The TikTok gods have blessed us with another batsh*t beauty trend: nappy cream. Creators are encouraging followers to baste their face in the stuff, promising a thick layer of nappy rash cream can reduce redness and deliver an overnight moisture hit. Others have used it as a pimple spot treatment. But does it work?

UK-based cosmetic surgeon and TikToker Dr Munir Somji warns “it’s not a good idea,” explaining popular over-the-counter nappy creams are “not meant to be used as a mask.”

Those jumping on the trend risk exposing their skin to potential allergens, including perfume, he explained. Nappy cream might improve the skin’s appearance initially, but “afterwards it can become a problem… you can end up with more breakouts over time and also more dependency and sensitivity,” Dr Somji said.

Leave the nappy cream to those in nappies I guess.

“Sam was my beloved lifetime friend… He showed me the depths of loyalty, protectiveness, and love, always with the driest of wit. He was a true and noble gentleman, wrapped up in my dream leading man. I will love you forever, Dr. Alan Grant.”
Laura Dern has paid tribute to her Jurassic Park co-star, NZ actor Sam Neill, who died aged 78 on Monday. Neill’s agent confirmed today the screen legend died of pneumonia.

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The number of chart-topping albums Madonna now has, after her new album Confessions II soared to number one around the world. The 67-year-old pop icon expressed gratitude to her fans for the "incredible reception" to her sequel to her 2005 album Confessions on a Dance Floor. She’s also become the first U.S. female artist to earn a number one album across five decades.

Pitbull was on stage in London over the weekend when he received a framed Guinness World Record certificate for the largest gathering of people wearing bald caps. Mr Worldwide headlined the British Summer Time festival, where one, two, three, four, uno, dos, tres, cuatro 22,141 concertgoers donned the viral bald cap in honour of the rapper/singer. BBC Radio 1 host Greg James (below right) came up with the record-attempt idea earlier this year. Pitbull called the moment a “blessing” and an “honour”.

There’s a track getting major airplay at the moment, and while its vocals were made famous by an iconic singer, this version may not feature a “real” voice at all.

Australian music producer Josh Fawaz has faced scrutiny over his version of Madonna’s ‘Like a Prayer’, with allegations it was made using AI.

Spotify announced an AI disclosure feature in September 2025, allowing artists to declare in their song credits whether generative AI was used. However, the feature did not launch until April this year.

So, did Fawaz use AI? And what are the rules?

Fawaz is a Brisbane-based DJ who has been producing and releasing music for around a decade.

In April, he released a version of ‘Like a Prayer’, the song made famous by Madonna in 1989.

The track credits Madonna, renowned U.S. songwriter Patrick R. Leonard and Fawaz.

It has spent the past two weeks at number one on the National Radio Airplay Chart.

On 21 June, fellow Brisbane music producer Mitch Thomas, also known as Needs No Sleep, posted a video on social media claiming the track was AI generated.

“[Fawaz’s] music is generated entirely with AI, yet it’s presented in a way that leads people to believe they’re watching a traditional producer finish a song,” he said.

Thomas said the songs sound “exactly” like music produced using AI platform Suno.

TDA tested the claim by uploading the track to several AI music detection tools. The tools estimated there was a 70% to 90% probability the track was made using AI.

However, these detection tools also rely on AI and cannot conclusively determine whether a track was AI-generated.

On 23 June, Fawaz responded to Thomas’ Instagram post, telling him to “stop having a sook”.

Fawaz said he uses “AI as a tool” and that it’s “not that deep”.

He also said that he had been “releasing music way before AI was invented.”

TDA contacted Fawaz for further comment on the allegations, but he had not responded at the time of publication.

There is no single rule book governing the use of AI in music, and organisations have adopted different approaches.

Spotify first announced plans for AI disclosures in September 2025, before launching the feature in beta in April 2026. It also separately announced plans in April to introduce verification for human artist profiles.

The Australian Recording Industry Association introduced AI-specific guidelines for eligibility at the 2026 ARIA Awards. The guidelines state that “AI cannot be the sole or central element in any recording/item that is submitted”.

