Björk hasn’t released a new album in four years, her last being 2022’s Fossora. But there’s enough reason to believe a new one is on the way. Here’s everything we know so far.
Has the album been announced?
Formally, no. But in December, an Instagram post revealed that Björk and artist James Merry will be taking over the National Gallery of Iceland during the Reykjavik Arts Festival, which opens on May 30. Dubbed Echolalia, the exhibition comprises three “immersive installations,” two of which are named after the Fossora tracks ‘Ancestress’ and ‘Sorrowful Soil’. The third, however, hints at the artist’s next phase, “a new work based on music from her forthcoming album, currently in development,” according to the festival.
What is Echolalia, anyway?
“A medical condition in which someone repeats the words that someone else has just said, in a way that they cannot control,” according to the Cambridge Dictionary. Though not certainly the title of the album, there could be some interesting thematic connections.
Has Björk said anything about the album?
Not explicity. She’s done some interviews, though. Last year, she gave her first filmed interview since 2018 with Apple Music’s Zane Lowe. “I always write one song a month, one every two months,” she said. “It doesn’t matter what happens in my life, it’s like the full moon or it’s just like a rhythm because I’ve been doing it so long. So I think the minute when I release an album, part of me is so relieved and so bored with the subject matter that I’m super excited to do something [the] complete opposite. So I start gathering info or research or whatever tech is going on as well. But then just to contradict what I just said… I also really get bored very easily, so I never want to do it twice the same.”
What’s kept Björk busy since Fossora?
She released a concert film documenting her Cornucopia tour, which is why she went on The Zane Lowe Show. She also collaborated with Rosalía for the song ‘Oral’ in 2023, and then again in 2025 for LUX‘s lead single ‘Berghain’.
An American flag superimposed over a map of Greenland. That’s the image, accompanied by a single ominous word, “SOON,” that Katie Miller shared to social media Saturday. Katie Miller is married to Stephen Miller, Donald Trump‘s deputy chief of staff for policy as well as a national security advisor, and her post read as something of a threat. Greenland, it implies, is next on the US expansionist wish list. Following the arrest of Venezuelan autocrat Nicolás Maduro and his wife Cilia Flores, who are now appearing before US courts, Trump has declared his intention to “take control” of the country. And the American president’s entourage implied that the country’s expansionist ambitions could therefore continue on to Greenland, a territory four times the physical size of France, but with a population of just 57,000, making it the world’s least densely populated country.
But one Icelandic woman has called on Greenlanders, who are technically Danish citizens, to declare their independence in order to resist American imperialism as well as Danish government control. If we may have your attention, Björk has something to say.
On Twitter, the singer wished the country’s citizens “good luck in their fight for independence.”
“Icelanders are extremely relieved to have succeeded in freeing themselves from the Danes in 1944, we didn’t lose our language (my children would be speaking Danish now) and I burst with sympathy for Greenlanders,” she wrote on Monday.
The singer went on to talk about the history of “forced contraception, where 4,500 girls as young as 12 got IUD without their knowledge between 1966 and 1970,” in Greenland, linking to news articles on the history, and pointing to recent familial separations as proof that “still today the Danish are treating Greenlanders like they are second class humans.”
“Colonialism has repeatedly given me horror chills up my back, and the chance that my fellow Greenlanders might go from one cruel colonizer to another is too brutal to even imagine,” she continued. “Dear Greenlanders, declare your independence,” she urged, adding a map of her own, this one Greenland drenched with its own flag.
“Make Greenland great again!”
While he seems intent on riding the success of his stunt in Venezuela to keep the momentum going, this isn’t the first time Trump has given the Danish territory the eye. In 2019, during his first term in office, the American president proposed buying Greenland, but was rebuffed by Denmark. At the end of 2024, when he wanted to regain control of the Panama Canal and make Canada the 51st U.S. state, Donald Trump had already asserted it an “absolute necessity” to take control of Greenland. A few days later, his eldest son Donald Trump Jr. visited Greenland with “my reps,” in the words of his father. Trump told Greenlanders, “we’re going to treat you well.”
After five years in the Olympic Tower, this hub for artists merging X.R., A.I. and performance is set to move to Tribeca. Photo by Ed Lefkowicz.
