Inside Trump’s Bonkers Kennedy Center Honors - DC Theater Arts

It is the film everyone seems to be talking about, spawning memes and fuelling feverish online debate about its subject, the disgraced Theranos founder Elizabeth Holmes. Now, a month before Nathan Fielder’s documentary You Can See Everything reaches UK cinemas, tickets for screenings are already selling out after its remarkable $15m (£11.3m) opening weekend in the US. Clare Binns, the creative director of Picturehouse Cinemas, said the excitement was reminiscent of the response to Greta Gerwig’s Barbie, which became a global box-office phenomenon in 2023. “People are hungry in a way that we haven’t really seen since then,” she said. “And for it to be a three-hour documentary, it’s bonkers.”Elizabeth Holmes is questioned by Nathan Fielder in You Can See Everything. Photograph: Courtesy of A24Tickets for the film, which opens in the UK on 20 November, went on sale at Picturehouse Central in London before its US opening, Binns said, and demand has prompted the chain to add extra screenings. At the Ritzy in Brixton, the first screen had almost sold out, leading the cinema to sell tickets for a showing at a second.

Across some 200 booths at Art Basel Paris this year, there is a lot to take in. As the Swiss company’s French fair matures, galleries have begun to bring more and more top-tier, high-priced works, which in turn has made it less a place to discover something new than a place for six-, seven-, and even eight-figure works to be sold. And during the Avant-Première VVIP preview on Tuesday afternoon, exhibiting galleries reported quite a few sales, which they would add to by the close of business Wednesday. While the fair can be a bit market-darling-heavy on the ground floor, be sure to visit the upstairs, where some of the best works on view can be found. And if nothing strikes your fancy, you can at least look up and take in the beauty of the Grand Palais’s green-painted, steel-and-glass ceiling.

In the wings of the London film festival, a group of young influencers are discussing their personal highlights. Klara and the Sun, says one, and her colleagues agree. It’s not just that the film is still so fresh in their memory, or that they have gathered today to meet its creators and stars. Klara is funny and moving; it’s their festival favourite so far. I relay this exchange to Taika Waititi, the film’s director, who is sipping bottled water in a room down the hall. His gaze widens. He almost chokes. “Thank God!” he exclaims with just a bit too much heat. Everybody has a perfect film, just as everybody has a perfect friend, and they vary because everybody is different. In the film, sick 14-year-old Josie loves her discontinued robot doll Klara, whereas most kids her age opt for brighter, shinier models. And the young influencers love Klara and the Sun – Waititi’s adaptation of Kazuo Ishiguro’s acclaimed novel – while most older critics vehemently, violently disagree. All of which shows that there’s no accounting for taste, that people are confounding, and that our hearts and our brains are not always in sync. That keeps life interesting. It’s partly what the film is about.

this algorithmically designed garden, created by artist alexandra daisy ginsberg and commissioned by las art foundation, joins art and computation to support pollinators. annalise kamegawa October 22, 2026 11 min prefer designboom on googlePollinator Pathmaker and LAS art foundationIn 2023, Pollinator Pathmaker sprouted up in front of the Natural History Museum in Berlin, a project in commissioned in part by LAS art foundation, and has continued to bloom each year since it was planted. Full of asters, foliage, and insects, this work is an algorithmically optimized plot of local plants selected to bring pollinators back to the region.

as computational demand grows, architects, engineers, and designers face a more fundamental question: how can technology evolve without deepening its dependence on finite resources? thomai tsimpou October 22, 2026 10 min prefer designboom on googlethe ‘cloud’ is physical: the hidden infrastructure behind digital lifeThe digital world is often described as immaterial, a space of information that moves invisibly between devices and across networks. The term ‘cloud,’ for instance, suggests an ethereal space where data like photos, images and more can be stored without occupying any tangible place. In reality, though, these files reside on physical servers housed in data centers, supported by networks, cooling systems, and energy infrastructure. Every search, video stream, and artificial intelligence query depends on systems that consume energy, water, land, and raw materials. From mineral extraction and semiconductor manufacturing to data centers and electronic waste, the infrastructure behind digital life has a substantial environmental footprint.

CORTEN STEEL CONDUITS FRAME REVERSIBLE UNDERGROUND structurePositioned at an altitude of 2,173 meters at the Pavillon intermediate station of the Skyway Monte Bianco cableway in Aosta Valley, Italy, Tana delle Marmotte (Marmot Den) is a permanent underground educational installation designed by architecture practice Officina 82. Conceived as an experiential learning environment for children and teenagers, the project combines play with environmental education by translating the subterranean habitat of Alpine marmots into a modular architecture integrated directly into the mountain landscape.all images ©Giulia SarnoSPRUCE RIBS FORM MODULAR TUNNEL INSPIRED BY MARMOT BURROWSThe pavilion’s primary structural shell consists of three prefabricated Corten steel conduits: an 8-meter-long central tube paired with two transverse access pipes measuring 2,200 mm and 1,300 mm in diameter. To preserve the high-altitude ecosystem, the structure by studio Officina 82 rests on a bed of fine gravel without permanent concrete foundations, ensuring complete structural reversibility.