
Exploring Berlin, Germany: Where to eat, what to see, where to stay
Berlin is home to bureaucrats and hedonists, lobbyists and artists, lovers of techno and devotees of classical music. The city's turbulent 20th-century history is visible in the bullet holes on facades, the graffitied remains of the Berlin Wall and the monotonous residential blocks erected during the post-World War II reconstruction. But Berlin's younger generations are forward-looking, and its restaurants, bars and clubs are focused on the newest trends. A sprawling city, Berlin is decentralised, with dozens of kieze, or neighbourhoods, each with its own character and heart: From Prenzlauer Berg, with pretty prewar apartment blocks and tchotchke-filled antique shops, to Kreuzberg, with leather-clad denizens and brightly lit spatis, convenience stores that stay open late and sometimes offer outdoor seating. The best time to visit Berlin begins in spring, when the city's outdoor spaces are bustling with activity into the wee hours. This year, the Museum Island's 200th anniversary shines a light on some of Berlin's oldest cultural institutions, while new restaurants and bars offer plenty of fresh opportunities to explore.
FRIDAY
4pm | Learn about modern art
At the Neue Nationalgalerie, or New National Gallery, the main exhibition, on view indefinitely, showcases art from 1945 to 2000. Short essays provide context on cultural, economic and political shifts during those periods. Lucio Fontana's slashed canvas hangs next to a text about the 1950s economic boom and a throwaway society, and a video of Marina Abramovic's 1975 performance Freeing the Body plays alongside an essay on oppression, objectification and liberation. The Gerhard Richter exhibition, on view until September 2026, includes one of the artist's most famous works, Birkenau, a meditation on the Holocaust. The museum leans into interactive activities. In the main exhibition, a machine with a hand crank pops out postcards with assignments — for example, to find a human-shaped sculpture and sketch its point of view. Grab a pencil and get going! Entry to all exhibitions, 20 euros (US$22; S$29)
6.30pm | Decompress with drinks and music
Take a mental bath at Unkompress, a listening bar in a quiet residential section of the trendy Kreuzberg neighbourhood. In this minimalist space, the focus is on music. An entire wall is dominated by a unit featuring an audiophile's dream setup: Two turntables, massive Cornwall speakers and a collection of 300-plus records. Settle back and let jazz, funk, disco, '90s downtempo or other soothing tunes wash over you as you sip natural wine, craft beer or mezcal (7.50 euro for a glass of house wine). A handy chart on the menu plots drinks according to fruitiness, minerality, fanciness and eccentricity. As in many newer bars in Berlin, there are plenty of non-alcoholic wines and beers. Check the bar's Instagram for its event schedule, which includes DJ gigs, artsy workshops and bring-your-own-vinyl evenings.
8.30pm | Dine on elevated German cuisine
Given its dark wood panelling, stately bar and red candles, Marktlokal appears to be an upscale, tradition-bound restaurant. But this is Kreuzberg, and the friendly waitstaff with pink-dyed hair and chokers immediately dispel any fears of snobbishness. The food, too, rides the wave between old and new, with beloved German ingredients refreshed through the chef's imagination. White asparagus, a popular seasonal vegetable, is enlivened by hazelnut and fermented wild garlic, while beef tartare is deepened with smoked oyster mushroom mayo and Sichuan pepper. The wine list offers mostly natural options. Don't miss dessert, which rotates like the rest of the menu and recently included caramelised bananas with vanilla ice cream, walnuts and caramel sauce (dinner for two, around 120 euros).
11pm | Bop the night away
Berlin's club scene is world-renowned, but it can be intimidating. If you've got the dancing bug, check the Resident Advisor website for DJ lineups at clubs around the city. Buy tickets if possible — this will help if there's a long line. Test your luck at Berghain, a world-famous club inside a former power station, notorious for its exclusivity. To increase your chances of entry, come alone or in a small group, speak quietly while in line, and wear an all-black outfit that looks fit for a dance floor. Friday nights at Berghain's Panorama Bar are chiller, with a friendlier vibe at the door. Cash-only inside. For an easier entry, head to Sameheads, where the bar upstairs is decorated in raunchy neons and the downstairs dance area is in a graffiti-covered room. The music ranges widely and might include Italo disco, trance, house and dark techno. For a grungy experience, consider Renate, inside an abandoned building. The club, a Berlin institution since 2007, will close at the end of 2025 because of rising costs.
