United News of Bangladesh

Pen pal exchanges have adapted to the digital era, but interest in traditional handwritten letters appears to be growing again, driven by a desire for more personal and meaningful communication. Decades after being paired through a now-defunct youth exchange program, one long-distance friendship was recently rekindled when a woman traveled from New Hampshire to New Zealand to deliver a gift her pen pal had requested 40 years earlier. While the organization that connected them no longer exists, similar initiatives continue to thrive. Writer Rachel Syme launched a pen pal project during the COVID-19 pandemic that drew more than 15,000 participants. She says interest remains strong, with many people — especially younger generations — seeking slower, more intentional forms of communication away from constant digital interaction. Experts say handwritten correspondence offers a tactile and mindful alternative to instant messaging. Many participants value the emotional depth and anticipation that comes with sending and receiving letters. Longtime pen pal enthusiast Julie Delbridge said such exchanges can foster meaningful, non-judgmental friendships. The International Pen Friends network has connected millions of people worldwide and has seen renewed interest in recent years, particularly among young adults. Educational institutions are also embracing letter writing. In the United States, schools and universities have incorporated pen pal projects into classrooms to encourage empathy and deeper engagement. At Villanova University, students exchange letters as part of coursework exploring communication styles, while educators say the practice helps build emotional understanding. Meanwhile, technology is offering hybrid solutions. The app Slowly mimics traditional mail by delaying message delivery, encouraging users to write longer, more thoughtful responses. Since its launch, it has attracted millions of users across more than 160 countries. Despite these innovations, advocates emphasize that the true value of letter writing lies in its authenticity and emotional connection rather than decorative elements. For many, the experience remains deeply personal and enduring. Stories of lifelong pen pal friendships highlight the lasting bonds formed through written words — connections that, even in a fast-paced digital world, continue to resonate.  

A new fashion exhibition opening alongside Monday’s Met Gala is aiming to challenge long-held ideas of beauty in art by spotlighting body types that have often been ignored. The exhibit, titled “Costume Art,” begins with familiar classical ideals, including a glittering Dolce & Gabbana gown decorated with sequins and an image of the Greek goddess Aphrodite holding a golden apple, a symbol of traditional beauty standards rooted in ancient Greek art. But curators say the goal is not to celebrate only that classical form. Instead, the show uses it as a starting point to question and expand how bodies are represented in art history. Andrew Bolton, head curator at the Metropolitan Museum of Art’s Costume Institute, said the exhibition seeks to “reclaim the body” by bringing attention to forms that have long been overlooked or underrepresented. Those include corpulent bodies, disabled bodies, pregnant bodies and aging bodies. The exhibition features around 400 items, many displayed on newly designed mannequins based on real people with diverse body shapes and conditions. One section focused on aging includes a large grey hoodie with the phrase “I’M RETIRED. (This is as dressed up as I get.),” reflecting a more casual, humorous approach to aging and identity. Bolton said the exhibition is the most body-inclusive show the museum has ever staged, and visitors attending the Met Gala will preview it before it opens to the public on May 10. The show also marks the opening of new gallery space for the Costume Institute inside the museum’s main floor, near the Great Hall. The expansion was funded in part by the Met Gala, which raised a record $31 million last year. The new space will allow fashion exhibitions to run longer, with “Costume Art” scheduled to remain on view for eight months. The exhibition pairs fashion pieces with artworks from different periods, arguing that fashion itself should be seen as art, and that art can also be understood through fashion. It begins with Grecian-inspired garments and classical imagery but gradually moves toward more diverse and modern interpretations of the human body. One section focuses on pregnancy, featuring designs that highlight and celebrate the pregnant form. Among them is British designer Georgina Godley’s 1986 “Bump and Lump” dress, which emphasizes the shape of pregnancy. It is shown alongside a rare early 20th-century sculpture by Edgar Degas titled “Pregnant Woman,” depicting a nude figure holding her belly. Another section explores larger body types and challenges stereotypes linking size with fertility or femininity. Designer Michaela Stark’s corsetry works are included, some of which are displayed on mannequins based on her own body. One piece titled “Fat Not Fertile” is paired with an ancient marble figurine of a similar body shape, highlighting changing perceptions of beauty and power. Disability is also a central focus, with different displays highlighting physical, sensory and cognitive conditions. One mannequin inspired by Paralympian Aimee Mullins wears prosthetic-style boots designed by Alexander McQueen, paired with a 1965 sculpture titled “The Amputee.” Irish disability activist Sinéad Burke is also represented through mannequins wearing adapted fashion pieces, including a Burberry trench coat and a Vivienne Westwood design. Another display features model and wheelchair user Aariana Rose Philip, presented in a seated pose wearing casual clothing with a slogan shirt. The exhibition also addresses less visible conditions, including Alzheimer’s disease. A coat by designer Nadia Pinkney incorporates patterns inspired by brain scans of her relatives who lived with the condition. It is shown alongside artwork by Willem de Kooning, whose later work was affected by Alzheimer’s. A final section explores themes of shared human experience such as aging and mortality. It includes pieces like a Vivienne Westwood jacket decorated with red beads symbolizing blood and injury, paired with historical religious artwork. “Costume Art” will open to the public on May 10 and run through January 10, 2027.

