. It functioned as a temporary indoor festival city, layered with sound, flavor and movement.

The Platform Powering the Experience

The intensity of the experience was made possible by the Vietnam Exhibition Center itself.

Spanning 90 hectares, VEC is the largest exhibition complex in Southeast Asia and ranks among the top ten globally. At its core stands the Kim Quy Exhibition Hall, a 130,000 square meter column-free structure that provides uninterrupted interior space on a scale rarely seen in the region.

Built in just 10 months by Vingroup, Vietnam’s largest private conglomerate, and officially opened on August 19, 2025, the center welcomed 1.2 million visitors within its first three days of operation. Managing that volume required advanced crowd coordination, robust security systems and integrated logistics capable of operating at metropolitan scale.

The infrastructure extends well beyond the main hall. An 18-hectare parking area accommodates more than 10,000 vehicles. Nearly 1,200 electric vehicle charging ports form the largest EV charging station in Vietnam. Integrated storage zones, transport logistics and modern electronic payment systems allowed thousands of booths to operate simultaneously without visible strain.

VEC is also a member of the Bureau International des Expositions and serves as Vietnam’s official representative at global exhibition events, positioning it within the international exhibition circuit.

“We believe that, building upon this foundation, VEC will continue to thrive and evolve into a premier hub for major regional and international events. When operated at its full potential, VEC will emerge as a new symbol of a connected, prosperous, integrated, innovative, and sustainable Vietnam, thereby elevating our national standing in the country’s new era of ascent.”, said Mr. Tran Le Phuong, Chairman of the Board of Directors, Vietnam Exhibition Fair Center Joint Stock Company (VEFAC JSC).

During the Spring Fair, that capacity was visible in every operational detail. Corridors remained fluid at peak hours. Multiple stages operated without acoustic conflict. International delegations moved seamlessly between provincial booths.

“I highly appreciate the handicraft products of Hue and high-tech agricultural products of Thanh Hoa and Dong Thap,” said Ozasa Haruhiko, Chief Representative of JETRO Hanoi. “The diversity and quality here strengthen my confidence in Japan-Vietnam trade potential.”

As the 2026 edition concludes, the Spring Fair leaves behind more than transactions and photographs. It has demonstrated that Vietnam can stage large-scale exhibitions with cultural depth and operational precision inside world-class infrastructure.

Hashtag: #VEC #Vingroup

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.

What makes a good break-up song?

MIL OSI — Fri, 13 Feb 2026 20:42:58 +0000

Source: Radio New Zealand

It’s a situation that will be familiar to many of us: you’re hurting after the demise of a romantic relationship, and you hear a song, with its key, rhythm and lyrics, perfectly putting sound and words to the feeling in your heart.

You put it on high rotation, drawing out the pain and drip feeding your soul.

“It’s the emotion around that that a break-up song can help shift,” says Chris O’Connor, a music therapist at Auckland’s Raukatauri Music Therapy Trust.

Great Eagle Music Children Ensemble to Present “Symphony of Light & Legacy” Concert in March

MIL OSI — Fri, 13 Feb 2026 09:18:08 +0000

Source: Media Outreach

Supporting Sustainable Social Development through Arts and Education Celebrating the Power of “Music Changes Lives”

HONG KONG SAR – Media OutReach Newswire – 13 February 2026 – Great Eagle Group (Stock Code: 41) today announced that the Great Eagle Music Children Ensemble, supported by the Group, will present its annual concert, “Symphony of Light & Legacy”, on 29 March 2026 at The Hong Kong Academy for Performing Arts in Wanchai. Through the children’s performances, the concert will share their growth and transformation along their music-learning journeys.

Titled “Symphony of Light & Legacy”, the concert reflects the belief that music, like starlight, can gently illuminate children’s paths forward. “Light” symbolises music as a guiding presence, while “Legacy” represents the continuation of care and encouragement—so that each generation of children may feel supported as they explore a broader future.

Following the inaugural “Grow & Glow” concert in 2023, the Ensemble once again appears on a professional stage. The performance offers a glimpse into the children’s learning journeys and the values nurtured through music training, including discipline, confidence and a sense of responsibility. It also reflects the steady efforts of dedicated educators and the support of the wider community.