WHERE TO STAY
Hotel de Rome, a 145-room, five-star hotel that was a bank in the 1880s, has one of the best locations in Berlin: Its windows look directly onto the pink-hued Berlin State Opera. An open-air roof bar also provides city views, and an Italian restaurant, Chiaro, offers inventive Italian dishes and a leafy garden terrace. The basement — formerly used as the vault — is home to a spa with saunas and a pool. Rooms start at 450 euros, or US$512.
Ginn City & Lounge Yorck-Berlin sits at the intersection of two neighbourhoods worth exploring: Friedrichshain-Kreuzberg, full of trendy restaurants, bars and boutiques, and Tempelhof-SchOneberg, home to several popular parks, including Tempelhofer Feld and Natur Park Schoneberger Sudgelande. From the hotel, attractions like the New National Gallery and the Museum Island are a short ride on public transit. A bar offers standard cocktails and there's a rooftop terrace. Rooms start at 114 euros.
The newly opened Bellman Hotel is a short walk from the many cafes, bars and restaurants of the Neukolln neighborhood. The rooms are stylish and comfortable and there's a satisfying breakfast buffet offering cheeses, fruits, and vegan and non-vegan sweet treats. The hotel has a gym as well as a restaurant. Rooms start at 75 euros.
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Start the day with a flaky, chewy chocolate croissant and a coffee at Symple, a cafe with spacious outdoor seating shaded by a large tree in the charming Prenzlauer Berg neighbourhood. Afterward, stroll around the Kollwitzplatz Weekly Market, where toddlers zoom by on scooters and friends in black leather gather for a quick bite. The goods on sale blend tradition — organic honey, oversize wool blankets, woven basket bags — with unexpected finds like vulva-shaped soaps and genderless jewellery. The surrounding area is known for its antique shops and boutiques. For a quirky souvenir, visit kunst-a-bunt, where you'll find prints, colourful egg cups and treasures like a 1924 silver tea strainer. Pop over to abricot coco, a clothing shop, for sustainable basics in comfortable, airy cuts produced in Latvia and Portugal.
10.30am | Pay a visit to East Germany
Dive into the history of East Germany, or the German Democratic Republic, at the state-funded Museum in der Kulturbrauerei, where entry is free. There are 800 objects in the Everyday Life in the GDR exhibition, with a large section dedicated to the connections among factory work, personal life and the state. A rhyming public service announcement warns about the risks of drinking on the job and a small alcove is filled with remnants from a nursery inside an enormous factory complex. The exhibition also reveals how people spent their money, where they went on vacation, which newspapers and magazines they read, and the kinds of clothes they wore. Furniture and decorations interspersed throughout the space — doilies, laminated wood cabinets and plastic chairs — evoke the sensation of traveling back in time.
12pm | Pit stop for kebab
As you leave the Kulturbrauerei, you might see a line on the block and hear reggaeton and rap. Follow the music to its source, Ruyam Gemuse Kebab 2, one of the fast-food shop's two locations, to taste a famous Berlin dish: Vegetable kebab. Graffiti is scrawled on the walls and the friendly staff — who shout their thanks every time a visitor leaves a tip — give the entire operation the feeling of a party. The sandwiches are filling and tasty: Fluffy bread is stuffed to the brim with sliced chicken — a vegetarian option skips the meat — along with fried potatoes, onions, carrots, lettuce, fresh herbs, lemon juice and garlic sauce (6.90 euros, cash only).
2.30pm | Discover thousands of years of art history
Museum Island, a UNESCO-protected site celebrating its 200th birthday with five years of events starting at the end of May, is home to six buildings showcasing art and artifacts. In an area that's less than half a square mile, discover a 3,300-year-old bust of Queen Nefertiti attributed to Thutmose, paintings by Monet and Renoir, and a collection of Etruscan objects. The Panorama, a temporary exhibition in place while the Pergamon Museum, one of the six buildings on the island, undergoes renovation, immerses visitors in an enormous artwork that depicts the ancient city of Pergamon in 129 AD. At the Altes Museum, the first museum built on the island, find funerary sculptures, bronze cauldrons, mummy portraits and other remains of classical antiquity. The Garden of Delights exhibition has a Berlin flavour with ancient depictions of people engaging in erotic Not Safe for Work activities (ticket for the island and the Panorama, 24 euros).
