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New York — “Civil War,” Alex Garland’s ominous American dystopia, remained the top film in theaters in its second week of release, according to studio estimates Sunday.

The A24 election-year gamble, the indie studio’s biggest budgeted film yet, took in $11.1 million in ticket sales at 3,929 theaters over the weekend. The $50 million film, set in a near-future U.S. in which Texas and California have joined in rebellion against a fascist president, has grossed $44.9 million in two weeks.

Its provocative premise — and A24’s marketing, which included images of U.S. cities ravaged by war — helped keep “Civil War” top of mind for moviegoers.

But it was a painfully slow weekend in theaters — the kind sure to add to concern over what’s thus far been a down year for Hollywood at the box office.

Going into the weekend, Universal Pictures’ “Abigail,” a critically acclaimed R-rated horror film about the daughter of Dracula, had been expected to lead ticket sales. It came in second with $10.2 million in 3,384 theaters.

That was still a fair result for a film that cost a modest $28 million to make. “Abigail,” which remakes the 1936 monster film “Dracula’s Daughter,” is about a 12-year-old girl taken by kidnappers who soon realize they’ve made a poor choice of hostage. It’s directed by the duo Matt Bettinelli-Olpin and Tyler Gillett whose production company goes by the name Radio Silence.

More concerning was the overall tepid response for a handful of new wide releases — and the likelihood that there will be more similar weekends throughout 2024. Last year’s actors and writers’ strikes, which had a prolonged effect on the movie pipeline, exacerbated holes in Hollywood’s release schedule.

Horror films, in recent years among the most reliable cash cows in theaters, also haven’t thus far been doing the automatic business they previously did. According to David A. Gross, who runs the consulting firm Franchise Entertainment Research, horror releases accounted for $2 billion in worldwide sales in 2023.

Guy Ritchie’s “The Ministry of Ungentlemanly Warfare” debuted with $9 million in 2,845 theaters. In the based-on-a-true-story Lionsgate release, which reportedly cost $60 million to produce, Henry Cavill leads a World War II mission off the coast of West Africa.

Though Ritchie has been behind numerous box-office hits, including the live-action “Aladdin” and a pair of Sherlock Holmes films, his recent movies have struggled to find big audiences. The Lionsgate spy comedy “Operation Fortune: Ruse de Guerre” grossed $48 million against a $50 million budget, while MGM’s “The Covenant,” also released last year, made $21 million while costing $55 million to make.

A bright sign for “The Ministry of Ungentlemanly Warfare” — audiences liked it. The film earned an A-minus CinemaScore.

The anime “Spy x Family Code: White,” from Sony’s Crunchyroll, also struggled to stand out with audiences. Though the adaptation of the Tatsuya Endo manga TV series “Spy x Family” has already been a hit with international moviegoers, it debuted below expectations with $4.9 million in 2,009 U.S. theaters.

The mightiest film globally, though, continues to be “Godzilla x Kong: The New Empire.” The Warner Bros. monster movie has for the past month led worldwide ticket sales. It added another $9.5 million domestically and $21.6 million internationally to bring its four-week global total to $485.2 million.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

 

1. “Civil War,” $11.1 million.

2. “Abigail,” $10.2 million.

3. “Godzilla x Kong: The New Empire,” $9.5 million.

4. “The Ministry of Ungentlemanly Warfare,” $9 million.

5. “Spy x Family Code: White,” $4.9 million.

6. “Kung Fu Panda 4,” $4.6 million.

7. “Ghostbusters: Frozen Empire,” $4.4 million.

8. “Dune: Part Two,” $2.9 million.

9. “Monkey Man,” $2.2 million.

10. “The First Omen,” $1.7 million.
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TYBEE ISLAND, Georgia — Thousands of Black college students expected this weekend for an annual spring bash at the largest public beach in the U.S. state of Georgia will be greeted by dozens of extra police officers and barricades closing off neighborhood streets. While the beach will remain open, officials are blocking access to nearby parking.

Tybee Island east of Savannah has grappled with the April beach party known as Orange Crush since students at Savannah State University, a historically Black school, started it more than 30 years ago. Residents regularly groused about loud music, trash littering the sand and revelers urinating in yards.

