The default facial expression for Minnesota Wild forward Ryan Hartman is deadly serious. Through his rapidly-growing playoff beard, you rarely see even a hint of a smile.

Since returning from an eight-game suspension that cost him most of February, Hartman has been on his best behavior, all business on the ice, and has proven to be a valuable postseason asset with his hard-nosed play.

So, it was quite a sight, with 75 seconds left in Game 5 of this entertaining first-round series with the Vegas Golden Knights, to see Hartman flashing a broad grin and doing a strut in the offensive zone. It came after he scored what briefly appeared to be the goal that would have given Minnesota a 3-2 series lead with the series headed back to St. Paul.

The goal was disallowed when reviews showed Gustav Nyquist’s skate an inch offside entering the zone. And by the time reporters talked to Hartman in the quiet postgame locker room after the Knights’ 3-2 overtime win, he was back to his default “all business” face and admitted that “no goal” was the right call.

“It’s offsides. It happens 50 times a game. Just happened to be it was on a goal,” Hartman said. “You feel bad, but (nothing Nyquist) should feel down about. It’s offsides. That thing happens throughout the game.”

And like everyone else packing up green and red socks and jerseys for a trip back to Minnesota, and a must-win Game 6, there was a laser-like focus on the next 60 minutes of hockey, and not back to the outrageous fortune that had just befallen the team and its legion of fans.

“That’s all it is. We go home and we play one hockey game at our home ice and get a win,” Hartman said. “There’s nothing else to look at. There’s nothing else to look forward to. Just one game. Go get a win.”

That was the consensus by the time the Wild were back in Minnesota on Wednesday afternoon. Forget a pair of overtime losses to a confident Vegas team that trailed in the series, 2-1, when this week began. Forget the fact that with two bounces, Minnesota would already be on to the second round, waiting to face either Edmonton or Los Angeles.

Forget everything except Thursday night, and the need to score one more than the Golden Knights and force one more trip to the desert.

“We live the life of a competitor. We didn’t win the game last night. Regardless, no matter what the circumstances were behind it … it’s behind us. We’ve got to get ready for the next one,” Wild coach John Hynes said while meeting with reporters at MSP Airport Wednesday afternoon.

As a few players did on Tuesday, Hynes offered some simple math, noting that Vegas has had six chances to win four games, and has not done so yet, winning the last two by the slimmest of margins. The Golden Knights come to Minnesota with a winning streak, but Hynes thinks that is irrelevant.

“I don’t believe in momentum. Momentum doesn’t carry game to game. Belief carries game to game,” Hynes said. “We have belief. We know we can win. We know we’re playing a good series. We know we’ve got to come out and win a hockey game tomorrow.”

To that end, the Wild are hopeful that starting goalie Filip Gustavsson can return from the illness that kept him off the ice for the third period and overtime in Game 5. And they vow to have a short memory, putting the near misses of the past two games behind them long before the puck drops with 18,000 full-throated Wild fans offering them encouragement in Game 6.

“The only thing that matters is Thursday night, and we’re gonna be ready to compete and play our ‘A’ game, and it’s gonna be loud, and that’s everything right now is the next one,” Wild defenseman Brock Faber said. “They still have to beat us, so we’re confident and we’re gonna be ready to go.”

Fans who keep an eye on Hartman during warmups Thursday will certainly see that deadly serious game face, as the veteran and his teammates attempt to use that invisible belief Hynes talks about to counteract the invisible momentum Vegas has grabbed over the past 11 periods of hockey.

And if all goes according to the Wild’s plans, if the final horn blows and there is a Game 7 to be played, look closely and one might even see Hartman offer a hint of a smile.

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By BEATRICE DUPUY, Associated Press

NEW YORK (AP) — Fashion icons like Dapper Dan, Janelle Monáe and the late André Leon Talley are known for their distinctive approaches to sartorial style — bold splashes of color, luxurious fabrics, playful construction, capes — but fashion savants and historians agree that a common thread weaves their tailored looks together: dandyism.

The history-laden style movement will be front and center as part of the Metropolitan Museum of Art’s Costume Institute spring exhibit, “Superfine: Tailoring Black Style,” kicking off with the biggest night in fashion, Monday’s Met Gala.