Launched in 2020 by the Onassis Foundation and NEW INC, the incubator of the New Museum, Onassis ONX Studio has evolved into one of New York’s leading hubs for artists working at the intersection of extended reality (X.R.), A.I. and performance. Closely connected to Onassis Stegi in Athens, the two organizations form a dynamic international channel for creative exchange within the broader Onassis Foundation ecosystem. In New York, Onassis ONX provides an accessible acceleration space for ambitious productions, while at Onassis Stegi—founded in 2010—the focus is on education and professional development, nurturing a rapidly expanding arts-and-technology scene. Rooted in Greece’s long tradition of theater and dramaturgy, this has inspired compelling intersections of theater, dance and technology.
To mark its fifth anniversary, Onassis ONX has announced its relocation from its original venue in the Olympic Tower on Fifth Avenue, just above the Onassis Foundation’s U.S. headquarters, to an expanded 6,000-square-foot space in the heart of Tribeca at 390 Broadway, which also houses PPOW and Matthew Brown Gallery. Set to open in January, the new facility will continue to operate as a hybrid residency, research lab and production studio, offering additional space for exhibitions and public programming that extend the reach of the work developed within the organization.
The new studio includes a motion-capture stage twice the size of the previous one, a three-wall seamless projection room designed for museum-scale installations and an expanded sound studio—four times larger than the original—equipped with a high-fidelity system for immersive sonic environments. It also features enhanced computational infrastructure, including a new server array designed to support A.I. and generative media.
Onassis ONX is the Onassis Foundation’s global platform for digital culture, championing artists who push the boundaries of new media through the creation, exhibition and circulation of immersive, technology-driven works. Photo: Mikhail Mishin
“It’s been amazing to see how much interest, focus and support for art and technology has expanded in New York City and around the world,” Jazia Hammoudi, program director of Onassis ONX, told Observer ahead of the announcement. “It’s been a long journey for many of us, but witnessing this evolution now feels incredibly rewarding.”
Created as an arm of Onassis Culture—the cultural branch of Greece’s leading philanthropic organization, which has championed “aid, progress and development” since 1975—ONX quickly became central to the foundation’s mission as a cultural innovator and supporter of contemporary art. From the outset, the foundation has operated from a deeply humanist perspective, Hammoudi explained. “It’s an organization that takes its lead from artists rather than dictating from the top down, continually looking to understand what’s actually happening across the cultural and intellectual landscape. It’s about paying close attention to what artists and audiences are thinking about, interested in and in need of. That same responsiveness to artistic and technological innovation is what inspired the foundation’s expansion in both New York and Athens.”
At its core, ONX is first and foremost an accelerator. Its foundation lies in the production space, tools and technical consultation it provides—but beyond that, it functions as an aesthetic and intellectual incubator. “We offer extensive creative consultation and curatorial support to artists, so they’re not only producing work here but also developing its conceptual and public trajectory,” Hammoudi added. “An artist can come to ONX, build their work and we’ll help them find the right platform for it—whether that’s a festival, an exhibition within our own programs in New York or Athens, or through one of our partner institutions.” Onassis ONX also helps artists secure additional funding, either through internal seed grants and commissions or through its global network of partners.
“Tribeca Immersive” is the Tribeca Festival section co-produced by Onassis ONX. AI Ego | Photographer: Mikhail Mishin
Since its founding, ONX has supported an impressive roster of artists and collectives redefining the intersection of performance and technology, including LaJuné McMillian, Peter Burr, Stephanie Dinkins, Sutu (Stuart Campbell) and Jayson Musson. Projects developed at ONX often blur the boundaries between theater, gaming environments, installation and live performance—echoing the Onassis Foundation’s broader mission to explore the future of culture and human experience through technology.
“Our goal is to provide holistic support for artists working in new media because we recognize that many traditional museums and cultural institutions weren’t designed to meet their needs,” Hammoudi said. “Our work is twofold: to provide artists with the resources and infrastructure they need and to help institutions evolve into what 21st-century creativity actually looks like.”
ONX currently supports about 85 member artists worldwide who have full access to production facilities, seed grants, funding opportunities, internal open calls and ongoing staff consultation. This membership model ensures long-term, sustained support for artists working in new media. “We know that this kind of work takes time—and often requires many different minds and kinds of intelligence to bring to completion,” Hammoudi explained. “As advocates and field builders, we see these ongoing relationships with artists as essential to the growth and vitality of the field itself.”