Those complaints boiled over into fear and outrage a year ago when weekend crowds of up to 48,000 people daily overwhelmed the 4.8-kilometer island. That left a small police force scrambling to handle a flood of emergency calls reporting gunfire, drug overdoses, traffic jams and fistfights.

Mayor Brian West, elected last fall by Tybee Island’s 3,100 residents, said roadblocks and added police aren’t just for limiting crowds. He hopes the crackdown will drive Orange Crush away for good.

“This has to stop. We can’t have this crowd anymore,” West said. “My goal is to end it.”

Critics say local officials are overreacting and appear to be singling out Black visitors to a Southern beach that only white people could use until 1963. They note Tybee Island attracts vast crowds for the Fourth of July and other summer weekends when visitors are largely white, as are 92% of the island’s residents.

“Our weekends are packed with people all season, but when Orange Crush comes, they shut down the parking, bring extra police and act like they have to take charge,” said Julia Pearce, one of the island’s few Black residents and leader of a group called the Tybee MLK Human Rights Organization. She added: “They believe Black folks to be criminals.”

During the week, workers placed metal barricades to block off parking meters and residential streets along the main road parallel to the beach. Two large parking lots near a popular pier are being closed. And Tybee Island’s roughly two dozen police officers will be augmented by about 100 sheriff’s deputies, Georgia state troopers and other officers.

Security plans were influenced by tactics used last month to reduce crowds and violence at spring break in Miami Beach, which was observed by Tybee Island’s police chief.

Officials insist they’re acting to avoid a repeat of last year’s Orange Crush party, which they say became a public safety crisis with crowds at least double their typical size.

“To me, it has nothing to do with race,” said West, who believes city officials previously haven’t taken a stronger stand against Orange Crush because they feared being called racist. “We can’t let that be a reason to let our citizens be unsafe and so we’re not.”

Tybee Island police reported 26 total arrests during Orange Crush last year. Charges included one armed robbery with a firearm, four counts of fighting in public and five DUIs. Two officers reported being pelted with bottles, and two women told police they were beaten and robbed of a purse.

On a gridlocked highway about a mile off the island, someone fired a gun into a car and injured one person. Officials blamed the shooting on road rage.

Orange Crush’s supporters and detractors alike say it’s not college students causing the worst problems.

Joshua Miller, a 22-year-old Savannah State University senior who plans to attend this weekend, said he wouldn’t be surprised if the crackdown was at least partly motivated by race.

“I don’t know what they have in store,” Miller said. “I’m not going down there with any ill intent. I’m just going out there to have fun.”

Savannah Mayor Van Johnson was one of the Black students from Savannah State who helped launch Orange Crush in 1988. The university dropped involvement in the 1990s, and Johnson said that over time the celebration “got off the rails.” But he also told reporters he’s concerned about “over-representation of police” at the beach party.

At Nickie’s 1971 Bar & Grill near the beach, general manager Sean Ensign said many neighboring shops and eateries will close for Orange Crush though his will stay open, selling to-go food orders like last year. But with nearby parking spaces closed, Ensign said his profits might take a hit, “possibly a few thousand dollars.”

It’s not the first time Tybee Island has targeted the Black beach party. In 2017, the city council banned alcohol and amplified music on the beach only during Orange Crush weekend. A discrimination complaint to the U.S. Justice Department resulted in city officials signing a non-binding agreement to impose uniform rules for large events.

West says Orange Crush is different because it’s promoted on social media by people who haven’t obtained permits. A new state law lets local governments recoup public safety expenses from organizers of unpermitted events.

In February, Britain Wigfall was denied an permit for space on the island for food trucks during Orange Crush. The mayor said Wigfall has continued to promote events on the island.

Wigfall, 30, said he’s promoting a concert this weekend in Savannah, but nothing on Tybee Island involving Orange Crush.

