Brazilian police said they thwarted a bomb attack planned for Lady Gaga’s concert on Copacabana beach in Rio de Janeiro on Saturday.

The Civil Police of Rio de Janeiro state, in co-ordination with the justice ministry, said suspects had recruited participants to carry out attacks using improvised explosives and the plan was aimed at gaining notoriety on social media.

The person responsible for the plan and a teenager were arrested, the police said.

Lady Gaga’s team said they learned about the bomb threat only from media reports the morning after the gig. A crowd of more than two million people gathered for the concert, which was free to attend.

Police said the group that planned the attack had been spreading hate speech, mainly against children, adolescents and the LGBTQ+ community.

The alleged mastermind was arrested for illegal possession of a firearm in the southern state of Rio Grande do Sul, while the teenager was detained for storing child pornography in Rio.

Those responsible were also promoting the radicalisation of teenagers, including self-harm and violent content “as a form of belonging and challenge among young people”.

A spokesperson for Lady Gaga told The Hollywood Reporter: “We learned about this alleged threat via media reports this morning.

“Prior to and during the show, there were no known safety concerns, nor any communication from the police or authorities to Lady Gaga regarding any potential risks.”

The justice ministry said the suspects had identified themselves as Lady Gaga fans, known widely as “Little Monsters”.

Police issued search warrants across the states of Rio de Janeiro, Mato Grosso, Rio Grande do Sul and Sao Paulo, and electronic devices and other materials were seized.

“Operation Fake Monster” was launched following a tip-off from Rio state police intelligence, which uncovered online groups encouraging violence among teenagers using coded language and extremist symbolism.

The concert was paid for by the city in an attempt to revitalise Rio’s economy, with expectations it could bring in $100m (£75m).

In a massive security operation, 5,000 officers were deployed and attendees had to pass through metal detectors. Drones and facial recognition cameras were also used to police the event.

Lady Gaga, who last performed in Brazil in 2012, took the stage as part of a tour to promote her eighth album, Mayhem.

The singer wore Brazil-themed costumes for some of her acts, with outfits inspired by the national football team.

“You waited for more than 10 years for me,” an emotional Lady Gaga told the huge crowd, holding out a Brazilian flag.

(BBC News)

US President Donald Trump says he will hit movies made in foreign countries with 100% tariffs, as he ramps up trade disputes with nations around the world.

Trump said he was authorising the US Trade Representative to start the process to impose the levy because America’s movie industry was dying “a very fast death”.

He blamed a “concerted effort” by other countries that offer incentives to attract filmmakers and studios, which he described as a “National Security threat”.

“It is, in addition to everything else, messaging and propaganda!” Trump said on his Truth Social platform. “WE WANT MOVIES MADE IN AMERICA, AGAIN!”

Since returning to the White House in January, Trump has imposed tariffs on countries around the world.

He argues tariffs will boost US manufacturers and protect jobs – but the global economy has been thrown into chaos as a result, and prices on goods around the world are expected to rise.

Ahead of his inauguration, Trump appointed three film stars – Jon Voight, Mel Gibson and Sylvester Stallone – to be special ambassadors tasked with promoting business opportunities in Hollywood, which he described as a “great but very troubled place”.

“They will serve as Special Envoys to me for the purpose of bringing Hollywood, which has lost much business over the last four years to Foreign Countries, BACK—BIGGER, BETTER, AND STRONGER THAN EVER BEFORE!” Trump wrote at the time.

US Commerce Secretary Howard Lutnick responded to the latest announcement, saying “We’re on it”.

The US remains a major film production hub globally despite challenges, according to movie industry research firm ProdPro.

Its most recent annual report shows the country saw $14.54bn (£10.94bn) of production spending last year. That was down by 26% since 2022, though.

Countries that have attracted an increase in spending over the same period include Australia, New Zealand, Canada and the UK, according to the report.

Even before this most recent announcement, the US movie industry had been impacted by the fallout from Trump’s trade policies.

In April, China said it was reducing its quota of American films allowed into the country.

“The wrong action of the US government to abuse tariffs on China will inevitably further reduce the domestic audience’s favourability towards American films,” the China Film Administration said.

“We will follow the market rules, respect the audience’s choice, and moderately reduce the number of American films imported.”

Trump has hit China hardest with his tariffs salvo, imposing import taxes of up to 145% on goods from there.

His administration said last month that when the new tariffs are added on to existing ones, the levies on some Chinese goods could reach 245%.

Beijing has hit back with a 125% import duty on goods from the US.

Other countries currently face a blanket US tariff of 10% until a pause on higher levies expires in July.

Speaking to reporters aboard Air Force One on Sunday, Trump said he was meeting with many countries, including China, on trade deals.

He added, however, that he had no plans to speak with his Chinese counterpart Xi Jinping this week – despite previous reports that Washington had approached Beijing about holding trade talks.

Asked if any trade agreements would be announced this week, Trump said that could “very well be”, but gave no details.

Earlier, Trump signalled he may be willing to lower tariffs on China.

