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6 Tokens of Gold Slot Review - Jackpot Bet Online

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Le jeu de la roulette, Poker et Baccara

La roulette spine dans ses versions européenne, américaine et française. Les aficionados de poker trouveront des grands classiques comme le Caribbean Stud. Quant au Baccara, ce jeu au parfum de luxe, il est disponible avec des mises ajustées à toutes les bourses, du novice au joueur aguerri.

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Le monde des casinos en ligne fourmille

LuckyHills Casino – Online Games, Bonuses & Rewards

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Wichtigste Erkenntnisse

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Lucky Legends Casino – Get game for iOS

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Wenn wir die Welt der Online-Spiele entdecken, wird klar, dass die Wahl des Softwareanbieters entscheidend für ein erstklassiges Spielerlebnis ist. Hochwertige Software-Provider tragen maßgeblich zur Zufriedenheit bei, denn ihre Spiele müssen packend, optisch ansprechend und benutzerfreundlich sein. Wir wissen, dass die Verlässlichkeit der Programme ebenso wichtig ist; Fehler oder Abstürze können selbst das spannendste Spiel zu einer frustrierenden Erlebnis machen. Wenn wir in ein Game versinken, erwarten wir reibungsloser Funktionalität und ein reaktionsschnelles Design. Darüber hinaus integrieren seriöse Provider häufig hohe Sicherheitsmaßnahmen und gerechte Spielmethoden, was unser Glauben in die Plattform festigt. Letztendlich bestimmt die Wahl hochwertiger Software-Provider sowohl die Güte der gespielten Spiele als auch unseren Spielspaß beim Online-Gaming.

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Bei unserer Betrachtung der Welt der

The Elder Scrolls 6 is one of Microsoft’s biggest upcoming games, but it remains largely a mystery, despite being announced more than eight years ago. Today, August 11, Xbox CEO Asha Sharma provided an update on it, saying she witnessed a “live playthrough” of the game. She also teased the game’s subtitle, or at least that’s what it seems like.

“The scale and grandeur are incredible. The story is even greater,” she said.

Those are buzzwords that do not mean much of anything. More intriguingly, Sharma included asterisks in her post that suggest she’s referring to the game’s subtitle. Her post used eight characters, and people are theorizing as to what it could be, if that is indeed what she is teasing in the first place.

The Elder Scrolls 6 is indeed likely to have a subtitle, as all previous games in the main series also did. These include The Elder Scrolls: Arena, The Elder Scrolls II: Daggerfall, The Elder Scrolls III: Morrowind, The Elder Scrolls IV: Oblivion, and The Elder Scrolls V: Skyrim.

In July, Bethesda provided an update on The Elder Scrolls 6, saying it understands “it’s been a very long wait for the sequel.”

“The next chapter is on the way. We’re where we planned to be, loving how it looks, and playing it every day,” the studio explained.

This statement came after the mass layoffs and upheaval at Xbox related to the “reset” of the business. The layoffs hit Bethesda as well, and staff at the studio said they fear further delays for The Elder Scrolls 6 and have expressed concerns about the “crushing effect on morale” related to the layoffs.

The Elder Scrolls 6 is one of multiple new games in the works at Bethesda and its supporting teams. Some of the others include remasters of Fallout 3 and Fallout: New Vegas, while Obsidian is working on some other new Fallout game. Fallout 5 is also in the works.

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The Elder Scrolls 6 is one of

There are very few things more fun than just watching a giant space opera on the big screen. These are epic movies meant to be watched among people with the most grandiose visuals possible.

Now, Space Operas were not always popular; they were once seen as melodramas, but Star Wars changed everything and brought them back in style.

Now, it feelsl ike we’re still getting them and enjoying these big movies centered on cinematic myth-making and grand visual spectacle.

Today, I want to go over ten of the space operas I think are the best all-time and talk about why.

Let’s dive in.


10. Flash Gordon (1980)

– YouTube www.youtube.com

  • Director: Mike Hodges
  • Cinematographer: Gilbert Taylor, BSC
  • Writer: Lorenzo Semple Jr., Michael Allin
  • Cast: Sam J. Jones, Melody Anderson, Max von Sydow, Topol, Ornella Muti, Timothy Dalton

In a time when space operas were lighting up the big screen, Mike Hodges took Alex Raymond’s 1930s comic strip and made a campy journey that looks glorious in 4K. It has these vibrant colors and a soundtrack by Queen. Flash Gordon commits to the bit and never looks back.

9. The Fifth Element (1997)

– YouTube www.youtube.com

  • Director: Luc Besson
  • Cinematographer: Thierry Arbogast
  • Writer: Luc Besson, Robert Mark Kamen
  • Cast: Bruce Willis, Gary Oldman, Milla Jovovich, Ian Holm, Chris Tucker

I remember seeing this movie in theaters and having truly no idea how to synthesize the visuals and worldbuilding at the time. Apparently, Luc Besson conceived this story as a teenager, and that kinda tracks when you see the half-naked ladies and big monsters. The whole thing is a maximalist dream.

8. The Last Starfighter (1984)

– YouTube www.youtube.com

  • Moderator: Nick Castle
  • Cinematographer: King Baggot
  • Writer: Jonathan R. Betuel
  • Cast: Lance Guest, Robert Preston, Dan O’Herlihy, Catherine Mary Stewart

I remember renting this movie and just losing myself in a world that you wanted to join. You follow a small-town teen who beats an arcade game, only to discover it’s a secret testing suite for intergalactic defense. I mean, why does this never happen to me? The Last Starfighter retains a soft spot in cinema history as one of the earliest feature films to use extensive Computer-Generated Imagery (CGI) for its space battles and the one I played out the most in the backyard.

7. Serenity (2005)

– YouTube www.youtube.com

  • Director: Joss Whedon
  • Cinematographer: Jack Green
  • Writer: Joss Whedon
  • Cast: Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin, Adam Baldwin, Jewel Staite, Sean Maher, Summer Glau, Ron Glass, Chiwetel Ejiofor

Okay, so this is kind of a cheat. We have this TV show in Firefly that’s not getting ratings, but people do love it, and somehow, somehow, Joss Whedon gets a studio to let him make a movie that packages the story for everyone.

6. Guardians of the Galaxy (2014)

– YouTube www.youtube.com

  • Director: James Gunn
  • Cinematographer: Ben Davis
  • Writer: James Gunn, Nicole Perlman
  • Cast: Chris Pratt, Zoe Saldaña, Dave Bautista, Vin Diesel, Bradley Cooper, Lee Pace, Michael Rooker, Karen Gillan, Djimon Hounsou, John C. Reilly, Glenn Close, Benicio del Toro

This trailer was massive when it came out. This was during the peak of Marvel; it got everyone talking about what these comic book movies could be. It had palpable excitement, and it turned Chris Pratt into an action star. James Gunn piloted an obscure comic featuring a talking raccoon and a tree, and somehow it redefined the space opera and had amazing needle drops.

5. Starship Troopers (1997)

– YouTube www.youtube.com

  • Director: Paul Verhoeven
  • Cinematographer: Jost Vacano
  • Writer: Edward Neumeier
  • Cast: Casper Van Dien, Dina Meyer, Denise Richards, Jake Busey, Neil Patrick Harris, Clancy Brown, Michael Ironside

Misunderstood upon its initial release, Paul Verhoeven’s adaptation of Robert A. Heinlein’s novel is a brilliant, subversively dark satire of militarism disguised as a big-budget bug-hunting spectacle.

4. Forbidden Planet (1956)

– YouTube www.youtube.com

  • Director: Fred M. Wilcox
  • Cinematographer: George J. Folsey
  • Writer: Cyril Hume
  • Cast: Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly

The granddaddy of modern cinematic space opera. Transposing Shakespeare’s The Tempest to Altair IV, Forbidden Planet was the first studio film to show humans traveling in a faster-than-light starship of their own creation, featuring the iconic Robby the Robot and an entirely electronic score by Bebe and Louis Barron.

3. Star Trek II: The Wrath of Khan (1982)

– YouTube www.youtube.com

  • Director: Nicholas Meyer
  • Cinematographer: Gayne Rescher
  • Writer: Jack B. Sowards
  • Cast: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Walter Koenig, George Takei, Nichelle Nichols, Bibi Besch, Merritt Butrick, Paul Winfield, Kirstie Alley, Ricardo Montalbán

After 1979’s The Motion Picture leaned heavily into slow cosmic wonder, Nicholas Meyer injected nautical tension and human stakes back into the franchise. Staging starship battles like WWII submarine duels in the Mutara Nebula, The Wrath of Khan proves space opera relies on interpersonal character drama.

2. Dune: Part Two (2024)

– YouTube www.youtube.com

  • Director: Denis Villeneuve
  • Cinematographer: Greig Fraser, ASC, ACS
  • Writer: Denis Villeneuve, Jon Spaihts
  • Cast: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Stellan Skarsgård, Javier Bardem

Frank Herbert’s 1965 novel was long deemed “unfilmable.” Denis Villeneuve and Greig Fraser proved otherwise by scaling the narrative into a brutalist, jaw-dropping opera of religious zealotry, spice warfare, and destiny.

1. Star Wars: Episode V – The Empire Strikes Back (1980)

– YouTube www.youtube.com

  • Director: Irvin Kershner
  • Cinematographer: Peter Suschitzky, ASC
  • Writer: Leigh Brackett, Lawrence Kasdan
  • Cast: Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, Frank Oz

While 1977’s A New Hope established the archetype, The Empire Strikes Back perfected it. Director Irvin Kershner deepened the mythology, lowered the light levels, split the narrative threads, and delivered the greatest plot twist in cinematic history.

Summing It All Up

Let me know what you think in the comments.

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There are very few things more fun

Jenna Ortega recently told Esquire that, as a child actor, she would go entire days without asking for food or water to make sure she was not “in the way of anybody.”

“I really had it going for me as a child ‘cause I can’t think of one mistake I made,” Ortega said. “Is that a terrible thing to say? I feel like I make mistakes now all the time, but as a child, I was so grateful and so excited to be there that my game face was on.”

Part of putting on that game face, Ortega explained, was not asking for anything on set.

“I wasn’t asking for a sip of water,” she recalled. “I would go all day without eating, drinking, whatever, because I wanted so badly to not be in the way of anybody.”

Ortega added, “Maybe that was my mistake, was not actually looking after myself.”

Before she was “Wednesday,” Ortega got her break headlining the Disney Channel series “Stuck in the Middle.” That show debuted in 2016, and Ortega was only 13 years old. Her other early TV credits include “Richie Rich,” “Jane the Virgin,” “You” and “Elena of Avalor.”

When asked for her take on the stigmas surrounding child stars, Ortega quipped, “Is it wrong to say that a lot of them are true? And do with that what you will.” She later explained that “the motivation” behind her career was sparked very young when she first told her parents she wanted to be an actor.

“I was 7 years old when I said I wanted to do this,” Ortega said. “My parents laughed at me when I told them that I wanted to do it, and then that was kind of the root of everything. The motivation. And I never really stopped, because I’m very stubborn. And then I never questioned it.”

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Jenna Ortega recently told Esquire that, as

verificado Golden Crown Casino bono de fin de semana oferta

Puntos de fricción que todo cliente debería conocer

Cualquier casino es perfecto, y Golden Crown Casino no escapa a ciertas aristas que resulta prudente considerar antes de registrarse goldencrowncasino.es. El aspecto más destacable está en los límites de retirada. Aunque los cantidades precisas pueden variar, lo habitual es encontrar un techo semanal o mensual que, junto con tiempos de gestión que en las transferencias bancarias pueden superar los cuatro días hábiles, constituye una traba para quienes aspiren a cobrar grandes premios de una sola vez. La ausencia de un servicio telefónico de atención al cliente, aunque suplida por un chat eficaz, resulta insuficiente a quienes eligen una conversación oral. Los exigencias de apuesta de los bonos, sin ser abusivos, se sitúan en el rango alto del mercado y la aportación de los juegos de mesa suele ser tan baja que los elimina casi por completo de la táctica para desbloquear el bono.

Otro aspecto que genera fricción es la comprobación de identidad sin seguimiento. Cuando los documentos tienen algún error, la inexistencia de alertas automáticas puede extender la gestión más de lo necesario sencillamente porque el jugador no es consciente que su solicitud ha sido rechazada hasta que entra en el perfil. La licencia de Curazao, aunque legal y funcional, no ofrece el mismo nivel de protección al consumidor que los sellos europeos, por lo que en caso de disputa el jugador debe fiarse en la política interna del operador y en la mediación de la autoridad emisora. La propuesta de apuestas en deportes, aunque destacable, tiene un catálogo de mercados y de deportes minoritarios más limitado que el de casas de apuestas puras. Un aficionado al deporte de nicho puede encontrar opciones más limitadas de las que gustaría, aunque para un usuario centrado en el casino este punto apenas pesa.

Permiso y seguridad: la calma antes de apostar

Un proveedor serio se fundamenta en la confianza, y esa confianza inicia con una licencia de juego expedida por una jurisdicción autorizada. Golden Crown Casino trabaja bajo la licencia de Curazao, una de las más comunes en el juego online. Esta licencia exige al operador a pasar auditorías regulares de sus generadores de números aleatorios, a preservar los fondos de los jugadores en cuentas separadas y a cumplir protocolos contra el blanqueo de capitales. Aunque la regulación de Curazao no proporcione las mismas garantías de protección al consumidor que la licencia de la Dirección General de Ordenación del Juego en España, sí impone un marco de funcionamiento que, unido con buenas prácticas voluntarias, puede volverse sólido para el jugador conocedor. Reconocemos que el casino publique su licencia en el pie de página, un acto de transparencia que no todos los operadores asumen.

A nivel técnico, el sitio utiliza cifrado SSL de al menos 128 bits para salvaguardar la transmisión de datos personales y financieros, el mismo parámetro que emplean los bancos. La política de privacidad describe qué datos se recopilan, con qué propósito y durante cuánto tiempo se conservan, y el usuario puede ejecutar sus derechos de acceso, rectificación y supresión conforme al Reglamento General de Protección de Datos. El juego responsable es otro pilar de la seguridad: desde el perfil cuentas a mano herramientas de autoexclusión temporal, límites de depósito diario, semanal y mensual, y recordatorios de sesión. La plataforma coopera con organizaciones expertas en la prevención de la ludopatía y ofrece enlaces a pruebas de autoevaluación. Aunque estas funcionalidades no siempre se promocionan en portada, su mera existencia suma una capa de protección que juzgamos esencial.

Métodos de pago diseñados para el jugador español

La rapidez de los depósitos y las retiradas condiciona la experiencia tanto como el catálogo. Golden Crown Casino acepta tarjetas Visa y Mastercard, que continúan siendo el método más usado por su inmediatez, junto a monederos electrónicos como Skrill y Neteller, que permiten mover fondos sin compartir datos bancarios y abonan al instante. La plataforma trabaja por defecto en euros, así que te olvidas del recargo por cambio de divisa y de sorpresas en el extracto. Para el público español, es recomendable echar un vistazo a la caja antes de registrarse, porque la disponibilidad de Bizum, Trustly u otras transferencias inmediatas puede variar y su presencia facilita las gestiones. Las transferencias bancarias tradicionales siguen estando disponibles, aunque sus plazos son más largos y resultan menos prácticas para sesiones rápidas. Los depósitos, en general, se muestran al momento, sin interrupciones en el juego.

En las retiradas, la plataforma establece un límite mínimo por transacción y plazos que cambian según el método. Los monederos electrónicos acostumbran a liquidar las solicitudes en un margen de veinticuatro a cuarenta y ocho horas hábiles, mientras que las tarjetas y las transferencias pueden tardar entre tres y cinco días. También hay un límite máximo de retirada por período —diario, semanal o mensual— que el jugador debe consultar en los Términos. Este techo supone un escollo si pretendes retirar ganancias elevadas de golpe, porque fuerza a fraccionar el cobro en varios plazos. Por eso, recomendamos leer con atención las condiciones de pago antes de elegir el método y adaptar las expectativas desde el principio para no llevarse sorpresas.

El proceso de registro paso a paso y la validación de identidad

Abrir una cuenta en Golden Crown Casino es un proceso sencillo que se finaliza en unos minutos. El primer paso pide correo electrónico, clave y moneda deseada, que para el usuario español será el euro. A continuación, un formulario detallado registra nombre completo, día de nacimiento, teléfono celular y residencia fiscal, incluyendo CP. Conviene proporcionar estos datos con exactitud, porque se compararán durante la verificación de identidad y cualquier discrepancia puede ralentizar la primera extracción. Una vez finalizado el registro, el sistema manda un email de confirmación que el usuario debe verificar para activar la cuenta. A partir de ese momento ya se pueden efectuar ingresos y empezar a jugar con normalidad. El proceso no pide documentación en el primer paso, lo que facilita el ingreso inicial y reduce la complejidad.

La extracción de ganancias inicia el proceso de conocimiento del cliente, o KYC por sus siglas en inglés. El casino requerirá una reproducción de un documento de identidad oficial, como documento nacional de identidad, pasaporte o carné de conducir, y en bastantes casos un comprobante de domicilio reciente, como una recibo de suministros o un resumen bancario. Estas medidas, aunque a veces se consideren como un proceso molesto, están orientadas a prevenir el fraude y a cumplir la normativa internacional contra el lavado de dinero. El tiempo de revisión normalmente está entre 24 a 72 horas laborables, aunque en momentos de gran demanda puede alargarse. Aconsejamos adelantar este paso en cuanto se registre la cuenta para evitar demoras. Un inconveniente notado es que el sistema no siempre remite una alerta automática cuando los documentos son no aceptados, lo que requiere a comprobar manualmente la bandeja de entrada del perfil.

La navegación móvil sin descargas forzosas

El cliente español dedica cada vez más tiempo de juego desde el móvil, y Golden Crown Casino apuesta por un diseño web responsive basado en HTML5. Simplemente hay que escribir la dirección en el navegador, iniciar sesión y iniciar el juego, sin instalar ninguna aplicación. Esta elección evita problemas de compatibilidad entre sistemas operativos y ahorra espacio de almacenamiento, algo que muchos aprecian. La versión móvil conserva la misma paleta de colores y estructura de menús que la de escritorio, pero diseñada a pantallas táctiles. Los botones de depósito, retirada y acceso al chat en vivo están situados en la parte inferior, al alcance del pulgar, y los juegos se ajustan correctamente. Durante nuestras pruebas, la velocidad de carga fue correcta y las sesiones de casino en vivo no tuvieron cortes significativos con una conexión 4G estándar.

Para quienes eligen un icono en la pantalla de inicio, el casino brinda la opción de crear un acceso directo desde el navegador, que actúa de manera similar a una app nativa. Aunque no se encuentre una aplicación descargable desde tiendas oficiales, esta solución intermedia ofrece una experiencia de uso ágil y sin fricciones. La navegación por el catálogo seleccionando por proveedor, la consulta del historial de transacciones y la activación de promociones se pueden llevar a cabo sin problemas desde el móvil, algo que no todos los casinos consiguen con la misma solvencia. La única pega es que algunos títulos más antiguos, diseñados en Flash, no están disponibles; su proporción es pequeña y no afecta a la oferta principal. Así, jugar desde el móvil sin ataduras fortalece la accesibilidad y se adapta con el ritmo de vida actual.