5pm | Have dinner before the opera
Set on a bustling block, JOMO Restaurant offers spacious outdoor seating, ideal for people-watching on a weekend evening. Inside, the space is airy and chic, with rustic wooden floors, a smattering of plants and red rugs, and a glass-enclosed kitchen in the centre. The menu runs the gamut with dishes like carbonara udon with French ham, smoked trout tartare with cauliflower, and Sicilian-style tuna and salmon crudo. The sweet-cheese croquettes with dulce de leche mousse and berry sauce are reminiscent of a beloved Slavic dish called syrniki and are a nod to two of the owners' Ukrainian roots. The milk punch, made with clarified coconut milk, pineapple juice and rum, tastes like a tropical vacation. On the non-alcoholic front, the 'condensed lime' drink is tart and refreshing (dinner for two, 80 euros).
7pm | Catch a classical performance
Since opening nearly 300 years ago, the Berlin State Opera has hosted some of history's best-known conductors, including Felix Mendelssohn, Richard Strauss and Wilhelm Furtwangler. The opera has been rebuilt several times; its most recent renovation was completed in 2017. With a neo-Classical exterior, three-tiered auditorium and red velvet seats, the opera is — to put it simply — grand. The current season includes Sacre, a ballet with music by three composers, Cassandra, a contemporary opera about the climate crisis by Bernard Foccroulle, and Verdi's 1853 opera La Traviata (tickets start at 12 euros).
SUNDAY
10am | Load up on a nutritious brunch
The sisters Xenia and Sophie von Oswald mix and match Persian, German and Australian influences at rocket + basil, an easygoing, no-reservations eatery near the busy Potsdamer Platz, with exposed brick walls painted mint green inside. This is the place to load up on fibre, with a weekend menu that includes an omelette filled with butternut squash and leeks, then topped with a kale and sesame salad, or a thick sourdough toast piled high with cannellini beans, roasted radicchio and hazelnuts, with dill sprinkled on top. For a sweet option, try the mascarpone pancakes, served with caramelized bananas, maple syrup, pistachio butter and barberries. If you have space left, grab a baked good at the counter; the moist pistachio-rosewater cake and the tahini-halva brownie are equally delightful (brunch for two, 40 euros).
12pm | Catch your breath by a lake
The secret to enjoying the warmer months of the year in Berlin is to head for the city's lakes. The cool waters and lush greenery encircling the city — about one-fifth of Berlin is forested — are nearby and free. With 3,000 lakes in Berlin and its adjacent state, Brandenburg, choosing one can be difficult. Fortunately, the city's tourism agency provides a useful map showing 32 options and how to reach them. Wannsee, Schlachtensee and Krumme Lanke, in the city's southwest, are 40 minutes to 60 minutes away from the centre and offer plenty of opportunities for swimming, sunbathing (clothed or nude), taking nature walks, playing volleyball and table tennis, and renting paddle boards and boats. If you're in the mood for art, the Haus am Waldsee, a museum in an English countryside-style villa, is a 15-minute walk from Schlachtensee and showcases contemporary works (entry, 9 euros).
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Why did it take so long to introduce a complicated watch for women? That's a very good question. I've believed in complicated watches for women for many years, but it wasn't easy convincing the commercial team. They were focused on selling more traditional feminine pieces – usually set with diamonds – because that's what had always worked. When we introduced the Annual Calendar for ladies in 1996, it was well received, but it still leaned toward a dressier aesthetic with diamonds. Every time we developed a women's watch, we felt the need to add diamonds. But times have changed. Today, there's a growing number of women, who truly appreciate complications not as collectors, but as daily wearers. They're not necessarily looking for something ornate or dressy. They want pieces they can wear confidently throughout the day without compromising on mechanical sophistication. I'm proud of what we've created. It's a true daily watch, designed for the woman who understands the craft, beauty, and technical excellence behind a Patek Philippe timepiece. And the fact that it's powered by an automatic movement is very important. Most women, like many men, don't want to hand-wind their watches every day. It's just more practical. There was also some hesitation about the pricing. Traditionally, many of these watches were gifted by husbands or partners, but once the price passed a certain threshold, the conversation would shift to: 'Oh, $100,000?! That's too expensive.' Meanwhile, these same men wouldn't hesitate to buy a Ferrari or Porsche for themselves. However, things are evolving. Many women today are buying their own watches. They're successful in their careers, know what they want, and they have the means to invest in something exceptional. 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We've been organising dedicated Cubitus events, including an upcoming one for Southeast Asia, specifically to attract a new generation of collectors. And so far, it's working well. Yes, launching the Cubitus was a risk, but it was a calculated one and I was confident from the very beginning that it would succeed. At Patek Philippe, we have to surprise people. Our clients expect bold creativity and innovation from us. I don't see myself, or the brand, as a follower. We must always remain at the forefront of design, and that often means taking bold steps. Developing the Cubitus wasn't easy. In the early stages, we went through many sketches. But the moment I saw the first ones, I knew we had something special. Today, I'm very pleased to say it's a success. It shows the world that taking a chance can absolutely pay off, as long as it's done right. The Cubitus wasn't created as a one-off – it was conceived from the start as a full-fledged collection. 