Peugeot étend sa communication au Maroc à l’univers du cinéma. La marque, commercialisée dans le Royaume par Stellantis Maroc, a signé un partenariat avec Pathé Maroc lors d’une cérémonie organisée au Pathé Californie de Casablanca.

L’accord marocain constitue le prolongement d’un partenariat conclu en janvier 2026 entre Peugeot et Pathé. Sa déclinaison locale doit permettre à la marque automobile de disposer d’une présence régulière au sein des cinémas exploités par Pathé dans le Royaume et de développer différentes opérations destinées à ses clients et à son réseau.

Le rapprochement intervient alors que les deux groupes partagent une histoire remontant à la fin du XIXe siècle : la Société Anonyme des Automobiles Peugeot et Pathé Frères ont toutes deux été créées en 1896.

Peugeot présent tout au long du parcours des spectateurs

Concrètement, le partenariat repose sur plusieurs dispositifs intégrés à l’expérience des spectateurs.

Les spots publicitaires de Peugeot seront notamment diffusés au sein des séances. La marque disposera également d’une visibilité dans les espaces des cinémas, notamment lors des principales sorties de films.

Des véhicules Peugeot pourront par ailleurs être exposés dans les complexes Pathé. Le partenariat prévoit aussi l’organisation d’avant-premières, de soirées privées, d’animations et d’événements, notamment en lien avec les concessionnaires de la marque.

Les deux entreprises prévoient parallèlement de déployer des actions de communication communes tout au long de l’année sur différents supports.

Cette présence dans les cinémas doit permettre à Peugeot de multiplier les points de contact avec le public en dehors de ses espaces commerciaux traditionnels.

La mobilité électrifiée parmi les axes du partenariat

L’accord prévoit également de consacrer une partie des opérations communes à la mobilité électrifiée.

Peugeot Maroc et Pathé Maroc indiquent vouloir en faire l’un des axes de leurs futures activations. Le communiqué ne précise toutefois pas, à ce stade, la nature des dispositifs qui seront spécifiquement consacrés aux véhicules électrifiés.

Cette orientation intervient dans un contexte où Peugeot développe progressivement une offre intégrant davantage de modèles électriques au sein de sa gamme internationale.

Au Maroc, les opérations menées avec Pathé permettront ainsi à la marque de présenter ses véhicules directement dans les espaces fréquentés par les spectateurs et d’accompagner ces expositions d’actions événementielles.

« Un nouveau point de rencontre avec notre marque »

Pour Hind El Youssi Tazi, directrice de Peugeot au Maroc, ce partenariat doit permettre de créer de nouvelles interactions avec les clients.

« En nous associant à Pathé, nous créons un nouveau point de rencontre avec notre marque, dans un lieu où le plaisir et l’émotion sont au cœur de chaque expérience », explique-t-elle.

La responsable estime que cette association permettra à Peugeot de faire découvrir différemment son univers et sa conception du plaisir de conduire.

De son côté, Frédéric Godfroid, directeur général de Pathé Maroc, souligne la dimension émotionnelle recherchée par les deux partenaires. « Le cinéma a cette capacité unique de créer des émotions qui rassemblent », indique-t-il, estimant que les deux entreprises partagent notamment une attention portée à l’innovation et à l’expérience proposée à leurs publics.

Le partenariat s’appuie notamment sur les implantations développées ces dernières années par Pathé dans le Royaume.

Le groupe a ouvert en décembre 2023 le Pathé Californie à Casablanca, installé au sein du Californie Mall. Le multiplexe compte huit salles et près de 1.200 fauteuils. Il comprend notamment une salle IMAX Laser, une salle 4DX et une salle VIP.

Deux ans plus tard, en décembre 2025, Pathé a ouvert un deuxième établissement à Rabat. Installé au Marché Dar Essalam, le complexe compte quatre salles pour un total de 149 fauteuils, dont trois salles VIP.

LNT

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Fondé à New York en 1969 par Arthur Mitchell, premier danseur principal noir du New York City Ballet, le Dance Theatre of Harlem s’est développé autour d’un projet visant à élargir l’accès à la danse classique. L’initiative, qui débute sous la forme d’une école à Harlem, évolue rapidement vers la création d’une compagnie professionnelle.

Au fil des années, le Dance Theatre of Harlem développe un répertoire mêlant œuvres du ballet classique et créations contemporaines. La compagnie se produit sur différentes scènes internationales, avec notamment une première représentation au Royal Opera House de Londres en 1981. Quelques années plus tard, sa production de « Creole Giselle » reçoit un Laurence Olivier Award.

Sa venue à Rabat intervient plus de trente ans après son dernier passage en Afrique. En 1992, la compagnie s’était produite en Afrique du Sud, à l’invitation de Nelson Mandela. La date marocaine figure parmi les étapes de sa saison internationale 2026-2027, aux côtés de plusieurs rendez-vous aux États-Unis.

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Pathé Maroc has confirmed that another Pathé cinema is set to open in Morocco in 2027, continuing the company’s expansion across the country. And while Pathé hasn’t officially revealed the location of this next opening yet, there is a pretty big clue pointing toward Casa.

Earlier this year, Le Desk reported that Tachfine Center was being prepared for a new Pathé cinema, which would give Casablanca a second Pathé location after Pathé Californie.

The Californie complex opened in late 2023 with eight screens, including IMAX Laser and 4DX, giving Casa moviegoers a very different experience from the classic multiplex setup.

Pathé has been moving pretty quickly since then. The company opened another cinema at Dar Essalam in Rabat in December 2025 and has been developing more locations through a partnership with Marjane Group.

Basically, Morocco’s cinema map is getting bigger.

And if the Tachfine project moves ahead as reported, it would also make Pathé much more accessible to people on the other side of Casablanca instead of having nearly everything concentrated around Californie.

There’s still one detail we’re waiting for: Pathé has not officially confirmed that the 2027 opening announced this week is the Tachfine Center project.

But another Casa Pathé has already been reported to be in the works.

So maybe start deciding which movie deserves the first giant popcorn.

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No big string section. No wind instruments. No layers of production hiding behind the vocals.

For “Dialddar,” the Moroccan singer built an entire project around something much more stripped back: the human voice and percussion.

The title translates roughly to “homemade,” and that idea runs through the whole album. Many of the percussion instruments used on the project were handmade in Marrakech, while the songs themselves are written in Moroccan darija.

And “percussion” here doesn’t only mean drums.

The project plays with bendirs, taarijas, claps, body percussion, glasses and calabashes, alongside sounds made using things like water, stones, salt and sesame seeds.

Basically, anything can become an instrument if Oum says so.

There’s also something intentionally imperfect about the sound. Because some of the handmade instruments react to temperature and humidity, their tuning can shift slightly depending on the environment. Instead of trying to remove that unpredictability, Oum made it part of the project.

Now, Dialddar is coming to Moroccan stages.

Oum will take the project through El Jadida on October 18, Meknès on October 19, Agadir on October 21 and Marrakech on October 22, alongside a largely female international ensemble.

Songs like “Abi,” dedicated to her late father, “Lalla,” and the Malhoun-inspired “Awan” give the album an intimate side too.

In an industry obsessed with adding more sounds, more layers and more production, Oum did the opposite.

And somehow made “less” sound very full.

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It’s getting three days.

From October 29 to 31, the Philharmonie de Paris is dedicating an entire programme to Morocco, bringing different corners of the country’s musical heritage into one of France’s biggest music institutions.

And this isn’t a single “Moroccan music” concert trying to squeeze everything into two hours.

The programme jumps between Gnaoua, Amazigh traditions, Andalusian music, rural Moroccan sounds, Sufi influences and more.

It starts on October 29 with Maâlem Abdelkébir Merchane and Hind Ennaira, putting an established Gnaoua master alongside one of the younger female voices pushing the tradition forward.

Then things get even more interesting.

On October 30, Moroccan rural traditions meet flamenco and blues, with the all female Lâabat de Benslimane ensemble and Amazigh singer Chérifa Kersit sharing the programme with musicians from outside Morocco.

October 31 turns toward Morocco’s Andalusian heritage, with conductor Mohamed Briouel and the Orchestre Marocain de Musique Andalouse joined by singers representing different Mediterranean traditions.

There’s even a museum programme built around Moroccan instruments and sounds.

It feels less like Paris borrowing a little Moroccan aesthetic for a night and more like giving the music room to show how wide it actually is.

Because “Moroccan music” has never meant one genre.

And for three days in Paris, that’s exactly the point.

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Magic Knight Rayearth officially returns with a brand new anime adaptation premiering in Japan today, October 7.

If the name means nothing to you, welcome. If it does, there’s a decent chance your inner child is currently screaming.

The original Magic Knight Rayearth came from CLAMP, the legendary manga group also behind Cardcaptor Sakuraand xxxHolic. The manga ran in the 1990s and quickly became an anime that mixed magical girls, fantasy adventure and giant robots before mixing genres like that became completely normal.

The story follows Hikaru, Umi and Fuu, three schoolgirls who meet during a trip to Tokyo Tower and suddenly get transported to the magical world of Cephiro.

Naturally, instead of being allowed to finish their school trip, they get told they need to save an entire world.

Very reasonable afternoon.

The 2026 version starts the story again for a new generation rather than continuing directly from the old anime.

And there’s serious talent behind it.

The series is being directed by Yui Miura at E&H Production, while music comes from Yuki Kajiura, Shiho and Takumi Ozawa.

That makes this comeback interesting beyond pure nostalgia.

Older fans get to revisit something they grew up with, while everyone who missed the 90s version gets a clean way in without doing anime homework first.

Thirty plus years later, the Magic Knights have officially been summoned again.

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In Marvel’s upcoming “VisionQuest,” Vision isn’t only dealing with an identity crisis.

He has Ultron living inside his programming.

Yes. That Ultron.

The murderous AI from Avengers: Age of Ultron is returning, with James Spader back in the role, but Marvel is doing something much stranger with him this time.

After being rebuilt, Vision has gone into hiding while trying to figure out exactly who — or what — he is. To do that, he communicates with several AI personalities stored inside his programming.