Soporte al cliente en horario ampliado: vías y capacidad resolutiva

Cuando se presenta una incidencia —un depósito que no se registra, una verificación que se prolonga o una duda sobre un bono—, la calidad del soporte es determinante. Golden Crown Casino ofrece un chat en vivo integrado en la plataforma, accesible con un solo clic desde cualquier página. Este canal es el más eficaz para consultas urgentes, ya que pone en contacto con un agente en pocos segundos durante el horario de atención, que suele extenderse desde primeras horas de la mañana hasta bien entrada la noche en horario europeo. El equipo atiende en español con un nivel de corrección lingüística apropiado para resolver dudas técnicas y administrativas sin malentendidos. Junto al chat, hay una dirección de correo electrónico para cuestiones que no precisen inmediatez, como el envío de documentación o consultas sobre promociones específicas.

Cabe destacar la sección de preguntas frecuentes, bien organizada. En ella se cubren desde los requisitos de apuesta hasta los plazos de retirada, pasando por los pasos para cerrar la cuenta. Esta base de conocimiento facilita resolver muchas dudas sin contactar con soporte, lo que agiliza la experiencia de usuario. El tono de las respuestas es profesional, y en nuestras interacciones de prueba los agentes no acudían a plantillas genéricas, sino que individualizaban la ayuda, un detalle que marca la diferencia. La ausencia de un número de teléfono gratuito puede ser una limitación para quienes prefieren la inmediatez de una conversación oral, pero en la práctica el chat cubre la mayoría de las necesidades. En situaciones complejas, una llamada podría facilitar la resolución, aunque no la consideramos imprescindible para el perfil habitual de jugador.

Razones determinantes que hacen brillar al operador

Tras analizar cada punto de Golden Crown Casino, aparecen varias virtudes que fundamentan su creciente popularidad. La primera es la mezcla de un catálogo de tragamonedas y casino en vivo de alta calidad con una interfaz que no abruma, sino que conduce al usuario. La selección de desarrolladores reconocidos, la posibilidad de experimentar los juegos en modo demo y la incorporación de máquinas con botes progresivos crea un ecosistema de entretenimiento que atiende tanto al novato como al jugador experimentado. A esto se suma la actividad en euros, que elimina la inseguridad del cambio de divisa y las comisiones ocultas, un factor muy apreciado en el mercado español. La honestidad en las promociones, con condiciones accesibles y sin cláusulas ocultas, consolida la confianza del usuario desde el primer pago.

Otra fortaleza evidente es la ayuda al jugador en español, con un chat eficaz y un horario amplio que da solución a problemas sin largas esperas. La apuesta por la libertad de acceso también debe incluirse entre los beneficios: omitir de una aplicación nativa no es una falta si la versión web para móviles brinda desempeño suave y acceso completo. La integración de apuestas deportivas, aunque no sea el eje del negocio, brinda flexibilidad y permite unificar el presupuesto de juego en una sola plataforma. Las recursos de juego seguro, junto a los protocolos de cifrado y a la separación de capitales, crean un entorno en el que el jugador puede enfocarse en entretenerse con seguridad. Estas fortalezas no son temporales, sino fundamentos que mantienen una experiencia equilibrada y consistente.

Una biblioteca de juegos que abraza todos los preferencias

El gran razón para seleccionar Golden Crown Casino es lo extenso de su catálogo. Nada más acceder al lobby te topas con más de mil opciones: tragaperras modernas, clásicos de mesa de siempre y una sala en vivo con emisión en directo. Los desarrolladores que alimentan la plataforma son gigantes como Pragmatic Play, Evolution Gaming, NetEnt y Play’n GO, así que los diseños están trabajados, las funciones son originales y los porcentajes de retorno vienen verificados. Con esta selección, tanto el que quiere botes progresivos como el que elige la ruleta tradicional o el blackjack encuentra su espacio sin tener que ir saltando de un casino a otro. Los filtros por desarrollador, fama y estrenos facilitan a encontrar lo que buscas y convierten el hallazgo de juegos en algo rápido. El lobby, claro y bien ordenado, reduce distracciones y te conduce directo al estilo de juego que te viene en gana.

Entre las slots sobresalen los nuevos lanzamientos con giros extra, multiplicadores progresivos y la opción de comprar el bono. Conviven colecciones conocidas como “Big Bass” y juegos de ambientación del antiguo Egipto o mitológica con tradicionales de tres tambores para los que buscan una ronda más sencilla. Prácticamente todos los juegos incluyen versión gratuita, lo que te deja testar las mecánicas sin poner en juego dinero real, una ventaja formativa que se cita poco. El casino en vivo se merece un párrafo aparte: mesas de ruleta clásica, blackjack, punto y banca y póquer con repartidores que comunican español en franjas pensados para la zona española. La emisión en alta definición y el sistema de mensajes con el repartidor y otros participantes introducen y recrean el ambiente de un casino presencial. Asimismo, la web incorpora una sección de apuestas deportivas con fútbol, basket, raqueta y automovilismo, lo que te posibilita cambiar entre las tragaperras y LaLiga desde la misma sesión y convierte al sitio en un centro de diversión total.

Promociones iniciales y promociones recurrentes: lo que realmente obtienes

El paquete de bienvenida se compone de un bono por niveles sobre los ingresos iniciales, casi siempre con un índice de equiparación hasta un límite superior y tiradas gratuitas para una variedad de tragaperras principales. Lo que distingue la propuesta no es el índice, que se mueve en la media del mercado, sino la nitidez con la que se exhiben los requisitos de apuesta y los entretenimientos que contribuyen a liberar el saldo. Desde el primer momento tienes acceso a los términos y condiciones completos, sin texto diminuto oculto, lo que disminuye la sensación de estar entrando en una promoción tramposa. Es recomendable verificar el plazo establecido y las jugadas máximas autorizadas mientras el bono está vigente, porque esos dos aspectos pueden influir en tu táctica y el disfrute de la oferta.

Para convertir el bono en dinero real, los créditos promocionales suelen estar condicionados por un condición de juego de entre 35 y 40 veces el monto del bono junto al ingreso, una cantidad común en operadores con licencia internacional. Hay que analizar la lista de contribución por categoría: las tragamonedas acostumbran a contribuir al ciento por ciento, mientras que la ruleta o el veintiuno pueden suponer apenas un cinco o diez por ciento. Esta asimetría fuerza a planear la jugada y a no dirigirse a las mesas si tu propósito fundamental es liberar el saldo. Además de la oferta inicial, el programa de recargas semanales, tiradas gratuitas y campeonatos de tragaperras con recompensas monetarias conserva la atención. También hay un sistema de lealtad escalonado, donde la actividad constante se transforma en puntos redimibles, regalos personalizados y requisitos de cobro más flexibles en los estratos superiores, aunque los beneficios más jugosos demandan una cantidad de juego importante.

Puntos de fricción que todo cliente debería

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I think the cleverest way to savor online gaming is to test the waters before committing a cent. That is exactly why I am enthusiastic about the demo mode at Woopwin Casino. It offers you full access to numerous slots, table games, and specialty titles, all operating on virtual credits. I consider this approach both entertaining and sensible. You can examine mechanics, study paytables, and gain a true feel for each game without any stress. When I first tested it, I right away understood why it transforms the way people handle real-money play. It is the best risk-free playground, and I wish to walk you through every detail so you can maximize it.

How Demo Mode Is a Revolution at Woopwin Casino

Demo mode is the least utilized tool in online gaming. Too many players dive into real-money bets without grasping a slot’s volatility or when a bonus triggers. At Woopwin Casino, the demo version takes away that guesswork. You load any eligible game and right away receive a virtual balance that lets you spin as long as you like. You can pause, switch titles, and play again the same round dozens of times to detect patterns. This hands-on exploration creates a genuine understanding that no review can match. It empowers you to separate flashy games from those that provide the sessions you enjoy most.

What makes this feature apart is the psychological comfort. In demo mode, I take decisions based on curiosity rather than fear of losing money. That freedom motivates me to try games I would normally pass over, progressive jackpots, high-variance slots, or classic table games where strategy matters. The demo library is broad enough that you can dedicate entire evenings discovering new favourites. This alters the way you approach the casino, turning it from a place of transaction into a genuine entertainment hub where learning is part of the fun.

Moving to Real Money with Assurance

Following you have fully tested your preferred games, the jump to real-money play feels natural rather than intimidating. I have made it many times, and at Woopwin Casino the transition is as effortless as pressing a toggle. The moment you are ready, you carry out a deposit, and the same game loads with your current balance. The interface, the paytable, and the rules stay identical, so there is no adaptation curve. Experience breeds confidence, and assured players have better decisions under pressure. You already know how the bonus round behaves, so you can concentrate on enjoying the thrill rather than fretting about unknown mechanics.

I always recommend commencing with small stakes and gradually growing them as your comfort grows. Since you have already practiced, you will have a definite idea of how much time a particular bankroll might last. I also propose setting a strict session limit founded on your demo notes. If you observed that a slot can run through 150 spins without a bonus, you can arrange your deposit suitably. The platform makes it straightforward to monitor your real-money balance, and you can move back to demo mode anytime you desire to relax or experiment with a new theory. This flexible exchange between free play and real play is the hallmark of a mature, player-first casino.

Bonuses That Reward Your Opening Real Deposit

When I ultimately chose to deposit at Woopwin Casino, I was happy to discover that the welcome package offered substantial value without forcing me into unfamiliar games. Typical offers feature deposit match percentages and free spins bundles connected to popular slots. I always review the terms carefully, devoting special attention to wagering requirements and game contribution rates. The benefit of having invested time in demo mode is that I already understood exactly which games I preferred to use my bonus funds on. I did not misspend a single free spin on a title I had not tested, and I could calculate how much playtime the bonus would realistically deliver.

Beyond the welcome offer, the promotions page regularly updates with reload bonuses, cashback events, and slot tournaments. I establish it a habit to try any featured game in demo mode before I opt into a promotion. That way, I can evaluate whether the wagering contribution will be effective and whether the game’s volatility corresponds with the bonus conditions. The casino does not limit all promotions behind high deposit thresholds. There are often more modest, accessible offers that let you extend your playtime with minimal risk. I encourage you to visit the promotions page directly, because the exact numbers and codes change, but the concept of combining demo research with bonus value remains enduring.

Perfect Your Strategy Without Needing to Spend a Cent

I am a firm advocate for tactical play, and demo mode is the ultimate training ground. At a virtual blackjack table, I can practice card-counting drills, practice basic strategy deviations, and try different betting progressions free from any financial consequence. The same applies for roulette: I can experiment with neighbour bets, follow hot and cold numbers, and watch how the wheel performs over hundreds of spins. Because the random number generator operates identically to the real-money version, the skills you acquire transfer directly. I have employed this to fine-tune my approach to even-money bets and to figure out when to step back from a losing streak.

Slot strategy is less about mathematical edge and more about bankroll management and feature awareness. I use demo mode to map out exactly how many spins it typically takes to reach a bonus round or to gauge the frequency of a particular symbol. I also pay attention to the hit rate, how often the game gives anything at all. geloofwaardige bron That information allows me to set realistic expectations when I later move to real play. I have even developed a simple checklist: I note the volatility, the maximum win potential, and the average bonus trigger count. This methodical approach, made possible entirely by the free demo credits, has saved me from countless disappointing sessions on games that simply do not suit my style.

Quick and Safe Payment Solutions

When it is time to move money, I require options that are fast, protected, and transparent. Woopwin Casino offers a selection of payment methods that cover most choices. You can typically use credit and debit cards like Visa and Mastercard, along with widely used e-wallets such as Skrill and Neteller. I have also seen bank transfer options and, in many cases, crypto payments via Bitcoin and other digital assets. The cashier page clearly shows minimum and maximum limits for each method before you confirm. Deposits are usually processed immediately, which means you can go from demo mode to funded play in under a minute if you are already signed up.

Withdrawal times differ by method, and I always check the current estimates before making a payout. E-wallet withdrawals often process within 24 hours, while card and bank transfers can take between three and five business days. The casino uses industry-standard verification procedures to safeguard your account, so I advise completing your identity check early to avoid delays later. I have never encountered hidden fees for deposits, though payment providers may charge their own charges. The entire banking section is encrypted with SSL technology, and I am confident that my financial data is treated with the same level of care I anticipate from any serious online platform.

Licence Safety, and Fair Play You Can Rely On

I never wager at an online casino without first verifying its licensing credentials. Woopwin Casino is governed by a established international gaming license, which means it must follow strict standards for player protection, fair gaming, and responsible conduct. The site uses advanced SSL encryption to protect all data transmitted between your device and its servers. The random number generator that powers the games is independently verified and certified for fairness, so the outcomes in demo mode match what you would see in real-money play. That parity is crucial because it assures the skills and observations you build in free mode are truly helpful.

I also appreciate the responsible gambling tools that are built into the platform. You can set deposit limits, loss limits, and session reminders straight from your account dashboard. There are self-exclusion options and links to professional support organisations for anyone who thinks their gaming is becoming problematic. The casino views demo mode as a safe space for exploration, but also delivers clear boundaries for real-money play. The combination of a valid license, certified fair games, and solid player protection creates an environment where I can concentrate on entertainment without being concerned about the integrity of the platform.

How to Start Playing for Free in Moments

The process is effortless https://woopwin.com.nl. You don’t have to deposit or even register to start testing many games. When I access the homepage, I simply move over a game tile and select the demo option. The game opens instantly in my browser, filled with a generous virtual balance. I am spinning within seconds with the full game interface at my use. The only difference is a small badge displaying demo credits instead of real cash. That convenience means you can move from reading a description to actively playing without any annoying sign-up walls blocking your curiosity.

If you want to access the entire demo catalogue and save your preferred titles, I recommend creating a free account. The registration requires basic details and requires only a moment. Once inside, you can toggle between demo and real-money modes with a single click. This smooth transition is priceless when I want to test a strategy and then immediately put it into practice with a small deposit. The platform never pushes you to switch, yet the option is always right there. I suggest taking full advantage of this flexibility, because it lets you develop a personalised journey that matches your comfort level every step of the way. Here are the steps I take every time:

  1. Navigate to the Woopwin Casino homepage and explore the game lobby.
  2. Mouse over any eligible game tile and select the “Demo” or “Play for Free” button.
  3. Allow a few seconds for the game to load with a full virtual credit balance.
  4. Review the paytable, adjust your virtual bet size, and start playing or playing.
  5. If desired register a free account to save favourites and enter the complete demo library.

Play Anywhere on Mobile Without Losing Quality

I hardly ever use a desktop now, so mobile compatibility is a must-have for me. Woopwin Casino offers a fully responsive experience that functions directly in my mobile browser. I have tested on both Android and iOS devices, and the demo mode runs without issues. Games open rapidly, the touch controls are user-friendly, and the interface adjusts to the smaller screen without compromising on usability. I can try slots while waiting for a train or work on blackjack tactics during my lunch break. The transition between mobile and desktop is seamless, and my demo session history is maintained as long as I am logged into my account.

I have not required to download any dedicated app, which I favor because it conserves storage and maintains everything current without effort. The demo mode on mobile gives me the same virtual credit balance and the same full access to game features. I observe that the portrait orientation fits most slots perfectly, while landscape mode is ideal for table games with detailed layouts. Battery consumption is acceptable, and I have not encountered any crashes or lag, even on slightly older phones. This mobile-first approach ensures you can carry your entire testing playground in your pocket, ready to explore whenever curiosity strikes.

Explore a Huge Game Library Risk-Free

Whenever I access the game lobby, I am struck by the absolute variety present in demo mode. The slots section includes everything from three-reel fruit machines to cinematic video slots packed with expanding wilds, cascading reels, and multi-level bonus rounds. I have dedicated hours contrasting how different Megaways titles handle their cascading wins, never worrying about depleting my bankroll. Table game enthusiasts are just as well served. I can load European roulette, American blackjack, baccarat, and several poker variants with full rule sets. The demo mode accurately mirrors the real-money experience, so you can study payout structures and experiment with betting progressions in a managed environment.

What I value most is that the demo selection goes beyond the obvious hits. I have uncovered hidden gems from smaller studios that I would have overlooked if I had to pay first. The ability to narrow by provider, theme, or feature enables me build a personal testing playlist. I can pass a morning on Egyptian-themed slots, then switch to fruit classics in the afternoon. This breadth also signifies you can contrast how different providers implement the same mechanic, such as bonus buy features or hold-and-win respins. Spending time in demo exploration before you commit real money is the single most effective way to become a more informed, confident player.

FAQ

Is registration required to play in demo mode?

You can frequently test many games without signing up by just selecting the demo or free-play option on the game tile. Nevertheless, to unlock the full demo library and keep your preferences, I advise creating a free account. Registration takes only a moment and does not require any deposit, so you can continue exploring without any commitment.

Do the demo games match the real-money versions?

Yes, the games use the same random number generator and mathematics regardless of mode. The only difference is the currency used, virtual credits instead of real cash. This implies the volatility, return-to-player rate, and feature frequencies are precisely what you would encounter when playing with real money, making your practice sessions truly worthwhile.

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Can I earn real money by playing in demo mode?

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The Writers Guild of America has fired back at Paramount Skydance CEO David Ellison after he threatened to start pulling Paramount out of California on Oct. 1 if California AG Rob Bonta refused to come to the bargaining table and settle the antitrust suit to stop the studio’s acquisition of Warner Bros.

“By threatening to leave the state because it doesn’t want the government to enforce the law, Paramount further proves the danger of its outsized power over the industry and what that will mean for writers and the creative community,” the WGA told Variety in a statement. “This type of behavior is precisely why the merger should be blocked.”

The WGA, along with Bonta and his coalition of 12 states, is suing to block the $110 billion Paramount-Warner Bros. merger. Filed jointly with the WGA West and East branches, the guild’s suit claims the merger violates antitrust law and would inflict irreparable harm on industry scribes.

The AG’s lawsuit claims the transaction violates the Clayton Act by diminishing competition in three key markets: wide-release theatrical distribution, “top-grossing” theatrical distribution and basic cable licensing. Bonta, in response to the news that Paramount may split town, wrote on X Tuesday, “In a span of weeks, Paramount agreed to halt the merger until a court decision or until June 2027, asked for a November trial, and is now back with another attempt to blackmail the state into letting an illegal deal through. Paramount has lost the plot as it continues to lose in court. It didn’t work the first time — on the eve of our July lawsuit — and it won’t work this time.”

Oct. 1 is the day when Paramount will begin paying Warner Bros. shareholders a $7 billion ticking fee for every day that passes without a closed deal. The AG’s lawsuit is set to go to trial on March 2, 2027. If no settlement is reached, Paramount would be on the hook for over $1 billion to WBD shareholders by the end of the trial.

Ellison wrote in a recent New York Times op-ed that he believes the reason the states are opposed to a combined Paramount-Warner Bros. is not because of industry consolidation, but because Ellison would have control over CNN if the two studios were allowed to merge. During the acquisition process Ellison has made no secret that he is a friend of President Donald Trump, a longtime critic of the network. The turbulence behind the scenes at CBS News and its marquee program, “60 Minutes,” has also stoked fear that CNN may be mismanaged under Ellison’s control.

