After helping Norway reach the quarterfinals of the 2026 FIFA World Cup, Erling Haaland returned to Norway with an unexpected travel companion, a taxidermied raccoon holding a whiskey bottle.

The Norwegian striker arrived in Oslo following Norway’s quarterfinal exit from the 2026 World Cup, but it was not only his performance on the pitch that captured attention. Photos of Haaland disembarking the team plane with the unusual piece quickly spread online, turning the animal figure into one of the most unexpected highlights of his return home.

Photo: Instagram

Known for his personality away from football, Haaland embraced the moment with humor. Shortly after the images went viral, the Manchester City forward shared a post on X joking, “It followed me home,” accompanied by a raccoon and laughing emoji.

The striker later invited fans to help choose a name for his new companion through an Instagram poll, offering options including “Cowboy,” “Ranger,” “TEX,” and “R.O.W. (Raccoon on Wheels).”

The taxidermied raccoon reportedly came from Wild Bill’s Western Store in Dallas, Texas, where Haaland had visited during Norway’s World Cup journey. Fans quickly identified the item as the “Whiskey Raccoon,” a decorative piece featuring a raccoon holding a whiskey bottle, with reports suggesting it was priced at around $750.

Beyond the viral souvenir, Haaland also arrived carrying a white and maroon Prada bag, adding another memorable detail to his post-tournament appearance. The combination of designer fashion and a quirky Western-themed purchase reflected the striker’s distinctive style and playful personality.

Haaland’s return followed a historic World Cup run for Norway. The 25-year-old played a central role in helping the team reach the quarterfinals, marking one of the nation’s strongest performances on football’s biggest stage. Although Norway’s journey ended with a 2–1 defeat against England, Haaland described the experience as life-changing.

Photo: Instagram

“It’s been quite a row, thank you for making it so special,” he wrote after the tournament, sharing his appreciation for the support he received throughout the competition.

While the raccoon may have stolen attention at the airport, Haaland’s World Cup performance remains the defining moment of his summer. His combination of elite football ability, confidence, and off-field personality has made him one of the sport’s most recognizable figures, both during matches and in the moments that follow.

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Justin Bieber has been confirmed as a headline performer for the first-ever halftime show in FIFA World Cup Final history.

FIFA announced the addition of the Canadian pop star on July 8. Bieber will take the stage on July 19 at New York New Jersey Stadium during the FIFA World Cup 2026 Final, joining an international lineup that includes Madonna, Shakira, and BTS.

Photo: Getty images

The halftime show marks a historic shift for the tournament. Burna Boy, conductor Gustavo Dudamel, and the PS22 Chorus with Coldplay are also set to perform. The production is being developed by Global Citizen in partnership with Live Nation and Done + Dusted, with Coldplay’s Chris Martin serving as curator.

FIFA said the event will focus on entertainment and impact. Proceeds from the event will contribute to the FIFA Global Citizen Education Fund, a program dedicated to education and youth football initiatives for children worldwide. More than half of the campaign’s USD 100 million target has already been collected. FIFA said $1 from each ticket sold for World Cup 2026 matches will go to the fund.

FIFA President Gianni Infantino called education “one of the world’s most important priorities” and said the halftime performance will be used to promote unity and social opportunity on a global stage.

Bieber also underscored the charitable mission. He noted his gratitude to be part of a project focused on educational access for children.

Photo: Getty images

The program will further emphasize youth and learning through appearances by characters from “Sesame Street” and “The Muppets.” Their inclusion aligns with the broader goals of FIFA’s Unite for Education campaign which seeks to leverage the tournament’s reach to advance youth empowerment and community development.

With artists spanning multiple genres, generations, and regions, the FIFA World Cup 2026 Final Halftime Show is positioned to be among the most ambitious entertainment productions in the tournament’s history, pairing sport with music and philanthropy before a global audience.

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The 79th Cannes Film Festival runs May 12 to 23 at the Palais des Festivals. With artistic director Thierry Frémaux and president Iris Knobloch at the helm. This year’s edition was marked by a reduced Hollywood presence. Frémaux, who received over 2,541 feature film submissions from 141 countries, nearly 1,000 more than a decade ago, did not seem troubled by it. “Outside of studio cinema, independent cinema continues to exist outside Los Angeles,” he said at the April 9 press conference, held for the first time at the Pathé Palace in Paris.