Those include Jarvis, Friday, Edith… and Ultron.

Which feels like keeping your worst enemy in your internal group chat.

Things get worse when someone puts a bounty on Vision and he ends up on the run alongside Thomas Shepherd, a mysterious teenager who may somehow be the reincarnation of his son.

If that sounds complicated, congratulations. You understand Marvel.

The series is also clearly leaning back into one of the MCU’s more interesting questions: if Vision is technically artificial but can think, love, remember and grieve, where does the machine stop and the person begin?

And having his original creator turned enemy literally sitting inside his mind probably won’t make answering that easier.

VisionQuest arrives on Disney+ on October 14, with Paul Bettany returning as Vision.

After years of multiverses, timelines and increasingly large CGI threats, Marvel giving us an AI family crisis might actually be the weird reset it needs.

Therapy would probably be cheaper.

But Ultron is already there.

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Organisé par le Groupe Le Matin et porté par son Book Club, le festival revient au Palais Mechouar, à Casablanca. Le public pourra y découvrir une programmation entièrement gratuite.

Un premier Prix littéraire Le Matin

Le festival s’ouvrira le 30 octobre par une soirée consacrée notamment à la remise du premier Prix littéraire Le Matin. Des prix récompenseront la création littéraire en français, en arabe et en amazighe. Le prix en langue amazighe sera remis en partenariat avec l’Institut Royal de la Culture Amazighe (IRCAM). L’initiative veut mettre en lumière les œuvres et leurs auteurs, et célébrer la diversité linguistique de la littérature marocaine.

Les deux journées ouvertes au public prolongeront cette célébration. Elles réuniront lecteurs, écrivains et professionnels du livre autour d’échanges, de découvertes et de pratique créative.

Des tables rondes en français et en arabe

Les tables rondes porteront sur la place du livre dans la ville et sur les liens entre littérature et société. Plusieurs thèmes sont au programme : l’histoire des librairies des Habous, la façon dont le roman rend compte des transformations du monde contemporain et la capacité de la littérature à ouvrir des perspectives d’avenir.

Le programme fera aussi dialoguer la littérature et le cinéma. Il abordera la poésie comme manière de penser le monde et les rapports entre histoire, mémoire et invention romanesque. Une rencontre sera consacrée aux lecteurs de la littérature marocaine et au rôle des librairies, des clubs de lecture et des initiatives numériques pour élargir les publics.

Des ateliers pour passer à la pratique

En parallèle, plusieurs ateliers proposeront une approche concrète de la création :

• écriture en français, en arabe et en anglais ;
• bande dessinée et manga ;
• lecture théâtralisée ;
• initiation à la philosophie et à l’esprit critique.

Des séances pratiques expliqueront aussi le parcours d’un manuscrit jusqu’à sa publication, ainsi que les contrats d’édition et les droits d’auteur.

Un village du livre ouvert à tous

Le village réunira une librairie, des stands partenaires et un espace enfants avec sa propre programmation. Des séances de dédicaces auront lieu tout au long des deux journées, pour permettre aux lecteurs de rencontrer les auteurs et de poursuivre les discussions. Une performance autour du melhoun et des contes d’ici et d’ailleurs complétera le parcours, à la croisée de la littérature, de l’oralité et du patrimoine.

Avec ce rendez-vous, le Groupe Le Matin veut contribuer à la vie culturelle de Casablanca, soutenir les acteurs du livre et favoriser des rencontres durables entre les œuvres et les publics.

Le programme détaillé et les modalités de participation seront communiqués prochainement.

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Production on The Batman Part II has temporarily paused while director Matt Reeves deals with a family matter, according to Warner Bros. and DC Studios.

The studio has said Reeves has its full support and that production is expected to resume, so this is a pause, not a cancellation.

And that distinction matters, because this movie has already spent enough time making Batman fans nervous.

The sequel to 2022’s The Batman was originally expected much earlier, but its release has moved multiple times during development. It is currently scheduled to arrive in February 2028.

Yes, 2028.

Robert Pattinson is returning as Bruce Wayne, with Colin Farrell, Jeffrey Wright and Andy Serkis also part of the cast. New additions reportedly include Scarlett Johansson and Sebastian Stan.

Plot details, however, remain locked somewhere deep inside the Batcave.

The first film turned Pattinson’s Batman into a darker, detective focused version of the character and made more than $770 million worldwide, while also launching Colin Farrell’s The Penguin spin off.

That has made the wait for the sequel particularly noticeable.

For now, though, there is no indication that this latest production pause has changed the February 2028 release date.

And because the reason involves Reeves’ family, there is no need to turn it into internet detective work either.

The movie is still coming.

Batman fans simply need to practise the skill they have already been developing for years: waiting.

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The latest Spotify Morocco chart data shows local artists dominating the country’s most streamed tracks, with Shaw’s “PILLAVE” sitting at No. 1, followed by Stormy’s “KILOWAT” at No. 2.

Then comes Draganov and TIF’s “Couci Couca” at No. 3, while Tchubi and Hoba Hoba Spirit take another spot near the top.

Najm and ElGrandeToto’s “GHALAT” also sits inside the Top 5.

So yes, Morocco’s Spotify Top 5 is looking extremely Moroccan right now.

And it is not only one artist having a particularly good week.

Stormy appears repeatedly across the wider chart, while names from different corners of Morocco’s rap and alternative scenes continue to sit alongside major international releases.

That matters because Moroccan rap has spent years growing from something treated as a local subculture into one of the country’s dominant forms of popular music.

Artists no longer need a radio hit or television appearance before a song becomes part of everyday culture. A release can move through TikTok, YouTube, Spotify playlists, Instagram Stories and group chats until suddenly everyone knows the chorus.

The sound is also getting harder to put into one box.

Rap is colliding with Moroccan rhythms, electronic production, pop and alternative sounds, creating tracks that feel increasingly difficult to describe as simply “Moroccan rap.”

The audience clearly does not mind.

Right now, Morocco is streaming Morocco.

And the local playlist is winning.

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The Korea Arab Friendship Caravan is taking over the Mohammed V National Theatre on October 6, bringing Korean dance, breaking and culture together for one night in the capital.

And this is not only a K pop playlist with some lights.

Korean dance crew K NOVA will perform choreography built around K pop, while Expression Crew brings breaking to the stage. The veteran South Korean B boy group is known internationally for combining breakdance with theatre and visual storytelling.

Their performance Marionette does exactly what the name suggests: dancers move like puppets controlled by invisible strings, mixing breaking with a much more theatrical performance.

The evening also goes beyond the stage.

From 7 PM, visitors can explore activities around Korean culture, including traditional games and hanbok, before performances begin at 8 PM.

For Morocco’s K pop community, events like this matter because most of the culture is normally experienced through a screen: music videos, fancams, dance challenges and livestreams from concerts happening thousands of kilometres away.

Tonight, a little piece of that world is actually happening in Rabat.

Places are limited and advance registration is required, so this is very much a “send this to the group chat now” situation rather than something to discover tomorrow morning.

K pop fans have spent years building a community in Morocco.

Tonight, they get the theatre.

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À quelques minutes du centre de Marrakech, un parcours artistique s’est progressivement constitué au milieu de la Palmeraie. Baptisé Ramakech, ce parc de sculptures en plein air est consacré à l’univers du plasticien Jean-François Fourtou, installé dans la ville depuis la fin des années 1990.

Ouvert au public depuis 2024, le site est le résultat d’une vingtaine d’années de création et d’installation d’œuvres autour de l’atelier de l’artiste. Sur près de cinq hectares, les visiteurs découvrent des sculptures monumentales, des architectures aux proportions inhabituelles, des représentations animales et différents espaces paysagers.

Le projet se distingue notamment par sa dimension immersive : les œuvres ne sont pas uniquement destinées à être observées. Certaines peuvent être traversées ou explorées physiquement, faisant du déplacement du visiteur une composante du parcours.

Jean-François Fourtou, un travail autour de l’enfance et des échelles

Né à Paris en 1964 et diplômé de l’École nationale supérieure des Beaux-Arts de Paris, Jean-François Fourtou a vécu à Madrid et à New York avant de s’installer à Marrakech en 1999, où il a établi son atelier.

Depuis les années 1990, son travail s’appuie notamment sur les souvenirs d’enfance, les histoires familiales et les lieux qui ont marqué son parcours.

L’un des principes récurrents de ses installations consiste à modifier les rapports d’échelle et les repères habituels. Maisons démesurées, architectures déstabilisantes et animaux géants transforment ainsi des objets ou des espaces familiers en environnements inhabituels.

« J’avais l’impression que tout était géant ! Mon inspiration vient de l’enfance et mes installations invitent à ressentir des perceptions oubliées, mais communes », explique Jean-François Fourtou.

Cette réflexion sur la perception se retrouve dans l’organisation de Ramakech. Plutôt que de regrouper les œuvres dans un espace d’exposition conventionnel, le parc les intègre à la végétation de la Palmeraie, au fil d’un itinéraire extérieur.

Des œuvres que le visiteur peut traverser

Le parcours comprend plusieurs installations caractéristiques du travail de Fourtou.

Parmi elles figurent La Maison tombée du ciel, le Bistrot parisien, la Fourmilière géante ou encore La Maison de Géant. Le visiteur rencontre également différentes sculptures animalières ainsi que les personnages hybrides baptisés Nanitos et Minitos.

Ces installations ont en commun de jouer avec les proportions et la représentation d’éléments familiers. La Maison de Géant place par exemple le visiteur dans un environnement surdimensionné, tandis que d’autres créations modifient l’orientation ou l’organisation habituelle des espaces.

La visite repose ainsi sur une succession d’univers associant architecture, sculpture et environnement naturel. Les installations sont réparties dans le parc et apparaissent progressivement au fil des chemins.

Cette organisation permet également de maintenir un dialogue entre les œuvres et le paysage, la végétation constituant une partie du dispositif de visite.