Fisher, who grew up in an Amish-rooted family before moving to Nashville and later returning home, now produces recordings and videos of musicians with Amish and Mennonite backgrounds, helping them reach audiences beyond their communities. Recently, he hosted two sold-out concerts at Ragamuffin Hall, a former Presbyterian church he purchased and turned into a performance space and recording studio in McCoysville. The shows featured Ben and Rose Stoltzfus, an Amish-background married duo whose harmonies have drawn millions of YouTube views, ahead of upcoming larger shows in Pennsylvania and Indiana. Fisher said the venue is meant to support artists whose creativity might otherwise be discouraged in conservative communities, where musical instruments and public performances are often limited. Raised in a Mennonite environment with minimal instrumental music, Fisher was influenced by his father’s love of country music and early exposure to artists like Chuck Berry and the Beach Boys, which led him into music production. After working in Tennessee’s songwriting scene, he returned home, focusing on family life and faith while expanding his recording work. Since purchasing the church in 2022, he has hosted “clean country,” bluegrass and gospel-influenced music sessions. The growing exposure of Amish-rooted musicians online is helping reshape traditional boundaries.

Croatia is preparing for its busy summer tourism season, but rising fuel prices and global tensions linked to the Iran conflict are creating uncertainty for the industry. Dubrovnik’s historic old town is already crowded with visitors from around the world, usually a sign of a strong season ahead. But officials say this year’s outlook is less predictable. Tourism is a key pillar of Croatia’s economy, heavily reliant on foreign visitors. While arrivals have increased so far, authorities warn that higher fuel costs could push up airfares and slow travel demand in the coming months. Miro Draskovic, head of the Dubrovnik Tourist Board, said the US market remains stable, but some Australian tourists are facing difficulties travelling to Europe. “The situation is very challenging, and we are monitoring developments closely every day,” he said. Despite concerns, early indicators are positive. Dubrovnik Airport reported a 13 percent increase in passenger numbers during the Easter period compared to last year. The city remains lively, with busy streets and tourist boats along the coast. Dubrovnik, a UNESCO World Heritage site, is known for its medieval architecture, seaside setting and historic landmarks. Its popularity surged further after being featured in the television series “Game of Thrones.” However, the city could be more vulnerable than other parts of Croatia if the fuel crisis worsens, as about 80 percent of its visitors arrive by air. Airport spokesperson Marina Ruso Mileusnic said officials are approaching the upcoming season with caution, despite connections to around 70 global destinations. Forecasts remain mixed. Earlier in April, International Energy Agency chief Fatih Birol warned Europe could face a major jet fuel shortage within weeks. But this week, EU Transport Commissioner Apostolos Tzitzikostas said there is no clear evidence of such shortages and encouraged people to continue planning holidays. Some travellers are already adjusting. Singapore-based businessman Ramon Padiernos said he had to switch airlines due to the Middle East situation but still travelled to Dubrovnik. “People may feel the impact of higher oil prices, but most still go ahead with their travel plans,” he said. Beyond tourism, the energy crisis has also pushed up inflation in Croatia, which reached 5.8 percent in April, among the highest in the European Union. Croatia welcomed nearly 22 million tourists last year. Out of about 110 million overnight stays in 2025, Dubrovnik alone accounted for more than 4 million, according to official data. Draskovic said hopes remain that conditions will stabilise soon. Until then, he said authorities will continue working day by day to ensure the best possible tourism season.