The new space will also enable the organization to deepen and expand its global partnerships. As part of its mission as a field builder, Onassis ONX collaborates with international partners to develop residencies, exchange programs, fellowships, exhibitions, funding initiatives and distribution channels.
Onassis ONX supports artists and creative teams through capacity-building programs, research and incubation initiatives, acceleration services, seed funding, exhibitions, fellowships and collaborative partnerships The Power Loom | Photographer: Mikhail Mishin
For example, Onassis ONX is a partner on Lincoln Center’s Collider Fellowship, runs a residency exchange with MIT’s Open Documentary Lab and maintains a core partnership with NEW INC, where artists track work within the ONX space. Looking ahead, Hammoudi said the goal is to continue expanding these partnerships to support a growing cohort of artists. “It’s important for us to maintain a deep, ongoing connection with our 85 member artists while also creating ways to offer short-term, project-based support to those who come to us with a specific challenge or need. This expansion allows us to do both.”
Notions of hybrid identity beyond biological, mythological and digital limits
Inaugurating Onassis ONX’s new space will be “TECHNE: Homecoming,” an exhibition uniting six visionary artists whose multimedia installations explore hybrid identity shaped through biological, mythological and digital kinships. “The show reflects our belief that technology can deepen the ways we connect—with one another, with our histories and with the stories we choose to tell about the future,” Hammoudi said.
The artist lineup embodies the kind of interdisciplinary, cross-knowledge collaboration the foundation has long supported, featuring works that range from Andrew Thomas Huang’s two-channel video installation and sculptural environment—rooted in a Buddhist folktale and informed by his collaborations with Björk and FKA Twigs—to Tamiko Thiel’s Atmos Sphaerae, a video installation tracing Earth’s atmospheric evolution from primordial void to Anthropocene through a poetic translation of molecular data into visual form that collapses conventional timescales. Meanwhile, Damara Inglês’s “phygital” installation reimagines the afterlife of Queen Nzinga of Angola through the lens of Cyber-Kimbandism, merging Bantu cosmology, A.I. and 3D design to position technology as both a spiritual conduit for ancestral connection and a tool of anti-colonial resistance.
Miriam Simun, Contact Zone (Level 2), 2024. Courtesy of the artist and Onassis ONX
In a similar spirit, Natalia Manta’s looping animations, digital tombs and hybrid sculptures oscillate between the archaeological and the alien, provoking transhistorical reflections on human time across geographies and collective memory. Sister Sylvester presents Drinking Brecht, an experimental work of automated theater and performance-as-installation that functions as a Marxist-feminist laboratory. Finally, Miriam Simun’s generative three-channel projection Contact Zone Level 2 brings the Swiss Alps into collision with the artist’s own intestines beneath an A.I.’s gaze, continuously reconfiguring to explore the symbiosis between organic and artificial life—a visionary intersection of nature, technology and consciousness beyond human perception. “Technology becomes the mediator for this imagining, allowing a hybrid being—a new chimera—to emerge between nature and self. It’s a wild and deeply thought-provoking work,” Hammoudi said.
In each case, technology enables artists to construct more expansive worlds around their practice, extending the reach of their bodies and presence while dissolving the traditional genre boundaries that once defined art-making. “Those old taxonomies—this artist does that, that one does this—are becoming almost irrelevant,” Hammoudi noted, emphasizing that many of these works use digital tools not as spectacle but as instruments for expanding how we sense, perceive and experience reality—or move beyond its human limits.
An installation view of Sister Sylvester‘s Drinking Brecht (2024). Courtesy of the artist and Onassis ONX.
The exhibition will be part of the annual Under the Radar Festival, which this year includes two Onassis ONX performances—We Have No Need of Other Worlds (We Need Mirrors) by Graham Sack and ¡Harken! by Modesto Flako Jimenez—as well as MAMI, a mainstage production conceived and directed by Mario Banushi and commissioned by Onassis Stegi. Together, these works underscore the foundation’s multifaceted support for artists working at the intersection of performance and new technology—an ever-expanding field as creators increasingly experiment with digital embodiment, exploring performance, the shifting boundaries between analog and digital and what it means for the body to exist in real time and space within contemporary digital culture.