“Great news organizations like CNN and CBS News are here to tell it straight down the middle,” Ellison wrote. “That requires newsrooms that reflect the whole world, not one side of it. And it requires independence. Our journalists will continue to answer to the facts and to all the people they serve — not to any party or cause. These were founding principles for both CNN and CBS News, for legends like Ted Turner and Edward R. Murrow, and it is exactly that kind of independence that has always fueled the greatness of ‘60 Minutes.’”

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The Writers Guild of America has fired

please note: minor spoilers!

‘Spider-Man: Brand New Day’ is the latest chapter in the slug-fest that is the Marvel Cinematic Universe. Set in the aftermath of ‘No Way Home‘; several years later with Peter’s friends, MJ and Ned, having moved on and forgotten who Peter is or his role in their lives, and MJ a new partner in tow – Peter now finds himself developing an anomaly of a DNA mutation brought about by his shock reaction to learning MJ has moved on – he now shoots web-shooters out of his wrists rather than machines, and comes closer to the Peter Parker of Tobey Maguire than the one that we’re familiar with Tom Holland. This is essentially; the first chapter then – of Spider-Man that we know – closer to the comics, depressed, miserable – aka the best kind of Peter Parker.

Holland does a fantastic job at capturing the miserable state of Peter Parker from the ground up. He’s friendless, alone – living in an apartment and having never experienced the university lifestyle has sunk himself full on into committing to Spider-Man as a role; as a job – as everything. His Aunt is gone, people from his old life – including the Avengers – don’t remember him – and his best friend in fact may well be the murdering, ruthless psychopath that is Frank Castle played by the equally charismatic Jon Bernthal – who is a match made in heaven opposite Holland’s character. Given the nod this time rather than Jon Watts; Daniel Dustin Crettin brings his character work from indie darling ‘Short Term 12’ and ‘Shang Chi: The Legend of Ten Rings’ to the table, switching filming locations to Glasgow and the like, meaning that ‘Brand New Day’ feels like a proper movie for a change – allowed to breathe for the most part with real locations, real action – and turns out Glasgow really was the perfect stand-in for New York all along.

This is the closest the MCU have gotten to replicating the Cronenbergian style body horror yet – where the Man becomes the Spider; there are elements of ‘The Fly’ and it feels like a maturing role for Holland that represents his last chance to “play a boy” that was also felt in Telemachus in Christopher Nolan’s Odyssey. It is a down-to-earth reset that asks the question where do we go after the multiverse chaos of ‘Spider-Man: No Way Home’ – courtesy of Dr. Strange – and the result, for the first half of the movie – is a grounded, character driven coming of age story about losing your old school friends, not being able to let go – and oh – a sinister new entity emerges, possessing the bodies of people around town at will.

The first victim is Scorpion (Michael Mando) among others with a view to infiltrate Damage Control; headed by the ‘Mission Impossible: Final Reckoning’ and ‘Severance’ scene-stealer Tramell Tillman. Here he is excellent as Bill Metzger and salvages a rather subpar storyline – you know Metzger’s arc from the second he comes on screen, and the rest of the film you’re stuck waiting for Peter to play catchup. It shouldn’t take Peter this long to get there but it does allow for his place in the Wider Marvel Cinematic Universe as is now to be re-established – with cameos with Florence Pugh’s Black Widow and an academic Dr Bruce Banner (Mark Ruffalo) in a new role that goes exactly where you’d – again; expect – but especially Ruffalo and Bernthal feel like real foils for Peter in this new world; he builds and learns from them as he progresses.

They make the connections to the Marvel universe that feel there by its need to *say* it’s part of the Marvel universe – like a mandatory box-ticking exercise and once it gets into the X-Men origin story involving Sadie Sink, things kind of feel a bit too focused on asking “where do we go in the next film?” as opposed to “how do we end this story” and the result feels like a set-up for a future Marvel instalment as opposed to offering up a concrete resolution to the in-movie events, which is a real shame as on its own, taken into focus – the grief about losing MJ and Ned, the themes of becoming Spider-Man over Peter Parker; the need to remain Peter Parker and the dilemma of having to choose is fascinating. But it bogs down by a need to jump one second between Frank, the next between Black Widow and then the next between Hulk just as we’re getting into this world. Some of it works but there’s just too much of the “oh this is the character from the wider Marvel universe” and when Pugh shows up for a total of a few minutes in a bathtub as a kind of comic effect role when these two have never really interacted on screen before it just kind of feels eye-rolling.

Equally eyerolling is the need for the film to point out how clever it thinks it is without being as clever as it thinks it is. It sets up the big villain reveal like it’s a big twist; but anyone paying attention will figure out from the word go. Several shots feel like direct copies from the comic books especially early on in montages which are cool, video game-esque homages but there is a sequence towards the end where the film sits you down and has Spider-Man tell you that this is cool – completely unnecessary and almost robs the tension in the room in the first place; but it’s not the first time and it won’t be the last time Marvel have gone there. There’s an aura of self gratification that this film has that makes it almost feel like a victory lap; part of a never-ending story that fails to undo the damage done to the Marvel brand since the high of ‘Avengers: Endgame’. It clumsily blends about three dramas together: Peter’s grief drama, the Frank Castle buddy comedy that feels forced but has moments of drama in places – and a set-up for the X-Men of all people that feels even more forced and just totally laborious and groan-worthy of its inclusion.

Holland’s performance in ‘Spider-Man: Brand New Day’ is excellent. He puts in a real shift – capable of basking in his tremendous performance of ‘The Odyssey’. It’s one of the best iterations of the character yet and his most nuanced performance thus so far. The 30 year old actor embraces the nostalgia of Spider-Man and the charm with effortless ease and his energy on capturing a mysterious telepath gives him a sense of focus and there are times when the film is dealing with grief that it touches on a subject that’s much meatier than what most superhero films usually tend to do.

Where the film lets itself down is how lazily it shoe-horns the Marvel characters in at every chance – Bruce Banner bogs down a Spider-Man story that almost loses the focus on its hero; and what’s worse is that there’s never been a less romantic superhero couple than this iteration of Peter and MJ both past and present – this Spider-Man feels entirely sexless – there’s no yearning, there’s no belief that these two were ever together at all: which is a shock considering Zendaya has proven in roles like ‘Challengers’ she can yearn – and these two are actually married now. Long gone are the days of ‘Captain America: The First Avenger’ or ‘Thor’. Both characters’ mismatched feelings would’ve benefited from more depth and room but the main drama is sidelined to the point where it’s barely a focus – and only feels like a backdrop to the villain’s backstory that feels even more generic and ultimately short of growth given the fact that when we establish who this character is – you realise that they can’t actually end up being a villain at the end of the day at all.

Whilst the Spider-Man half of the story is some of the best material that Marvel have had since ‘Avengers: Endgame’ it lacks the depth or growth needed to establish its unique identity as a film; too focused on doing about three different things at once.

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please note: minor spoilers!‘Spider-Man: Brand New Day’

There was a time when talky slabs of recent political history like “The Brink of War,” carried by skilled name actors who aren’t quite stars, were largely the preserve of Emmy-chasing TV networks. Today, with a bit of added Christian-right rhetoric, they’re ready for the big screen, as the growing faith-based film industry expands its palette in terms of subject matter — but not cinematic style, as evidenced by this dutifully drab gray-flannel enterprise from writer-director Michael Russell Gunn.

The latest from so-called “values-based” distributor Angel Studios comes hot on the heels of their Fourth of July release “Young Washington,” which has drummed up nearly $47 million in theaters, and shares with that Great Man biopic the kind of textbook American patriotism that recalls, well, a certain kind of textbook. The story of how the 1986 Reykjavik Summit between Ronald Reagan and Mikhail Gorbachev paved the way for the next year’s nuclear arms control treaty between the United States and the Soviet Union, it feels veritably designed (right down to its PG rating) to bore kids in history classrooms for generations to come. Adult audiences may be more willing when “The Brink of War” opens wide on Friday, but it’s doubtful they’ll be much more entertained.

“Young Washington” was stolidly old-fashioned, but still rousing in its gung-ho way. “The Brink of War” is a far dustier, more static affair: Its drama is all in two aging men seated at a table, arguing with each other over two days about nuclear disarmament in a remote Icelandic consulate building. That doesn’t have to be dull, of course, and if you squint a little at the screen, you can just about see the first-rate Broadway play that could emerge from this material — with no casting changes required — if the telling were just a little more tense, and the writing just a little more witty.

Gunn’s stiff script is attentive to the political dynamics and rhetorical thrust of the talks, and if its repeated emphasis on American honor, freedom and statesmanship makes for a somewhat pious exercise, you can’t deny the narrative stakes are high. The lines of conflict are established early and clearly: Where Gorbachev merely wants to discuss the banning of ballistic missiles, Reagan’s equal emphasis on human rights — in particular, the Soviet Union’s restrictions on Western travel for its citizens — complicates the discussion, while his insistence on pushing the controversial Strategic Defense Initiative continues to be a sticking point for the other side. (No surprise that the film glides over American political opposition to the latter proposal, unambiguously taking Reagan’s side on all fronts.)

What’s crucially lacking here is a particularly compelling sense of Reagan and Gorbachev as human characters. Jeff Daniels and Jared Harris, respectively, put forward solidly recognizable impressions of the men we knew from televised speeches and newscasts, but aren’t given many notes to play: The leaders’ inner lives are limited to standard-issue exchanges with their wives about professional duty and strain, which don’t vary much in tone from the pithy aphorisms they share with their right-hand men about diplomacy, or lack thereof. Even when religion comes up for discussion, it’s in predictably on-message Angel Studios fashion, as Reagan chides his atheist opponent for “denying [his people] the hereafter.” (“This is worse than propoganda!” protests one of Gorbachev’s aides; irony is not one of the film’s stronger suits.) At one point, Reagan spills some chicken salad sandwich filling on his shirt; it’s about the most unguarded moment we get.

Reagan also, naturally, gets the leading perspective, as well as the most generous sounding boards in the supporting ensemble: not just his wife Nancy (Hope Davis), who doesn’t travel to Reykjavik but provides repeated counsel over the phone, but his Secretary of State George Shultz (played with an air of gruff, salt-of-the-earth decency by J.K. Simmons), on hand to straighten out Team America’s priorities when the negotiations go awry.

Though the film’s lens is consistently ennobling — abetted by everything from DP Magdalena Górka’s sober official-portrait lighting to Austin Wintory’s overbearing score — Daniels gets Reagan’s combination of folksy squareness and flintier social conservatism. It’s a more substantial portrayal than Dennis Quaid’s in the tackily propagandistic 2024 biopic “Reagan,” though we’re still left with the impression that, in the ranks of American presidents on screen, the erstwhile movie star remains a less dynamic movie subject.

Harris, meanwhile, plays Gorbachev as an altogether more aloof, intractable and unknowable figure, which is precisely how the film wants it — though Branka Katić gives the canniest, funniest performance here as his watchful, image-conscious wife Raisa, here placed in a remote PR war with the U.S. First Lady where, yet again, America gets to come out on top. The film could use a few more such colorful secondary strands adjoining the main conflict, though one subplot involving a maybe-romance between two jaded journalists assigned to the summit is oddly framed and abruptly dropped.

Fairly deliberate for much of its two-hour running time, “The Brink of War” suddenly races toward a denouement in its final quarter-hour — somewhat eliding the fact that the Reykjavik Summit was, at least in the short term, a failure, with the two men’s talks ultimately stalling, and folding it into the clearer success story of the next year’s treaty. As the film’s single most lumpen line of dialogue reminds us at the close: “A journey of a thousand miles doesn’t begin with the most incredible arms deal in history — it begins with a single step.” Gunn’s film, on the other hand, is content to skip a few steps where necessary.

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There was a time when talky slabs

In 2026, roughly one in eight American adults is on a GLP-1 like Ozempic, Wegovy, or Mounjaro, more than double the rate of eighteen months earlier. They were originally developed to treat type 2 diabetes; Ozempic won FDA approval for that in 2017, well before anyone thought of it as a weight-loss drug. And, funny enough, the whole class owes its existence to an unlikely source: the Gila monster. Researchers found that a peptide in the venom of the desert lizard mimicked the human hormone GLP-1 but lasted hours instead of minutes, and that durability is what eventually made a once-weekly injection possible. Now, the US obesity rate is falling for the first time in decades, the global market has cleared upwards of 130 billion dollars, and the shot has become as much a cultural fixture as a prescription. It’s now on red carpets, in group chats, in ads, commercials, and in nearly every conversation about wellness right now.

Part of why it went mainstream so fast is that famous people spoke openly about using it. Oprah got candid about using a GLP-1 and reframed weight as biology rather than willpower. Serena Williams, now a spokesperson for the telehealth company Ro, credits Zepbound with helping her lose 31 pounds and improve her health markers after her second pregnancy. Meghan Trainor, Chrissy Teigen, and Amy Schumer have all shared their results. These success stories, and the openness around sharing them, gave millions of people permission to try it too.

The popularity of this trend highlights a bigger story around the optimization era as a whole. GLP-1s are peptides, the same category now driving the entire longevity movement. Peptides like BPC-157, alongside NAD-based protocols, have evolved from bodybuilding forums to mainstream longevity clinics, and biohacking has grown into a booming global industry of labs, supplements, retreats, and large conferences like Dave Asprey’s upcoming BEYOND Wonderland, happening in Austin, TX on October 13-14. The overarching goal has extended beyond just fitting in your clothes better. It’s about building an optimized self, with more energy, a longer healthspan, better aging, and even cheating death, the literal mission of Bryan Johnson, the controversial tech entrepreneur whose entire movement is named “Don’t Die.” He takes more than a hundred supplements a day and spends around two million dollars a year trying to reverse his own biological age.

After the Body, the Self

For decades, weight loss was a wall most people never got over no matter how hard they pushed. Peptides like the GLP-1s turned that wall into a door almost overnight, a near-miraculous shortcut past a struggle that used to define entire lives. But the same kind of breakthrough is possible on the inside, too.

That is exactly where plant medicine comes in, and the greater trend is showing that the same people optimizing their bodies are realizing the inner work is just as crucial. You can perfect your labs, have single-digit body fat, and look like a million bucks but still feel unwell in the ways that matter most. 

Psychedelic therapies, including the plant medicine ayahuasca, have surged in popularity right alongside the GLP-1 boom for that reason, offering the inner counterpart to all the outer optimization. For the longevity-minded, it has become the missing piece: not just living longer, but living with clarity and purpose.

Ketamine clinics have opened in nearly every major city, and states like Oregon and Colorado now offer legal, supervised psilocybin therapy. Those are the accessible on-ramps, the treatments you can book on a lunch break, but ayahuasca sits at the top of that hierarchy. It is the one people cross borders for, the destination experience reserved for those ready to go all the way in, and the results people report have a permanence the other modalities seem to miss. A line you’ll hear again and again from those who have sat ayahuasca is that a single week with the medicine can do the work of ten years of therapy. Where traditional therapy and pharmaceuticals had failed them, people describe treatment-resistant PTSD, addiction, depression, and anxiety finally loosening their grip.

A Quick, Necessary Word on Safety

For anyone on a GLP-1 or a serious supplement regimen, understanding contraindications is not optional, it is one of the most important parts of preparing to work with psychedelics, especially ayahuasca. A contraindication is any substance or condition that makes a given treatment unsafe. Ayahuasca acts powerfully on the brain and body, which means a number of things that are perfectly safe on their own can turn risky the moment an interaction goes awry.

Ayahuasca is a powerful MAOI, so it cannot be combined with SSRIs, SNRIs, or other serotonergic drugs without risking serotonin syndrome, which can be dangerous and occasionally fatal. Reputable centers will ask you to taper off those medications well in advance, typically two to six weeks depending on the drug’s half-life, always under a doctor’s care and never cold turkey.

The longevity compounds are a different conversation, because most of them, including BPC-157, NAD and its precursors, and the usual recovery peptides, are not serotonergic and carry no documented dangerous interaction with ayahuasca the way antidepressants do. The honest caveat is that these compounds are newer and far less studied than people assume, so the rule is simple: disclose every single one and let a medical professional have the final say.

GLP-1s are the exception, because they change your physiology in a way that matters in ceremony. They slow gastric emptying, which does two things: it can blunt or delay the experience, since the brew lingers in your stomach longer, and more importantly, it means your stomach can still hold contents when you are certain you have fasted, which becomes a concern in a setting where purging is part of the process. There is a blood sugar layer as well, because GLP-1s lower blood glucose, and since ceremony usually means fasting beforehand and purging throughout, there is little food on board while the drug is still working, which can drop blood sugar too low. In an altered state, those warning signs are easy to miss or mistake for the medicine itself.

For weekly GLP-1s like semaglutide or tirzepatide, the current thinking is to pause roughly one to two weeks ahead so the stomach can return to normal, with the newer data leaning toward the longer end. Daily formulations clear the body faster and usually only need to be paused a day or so beforehand. Either way, stopping a GLP-1 affects your blood sugar, so the timing should be planned with your doctor, not left to guesswork.

Dr. Jeff McNairy (Photo Courtesy of Rythmia)

Why Rythmia Life Advancement Center Is the Go-To Center for the Longevity-Minded

Rythmia Life Advancement Center is the only medically licensed plant medicine center in the world, holding a General Medical License from the Costa Rican Ministry of Health. Every guest is medically screened before and upon arrival, and the center has an on-site clinic and a 24/7 clinical team of doctors and nurses. For anyone considering doing this work on a GLP-1, a peptide protocol, or any longevity regimen, that level of oversight is precisely why they are ranked #1 in their category on TripAdvisor, and have a reputation for being the go-to center for ayahuasca with many guests self-reporting a miracle after their stay.

Beyond the ratings, testimonials, and licensing, there is the location. Rythmia is located in Guanacaste, Costa Rica, one of only five Blue Zones on earth, the rare regions where people routinely live past 100 and are measurably happier and healthier as a whole. Those communities teach the one lesson the biohacking world often overlooks: the longest, healthiest lives are not built on supplements, cold plunges, and red-light therapies alone, but on a deeper sense of purpose, real connection, and belonging to a community of like-minded people. Those are exactly the things people describe finding through plant medicine, the breakthrough that becomes part of the miracle.

That is what makes Rythmia the best place for longevity-focused people to do this work. It is the one destination where modern medical safety, the science of life advancement, and the oldest healing tradition we have all co-exist in the same place. You can optimize the body almost anywhere, but Rythmia is where you optimize the soul, too. 

If you want to go deeper on where Western medicine, plant medicine, and human optimization meet, Rythmia’s Chief Medical Officer, Dr. Jeff McNairy, is speaking on exactly that at BEYOND Wonderland, the conference we mentioned earlier, this October 13-14 in Austin, TX. It is the perfect place to keep exploring everything we’ve touched on here, continue the conversation, and connect with other like-minded people on a similar path.

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win Plexian Casino referral bonus offer

When claiming a casino bonus, the thrill of extra funds can quickly outweigh the fine print. At plexiancasino app login, knowing the maximum bet rules during bonus play is vital to protect both your winnings and your gaming experience. These limits are not arbitrary hurdles; they are in place to uphold fair play and comply with UK Gambling Commission standards. This guide breaks down every element of the rule so you can play confidently and avoid costly mistakes.