“I don’t control it,” Wigfall said. “Nobody controls the date that people go down there.”
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JERUSALEM — Every year, Alon Gat’s mother led the family’s Passover celebration of the liberation of the ancient Israelites from Egypt thousands of years ago. But this year, Gat is struggling with how to reconcile a holiday commemorating freedom after his mother was slain and other family members abducted when Hamas attacked Israel.

Gat’s sister, Carmel, and wife, Yarden Roman-Gat, were taken hostage in the October 7 attack. His wife was freed in November, but his sister remains captive.

“We can’t celebrate our freedom because we don’t have this freedom. Our brothers and sisters and mothers and fathers are still in captivity and we need to release them,” Gat said.

On Monday, Jews around the world will begin celebrating the weeklong Passover holiday, recounting the biblical story of their exodus from Egypt after hundreds of years of slavery. But for many Israelis, it’s hard to fathom a celebration of freedom when friends and family are not free.

The Hamas attack killed some 1,200 people, while about 250 others were taken hostage. About half were released in a weeklong cease-fire in November, while the rest remain in Gaza, more than 30 of them believed to be dead.

For many Jews, Passover is a time to reunite with family and recount the exodus from Egypt at a meal known as the Seder. Observant Jews avoid grains, known as chametz, a reminder of the unleavened bread the Israelites ate when they fled Egypt quickly with no time for dough to rise.

But this year many families are torn about how — or even if — to celebrate.

When Hamas attacked Kibbutz Be’eri, Gat, his wife, 3-year-old daughter, parents and sister hid for hours in their rocket-proof safe room. But fighters entered the house and killed or abducted everyone inside, except for his father who hid in the bathroom. His mother was dragged into the street and shot.

Gat, his arms and legs bound, was shoved into a car with his wife and daughter. During a brief stop, they managed to flee. Knowing he could run faster, Roman-Gat handed him their daughter. Gat escaped with her, hiding in a ditch for nearly nine hours. His wife was recaptured and held in Gaza for 54 days.

Passover this year will be more profound as freedom has taken on a new meaning, Roman-Gat told The Associated Press.

“To feel wind upon your face with your eyes closed. To shower. To go to the toilet without permission, and with the total privacy and privilege to take as long as I please with no one urging me, waiting for me at the other side to make sure I’m still theirs,” she said in a text message.

Still, Passover will be overshadowed by deep sorrow and worry for her sister-in-law and the other hostages, she said. The family will mark the holiday with a low-key dinner in a restaurant, without celebration.

As hard as it is in times of pain, Jews have always sought to observe holidays during persecution, such as in concentration camps during the Holocaust, said Rabbi Martin Lockshin, professor emeritus at Canada’s York University, who lives in Jerusalem.

“They couldn’t celebrate freedom but they could celebrate the hope of freedom,” he said.

The crisis affects more than the hostage families. The war, in which 260 soldiers have been killed, casts a shadow over a normally joyous holiday. The government has also scaled back festivities for Independence Day in May in light of the mood and fearing public protests.

Likewise, the Muslim holy month of Ramadan, capped by the three-day Eid al-Fitr feast, was a sad, low-key affair for Palestinians. Over 80% of Gaza’s 2.3 million people have been displaced by the fighting, and Hamas health officials say nearly 34,000 people have been killed in the Israeli offensive.

The scenes of suffering, devastation and hunger in Gaza have received little attention in Israel, where much of the public and national media remain heavily focused on the aftermath of the October 7 attack and ongoing war.

After several months of fits and starts, negotiations on a deal to release the remaining hostages appears at a standstill — making it unlikely they will be home for Passover.

The hostages’ pain has reverberated around the world, with some in the Jewish diaspora asking rabbis for prayers specifically for the hostages and Israel to be said at this year’s Seder. Others have created a new Haggadah, the book read during the Seder, to reflect the current reality.

Noam Zion, the author of the new Haggadah, has donated 6,000 copies to families impacted by the war.

“The Seder is supposed to help us to relive past slavery and liberation from Egypt and to learn its lessons, but in 2024 it must also ask contemporary questions about the confusing and traumatic present and most important, generate hope for the future,” said Zion, emeritus member of the faculty of Jewish studies at the Hartman Institute in Jerusalem.