Earlier this week, Prime Minister Anthony Albanese also announced the establishment of the Office of AI, which will help develop standards governing the use of AI in Australia.

Addressing concerns about Australian music and art being used to train AI, Albanese said “no company should use Australian creative works to train AI without the artist’s control.”

Reporting by Emily Donohoe.

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“Moana: In Cinemas NOW” is a phrase that would have made perfect sense to read in 2016. Alas, it is 2026, but that call-to-action is still making the rounds thanks to the latest “live-action remake” of a beloved Disney property.

This new adaption is being met with harsh reviews from critics and a very lukewarm performance at the box office. So, is this the beginning of the end of the Disney remake?

Disney’s live-action playbook has mostly worked for them. It first began in the 90s with actually live-action adaptations of The Jungle Book and 101 Dalmatians. Then the remake machine went quiet for a while.

Things really kicked off again in earnest in 2015, when Disney premiered a live-action remake of the 1950 animated Cinderella. The premise is simple: the stories you know and love from your childhood reimagined in a real-world setting, often with a slightly more modern update. And they have paid DIVIDENDS.

Beauty and the Beast (2017), Aladdin (2019) and The Lion King (2019) all crossed $US1 billion globally. Each of these featured increasingly more CGI animation, up to The Lion King, which Disney production chief Sean Bailey said used “techniques that would traditionally be called animation, and other techniques that would traditionally be called live action”.

It hasn’t all been peachy, though. Dumbo (2019) flopped in comparison to its predecessors. Snow White (2025) generated more controversy than it did money. And now, enter Moana.

The original Moana, the story of a Polynesian teenager journeying across the ocean with the demigod Maui to save her community, was almost universally beloved by critics, audiences, and at least one TDA journalist.

The sequel (Moana 2), released in 2024, wasn’t as well received, but residual love for the original still managed to get bums in seats. It raked in over a billion dollars at the global box office, making it the 47th highest-grossing film of all time.

This year’s live action remake hasn’t inspired the same kind of action. It opened to $US43 million across America and Canada, well under the $US60+ million it was projected to make.

You might be thinking: “uhhhh $US43 million is a lot of money”. Not so much when you compare that to the film’s $US250 million budget. For context, 2025’s Lilo and Stitch remake drew $US146 million its opening weekend. This year, Toy Story 5 (notably a sequel, NOT a remake) opened with $US160 million.

Critics were also not in favour. It's sitting at 32% approval from critics on Rotten Tomatoes, one of the lowest scores of any Disney remake, even lower than Snow White.

2026’s Moana has faced a few problems. Audiences have made jokes and memes about the choice of wigs plonked onto the cast's heads. The CGI scenery has been criticised as duller and less effective than the original animation. Some even argued that you could tell Dwayne "The Rock" Johnson’s heart was not in it.

Overall, reviewers generally agreed that Moana (2026) was too soon after the original and its sequel. TimeOut film editor Phil de Semlyen said: “It’s important and meaningful to see Polynesian culture represented again in a big movie. But doesn’t it deserve a new story rather than this reheat of last week’s dinner?”

The idea of repackaging existing stories isn't unique to Disney. At this point it's the whole industry's business model. Since 2010, almost all of the top 10 highest-grossing films each year have been a sequel, prequel or remake. If they’re not based on an existing film, think of how every single children’s game and toy is being turned into a feature film (how much money did they pay Rihanna to get on that damn Battleship?).

In 2024, Disney CEO Bob Iger told shareholders he was confident "the [intellectual property] that we're mining, including all the sequels that we're doing, is second to none."

It seems the trend is shifting, though, with this year's underdog story: two microbudget horror films made by YouTubers. Obsession has crossed $400 million worldwide, against a budget of less than a million dollars. Backrooms, a $10 million A24 pickup, isn't far behind at more than $350 million.

Rather than a big budget, what they had, as one analyst told Variety, was proof that “there's a new audience, and they're waiting for this kind of content”.

The real test will come soon enough. A Tangled remake with Kathryn Hahn as Mother Gothel is already in the works, with the studio hoping it can find its footing again. Maybe, though, we will look back at Moana as the moment audiences stopped showing up just because they recognised the poster.

Reporting by Elliot Lawry.