Bonus Categories at Plexian Casino and Their Particular Betting Rules

Plexian Casino offers a broad selection of promotions, each with its own set of terms. The maximum bet rule is a constant, but the precise limit and eligible games can vary. Understanding the nuances of each bonus type helps players adapt their strategy and avoid unintentional breaches. The main categories include welcome packages, reload bonuses, free spins, cashback offers, and occasional no-deposit bonuses.

Welcome Offer Betting Caps

The welcome package at Plexian Casino usually spans the first few deposits and combines match bonuses with free spins. For the match bonus portion, the maximum bet is usually £5 per spin or hand. The free spins winnings are converted into bonus funds with their own wagering requirement and a separate max bet cap, commonly £5 as well. Players must complete the wagering for each stage before the cap is lifted. It is sensible to clear one bonus segment at a time to maintain clarity.

Free Spins and Their Conversion Caps

Free spins awarded as part of a promotion come with no direct cost per spin, but the resulting winnings become bonus money. Once converted, the standard maximum bet rule applies. For example, if 50 free spins on a popular slot yield £20 in winnings, that £20 is subject to a 35x wagering requirement and a £5 max bet. Some free spin offers impose an even lower cap of £2 to minimise risk. Always check the free spins terms on the Plexian Casino promotions page.

Reload and Cashback Bonuses

Existing players at Plexian Casino can claim reload bonuses on subsequent deposits. These usually mirror the welcome bonus structure with a match percentage and a max bet cap of £5. Cashback offers, which return a percentage of net losses as bonus funds, also carry a max bet limit during the cashback wagering phase. The cap ensures that players cannot immediately wager the cashback amount on a single high-risk bet. These rules are standard across UK-licensed casinos and are enforced fairly.

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Claiming a bonus at Plexian Casino requires a deposit, and the platform offers a wide array of UK-friendly payment methods. Players can add money to their accounts using Visa, Mastercard, PayPal, Skrill, Neteller, bank transfer, and Pay by Phone options. Deposits are processed instantly, permitting the bonus to be applied without delay. It is essential to note that some e-wallet deposits may be left out from certain promotions, so reviewing the bonus terms before depositing is necessary.

Once a deposit is completed and the bonus is live, the maximum bet rule is in place no matter the payment method used. The banking system is protected with SSL encryption, making sure all transactions are secure. Plexian Casino is authorized and overseen by the UK Gambling Commission, which mandates strict adherence to fair bonus terms and transparent communication. This regulatory oversight gives players confidence that the maximum bet rules are upheld consistently and not arbitrarily.

Withdrawals of winnings obtained from bonus play are subject to verification and processing times. Usually, e-wallet withdrawals are completed within 24 hours, while card and bank transfer withdrawals may take 2 to 5 business days. Before a withdrawal is authorized, the compliance team checks gameplay to confirm no maximum bet breaches occurred. Providing accurate identification documents early can speed up the process. Players should not ever attempt to withdraw while a bonus is still active unless they are willing to give up it.

  • Visa and Mastercard debit cards
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Mobile play at Plexian Casino is seamless, with a fully responsive website that conforms to smartphones and tablets. The same bonus terms, including maximum bet limits, are valid across all devices. The mobile interface displays the bonus balance and wagering progress clearly, and bet adjustment controls are simple to use on touchscreens. If playing on an iPhone or an Android device, players must stay watchful about bet sizing, as the smaller screen can sometimes cause accidental stake increases if not attentive.

How Games Contribute and Their Effect on Stake Management

Not all games contribute equally to wagering requirements, and this weighting can affect how players manage their bet sizes. At Plexian Casino, slots generally contribute 100% of each bet towards the playthrough, while table games and live dealer titles often contribute only 10% to 20%. The maximum bet limit is still in effect regardless of contribution, meaning a £5 bet on blackjack that only counts as £0.50 towards wagering still cannot exceed the cap.

Full Contribution of Slots

The vast majority of online slots at Plexian Casino count 100% towards wagering. This makes them the most efficient choice for clearing bonuses, but it also means the £5 maximum bet is fully applied. Players who prefer high-volatility slots might be inclined to increase stakes to chase big wins, but doing so would break the rules. Sticking to £5 or less on slots is the most secure path. Some progressive jackpot slots may be excluded entirely, so always check the list of eligible games.

Table Games and Reduced Weighting

Classic table games like blackjack, roulette, and baccarat usually contribute only 10% to 20%. A £5 bet on blackjack might only shave £0.50 off the wagering requirement. This reduced weighting encourages slot play but does not relax the maximum bet rule. Players who prefer table games must place smaller bets to stay within the cap, often £1 or £2 per hand. Trying to accelerate wagering by betting the maximum allowed on a low-contribution game is inefficient and still risky.

Live Casino and Excluded Titles

Live dealer games at Plexian Casino, powered by top-tier studios, bring an authentic casino floor experience. However, many live games contribute just 10% or are entirely excluded from bonus wagering. The maximum bet cap still applies if the game is eligible. Before joining a live blackjack table with an active bonus, confirm the game’s contribution and the precise bet limit. Some live game shows like Dream Catcher may have special rules, so a quick terms review is essential.

What Happens If You Exceed the Maximum Bet Limit

The repercussions of violating the maximum bet rule at Plexian Casino are plainly detailed in the terms and may be severe. Typically, the casino reserves the right to void the bonus and any winnings accrued from it. Under some circumstances, the original deposit may be returned, but any amassed bonus funds and associated profits are stripped from the account. Frequent or deliberate breaches could result in account restrictions.

Plexian Casino utilizes automated monitoring systems that record every bet placed while a bonus is active. If a wager goes over the permitted maximum, the system flags the transaction. The player may not receive an immediate notification, but the breach is documented. When a withdrawal request is made, the compliance team reviews the gameplay. A single unintentional overbet could be ignored at the operator’s discretion, but multiple instances will nearly always end in forfeiture.

  • Halt playing immediately and avoid making further bets.
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Proactive measures is always preferable than damage control. Players are advised to set a personal bet limit smaller than the official cap to establish a safety buffer. For example, if the maximum is £5, betting £4.50 per spin offers a margin for error. Furthermore, disabling the “quick spin” and “autoplay” features diminishes the chance of inadvertently clicking a higher stake. Plexian Casino’s responsible gambling tools also allow setting deposit and loss limits, which secondarily help regulate bet sizing.

How Maximum Bet Limits Operate at Plexian Casino

The maximum bet limit is a predetermined cap on the quantity that can be bet per spin, hand, or game round while a bonus is active. At Plexian Casino, this cap is typically set at £5 for slot games, though the specific figure may change depending on the particular promotion. The system routinely tracks bets, and any wager exceeding the permitted maximum triggers a breach flag, possibly voiding the bonus and any associated winnings.

Clarifying a Single Bet Round

A single bet round in slots is simple—each press of the spin button counts as one wager. For table games like blackjack or roulette, a round is the finish of one hand or one spin of the wheel. In video poker, each deal is a round. The maximum bet covers the total stake per round, covering any side bets or feature buys. Players must be careful not to combine multiple bets on a single table game hand that cumulatively exceed the cap, even if each single chip placement is below the limit.

Live Casino Betting Details

Live dealer games at Plexian Casino add a layer of complication. A round in live blackjack is one hand, but if a player places bets on multiple seats, the sum of all bets across those seats must not exceed the maximum. In live roulette, bets placed on different numbers, colours, or sections are totaled for the spin. The system assesses the total stake per game round, so spreading bets across the layout does not circumvent the rule. Always calculate the total exposure before placing bets.

Plexian Casino’s platform provides real-time balance and bonus status displays, but the onus lies on the player to monitor bet sizes. The casino recommends using the bet settings to lock in a default stake below the cap, lowering the risk of accidental overbetting. If a game features a “max bet” button, it is advisable to avoid it entirely during bonus play, as it may automatically set the stake to the game’s maximum, which almost certainly exceeds the bonus limit.

Avoiding Common Pitfalls When Playing with a Bonus

Many bonus-related frustrations stem from simple oversights rather than intentional rule-breaking. At Plexian Casino, the most frequent mistake is not realizing that a bonus is still active. After a long session, a player might switch to a high-stakes game and instinctively increase the bet, forgetting the wagering requirement hasn’t been met. The casino’s interface shows a clear bonus balance, but it is easy to overlook in the heat of play.

The Autoplay Trap

Autoplay is a useful feature, but it can be dangerous during bonus play. If a player sets autoplay to 100 spins at £5 per spin, everything seems fine until the balance rises and the system automatically changes the stake to a higher default on a new game. Some slots retain the last stake used, so if a player previously played at £10, launching autoplay could instantly violate the limit. Always double-check the bet amount before activating autoplay, and weigh avoiding it entirely until the bonus is cleared.

Switching Games Mid-Session

Moving from slots to table games while a bonus is active is another common hazard. A player might be comfortably wagering £5 on slots, but when they change to roulette, the same £5 bet could go beyond the lower table game cap of £2. The maximum bet rule may vary by game category, so it is essential to review the terms for each game type. Plexian Casino’s bonus terms often state separate limits for slots and table games, so a one-size-fits-all assumption can lead to an accidental breach.

Another subtle pitfall involves feature buys in slots. Some modern video slots allow players to buy a bonus round for a multiple of the base stake, such as 50x or 100x. If the base bet is £5, a feature buy of 50x would cost £250, which massively exceeds the maximum bet. At Plexian Casino, feature buys are treated as a single wager, so they are bound to the same cap. Players should deactivate or avoid any game with a feature buy option while a bonus is active unless the terms explicitly permit it.

The Typical Maximum Bet In Bonus Wagering

Although each promotion at Plexian Casino carries its own specific terms, the industry-standard maximum bet for bonus play is £5 per spin or hand. This figure is widely adopted across UK-licensed casinos because it balances player freedom with risk control. Some offers, notably those with high bonus amounts, may impose a lower cap of £3 or even £2, while no-deposit bonuses often have a strict £1 maximum bet to prevent abuse.

  • Slots: £5 per spin (most common)
  • Table classics (blackjack, roulette): £1–£2 per hand/round
  • Live dealer games: £2–£5 per round, based on the promotion
  • Video poker: £2–£5 per hand
  • No-deposit bonuses: often capped at £1 per spin

It is crucial to note that these figures are illustrative; the binding limit is always the one printed in the bonus terms on the Plexian Casino website. Players should open the specific promotion’s dedicated page and scroll to the “Bonus Terms” or “Wagering Requirements” section. The maximum bet clause is usually highlighted in bold or a separate paragraph. If any ambiguity arises, the customer support team can clarify the exact cap before play begins.

The maximum bet rule governs bonus funds and any winnings generated from them, but not to the player’s original deposit if the bonus is forfeited. However, while the bonus is active, even cash bets can be problematic if the system cannot distinguish them, so it is safest to assume the cap governs all play until wagering is complete. At Plexian Casino, the interface clearly separates the bonus balance from the cash balance, helping players track their status.

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Grasping Bonus Play and The Purpose Maximum Bet Rules Are in Place

Bonus play at Plexian Casino converts a standard deposit into a larger bankroll, typically through match bonuses or free spins. Once a bonus is active, the player must meet wagering requirements before withdrawing. During this period, every bet is scrutinised. Maximum bet rules stop players from placing disproportionately large wagers to clear requirements rapidly, a tactic that could expose the casino to excessive risk and undermine the bonus system’s fairness.

The UK Gambling Commission expects licensed operators to implement responsible bonus terms. A maximum bet cap guarantees that all players, regardless of bankroll size, engage with the promotion on a level playing field. Without such a cap, high rollers could exploit the bonus by betting hundreds of pounds per spin on high-volatility slots, completing wagering in minutes while exposing the casino to significant liability. The rule is a measure for both the operator and the average player.

At Plexian Casino, the maximum bet rule is clearly outlined in the promotion’s terms and conditions. It applies from the moment the bonus is credited until the wagering requirement is fully met or the bonus is forfeited. Ignorance of the rule does not exempt a player from its consequences, which is why reviewing the terms before playing is a non-negotiable step for anyone serious about withdrawing bonus-derived winnings.

Common Questions About Bonus Bet Limits

What is the highest permitted wager when wagering with a bonus at Plexian Casino?

The standard maximum bet is £5 per spin or hand for slot games, but this can change depending on the promotion. Casino table games and live dealer often have a smaller limit of £1 to £2. The precise figure is always specified in the specific bonus terms and conditions. Players should read those terms before wagering.

Can I play any game with a bonus?

Not all games are eligible. Some slots, table games, and live dealer titles may be banned or contribute a reduced percentage to wagering. The eligible game list is included in the bonus terms. Wagering on prohibited games with an active bonus can lead to forfeiture of the bonus and winnings, even if the maximum bet was not exceeded.

What occurs if I unintentionally surpass the max bet?

A single accidental breach may be waived at the casino’s discretion, but repeated or large overbets will probably lead to the bonus and any winnings being forfeited. Reach out to customer service immediately if a mistake occurs. The optimal approach is to establish your own wager cap below the cap.

Do max bet rules apply to free spins winnings?

Yes, any winnings from free spins are transformed into bonus money and become bound by the same maximum bet rule during the subsequent wagering phase. The cap is typically £5, but some free spin offers impose a lower limit.

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How do I verify the current max bet limit for my bonus?

The active bonus details are displayed in the “My Bonuses” section of the account. Clicking on the bonus reveals the wagering progress and the maximum bet clause. Otherwise, the full terms can be found on the promotions page. Customer support is available 24/7 to clarify any doubts.

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Welcome to Fiscal Spotlight, a special monthly round up of projects—at all stages of production—working their way through Film Independent’s Fiscal Sponsorship pipeline. Enjoy!

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Film Independent’s Fiscal Sponsorship program has supported all sorts of projects: shorts and features, narrative and nonfiction. Oh, and a few new media projects, special events or advocacy initiatives. Each month’s Fiscal Spotlight column highlights three new projects taking part in the program.

With the power of Fiscal Sponsorship, these projects end up getting made, and from time to time we love to feature some of those successes. Once again it’s time for another Fiscal Update.

This month we have exciting news from three films, all with a little left to raise to be either start shooting or wrap post. They include a twisted neo-noir about two stripper roommates, a coming of age story at a rest stop, and a sci-fi rom-com about avoiding the right thing to do.

Betty & Mary: Neighbors

Project type: Fiction Short
Project status: Post-Production
Writer/Producer/Lead Actor: Dana Lyn Baron
Director: America Young
Producer: Stephanie O’Neill

About the Project:  After murdering their sleaze-ball boss and blowing up their workplace, two dysfunctional strippers — one jaded, one guilt-ridden — try to lay low, shake off the hangover, and figure out if their new neighbor with wings is here to help… or just judge the shit out of them.

Filmmaker Update: We’re thrilled to share that Betty & Mary: Neighbors has officially wrapped production. As the second chapter in Dana Lyn Baron’s award-winning Betty & Mary trilogy, this has been an exciting and ambitious chapter for our team, and after months of fundraising, planning and preparation, it was incredibly rewarding to bring the film to life with an extraordinary cast and crew.

In this twisted new installment, Betty and Mary land in another parallel universe – this time as two strippers navigating guilt, survival and a mysterious new neighbor who may be there to help them… or judge the shit out of them. Now we’re deep in post-production, shaping the film through editing, sound, score, color, visual effects and all the finishing work that will bring Neighbors fully to life. Film Independent’s fiscal sponsorship support has been instrumental in helping us reach this stage, and we’re grateful to be moving into the next phase with so much momentum as we continue raising the final funds needed to complete the film.

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Night At The Oasis

Project type: Fiction Feature
Project status: Development
Writer/Director: Kim Caicedo
Producer: Heliya Alam, Warner Davis, Michelle levinger

About the Project: At a Florida highway rest stop, a sheltered pre-teen is accidentally abandoned while accompanying her truck driver father on a delivery.

Filmmaker Update: After receiving overwhelmingly positive responses at Sundance 2026 and Cannes 2026, we’re incredibly proud to share that our film is now 80% funded. We couldn’t have come this far without the supporters, believers, and partners who saw the potential in this story and believed in what we’re trying to create. With an incredible cast attached, a powerful script, and a passionate crew behind it, we are on track to bring this film to life this year.

But we’re not at the finish line yet. With the remaining 20% of our financing still to raise, we’re asking our community to help us take this project across the finish line. Every contribution brings us one step closer to making this story a reality. At its heart, this is a story about belonging, and what it means to grow up feeling caught between two worlds. It is raw, heartfelt, and deeply personal, shining a light on the experiences of second-generation immigrants who may struggle to find their place, their identity, and a sense of home.

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Oh, No!

Project type: Fiction Feature
Project status: Development
Writer/Director/Producer: Scott Mckinney

About the Project: Isla broke her simulation to avoid fate forcing her to break up with her boyfriend, Ezra; now, she’s living in a self-induced time loop.

Filmmaker Update: Our crowdfunding campaign ends the middle of August as we find the last bit of funds needed to start filming in September. Twelve of our 15 days of principal photography will be done at a beautiful home in the front range of the Rocky Mountains outside of Golden, Colorado.  We have been in the thick of finishing crewing, shot designing, fundraising, and other pre-producing work.

In the next few weeks, we’re excited to rehearse with our stellar cast and bring this broken simulation and unique story to life. Anna Telfer leads with Skyler Bible, Hilty Bowen, and Brian Barlow supporting. Anna has music to master, she and Brian have a fight scene to rehearse, Skyler and Brian have a dance to perfect, and Hilty has to polish a Southern and a British accent. Though we will be able to start production, we are still raising fundings through the fiscal sponsorship to help us through post and potential pick up days.

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Learn more about Fiscal Sponsorship, including its benefits and eligibility requirements by visiting our website. See which projects are currently being supported via our Sponsored Projects page.

Film Independent Artist Development promotes unique independent voices by helping filmmakers create and advance new work. To support our work with a donation, please click here. Become a Member of Film Independent here.

Keep up with Film Independent…

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A notable innovation that has become popular massively with UK slot fans and is well represented at Slotochu Casino is the Bonus Buy mechanic. Normally, reaching a slot’s most lucrative free spins round demanded patience and luck, hoping for a specific scatter symbol combination to land naturally. The Bonus Buy feature, where permitted by UK regulations, flips this model on its head by letting players acquire immediate entry into the bonus game for a fixed multiplier of their current stake. It attracts those who favor a direct route to high‑octane action and are comfortable handling their bankroll to cover the upfront cost. It is a calculated decision: pay 50x or 100x the bet now to bypass the base game grind and jump straight into the feature that holds the title’s maximum win potential. Slotochu Casino offers these options transparently, with clear labelling on game thumbnails so players know exactly what they are getting into before they load the reels.

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The real test of a casino’s integrity frequently appears in its withdrawal process, and Slotochu Casino has put a system in place that reconciles regulatory duty with a drive for speed. UK Gambling Commission guidance requires all licensed operators to authenticate a player’s identity, age and address before processing a first withdrawal, a process called Know Your Customer. The casino simplifies this by asking users to upload documents, such as a passport or driving licence, and a recent utility bill or bank statement, early in their journey, minimising delays when a cashout is requested. Once an account is verified, the internal processing team works to approve pending withdrawals within a clearly stated timeframe, usually within 24 hours. The actual speed at which funds arrive then is determined by the chosen method; e‑wallets typically reflect credits within hours of approval, while debit card transfers and bank wires may take three to five business days. Transparency around these timelines is offered in the FAQ and banking sections, creating realistic expectations from the start.

