Entertainment

MANCHESTER – A plotline in the ITV production Coronation Street has shifted toward themes of property negligence and criminal activity following the hospitalization of a child character.

The narrative development integrates issues of housing standards and landlord liability into the series’ ongoing character arcs, moving from a health crisis to a high-stakes criminal escalation.

The conflict centers on Idris Nazir, a landlord whose business practices are now under scrutiny. The situation escalated when Alfie, the son of Abi and Kevin Webster, was rushed to the hospital after experiencing severe breathing difficulties.

Property Negligence and Health Implications

Medical evaluations revealed that Alfie’s condition was linked to mould discovered in the family home. Abi Webster had previously raised concerns regarding damp levels in the flat, placing Nazir in a position of potential legal liability for negligence.

The storyline echoes real-world concerns about substandard rental housing in the UK, where landlords can be required under the Homes (Fitness for Human Habitation) Act to ensure rented properties are free from hazards such as damp and mould that could endanger tenants’ health.

During a hospital visit, Carl provided photographic evidence of a mould-covered wall in Alfie’s room, sharpening questions over when Nazir became aware of the problem and whether he acted quickly enough. When Nazir arrived at the hospital, he claimed to have had no knowledge of the property’s poor condition. This assertion was rejected by Kevin Webster, who threatened Nazir with repercussions contingent on Alfie’s recovery, underscoring the personal and legal stakes now bearing down on the character.

Criminal Escalation

As the personal fallout widens, the storyline pivots from housing standards to organised coercion. To manage the threat to his reputation and livelihood, Nazir has sought information from the previous landlord who sold him the property. This pursuit has escalated into criminal activity.

Nazir enlisted the assistance of Brody Michaelis to kidnap the former landlord, moving the dispute far beyond any formal complaints or civil redress mechanisms available to tenants and property owners. According to a production insider, Nazir’s approach to such disputes is “very heavy-handed.”

Junade Khan, the actor portraying Nazir, detailed the character’s operational method:

“He gets Brody to do his dirty work, so that his own hands are clean. He’s got this darker side when it comes to business.”

The arc forms part of a wider tradition of British soaps using fictional narratives to reflect live debates over housing enforcement and landlord accountability, while anchoring those themes in intimate family jeopardy.

Coronation Street, one of the UK’s longest-running television dramas, airs on weeknights at 8.30pm on ITV1 and streams on ITVX, with the broadcaster trailing the Nazir storyline as a continuing exploration of how power is exercised – and abused – in everyday settings.

LYME REGIS –

Members of the 501st Legion, an international costuming organization, have conducted public appearances on the beaches of Lyme Regis, Dorset. The deployment of characters from the Star Wars franchise into a heritage tourism setting serves as a case study in how fan-led brand ambassadors drive regional footfall and charitable fundraising independently of official studio activations.

The presence of the costumes in a town recognized for its paleontological significance creates a juxtaposition between the prehistoric nature of the Jurassic Coast and the futuristic imagery of the film franchise. This intersection of intellectual property and local tourism is managed by the 501st Legion, which operates as a global volunteer entity rather than a corporate marketing arm.

Charitable Framework and Regional Impact

The organization utilizes its high-visibility costumes to attract crowds for the purpose of raising funds for various charities. By leveraging the global recognition of the Stormtrooper aesthetic, the group converts public interest into financial contributions, typically via bucket collections, photo opportunities and appearances at community events.

The activity in Lyme Regis is part of a broader operational model where members provide a visual attraction that benefits local businesses and non-profit organizations. Local officials and event organizers see the appearances as a low-cost way to animate public space and extend visitor dwell time, complementing existing tourism strategies along the Jurassic Coast.

This model relies on the voluntary nature of the participants, who fund their own costumes and travel. In the United Kingdom, those fundraising activities are expected to comply with national standards for charitable collections overseen by the Charity Commission for England and Wales, even when the group itself is not a registered charity.

“It’s a bit of a contrast, isn’t it? You’ve got the ancient fossils and then you’ve got the Galactic Empire,”

stated one participant regarding the visual impact of the activity on the seaside town.

Operational Structure of the 501st Legion

The 501st Legion functions as a structured organization with strict guidelines regarding costume accuracy. This commitment to fidelity ensures that the visual representation of the intellectual property remains consistent with the source material, which in turn maintains the attraction’s effectiveness for public engagement and reassures rights holders that the brand will not be misrepresented.