For many years, Great Eagle Group has supported the Music Children Foundation (the “Foundation”) in providing underprivileged children with access to structured, quality early music education. In 2018, the Group established the Great Eagle Music Children Ensemble under the Foundation to offer outstanding students a continuous and progressive platform. Through professional training, public performances and competitions, the programme seeks to nurture children’s musical abilities and whole-person development. Currently, the Ensemble comprises 73 orchestra members and 24 choir members. To date, the programme has benefited more than 187 children and delivered over 40 public performances.

Mr Alexander Lo, Executive Director of Great Eagle Group, said: “At Great Eagle, our vision is ‘Sustainable Growth’. We believe a company’s responsibility extends beyond business, and that we must use our resources thoughtfully in support of the communities we serve. Over the years, we have focused on arts, youth education and environmental protection, and remain committed to working alongside partners who share these values. We hope, in our own small way, to help create more opportunities for children to be seen, encouraged and supported, so they may move forward with greater confidence and choice.”

Ms Annike Pong and Ms Monique Pong, Co-founders of the Music Children Foundation, said: “Music brings together art and education in a way that can help children build confidence, broaden their horizons and discover their potential. We are thankful for Great Eagle Group’s long-standing support, which allows us to reach more communities and provide quality music education to more children.”

Tickets for “Symphony of Light & Legacy” are available via Cityline starting today. The concert is also supported by Cordis, under Langham Hospitality Group, a member of Great Eagle Group. Cordis’s brand manifesto, “Let Your Heart Rule”, encourages people to stay true to themselves and cherish authentic connections, which resonates with the positive messages conveyed through music.

“Symphony of Light & Legacy” – Concert Details

Date: 29 March 2026 (Sunday)
Time: 7:30 pm – 9:00 pm
Venue: Hong Kong Jockey Club Amphitheatre,
The Hong Kong Academy for Performing Arts
Ticketing: Cityline https://cultural.cityline.com/en/2026/symphonylightlegacy.html

Programme Highlights and Concert Narrative

The concert will be led by renowned music educator Mr Ray Tsoi as Orchestra Conductor, with Dr Lo Po Yan serving as Choral Director and Choir Conductor.

First Half: Choral works portraying children’s inner journeys from enlightenment to growth.

Second Half: Orchestral performances that, through richly layered melodies, express the strength and momentum of moving forward.

Sustained Commitment, Creating a Shared Future

Great Eagle Group believes the role of a corporation extends beyond achieving business success to making good use of its resources and uniting collective efforts to bring meaningful and sustainable positive impact to the community. Through continued investment in children and youth development, mental wellbeing and cultural education, the Group will continue to move forward hand in hand with society to help create a better future.

At the “Symphony of Light & Legacy” Concert, children will write their dreams through music and pass on hope.

Hashtag: #GreatEagleGroup

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.

Honda LCR Partners with GOD55 Sports for Successful Fan Zone Experience at MotoGP 2026 KL Launch

MIL OSI — Fri, 13 Feb 2026 06:11:04 +0000

Source: Media Outreach

KUALA LUMPUR, MALAYSIA – Media OutReach Newswire – 13 February 2026 –

Standout MotoGP Booth Experience for Fans in Malaysia

MotoGP fans were treated to a unique motorsports experience at the MotoGP Launch in Kuala Lumpur, held from 2 – 7 February, 2026. Organised by Honda LCR and supported by GOD55 Sports, the free-entry Fan Zone attracted over 10,000 motorsports enthusiasts throughout the week. Visitors enjoyed up-close access to official 2026 racing leathers and helmets worn by Johann Zarco and Diogo Moreira, alongside video features showcasing the latest riders’ featured video and the growing partnership between Honda LCR and GOD55 Sports.

Honda LCR x GOD55 Sports logo at the MotoGP Launch booth

Premium Fan Zone Design & Interactive Experience

The MotoGP Fan Zone stood out with its striking red-and-gold design, combining Honda LCR’s iconic red with GOD55 Sports’ signature gold to create a premium and visually captivating showcase. The thoughtfully planned layout encouraged fans to explore every corner of the booth, follow Honda LCR on Instagram, and take part in a wide range of interactive activities.