Vingt années de créations réunies dans la Palmeraie

Ramakech ne correspond pas à une installation conçue en une seule fois. Le site s’est constitué progressivement autour de l’atelier de Jean-François Fourtou et rassemble aujourd’hui vingt années d’installations.

L’ouverture au public en 2024 a permis de transformer cet ensemble en parcours accessible aux visiteurs.

Le parc entend ainsi proposer une approche différente de la visite culturelle à Marrakech, en dehors des musées et des principaux circuits patrimoniaux de la ville. Il s’adresse aussi bien aux amateurs d’art contemporain qu’aux familles et aux visiteurs souhaitant découvrir le travail de l’artiste dans son environnement de création.

La durée moyenne annoncée du parcours est d’environ une heure. Le parc est accessible sur réservation et ouvre du mercredi au dimanche, de 10 heures à 17 heures, avec un dernier accès à 15h30.

LNT

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Diplômé de l’École supérieure des beaux-arts de Montpellier en 2010, Mehdi Melhaoui construit depuis plus de dix ans un travail autour des paysages et de leurs transformations. Il se décrit comme un « écologue du paysage » : il s’intéresse à la manière dont l’organisation de l’espace interagit avec les processus géologiques, et à l’influence de ces variations sur les écosystèmes comme sur les relations que les humains entretiennent avec leur environnement.

Il parle de « mutations paysagères » pour désigner ces montagnes, ces déserts et ces mers en changement permanent. Ses sculptures, dit-il, sont un témoignage de l’époque, celle d’une planète fragile où l’attention au vivant s’efface. Leurs lignes et leurs plis répétés évoquent les surfaces brutes des paysages désertiques, le drapé d’une mer agitée ou les motifs que le vent trace dans le sable.

Selon le texte de présentation de l’artiste, ces sculptures naissent souvent d’une ligne ou d’un mouvement interrompu. Elles cherchent à saisir l’instant où une forme semble suspendue. L’artiste y introduit aussi des accents anthropomorphes, afin que le spectateur se trouve « face à une présence, face à lui-même ».

Mehdi Melhaoui pratique la sculpture, l’installation et la photographie, et travaille notamment le bronze, l’acier et la pierre. En 2011, le site archéologique Lattara–musée Henri Prades, à Lattes, lui a consacré l’exposition personnelle Points d’ancrage. Son œuvre Boat, acquise en 2010 par Montpellier Agglomération, est installée de façon pérenne dans le jardin du musée.

Il a participé à plusieurs expositions collectives, dont Alerte Météo (2010-2011) et La Vie aquatique (2017) au Musée régional d’art contemporain de Sérignan, ainsi qu’à Passeur acte 2 (2014) à la galerie Odile Ouizeman, à Paris. À Casablanca, la Galerie Venise Cadre lui a consacré L’échappée du temps en 2014 et Ninfa en 2017. Il a également réalisé des commandes publiques, notamment Vague S11 à Marseillan en 2013 et Vague S7 à Palavas-les-Flots en 2015.

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PSYREN has decided that is not its problem.

The new anime adaptation of Toshiaki Iwashiro’s cult Shonen Jump manga premieres on Crunchyroll today, October 5, finally bringing a series fans have been waiting years to see animated to the screen.

And the setup gets weird very quickly.

The story follows Ageha Yoshina, a high-school student who finds a mysterious red phone card marked with the word “Psyren.”

Then someone disappears.

Then a strange phone call happens.

And before long, Ageha is pulled into a deadly game connected to a mysterious world called Psyren.

So, normal teenager stuff.

The original manga ran in Weekly Shonen Jump from 2007 to 2010 and built a loyal fanbase despite never receiving the anime adaptation many readers expected. More than 15 years later, that changes today.

For Moroccan anime fans, there is another important detail: Crunchyroll says the series is streaming worldwide outside Japan and China, which includes Morocco and the wider Middle East and North Africa region.

That makes PSYREN one of the easier new fall anime to actually follow legally as episodes arrive.

And it enters a season that is already fighting aggressively for your free time.

If you like supernatural mysteries, survival games and Shonen protagonists making decisions that would make any normal person immediately go home, this one belongs on the radar.

Your Sunday plans have been cancelled by anime again.

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Casablanca’s historic Teatro Italia is doing the opposite.

The theatre is temporarily opening its doors while restoration work is still underway, turning the unfinished building itself into part of an exhibition for the first edition of Morocco Design.

From today, October 5 to 7, the space is hosting L’Axe Invisible, a solo exhibition by Moroccan designer Hamza Kadiri.

And the setting might be as interesting as the exhibition.

Instead of covering up the building’s current state, the project works with it. Raw walls, exposed surfaces and traces of the ongoing renovation become part of the experience, creating a space somewhere between construction site, historic theatre and contemporary design exhibition.

It is also a rare chance to step inside Teatro Italia before its transformation is complete.

Kadiri’s work is known for exploring materials, craftsmanship and the relationship between objects and the spaces around them, which makes an unfinished historic theatre a pretty fitting place to show it.

The exhibition is open from 11 AM to 8 PM on October 5 and 6, before a shorter final day from 11 AM to 2 PM on October 7.

Casablanca has plenty of polished galleries and finished cultural spaces.

This weekend, though, one of the more interesting ones is unfinished on purpose.

Come for the design. Stay because the walls are literally still loading.

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But this one comes with a very important name attached:

Pharrell Williams.

Quavo dropped QRÖMELIFE today, a new project created in close collaboration with Pharrell, who helped shape the sound of the album.

And apparently they had everybody’s number saved.

The project brings in Justin Timberlake, Tyler, the Creator, A$AP Rocky, Future, Lil Baby and more.

But there is one feature Migos fans are probably going to notice first.

Offset is on the album.

He appears on the track “Away,” giving listeners another Quavo and Offset collaboration following years of complicated history between the two surviving members of Migos.

After Takeoff’s death in 2022, their relationship became the subject of constant speculation. The pair eventually began publicly reconnecting, including appearing together to honour Takeoff.

Now they are back on a record together.

Quavo has also spoken about the possibility of eventually making one final Migos project in Takeoff’s honour, although nothing has officially been announced.

For now, QRÖMELIFE is Quavo’s own world.

And Pharrell’s involvement makes this more interesting than a standard rap album drop.

The project pulls from rap, R&B and the futuristic production style Pharrell has spent decades making instantly recognisable.

It is also stacked enough that the tracklist looks slightly like somebody accidentally added three different festival lineups together.

Quavo could have quietly started another solo era.

Instead, he called Pharrell, Offset, Tyler, Rocky, Future and half the industry.

Apparently the group chat was active.

The post Quavo let Pharrell build an entire album and Offset is on it appeared first on La Nouvelle Tribune.

Issue de la nouvelle génération musicale marocaine, l’artiste mêle pop, influences urbaines, sonorités marocaines et références internationales. Après une année marquée par plusieurs sorties musicales et des prestations au Maroc et à l’étranger, Manal retrouve Casablanca pour un spectacle essentiellement imaginé pour le Complexe Mohammed V.

Manal prépare une production ambitieuse pour cette date, réunissant musiciens, scénographie, création visuelle et mise en scène autour de son univers artistique.

Pour l’artsite, ce rendez-vous vise à proposer au public marocain un concert de grande envergure et à contribuer au développement de spectacles produits au Maroc selon des standards techniques et artistiques internationaux.

Informations pratiques

• Lieu : Complexe Mohammed V, Casablanca
• Date : samedi 21 novembre 2026
• Ouverture des portes : 18h00
• Début du concert : 20h30

Billetterie

• Black : 1 000 DH, places assises premium (150 places)
• VVIP : 800 DH, espace debout
• VIP : 500 DH, espace debout
• Catégorie 1 : 250 DH, gradins
• Catégorie 2 : 150 DH, gradins supérieurs

Les billets sont en vente sur les plateformes de billetterie partenaires.

The post Manal en concert au Complexe Mohammed V de Casablanca le 21 novembre 2026 appeared first on La Nouvelle Tribune.

Casablanca sera la première étape de la tournée africaine de Tiakola. Le rappeur et chanteur franco-congolais s’y produira le samedi 5 décembre 2026. Ce concert ouvrira une série de huit dates, dans autant de pays du continent, pour défendre sur scène son nouvel album, WpointM.

Un démarrage mondial remarqué

L’album est sorti le 25 septembre. Il a réalisé le meilleur démarrage mondial de la semaine sur Spotify, ce qui confirme la large audience internationale de l’artiste. Ce résultat ne fait pas de Tiakola l’artiste le plus écouté au monde sur la plateforme. Il signifie que WpointM a dominé le classement mondial des nouveaux albums pendant sa semaine de lancement.

Le lieu du concert casablancais, les tarifs et les modalités de billetterie n’ont pas encore été annoncés.

Huit concerts, huit pays

Après le Maroc, la tournée suivra ce calendrier :

• 5 décembre : Casablanca (Maroc)
• 17 décembre : Kinshasa (République démocratique du Congo)
• 20 décembre : Abidjan (Côte d’Ivoire)
• 22 décembre : Libreville (Gabon)
• 26 décembre : Yaoundé (Cameroun)
• 27 décembre : Cotonou (Bénin)
• 2 janvier 2027 : Dakar (Sénégal)
• 4 janvier 2027 : Praia (Cap-Vert)

Un album tourné vers ses racines

De son vrai nom William Mundala, Tiakola a conçu WpointM autour d’un univers musical nourri par ses origines congolaises et par les sonorités africaines. Le titre de l’album reprend d’ailleurs ses initiales.

Le choix de présenter l’album d’abord en Afrique prolonge cette démarche. Avant même de le défendre devant le public français, l’artiste a réservé ses premières dates à huit villes du continent.

Ce départ à Casablanca confirme aussi la place croissante du Maroc dans le circuit des grandes tournées internationales. Le public casablancais sera le premier du continent à entendre en live les morceaux de WpointM, aux côtés des titres qui ont fait le succès de Tiakola.

The post Tiakola lancera sa tournée africaine à Casablanca appeared first on La Nouvelle Tribune.