The group’s activities are not centrally mandated by the IP holder but are generally tolerated due to their charitable focus and lack of commercial monetization by the individuals involved. That informal tolerance sits alongside broader U.K. and international copyright regimes that give franchise owners the right to control commercial exploitation of their works under instruments such as the EU Copyright Directive, meaning volunteer groups must continue to operate on a non-profit basis to preserve that symbiotic relationship.

The interaction between the costumed members and the public in Lyme Regis is designed to be accessible, focusing on photography and direct engagement to maximize the visibility of the associated charitable causes. Organizers say the informality of beachside encounters lowers barriers for families who might not attend formal fundraising galas or ticketed fan conventions.

The organization continues to coordinate local appearances for charitable fundraising, with future deployments expected to be arranged in consultation with event organizers, local authorities and beneficiary charities to ensure compliance with fundraising rules and visitor management plans.

TULLAMORE –

Catherine Merrick died on July 1, 2026, following a prolonged illness.

The death was announced in a notice detailing funeral arrangements in Offaly and Mayo. Merrick is survived by her husband, John, and three daughters: Jill, Aisling, and Anna. She is also survived by her brother Barry, sisters Dolores, Patty, and Vonnie, as well as grandchildren Emilia, Isaac, and Oscar. She was predeceased by her parents, Toby and Mary Merrick.

Funeral arrangements are being managed by Lawless’ Funeral Home in Mucklagh Village, in line with standard procedures under Ireland’s Civil Registration Act for the formal recording of deaths and related documentation.

Reposing is scheduled for Sunday, July 5, 2026, from 4:00 p.m. to 6:00 p.m., allowing neighbours, friends, and former colleagues an opportunity to pay their respects ahead of the Funeral Mass.

The Funeral Mass will take place on Monday, July 6, 2026, at 11:00 a.m. at St. Colman’s Church, Mucklagh, a parish church serving the wider Tullamore area.

The service will be distributed via the Mucklagh Church Webcam, reflecting the wider adoption of remote-access funerals that began during the COVID-19 pandemic and has since become part of routine pastoral practice. According to the announcement, the live stream is managed by an independent streaming company, operating under parish guidelines for data protection and respectful recording.

The family has requested that donations be made to the Irish Cancer Society in lieu of flowers, underscoring the role of national cancer charities in supporting patients, research, and public health awareness alongside Ireland’s public health system.

The proceedings will conclude with a private cremation, in accordance with the family’s wishes and current funeral industry standards.

NEW YORK – The New York Police Department is deploying significant security resources to the area surrounding Madison Square Garden for a wedding celebration for Taylor Swift and Travis Kelce this Friday night.

The scale of the operational response highlights the logistical complexities and security mandates associated with high-profile figures in the global entertainment industry, where private events frequently require municipal law enforcement coordination to manage public safety and crowd control. The NYPD is obligated under its citywide crowd-management protocols and the broader public-safety framework that governs large-scale events in New York City to plan for significant fan turnout even when the underlying gathering is private.

Security Infrastructure and Guest Logistics

Law enforcement officials with knowledge of the plans indicate that organizers will construct a tented enclosure to obstruct views of a portion of West 31st Street near Seventh Avenue. This temporary structure is intended to allow guests to exit vehicles without public visibility and to create a controlled security perimeter between arriving vehicles, on-site personnel and any crowds in the immediate area.

Approximately 500 vehicles are expected to drop off guests at the venue, according to officials, requiring coordinated traffic management and staging on surrounding blocks. The event is taking place in one of Manhattan’s busiest transit nodes, with Penn Station directly beneath Madison Square Garden and multiple subway lines converging in the same footprint.

To maintain city transit flow, the NYPD intends to keep Seventh and Eighth Avenues open to traffic. That decision reflects a balancing act between security and the department’s obligation to minimize disruption to commuters and nearby businesses under New York City’s event and street-management rules. Consequently, any fans gathering in large numbers will be confined to sidewalks, limiting their view of activity outside the Garden and allowing officers to keep crosswalks, bus lanes and emergency access routes clear.

Law Enforcement Deployment and Risk Assessment

The security detail includes heavy weapons teams equipped with long guns, canine units, and emergency services units, alongside officers assigned to crowd control. Those resources are being layered on top of the Garden’s existing private security and building protocols, giving law enforcement multiple tiers of response capability if an incident occurs in or around the venue.