Two decades after the original hit, ‘The Devil Wears Prada 2’returns with the same charm, fashion flair and star power, but struggles to match the sharp storytelling that made the first film iconic. Meryl Streep, Anne Hathaway and Stanley Tucci reprise their roles, while Emily Blunt, once a lesser-known name, now returns as a full-fledged star. The cast slips back into their characters with ease, giving the sequel its strongest appeal. Nostalgia and high-fashion glamour also add to the attraction for fans of the 2006 film. However, the film’s story feels less sharp. While the original thrived on the tense relationship between a demanding boss and her inexperienced assistant, the sequel shifts focus to a changed media and fashion world, where digital influence and corporate struggles dominate. The story follows Andrea Sachs, played by Hathaway, who is laid off from a newspaper job after receiving an award for investigative journalism. Around the same time, Runway magazine is struggling to stay relevant in a digital-first world. After a major PR crisis involving a fashion brand, Andrea is brought back into Runway’s orbit, setting up a complicated professional reunion with Miranda Priestly. The film adds further corporate drama as ownership changes and new power players enter the scene, including a tech-focused executive and Emily Blunt’s character, now working in the luxury fashion industry. Subplots involving media influence, brand reputation and corporate takeover give the sequel a more modern backdrop. Despite these updates, critics may find the emotional impact weaker than the original. The intense boss-assistant dynamic that defined the first film is largely replaced by a more polite, less tense workplace environment. Even Miranda Priestly appears softer, with fewer of the biting remarks that once defined her character. The sequel also leans heavily on cameos, international locations and multiple side characters, which at times distract from the main narrative. While it attempts to reflect today’s media and fashion industries, it loses some of the tight focus that made the original so engaging. Overall, ‘The Devil Wears Prada 2’ offers style, nostalgia and strong performances, but its story does not carry the same weight as its predecessor. The film runs for 119 minutes, is rated PG-13 for strong language and suggestive references, and earns two stars out of four.