Inspired by Monica Miller’s book “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,” the exhibit focuses on Black style and specifically menswear from the 18th century to present day, with dandyism as a unifying theme.

What is dandyism?

Once used to describe the aristocratic style and leisurely pursuits of figures like Regency England’s Beau Brummell, dandyism has been recontextualized over the years to embody liberation and resistance through exuberant self-expression.

This evolution of the term began with the trans-Atlantic slave trade. Miller, guest curator of the Met exhibit, writes how, in the 18th century, young, dandified Black servants in England were forced to wear gold, brass or silver collars with padlocks and fine livery — uniforms for slaves and servants — that signaled their owners’ wealth.

“They wanted the enslaved person to stand out almost as if they were a luxury item,” said Jonathan Square, Parsons School of Design assistant professor and one of the advisers on the Met exhibit.

Slaves arrived in America with few or no belongings. What they had left, they treasured, be it beads or small precious objects, Miller writes.

“This is as true for those who were deliberately dressed in silks and turbans, whose challenge was to inhabit the clothing in their own way, as for those who were more humbly attired, who used clothing as a process of remembrance and mode of distinction (and symbolic and sometimes actual escape from bondage) in their new environment,” Miller explains in her book.

Stripped of their identities, enslaved people often added their own flair to their tailored Sunday best looks for church or on holidays.

Post-Emancipation, Black Americans had the chance to reclaim their autonomy and carve out new lives for themselves, paving the way for the Harlem Renaissance.

Dandyism enters a new era with the Harlem Renaissance

Black Americans fled the South for cities like Chicago, Los Angeles and New York in a period dubbed the Great Migration. From the 1920s to the 1930s, New York’s Harlem neighborhood became an influential and fertile landscape for Black cultural expression. From Langston Hughes and Zora Neale Hurston to Duke Ellington and Louis Armstrong, its prominent minds reshaped the fabric of American culture and challenged prejudiced beliefs.

The Harlem Renaissance gave fashion a soul, said Brandice Daniel, founder of Harlem’s Fashion Row, an agency that connects designers of color with retailers and brand opportunities.

“It was this birthplace of this visual identity that spoke to what we now call Black excellence,” she said.

The renaissance meant living and dressing boldly for Black Americans, pushing past societal confines and making themselves visible. Adding their own twist on mainstream looks, women donned furs and beaded dresses while men experimented with tailored fabrics, pristine fedora hats, two-toned oxfords and billowing silhouettes.

“Many of us have a photo of our grandfather decked out with the suiting, but it’s also the stance and the kind of posture and the assertion of presence,” said Tara Donaldson, co-author of “Black In Fashion: 100 Years Of Style, Influence, and Culture.”

W.E.B. Du Bois, a pivotal figure of the era who often appeared in a three-piece suit, a frock coat and top hat, understood the power of self-fashioning, said Valerie Steele, director of The Museum at the Fashion Institute of Technology. At the 1900 Paris Exposition, Du Bois mounted a photographic exhibit centered on showcasing Black Americans’ economic, social and cultural contributions to combat stereotypes.

“That kind of self-fashioning is very much a way of reclaiming a sense of self-respect that had been denied by a society that aggressively was saying, ‘No, no you can’t have that,’” Steele said.

A key, enduring look: the zoot suit

One style that arose out of the Harlem Renaissance, directly linked to dandyism, was the zoot suit. The suit, defined by high-waisted draped pants and oversized jackets with exaggerated shoulders and large lapels, was subversive simply by taking up space. Because of fabric rations during World War II, owning a zoot suit, with its excessive use of fabric, was an act of protest, Square said.

“It’s meant to be a provocation,” Square said. “But also, it’s a form of protection, covering a part of your body, sort of saying, ‘You don’t have access to this.’”

The style was quickly adopted by Mexican American and Filipino American men in Los Angeles. In 1943, servicemen and police officers attacked Black, Mexican and Filipino men in what was labeled the Zoot Suit Riots. The zoot suit lives on today in the gender-fluid designs of Willy Chavarria.