Le Marrakech Short Film Festival a refermé sa sixième édition avec une série de distinctions attribuées à des réalisateurs et productions du Maroc et de plusieurs autres pays. Projections, rencontres et rendez-vous professionnels ont rythmé cette édition, qui a enregistré près de 400 films en provenance de 90 pays.

La dernière journée a également été consacrée à la clôture d’AMANAR, nouveau volet professionnel du festival. Cette première édition a permis à cinq projets marocains de bénéficier d’un accompagnement assuré par 12 professionnels internationaux pendant deux jours.

Trois projets distingués dans le cadre d’AMANAR

Le Development Lab d’AMANAR a été conçu autour de sessions d’accompagnement et de pitch destinées aux cinq projets marocains sélectionnés.

À l’issue de ces travaux, trois d’entre eux ont reçu une distinction. Fragments of an Ordinary Day, porté par Zahra Berrada, a remporté le ZINEBI Industry Award.

Le projet Unsettled, de Maria Dobli Bennani, a obtenu le Prix de post-production Atlantis Studios Marrakech, tandis que Avant Première, de Saad Benidir, s’est vu attribuer le Prix AMANAR du meilleur pitch.

Avec cette plateforme, le Marrakech Short Film Festival ajoute ainsi à sa programmation un volet consacré au développement de projets et à la mise en relation de leurs porteurs avec des professionnels du secteur.

The Bridge et My Brother My Brother distingués à l’international

La cérémonie de clôture a ensuite permis de dévoiler le palmarès de la compétition internationale.

Le Prix Belarj du meilleur réalisateur a été attribué à l’Italien Giacomo Bendotti pour The Bridge. Le Prix Nakhil du meilleur film est revenu à My Brother My Brother, réalisé par Abderrahmane et Saad Dnewar, d’Égypte.

Le jury a également accordé une mention spéciale à The Experiment, du réalisateur kazakh Maxim Akbarov.

Le film libanais What If They Bomb Us Tonight, réalisé par Samir Syriani, a pour sa part obtenu le Coup de cœur du jury international.

Sanaa El Alaoui récompensée dans la compétition nationale

Plusieurs productions et professionnels marocains ont également été distingués dans le cadre de la compétition nationale.

Sanaa El Alaoui a remporté le Prix Belarj du meilleur réalisateur pour Aïcha. Le Prix Behja du meilleur acteur ou de la meilleure actrice a été décerné à Sandie Tajdine pour son interprétation dans Les Liens invisibles, réalisé par Aymen Ben Slimane.

Le Prix Nakhil du meilleur film a été attribué à Two Ways de Yassine Iguenfer. Phone Breaker, réalisé par Hamza Atifi, a de son côté obtenu le Coup de cœur du jury national.

Villa 187 primé dans la catégorie documentaire

Le documentaire a également disposé de sa propre distinction. Le Prix Menara du meilleur documentaire a été décerné à Eiman Mirghani pour Villa 187.

Enfin, le Coup de cœur du festival est revenu à Trading Cards de Radheya Jang, représentant l’Australie.

LNT

The post Marrakech Short Film Festival : la sixième édition dévoile son palmarès et clôt la première édition d’AMANAR appeared first on La Nouvelle Tribune.

Fresh off reaching No. 1 globally on Spotify with his latest release, the French artist is taking that momentum straight to Africa.

And the first stop is Morocco.

Tiakola will kick off his WpointM Africa Tour in Casablanca on December 5, 2026, with a show at Complexe Mohammed V.

Not Paris. Not Kinshasa. Not Abidjan.

Casablanca gets opening night.

The tour will then travel across the continent, with stops planned in Kinshasa, Abidjan, Libreville, Yaoundé, Cotonou, Dakar and Praia.

It comes at a particularly strong moment for Tiakola, whose mix of rap, melody, Afrobeats and pop has pushed him far beyond the French rap scene.

Over the past few years, he has built one of the most recognisable sounds in French speaking music, both through his solo work and major collaborations.

His project with Gazo, La Mélo est Gangx, only made that presence bigger.

Now his latest streaming success is showing just how far that audience has travelled.

And choosing Casablanca to open an African tour makes the Moroccan date feel less like another pin on a tour map and more like the beginning of the next chapter.

The show is scheduled for December 5 at 6 PM.

So yes, Casa,you have two months to learn every word.

Tiakola is coming, and Morocco gets him first. 

The post TIAKOLA went global on Spotify. And now he’s starting his Africa tour in Morocco appeared first on La Nouvelle Tribune.

Meknès is trying something different.

The Institut Français de Meknès is running a Musée Numérique, a digital museum experience inside its media library that puts screens and technology at the centre of how visitors discover culture.

And October might be the perfect month to check it out.

After spending September exploring innovation, the museum is dedicating October entirely to animation cinema.

November will move into digital art, before December closes the programme with theatre and performing arts.

The idea is simple: instead of treating culture as something you only observe from a distance, the digital space uses technology to make exploring collections and creative work feel more interactive.

The programme is also designed for different age groups.

Young people can visit during dedicated sessions every Wednesday afternoon and Saturday morning or afternoon, while adult sessions take place on Tuesday evenings. Schools can also register for separate weekly visits.

The full programme runs until December 31.

And honestly, this is the kind of cultural project that is easy to miss if you are not actively looking for it.

Morocco’s museums and cultural spaces are increasingly experimenting with digital formats, and this gives people in Meknès another way to experience art without needing the traditional museum setup.

So if staring silently at a painting for ten minutes has never really been your thing, maybe staring at a screen finally has cultural value.

Your screen time can officially count as a museum visit.

The post Meknes got a museum that feels more like a screen than a museum appeared first on La Nouvelle Tribune.

The 17th Issni N’Ourgh International Amazigh Film Festival starts today, October 1, bringing five days of Amazigh cinema and international filmmaking to the city.

And this is not a tiny programme.

Thirty films from 14 countries are being screened at Cinéma Sahara through October 5, with three different competitions alongside films showing outside competition.

The best part?

Screenings are free, depending on available seats.

This year’s edition is built around the theme “Agadir, capital of Amazigh culture”, putting contemporary Amazigh filmmaking in conversation with stories and filmmakers from around the world.

The programme includes Moroccan productions such as Fading Candle, L’élève du village, La Ruse, Tawnza and Sin Igharassen, alongside international films.

The festival officially opens tonight at 7 PM, with Moroccan artist Mohamed Salout receiving the Issni N’Ourgh Solidarity Prize.

There is also an ISSNI OFF event planned for October 2 in Aït Mimoun before the festival closes on October 5.

But beyond the schedule, the interesting part is what a festival like this represents.

Amazigh culture is not something that belongs only in museums, textbooks or conversations about the past.

There is a new generation of filmmakers using cinema to tell those stories right now.

For five days, Agadir is giving them the screen.

Thirty films. Fourteen countries. One very Amazigh week in Agadir.

The post AGADIR is turning into an Amazigh Cinema Hub today appeared first on La Nouvelle Tribune.

Black Clover returns with Season 2 on October 3, bringing the anime back to television after its original run ended in March 2021 following 170 episodes.

That is a very long wait.

Especially when the story basically stopped right as things were getting serious.

The new season picks up around the Spade Kingdom conflict, with Asta and the Magic Knights facing the Dark Triad and their devil powered forces.

If you remember where we left things, Asta had been training alongside Liebe to master Devil Union, while the threat from the Spade Kingdom was getting significantly worse.

Yami and William had been captured.

The Clover and Heart Kingdoms were under threat.

And everyone desperately needed a power upgrade.

Basically, there is a lot to deal with.

Studio Pierrot is returning for the new season, with Ayataka Tanemura directing. Crunchyroll has also confirmed Black Clover as part of its Fall 2026 lineup, including availability across Africa and the Middle East.

So Moroccan fans are included in the comeback.

The return lands in an already ridiculous anime week.

The Apothecary Diaries Season 3 arrives October 2, Black Clover follows October 3 and Aoashi Season 2 lands October 4.

Apparently sleep has been removed from the weekend schedule.

But for Black Clover fans specifically, October 3 has been a long time coming.

The anime disappeared from weekly television in 2021.

Now the five year wait is almost over.

Asta, respectfully, you have been gone long enough.

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But fans finally have a date worth putting in the calendar.

A special Naruto panel is happening at New York Comic Con on October 10, and VIZ Media is promising major franchise news, new footage and an announcement connected to a new animated film.

And October 10 is not a random choice.

It is Naruto Uzumaki’s birthday.

The panel is bringing some serious names with it too.

Junko Takeuchi, the Japanese voice of Naruto, and Noriaki Sugiyama, the voice of Sasuke, will both appear alongside Studio Pierrot executive producer Yoshihiko Tominaga.

The biggest mystery is the animation announcement.

VIZ says the event will include news about a new animated film and its worldwide premiere, but the full details are being saved for the panel.

There will also be updates and the first promotional video for the new Naruto Card Game.

For fans, any major animation announcement matters right now.

Naruto ended its original television run years ago, while Boruto has been on an extended anime break. Meanwhile, the four special Naruto anniversary episodes announced back in 2023 were postponed before broadcast.

So yes, this fandom has learned not to celebrate too early.

But October 10 finally gives everyone something concrete to watch.

Naruto fans have spent years asking when something big is happening.

Now we at least know when we might get the answer.

The post NARUTO fans finally have a date to watch appeared first on La Nouvelle Tribune.

The 19th International Women’s Film Festival of Salé is currently underway, running from September 28 until October 3.

And the festival is not simply screening movies made by women.

It is looking at women’s place across cinema, culture and storytelling, bringing together filmmakers, actors and audiences from Morocco and abroad.

This year’s programme includes feature films, documentaries, discussions, masterclasses and tributes, turning Salé into a meeting point for people working across different parts of the film industry.

Several Moroccan names are being celebrated too.

The festival is paying tribute to figures including Amal Ayouch, Ibtissam Laaroussi and filmmaker Mohamed Abderrahman Tazi, alongside international guests.

The programme also places special attention on the legacy of Fatima Mernissi, the Moroccan sociologist and writer whose work explored women, power and society.

That makes this edition particularly interesting.