Balancing studio production and public programming
Looking ahead, Onassis ONX will continue to balance its mission of providing a dedicated workspace for artists with a growing commitment to public engagement. Beginning in 2026, ONX will host two in-studio exhibitions each year—one in January and another in the fall—along with quarterly public programs developed in collaboration with organizations such as NEW INC, Pioneer Works, Rhizome and Lincoln Center. The foundation also plans to continue its major annual off-site exhibition each June, following last year’s presentation at Tribeca Immersive. “This model allows us to keep the studio primarily a development space while maintaining a consistent public presence through exhibitions and thought-leadership events announced on our website and newsletter,” Hammoudi said.
The move from Midtown to Tribeca doubles the studio’s square footage and puts Onassis ONX at the center of downtown New York’s dynamic contemporary scene. There Goes Nikki | Photographer: Mikhail Mishin
In Athens, the focus remains educational, with ongoing incubation programs such as ONX Futures and the annual A.I. Summer School each July. The Athens space will also present an ONX showcase in May and contribute to the foundation’s broader cultural calendar, which includes the Borderline Festival in April. The foundation also produces Plásmata, its large-scale digital art biennial in Pedion tou Areos Park. Held every two years, it is one of the few outdoor digital art biennials in the world, combining large-scale installations, performances and music with works by both Greek and international artists, including recent participants such as John Fitzgerald, Jiabao Li, William Kentridge and Johan Bourgeois.
Ultimately, ONX’s mission—across both New York and Athens—is to expand the understanding of art and technology not only as mediums but as frameworks for examining how we live today. As traditional genres continue to dissolve, the foundation remains committed to supporting artists working at these frontiers, where art and life increasingly intersect.
“TECHNE: Homecoming” is presented as part of Under the Radar Festival, which this year includes two Onassis ONX performances and one mainstage production commissioned and produced by Onassis Stegi. Photo by Ed Lefkowicz
A post-metal band plays at a screening of a vintage Viking saga. Björk shows up to check out the latest films by Pedro Almodovar and Athina Rachel Tsingari. Filmmakers relax in warm mineral-laden waters at the ocean’s edge. Industry members are invited to the President of Iceland’s house to chat about the state of the film business. It’s a typical day at the Reykjavik International Film Festival.
But Iceland isn’t just hot springs and Vikings — well-situated between Europe and North America, the country is booming as a shooting destination. RIFF provides a key place for filmmakers to network and learn more about the production scene in the small country with the big production incentives.
“The festival is a very good place for people to meet,” says RIFF director Hrönn Marinósdóttir. “The Icelandic industry is really growing. I think we have a new generation of really talented filmmakers that are really well received in the biggest festivals, like in Venice this year.”
The band Solsatir performs at a screening of Viking epic “When the Raven Flies.”
Held in early October when temperatures are still moderate and it stays light past 7 p.m., the festival has a distinctly Icelandic flavor. Each year, director Marinósdóttir and her team program events that might include swim-in screenings in one of the city’s many warm public pools, cinematic culinary experiences and music-themed programming like this year’s concert from metal band Sòlstafir at the retrospective of “When the Raven Flies,” a popular 1984 Viking adventure. Most screenings take place at the Haskolabio building at University of Iceland, which includes five auditoriums and a bar and lounge where festivalgoers congregate.
“We try to do strange things, we have swim-ins, drive-ins, an ice cave cinema, just to appeal to different kinds of people,” Marinósdóttir says.
Marinósdóttir has run the festival since she started it as a university project 21 years ago. “In the beginning, it was very small — 17 films devoted to Icelanders living abroad, Canadians with Icelandic ancestry for example,” she explains.
“There were many challenges with finding the budget, and also politics because I’m not a filmmaker. Some filmmakers in Iceland were surprised that suddenly a journalist, a woman, started an event like this,” Marinósdóttir recalls.
This year’s event included master classes and retrospectives with special guests Nastassja Kinski, Bong Joon-Ho, Swedish music video and feature director Jonas Akerlund and Greek filmmaker Tsingari. A screening of the 2003 animated Daft Punk movie “Interstella 5555” featured some of the filmmakers in attendance.
The Industry Days section hosted discussions like an AI masterclass, a workshop on wardrobe and makeup, a panel on the future of the industry, and a works-in-progress screening. Industry members were also invited to a roundtable discussion with Iceland’s president Halla Tómasdóttir. At the president’s residence, Björk, perhaps the country’s most well-known figure, along with Tsingari, Akerlund, and others, discussed the importance of preserving community spaces like record shops and independent cinemas — both to support artists, engage young people, and help battle the loneliness epidemic.