The revised Haggadah includes excerpts from hostage families urging people not to hate despite their pain. It offers a guide for navigating the mixed feelings during the holiday, while posing existential questions about the Jews and the state of Israel.

Some families say it’s too painful to celebrate at all.

The girlfriend of Nirit Lavie Alon’s son was abducted from the Nova music festival. Two months later the family was informed by Israel’s military that Inbar Haiman, a 27-year-old graffiti artist, was dead, her body still in Gaza.

“It’s impossible to celebrate a freedom holiday,” said Alon. Instead of being with family this year, she’s going to spend a few days in the desert. There will be no closure until all of the hostages are back, including the remains of those who were killed, she said.

Ahead of Passover, some families are still holding out hope their relatives will be freed in time.

Shlomi Berger’s 19-year-old daughter, Agam, was abducted two days after the start of her army service along the border with Gaza.

Videos of her bloodied face emerged shortly after the Hamas attack, one showing an armed man pushing her into a truck, another showing her inside the vehicle with other hostages. The only proof of life he’s had since was a call from a released hostage, wishing him happy birthday from Agam, who she’d been with in the tunnels, he said.

Still, he refuses to give up hope.

“The Passover story says we come from slaves to free people, so this is a parallel story,” Berger said. “This is the only thing I believe that will happen. That Agam will get out from darkness to light. She and all of the other hostages.”
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Roller derby is a fast-paced, hard-hitting sport played on roller skates and dominated by women. VOA’s Genia Dulot takes us out to the skating rink with competitors from the Angel City Derby league in Los Angeles.
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santa fe, new mexico — A movie weapons supervisor was sentenced to 18 months in prison in the fatal shooting of a cinematographer by Alec Baldwin on the set of the Western film “Rust,” during a hearing Monday in which tearful family members and friends gave testimonials that included calls for justice and a punishment that would instill greater accountability for safety on film sets.

Movie armorer Hannah Gutierrez-Reed was convicted in March by a jury on a charge of involuntary manslaughter in the death of cinematographer Halyna Hutchins and has been held for more than a month at a county jail on the outskirts of Santa Fe.

Prosecutors blamed Gutierrez-Reed for unwittingly bringing live ammunition onto the set of “Rust” where it was expressly prohibited and for failing to follow basic gun safety protocols.

Gutierrez-Reed was unsuccessful in her plea for a lesser sentencing, telling the judge she was not the monster that people have made her out to be and that she had tried to do her best on the set despite not having “proper time, resources and staffing.”

Baldwin, the lead actor and co-producer for “Rust,” was pointing a gun at Hutchins during a rehearsal on a movie set outside Santa Fe in October 2021 when the revolver went off, killing Hutchins and wounding director Joel Souza.

Baldwin has pleaded not guilty to a charge of involuntary manslaughter. He is scheduled for trial in July at a courthouse in Santa Fe.

The sentence against Gutierrez-Reed was delivered by New Mexico Judge Mary Marlowe Summer, who is overseeing proceedings against Baldwin. The judge said anything less than the maximum sentence would not be appropriate given that Gutierrez-Reed’s recklessness amounted to a serious violent offense.

“You were the armorer, the one that stood between a safe weapon and a weapon that could kill someone,” the judge told Gutierrez-Reed. “You alone turned a safe weapon into a lethal weapon. But for you, Ms. Hutchins would be alive, a husband would have his partner and a little boy would have his mother.”

 

Gutierrez-Reed teared up as Hutchins’ agent, Craig Mizrahi, spoke about the cinematographer’s creativity and described her as a rising star in Hollywood. He said it was a chain of events that led to Hutchins’ death and that had the armorer been doing her job, that chain would have been broken.

Los Angeles-based attorney Gloria Allred read a statement by Hutchins’ mother, Olga Solovey, who said her life had been split in two and that time didn’t heal, rather it only prolonged her pain and suffering. A video of a tearful Solovey, who lives in Ukraine, also was played for the court.

“It’s the hardest thing to lose a child. There’s no words to describe,” Solovey said in her native language.