The conversation is not limited to who appears onscreen. It extends to who gets to tell stories, whose experiences become films and how cinema can change the way women are represented.

For younger Moroccan filmmakers, that matters.

Film festivals can sometimes feel like closed industry spaces where everyone already knows everyone.

But they can also be places to discover films you would never see in a normal cinema, hear directly from filmmakers and understand how stories actually make it from an idea to the screen.

Until October 3, Salé is giving those stories the spotlight.

The post SALÉ is putting women in cinema at the centre this week appeared first on La Nouvelle Tribune.

Netflix wants to tell the story of the person behind him.

A new three part documentary series titled The One About Matthew Perry is coming to Netflix on October 27, almost three years after the actor died at 54.

And yes, the title is deliberately written like an episode of Friends.

But the documentary is not simply another Friends nostalgia project.

The series looks at Perry’s life outside the sitcom that made him globally famous, using previously unreleased family photos and videos alongside interviews with people who knew him personally.

His sister Mia Perry Bowick participates in the documentary, alongside longtime friends and creative collaborators.

The series will explore Perry’s rise to fame, his career and the private struggles that existed behind one of television’s funniest characters.

Perry had spoken openly about his experiences with addiction and recovery during his lifetime, particularly in his memoir.

That part of his story became increasingly important to him. He wanted his legacy to include more than making people laugh.

The documentary arrives more than two decades after Friends ended, but Chandler remains one of the most recognisable sitcom characters ever created.

That makes separating the character from the person complicated.

And that seems to be exactly what the documentary wants to explore.

Matthew Perry gave millions of people a comfort character.

Now Netflix wants audiences to meet the man behind him.

The post Netflix is telling MATTHEW PERRY’s story beyond chandler appeared first on La Nouvelle Tribune.

Because after decades of Dragon Ball existing without an official LEGO collaboration, LEGO and Toei Animation have finally made it happen.

The two companies have announced their first Dragon Ball partnership, beginning with one of the most obvious things they could possibly build:

Shenron.

The first set contains 1,764 pieces and recreates the iconic moment when Shenron rises after all seven Dragon Balls are collected.

There is also a Kid Goku minifigure riding Kintoun, because obviously Shenron cannot arrive without someone there to make the wish.

Even the base incorporates seven pieces representing the Dragon Balls.

And this is not going to be a one set situation.

LEGO has already confirmed that more Dragon Ball sets are coming in 2027 and beyond, meaning the real question now is which characters and locations are next.

Capsule Corp?

Kame House?

Frieza?

A ridiculously huge Great Ape that requires an entire shelf?

The possibilities are dangerous for anyone with both nostalgia and access to a bank card.

The Shenron and Goku set launches first for LEGO Insiders on November 1, before becoming widely available on November 4.

It is also based specifically on the original Dragon Ball era, rather than jumping immediately into Dragon Ball Z.

After nearly four decades of Goku collecting Dragon Balls, fighting increasingly impossible enemies and somehow still finding time to eat everything in sight, the franchise has unlocked another form.

Goku is officially a LEGO minifigure.

The post LEGO finally unlocked Dragon Ball appeared first on La Nouvelle Tribune.

The young Moroccan singer released her latest single, “B&N,” on September 25, continuing a year in which she has been steadily adding new music to her catalogue.

And at this point, Kawtar is clearly past the introduction stage.

She first caught the internet’s attention with her viral cover of “Ya Lalali”, which turned a casual upload into millions of views and streams. But the more interesting part of her career has been everything that happened after.

Instead of staying known for one viral cover, Kawtar started releasing her own music.

Ghanili introduced her original sound, followed by tracks including Liyam, Mali, Wst Lmraya and Hdak. Earlier this year, she continued that run with “Nty,” “Makaynch Dahk” and “Njoum.”

Now comes “B&N.”

The release adds another chapter to an artist who has been experimenting with where Moroccan pop can go while keeping Darija at the centre of her music.

That evolution is worth watching.

Kawtar started making music while growing up in Sidi Slimane, posting covers online while she was still in school. She has since signed with Universal Music Maroc, performed internationally and built a catalogue that is increasingly about her own identity rather than the song that originally made her viral.

“B&N” feels like another step in that process.

Kawtar is no longer trying to become an upcoming Moroccan artist.

She is building the catalogue to stop being called one.

The post KAWTAR is entering a new era with « B&N » appeared first on La Nouvelle Tribune.

Their latest challenge?

Being turned into tiny plastic people.

LEGO ONE PIECE arrives on Netflix today as a two part animated special that rebuilds the world of the live action One Piece series entirely in LEGO.

And Netflix found the perfect character to tell the story.

Usopp.

The special takes place after Chopper joins the crew, with Usopp telling him about the Straw Hats’ earlier adventures across the East Blue and into the Grand Line.

There is only one small problem.

This is Usopp telling the story.

Which means the truth is about to become extremely flexible.

His version revisits major moments involving characters like Mihawk and Arlong, except everything gets exaggerated through Usopp’s very reliable memory.

Basically, Netflix found a canon friendly excuse to remake One Piece as complete LEGO chaos.

There is another detail fans will appreciate.

The English voices are performed by the cast of Netflix’s live action series, meaning Iñaki Godoy, Mackenyu, Emily Rudd, Taz Skylar and Jacob Romero Gibson are essentially becoming LEGO versions of their Straw Hat characters.

It is silly, nostalgic and very aware that One Piece does not always need to take itself seriously.

The anime has more than a thousand episodes.

The manga has been running since 1997.

The live action series became a Netflix hit.

And somehow there was still one form left to unlock.

LEGO Luffy has entered the Grand Line.

The post Netflix turned One Piece into LEGO appeared first on La Nouvelle Tribune.

Dance Theatre of Harlem will perform at the Royal Theatre of Rabat on October 2 and 3, marking both its Moroccan debut and its return to Africa after more than 30 years.

And there is a lot of history behind that name.

Dance Theatre of Harlem was founded in New York in 1969 by Arthur Mitchell, who became the first Black principal dancer at the New York City Ballet.

At a time when classical ballet remained overwhelmingly white, Mitchell created a company that challenged the idea of who could belong in that world.

More than five decades later, Dance Theatre of Harlem has become internationally recognised for combining classical ballet technique with contemporary choreography and a much broader representation of dancers onstage.

Now that history is coming to Rabat.

The company will perform two evenings at the Royal Theatre, giving Moroccan audiences a chance to see a company that has spent decades pushing against some of ballet’s oldest barriers.

And honestly, this is exactly the kind of international cultural event Morocco needs more of.

Not everything happening in Rabat has to be a concert or a festival.

Sometimes you get one of the most historically significant ballet companies in the United States performing in one of Morocco’s newest major cultural venues.

The performances begin at 8:30 PM on October 2 and 3.

Consider this your reminder that ballet can have lore too.

The post HAELEM BALLET is making its MOROCCO de bebut in RABAT appeared first on La Nouvelle Tribune.

For the next few days, it is making that official.

The Marrakech Short Film Festival begins September 25 and runs until September 30, bringing filmmakers, audiences and short films from around the world into the city for its sixth edition.

And we really mean around the world.

The festival received more than 400 submissions from over 90 countries across five continents.

But one of the coolest things about the festival is not simply what is being screened.

It is where people get to watch it.

Instead of keeping everything inside traditional cinemas, the festival uses Marrakech itself as part of the experience, bringing screenings and cultural programming into historic and public spaces around the city.

Suddenly, watching a short film becomes more than sitting in a dark room staring at a screen.

The city becomes part of the screening.

The festival is also giving Moroccan filmmakers an opportunity to connect with international directors, producers and other people working in cinema.

That matters because short films are often where new directors, writers, actors and cinematographers first get noticed before moving towards bigger projects.

For everyone else, there is another benefit.

You can finally watch something without spending 45 minutes scrolling through Netflix before deciding there is “nothing to watch.”

Marrakech, your screen time is about to become significantly more cultured.

The post Marrakech is turning into one big cinema appeared first on La Nouvelle Tribune.

And honestly, it looks good on her.

Vintage Week Casablanca is running from September 24 to 27 at the Automobile Club du Maroc, bringing retro culture, classic style and old school energy into one place.

The timing could not be better.

Vintage culture is definitely not niche anymore.

Gen Z has somehow brought back digital cameras, wired headphones, football shirts from before half of us were born, oversized leather jackets, tiny sunglasses and basically every aesthetic our parents thought they had successfully escaped.

So Casablanca getting its own vintage focused weekend makes perfect sense.

There is something especially fitting about doing it here too.

Casa already feels like several decades existing at the same time. You can walk past an Art Deco building, an old café and a modern glass tower within a few minutes.

Vintage Week leans directly into that feeling.

And visually, this event basically makes the content for you.

Classic cars, retro outfits, analogue details and the Automobile Club du Maroc as the setting?

That is already a Reel.

This is also the perfect excuse to pull out the digital camera you bought in 2026 specifically because you wanted your photos to look like they were taken in 2007.

Grab the leather jacket.

Find the sunglasses.

Casa has entered its vintage era.

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Au fil de ses expéditions, Odette du Puigaudeau observe et documente les cultures nomades. Elle passe notamment cinq années en immersion auprès de communautés sahariennes, dont elle étudie les modes de vie, les objets, les vêtements et les traditions. Ses carnets, dessins et photographies constituent aujourd’hui une importante documentation sur ces cultures. Elle publie plusieurs récits, dont « Pieds nus à travers la Mauritanie » et « Le Sel du désert », et consacre également un ouvrage à l’ethnologie du peuple maure.

Le Sud marocain occupe une place particulière dans son travail. Dès 1937, elle séjourne à Tiznit et explore notamment la vallée de l’oued Tamanart et Foum el Hassan, où elle recense des gravures rupestres. À Rabat, elle poursuit ses recherches et dirige, de 1970 à 1977, le bureau de préhistoire du musée des Antiquités.