Despite the presence of specialized teams, officials stated the area will not be designated as a “frozen zone,” a heightened security status previously utilized during the NBA Finals and other major events that effectively seals streets to non-credentialed traffic. Instead, the NYPD is relying on targeted closures, controlled access points and fixed posts to manage the anticipated crowds while keeping the transit hub functioning for the broader public.

The heightened security posture follows a history of threats against Swift, including multiple stalking incidents and an alleged terror plot targeting her 2024 concert appearances in Vienna. Those cases, along with the couple’s global profile and Swift’s track record of drawing spontaneous crowds even for unannounced movements, have shaped the department’s risk assessment and contributed to the decision to deploy specialized units for what is, on paper, a private celebration.

During a news conference on Wednesday, New York City Police Commissioner Jessica Tisch confirmed the department is monitoring the situation and treating the gathering as a significant security operation within the city’s normal event-response framework.

Tisch mentioned “an event that we are tracking at Madison Square Garden on Friday night” and stated the NYPD will have “a detail in place,” though she declined to provide further specifics, citing operational security. The commissioner’s remarks underscore the NYPD’s broader mandate, laid out in the New York City Charter and related public-safety regulations, to deploy resources proportionate to the risk profile of large gatherings in dense urban corridors.

The NYPD detail remains in place for the Friday night event, with officers assigned both to the immediate perimeter of Madison Square Garden and to nearby transit points, where the department expects the largest overlap between wedding-related activity and everyday New Yorkers moving through the neighborhood.

NEW YORK – The New York Times expanded its digital games portfolio in August 2025 with the release of Pips, a single-player puzzle experience based on domino mechanics.

The introduction of Pips follows a broader institutional strategy to develop daily gaming habits among its subscribers, diversifying its catalogue beyond traditional word puzzles and crosswords. The game utilizes a logic-based system that modifies the standard rules of dominoes to create a structured, single-player challenge. The product sits within the Times’s broader push to deepen digital engagement and recurring subscription revenue, a strategy that has drawn attention from both investors and U.S. media regulators overseeing the evolution of digital news markets under frameworks such as the U.S. antitrust laws governing competition.

Mechanical Framework and Logic Constraints

Unlike traditional dominoes, Pips does not require touching tiles to match. Instead, gameplay is governed by color-coded spaces that impose specific mathematical conditions on the tiles placed within them. Tiles can be oriented either vertically or horizontally.

The game employs five primary condition types, which together give the puzzle its logic-grid character:

• Number: All pips within the designated space must sum to the specified number.
• Equal: Every domino half in the space must contain the same number of pips.
• Not Equal: Every domino half in the space must contain a different number of pips.
• Less than: The total sum of pips in the space must be lower than the specified number.
• Greater than: The total sum of pips in the space must exceed the specified number.

Areas without color coding remain exempt from these constraints, allowing designers to shape difficulty by clustering or spacing out rule-intensive regions. A central mechanic of the game allows for a single tile to be partially positioned within a color-coded space, meaning only half of the tile contributes to that specific condition – a design choice that encourages players to think in terms of overlapping sets rather than simple adjacency.

Since launch, Pips has been offered both as a daily puzzle and as an “unlimited play” experience on third-party mirrors such as PlayPips, which reproduce the core rule set for non-subscribers while directing traffic back toward the original game.

Interface and User Assistance

The current iteration of the game features a limited assistance system. When a player is unable to solve a puzzle, the interface only provides an option to reveal the entire solution. This action forces the user to abandon the current attempt and move to the next difficulty level to start over, rather than receiving incremental hints or partial corrections.

The game is structured across three difficulty tiers: Easy, Medium, and Hard. Each tier is designed to be solvable without guesswork, relying instead on logical deduction. That design approach aligns with the Times’s positioning of games as a “habit-forming” product that reinforces the brand’s reputation for deliberation, rules-based problem solving and analytic thinking.

Puzzle Configurations for July 3, 2026

The puzzle configurations for July 3, 2026, require the following placements to satisfy the game’s logic constraints. Each listing reflects the final positions and orientations of the domino tiles needed to resolve the grid for that day’s edition.