Defense attorneys for Gutierrez-Reed requested leniency in sentencing — including a possible conditional discharge that would avoid further jail time and leave an adjudication of guilt off her record if certain conditions are met.

Gutierrez-Reed was acquitted at trial of allegations she tampered with evidence in the “Rust” investigation. She also has pleaded not guilty to a separate felony charge that she allegedly carried a gun into a bar in Santa Fe where firearms are prohibited.

Defense attorneys have highlighted Gutierrez-Reed’s relatively young age “and the devastating effect a felony will have on her life going forward.”

They said the 26-year-old will forever be affected negatively by intense publicity associated with her prosecution in parallel with an A-list actor, and has suffered from anxiety, fear and depression as a result.

Special prosecutor Kari Morrissey urged the judge to impose the maximum prison sentence and designate Gutierrez-Reed as a “serious violent offender” to limit her eligibility for a sentence reduction later, describing the defendant’s behavior on the set of “Rust” as exceptionally reckless.

Defense attorneys argued Monday that Gutierrez-Reed was remorseful and had breakdowns over Hutchins’ death. They also pointed to systemic problems that led to the shooting.

“Rust” assistant director and safety coordinator Dave Halls last year pleaded no contest to negligent handling of a firearm and completed a sentence of six months unsupervised probation. “Rust” props master Sarah Zachry, who shared some responsibilities over firearms on the set of “Rust,” signed an agreement with prosecutors to avoid prosecution in return with her cooperation.
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ANCIENT OLYMPIA, Greece — No one knows what music in ancient Greece sounded like or how dancers once moved.

Every two years, a new interpretation of the ancient performance gets a global audience. It takes place in southern Greece at a site many still consider sacred: the birthplace of the Olympic Games.

Forty-eight performers, chosen in part for their resemblance to youths in antiquity as seen in statues and other surviving artwork, will take part Tuesday in the flame-lighting ceremony for the Paris Olympics. 

Details of the 30-minute performance are fine-tuned — and kept secret — right up until a public rehearsal Monday.

The Associated Press got rare access to rehearsals that took place during weekends, mostly at an Olympic indoor cycling track in Athens. 

As riders whiz around them on the banked cycling oval, the all-volunteer Olympic performers snatch poses from ancient vases. Sequences are repeated and re-repeated under the direction of the hyper-focused head choreographer Artemis Ignatiou.

“In ancient times there was no Olympic flame ceremony,” Ignatiou said during a recent practice session.

“My inspiration comes from temple pediments, from images on vases, because there is nothing that has been preserved — no movement, no dance — from antiquity,” she said. “So basically, what we are doing is joining up those images. Everything in between comes from us.”

Ceremonies take place at Olympia every two years for the Winter and Summer Games, with the sun’s rays focused on the inside of a parabolic mirror to produce the Olympic flame and start the torch relay to the host city.

Women dressed as priestesses are at the heart of the ceremony, first held for the 1936 Olympics in Berlin. Leading the group is an actress who performs the role of high priestess and makes a dramatic appeal to Apollo, the ancient god of the sun, for assistance moments before the torch is lit.

Over the decades, new ingredients have been progressively added: music, choreography, new colors for the costumes, male performers known as “kouroi” and subtle style inclusions to give a nod to the culture of the Olympic host nation.

Adding complexity also has introduced controversy, inevitably amplified by social media. Criticism this year has centered on the dresses and tunics to be worn by the performers, styled to resemble ancient Greek columns. Faultfinders have called it a rude departure from the ceremony’s customary elegance.

Organizers hope the attire will create a more positive impression when witnessed at the ruins of ancient Olympia.

Counting out the sequences, Ignatiou controls the music with taps on her cell phone while keeping track of the male dancers at the velodrome working on a stop motion-like routine and women who glide past them like a slowly uncoiling spring.

Ignatiou has been involved with the ceremony for 36 years, as priestess, high priestess, assistant and then head choreographer since 2008. She takes in the criticism with composure.

She’s still moved to tears when describing the flame lighting, but defers to her dancers to describe their experience of the five-month participation at practices.