L’exposition retrace ce parcours en trois étapes : « De Saint-Nazaire à Paris, 1894-1934 », « En route vers les déserts, 1934-1961 » et « Rabat, dernier port d’attache, 1961-1991 ». Elle réunit plus de 200 photographies, dessins, manuscrits, objets, archives sonores et extraits de films documentaires provenant notamment des collections du musée Pierre Bergé des arts berbères, de la Fondation Jardin Majorelle et de collections privées. Parmi les pièces présentées figurent des dessins, aquarelles et planches originales réalisés par les deux voyageuses, ainsi que des objets liés aux cultures nomades qu’Odette du Puigaudeau avait étudiées.

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Pour cette nouvelle série, Safaa Erruas s’appuie sur des matériaux qu’elle utilise régulièrement : papier, coton, épingles, aiguilles, fibre de verre et fil métallique. Ses œuvres jouent sur les rapports entre le vide et le plein, l’ombre et la lumière, l’accumulation et l’évidement. Parallélépipèdes, rubans de papier, lignes entrelacées et quadrillages composent un ensemble où la matière et les espaces laissés vides occupent une place aussi importante.

Dans le catalogue de l’exposition, le critique d’art Olivier Rachet décrit ces œuvres comme des « cartographies de l’intime », évoquant « un fil ténu » reliant les bras de mer et les continents, à l’image des lignes invisibles qui traversent les êtres.

Née en 1976 à Tétouan, Safaa Erruas est diplômée de l’Institut national des beaux-arts de Tétouan en 1998. Son travail, principalement constitué d’œuvres sur papier et d’installations, se distingue par l’usage du blanc et par le détournement de matériaux tels que les épingles, les aiguilles, les lames de rasoir ou la gaze de coton. Ses œuvres sont présentes dans plusieurs collections publiques et privées au Maroc et à l’étranger.

The post Safaa Erruas explore les frontières de l’intime à L’Atelier 21 appeared first on La Nouvelle Tribune.

Spotify Arabia and Spotify Morocco have highlighted four Egyptian × Moroccan collaborations their editors agree deserve a spot in your rotation, putting the growing connection between both music scenes front and centre.

And the list is pretty stacked.

There’s Wegz and ElGrandeToto on “Msh Khalsa,” bringing together two of North Africa’s biggest rap names. Marwan Moussa links up with Stormy on “DOUBLEZUKSH,” while Egyptian rock giants Cairokee team up with Moroccan artist Sara Moullablad for “Nefsy Ahebak.”

Then there’s Tawsen and Fares Sokar with “Estanna,” adding another Morocco-Egypt crossover to the mix.

Different artists. Different sounds. Same increasingly obvious pattern.

Moroccan and Egyptian music scenes aren’t operating in separate bubbles anymore.

A listener in Casablanca can have Egyptian rap, Moroccan hip-hop, French drill, Afrobeat and American R&B living peacefully inside the same playlist. Spotify, YouTube and TikTok have made borders increasingly irrelevant to how younger audiences discover Arabic music.

And artists are starting to reflect that.

Morocco has built one of the region’s most exciting rap and alternative scenes, while Egypt has a massive audience and an equally influential music ecosystem. When artists from both countries collaborate, they’re not simply combining sounds ,they’re connecting two huge youth cultures.

For years, “going international” for North African artists often meant looking toward Paris, London or the US.

Maybe the next big move is closer to home.

Casablanca × Cairo is already sounding pretty good.

The post Spotify thinks Morocco X Egypt is a match made in music appeared first on La Nouvelle Tribune.

French comedian Akim Omiri is bringing his show Contexte to the city tonight, and the internet itself is basically part of the material.

The comedian takes on everything from social media and cancel culture to conspiracy theories, political correctness and the increasingly chaotic experience of trying to have an opinion online without accidentally starting a three-day argument with strangers.

So, basically: a normal day on X.

But Contexte isn’t built around simply complaining that “you can’t say anything anymore.” Omiri uses comedy to look at how quickly conversations lose their context online, how people form opinions and how absurd public debates can become once algorithms, screenshots and outrage enter the equation.

That’s what makes the show particularly relevant right now.

A generation that gets a huge part of its news, politics, entertainment and even arguments through social platforms is constantly being asked to react to things immediately.

Watch clip. Pick side. Post opinion. Next controversy.

Omiri’s show takes that cycle and turns it into comedy.

And tonight, Casablanca gets the live version.

If your screen-time report has ever personally attacked you, there’s probably something in this show for you.

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Several announcements landed almost simultaneously this week, led by a proper new look at Season 2 of Alya Sometimes Hides Her Feelings in Russian.

The romantic comedy became one of 2024’s breakout anime thanks to a fairly simple problem: Alya occasionally hides what she really feels by speaking Russian, assuming Masachika can’t understand her.

Unfortunately for her, he can.

A new teaser shown around Kyoto International Manga Anime Fair 2026 has now given fans fresh footage from the upcoming second season, bringing Alya, Masachika and Masha back into the increasingly complicated relationship at the centre of the series. Season 2 is currently expected in 2027.

Then Netflix entered the chat.

Bride of the Barrier Master, an adaptation of Kureha’s fantasy romance light novels, has confirmed that it will stream on Netflix. The series has also revealed additional casting and a new teaser ahead of its planned January 2027 premiere.

The story follows Hana Ichise, a young woman born into a powerful family who has spent much of her life overshadowed by her more gifted twin sister. Naturally, because this is anime, things become considerably more complicated from there.

And then there’s Jujutsu Kaisen.

The franchise is marking the anime’s fifth anniversary with new merchandise in Japan, adding another temptation for anyone whose financial planning tends to collapse whenever Gojo appears on something collectible.

None of these announcements is a gigantic industry-shaking reveal on its own.

Together, though, they’re a pretty good snapshot of what anime fandom looks like now: one eye on next season, another on Netflix, and somehow a third eye checking whether the new merch ships internationally.

The watchlist grows.

The bank account suffers.

That’s what we call « Balance ».

The post Anime fans got three things to talk about in one day appeared first on La Nouvelle Tribune.

Shinohidden, Metrotune and Lixivia are the winners of this year’s Tremplin L’Boulevard, the long-running competition designed to give emerging Moroccan musicians something that can be surprisingly difficult to find: a real stage and an audience willing to discover someone new.

Shinohidden took the rap/hip-hop category, Metrotune won fusion and Lixivia came out on top in rock/metal.

Three winners. Three very different corners of Moroccan music.

That diversity is exactly why Tremplin remains one of the most interesting parts of L’Boulevard.

The competition has been around since 1999, long before “discovering an artist” meant hearing 12 seconds of their song while scrolling TikTok. Over the years, hundreds of artists and bands have passed through the programme, making it an unofficial laboratory for Morocco’s alternative music scene.

And the word alternative matters here.

The speakers have gone quiet at L’Boulevard, but three names are leaving the festival louder than they arrived.

Shinohidden, Metrotune and Lixivia are the winners of this year’s Tremplin L’Boulevard, the long-running competition designed to give emerging Moroccan musicians something that can be surprisingly difficult to find: a real stage and an audience willing to discover someone new.

Shinohidden took the rap/hip-hop category, Metrotune won fusion and Lixivia came out on top in rock/metal.

Three winners. Three very different corners of Moroccan music.

That diversity is exactly why Tremplin remains one of the most interesting parts of L’Boulevard.

The competition has been around since 1999, long before “discovering an artist” meant hearing 12 seconds of their song while scrolling TikTok. Over the years, hundreds of artists and bands have passed through the programme, making it an unofficial laboratory for Morocco’s alternative music scene.

And the word alternative matters here.

The post L’Boulevard has found its next generation appeared first on La Nouvelle Tribune.

The French-Lebanese musician performs in Rabat tonight, September 22, bringing his distinctive mix of jazz, Arabic music, rock, classical influences and improvisation to one of Morocco’s most striking new cultural venues.

Calling Maalouf simply a “jazz musician” has always felt slightly incomplete.

A huge part of his sound comes from the quarter-tone trumpet, an instrument developed by his father, trumpeter Nassim Maalouf, which allows him to play notes used in Arabic musical scales that a conventional trumpet cannot easily reproduce.

That has helped Maalouf build a musical language that can move between Beirut, Paris and the jazz world without sounding like it fully belongs to any one of them.

It also explains why his concerts tend to attract people who don’t necessarily spend their weekends discussing jazz records.

His music can be technical without feeling like homework.

Tonight’s performance also continues an interesting chapter for Rabat itself.

Since opening, the Théâtre Royal has increasingly given the capital a venue capable of hosting large international productions alongside Moroccan and Arab artists. Designed by the late Zaha Hadid, the building has become almost as recognizable online as some of the performances happening inside it.

For younger audiences, that matters.

Morocco’s cultural calendar is often discussed as though everything interesting happens during a handful of major festivals. But concerts like this are another reminder that there is increasingly something happening between those big dates too.

So yes, it’s Tuesday.

But Rabat has plans.

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One of the names driving that momentum is Draganov, particularly through his collaboration with TIF.

Their track “Couci Couca”, released on September 18, has been climbing quickly, passing hundreds of thousands of views while several other tracks involving the pair have also appeared among Morocco’s trending music videos.

That kind of momentum matters because it isn’t happening in isolation.

MANAL is there too. Her track “FORAS” has crossed the million-view mark, continuing a run that has made her one of Morocco’s most visible pop artists online.

Muslim, meanwhile, is pulling significant numbers with a new version of “7wal Nas”, while Gnawi and Salim Rbati’s “3ALAL” is also gaining traction.

Put those names next to each other and the interesting part isn’t simply that Moroccan music is popular in Morocco. Obviously, it should be.

It’s the variety.

Open YouTube’s music trends in Morocco right now and something becomes obvious pretty quickly: Moroccan artists aren’t fighting for a tiny corner of the chart. They are the chart.

One of the names driving that momentum is Draganov, particularly through his collaboration with TIF.

Their track “Couci Couca”, released on September 18, has been climbing quickly, passing hundreds of thousands of views while several other tracks involving the pair have also appeared among Morocco’s trending music videos.

That kind of momentum matters because it isn’t happening in isolation.