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Slotochu Casino has implemented a mobile‑first approach, recognizing that the vast majority of UK players now use their favourite slots and table games on smartphones and tablets. There is no requirement to download a dedicated app, although one may be available; the main access point is a fully responsive website that conforms fluidly to iOS and Android operating systems. The interface has been rethought for touch navigation, with large, thumb‑friendly buttons, swipeable game carousels and a sticky menu bar that holds essential functions like cashier, support and lobby search within immediate reach. Game performance on mobile is indistinguishable from desktop, with HTML5 technology making sure graphics stay sharp and load times stay minimal even on 4G connections. Every feature, from the Bonus Buy mechanic to live dealer streams, operates fully on a handheld screen, with the live chat and dealer interfaces adjusting elegantly without losing usability. The mobile version retains the full promotional suite, so a player can collect a reload bonus or check their tournament leaderboard position while on a commute.

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Headline Bonuses and the Welcome Package Structure

The welcome proposition at Slotochu Casino is designed to give new UK players a substantial boost from the first deposit, but it is the clearness of the terms that defines the offer. Rather than burying critical details in fine print, the platform presents the match percentage, the maximum bonus amount and the wagering requirements upfront. A typical welcome package might distribute bonus funds and free spins across a player’s first few deposits, providing sustained value instead of a single hit that disappears quickly. The free spins are typically tied to specific, popular slot titles, giving newcomers a directed tour of the casino’s best games while using bonus credit. It is crucial for any player to understand the concept of wagering requirements, which specify how many times the bonus sum must be played through before winnings can be withdrawn. Slotochu Casino sets these at a competitive level that aligns with UK market standards, mixing generosity with a responsible framework that stops abuse.

Continuous Promotions and Loyalty Perks

The relationship between Slotochu Casino and its players does not weaken after the welcome bonus is claimed; instead, it is kept alive through a organized calendar of ongoing promotions intended to reward consistent play. Weekly reload bonuses offer a percentage top‑up on deposits made on specific days, essentially increasing a player’s budget for the slots or live tables they love most. Cashback offers are another foundation, refunding a percentage of net losses over a set period as real cash or bonus funds, lessening the blow of an unlucky streak and enabling players bounce back. Slot tournaments are a special highlight, setting players against each other on designated titles to climb leaderboards based on win multipliers or total points, with prize pools often shared among the top contenders. The loyalty scheme, often tiered, monitors activity and provides increasingly valuable perks such as faster withdrawals, higher deposit limits and tailored account management. These rewards are not just superficial; they turn into tangible benefits that enhance the daily experience.

Interactive Casino Engagement Beyond the Slots

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The city is taking a closer look at how and where e-scooters and e-bikes should operate in Edmonton.

Councillors heard Tuesday that safety and parking still remain a top concern for Edmontonians, so they’re looking at ways to address that.

Those concerns ring a bell for Kyrie Herman and her daughter, as they are part-time wheelchair users. The pair use a lot of shared paths and roadways in the city, but sometimes e-scooters block their way.

“We’ve run into a lot of situations where they’ve been parked on the sidewalk, and then they tip over, or even if they’re just like not tipped over, but parked the wrong way, then we can’t get our wheelchairs around them,” said Herman.

Herman and her daughter are able to get out of their wheelchairs and move them out of the way, but that’s not the case for everyone.

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“There are some people that are by themselves, so they can’t get somebody to move it, or they’re not able to pick it up and move it or go around,” Herman said.

Herman is one of many who support changes to Edmonton’s shared micromobility program, covering e-bikes and e-scooters.

A new report from city staff says since the program was launched in 2019, use has nearly tripled to more than 1.4 million trips last year.

It also says that parking and ride behaviour remain among the biggest concerns for Edmontonians.

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“I think this is the next natural evolution of that conversation, is how do we make sure that we’re best supporting folks who are, not only using micromobility, but the people who are moving about the districts where they are most popular,” said ward Métis councillor Ashley Salvador.

“We need to work to find ways that accommodate everyone, and that can be tricky in condensed zones and in condensed areas, so I think that’s where some of those intricacies come in, but at the end of the day we wanted people to provide options for everyone to safely get where they’re going.”


Click to play video: 'E-scooter accident leaves Edmonton man critically injured'


E-scooter accident leaves Edmonton man critically injured


The city is considering permanent changes to where e-scooters and e-bikes can go, where they can park and how fast they can travel.

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Staff say these tools give flexibility to respond to construction, festivals and other emerging issues without needing permanent infrastructure.


Vendors could also potentially include penalties for people who improperly park and incentives for those who follow the rules.

It’s first testing those options out in an expansion project in Mill Woods with designated parking zones. There are also slow zones and no-riding zones, where the devices automatically reduce their speed or shut down, especially around busy public spaces or special events.

That’s already been tested around Whyte Avenue and during the Edmonton Oilers’ 2025 playoff run.

But some councillors are concerned about too many restrictions.

“If you have to be parking two blocks away, I think that starts to take away from the benefit. So that’s important to me and figuring out how we implement that, so that it’s practical but also helps address the clutter that we see at times,” said ward O-day’min councillor Anne Stevenson.

No permanent changes were decided at committee Tuesday.

For Herman, she hopes whatever eventually changes, people follow suit. So shared paths can be accessible for people like her and her daughter.

“With everything, I think the more you do it, and the more we do it as a community, people will get used to it,” she said.

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Click to play video: 'Doctors show CT scans of serious injuries as a result of e-scooter use'


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The city is taking a closer look

Paramount‘s Chief Legal Officer Makan Delrahim said that “everything is on the table” when it comes to finding a resolution to state attorneys general’s lawsuit seeking to block the proposed merger with Warner Bros. Discovery.

At a Politico conference on Tuesday, Delrahim also defended the company’s raising of the prospect that it would leave the state, amid reports that CEO David Ellison raised the prospect if no settlement was reached by Oct. 1. California Attorney General Rob Bonta, who is leading the state AGs lawsuit and appeared at the same conference hours earlier, called the threat to leave a form of “blackmail.”

“David Ellison was born here, lived here since I moved to this country. I’ve lived here. He’s raising his children here. His intent is to be committed to be in California,” Delrahim said. “There’s a point at which where you have a duty, a fiduciary duty to your shareholders, and those are all the factors you consider. But our goal is to be here.”

He added, “I heard the attorney general say that this was some kind of blackmail attempt for the lawsuit. It is not. When the delay starts costing you know after this merger has been approved from, I believe, 67 countries — European Union, China. Canada, Australia — let’s forget about the DOJ — but all of them have reviewed it this way. But this state seems to view this merger in a different market. You have to take a look at the business environment and look to see what’s best for not only the community, the business, and ultimately, go to the place where you are wanted.”

Ellison told a group of the company’s executives that he would start the process of leaving the state if Bonta did not negotiate a settlement.

California and 11 other states sued to block the merger last month, claiming that it would stifle competition for wide release theatrical film distribution, anticipated big budget blockbusters, and basic cable television channel licensing.

Paramount faces paying a $7 million-per-day ticking fee to Warner Bros. Discovery for each day that the merger doesn’t close past Sept. 30. But a federal judge last week set the trial for next March, and the deal expires in June. After that, Paramount would be on the hook for a $7 billion break up fee.

Delrahim also said that he takes Bonta “at his word” that the state AG lawsuit is not about control of CNN, amid fears that the Ellisons would look to move the network into a Trump-friendlier direction.

Ellison, Delrahim, “wants to bring it back to news,” as he pointed to the CEO’s op ed last week in The New York Times. In it, Ellison wrote that news organizations require independence, while he said that CNN and CBS News, which Paramount already owns, “are here to tell it straight down the middle.”

Even though Ellison claimed that the lawsuit was about opposition to his control of CNN, Bonta denied it, and said that merely divesting the news network would not be a settlement.

“I take him at his word. It’s not about CNN,” Delrahim said. “This is an antitrust case. He’s trying to protect movie theaters and cable operators, as alleged in the lawsuit.”

But Delrahim predicted that the AGs didn’t have a viable case. He pointed to support for the merger from major exhibitors, and when it came to the merger’s impact on cable operators, “it will fall apart because of the market definition.”

“There is no such thing as basic cable anymore,” he said. “Combined, if you look at streaming, the two companies will have something like 7% to 11% of the market share.”

That said, as Politico’s Alex Burns pressed him on the prospect of selling CNN as a way to “make it easier to get this deal done,” Delrahim said, “I was born in Iran. I moved here after the 1979 revolution. The single most important thing we have is the First Amendment. not because I’m a religious minority and …think people should be free, but also the First Amendment and free speech. If you start using state powers and wrap yourself around that to actually violate the First Amendment and control of content, that would be the saddest day in this country.”

He added, “But having said that, everything is on the table. We would be delighted to engage and discuss about any resolution to get this merger, to get this closing after all this time, in order to repair the industry, create more jobs, bring more jobs and production back.”

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Paramount‘s Chief Legal Officer Makan Delrahim said

Zoe Saldaña is growing frustrated with political questions, mainly because she doesn’t find them being asked in equal measure across the industry. The Oscar winner said during a conversation at the Locarno Film Festival that she often participates in Q&As because she is eager to talk about the craft of acting. However, Saldaña keeps finding herself fielding political questions instead.

“One thing that’s incredibly limiting, and frustrating, is when I’m the only person of color or the only woman on stage, and that happens quite a lot for women and for people of color. And I wait for my turn to be asked a question about my craft, and I’m asked the political question,” Saldaña said, giving the following example: “What do you think we need to do to make films more inclusive?”

“I’m sorry, you don’t ask the only person that comes from the marginalized community,” Saldaña noted. “You ask the other 80 of them that are part of the gatekeepers, and you ask them if they know the answer because I think that we’re making people of color work double to be in a room.”

Saldaña did not give any specific examples of press tours where she’s been inundated with political questions when compared to her co-stars and crew, although she was notably asked about “Emilia Perez” offending Mexicans just minutes after she won the best supporting actress Oscar in 2025.

A journalist in the Oscars press room told Saldaña that the movie had been “really hurtful for us Mexicans,” to which the actor responded: “First of all, I’m very, very sorry that many Mexicans felt offended. That was never our intention. We spoke from a place of love. I don’t share your opinion. For me, the heart of this movie was not Mexico. We were making a film about friendship. We were making a film about four women.”

“These women could have been Russian, could have been Dominican, could have been Black from Detroit, could have been from Israel, could have been from Gaza. And these women are still very universal women that are struggling every day, but trying to survive systemic oppression and trying to find the most authentic voices,” she added at the time. “So I will stand by that, but I’m also always open to sit down with all of my Mexican brothers and sisters, with love and respect, [to have] a great conversation on how ‘Emilia Pérez’ could have been done better. I welcome it.”

Saldaña currently stars in the third season of “Lioness,” streaming on Paramount+. She attended the Locarno Film Festival this year and received a Special Honorary Pardo from festival director Giona Nazzaro. Click here for more highlights from her discussion.

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Zoe Saldaña is growing frustrated with political

John Hinckley Jr., the Oklahoma native who tried to assassinate President Ronald Regan in 1981 in an attempt to impress Jodie Foster, shared a new message for “The Silence of the Lambs” star during a recent appearance on the “Mark Joseph Show” (via EW).

“I just wish Jodie Foster well, you know,” Hinckley said. “I don’t really see her movies, but I wish her well, and I know she’s doing quite well. And that’s all I can say is just, I wish Jodie well, and I hope she has a good life.”

On March 30, 1981, Hinckley waited outside the Hilton Hotel in Washington, D.C., for President Regan. When President Regan emerged from the building, among a crowd of onlookers, he fired all six shots of his Röhm revolver at the commander in chief. Several of the accompanying staff and Secret Service agents were injured, and one of the bullets ricocheted off of President Reagan’s limousine and struck him in the chest. Labor official Alfred Antenucci brought Hinckley to the ground seconds after the shooting, with assistance from agent Dennis McCarthy.

Hinckley was tried in federal court, but was found not guilty on all 13 charges by reason of insanity.

Hinckley had stalked Foster while she was at Yale years before the assassination attempt, which was to be his final act to win her over. He was 25 at the time, while Foster was 18, and already had dozens of credits to her name, including “Taxi Driver” and “Freaky Friday.”

When asked by host Mark Joseph what he hoped to achieve by assassinating Regan, Hinckley said, “I wanted to have a union with Jodie Foster and live the rest of my life with her and all these things that, of course, were delusional. But I was believing those things at the time, so the best outcome would have been a union with Jodie Foster.”

“I thought she would, you know, after things settled down, join me wherever I was,” Hinckley added. “I wasn’t sure if I was gonna be in jail or the hospital or what after things settled down. I had this notion that she was gonna join me wherever I was.”

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John Hinckley Jr., the Oklahoma native who

What New Netflix Movie Should I Watch? Quiz (August 2026)

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What New Netflix Movie Should I Watch?

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    Panache Digital Games announced “1666: Amsterdam” will release in Early Access on Aug. 25.

    From “Assassin’s Creed” series creator Patrice Désilets, the dark, third-person narrative action-adventure game unravels a mystery across Amsterdam. Players take on the role of Noa, the Collector, who wields witchcraft to uncover “Originals,” demonic entities hiding behind human faces.

    The Early Access version of “1666: Amsterdam” will be available for PC via Steam and Epic Games Store for $29.99 on Aug. 25. The EA edition “will include the first piece of the campaign, expected to take approximately 15 hours to playthrough.” 

    Per the description for the game, “A cycle is ending. Another one is beginning. Take part in Noa’s Commencement as she inherits the mantle of the Collector. Unravel a mystery that spans centuries. Choose the companion that will walk beside you. Follow the traces left behind in a city shaped by secrets, power, and memory. This is where everything begins.”

    Watch a new gameplay feature for “1666: Amsterdam” below. The video gives an in-depth look at the game’s mechanics, combat and the day and night cycle. It also showcases the unique playing styles of lead characters Noa and Aaron as they hunt Originals across Amsterdam.

    See more gaming news from this week in the roundup below.

    AWARDS

    The 2027 BAFTA Games Awards are now open for entries, albeit with a few key changes.

    BAFTA will now open the Evolving Game category to a member-wide vote across all rounds, while the organization has reaffirmed its commitment to “outstanding human achievement” in the face of concerns around AI. Entry fees have also been revised, with a new 25% discount for eligible independent and small developers.

    “With this year’s updates to eligibility and voting, the Awards continue to celebrate outstanding human creativity, craft and innovation, while evolving to reflect the way the sector is changing,” BAFTA’s director of awards Kelly Smith said in a statement. “I’m looking forward to seeing the exceptional work that will be recognized in 2027.”

    Entries will close on Friday, Sept. 18 for games released between November 15, 2025 and July 31, 2026, while entries will close on Friday, November 6 for games released between Aug. 1 and November 19, 2026.

    MONETIZATION

    Mobile game developer and publisher Scopely announced a content creator initiative for “Monopoly Go!”

    The Go! Friends Creator Fund allows content creators to develop original ideas that adapt the themes of “Monopoly Go!’”s gameplay into their storytelling formats. 

    “At its core, Monopoly Go! is designed to give friends new reasons to connect, compete and have fun together. That same idea is the creative starting point for the GO! Friends Creator Fund,” said Jamie Berger, senior vice president of marketing for Monopoly Go! at Scopely. “We believe in providing creators with freedom to explore the themes of friendship in their own voice and format, while staying true to what works for their audience. Our goal is to move beyond one-off, transactional partnerships and build original entertainment alongside creators, and we’re excited to welcome more of them into the Monopoly Go! universe.”

    The fund supports creators artistic direction for their audiences, rather than relying on predetermined campaigns.

    EXEC SHUFFLE

    Sandbox Group has appointed senior brand and entertainment marketing executive Amanda Klecker as chief marketing officer. 

    Klecker will oversee marketing and brand strategy across the life skill platform’s digital portfolio. She previously served as the head of marketing and franchise at pocket.watch, as well as working in marketing leadership at ViacomCBS/Paramount and Martha Stewart. Throughout her career, she’s received accolades such as Chief Marketer Top Women in Marketing: Disruptors, Cynopsis Top Women in Marketing: Marketing Trailblazers and 40 Under 40: NYC TV Week.

    The platform’s global digital portfolio has 50 million monthly users, 1 billion app downloads and 500 monthly page views. Its flagship brands include PlayKids Learning, Coolmath Games and Focus. 

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    Panache Digital Games announced “1666: Amsterdam” will


    While the big Marvel reveal at San Diego Comic-Con was that Black Panther 3 and Ryan Gosling’s Ghost Rider will hit theaters in 2028, that wasn’t the only news coming out of Hall H.

    Marvel’s showcase panel also saw the cast of Avengers: Doomsday assemble ahead of their multiversal adventure later this year.

    Photo: Marvel

    When Kevin Feige took the stage to present new Doomsday footage, he was joined by the studio’s biggest stars.

    Robert Downey Jr., Chris Evans, Anthony Mackie, Paul Rudd, Kelsey Grammer, and Pedro Pascal were among the Marvel royalty.

    Photo: Marvel

    There was also, however, one Marvel star in the audience.

    Ryan Reynolds’ Surprise Appearance

    During Marvel’s Comic-Con panel, Ryan Reynolds appeared in the audience wearing Deadpool’s gray X-Force suit.

    Photo: Marvel

    Joking that his name was Ricky and he was “cosplaying hard,” Reynolds then directed his question to Paul Rudd.

    “Where is Thor, and why was he crying?” Reynolds asked.

    Photo: Ryan Reynolds on Instagram

    “He’s a Wrexham fan?” Rudd quipped, referring to the soccer team that Reynolds owns.

    Continuing his questions, Reynolds questioned Marvel’s methods.

    “This seems like an awfully expensive way to announce a film. When do you start filming?”

    Photo: The Hollywood Reporter

    This question spurred Robert Downey Jr. into action.

    “It’s in the can, bro. Look around you. Did you bump your head?”

    Deadpool seemed deflated by the news.

    Robert Downey Jr. Doctor Doom

    Photo: Marvel

    “I see. So there’s no additional photography, no overages, hot costs — maybe last minute additions?” The star then said abruptly, “No further questions. Happy Hogan, fetch the Audi. We’re leaving.”

    Is the Gray Costume a Hint?

    To this point, Marvel has yet to announce that Deadpool will return for Avengers: Doomsday. Rumors have continued to persist, however, that he will pop up.

    Photo: Comic Book Movie

    Perhaps more notable than Reynolds’ questions was the suit he was wearing.

    The gray Deadpool costume comes from his time in X-Force.

    Photo: Comic Bases

    Could this choice have been a hint that the next Deadpool film will see the iconic team assemble?

    For now, we will have to wait and see.

    Thanks for visiting MarvelBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below. One of the agents from MickeyTravels, an EarMarked By Disney – Authorized Travel Agency – Diamond Level, will be in touch soon! Also, thanks for reading.