Industry Days participants also bonded at a field trip to the stunning Hvammsvik Hot Springs and a visit to Thorufoss waterfall, a key filming site for “Game of Thrones.”
Head of programming Frederic Boyer, who also serves as artistic director of Tribeca Festival and Les Arcs in France, says bringing filmmakers to the festival draws an enthusiastic response. “We have a great audience that loves music, that loves Bong Joon Ho, that loves Daft Punk, and that is ready to absorb,” Boyer says. After the screening of Tsingari’s “Harvest,” filmgoers were so engaged, Boyer says, that they asked questions for a full hour.
“A New Kind of Wilderness”
Courtesy of A5 Film
This year’s winning films included the Golden Puffin award for Japanese film “Super Happy Forever” by Kohei Igarashi, which the jury called “delicate and luminous.”
The Different Tomorrow award, given to films that facilitate societal discussion and illuminate solutions to local and global problems, went to the documentary “A New Kind of Wilderness,” by Silje Evensmo Jacobsen, a visually rich study of a nature-loving British-Norwegian family adjusting to a new life.
The Reykjavik International Film Festival ran Sept. 26 to Oct. 6.
In many ways, a collaboration between Björk and Rosalía feels obvious, even overdue. A no-brainer. In others, the two artists seem so musically divergent that a collaboration might come across as “impossible”—or at least as a bad idea. With “Oral,” these iconoclastic, unique singers prove it’s quite the opposite. And sure, maybe one would have thought that if any charity song was to be released right at this moment in time, it might have to do with supporting Palestinians during the Israel-Hamas “conflict” (or war, whatever the news is billing it as these days). But they would be mistaken. For Björk and Rosalía have chosen to pursue the only issue more evergreen than Israelis and Palestinians being diametrically opposed: the environment’s well-being. But it’s more specific than that. That’s right, it’s a song to benefit Icelandic salmon.
And yet, in keeping with the “wonderful weirdness” of both artists, the single actually makes no mention of the environment or the opposition to industrial salmon farming that it seeks to highlight. While Rosalía is from Spain, she can appreciate the cause that Björk—known as much for being Icelandic as she is for being experimental—is urgently calling attention to. In fact, Rosalía can appreciate it so much that she’s agreed to join Björk in donating all (not just “a portion of”) income made from the song to AEGIS. Per the title card statement that appears before the video:
Björk and Rosalía are donating all their rights to income generated by this song to the AEGIS non-profit organisation to combat open pen fish farming in Iceland. Their record companies have agreed to do the same. All funds raised will support legal fees for protesters, taking action to stop the development of intensive farms that harm wildlife, deform fish and pose risks to salmon’s DNA and survival. Immediate action is crucial.
Yes, yes it is. On so many environmental fronts. And though some might not see the environmental “big value” of salmon, these fish are a benchmark/health barometer of so many other things occurring in nature. Or, as the National Environmental Education Foundation puts it, “[Salmon] are nature’s gauges for detecting the health of the environment.”
If salmon are suffering, it’s not just because of the conditions they’re subjected to in open pen fish farming, but also because of the water quality around them. If there’s high levels of pollution (human-generated, of course) the salmon can’t thrive. But open pen farming does more than exploit salmon and other natural resources, it assists in destroying entire ecosystems. Not to mention obliterating genetic diversity due to the inbreeding that goes on inside those nets (with escaped farmed salmon also breeding with wild salmon to alter their DNA…for the worse). And that is what an “open pen” amounts to: nylon nets. Ones that are fixed to the ocean floor with anchors and kept afloat by buoys. The “floating cages,” as it were, can hold hundreds of thousands of fish at one time—in addition to any other waste that enters the fray of that net. This extends to fecal matter, pesticides used to kill parasites, unconsumed fish feed and the rotting corpses of the salmon that didn’t survive. All of this coagulates and accumulates at the bottom of the pens, with the waste eventually releasing into other parts of the ocean where unsuspecting ecosystems await their contamination from this senseless farming practice.