MANAL is there too. Her track “FORAS” has crossed the million-view mark, continuing a run that has made her one of Morocco’s most visible pop artists online.

Muslim, meanwhile, is pulling significant numbers with a new version of “7wal Nas”, while Gnawi and Salim Rbati’s “3ALAL” is also gaining traction.

Put those names next to each other and the interesting part isn’t simply that Moroccan music is popular in Morocco. Obviously, it should be.

It’s the variety.

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What initially looked like a strange detour into film has quietly turned into a much bigger music rollout, with songs and visuals from the project now making their way out individually. The latest is “Quebec,” a track first heard inside FOMOthat has now been released on its own.

And it isn’t alone.

Drake has also been uploading individual videos connected to songs featured throughout the film, including “White Bone,” “Princess,” “H*e Phase,” “New Bestie,” “Road Trips” and “Classic.” Artists including Sexyy Red, Loe Shimmy, Stunna Sandy and Iconic Savvy appear across the wider project.

The rollout is unusual because FOMO didn’t arrive like a traditional Drake album. There was no clean Friday-night drop followed by a tracklist, music videos and a few weeks of promo. Instead, the film effectively became the place where people first heard some of the music.

Now Drake is pulling those pieces apart.

Some of the songs heard in FOMO still hasn’t received a normal streaming release either, including music involving Don Toliver and Yeat. That leaves fans in the familiar position of trying to work out what is an official song, what is still a teaser and what might eventually become part of another project.

Drake apparently wasn’t finished when Fear of Missing Out appeared online.

What initially looked like a strange detour into film has quietly turned into a much bigger music rollout, with songs and visuals from the project now making their way out individually. The latest is “Quebec,” a track first heard inside FOMOthat has now been released on its own.

And it isn’t alone.

Drake has also been uploading individual videos connected to songs featured throughout the film, including “White Bone,” “Princess,” “H*e Phase,” “New Bestie,” “Road Trips” and “Classic.” Artists including Sexyy Red, Loe Shimmy, Stunna Sandy and Iconic Savvy appear across the wider project.

The rollout is unusual because FOMO didn’t arrive like a traditional Drake album. There was no clean Friday-night drop followed by a tracklist, music videos and a few weeks of promo. Instead, the film effectively became the place where people first heard some of the music.

Now Drake is pulling those pieces apart.

Some of the songs heard in FOMO still hasn’t received a normal streaming release either, including music involving Don Toliver and Yeat. That leaves fans in the familiar position of trying to work out what is an official song, what is still a teaser and what might eventually become part of another project.

The post Drake’s FOMO era has turned into a whole music drop appeared first on La Nouvelle Tribune.

That’s basically what happened when George Lucas finally unveiled the Lucas Museum of Narrative Art in Los Angeles.

And despite being created by the man behind Star Wars, this isn’t just a giant temple to lightsabers, Darth Vader and the Millennium Falcon.

The museum is dedicated to visual storytelling in almost every form imaginable, from paintings and photography to comics, illustration, murals and cinema.

It’s also massive.

The futuristic building covers around 300,000 square feet, with roughly 100,000 square feet dedicated to gallery space, all sitting inside a new 13-acre campus.

Lucas created the museum alongside Mellody Hobson around one big idea: storytelling deserves to be treated as serious art, whether it comes from a famous painting, a comic book or a movie poster.

Basically, the man who spent decades creating fictional worlds has now built a very real one dedicated entirely to them.

And yes, it looks appropriately sci-fi.

The post George Lucas just opened the most hollywood museum possible appeared first on La Nouvelle Tribune.

Omar Sy is officially returning as everyone’s favorite gentleman thief when Lupin Part 4 lands on Netflix on October 23.

And this time, Netflix isn’t making fans wait week after week.

All eight episodes arrive on the same day.

The story picks up years after the events of Part 3, with Assane once again pulled into a world of disguises, elaborate plans and problems that somehow require even more elaborate plans to solve.

There’s also a new complication: someone else appears to be playing Lupin.

For anyone who somehow missed the phenomenon, the French series takes inspiration from Maurice Leblanc’s legendary fictional thief Arsène Lupin and reimagines that mythology through Assane Diop, a modern master of deception played by Omar Sy.

The show became one of Netflix’s biggest French-language hits and turned Assane into the kind of criminal viewers actively root for.

So maybe keep an eye on your jewelry.

Netflix’s most charming thief is officially back in business.

The post Netflix’s most wanted man is back: Lupin returns October 23 appeared first on La Nouvelle Tribune.

Rap/Hip-Hop

1er prix – Shinohidden (Berkane)

Après avoir pris le temps de construire son identité, Shinohidden commence à publier ses morceaux en 2024. Son rap joue avec les langues, change de cadence et garde une diction nette sur des prods trap ou atmosphériques. Avec plusieurs titres en ligne et des morceaux avec le rappeur Achflan, il élargit son terrain de jeu au raï, au blues, au rock et à la musique gnawa, citant notamment Hoba Hoba Spirit parmi ses repères. Une fusion personnelle, ancrée dans le vécu.

2e prix – BrownY Original (Casablanca)

BrownY Original inscrit sa drill dans une énergie frontale, nourrie de trap, d’old school et des discographies de 2Pac, Snoop Dogg, Dizzy Dros ou encore Lil Baby. Repéré avec « 3erfti Chno !!! » et « Lah Idir Chi Tawil “Ratatata” », il mise sur des textes directs et des prods sombres. Passé par l’Uzine et un showcase à Fès, il est arrivé au Tremplin avec un univers déjà identifié, entre récit de terrain et esthétique street.

Fusion/Autres musiques actuelles

1er prix – Metrotune (Casablanca-Settat)

Formé en mars 2026, Metrotune réunit six musiciens autour d’une fusion marocaine actuelle, entre salsa, rock et gnawa. Son identité naît de la rencontre entre les membres : guitare et basse marquées par le rock et le metal, piano latino, percussions gnawa, batterie nourrie de chaâbi. D’abord passé par le réarrangement de morceaux existants, le groupe travaille aujourd’hui ses propres compositions, avec l’envie de faire bouger les contours de la fusion marocaine.

2e prix – Arinass (Fès)

Arinass explore la richesse des traditions musicales marocaines en les ouvrant à des grooves plus actuels. Entre rythmes gnawa, aïta et chaâbi, influences reggae, rock et musiques du monde, le groupe construit une fusion portée par les voix, les instruments traditionnels et l’énergie du live. Le collectif cite parmi ses influences Aziz Sahmaoui, Nass El Ghiwane, Tinariwen, Hoba Hoba Spirit, Alpha Blondy ou Bob Marley, pour ne citer qu’eux.

Rock/Metal

1er prix – Lixivia (Salé)

Formé à Salé en 2024, Lixiva pratique un crossover thrash lancé à pleine vitesse. Le groupe mêle agressivité thrash old school et urgence hardcore punk, dans le sillage de Municipal Waste, D.R.I. ou Toxic Holocaust. Riffs serrés, tempo nerveux, énergie de fosse et esthétique de contamination : Lixivia joue la collision frontale entre metal et punk.

2e prix – Darih (Casablanca)

Formé à Casablanca en 2024, Darih plonge son Black/Death Metal dans les angles morts de l’histoire, les conflits effacés et le folklore ésotérique nord-africain. Entre rigueur death, atmosphères black et textes hantés par les Maures, la colonisation ou les légendes locales, le groupe cite Mgła, Bathory, Sepultura ou encore Kreator. Passé par L’Uzine et le First Stage du Tricinty Fest 2026, il compte déjà plusieurs titres, dont « 1907 » et « Liberation ».

Il est à préciser que les six lauréats bénéficient actuellement d’une semaine de formation au Boultek, du 21 au 26 septembre. Au programme : travail scénique et vocal, enregistrement, droits d’auteur, communication et distribution digitale, santé des musiciens et développement de carrière.

Les premiers prix de chaque catégorie sont dotés de 15 000 dirhams et les deuxièmes prix de 10 000 dirhams. Chaque projet bénéficiera également d’une session d’enregistrement d’un morceau au Studio Hiba.

The post L’Boulevard 2026 : les six lauréats du Tremplin dévoilés appeared first on La Nouvelle Tribune.

Tanger a accueilli samedi une nouvelle série de concerts dans le cadre de la 23e édition de Tanjazz. Organisé à l’initiative de Seven PM, le festival a réparti sa programmation entre les différentes scènes du Palais des institutions italiennes et plusieurs espaces de la ville.

Sur la scène Patio, The Swing Shouters ont ouvert la soirée avec un répertoire inspiré des orchestres de swing des années 1930 et 1940. Pour leur première prestation au Maroc, les musiciens ont notamment puisé dans les compositions de Duke Ellington, Count Basie et Artie Shaw, auxquelles ils ont ajouté leurs propres morceaux et arrangements.

Le groupe a insisté sur la dimension dansante de son répertoire, conçu pour favoriser l’interaction avec le public.

Du boogie-woogie à l’afrobeat

La pianiste suisse Ladyva a ensuite pris place sur la scène Patio avec un programme centré sur le boogie-woogie. La soirée s’est poursuivie avec Les Frères Smith, dont le répertoire combine cuivres, rythmes africains et influences funk, avant une jam session.

Le groupe participait lui aussi pour la première fois à Tanjazz. Les musiciens ont présenté des morceaux de leur album « Mutation », dans le cadre de leur tournée 2026.

Les Frères Smith décrivent leur répertoire comme un mélange de morceaux abordant des questions sociales et de compositions davantage tournées vers la fête et le partage. Le groupe a également souligné la dimension particulière de cette première participation au festival tangérois et de sa venue au Maroc.

Diego El Cigala retrouve Tanger

Sur la Scène Jardin, la soirée a pris une orientation différente avec Diego El Cigala. Le chanteur espagnol a proposé un répertoire à la croisée du flamenco et des traditions musicales latino-américaines.

L’artiste est notamment revenu sur « Lágrimas Negras », album enregistré avec le pianiste cubain Bebo Valdés et associant flamenco, boléro et musique cubaine.