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Earlier this year, a rare 1948 Reference 1518 emerged with a price tag of US$20 million (S$25.8 million). Should it reach the asking price, it would be the most expensive watch privately sold outside a charity auction. What are your thoughts on the extraordinary auction figures for Patek Philippe timepieces? It's definitely a nice reward in many ways and we're proud of it. Seeing Patek Philippe watches reach such high prices at auctions is more than about prestige; it shows that people truly appreciate and understand the enduring value of fine watchmaking. It contributes to the brand's success and, personally, it's very motivating for me and my entire team. I often remind them: This is why we have the responsibility to continue developing and crafting the finest watches in the world. It's not easy, because perhaps one day, a watch made by someone on the team today will be auctioned 50 or even 100 years from now. That's a powerful form of internal motivation and a meaningful way to communicate our purpose within the company. There's a real sense of joy and pride in knowing that our watches retain such strong value over time. One of the things I value most is that every single Patek Philippe watch, even one dating all the way back to 1839, can still be repaired or restored today. That's a major reason collectors have so much confidence in the brand. We not only fix a watch, but restore it using the same tools, same techniques, and even the original stock parts, whether it's a bridge, gear, or wheel. When a watch is restored, it's done so as it was originally made. That authenticity and continuity are priceless. And of course, there's the trust that comes from being a family-owned company. We're not part of a conglomerate, and I believe that matters greatly to our clients. If Patek Philippe were ever sold to a large group, I don't know what would happen to the value of these timepieces. What I do know is that many collectors would be disappointed and some might even walk away from the brand. That's why I say we've a responsibility not just to maintain quality, but to protect the legacy. We're not chasing numbers. To be honest, I don't track financial figures weekly or even monthly. I focus on how many watches are being crafted because when the quality is there, the figures will follow. In a crowded high-end watch market with brands pushing bold designs and complex innovations, how does Patek Philippe maintain its distinctive identity? It comes down to experience. I've been working at Patek Philippe for over 30 years, and from the very beginning, I've been involved in design. That's something I believe is vital – the family must play a role in the creative process. There are two reasons for this. First, it's the most enjoyable part of the job. The creative side is where I find the most fulfilment. But more importantly, it allows us, as a family, to transmit the DNA of the brand and to set the limits of how far we can go. This understanding of when to push boundaries and when to hold back only comes with experience. My father taught me that, and now I'm passing it on to my sons, Adrien and Tristan. This ability to adapt while maintaining our identity is what distinguishes us because not everyone can do this. A good example is the Reference 6159G Retrograde Perpetual Calendar. Why did I change it? Because I noticed the interest for the white dial version was declining. So, I reimagined it. Today, it features a bold sapphire dial – aggressive, modern, yet still unmistakably Patek Philippe. And it has been a huge success. These decisions are calculated, not accidental. There's a lot of know-how that goes into this reference. The new dial is very expensive and difficult to produce, but we take that on because we know it's worth doing so. Striking a balance between tradition and innovation is what keeps us relevant. After several years of introducing bolder designs, I decided it was time to return to something very traditional: The manual-winding Calatrava with an opaline rose-gilt dial. It was a deliberate move, and collectors are delighted because they haven't seen something like that in years. This experience gives us an edge in a competitive market. I know the product, the trade, and when to take the right kind of risks. Many other brands either go too far – so far that people don't connect with the product – or they don't go far enough, and end up releasing what's essentially the same watch with a different crown or dial colour. That's not innovation. At Patek Philippe, we innovate meaningfully, whether that's through bold aesthetics or technical mastery, like this year's Reference 5308, a grand complication with a blue dial. Was it a risk to move away from the traditional look? Perhaps. But it works – it's striking, legible, and well-balanced – hallmarks of what we stand for. Of course, the movement remains essential. People know our reputation for mechanical excellence. That's a core part of our identity, and we protect it carefully. To ensure this legacy continues, I've begun involving Adrien and his brother in design meetings. Even if they're just observing for now, it's important that they listen, absorb, and start forming their own perspectives. That knowledge stays with you. Looking to the future, what do you see as the next frontier in terms of technology, artistry, or philosophy? I believe one of the key frontiers is technology, specifically in materials. Not in terms of design aesthetics, but in how new materials can enhance the precision and reliability of movements. There's tremendous potential for evolution in this area. At Patek Philippe, we already have many exciting ideas for new movements. The concepts are there – some are already on paper – but at the moment, the tools, machines, and materials needed to actually produce them don't yet exist. That's why staying at the forefront of technology is so important. It enables us to