Easy Difficulty

• Less Than (2): 6-1, horizontal
• Number (10): 6-1, horizontal; 4-3, vertical
• Less Than (2): 1-3, vertical
• Number (3): 4-3, vertical; 0-5, horizontal
• Number (10): 0-5, horizontal; 5-6, horizontal
• Greater Than (5): 5-6, horizontal

Medium Difficulty

• Number (5): 4-5, horizontal
• Equal (4): 4-5, horizontal; 4-4, vertical
• Equal (6): 2-6, vertical; 6-6, horizontal
• Equal (1): 1-1, vertical
• Less Than (2): 0-4, horizontal
• Equal (4): 0-4, horizontal; 4-2, vertical
• Number (4): 4-3, vertical
• Equal (3): 4-3, vertical; 3-6, horizontal
• Number (8): 4-2, vertical; 3-6, horizontal

Hard Difficulty

• Equal (0): 4-0, vertical; 0-6, horizontal
• Number (12): 0-6, horizontal; 6-5, horizontal
• Number (10): 6-5, horizontal; 5-3, vertical
• Number (3): 5-3, vertical
• Number (7): 4-5, vertical; 2-0, horizontal
• Equal (0): 2-0, horizontal; 0-2, vertical
• Number (2): 0-1, vertical; 1-5, vertical
• Number (5): 1-5, vertical
• Number (3): 3-1, horizontal
• Number (1): 3-1, horizontal
• Number (5): 3-4, vertical; 2-3, horizontal
• Number (6): 3-2, horizontal; 3-6, vertical
• Number (12): 3-6, vertical; 6-4, horizontal
• Number (10): 5-5, vertical
• Equal (6): 3-4, vertical; 6-4, horizontal; 4-4, vertical

Pips remains active as a daily offering within the New York Times Games catalogue, illustrating how a legacy newsroom is using structured play – governed by transparent rules and constraints – to keep readers inside its wider ecosystem of news, opinion and interactive products.

BUTTERWORTH – John Muaythai John conducted a “ghost wedding” ceremony on Sunday, June 28, for his late fiancee, SaKira Saw.

The event, held in Butterworth, Penang, marks the intersection of traditional bereavement rituals and the public profiles of digital creators, as Saw was a livestreamer. Within Chinese culture, a ghost marriage is performed when one or both parties are deceased, based on the belief that the couple will be married in the spiritual realm. While such ceremonies are rooted in customary practice rather than state law, they exist alongside Malaysia’s civil and Islamic family law frameworks, under which only unions between living parties are recognized as legally valid marriages under the country’s formal marriage statutes.

The ceremony took place five days after Saw died unexpectedly. The couple had previously planned to marry in November of this year, according to a wedding invitation posted to Facebook, highlighting the abrupt shift from a planned public celebration to a ritual of mourning that has since drawn significant online attention.

Ceremony Specifications and Rituals

The event was held under a large tent with extravagant decorations, resembling a conventional wedding setup more than a funeral wake. The proceedings included a red carpet walk where John held a life-sized standee of Saw dressed in a wedding gown, symbolically accompanying her down the aisle in place of the in-person ceremony they had intended to share.

The ceremony featured performances by attendees and prayers led by a group dressed in attire resembling that of Taoist priests, underscoring the blend of religious observance and personal tribute. The ritual concluded with the cutting of a wedding cake and the burning of paper offerings in an outdoor car park – a common practice in Chinese folk traditions to provide symbolic goods to the deceased in the afterlife and to formally mark the transition at the end of mourning rites.

“I sincerely invite all those who have cared about us and know us, as well as those who originally received our wedding invitation, to take the time to attend and witness this belated but never-changing ceremony,” John said.

John stated that the love between him and Saw would “turn into eternal care and blessing” through the ghost wedding. For family and community members present, the occasion functioned simultaneously as a farewell, a fulfilment of a broken engagement, and a public assertion of continuing emotional bonds.

@asiaone A Malaysian man honoured his late fiancee by holding a ghost wedding ceremony with her life-sized standee after she died before their planned wedding. #MalaysiaNews #Malaysia #Wedding #Love #Funeral ♬ original sound – AsiaOne

As clips and images from the event circulated across platforms such as Facebook and TikTok, the ceremony also fed into a broader debate over how grief is expressed in an era where personal rituals are routinely broadcast to large audiences. Content involving funerals, memorials and posthumous tributes increasingly tests platform rules on sensitive events, with social media companies issuing evolving community guidelines on what can be shared, monetised or promoted when death and mourning are involved.