Diego El Cigala a également évoqué son retour à Tanger, près de 25 ans après un premier séjour dans la ville avec une compagnie de danse.

Sa participation à Tanjazz représente, selon lui, l’occasion d’apporter « cette touche de flamenco » à la programmation et de présenter son univers à de nouveaux publics. Son répertoire a également intégré des morceaux liés à ses différents projets, dont « Cigala & Tango ».

Buena Vista All Stars prolonge la soirée cubaine

La musique cubaine a ensuite occupé la scène avec Buena Vista All Stars, formation dirigée par Barbarito Torres et Demetrio Muñiz, présentés comme membres fondateurs du Buena Vista Social Club.

L’ensemble a repris un répertoire inspiré du son cubain et de la musique populaire de La Havane, prolongeant ainsi le dialogue entre flamenco et influences latino-américaines qui avait marqué la première partie de la programmation sur la Scène Jardin.

Cette succession d’artistes illustre l’orientation de Tanjazz vers une programmation qui dépasse le jazz au sens strict pour intégrer plusieurs traditions musicales liées au swing, aux musiques africaines, au flamenco ou encore aux répertoires latino-américains.

Des concerts également dans la ville

La programmation ne s’est pas limitée au Palais des institutions italiennes. Plusieurs rendez-vous gratuits ont été organisés dans différents espaces de Tanger afin d’élargir l’accès du public au festival.

En début d’après-midi, The Groovy Four, formation composée de musiciens espagnols et uruguayens, a proposé un répertoire de blues swing. Plus tard, le trompettiste et chanteur américain Ronald Baker, habitué de Tanjazz et installé en Europe, s’est inscrit dans une tradition davantage liée au jazz américain et au swing.

The Haggis Horns ont également participé à cette programmation hors les murs avec leur répertoire funk porté par les cuivres.

En parallèle, la formation britannique a animé dans la journée une masterclass consacrée au groove, au travail des cuivres et à la composition musicale. La rencontre a permis aux participants d’échanger avec les musiciens sur leur pratique et leur expérience.

Une dernière journée sous le signe du swing

Après cette deuxième journée marquée par la diversité des styles, Tanjazz doit se poursuivre dimanche avec de nouveaux rendez-vous.

La pianiste suisse Ladyva retrouvera notamment le public autour de son répertoire boogie-woogie. The Swing Shouters doivent également se produire une nouvelle fois pour apporter une dernière séquence consacrée au swing.

LNT

The post Tanjazz 2026 : du flamenco au swing, Tanger multiplie les passerelles musicales appeared first on La Nouvelle Tribune.

La soirée a débuté avec le rappeur marocain Bo9al, qui a investi la scène devant le public venu assister à cette première soirée de la 24e édition de L’Boulevard. Sa prestation a donné le ton à une programmation consacrée au rap et au hip-hop.

La scène a ensuite accueilli DJ Fly, qui a proposé un set inscrit dans l’univers du hip-hop et du turntablism, avant de laisser place au rappeur marocain Figoshin.

Dizzy Dros a clôturé cette première soirée, retrouvant la scène de L’Boulevard après sept ans, à l’occasion d’une prestation consacrée notamment à son nouvel album et présentée avec un live band.

S’exprimant à l’occasion de cette soirée d’ouverture, le président de l’association EAC-L’Boulevart, Driss Iraki, s’est réjoui de la forte affluence du public, mettant également en avant la participation d’artistes marocains parmi les têtes d’affiche de cette édition, aussi bien dans le rap que dans d’autres styles musicaux.

Il a également relevé, dans une déclaration à la MAP, que L’Boulevard se distingue par la place accordée aux jeunes, notamment à travers le Tremplin, qu’il a présenté comme une compétition et un véritable révélateur des musiques actuelles au Maroc.

Selon lui, ce dispositif offre aux artistes émergents l’opportunité de se confronter à l’épreuve du live, de bénéficier du regard de professionnels et de franchir une étape dans leur parcours artistique.

Pour sa part, Dizzy Dros s’est dit heureux de retrouver ce festival, où il affirme avoir « grandi », soulignant l’importance de L’Boulevard dans son parcours artistique.

L’artiste a estimé, dans une déclaration similaire, que le festival continue d’offrir aux jeunes artistes, débutants comme professionnels, des opportunités pour évoluer dans leur carrière musicale. « Je répondrai toujours présent si le festival fait appel à moi », a-t-il affirmé.

Dizzy Dros s’est également réjoui d’avoir présenté son nouvel album avec un live band, estimant que cette configuration permet d’apporter une dimension visuelle et sonore à la prestation.

À travers cette édition, L’Boulevard poursuit sa vocation de plateforme dédiée aux différentes expressions des musiques actuelles, tout en accordant une place aux jeunes talents à travers le Tremplin.

La 24e édition de L’Boulevard se poursuit jusqu’au 20 septembre à Casablanca avec une programmation musicale et plusieurs activités dédiées notamment à la promotion des musiques actuelles et à l’accompagnement des jeunes artistes.

LNT avec Map

The post L’Boulevard 2026 : Le rap et le hip-hop rythment la première soirée appeared first on La Nouvelle Tribune.

Netflix has unveiled TYSON, a four-part documentary series dedicated to one of the most famous ,and controversial , figures boxing has ever produced.

The series goes all the way back to Tyson’s childhood in Brooklyn before tracing the extraordinary rise that turned him into the youngest heavyweight champion in boxing history at just 20 years old.

At his peak, Tyson wasn’t simply a successful athlete. He became a global celebrity whose name escaped boxing entirely. His intimidating fighting style, personality and chaotic public life turned him into one of the most recognizable sports figures of his generation.

But Netflix isn’t presenting this as a straightforward sports success story.

The documentary also explores the controversies, legal issues, personal struggles and periods of self-destruction that followed Tyson throughout his life. Tyson himself appears in the project reflecting on that history, including describing his younger self as being “addicted to chaos.”

That retrospective angle might be particularly interesting for younger viewers.

A whole generation now knows Tyson through a completely different internet-era version of him: podcasts, memes, cameos, viral interviews and, more recently, his heavily promoted fight with Jake Paul.

TYSON is essentially going back to explain how we got here.

All four episodes arrive on Netflix on October 13.

And considering the amount of mythology that has built up around Tyson over the past four decades, four episodes suddenly doesn’t sound excessive.

Netflix has a LOT of explaining to do.

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La saison anniversaire s’ouvrira du 8 au 11 octobre avec la Septième Symphonie, accompagnée du Concerto pour piano n°3. À la direction et au piano, Dina Bensaïd accompagnera l’orchestre pour ces premiers concerts.

Le cycle permettra de parcourir les neuf symphonies de Beethoven au fil de la saison, de la Première à la Neuvième, et de retrouver certaines de ses œuvres majeures dans plusieurs villes du Royaume.

Pour cette ouverture, trois rendez-vous sont prévus : le 8 octobre à 20h au Théâtre Mohammed V à Rabat, les 9 et 10 octobre à 20h au Théâtre l’Hermitage à Casablanca, puis le 11 octobre à 16h au Palais des Arts et de la Culture à Tanger.

Des rencontres avec Dina Bensaïd sont également proposées avant les concerts, à Rabat et Casablanca. À partir de 18h30, les Avant-scènes permettront au public de revenir sur le contexte de création des œuvres, les intentions du compositeur et les choix instrumentaux. Elles sont accessibles aux spectateurs munis d’un billet.

Les billets sont proposés entre 80 et 300 DH, et sont disponible en ligne sur www.opm.ma.

The post L’Orchestre Philharmonique du Maroc ouvre sa saison avec Beethoven appeared first on La Nouvelle Tribune.

The first six original songs connected to Grand Theft Auto VI have arrived, giving us an early taste of what we’ll be hearing while driving around Vice City ,and Rockstar clearly didn’t hold back on the contacts list.

The first batch brings together Travis Scott, PinkPantheress, Yung Lean, Future, Metro Boomin, Fred again.., Rauw Alejandro and CA7RIEL & Paco Amoroso, among others. It’s a lineup that jumps between rap, electronic music, alternative pop and Latin sounds, which already tells us a lot about how wide Rockstar is going with the game’s musical universe.

One particularly wild detail is hiding in the credits. Travis Scott’s “RHYNO” was produced by Guy-Manuel de Homem-Christo, one half of Daft Punk. So yes, technically, we’ve reached a point where Travis Scott, Daft Punk and Grand Theft Auto all exist in the same sentence.

And these six tracks are only the preview.

Rockstar says Grand Theft Auto VI: The Album will contain 34 original songs, meaning there’s still a lot of the lineup we haven’t heard yet. That’s also separate from the broader radio experience players traditionally get inside GTA games, where licensed music and fictional stations are a huge part of exploring the world.

Music has always been part of GTA’s identity. You don’t just remember the missions; you remember accidentally spending 40 minutes driving around because the radio was too good to turn off.

With GTA 6, Rockstar seems determined to make that part of the experience even bigger.

We haven’t even reached Vice City yet and people are already fighting over the aux.

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The singer has spent the past few years openly discussing the possibility of retiring “The Weeknd” as a stage identity, leading many fans to assume his recent projects were building toward a definitive goodbye.

That conversation became especially serious as Tesfaye began using his real name more publicly and expanding further into acting and film.

But now he’s making one thing clear: The Weeknd isn’t going anywhere.

In a recent interview, Tesfaye explained that while he had genuinely considered leaving the name behind, his thinking has changed. What appears to have ended is less the artist himself and more the particular story he had been telling through his recent albums.

That distinction actually makes sense when you look at The Weeknd’s career.

Since After Hours, Tesfaye has created an interconnected world through his albums, visuals and performances, continuing through Dawn FM and the projects that followed. The idea of an “ending” has therefore been baked into the music for years.

Fans understandably interpreted that as the end of The Weeknd altogether.

Apparently, we were being slightly dramatic.

Instead, Tesfaye seems interested in keeping the name while allowing the character and music around it to evolve.

So after years of headlines asking whether we were witnessing The Weeknd’s final era, the answer appears to be:

The Weeknd didn’t retire. He just finished a season.

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