“At some point, I’m going to lower them, because otherwise, you could never do business with them, and they want to do business very much,” he said in an interview that aired Sunday on NBC’s Meet the Press.

(BBC News)

A child has damaged a painting worth millions of pounds by the American artist Mark Rothko at a museum in Rotterdam.

A spokesperson for the Museum Boijmans Van Beuningen said it was considering the “next steps” for the treatment of Rothko’s Grey, Orange on Maroon, No. 8.

The damage occurred during an “unguarded moment”, a museum spokesperson told the Dutch media outlet Algemeen Dagblad (AD) last week.

A spokesperson for the museum told the BBC the damage was “superficial”, adding: “Small scratches are visible in the unvarnished paint layer in the lower part of the painting”.

The abstract painting is estimated to be worth up to €50m (£42.5m), according to newspaper AD.

“Conservation expertise has been sought in the Netherlands and abroad. We are currently researching the next steps for the treatment of the painting”, the museum spokesperson told the BBC.

“We expect that the work will be able to be shown again in the future,” they added.

Sophie McAloone, the conservation manager at the Fine Art Restoration Company, said that “modern unvarnished” paintings like Rothko’s Grey, Orange on Maroon, No. 8 are “particularly susceptible to damage”.

This is “owing to a combination of their complex modern materials, lack of a traditional coating layer, and intensity of flat colour fields, which make even the smallest areas of damage instantly perceptible,” she said.

“In this case, scratching of the upper paint layers can have a significant impact on the viewing experience of the piece,” Ms McAloone said.

The Rothko painting was hanging in the museum’s Depot – a publicly accessible storage facility beside the main museum – as part of an exhibition displaying a selection of “public favourites” from the gallery’s collection.

Jonny Helm, a marketing manager at the art restoration service Plowden & Smith, said the incident had implications for UK institutions such as V&A East and the British Museum, which are considering “opening up the display of things that would otherwise be obscured in archives.”

“How will this event affect other UK institutions who are opening up their archives in the same way?” Mr Helm said.

Restoring a Rothko painting is a difficult task because “Rothko’s mixture of pigments and resins and glues were quite complex”, Mr Helm said.

He said the fact the painting is unvarnished – meaning it is “open to the environment” – will pose an additional challenge to conservators.

Conservators working to restore the painting will now likely be in the process of documenting the extent of the damage and researching “historic successful treatments” of Rothko paintings.

“Rothko works seem to have terrible luck – this isn’t the first damaged Rothko we’ve heard about,” Mr Helm said.

Rothko’s 1958 work, Black on Maroon, was deliberately vandalised by Wlodzimierz Umaniec at London’s Tate Modern gallery in October 2012.

Umaniec was sent to prison for two years and subsequently apologised for his actions.

During his trial, prosecuting barrister Gregor McKinley said the cost of repairing the work would be about £200,000. It took conservators 18 months to repair the painting.

Rachel Myrtle, Head of Specie and Fine Arts at Aon, a company that offers insurance broking to its clients, said fine art insurance policies typically cover “all risks associated with physical loss and damage to artwork”.

This includes “accidental damage caused by children or visitors, albeit with certain exclusions”, she said.

She said that when an artwork is damaged, a gallery’s insurer will appoint a specialist fine art loss adjuster to visit the museum.

The loss adjustor typically “reviews the damage to the artwork, examines any CCTV footage to determine the exact cause of the loss, and assesses conservation options”, Ms Myrtle said.

The museum did not comment on who will be held liable for the damage to the 1960 painting, which the gallery reportedly bought in the 1970s.

The Museum Boijmans Van Beuningen has previously billed visitors who have caused damage to artworks on display.

In 2011, the museum asked an unsuspecting tourist who stepped on Wim T. Schippers’ peanut butter floor artwork, called Pindakaasvloer, to pay for repairs to the work.

Sharon Cohen, a spokesperson for the museum at the time, was quoted by AD as saying: “It is normal procedure for people to pay if they damage art.”

The Rothko painting is described by the museum as an example of colour field painting, a term used to describe art characterised by large blocks of flat, solid colour spread across a canvas.

Rothko’s Grey, Orange on Maroon, No. 8 painting is one of several works of modern art that have been damaged in the Netherlands in recent years.

In November 2024, multiple screen prints by the US pop artist Andy Warhol were damaged by thieves during an attempted robbery of the MPV art gallery in the town of Oisterwijk.

In another incident, a Dutch town hall admitted it “most likely” disposed of 46 artworks by accident – including an Andy Warhol print of the former Dutch queen – during renovation works last year.

Museums have different policies when responding to damage caused by children.

In August last year, a four-year-old boy accidentally smashed a 3,500-year-old jar into pieces at the Hecht Museum in Israel.

At the time, Hecht Museum worker Lihi Laszlo told the BBC the museum would not treat the incident “with severity” because “the jar was accidentally damaged by a young child”.

The family were invited back to the exhibition with his family for an organised tour shortly after the incident occurred.

(BBC News)