Most in their early twenties, the performers are selected from dance and drama academies with an eye on maintaining an athletic look and classic Greek aesthetic, the women with hair pulled back in neat double-braids.

Christiana Katsimpraki, a 23-year-old drama school student who is taking part at Olympia for the first time, said she wants to repay the kindness shown to her by older performers.

“Before I go to bed, when I close my eyes, I go through the whole choreography — a run through — to make sure I have all the steps memorized and that they’re in the right order,” she said. “It’s so that the next time I can come to the rehearsal, it all goes correctly and no one gets tired.”

The ceremony is performed to sparse music, and final routine modifications are made at Olympia, in part to cope with the pockmarked and uneven ground at the site.

Dancers describe the fun they have in messaging groups, the good-natured pranks played on newcomers and fun they have on the four-hour bus ride to the ancient site in southern Greece — but also the significance of the moment and the pull of the past.

“I’m in awe that we’re going there and that I’m going to be part of this whole team,” 23-year-old performer Kallia Vouidaski said. “I’m going to have this entire experience that I watched when I was little on TV. I would say, ’Oh! How cool would it be if I could do this at some point.’ And I did it.”

The flame-lighting ceremony will start at 0830 GMT Tuesday. A separate flame-handover ceremony to the Paris 2024 organizing committee will be held in Athens on April 26. 
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Foumban, Cameroon — To enter the Museum of the Bamoun Kings in western Cameroon, you have to pass under the fangs of a gigantic two-headed snake — the highlight of an imposing coat of arms of one of the oldest kingdoms in sub-Saharan Africa.

Thousands of Cameroonians gathered in the royal palace square in Foumban on Saturday to celebrate the opening of the Museum of the Bamoun Kings.

Sultan King Mouhammad Nabil Mforifoum Mbombo Njoya welcomed 2,000 guests to the opening of the museum located in Foumban — the historic capital of the Bamoun Kings.

The royal family, descendants of a monarchy that dates back six centuries, attended the event dressed in traditional ceremonial attire with colorful boubous and matching fezzes.

Griot narrators in multicolored boubous played drums and long traditional flutes while palace riflemen fired shots to punctuate the arrival of distinguished guests which included ministers and diplomats.

Then, princes and princesses from the Bamoun chieftaincies performed the ritual Ndjah dance in yellow robes and animal masks.

For Cameroon, such a museum dedicated to the history of a kingdom is “unique in its scope”, Armand Kpoumie Nchare, author of a book about the Bamoun kingdom, told AFP.

“This is one of the rare kingdoms to have managed to exist and remain authentic, despite the presence of missionaries, merchants and colonial administrators,” he said.

The Bamoun kingdom, founded in 1384, is one of the oldest in sub-Saharan Africa.

To honor the Bamoun, the museum was built in the shape of the kingdom’s coat of arms.

A spider, which is over 5,000 square meters (54,000 square feet), sits atop the building while the entrances represent the two-headed serpent.

“This is a festival for the Bamoun people. We’ve come from all over to experience this unique moment,” 50-year-old spectator Ben Oumar said.

“It’s a proud feeling to attend this event. We’ve been waiting for it for a long time,” civil servant Mahamet Jules Pepore said.

The museum contains 12,500 pieces including weapons, pipes and musical instruments — only a few of which were previously displayed in the royal palace.

“It reflects the rich, multi-century creativity of these people, both in terms of craftsmanship and art — Bamoun drawings — as well as the technological innovations of the peasants at various periods: Mills, wine presses etc.,” Nchare said.

Also on display are items from the life of the most famous Bamoun King, Ibrahim Njoya, who reigned from 1889 to 1933 and created Bamoune Script, a writing system that contains over 500 syllabic signs.

The museum exhibits his manuscripts and a corn-grinding machine he invented.

“We pay tribute to a king who was simultaneously a guardian and a pioneer… a way for us to be proud of our past in order to build the future” and “show that Africa is not an importer of thoughts,” Njoya’s great-grandson, the 30-year-old Sultan King Mouhammad said.