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    4

    Richard is a writer/journalist from Oregon (by way of California) with a love of Marvel, Star Wars, DC, and all kinds of entertainment. He joined MovieWeb in January 2026 as a Movie & TV Writer/Editor. Richard has published articles, videos, and interviews with The Direct (Senior Writer), Agents of Fandom, and The Illuminerdi, and has attended a handful of live Comic Cons, premieres, and other events.

    Speaking with Esquire, Wednesday star Jenna Ortega teased some of what to expect from the titular character and her friends when Season 3 arrives. Explaining that Wednesday and her classmates are “seniors in high school now,” this comes with “more controversial feelings regarding family” and adulthood as they get to the end of their teenage years. This leads to them learning that they may need to “have a plan” for the future, but she stopped short of sharing what that future would hold for the young leading characters:

    “This season, especially because the kids are seniors in high school now, we’re dealing with more confrontational feelings regarding family and what it means to be an adult and what you really see for your life. It’s not really until you get to the precipice of adulthood that you start to realize, ‘Oh, God, well, maybe I’ve got to have a plan.”

    More to come…

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    It took a while for Alan Wake 2 to turn a profit, but it sold two million copies early last year, and today Remedy announced that the critically acclaimed title has surpassed another major milestone. Alan Wake 2 has now sold three million copies across all platforms.

    Alan Wake 2 Sells Three Million Copies

    Remedy announced in its Half-Year Financial Report for January–June 2026 that Alan Wake 2 has surpassed three million copies in lifetime sales.

    The milestone was reached during Q2 2026, and royalties from both Alan Wake 2 and Alan Wake Remastered came entirely from consumer sales during this period, with no platform deal accruals. Since Remedy last reported Alan Wake 2’s sales at 2 million copies in February 2025, the game has sold at least another 1 million copies.

    Image via Prima Games.

    According to the report, other titles in the series, including Alan Wake and Alan Wake Remastered, sold at the expected back-catalog pace, though no notable figures were shared.

    Alan Wake 2’s consumer sales continued at an expected pace alongside Alan Wake Remastered. In the second quarter, royalties from both titles were generated entirely by consumer sales and there were no platform deal accruals. Alan Wake 2's lifetime sales exceeded 3 million copies during Q2. Rest of the games in the Alan Wake franchise sold at a normal back-catalogue pace.

    Unfortunately, overall game sales and royalties declined year-over-year, primarily because the comparison period included the launch of FBC: Firebreak, which was a commercial and critical letdown. Q2 2026 game sales and royalties generated €3.8 million, compared with €9.5 million in Q2 2025. That’s a huge difference, but things are tracking well for the upcoming Control Resonant release.

    FBC: Firebreak
    Image via Remedy Entertainment

    It can be argued that Alan Wake 2 would’ve sold much better if it hadn’t launched as an Epic exclusive and had been available on other PC storefronts like Steam, but the fact is that without Epic’s funding, Alan Wake 2 wouldn’t have existed in the first place.

    It’s still encouraging to see Alan Wake 2 continue to sell three years after its release and hit major sales milestones, and I hope that Remedy can continue to do more with the beloved IP, especially given how much remains unanswered and unresolved at the end of Alan Wake 2. It helps that their games are now essentially part of a shared universe, so I’m expecting more from Alan Wake, in some form, in Control Resonant as well.

    As good as their games are, Remedy’s financials haven’t always been stellar, and the studio relies on external funding to continue working. Thankfully, enough publishers, including Rockstar Games, are interested in its high-quality work, with the Max Payne 1 and 2 Remake being entirely funded by the publisher.

    Source link

    EXCLUSIVE: Boris Kodjoe (Station 19, Soul Food) has joined the recurring cast of Fox‘s Memory of a Killer for its upcoming second season. Season 2 is set to premiere midseason 2027 on Fox.

    Inspired by the book and 2003 award-winning Belgian film De Zaak Alzheimer, Memory of a Killer stars Patrick Dempsey as Angelo Flannery/Doyle, who leads a dangerous double life while hiding an even deadlier personal secret; he is slowly losing his memory.

    Kodjoe will play Tré, the “Fourth Musketeer.” Tré is Angelo (Dempsey), Dutch’s (Michael Imperioli), and Angelo’s brother Michael (Richard Clarkin) closest childhood friend. A high-level executive at a large company, he’s the only one out of the four who “broke good,” and is now being honored for saving their childhood community center.

    The Season 1 cast also includes Peter Gadiot, Richard Harmon, Odeya Rush, and Daniel David Stewart. Meta Golding and Natalie Zea were previously announced as joining the show’s second season. Series regular Golding will play Mel, Angelo’s childhood sweetheart. In a recurring role, Zea will play Olivia, a brilliant, ambitious, yet sensitive businesswoman who always insisted on forging her own way — and she has, in ways no one yet suspects.

    Memory of a Killer is produced by Warner Bros Television and Fox Entertainment. Executive producers include Dempsey and showrunners Aaron Zelman and Glenn Kessler. Arthur Sarkissian and Martin Campbell also executive produce, along with Peter Bouckaert of Eyeworks.

    Kodjoe most recently starred as Captain Robert Sullivan in the ABC firefighter procedural Station 19. His other television credits include Soul Food, Last Man on Earth, Undercovers, The Real Husbands of Hollywood, Code Black and House of Cards. On the film side, his credits include the Resident Evil franchise, Baggage Claim, Love and Basketball, Brown Sugar, Tyler Perry’s Madea’s Family Reunion, and Addicted.

    As a director, Kodjoe most recently directed during the final season of Station 19, as well as the Lifetime movie Safe Space, starring his wife Nicole Ari Parker. He made his Broadway debut in the 2008 revival of Cat on a Hot Tin Roof, opposite James Earl Jones. Kodjoe is repped by Gersh, ColorCreative, and Fox Rothschild.

    Source link

    EXCLUSIVE: Boris Kodjoe (Station 19, Soul Food) has joined

    ‘Princess Diaries’ Actor Will Not Return For Third Film

    Source link

    ‘Princess Diaries’ Actor Will Not Return For

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    Two-factor authentication, often shortened to 2FA, is one of the most powerful account-protection measures offered to UK casino players https://bananziascasino.com/. I have reported on online gambling security for many years, and the pattern is consistent: accounts guarded only with a password remain easier goals than accounts that require a second verification step. At Bananzia Casino, enabling 2FA provides a layer of protection that does not change how slots, table games or live dealer sessions function, but it does cause unauthorised access considerably harder. In this guide, I describe the practical steps, the conditions, the recovery options and the wider background around payments, licensing and mobile access. I also cover the most common questions readers ask before switching on two-factor authentication.

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    Bananzia Casino is marketed as a multi-category gaming platform as opposed to a single-game site. I anticipate the core game areas to feature video slots, traditional table games like blackjack and roulette, live dealer rooms, and potentially scratch cards or instant-win titles. Headline promotions commonly focus on a welcome offer, free spins or a reload bonus, but the precise value, wagering requirements and game eligibility are based on the current campaign. I do not view promotional wording as a guarantee; the formal promotions page and terms should always be checked before depositing.

    The payment and mobile setup is just as important for UK players. Common supported methods usually include Visa and Mastercard debit cards, bank transfers and selected e-wallets, with deposits usually processed immediately and withdrawals taking anywhere from one to five business days according to the method. I also seek a listed licence reference in the website footer and SSL encryption on login and payment pages. Bananzia Casino is built to work on mobile browsers, so the identical 2FA process should apply regardless of whether you play on a phone, tablet or desktop. The distinguishing feature is not a single game or offer, but the mix of a wide catalogue, functional payment options and account-security tools that include two-factor authentication.

    Guide to Enable Two-Factor Authentication at Bananzia Casino Step by Step

    The precise layout of account settings may vary, but the process generally follows the same path. To begin, log in to Bananzia Casino and open the account area, usually accessible from the profile icon or menu. I find a section called security, login settings or account protection. From there, find the two-factor authentication option and select the activate or setup button. The next screen typically asks you to choose between an authenticator app and, in some cases, SMS codes. If both options are listed, I prefer the authenticator app because it does not depend on mobile network reception.

    Once you choose the authenticator app, Bananzia Casino should display a QR code and a manual setup key. Launch your authenticator app, add a new account, scan the QR code or type the key, and wait for the app to generate a six-digit code. Type that code into the casino’s verification field and confirm. The system may then show a set of backup codes or ask you to download them. I view this step as essential: save the backup codes somewhere offline and confirm that you have stored them before finishing the setup.

    FAQ

    Is Bananzia Casino requiring two-factor authentication?

    Based on my experience, most online casinos do not oblige every player to enable 2FA, but they progressively provide it as an optional security setting. At Bananzia Casino, you should examine the account security area to see whether the feature is displayed as recommended or mandatory. If it is not required, I still advise enabling it voluntarily because the added login step protects your balance and payment details.

    Am I able to use SMS instead of an authenticator app?

    Some casinos offer SMS-based two-factor authentication, but presence varies by location and mobile network. An authenticator app is often more trustworthy because it does not hinge on receiving a text message. If Bananzia Casino shows SMS as an option during setup, you can use it, but I favor an app for quicker login and less delays when travelling or when network coverage is poor.

    What takes place if I lose my backup codes?

    If you lose your backup codes and cannot open your authenticator app, you will normally need to contact Bananzia Casino support. The team may ask for identity verification, account details and recent transaction information before removing 2FA. Recovery can take more time than a standard login, so I advise saving your backup codes in a safe offline location as soon as they are generated.

    Will two-factor authentication slow down withdrawals?

    2FA should not hinder withdrawal processing, because it primarily impacts login and account-security actions. In some cases, a withdrawal or payment-detail change may initiate an additional code request as a protective safeguard. That extra check is typically quick and can help block unauthorised alterations. The actual withdrawal time relies on the payment method and the casino’s standard verification process.

    Can I turn on 2FA on the mobile version of Bananzia Casino?

    Yes, the mobile version should provide the same account-security settings as the desktop version. You can access the account menu in your mobile app, go to security settings and follow the same setup procedures. An authenticator app on the same phone is usually sufficient, but I recommend writing down backup codes in case the phone is stolen or restored.

    Is there Bananzia Casino charge a fee for two-factor authentication?

    Two-factor authentication is usually free. I am not aware of any reputable casino that charges players for using an authenticator app or receiving security passcodes. The third-party authenticator app itself is also complimentary. If you notice any request for payment associated with enabling 2FA, treat it as suspicious and contact support through the official Bananzia Casino website.

    What Changes After Two-Factor Authentication Is Turned On

    After 2FA is enabled, the login process is altered. You will type your password as before, and then the casino will prompt for the current six-digit code from your authenticator app. Some platforms also have a trusted-device option, which may reduce how often you need to provide a code on a device you use regularly. I recommend using that option only on personal devices that are secured by a passcode or biometric lock, not on shared or public computers.

    Withdrawal requests and account-detail changes may also trigger an additional security check. In my experience, casinos that have 2FA often use the second factor when a player updates a password, updates an email address or adds a new payment method. This is a positive rather than an inconvenience, because it makes it harder for someone to divert funds. You should also check active sessions or linked devices if the security area displays them, and sign out of any device you do not identify.

    Handling Backup Codes, Recovery and Stolen Access

    Backup codes are single-use codes that let you log in if your authenticator app is inaccessible. At Bananzia Casino, you should be able to view, renew or download backup codes from the same security settings area where 2FA was enabled. I suggest storing them in a password manager, a locked note, or a printed document kept in a secure location. Do not store them in your email inbox alone, because an attacker who has accessed your email may also find the codes.

    If you lose both your phone and backup codes, recovery usually requires contacting customer support and completing identity verification. The support team may ask for proof of identity, account details and transaction history to confirm you are the account holder. I would predict this process to take longer than a normal login, because the casino has to balance account recovery against the risk of social engineering. My suggestion is to keep backup codes updated and to set up a second method where the platform allows it.

    Two-factor authentication, often shortened to 2FA, is

    There are a lot of great things to say about Stuart Fails to Save the Universe.

    It’s a fun series, and the cameos from The Big Bang Theory haven’t taken over the plot of the show.

    The problem is that this is a story that could end up dragging if it’s renewed, and it could end up being more powerful and memorable if it’s a one-and-done series.

    Stuart Fails to Save the Universe
    (Colin Remas Brown/HBO Max)

    Stuart Fails to Save the Universe Season 1 has immediately created a problem for the series as a whole.

    There are only so many parallel dimensions for Stuart to jump into. Eventually, it’s going to get annoying to see him get into a world and then fail to do anything.

    Leonard, Sheldon, and Howard are the ones who created the machine and caused trouble, and they’re the only ones who can fix it.

    So, as Stuart, Bert, Kripke, and Denise jump through the universes, they need to find each universe’s version of the three creators.

    Stuart Fails to Save the UniverseStuart Fails to Save the Universe
    (Colin Remas Brown/HBO Max)

    That’s great, except that they seem to be losing the plot, forgetting what they’re actually there to do.

    There Are Only So Many Universes for Stuart Fails to Save the Universe

    In the first world jump during Stuart Fails to Save the Universe Season 1 Episode 2, Stuart immediately focused on finding Denise to be with her while Bert and Kripke did what they were meant to do — get to CalTech.

    Then, during Stuart Fails to Save the Universe Season 1 Episode 3, they went off to find Bernadette. 

    Stuart Fails to Save the UniverseStuart Fails to Save the Universe
    (Courtesy of HBO Max)

    Now, yes, Stuart is supposed to “fail” to save the universe, but there is a limit to this. 

    Just because a show is fun doesn’t mean that it can go on forever.

    I do suspect that Stuart Fails to Save the Universe will be renewed for a second season, and while I don’t think it’s necessary, I’m not going to complain too much.

    As long as it doesn’t drag on.

    (Colin Remas Brown/HBO Max)

    Eventually, a sci-fi series, especially, needs to wrap up, because the goal set from the start needs to be met.

    Sure, Stuart Fails to Save the Universe as a title hints that it could be allowed to continue forever, but just because Stuart fails doesn’t mean that Bert, Kripke, or Denise have to.

    Eventually, they’re going to get tired and want to move on, whether it’s Kripke going back to the apocalyptic world he was the dictator in or Stuart and Bert just wanting peace.

    It’s not realistic for them to get to a universe, deal with a small problem, and jump into another universe when the going gets tough.

    Stuart Fails to Save the UniverseStuart Fails to Save the Universe
    (Colin Remas Brown/HBO Max)

    If the show only jumps through universes with no substantial movement toward the goal, then people start to get bored.

    A sci-fi series needs to have a clear ending, so the best thing to do is end on a high, even if it means it lasts for just one season.

    What are your thoughts on Stuart Fails to Save the Universe Season 1, and could it pivot into a second season?

    Are you ready to say goodbye after a single season, or do you think there’s enough gas in the tank to keep it going for another season?

    Stuart Fails to Save the UniverseStuart Fails to Save the Universe
    (Colin Remas Brown/HBO Max)

    Is this the latest entry in the Big Bang Theory universe you expected?
    Let’s keep the conversation going — it’s the only way the good stuff survives.
    Say something in the comments, share if you’re moved to, and keep reading. Independent voices need readers like you.

    • Stuart Fails to Save the Universe Is Fun, But It Doesn’t Need a Second Season

      As fun as Stuart Fails to Save the Universe is, this is a series that could benefit from being a one-and-done show.

    • Stuart Fails to Save the Universe: Will Stuart Break the Fourth Wall Like Deadpool?

      Stuart Fails to Save the Universe already winks at its audience through its title sequences, and its comic-connoisseur lead might be building toward a full Deadpool-style break.

    • Stuart Fails to Save the Universe Season 1 Episode 3 Wastes Time on Denise

      What could have been a fun episode for Bert was overshadowed by Denise. Stuart Fails to Save the Universe Season 1 Episode 3 is mediocre.

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    Only a few of us will get the chance to write a world-spanning television epic where dragons get to be army-killing WMDs, elusive pieces on a chessboard, and, occasionally as a treat, “let them fight” kaiju. But of those who do, “House of the Dragon” co-creator and showrunner Ryan Condal’s challenge remains an interesting one. 

    The HBO adaptation of George R.R. Martin’s historiographical novel of a Targaryen civil war, “Fire and Blood,” rests neither on the pure edgelord realpolitik of “Game of Thrones” nor on the homespun heroics of “A Knight of the Seven Kingdoms.” It’s something in the middle. The HBO series is, as much as anything else, about how power changes people and warps them into a different shape, like the swords that form the Iron Throne. 

    And so for Season 3, certain aspects of the show also needed to change their shape. In ways both subtle and not, there’s a tonal fraying that happens in Season 3 as almost every character is either cursed with getting exactly what they wanted, like Rhaenyra (Emma D’Arcy) or Rhaena (Phoebe Fox), or is suffering an endless series of No Good, Rotten, Very Bad Days, like Criston Cole (Fabien Frankel) and Gwayne Hightower (Freddie Fox).  

    “One of my most important lessons in showrunning is that you really need to let the television show speak to you,” Condal told IndieWire on an episode of the Filmmaker Toolkit Podcast. “ What are the things that we’re good at executing?  What are the things the actors are good at? Certain people have unknown skills that aren’t apparent to you until you start working with them, and then you want to write to that.” 

    Some of the things that Condal and his writers have written towards in Season 3 are gifts for the actors, like giving Fox more chances to be hilarious or working closely with D’Arcy and Olivia Cooke to unearth what happens when the power dynamic between Rhaenyra and Alicent changes. But some of what twists in Season 3 is the soundscape, which Condal wanted to have a slightly different, more unstable character.

    “I probably worked more closely with [composer Ramin Djawadi] this season than I have in any previous season now that the show has achieved this — not totally new tonality, but there was a shift in the show,” Condal said. “It felt like a lot of the earlier themes didn’t really work to tell the characters’ story anymore, so I really wanted a shift in the aural soundscape.”   

    For as massive as the show’s nearly 360-degree King’s Landing sets are, for as impossibly photoreal as the VFX team’s dragons, or the SFX team’s chase of their own world-record for most stuntmen lit on fire in a single burn, the score in “House of the Dragon” Season 3 provides things the imagery alone can’t. 

    For instance, Djawadi worked on a lot of custom pieces of score for Episode 3, “Rhaenyra Triumphant,” where triumph has way more rodents than advertised. Djawadi arranges the nervous strings of the “Rhaenyra Triumphant” cue, recursive and spiraling almost like intrusive thoughts, as a compliment to the skittering and chittering sound effects of the rats that have infested the Red Keep. Everything looks fine, but sonically, there’s no escape for Rhaenyra from the anxiety and grief that haunt her now that she sits the Iron Throne.  

    “We had the idea during production and talked to Clare [Kilner] and Sara [Hess], the director and the writer, a lot about that. But it took Al Sirkett, the sound designer, coming in and figuring out how we do this subjective headspace thing without it sounding like every other [time that someone goes into] a subjective headspace,” Condal said. “[The rat sounds] felt very specific to ‘House of the Dragon’ — Rhaenyra’s thinking about rats, but the rats are sort of eating her kingdom, literally and figuratively.” 