In a Facebook post regarding the event, John wrote, “Today, I finally married you,” and added, “In my next life, I will definitely meet you again.”

The funeral for SaKira Saw was held on Monday, June 29, one day after the ghost wedding, closing a week in which the couple’s originally planned life together was publicly reimagined as a blend of traditional ritual, digital-era memorial and community-led farewell.

LONDON –

Katy Perry, 41, performed a set of her greatest hits at a venue identified as the former residence of Winston Churchill. The event coincided with Canada Day, featuring high-concept production design and a guest list that included Princess Beatrice and Blur musician Alex James.

The performance serves as a case study in the integration of large-scale thematic props and personal narrative within a live event setting. By utilizing a specific “office” aesthetic, the production merged corporate imagery with surrealist elements to frame the musical delivery, in a private engagement that also underscored the increasing use of heritage political sites for high-end commercial and philanthropic entertainment.

Production Design and Stage Execution

The set design centered on an office theme, utilizing oversized replicas of everyday objects. The stage featured a giant tablet, a large-scale phone, and a massive stack of books, evoking the visual language of contemporary white-collar work and digital communications.

During the performance, Perry utilized an oversized inflatable water bottle to navigate through the audience, breaking down the separation between stage and guests. The supporting cast included dancers dressed as astronauts and bodybuilders, while members of the band appeared as a pot plant and a pencil, extending the office motif into a lightly satirical tableau of work, distraction, and aspiration.

Production staff said the show was mounted under the usual regime of UK health-and-safety licensing for temporary stages and large-scale props, which fall under local authority obligations derived from the Health and Safety at Work etc. Act 1974. That framework governs event organisers’ duties of care for performers, crew and guests on private estates as well as in public venues.

Visual Narrative and Sequencing

During the performance of the 2020 release Never Really Over, the production utilized a giant iPhone screen to display a sequence of incoming calls. The visuals listed several individuals, including Diplo, Orlando Bloom, Brand, and initials associated with John Mayer, inviting the audience to read the show as a playful excavation of Perry’s public romantic history.

The screen also displayed a heart and a Canadian flag representing her partner, Justin Trudeau. This theme was reinforced by Perry’s attire, which included a Canadian flag cufflink, and several verbal references to Canada Day throughout the set. The recurring Canada motif worked as a running gag and narrative spine, tying the personal references on screen to the calendar symbolism of the night.

For a mainstream pop artist whose catalogue and persona are widely documented – notably through her own channels on social platforms and her official website – the decision to foreground such direct personal callbacks suggested a deliberate blurring of private and public storytelling, tailored to an intimate but influential audience.

Venue and Attendance

The event took place at the historical site of Winston Churchill’s former home, a property now operating under heritage and planning controls that seek to balance commercial use with preservation of its political and architectural significance. Addressing the location’s history, Perry stated:

“It’s been a long time since I played in someone’s backyard, especially Winston Churchill’s.”

Her remark acknowledged the unusual convergence of a modern pop spectacle with a site long associated with 20th‑century British governance and wartime decision‑making, reflecting a broader trend of political landmarks being repurposed as stages for soft‑power hospitality and donor-focused events.

In addition to industry and royal figures, Perry’s five-year-old daughter, Daisy, was in attendance, underscoring the family‑oriented tone of a show otherwise heavy on satire and spectacle.

The artist remains active in her performing career, using bespoke one‑off engagements alongside more conventional touring to test new staging concepts and deepen relationships with audiences that sit at the intersection of culture, philanthropy, and public life.

LEEDS – ITV1 will broadcast episode 10,607 of Emmerdale on Friday, July 3, 2026, at 19:45. The episode focuses on the resolution of interpersonal conflicts and the escalation of tensions between several central character groups.

As a cornerstone of ITV’s linear programming, the production employs a high-volume output model designed to maintain consistent daily viewership. The integration of multi-generational family conflicts and high-stakes social dynamics is a structural necessity for the series to sustain its audience reach and meet the commercial requirements of the network’s advertising slots within the framework of the UK’s Ofcom Broadcasting Code.

Interpersonal Conflict and Deception

The episode features a confrontation between Mack and Charity, two of the village’s most volatile figures. Mack will express his inability to find a resolution or a path forward following Charity’s deception, a storyline that continues the serial’s established focus on trust, betrayal and the emotional costs of secrecy for families under public scrutiny.