So yes, Björk and Rosalía’s cause is urgent. And yet, the song itself came about over the course of decades, with Björk writing it between the Homogenic and Vespertine eras. Alas, she never felt that it fit in with the sonic motifs of those albums and decided to “put in on salt” until the right circumstances arose to finish creating it. Evidently, destiny wanted her to wait long enough for Rosalía to come into musical existence. Because this was the musical partnering that could shepherd the track to its final form.
The video, directed by Carlota Guerrero, mostly reads like a visual reinterpretation of Madonna’s 2002 video for “Die Another Day,” with Björk and Rosalía serving as one another’s adversarial opponents against the backdrop of a white room. What’s more, there definitely appears to be some deepfaking at play (another trend recently promoted by Sevdaliza and Grimes for the “Nothing Lasts Forever” video). As their choreographed “fight-dance” initially finds them battling one another MMA-style, by the end of the video, they decide to join forces and fight the common enemy that appears to be observing both of them as they then brandish their swords/kick at the camera. In many respects, this feels like a poignant metaphor for the ways in which humans find needless sources of contempt for one another, when the real problem is their shared oppressor. The ones “in charge,” Big Brother, etc. Whatever name one wants to give to “The Man” keeping us all down, and ensuring we’re distracted by our petty rivalries and competitions with one another.
While the song itself doesn’t call out fish directly, something about the word “oral,” therefore the frequent mention of mouths, feels evocative of a fish, with their constantly open mouths sucking up whatever happens to come into them while swimming. Per Björk, however, this is a love song. As she herself remarked, “My interpretation of the lyrics are that you’re wondering about revealing your feelings to a man, maybe crossing over from a dream state… It’s totally that moment when you’ve met someone, and you don’t know if it’s friendship or something more. So you become, I guess, aroused. And you become very aware of your lips. That’s maybe why I called the song ‘Oral’. You don’t know what the consequences are if you act. Sometimes fantasy can be amazing, and that’s enough; you don’t have to also do things.” In truth, sometimes the fantasy is what makes you lust after a person in the first place. When cold, sobering reality gets involved, things tend not to be as alluring.
Painting a surreal picture from the outset, Björk opens the song with the lines, “Your mouth floats above my bed at night/My own private moon.” Rosalía then joins in on the first verse to soothe, “Just because the mind can make up whatever it wants/Doesn’t mean that it’ll never come true/Won’t ever happen.” Here, too, there is a double meaning that can be inferred. Beyond talking about making a relationship dream come true, there’s the idea that, since this is a “charity song,” the lyrics are also intended to promote the belief in possibility…for a brighter future. And the key to any such bright future is environmental well-being.
Joining in on the chorus together, the duo sings, “Is that the right thing to do? (oh, oh)/Oh, I just don’t know/I just don’t know/Is that the right thing to do? (oh, oh)/Oh, I just don’t know/I just don’t know.” Whether one wants to see this as a girl talking about if she should confess her feelings to the object of her affection or as being from the perspective of a miraculously morally-aware industrialist, well, that depends on one’s mood.
More dual meaning is found in a lyric like, “Let me introduce one to the other/The dream and the real, get them acquainted.” In other words, there can be a place where the “dream” of a non-capitalistic, non-rapaciously industrial world can merge, if only vaguely, with reality. Or, yeah, a girl can make her dream of kissing the boy she likes (“a mouth to a mouth,” for more fishy visuals) come true.
Another repeated line throughout the song is, “Just because she can/There’s a line there, I can’t cross it.” This, too, seems applicable to how more corporate entities should be thinking. Knowing when they’ve crossed the line from garden-variety assholes to outright monsters. So monstrous, in fact, that it takes a powerful duo like Björk and Rosalía to come at them with their swords.
Vendors are a crucial component of Starfield, as you’ll need to make use of the RPG’s merchants in order to get better gear, obtain necessary parts to fix a damaged ship, buy healing items, and sell off all your contraband to earn enough credits to eventually buy that house in Akila City. The bars and restaurants in Starfield are also vendors, as the items you can buy from there are considered “aid” in that they’ll restore a little health or give you temporary buffs.
But we don’t just go into Starfield’s bars and restaurants to make use of their functionality—we go there to hang out. Video game bars are fantastic little lore dumps, lovingly detailed spaces that really make the game world in which they’re set feel lived-in and real. There’s nothing quite like walking into Mass Effect2’s Afterlife for the first time, or settling down for a game of Gwent in The Witcher 3’s Golden Sturgeon, to make it feel like you really are your character, and you really are jonesing for a drink.