    Emma D'arcy in 'House of the Dragon'
    ‘House of the Dragon’ Ollie Upton

    The end note of Season 3 only accelerates all the things that are eating up Rhaenyra from the inside and the sonic changes that are going to continue through the next phase of the story. Condal, D’arcy, and Episode 8 director Andrij Parekh all knew the feeling they wanted for the moment after Rhaenyra discovers the credits-worthy needlework Helaena (Phia Saban) has left behind. Maybe the only thing scarier than all the noise we’ve been hearing dogging Rhaenyra’s steps is the moment that she closes the window, and the sound stops. 

    “This is the thing that’s going to kick off the rest of Rhaenyra’s story, from here to the endgame. So it was really important for all of us that we had something that worked for all of us. It was a bit of a finding process, visually, to hit that exact moment, and I forget who pitched it first. But the shutting of the window just felt like the right way — a great final shot, cinematically, but also it thematically shows the shutting off of a certain world, of a side of this character,” Condal said. 

    Season 3 of “House of the Dragon” is streaming on HBO.

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    Only a few of us will get

    Ella Langley’s “Choosin’ Texas” isn’t just an ever-prevailing presence at No. 1 on the Billboard Hot 100 — the song is also No. 1 for the second quarter in a row on the TouchTunes Frontline Chart for Q2 of 2026.

    Explore

    See latest videos, charts and news

    The TouchTunes charts for the second quarter of 2026 track the most played songs and artists on TouchTunes jukeboxes from April 1 to June 30, 2026, with the Frontline ranking inclusive of music released in the last 18 months, followed by the Catalog tally for any music that was released more than 18 months ago. The TouchTunes Artists Chart tracks the same period, combining an artist’s plays across both rankings. TouchTunes has jukeboxes in more than 60,000 locations worldwide. Its data is not factored into other Billboard charts.

    “Choosin’ Texas” debuted at No. 2 on Frontline’s fourth-quarter 2025 edition before its Q1 2026 coronation, surpassing Morgan Wallen’s “I’m the Problem,” which remains at No. 2 for the second-straight quarter. “Choosin’ Texas” was No. 1 on the weekly Hot 100 for much of the quarter and is currently at 17 weeks atop the list in all.

    In fact, Wallen appears on the Frontline list five times out of its 25 positions, while Langley accounts for four. According to TouchTunes, plays of Langley and Wallen songs in the top 25 account for 57% of the top 25’s overall listens for Q2.

    And while “Choosin’ Texas” remains at No. 1, it’s static only in positional ranking; per TouchTunes, the song rose 44% in plays quarter over quarter.

    Langley even boasts two of Frontline’s top three this quarter, as “Be Her” zooms to No. 3 after a No. 23 debut for the first quarter with a gain of over 300%. Its success coincides with the song’s rise on the Hot 100; it reached a peak of No. 2 for two weeks (behind “Choosin’ Texas”) in May.

    Wallen and Langley also remain Nos. 1 and 2 on the TouchTunes Artists Chart; Wallen has held the top spot since the ranking’s 2025 inception.

    One other song joins “Be Her” as newcomers to Frontline’s top 10: T.I.’s “Let ‘Em Know,” which leaps 10 positions to No. 10 in its second quarter on the survey. The song reached a peak of No. 33 on the Hot 100 in April, the rapper’s highest-charting song in over a decade.

    Hip-hop also represents Frontline’s top debut of the quarter: Drake’s “Janice STFU,” which bows at No. 12. That’s despite not being available for the full quarter, as the two-week Hot 100 No. 1 was released on May 19 as part of Iceman, one of Drake’s three albums premiered that day.

    Though “Janice STFU” is Drake’s only appearance on Frontline or the TouchTunes Catalog Chart this quarter, he does reenter the Artists list at No. 4 as a result of the uptick in plays.

    Chris Stapleton’s “Tennessee Whiskey” remains at No. 1 on Catalog for a second quarter in a row, followed by Shaboozey’s “A Bar Song (Tipsy),” the preceding ruler. Langley’s now in the top five there as well; “You Look Like You Love Me,” a duet with Riley Green, lifts three spots to No. 5.

    Rock remains the top-performing genre on the Catalog front, albeit at 40% for Q2, down 1%. Country, meanwhile, rises as the Frontline’s top genre: 45%, up from 41% in Q1.

    See all charts below.

    TouchTunes Frontline Chart

    1. “Choosin’ Texas,” Ella Langley (=)
    2. “I’m the Problem,” Morgan Wallen (=)
    3. “Be Her,” Ella Langley (+20)
    4. “Man I Need,” Olivia Dean (-1)
    5. “20 Cigarettes,” Morgan Wallen (=)
    6. “Hell at Night,” BigXthaPlug feat. Ella Langley (+1)
    7. “I Got Better,” Morgan Wallen (-1)
    8. “Folded,” Kehlani (=)
    9. “I Just Might,” Bruno Mars (+3)
    10. “Let ‘Em Know,” T.I. (+10)
    11. “Blue Strips,” Jessie Murph (-2)
    12. “Janice STFU,” Drake (debut)
    13. “DtMF,” Bad Bunny (-9)
    14. “Dandelion,” Ella Langley (debut)
    15. “Yukon,” Justin Bieber (+2)
    16. “Last One To Know,” Gavin Adcock (-2)
    17. “What I Want,” Morgan Wallen feat. Tate McRae (-6)
    18. “Sleepless in a Hotel Room,” Luke Combs (+1)
    19. “Freakin’ Out,’ Dexter and the Moonrocks (debut)
    20. “Pop Dat Thang,” DaBaby (debut)
    21. “The Fate of Ophelia,” Taylor Swift (-11)
    22. “Be By You,” Luke Combs (debut)
    23. “Just in Case,” Morgan Wallen (-5)
    24. “Brunette,” Tucker Wetmore (debut)
    25. “Ordinary,” Alex Warren (-12)

    TouchTunes Catalog Chart

    1. “Tennessee Whiskey,” Chris Stapleton (=)
    2. “A Bar Song (Tipsy),” Shaboozey (=)
    3. “I Love This Bar,” Toby Keith (=)
    4. “Friends in Low Places,” Garth Brooks (=)
    5. “You Look Like You Love Me,” Ella Langley with Riley Green (+3)
    6. “Neon Moon,” Brooks & Dunn (-1)
    7. “Simple Man,” Lynyrd Skynyrd (+2)
    8. “Sweet Child o’ Mine,” Guns N’ Roses (+2)
    9. “Brown Eyed Girl,” Van Morrison (-2)
    10. “Drinkin’ Problem,” Midland (+3)
    11. “Family Tradition,” Hank Williams Jr. (+3)
    12. “Lose Control,” Teddy Swims (-1)
    13. “Whiskey Glasses,” Morgan Wallen (+8)
    14. “Pink Pony Club,” Chappell Roan (-8)
    15. “Don’t Stop Believin’,” Journey (-3)
    16. “I Had Some Help,” Post Malone feat. Morgan Wallen (+2)
    17. “Copperhead Road,” Steve Earle (-2)
    18. “Rockstar,” Nickelback (-1)
    19. “In the Air Tonight,” Phil Collins (-3)
    20. “Fat Bottomed Girls,” Queen (=)
    21. “Pour Some Sugar on Me,” Def Leppard (+4)
    22. “Thunderstruck,” AC/DC (+1)
    23. “The Joker,” The Steve Miller Band (reentry)
    24. “I Never Lie,” Zach Top (-5)
    25. “Mr. Brightside,” The Killers (-1)

    TouchTunes Artists Chart

    1. Morgan Wallen (=)
    2. Ella Langley (=)
    3. Toby Keith (=)
    4. Drake (reentry)
    5. Michael Jackson (debut)
    6. Chris Stapleton (-2)
    7. Lynyrd Skynyrd (-2)
    8. Luke Combs (-1)
    9. AC/DC (-3)
    10. George Strait (-1)

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    Ella Langley’s “Choosin’ Texas” isn’t just an

    Los Angeles media has been all over the death of a local celebrity for the past two days. But this time, the dearly departed wasn’t a movie star from the golden age of Hollywood. Instead, Southern Californians and the rest of the world are mourning the death of Jackie, the bald eagle. Jackie, who lived with her partner Shadow in a nest high above the mountain community of Big Bear, died Monday after several weeks in intensive care.

    For the past decade, a Big Bear webcam that broadcast the lives of Jackie and her partner Shadow has drawn viewers from around the world, garnering 822,000 subscribers on YouTube and over a million Facebook followers. Eagle fans watched Jackie’s arrival in the nest, the death of an earlier set of eaglets, and Shadow aggressively kicking out Jackie’s earlier partner. (They’re currently watching closely to see if Shadow may have already moved in a new partner, observing practically no mourning period.)

    Los Angeles-area news outlets including KNBC, KTLA and others featured news reports Monday night and into Tuesday about the outpouring of support for Jackie. The response from animal lovers both in California and worldwide has nearly approached the reaction to the death of mountain lion P-22, who was euthanized in 2022 and has since been memorialized with an annual festival and a line of merch benefiting the parks department.

    The eagle’s fans included actress Holly Robinson Peete, who wrote, “She was regal, fierce, and deeply devoted. Jackie made millions of us care about one nest in a tree like it was our own backyard.”

    California senator Adam Schiff also paid tribute, writing, “Devastated to learn of the passing of California’s pride, Jackie, earlier today. Any visitor to my Washington office in the past year knows our office proudly showed the livestream of Jackie’s nest showing alongside C-SPAN and national news.”

    Jackie, who was estimated to be about 14 years old, recently hatched two eaglets, Sandy and Luna, who have already flown the nest after their April birth. Jackie was found grounded after a fight with younger eagles in July, and may have already been ill, according to veterinarians. She had also been suffering from anemia.

    The Ojai Raptor Center released a statement, saying “Throughout her time at Ojai Raptor Center, every decision was guided by the available medical evidence, her welfare, and our responsibility to do what was in her best interest. Our team is heartbroken. It has been an extraordinary privilege to care for her.”

    Could a feature deal — or at least a documentary — about the life and loves of Jackie be far away?

    Source link

    Los Angeles media has been all over

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    Saquon Barkley has a new brand deal, and it’s built around the move that turned him into a living highlight reel.

    The Philadelphia Eagles running back fronted a new DIRECTV sponsored campaign this week. The campaign promotes the provider’s all-in-one football viewing package ahead of the 2026 NFL season. His caption kept it clean: “I’ll handle the hurdles. DIRECTV handles the rest. Get all your football games in one place with DIRECTV.”

    The metaphor earns its keep. Barkley’s hurdle is basically superhero-level stuff on a football field. He launches himself over defenders mid-stride and makes it look effortless. It’s the kind of move that makes real life feel a little like a Marvel movie. DIRECTV clearly saw that and built their whole pitch around it.

    That’s smart brand work. Instead of a generic “watch football” ad, DIRECTV anchored the campaign to something Barkley actually does on game day. The hurdle isn’t just a visual hook. It’s his signature. Anyone who follows the NFL knows what that move means, and it lands instantly.

    Barkley’s career has given him plenty of material to build on. He came up through Penn State, and the Giants drafted him second overall in 2018. He built his name in New York on a string of explosive, acrobatic runs. He eventually made the move to Philadelphia. The hurdle became a calling card along the way, a symbol of what separates him from most backs in the league.

    That kind of brand identity is what DIRECTV is buying here. His name recognition goes beyond hardcore football fans and crosses over to casual sports watchers. Those are the viewers DIRECTV needs on its platform. Get one of the sport’s most exciting players to front your football package, and the message carries itself.

    DIRECTV has been pushing hard to position itself as the go-to home for NFL fans. A deal with one of the league’s most marketable players fits right into that strategy.

    The timing works for both sides. The 2026 NFL season kicks off in September, and brands are in full pre-season mode right now. Sports ad campaigns tend to hit in this summer window. Companies want their message out early. Once the regular season arrives, the media calendar fills up fast and launch windows get tight.

    Barkley’s running style has always had a certain pop-culture quality to it. Speed alone doesn’t explain the appeal. The real hook is the patience behind the line, the sudden burst, and then that leap. The hurdle is the kind of play you pause and rewatch. For a brand trying to stand out in a crowded sports-TV market, hitching the campaign to that image makes a lot of sense.

    Off the field, this is another sign that Barkley’s marketability keeps growing. He’s one of the most popular players in the league right now. Deals like this one show that brands are lining up to be part of his next chapter.

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    When speaking with Julie Andrews and her daughter Emma Walton Hamilton, expect them to finish each other’s sentences.

    “By the time the book is done, we never know who contributed what line. It’s such a joint effort … We often say we finish each other’s sentences,” Hamilton tells The Hollywood Reporter.

    “Which you can probably tell,” Andrews, sitting next to her daughter, adds laughing.

    “But that’s how we write,” Hamilton says. “We literally talk out loud. We write out loud, finishing each other’s sentences. So by the time it it all ends up on the page, and then we revise and revise and revise, we never know who’s responsible for what.”

    Together, Andrews and Hamilton have written over 35 children’s books across multiple formats: picture books, board books, leveled readers, chapter books, middle grade novels, poetry anthologies and two memoirs. This time, they’re teaming once again on a new children’s book, Shy (out Tuesday from Abrams Books).

    The synopsis reads, “Shy is the smallest and quietest pup at the shelter. The world feels big, loud and a bit scary to her sweet and gentle soul. But when a man with kind eyes brings her home, she feels safe with her new best friend — and keeps him company while he practices at his piano. Beautiful, unfamiliar sounds dance in the air when the piano man plays, and something inside her begins to stir. The piano man has an important performance ahead — but it may be a performance no one, especially the piano man, ever expected.”

    The story was a personal given it was inspired by Andrews’ poodle famously singing while she was doing vocal warm-ups for My Fair Lady.

    “I was in the show in London, bought myself a little girl poodle. She was adorable, and every time I tried to do my daily warm-up practice with my voice, she began to sing along with me, and it was extraordinary. And I couldn’t stop her,” Andrews tells THR.

    Teaming with Eva Byrne for the book’s illustrations, Andrews and Hamilton hope their story inspires young readers to find their voice. And with a resume of iconic roles that have encouraged creativity, imagination and bravery, Andrews says exploring her own voice through literature has been rewarding.

    “Emma said to me once, and it’s something that I’ll never forget as long as I live, ‘Mum, you’ve just found a different way of using your voice,’ and it made such a difference to me. It meant so much that this too is a way of conveying and really doing those wonderful roles and and emoting them, acting in them and so on. It’s all about the giving, and so this is just another way of doing,” she tells THR.

    In a joint interview with THR, Andrews and Hamilton discuss their new children’s book, and Andrews teases filming her Disney documentary and reflects on The Princess Diaries — and whether she’ll return for the third film.

    Julie, this book was inspired by your real-life poodle, who famously howled along during My Fair Lady rehearsals?

    EMMA WALTON HAMILTON Not during rehearsals, during her vocal warm-ups at home.

    JULIE ANDREWS I was in the show in London, bought myself a little girl poodle. She was adorable! Every time I tried to do my daily warm-up practice with my voice, she began to sing along with me, and it was extraordinary. And I couldn’t stop her, so it stopped my practicing. [I] put her in the next room and that little nose of hers would poke under the door if it could, and sort of muffled little singing sounds came.

    What was it about that memory that made you both think there was a children’s story here?

    HAMILTON It’s so funny because a book, particularly a picture book, takes about two to three years to come to print. So by the time it does, you’re like, what were we doing that gave us the idea? We’re big dog lovers. We often talk about our dogs, and I think we must have been reminiscing about Shy and that story, and it just struck us that—

    ANDREWS It isn’t just about Shy; it’s about finding your voice.

    HAMILTON Which is a lovely theme and a recurring theme for us [and] for kids. It tends to be something we write about.

    ANDREWS In other words, it arrived into that, didn’t it? The book turned into that.

    HAMILTON It was sort of like, oh, well, here’s here’s another opportunity to celebrate the arts, which we love to do with our books, and also to encourage young kids to figure out what makes their heart sing.

    Julie Andrews and her dog Shy.

    Abrams Books

    How you wanted to go about shaping that memory into something that could work for a children’s book?

    ANDREWS Well, it revealed itself by the end of writing, didn’t it?

    HAMILTON Yeah, we had the true story to start with, so we knew that we knew we loved the name Shy. We thought we’ll lean into that. We’ll let her be shy, and maybe even maybe the piano man who adopts her is also shy, and that’s she’s sort of a therapy dog for him. And so we were exploring that. And then, of course, the thing about writing picture books is as the great Jane Yolen used to say, “You can’t let the truth get in the way of a good story.”

    ANDREWS (Laughs.)

    HAMILTON So you have to think about what makes it picture book worthy. It isn’t enough to just have Shy singing. You have to get her to Carnegie Hall!

    ANDREWS Just enlarge it a little bit.

    HAMILTON So that that was really the arc for us. If she’s singing and singing and singing, I guess she has to make a debut at some point.

    ANDREWS And find her true meaning in life.

    Can you talk about the illustrations?

    ANDREWS Yes, happily!

    HAMILTON Eva Byrne is the illustrator and we had hoped that we might find someone who had a sort of a classic style but also very free in a sense of humor to sort of match the the spirit of the book. And we fell in love with her from her book about Coco Chanel. She illustrated a book called All About Coco, and it was a very kind of Ludwig Bemelmans’ Madeleine kind of quality to the illustrations that we loved. People don’t often realize that usually in picture books, if you don’t do the illustrations yourself, which we don’t, we’re just writers. Neither of us is an artist.

    ANDREWS Although your dad was!

    HAMILTON My dad was, yeah. But you don’t usually get to say who your illustrator is. You don’t get to choose. That’s the publisher’s job.

    ANDREWS We’ve been so lucky in that all of the publishers that we’ve been so lucky to have—

    HAMILTON Have invited us to say what what we hoped we might be able to [want].

    ANDREWS And we haven’t ever repeated ourselves, but we’ve always found somehow the right artist for for our story. And then truly, after we’ve written the story, the joy is: What are the end pages of paper is going to be? How is it going to look? How does it lay out? What’s the cover like? And so on. Although it’s all Eva’s, we did we do put in a lot of thought for that for any of our artists.

    HAMILTON The illustrator is collaborative, which some are and some aren’t, but Eva was very welcoming of our feedback of what we hoped Shy might look like, for instance. Then we will have an exchange, but it always goes through the editor. We’re never talking directly to the illustrator.

    Julie Andrews’ dog Shy.

    Abrams Books

    I know you obviously have both written books together, but would you plan on collaborating again on more books?

    ANDREWS I hope so. She’s getting so busy these days and we probably will at some point. And Emma helped me tremendously with both of my biographies. The two books that have been written, I could not have done it without her. The research that you did is extraordinary!

    We’ve never had a row, we’ve had discussions, but it’s the best idea wins. So when we’re writing together it’s a question of really chewing on something and then—

    HAMILTON By the time the book is done, we never know who contributed what line. It’s such a joint effort.

    ANDREWS That’s a very good point! I never thought of that!

    The story is both of your voices.

    HAMILTON It is! We often say we finish each other’s sentences,

    ANDREWS Which you can probably tell (Laughs.)

    HAMILTON But that’s how we write. We literally like talk out loud. We write out loud, finishing each other’s sentences. So by the time it all ends up on the page, and then we revise and revise and revise, we never know who’s responsible for what.