When people think of Africa, images of heat, savannas and wildlife often dominate imagination. But tucked away in southern Africa is a rare exception— Lesotho, a high-altitude, landlocked country entirely surrounded by South Africa. Often called the “Kingdom in the Sky,” Lesotho stands out as the only country in Africa where all land lies above 1,000 metres, making it the continent’s coldest nation. Snowfall and freezing temperatures are common between May and August, particularly in the Maluti Mountains, where winter temperatures can drop below minus 10 degrees Celsius. In some high-altitude areas, snow and ice are frequent, allowing for rare winter sports like skiing and snowboarding on the continent. Historically, the region was inhabited by Khoisan-speaking hunter-gatherers before the Sotho people unified the territory under King Moshoeshoe I in the early 19th century. Lesotho later became a British protectorate and gained independence in 1966. Since then, the country has faced political instability, economic challenges and persistent poverty, with heavy reliance on neighbouring South Africa for trade and access to global markets. Despite its challenges, Lesotho has pursued modernisation efforts since the 1990s. Tourism and diamond mining have emerged as key economic sectors, while the capital Maseru has expanded as an urban centre. The country is one of only three in the world, along with Vatican City and San Marino, that is completely surrounded by another nation. The country experiences a seasonal climate, with most rainfall between October and April. Weather conditions vary sharply with altitude, with summer highs reaching around 32°C in lowlands, while winter temperatures in highland areas can fall below minus 18°C. Frost is widespread, and the Maluti Mountains are often snow-covered in winter. Its landscape is largely dominated by grasslands and mountains, though overgrazing and soil erosion have damaged natural vegetation in many areas. Conservation efforts, including reforestation, have had limited success so far. Wildlife populations have also declined significantly over time due to hunting and habitat loss. Large species such as lions, zebras and wildebeests have disappeared, though smaller animals like antelopes, hares and hyraxes still exist. Protected areas such as Sehlabathebe National Park preserve endangered species including the bearded vulture and mountain reedbuck. Lesotho’s population is predominantly Basotho, a group with strong cultural unity rooted in the legacy of King Moshoeshoe I. Smaller communities include Zulu-origin groups, people of mixed or Asian heritage, and a limited number of expatriates. The country has also gained global cultural recognition. Its dramatic mountain scenery and cultural elements, including the traditional Basotho blanket, influenced the design of the fictional African kingdom Wakanda in Marvel’s Black Panther. The film’s costume designers drew inspiration from Lesotho’s landscape and clothing traditions to shape its visual identity. Tourism is further boosted by Afriski Mountain Resort, one of only two ski resorts in sub-Saharan Africa. Located at around 3,050 metres in the Maluti Mountains, it offers skiing and snowboarding between June and August, along with year-round adventure activities such as mountain biking, hiking and trail running. With its snow-covered peaks, unique geography and rich cultural identity, Lesotho remains one of Africa’s most unusual destinations, challenging common perceptions of the continent while continuing to attract global attention.  #From NDTV

Actress Preity Zinta has revealed that a simple, disciplined lifestyle is the key to her glowing skin, saying she avoids smoking and alcohol, drinks plenty of water and sticks to basic skincare. Responding to a fan on social media, Zinta said her skincare routine is minimal and focuses on natural care rather than expensive or harsh products. She said she regularly uses sunscreen, chooses clean products and avoids strong ingredients like retinol, while also keeping makeup to a minimum so her skin can breathe. The actress also said, skincare goes beyond what is applied externally. She stressed maintaining a balanced diet, regular exercise, proper sleep and managing stress, describing them as game changers for healthy skin. She advised avoiding smoking, alcohol and unhealthy foods, noting that these can speed up skin ageing and affect overall health. Zinta also pointed out that habits like smoking, drinking alcohol and consuming inflammatory foods can speed up ageing and damage the skin, advising people to avoid them. She added that staying hydrated is crucial, saying she drinks plenty of water and focuses on staying active and positive. “Stick to the basics and be consistent,” she said, adding that simple habits can bring long-term results both in skincare and in life. She is now 51 and a mother of two, continues to impress fans with her youthful appearance. She gained wide recognition for her role in Veer-Zaara and remains active in public life, often sharing lifestyle tips with her followers. With inputs from NDTV

China’s southern island province of Hainan has recorded strong growth in offshore duty-free shopping over the past 15 years, with total sales reaching 286.4 billion yuan, according to local customs authorities. The sales volume includes around 347 million items since the policy was introduced in April 2011 to boost tourism and consumer spending. Over the years, the policy has been revised and improved several times to expand its scope and attract more shoppers. At present, Hainan has 12 offshore duty-free stores operating across the island, reflecting the steady expansion of the programme.