Dandyism transcends gender

Dandyism was not limited to men. Following World War I, women began breaking down fashion’s gender norms. With her tuxedo and top hat, blues singer and entertainer Gladys Bentley epitomized how women in the Harlem Renaissance blurred gender lines and adopted more masculine styles of dress.

Singer and actor Monáe, who sits on this year’s Met Gala’s host committee, is not shy about standing out on a red carpet in her tailored, playful looks. Monáe’s distinct style and flourishes with oversized hats, whimsically tailored suits and ornate bow ties personify the dandy style.

As Monáe and the rest of the starry guest list arrive in their glamorous “Tailored for You” looks, Monday will be a night to remember all the dandies who styled out before.

“Black people, Black men are finally getting their flowers for being true style icons,” said designer Ev Bravado, co-founder of Who Decides War. “It is amazing to see the ancestral work being put on display.”

The University of Minnesota’s Center for Infectious Disease Research and Policy has named the remaining members of the steering committee for its Vaccine Integrity Project.

The project is an initiative to examine how non-governmental entities can help protect vaccine policy, information and utilization in the U.S. The initiative was announced by CIDRAP Thursday. The committee is gathering feedback from professionals across the country through several sessions this month and continuing into early August.

In addition to co-chairs Dr. Margaret Hamburg and Dr. Harvey Fineberg, the eight-person committee includes Jeff Duchin, Asa Hutchinson, Mark Feinberg, Fred Upton and Anne Zink. Dr. Michael Osterholm, regents professor and director of CIDRAP, also is a member.

The initiative is supported by a $240,000 gift from iAlumbra, a foundation established by philanthropist Christy Walton.

More information on the Vaccine Integrity Project and the steering committee members can be found at cidrap.umn.edu/vaccine-integrity-project.

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By JAKE COYLE, Associated Press

NEW YORK (AP) — Martin Scorsese is a producing a documentary made with Pope Francis that will chronicle the late pontiff’s work with cinema in the global educational movement he founded before his death.

“Aldeas — A New Story” will feature conversations between Pope Francis and Scorsese, including what the filmmakers say are the Pope’s final in-depth on-camera interviews for a film. The documentary will detail the work of Scholas Occurrentes, a nonprofit, international organization founded by the Pope in 2013 to promote the “Culture of Encounter” among youth.

This image released by Vatican Media shows Martin Scorsese, left, and Pope Francis. “Aldeas–A New Story” is a new feature-length documentary and global cultural project developed by Scholas Occurrentes, the global educational movement founded by Pope Francis, in collaboration with Academy Award-winning director Martin Scorsese. (Vatican Media via AP)

Part of that organization’s work has included filmmaking under the Aldeas initiative. The documentary will show young people in Indonesia, Italy and the Gambia participating in Aldeas and making short films. Aldeas Scholas Film and Scorsese’s Sikelia Productions, which announced the documentary Wednesday, said the film is “a testament to the enduring belief that creativity is not only a means of expression but a path to hope and transformation.”

Before his death, Pope Francis called Aldeas “an extremely poetic and very constructive project because it goes to the roots of what human life is, human sociability, human conflicts … the essence of a life’s journey.”

No release date was announced for the film.

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“Now, more than ever, we need to talk to each other, listen to one another cross-culturally,” Scorsese said in a statement. “One of the best ways to accomplish this is by sharing the stories of who we are, reflected from our personal lives and experiences. It helps us understand and value how each of us sees the world. It was important to Pope Francis for people across the globe to exchange ideas with respect while also preserving their cultural identity, and cinema is the best medium to do that.”

Scorsese met numerous times with Pope Francis over the years, and their conversations sometimes informed work undertaken by the 82-year-old filmmaker of “The Last Temptation of Christ” and “Silence.” After meeting with Pope Francis in 2023, Scorsese announced that he would made another film centered on Jesus, though that project — an adaptation of Shūsaku Endō’s “A Life of Jesus” — hasn’t yet gone into production. Last fall, Scorsese produced an eight-part docudrama series for Fox Nation called “Martin Scorsese Presents: The Saints.”

Francis died on April 21 and a conclave to elect a new pope is scheduled to begin on May 7.