Merchandises from Honda LCR x GOD55 Sports booth

Adding to the festive atmosphere, the booth distributed limited-edition stickers and angpao packs in celebration of the upcoming Chinese New Year. These thoughtful touches, along with consistently long queues and strong visitor engagement, highlighted the success of Honda LCR’s collaboration with GOD55 Sports. The partnership played a key role in elevating the overall fan experience and reflected a shared commitment to delivering meaningful and memorable interactions.

Merchandise Giveaway & Interactive Games

MotoGP Time Attack Challenge

One of the main attractions was the MotoGP Time Attack Challenge, which quickly became a crowd favourite. Fans eagerly lined up to test their skills by attempting to hit the exact 5.5-second mark, with winners receiving exclusive limited-edition motorsport polo shirts and other special prizes.

Gashapon Machine & Social Engagement

The popular gashapon machine added another layer of excitement to the Fan Zone. Visitors who followed Honda LCR and GOD55 Sports on social media were rewarded with chances to win random limited-edition merchandise, including lanyards, caps, T-shirts, polo shirts, and keychains. This initiative creatively combined entertainment with digital engagement, strengthening the connection between fans and the teams.

The booth also welcomed several key opinion leaders between February 6 and 7, further boosting online visibility and on-site buzz. With its vibrant atmosphere, interactive features, and exclusive offerings, the Fan Zone became a central hub of motorsport excitement, giving visitors an immersive preview of the energy and anticipation surrounding the 2026 MotoGP season.

Rider Meet-and-Greet with Free Autographed Posters

One of the event’s biggest highlights was the exclusive opportunity for fans to meet Honda LCR riders Johann Zarco and Diogo Moreira up close. Despite heavy rain during the pre-scheduled meet-and-greet session, crowds continued to gather at the booth, undeterred by the weather.

Johann Zarco and Diogo Moreira autograph session

The riders and Honda LCR team arrived at approximately 4:15 PM, prompting an overwhelming response of cheers and excitement from fans. Upon arrival, Johann Zarco and Diogo Moreira were first welcomed by the CEO of GOD55 Sports, alongside invited key influencers, before proceeding to a brief VIP meet-and-greet at the booth.

Honda LCR Team Principal, Lucio Cecchinello, wearing the partners’ polo shirt

Shortly after, Honda LCR Team Principal Lucio Cecchinello arrived wearing the limited-edition Honda LCR × GOD55 Sports Motorsport Polo Shirt, symbolising the team’s strong support and commitment to its new premier partner. Following the VIP session, Lucio joined the riders in preparing the limited-edition rider posters and autograph cards, which were met with enthusiastic reactions from onlookers.

The Fan Zone emcee then officially announced the start of the autograph session, as Johann Zarco and Diogo Moreira signed posters using gold and silver marker pens respectively, sending the crowd into a frenzy of cheers. Fans were rewarded with on-the-spot free autographed posters, creating unforgettable moments and meaningful interactions with their MotoGP heroes.

The lively atmosphere was further enhanced by the presence of several well-known influencers and content creators, who interacted closely with visitors and helped sustain the crowd’s energy throughout the event. By sharing real-time updates and behind-the-scenes moments across social media platforms, they extended the reach of the Fan Zone beyond the venue, allowing online audiences to experience the excitement and support for the Honda LCR MotoGP Team.

A Landmark Event for Malaysia

As Malaysia’s first-ever MotoGP 2026 Launch, the Honda LCR booth generated significant excitement among motorsports fans. Interactive displays, rider meet-ups, and unique activities confirmed the country’s strong appetite for world-class MotoGP experiences.

Looking ahead, the partnership between GOD55 Sports and Honda LCR over the next three years promises more exclusive content, fan-focused initiatives, and regional engagement, bringing Southeast Asian fans closer to the thrilling world of MotoGP.

https://www.god55sports.com/
https://www.facebook.com/god55sports
https://www.instagram.com/god55sports/

Hashtag: #HondaLCR #LCRTeam #God55Sports #MotoGP #MotoGP2026 #MotoGP2026Launch #JohannZarco #DiogoMoreira #Malaysia

The issuer is solely responsible for the content of this announcement.

– Published and distributed with permission of Media-Outreach.com.