And like other Bethesda RPGs, Starfield has its fair share of watering holes decorated with interesting objects and frequented by colorful characters (you could even call it Barfield, there’s so many). We ranked all the ones we could find, from worst to best, based on decor, menu, and overall vibes. Which Starfield bar would we most like to drink at? Read on to find out.
The annual music festival announced its star-studded list of performers, which includes Bad Bunny, Blackpink, and Frank Ocean, as headliners for the show. Other notable performers include Becky G, Björk, Gorillaz, Idris Elba, Jackson Wang, Calvin Harris, and others.
The show will return to the desert at the Empire Polo Club in Indio, California.
Björk had a cooler Christmas. And this was back in 1988, so you never even had a chance.
Before I explain why, I need to be very, very clear about something: I absolutely hate televisions. I hate them, I think they’re the droning banes of any household and it’s entirely because of personal baggages I have surrounding various people I’ve lived with. When I’m really, really pissed off, and I walk into a room with a television, I have to fight the impulse to beat that thing with a bat, à la Office Space‘s infamous printer scene.
So the fact that Björk, in under five minutes, has managed to charm me into seeing televisions in a different light, is nothing short of a (Christmas) miracle.
Behold, the infamous “Björk Explains TV” video:
(From the Sugarcubes: Live Zabor film, uploaded by user igorbuenocorrea)
I only just got into my Björk era this past year, so I never the knew the context of this video; I’d seen the quote, “You shouldn’t let poets lie to you,” get passed around, but I liked the quote so much, I never thought to look into its origins. The origins, as it would turn out, far surpass any expectations I could ever have.
Apparently, an Icelandic poet once told young Björk that televisions effectively hypnotize people by sedating them with lightwaves and then sending them direct messages about this or that. A fairly common superstition back in the day! But then, Björk read a Danish book that educated her on the realities of television, and she became convinced that it’s really quite something.
She made this video because it was the holidays, and while she says Icelandic people love Christmas, she often found herself watching a lot of TV during that time of year. So to dissuade fellow skeptics, she took apart her TV and explained all of its little contraptions, comparing them to “a little model of a city.” All of this was done with her typical poetic way of speaking, and her soft, relaxing voice.
And then, of course, she ends the video on the most unintentionally metal line possible: “You shouldn’t let poets lie to you.” This wasn’t even a formal interview, it was for a road doc for her former band, The Sugarcubes. The fact that it’s blown up this much speaks volumes about her natural charisma, and how gravitating she is as an artist.
Can’t get any cooler than that. Happy Holidays readers, enjoy your filthy, beautiful televisions.
Fashion, like most industries, has always been rife with nepotism. But right around the mid-2010s, celebrity children suddenly seemed to be taking over modeling: From the Hadids to Kendall Jenner to Kaia Gerber to Hailey Bieber (née Baldwin), a famous last name started to feel like a prerequisite for casting directors. Since then, we’ve only seen more descendants of famous families come of age, get thousands of Instagram followers and sign Miu Miu contracts.
We’ve also seen nepotism re-emerge as a hot topic of conversation, with stars like Zoë Kravitz, Maude Apatow and Lily-Rose Depp addressing the privilege from which they may or may not benefit in interviews.
“The internet cares a lot more about who your family is than the people who are casting you in things,” Depp said in her recent Elle cover story. “Maybe you get your foot in the door, but you still just have your foot in the door. There’s a lot of work that comes after that.”
Depp, a Chanel ambassador, straddles the line between Hollywood and fashion, and her comments spurred Instagram-story reactions from prominent models without famous last names.
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“You have no fucking idea how much you have to fight to make people respect you. TAKES YEARS. you just get it by free day one,” wrote Vittoria Ceretti, for instance.
Love it or hate it, “nepo babies,” as Depp called them, are continuing to emerge as fashion darlings, and a new wave of them are perfectly positioned to dominate the industry and our Instagram feeds in 2023. We’re here to tell you about them, not judge.
Based on hours of Instagram stalking, scanning Miu Miu front rows and Chanel event tip sheets and polling industry colleagues, we compiled the below list of up-and-coming fashion nepo babies to watch. There are fashion and skin-care heiresses, scions of the world’s most famous tech entrepreneurs, gorgeous supermodel offspring and much more. Get to know each of these budding multi-hyphenate “It” girls below.