The creative emphasis on deception and fractured loyalties also serves a broader industry function: long-running soaps such as Emmerdale, which first aired in 1972, rely on slow-burn personal conflicts to maintain narrative continuity for viewers who dip in and out of weekday schedules.

Home Farm and the Tate Family

A primary narrative arc involves Cain arriving at the iconic Home Farm estate to deliver a warning to Graham and the remaining members of the Tate family. Cain’s directive is for the group to maintain distance from Kyle, underscoring the show’s frequent use of safeguarding and parental responsibility as recurring dramatic themes.

Following Cain’s exit from the property, the plot shifts to a dialogue between Joe and Graham. Joe will pressure Graham to finalize a decision regarding his loyalties, forcing a choice between personal allegiance and the strategic interests of the Tate household. The storyline continues Emmerdale’s tradition of situating family power struggles against the backdrop of land ownership, business control and succession at one of the village’s most influential properties.

Supporting Narrative Developments

In a separate sequence, Charles will work to increase the confidence of Kev, offering a quieter pastoral thread that offsets the episode’s more confrontational scenes. The subplot aligns with the programme’s broader depiction of community support structures and informal guidance networks in rural settings.

Scheduled for broadcast on ITV1, the episode will also be available to stream for UK audiences via the broadcaster’s online services, reinforcing the show’s role as a flagship continuing drama in the national schedule and a key contributor to ITV’s regulated public-service remit under its Communications Act 2003 licence obligations.

NEW YORK –

Dua Lipa has resumed professional recording activities in New York City following a wedding and honeymoon period in Italy. The artist was observed at Electric Lady Studios on July 1, 2026.

The return to the studio marks a resumption of the artist’s production cycle. As a high-impact figure in the global music industry with significant streaming and touring reach, Lipa’s recording activity at a primary facility such as Electric Lady Studios indicates the development of new intellectual property and the potential next phase in her commercial catalog. As with all major-label releases in the United States, any resulting recordings will ultimately be governed by federal copyright law under Title 17 of the U.S. Code, shaping how the work can be exploited across streaming, touring, and licensing.

Studio Activity and Production

Lipa arrived at the New York City studio wearing bridal whites a day prior to her observed exit on July 1. The timing of these sessions follows a three-day wedding event in Sicily with husband Callum Turner, underscoring a rapid transition from private ceremony to professional activity.

The use of Electric Lady Studios, a facility known for hosting high-profile international recording artists and for its role in shaping marquee pop and rock releases, suggests a formal production phase is underway rather than informal writing sessions. Industry observers note that sessions at top-tier studios typically signal either the refinement of material already drafted elsewhere or the early stages of a coordinated album cycle involving labels, distributors, and live partners.

The New York sessions also place Lipa back in one of the primary hubs of the global music business, where creative decisions intersect with label strategy, release scheduling, and downstream touring logistics. Any new body of work recorded here is expected to feed into wider institutional planning by her record label, publishers, and international touring promoters.

Brand Associations and Wardrobe

Lipa continues to maintain a diverse portfolio of luxury and streetwear brand associations that reinforce her positioning at the intersection of pop music and global fashion. Upon exiting the studio, she wore a long-sleeve sketch-print Ann Demeulemeester top, Polo Ralph Lauren distressed denim shorts, and a Palace cap, balancing heritage labels with contemporary streetwear.

Her accessories included:

• Chanel: Oversized black flap bag and quilted burgundy ballet flats with a blue interlocking C logo
• Celine: Western belt
• Bulgari: Serpenti Seduttori gold watch
• Eera: Custom engagement ring

During her recent period in Italy, the artist’s wardrobe included vintage jewel-toned Galliano, Tom Ford-era Gucci, Chanel, Oseree, Mars the Label, Burberry, and CSB, signaling continuity between her wedding aesthetic and her return-to-work profile. For fashion and luxury groups, Lipa’s studio sightings function as informal campaign moments, reinforcing existing endorsements and future partnership value. They also sit within a broader ecosystem of image management, where celebrity styling choices can influence brand strategy and, in some jurisdictions, intersect with advertising and disclosure standards such as the U.S. Federal Trade Commission’s Endorsement Guides.

Photo: Courtesy of Dua Lipa

Photo: Courtesy of Dua Lipa