bring those innovations to life when the time is right. What makes us unique is our ability to combine traditional craftsmanship with cutting-edge technology. I have watchmakers who work exactly as they did 100 years ago – step by step, by hand – and I also have state-of-the-art equipment in the same building. That balance is essential. Without this mix, we wouldn't be able to evolve or meet our current level of production. Producing 72,000 watches a year, all at the same uncompromising standard of quality, is a great challenge. Compared to some other brands, that number might seem modest, but at our level of craftsmanship, it's a major achievement. And if we were doing it entirely by hand, it simply wouldn't be possible to maintain that consistency. We're human after all. Some days we feel great, others not so much, and that affects the quality of manual work. That's why blending human skill with precision technology is so critical in what we do. As the fourth-generation leader of Patek Philippe, how do you see the brand evolving under the next generation of leadership? It's still a bit early to say definitively, as Adrien has only just started, and his younger brother is still finishing university. What's most important is that I'm able to pass on a company that's well-organised and surrounded by truly talented people – that's the real key to success. We're not geniuses, and I don't pretend to be one either. My ideas around design or commercial strategy come from years of experience, but none of it would matter without the people behind the scenes. I couldn't build a single watch on my own. That's why it's essential to pass on not just the brand, but a strong, stable team across all divisions. With that foundation, it's very hard to go wrong. I'm confident in the next generation because they already know many of these people, and they'll learn the rest. If they have the motivation and passion, which I believe they do, then the future is bright. But that passion is essential. You can't run a company like Patek Philippe if you don't love watches or design. People notice right away if your heart isn't in it. My role is to support them when needed, just as my father supported me. They need to grow and take responsibility in their own time. That said, it's just as important to stay grounded. In this industry, there are people who let success go to their heads and walk with their noses in the air. I don't like that. Stay humble. Be kind and polite. Be respectful. That's how you earn respect from others. It's not about instilling fear – real leadership inspires, it doesn't intimidate. I hope my sons will understand and embrace that philosophy. What is the secret to Patek Philippe's success? Our independence is the secret to Patek Philippe's success. We have more than 2,000 people working under one roof in our new factory and that means I can maintain stability within Patek Philippe. I don't have a marketing team from a large group telling me what I can or cannot design. When I design a watch, I don't start with a price in mind. I don't care about that; I just try to make the best timepiece possible. We only calculate the price afterward. Some watches are extremely expensive to produce, and sometimes we have to make two just to get one that meets our standards. That's the level of complexity we're working at. And I always tell our production team: if you can make every single component perfectly on the first try, then it's not a Patek Philippe. We operate at the edge of what's technically possible. That means sometimes we fail and that's okay. It's part of creating something extraordinary. If you're not failing, you're not pushing hard enough. Failure teaches you. It gives you experience. And only with experience can you create a truly exceptional product. If you could design your dream watch with no limitations, what complication or aesthetic would it feature? To be honest, that's what I do every year. I never place limits on what we can design and that's what I love most about my role. But what I love most, perhaps even more than complications, are the pieces from our Rare Handcrafts collection. These are truly special as they represent a centuries-old tradition that we're committed to preserving. It's not something we do for commercial reasons. In fact, these pieces are incredibly expensive to produce, the margins are minimal, and they don't make a significant impact on our overall revenue. But the credibility, pride, and joy they bring to us and to our collectors are immeasurable. When I see the happiness of a client, who receives one of these handcrafted pieces, that's when I know it's all worth it. Each piece is a labour of love, be it an intricately engraved pocket watch or hand-painted dome clock. And I enjoy pushing boundaries with them, experimenting with wood marquetry, enamel work, and miniature painting. Sometimes we create pieces that are so intricate and time-consuming, they should go straight to our museum. But of course, we do make a few available for collectors. Take, for instance, our latest wood marquetry dome clock. It's priced at CHF640,000 (US$778,000; S$1 million) and to be honest, we make almost no profit on it. It took an immense amount of time and effort to develop, and we failed many times before getting it right. Some might say the price is crazy, but in reality, it's fair. Other brands might charge two or three times as much for a similar piece, but I prefer to price it according to the true value of the work. This is a lesson I'm also passing on to Adrien. Yes, it'd be easy to raise prices and take advantage of demand. We could sell every dome clock for half a million, or price the marquetry one at CHF2 million and someone would buy it. But we'd lose our credibility and in the long run, that'd damage Patek Philippe far more. That's why we do things the way we do – why we're still independent, respected by our clients, by our retailers, and even by our competitors. Because in the end, that respect is what truly matters.