Eve Jobs
Photo: Emma McIntyre/Getty Images
Instagram:@evejobs/460K Famous relative: Steve Jobs (parent) Born: 1998 Occupation(s): model, influencer Representation: DNA Models Fashion Credits: Glossier campaign, Coperni Spring 2022 runway, Louis Vuitton Fall 2022 front row and handbag campaign, 2022 Met Gala, Vogue Japan cover
Isadora Bjarkardóttir
Photo: Imaxtree
Instagram:@d0lgur/26.8K Famous relatives: Björk and Matthew Barney (parents) Born: 2003 Occupation(s): model, actor Representation: ITG Fashion credits: Miu Miu Fall 2022 campaign and Spring 2023 runway
Carly Sturm
Photo: Pascal Le Segretain/Getty Images
Instagram:@charlysturm/65K Famous relatives: Dr. Barbara Sturm (parent) Born: 2006 Occupation(s): works for mom, model, socialite, influencer Fashion credits: JW Anderson Spring 2023 runway, Stella McCartney Spring 2023 front row
Chase Sui Wonders
Photo: Raymond Hall/GC
Instagram:@chasesuiwonders/105K Famous relative: Anna Sui (aunt) Born: 1996 Occupation(s): actor, model, Harvard grad Fashion Credits: Sofia Coppola-directed Calvin Klein campaign, Anna Sui x Batsheva campaign, Sandy Liang campaign, Ferragamo campaign, Coach campaign, Madewell campaign, Miu Miu Spring 2023 front row, Thom Browne Fall 2022 front row, worked with Chanel
Ever Anderson
Photo: Arnold Jerocki/Getty Images
Instagram:@everanderson/526K TikTok:@everanderson/807K Famous relatives: Milla Jovovich and Paul W.S. Anderson (parents) Born: 2007 Occupation(s): model, actor Fashion credits: Miu Miu ambassador, Miu Miu campaign, Re-edition cover, Muse Magazine cover, Marfa Journal cover
Leni Olumi Klum
Photo: Theo Wargo/Getty Images
Instagram:@leniklum/1.7M Famous relatives: Heidi Klum (parent), Seal (adoptive parent) Born: 2004 Occupation(s): model, influencer Representation: CAA Fashion Fashion credits: About You collaboration, Dior Beauty ambassador, Intimissi campaign (with Heidi), Hunger cover, Glamour Germany cover, Harper’s Bazaar Germany cover (with mom), Dolce & Gabbana Alta Moda 2021 runway
Isabella Massenet
Photo: Frazer Harrison
Instagram: @isabellamassenet/11.8K Famous relative: Natalie Massenet (parent) Born: 2000 Occupation(s): model, DJ, NYU student Representation: IMG Models Fashion credits:Wonderland cover, Frame campaign, DJing for fashion parties
Phoebe Gates
Photo: Emma McIntyre/Getty Images
Instagram:@phoebegates/167K Famous relatives: Bill and Melinda Gates (parent) Born: 2002 Occupation(s): fashion influencer, activist, Stanford student Fashion credits: Michael Kors Spring 2023 front row, Valentino Spring 2023 front row, Stella McCartney Spring 2023 front row, British Vogue internship
Yumi Nu
Photo: Dimitrios Kambouris/Getty Images
Instagram:@_yumi_nu/148K Famous relatives: Rocky Aoki (grandfather), Steve Aoki (uncle), Devon Aoki (aunt) Born: 1996 Occupation(s): model, designer, singer Representation: The Society Management, Wilhelmina Models Fashion credits:clothing line Blueki, Sports Illustrated Swimsuit Issue 2022 cover, Vogue Hong Kong cover, Teen Vogue digital cover, Gap campaign, Jacquemus campaign, Jacquemus Spring 2022 runway, Vogue cover (group shot), Vogue Beauty Secrets video, Markarian Spring 2023 runway, Brandon Maxwell Spring 2023 runway, Puma September 2022 runway, Vogue World runway
Zaya Wade
Photo: Arnold Jerocki/Getty Images
Instagram:@zayawade/616K Famous relatives: Dwyane Wade (parent), Gabrielle Union (stepparent) Born: 2007 Occupation(s): all-around style star, high schooler Fashion credits: Miu Miu Spring 2023 front row, Gucci Love Parade front row, styled by Thomas Christos Kikis