South Korean filmmaker Park Chan-wook (Oldboy, “The Handmaiden”) has been named jury president for this year’s Palme d’Or selection. Peter Jackson receives an honorary Palme d’Or for his body of work, a recognition that carries some irony given that no Jackson film has ever appeared in official Cannes selection.

His relationship with the festival goes back to 1988, when he brought “Bad Taste” to the Marché du Film and secured international distribution for it. In 2001 he presented 26 minutes of The Fellowship of the Ring footage at the market, helping to win over a sceptical international sales room.

Opening the festival is Pierre Salvadori’s “La Vénus électrique,” a 1920s-set romantic comedy, with Eye Haïdara serving as host of the ceremony.

Competition

Photo Credit: Instagram

The main competition carries 21 films:

• Minotaur by Andreï Zviagintsev
• Fatherland by Paweł Pawlikowski (previous Palme d’Or winner for Cold War)
• Moulin by László Nemes (director of Son of Saul)
• Sheep in the Box by Hirokazu Kore-eda
• Suddenly by Ryûsuke Hamaguchi
• Hope by Na Hong-jin (director of The Wailing)
• Autofiction by Pedro Almodóvar
• Coward by Lukas Dhont
• Parallel Stories by Asghar Farhadi
• Fjord by Cristian Mungiu
• Tales of the Night by Léa Mysius
• Gentle Monster by Marie Kreutzer
• The Dream Adventure by Valeska Grisebach
• Garance by Jeanne Herry
• The Man I Love by Ira Sachs
• A Few Days in Nagi by Kōji Fukada
• El ser querido by Rodrigo Sorogoyen
• Our Salvation by Emmanuel Marre
• L’Inconnu by Arthur Harari
• The Life of a Woman by Charline Bourgeois-Tacquet
• The Black Ball by Javier Ambrossi and Javier Calvo

Un Certain Regard

Jane Schoenbrun opens the sidebar with “Teenage Sex and Death at Camp Miasma.” The remaining 15 films in the section are:

• The Meltdown by Manuela Martelli
• La Más Dulce by Laïla Marrakchi
• Congo Boy by Rafiki Fariala
• Yesterday the Eye Didn’t Sleep” by Rakan Mayasi
• Of All Nights the Lovers” by Sode Yukiko
• Everytime by Sandra Wollner
• A Few Words of Love by Rudi Rosenberg
• I’ll Be Gone in June by Katharina Rivilis
• Ton animal maternel by Valentina Morel
• Club Kid by Jordan Firstman
• Ula by Viesturs Kairiss
• Ben’imana by Marie Clémentine Dusabejambo
• Le Corset by Louis Clichy
• Elephants in the Mist” by Abinash Bikram Shah

Cannes Première

Photo Credit: Instagram

• Night Flight to Los Angeles by John Travolta (directorial debut)
• Heimsuchung by Volker Schlöndorff
• Arioka Castle by Kiyoshi Kurosawa
• The Third Night by Daniel Auteuil
• El Partido by Juan Cabral and Santiago Franco
• Cantona by David Tryhorn and Ben Nicholas (documentary)

Midnight Screenings

• Full Phil by Quentin Dupieux
• Colony by Sang-Ho Yeon Roma Elastica by Bertrand Mandico
• Sanguine by Marion Le Corroller
• Jim Queen by Marco Nguyen and Nicolas Athane

65th Critics’ Week

The section opens with Phuong Mai Nguyen’s “In Waves” and closes with Félix de Givry’s “Adieu monde cruel.” Six of the eleven films are debut features:

• In Waves by Phuong Mai Nguyen (opening film)
• A Girl Unknown by Zou Jing (debut)
• The Station by Sara Ishaq (debut)
• Seis meses en el edificio rosa con azul by Bruno Santamaría Razo
• La Gradiva by Marine Atlan (d
• Tin Castle by Alexander Murphy
• Viva by Aina Clotet (debut)
• Dua by Blerta Basholli
• La Frappe by Julien Gaspar-Oliveri (special screening)
• Du Fioul dans les artères by Pierre Le Gall (special screening, debut)
• Adieu monde cruel by Félix de Givry (closing film, debut)

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