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- CNA
Djokovic hits French Open ton, Sinner sublime, Bublik stuns Draper
PARIS :Three-times champion Novak Djokovic reached a century of wins at the French Open in a straight sets victory against Cameron Norrie on Monday and top seed Jannik Sinner produced another masterclass to also blaze into the quarter-finals. Men's fifth seed Jack Draper bowed out though, as did women's third seed Jessica Pegula who was stunned by world France's world number 361 Lois Boisson. Serbian Djokovic, the sixth seed, looked serene in outclassing Britain's Norrie 6-2 6-3 6-2 to edge closer to a record-breaking 25th Grand Slam title. Djokovic became the second man to win 100 matches at the Paris Grand Slam after retired 14-times champion Rafael Nadal (112), to set up a last-eight clash against Alexander Zverev. "It's a number which is very good and nice, but a 101st win is even better," Djokovic, who won the Olympic gold medal last year in Paris to complete his trophy cabinet, told the appreciative crowd in fluent French. "It's not finished for me here the tournament and I feel very good and good to make history here. I hope there will be another win here in two days." His German opponent in the last eight spent even less time on the court, third seed Zverev punching his ticket when Dutchman Tallon Griekspoor retired midway through the second set with an abdominal injury. Zverev has reached his seventh French Open quarter-final in the last eight years and is still looking to secure a maiden Grand Slam title. "From now on I have the toughest draw in the tournament," Zverev said. "I'm looking forward to the battles ahead, and I'm looking forward to playing the best in the world." SUBLIME SINNER World number one Sinner lit up the night session with a sublime display to beat Andrey Rublev 6-1 6-3 6-4 and stretch his winning streak in Grand Slam play to 18 matches. Italian Sinner, the U.S. and Australian Open champion, has won all 12 sets he has played this year on Parisian clay and looks in ominous form as he closes on a first French Open title. While Djokovic, Sinner and Zverev were all smiles, Britain's dark horse Draper was heading for home after succumbing to a mesmeric display by Kazakh Alexander Bublik, who a few months ago questioned his future having dropped down the pecking order. The 27-year-old, among the most naturally gifted players on tour who has admitted to lacking the commitment of other top professionals, seized his moment to drop shot his way past young gun Draper to reach his first Grand Slam quarter-final. Bublik, who had never got past the second round in Paris, hit a staggering 37 drop shots in his 5-7 6-3 6-2 6-4 win. "Standing here is the best moment of my life, period,", Bublik, in tears, told the crowd. "I'm standing here like I won the thing. I can't cry here, let me be in peace, I'm a professional tennis player, I've got one more match, I've got to get ready." Bublik's victory was the second upset of the day after unheralded Boisson shook up the women's draw with a shock 3-6 6-4 6-4 win over Pegula. Wild card Boisson outplayed the American favourite with the aid of a fierce forehand that had the Chatrier crowd on their feet. As if that was not enough for the home crowd, they also got to see the Champions League soccer trophy minutes later, after Paris St Germain's victory over Inter Milan on Saturday. PSG forward Ousmane Dembele carried it onto the court to ear-splitting cheers as his team became the second French outfit to lift the European Cup after Olympique de Marseille in 1993. Second seed Coco Gauff was in no mood for surprises, however, as she brushed aside Russian Ekaterina Alexandrova 6-0 7-5 to stay on course for her first title in Paris. Gauff, who got to the final in 2022 and semis last year, is the youngest American to reach at least the fourth round at seven straight Grand Slams since Venus Williams from 1997-1999. The Americans are guaranteed a semi-finalist with Gauff next facing Australian Open champion Madison Keys, who eased past Hailey Baptiste. Russian teenager Mirra Andreeva also booked a last-eight spot by overcoming Australian 17th seed Daria Kasatkina 6-3 7-5 to become the youngest player to reach back-to-back French Open quarter-finals in nearly three decades.