To commemorate his grandfather’s work, former Sultan King Ibrahim Mbombo Njoya launched the construction of the museum in 2013 after realizing the palace rooms were too cramped.

The opening of the museum comes months after the Nguon of the Bamoun people, a set of rituals celebrated in a popular annual festival, joined UNESCO’s List of the Intangible Cultural Heritage of Humanity.

 
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Indio, USA — Coachella day two was heavy on alt-rock throwbacks including a highly anticipated No Doubt reunion, but it was Taylor Swift — who wasn’t on the lineup and didn’t perform — creating buzz on Saturday.

Her mere presence at the mammoth festival in the California desert set the internet alight, after she made a much-speculated appearance… as a fan, canoodling and dancing with beau Travis Kelce as Bleachers performed a rollicking set.

The rock band Bleachers is fronted by Jack Antonoff, Swift’s friend and longtime producer.

Kelce’s blocking skills came in handy as the 6’5″ (1.96 meters) NFL tight end did well to obscure his wildly famous girlfriend from view, as the couple enjoyed the show from just offstage.

Still, an AFP journalist saw the lovebirds twirling and singing along during the performance of Antonoff, who’s co-written and produced several of Swift’s albums.

Fan videos quickly started circulating online. Swift’s cameo comes less than a week before her forthcoming album, “The Tortured Poets Department,” drops on April 19.

Shortly after the Bleachers set Swift and Kelce were caught by fan cameras as they stood in the VIP section for a blazing performance from Ice Spice, the Bronx rapper who collaborated on a remix of Swift’s “Karma.”

The crowd went berserk when Ice Spice shouted out her megastar pal — but the rapper performed “Karma” on her own with a backing track, giving Swift the chance to watch a rendition of her own song from the vantage point of the crowd.

The 34-year-old billionaire is currently on break from her blockbuster Eras tour.

Some fans had speculated Swift might join friend and fellow Antonoff associate Lana Del Rey, who headlined Friday’s opening night.

There’s always next weekend, which is essentially a repeat of the first three days of the festival but usually includes a few shakeups.

Tyler, the Creator was the top-billed act Saturday, bursting onto the stage in flames from inside a camper van that was parked in a set mimicking a desert mountain scene.

The eccentric performer — who sported both Palestinian and Congolese flag pins — invited a number of special guests including Kali Uchis, Childish Gambino and A$AP Rocky.

Doja Cat is on deck to headline Sunday.

Alt-rock roots and Paris Hilton

Coachella started as a rock festival but in recent years it’s leaned increasingly into pop, rap and the Latino megastars who rule the streaming charts.

But Saturday’s lineup offered a portrait of nostalgia: No Doubt — the group fronted by Gwen Stefani — played together for the first time in 15 years.

Stefani, 54, bounded across the stage boasting the vocals of her youth, leading the crowd in singalongs of the group’s classics including “Just A Girl” and “Don’t Speak.”

English rockers Blur also took the stage, while stoner reggae rock group Sublime — the 1990s act beloved for hits including “Santeria” — drew throngs of fans to the main stage for a sunset performance featuring the late frontman Brad Nowell’s son Jakob leading the way.

Vampire Weekend made a last-minute return to the desert, having last performed there more than a decade ago.

The veteran indie rockers whose hits including “Cape Cod Kwassa Kwassa” were brought in just last week, and frontman Ezra Koenig, who sported a striped Pogues sweatshirt, told cheering fans he’d been leaning back sipping ranch water — a cocktail of seltzer, tequila and lime — in Texas when he got a text asking if they’d come on board.

The group just released their fifth album, “Only God Was Above Us,” and played a mix of fan favorites and new work, including a 15-minute honky tonk mash-up.

They also randomly brought Paris Hilton onstage to play a quick round of cornhole — a popular North American bean bag-based lawn game — as part of a giveaway of chocolate for front-row fans.

“I haven’t played this game since ‘The Simple Life,'” the cowboy-hat wearing socialite and reality TV icon quipped, a referencing to the cult mid-2000s series she starred in with Nicole Richie.

“Make some noise for ‘The Simple Life!'” yelled Koenig to laughs and applause.

 
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