More than three decades after 13 priceless artworks were stolen from the Isabella Stewart Gardner Museum in 1990, the case remains unsolved, with the missing pieces now valued at over $500 million. The robbery is still considered the largest art theft in history, far exceeding other museum heists. In 2013, the Federal Bureau of Investigation said it had identified those responsible but never publicly named them, keeping speculation alive. A former FBI investigator, Geoffrey Kelly, has now shared new details in his book “Thirteen Perfect Fugitives,” outlining how authorities tracked the stolen artworks through criminal networks. He also identified suspects he believes were involved and revisited key evidence, challenging long-held theories. The museum itself was designed to remain unchanged after the death of its founder, Isabella Stewart Gardner, in 1924. Today, the empty frames of the stolen paintings still hang on the walls as a reminder of the crime. The theft took place in the early hours of March 18, 1990, shortly after St. Patrick’s Day celebrations. Two men posing as police officers tricked security guards into letting them inside. They tied up the guards and stole several major works, including paintings by Johannes Vermeer and Rembrandt, along with pieces by Edgar Degas and Édouard Manet. The thieves also took a decorative Napoleonic eagle finial and security tapes, puzzling investigators. The museum later offered a reward, eventually raising it to $10 million, for information leading to the recovery of the artworks. Over the years, investigators followed numerous leads, including possible links to the Irish Republican Army and Boston’s underworld figures such as Whitey Bulger. Agents even carried out undercover operations abroad, but none led to the recovery of the paintings. The case has been complicated by violence. Several individuals suspected of having links to the robbery were killed or died under unclear circumstances. Among them was Robert “Bobby” Donati, a known mob associate, who was found murdered in 1991. Another suspect, George Reissfelder, also died under suspicious conditions, and a painting believed to have been in his possession later disappeared. Investigators believe the crime may have been connected to a local criminal network in Boston, but a lack of solid evidence made it difficult to bring charges. Limited resources in the early stages of the investigation also slowed progress, as authorities were focused on other major crimes at the time. There were also suspicions about a possible insider role. One museum guard, Rick Abath, was questioned after reportedly opening a door against protocol shortly before the robbery. However, no charges were filed, and he denied any involvement before his death in 2024. Kelly described the missing artworks as “perfect fugitives,” noting that unlike people, they leave no trace and can remain hidden for decades. Despite many false leads over the years, including sightings in private homes and antique shops, none of the stolen pieces have been recovered. Because the artworks are so well known, experts say selling them openly is nearly impossible. While stealing them may have been easy, turning a profit remains the biggest challenge. Still, Kelly believes the paintings are likely still out there and could one day resurface.

For decades, the 1990 theft of 13 artworks from the Isabella Stewart Gardner Museum — now valued at more than $500 million — has remained unsolved. It remains the largest art theft in history — far surpassing more recent museum thefts, including a daylight heist at the Louvre involving far fewer works that was resolved more quickly. In 2013, the FBI said it knew who was responsible for the Boston museum heist but declined to name them, fueling speculation that persists today. A former FBI agent who led the investigation for more than two decades is now offering the first detailed account of how investigators reached that conclusion — and publicly identifying the men he believes were involved. In a new book, “Thirteen Perfect Fugitives,” Geoffrey Kelly traces how the artworks moved through criminal networks, where violence took the lives of key suspects and witnesses, and challenges long-circulating theories by revisiting key details. The irony at the center is Gardner’s intention for the museum to remain frozen in time, stipulating in her will that nothing in the Venetian palazzo-inspired building would be changed after her death. Gardner, who lived in the museum and died there in 1924, intended for the paintings, sculptures and architectural fragments to remain exactly as she had arranged. The empty gilded frames of the missing paintings still hang in the museum today — silent witnesses to what was taken. The art heistEarly on March 18, 1990, as Boston wound down from St. Patrick’s Day celebrations, two men dressed as police officers arrived at the museum and persuaded a security guard to let them in, violating protocol. The men handcuffed the guards in the basement and made their way to the museum’s Dutch Room, where they cut Vermeer’s “The Concert” and Rembrandt’s “Christ in the Storm on the Sea of Galilee” from their frames, also taking works by Degas and Manet. They also took a Napoleonic eagle finial — a decorative metal piece of comparatively little value that investigators later found puzzling — and the museum’s security videotapes. The museum offered a $5 million reward that they then doubled a decade later for information leading to the recovery of the works.