    Are there any other ideas that you both have discussed for a book that didn’t work out?

    ANDREWS Lots! I mean, I’ll tell you what the themes were.

    HAMILTON But we can’t give it away. We might use it one day.

    ANDREWS (Laughs.) That’s true! But we do bring up ideas, and then one of us isn’t quite ready, or it doesn’t resonate, or I’ll go off on a tangent sometimes, and Emma will say, “You can’t write that these days,” and I’m saying oh OK. Because children’s books have changed, and the rules for writing the books are so different now.

    HAMILTON I mean writing for children there are a lot of rules.

    ANDREWS And different genres. We’ve done all of them I think.

    HAMILTON We haven’t done Young Adult. We’ve done everything from board book to middle grade.

    You mentioned how the landscape has changed where the rules are so different. What have you noticed now versus when you were first writing children’s books?

    HAMILTON Children’s publishing, it’s surprising to say this, but it’s still a relatively younger arm of the publishing industry. It wasn’t really until the 1950s that it came into its own in terms of being a department separate from adult publishing and having their own libraries and so forth. So it’s still every 10 years, I think, the rules change and it evolves again. And whatever the current thinking is about child development informs what’s written. When we first started out, they used to say picture books should be 1,000 words or less. Now it’s 500 words or less, preferably 350 if you’re writing fiction. It can be longer if you’re writing nonfiction, so that’s one example. It’s also very important that you think about whether you are the right person to tell this story. If it’s about a marginalized community, for instance, then it’s terribly important that the writer have representation in that community. Because what will happen is that the writer will be invited to show up for a school visit, and all these children who have seen themselves reflected in the book are looking forward to seeing someone like them, and if you’re not that, you’re setting them up for disappointment.

    ANDREWS The rules really have become more and more stringent, haven’t they?

    HAMILTON But I find that in a funny way to be very creative. It’s like poetry. The rules give you the sort of parameters within which you can [create].

    Julie, you have spent your career embodying characters who inspire audiences to be brave, curious, imaginative. How does writing children’s books allow you to explore those themes in different ways?

    ANDREWS Well, Emma said to me once, and it’s something that I’ll never forget as long as I live, “Mum, you’ve just found a different way of using your voice,” and it made such a difference to me. It meant so much that this too is a way of conveying and really doing those wonderful roles and and emoting them, acting in them and so on. It’s all about the giving, and so this is just another way of doing.

    What do you ultimately hope that children take away from their journey of finding confidence in their own voice?

    ANDREWS Could they realize in a small way from our book, because we don’t hammer it home, that anyone can find the meaning for them in life. That anyone can find something purposeful that matters to them.

    HAMILTON The thing that makes you you, the thing that makes you unique, or that makes your heart sing, it’s your gift. And if you lean into that, you can you can give great joy in the world. I think that’s what we hope for. The thing about Shy is we don’t typically expect a dog to sing, right?

    ANDREWS There are a number of them!

    HAMILTON But not at Carnegie Hall. (Laughs.) So the idea being that if a child feels that they want to do something unexpected, that maybe might be a little different than their gendered norms or their library, that’s OK. Lean into that.

    In addition to this book, Julie, it was announced you’ll be the subject of a Disney documentary coming out. Can you talk a little bit about that project?

    ANDREWS I have not seen it but it’s being directed by a very good director whom I admire, R.J. Cutler. He’s very into the arts himself. Although I’ve not seen it, I’m terribly nervous about it. But it did seem that if I was going to allow anything like that, this is the time in my life when a kind of summing up, a reflection, a retrospective would be allowable and so I took that gamble. And my heart is beating.

    I imagine participating in that makes you be even more reflective of your career and your journey. Is there anything that stands out of something is that you’re most proud of, whether it be a certain role or a career achievement?

    ANDREWS Oh gosh, Em, is there?

    HAMILTON Mom spent a good three or four days talking to R.J. and being interviewed for the film. I think it was mostly just, “Gosh, what a long life I’ve lived.”

    ANDREWS Yeah! Discovering all that.

    HAMILTON I remember you were having a lot of dreams.

    ANDREWS it brought up a lot of things I didn’t expect. But I think he asked all the right questions, and I just hope that he honors some of our requests and things like that.

    Emma, do you have a favorite project from your mom’s career?

    HAMILTON I have different favorites for different reasons. I think my favorite film role of hers is a lesser known film called Hawaii because it’s a beautiful history and the kind of performance she gives is very different from her other performances and very brave and and it’s a very beautiful film. Of her songs, I accompanied her on many of her concert tours that she would travel around the country or around the world performing, and so, some of my favorite songs are from those performances.

    ANDREWS And you had a dad that was incredibly talented and was a designer of sets and costumes and films and books and so much art, and I think between the two of us, there must have been a lot—

    HAMILTON Of sensory input. Let’s put it that way (Laughs.)

    The Princess Diaries film just celebrated its’ 25th anniversary. Julie, when you look back at The Princess Diaries, what surprises you most about its longevity? What is it that you think makes it resonate so much even years later?

    ANDREWS I’ve not really given it thought that way. I mean, I’m thrilled, and it was well made by dear Garry Marshall, who was the sweetest director you could imagine and funny, talented and considerate. So it was a very enjoyable film to make.

    I know you’ve said in the past that it might not be possible to be a part of a new Princess Diaries film, but with the third film confirmed and Anne Hathaway saying the script is being worked on, is there any chance you would be a part of the film and return?

    ANDREWS I don’t think so. I think the absolute truth is that I think I’m really past all that now. I’m not completely retired, but it’s a different kind of work that I do these days — [writing] books, and I do a lot of recording of podcasts and voiceovers. But truly, I don’t think I should be a part of it.

    HAMILTON She’s very grateful not to have to do hair and makeup and all of that anymore.

    ANDREWS It’s still lovely to be working on things. That’s really the most stimulating, but not necessarily on camera.

    What would you hope the third film explores?

    ANDREWS I actually don’t know. I think it proceeds from the second Princess Diaries. It moves on, but by now Annie too is a little older than she was when she did it. So I’m interested to see what Meg [Cabot] and Annie and everybody comes up with!

    Shy is available now.

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    When speaking with Julie Andrews and her

    Lucy Davis, one of the stars of the U.K. version of “The Office,” revealed Tuesday that she has received a terminal cancer diagnosis.

    Davis disclosed in an Instagram post Tuesday that she discovered a lump in her breast and was subsequently diagnosed a year and a half ago with stage 4 breast cancer, which has metastasized to her bones. “The cancer is incurable, and too late for chemo,” Davis wrote Tuesday.

    “Don’t ignore anything – get everything checked out,” Davis told her Instagram followers, adding, “As of now, I’m trying to live out whatever might be left of my life in as fun a way as I possibly can. I always like to find the teachable moments in anything negative that happens. And cancer has not disappointed in that regard; there’s a lot I have learned from it, and I’m grateful for that.”

    “The thing that has been most vital to me is humour. I asked my friends and family to make fun of me as much as possible (which they’re really good at 🙄), and most importantly of all to not treat me like a sick person,” Davis’ post continued. “There’s nothing that will make you feel more unwell than being treated as if you’re unwell.”

    “I’m not scared of whatever comes next. I’m at peace with it,” Davis added. “For me, leaving my physical body just means going home. Any and all grieving is for my family; it’s far harder for them than for me.”

    Davis achieved breakout success playing Dawn Tinsley, the receptionist at the central paper company in the U.K. version of “The Office.” After that series’ success, Davis went on to have roles in films like “Shaun of the Dead” and “Wonder Woman,” as well as popular shows like “Chilling Adventures of Sabrina.”

    In her post Tuesday, Davis wrote that standing and walking for too long can be difficult and that she has been forced to use a wheelchair from time to time. Nonetheless, she expressed her desire to continue acting for as long as she can.

    “I’m perfectly able to do so, and acting is one of the biggest joys in my life,” Davis wrote, before concluding, “For those of you on a similar journey to mine, I do wish you well. Cancer asks a lot from us, physically and mentally. And we all get to do it however we choose. Much love to you all.”

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    Lucy Davis, one of the stars of

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    Last week saw the closure of three productions, with Death of a Salesman and Cats: The Jellicle Ball reaching new highs in the final week of their runs. 

    The typically high-grossing play, starring Nathan Lane and Laurie Metcalf, saw its highest box office yet of $2.5 million over its final seven performances and was the highest grossing show in the industry last week. The average ticket price shot up to $239.61, which was also the highest in the industry last week. Still, the play, which was capitalized for up to $8.9 million, has not announced recoupment after playing its final performance Aug. 9. 

    Cats: The Jellicle Ball also hit the highest gross of its run, ending its final week with a gross of $1.8 million, capacity above 100 percent and an average ticket price of $193.92, also a new high for the production. The revival of the Andrew Lloyd Webber show had a shorter-than-expected run with a final performance Aug. 8, after about five months on Broadway.

    Solo show Every Brilliant Thing ended its Broadway run Sunday, with Tracee Ellis Ross closing out the production. The show began with Daniel Radcliffe in February and then saw Mariska Hargitay take over the reins in May, before Ross took over in July. The play, which announced recoupment in May, closed out its final week with a gross of $886,815 and capacity close to 100 percent. 

    After Death of a Salesman, Hamilton was the next highest grossing show last week with $2.3 million, followed by The Lion King with $2.2 million. Ragtime, which is nearing the end of its run on Aug. 16, brought in $1.85 million, slightly below its high last week. MJ was the fifth highest grossing show with $1.84 million. 

    Source link

    Last week saw the closure of three

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    Marvel Studios made Jean Grey the villain of Spider-Man: Brand New Day, and the choice silently rewrote a piece of Spider-Man movie history. Sadie Sink plays the young telepath, whose identity remained under wraps until the film arrived in theaters on July 31. The Stranger Things star spends much of the story as a hooded figure tearing through New York in search of something buried inside the Department of Damage Control, with Tom Holland’s Peter Parker treating her as his newest enemy.

    Jean’s role as the movie’s lead antagonist makes Brand New Day the first Spider-Man film with a woman as its primary villain. The streak she broke ran for 24 years. Every main villain since Willem Dafoe’s Green Goblin in 2002 was a man, across Sam Raimi’s trilogy, both Amazing Spider-Man films, the earlier MCU entries, and the two animated Spider-Verse movies.

    Marvel Studios

    Brand New Day keeps Sink’s face hidden for roughly half its runtime. Her mystery character seizes control of anyone within about 33 feet, hopping between bodies as she tries to break into Damage Control’s New York headquarters. She takes over Michael Mando’s Scorpion, then Mark Ruffalo’s Bruce Banner, removing the inhibitor that keeps the Hulk contained and setting the monster loose on the agency’s skyscraper. Peter and Jon Bernthal’s Punisher fight side by side to stop the rampage.

    The last act comes with a twist, revealing the telepath’s true motivations. Jean wanted inside Damage Control to find her older sister, Sara, a fellow telepath who died during experiments overseen by Bill Metzger, the agency boss played by Severance’s Tramell Tillman. That reveal turns Jean into a grieving runaway and Damage Control into the movie’s real evil. Still, she is the antagonist Peter hunts for most of the film, and its marketing heavily portrayed her as one.

    Speaking with Variety after the film’s release, Sink described the version of Jean that audiences meet: “She’s very flawed. You’re meeting her at a strange point.” Sink added that Jean has no desire to hurt anyone. Someone hurt her first, and that influenced her actions.

    Women barely appear anywhere on the franchise’s villain side, despite the comics being packed with many compelling female antagonists. Counting secondary villains, the previous ten theatrical Spider-Man films include just one female villain. Kathryn Hahn voiced Olivia Octavius, the animated Doc Ock working under Kingpin in Spider-Man: Into the Spider-Verse. No live-action entry has cast a woman as a villain at all until now.

    Every Spider-Man Movie’s Primary Villain Since 2002

    Green Goblin (Spider-Man)

    Spider-Man Green Goblin Glider.
    Sony Pictures

    Willem Dafoe’s Norman Osborn started the run in 2002. The Oscorp founder tested an unstable performance enhancer on himself and fractured his own mind, then terrorized New York from a glider as the Green Goblin. His war with Tobey Maguire’s Peter Parker turned personal once he learned who wore the mask, and Dafoe’s unhinged performance remains a benchmark for the genre.

    Doc Ock (Spider-Man 2)

    Alfred Molina's Doc Ock in Spider-Man 2.
    Sony Pictures

    Alfred Molina followed in 2004 as Otto Octavius, a gifted scientist whose fusion experiment killed his wife and welded four artificially intelligent arms to his spine. Molina played Ock as a decent man corrupted by the machines whispering in his ear, which is why many fans still rank him among the best comic book movie villains ever made. His redemption in the finale gave Spider-Man 2 its most affecting scene.

    Venom (Spider-Man 3)

    Topher Grace as Venom in Spider-Man 3.
    Sony Pictures

    Spider-Man 3 packed its story with three antagonists, but Venom dominated the final act. Topher Grace played Eddie Brock, a rival photographer who bonded with the alien symbiote after Peter rejected it. Thomas Haden Church’s Sandman and Harry Osborn’s New Goblin split the remaining screen time, a balancing act many Spider-Man fans criticized over the years.

    Lizard (The Amazing Spider-Man)

    Curt Connors, The Lizard, The Amazing Spider-Man, Andrew Garfield
    Sony Pictures

    The 2012 reboot introduced a new threat, with Rhys Ifans portraying Dr. Curt Connors, a one-armed scientist experimenting with regeneration through reptile DNA. His serum regrew his missing limb but turned him into the Lizard. He then hatched a plan to disperse the formula over Manhattan and transform the entire city into lizards. Andrew Garfield’s first outing ended with Connors cured and behind bars.

    Electro (The Amazing Spider-Man 2)

    Jamie Foxx as Electro in The Amazing Spider-Man 2
    Sony Pictures

    Jamie Foxx’s Max Dillon began as an invisible Oscorp engineer obsessed with Spider-Man. A fall into a tank of electric eels turned him into Electro, a living power grid with a grudge against the hero he once idolized. Dane DeHaan’s Green Goblin surfaced late in the 2014 sequel, but Electro was the face of the marketing and the central villain of the movie. Foxx reprised the role years later in Spider-Man: No Way Home. 

    Vulture (Spider-Man: Homecoming)

    Michael Keaton as Vulture in Spider-Man Homecoming.
    Marvel Studios

    Michael Keaton featured in the MCU’s first solo Spider-Man film in 2017 as Adrian Toomes, a salvage contractor squeezed out of business by Tony Stark’s cleanup operation. Toomes spent years selling weapons scavenged from alien wreckage before crossing paths with the wall-crawler. Vulture and Spidey had an intense battle that sent the villain to prison, where he met Michael Mando’s Scorpion, who demanded Spider-Man’s identity from Toomes, but he refused. Vulture somehow ended up in the Sony Spider-Man Universe later, with Keaton reprising the role in the poorly received Morbius.

    Mysterio (Spider-Man: Far From Home)

    Jake Gyllenhaal as Mysterio in the underground in Spider-Man: Far From Home.
    Marvel Studios

    Jake Gyllenhaal’s Quentin Beck introduced himself as a hero from another Earth in Spider-Man: Far From Home, then later dropped the act. A bitter former Stark employee, Beck used drone swarms and illusion tech to stage Elemental attacks and then pretended to stop. He also did more lasting damage than most villains before him, exposing Peter’s identity to the world with his dying breath.

    Kingpin (Spider-Man: Into the Spider-Verse)

    Kingpin in 'Spider-Man: Into the Spider-Verse.'
    Sony Pictures

    Miles Morales inherited a mountain of an enemy in 2018’s Into the Spider-Verse. Liev Schreiber voiced Wilson Fisk, the crime lord bankrolling a particle collider that could pull versions of his dead wife and son out of other dimensions, whatever the cost to reality. Fisk also savagely killed the Peter Parker of Miles’ universe in the opening act, a startling move for an animated family film.

    Green Goblin (Spider-Man: No Way Home)

    Willem Dafoe as Norman Osborn in Spider-Man: No Way Home.
    Marvel Studios

    Willem Dafoe returned through the Multiverse in 2021’s Spider-Man: No Way Home and immediately showed why his Goblin is one of the best live-action Spider-Man villains ever. Among the five bad guys pulled from past film universes, Norman Osborn emerged as the true danger, murdering Aunt May and pushing Tom Holland’s Peter toward a darker place than any of his previous stories dared. The scene where Norman lets out an eerie laugh while Peter punches him in the face is one of the most unhinged Goblin scenes in a live-action Spider-Man film.

    The Spot (Spider-Man: Across the Spider-Verse)

    The Spot in Spider-Man: Across the Spider-Verse.
    Sony Pictures

    Jason Schwartzman voiced Dr. Jonathan Ohnn, a scientist left covered in portals after the collider explosion in the first Spider-Verse film. The Spot causes lots of chaos in Across the Spider-Verse, especially after Miles describes him as the villain of the week. His dimension-hopping abilities make him close to impossible to stop. His story remains unfinished, with the final confrontation saved for Beyond the Spider-Verse.

    Jean Grey (Spider-Man: Brand New Day)

    Sadie Sink as Jean Grey in Spider-Man: Brand New Day.
    Marvel Studios

    Sink’s Jean arrived with more comic book history than many villains before her. Created by Stan Lee and Jack Kirby in 1963, Jean Grey was a founding member of the X-Men and ranks among the most powerful mutants Marvel ever put on a page. She was previously played on screen by Famke Janssen and Sophie Turner. Her MCU version differs from these previous iterations; this Jean is a darker, isolated teenager who is still learning to harness her abilities.

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    “My coven is Claudia,” are some of the most romantic words spoken in Interview with the Vampire. Although they came to a tragic end, we loved seeing the joy Claudia and Madeleine brought to one another during their brief time as companions in Interview with the Vampire. Madeleine is probably the only person who ever put Claudia first in the entire narrative. And the scenes between them were some of the most joy-filled and loving that we see on the series. And so, it is incredibly harrowing to learn that in death, Claudia and Madeleine have not been reunited. In episode six of The Vampire Lestat, Claudia’s spirit is summoned back into the land of the living. Threaded within Claudia’s justified rage, there’s a deep, unyielding loneliness and sorrow that emerges as she reveals that she cannot find Madeline in the afterlife, no matter how hard she searches for her. And Delainey Hayles gives a stunning performance of the tumult of heartbreak this induces in Claudia. We at Nerdist would hate for this to be the end of the love story between Claudia and her immortal companion, Madeleine. So when speaking with Delainey Hayles, we had to ask if she believes Claudia will ever achieve peace and find Madeleine in The Vampire Lestat? Here’s what Hayles had to say.

    AMC

    “I hope she does find rest.” Hayles offered, although she didn’t note whether she believed it was possible within the scope of the series. “Yeah, I really hope she does because her whole life has been kind of an injustice. Everything has been done to her. And now she is alone again, which is the worst thing to be for a vampire. So I hope Claudia finds rest, and her rest is being able to find Madeleine.”

    A two-for-one deal, really. If Claudia finds Madeleine in death, she would also find peace. And it’s peace she so sorely deserves. Anne Rice’s books paint Claudia and Madeleine’s relationship in a much different light. And that’s the beauty of adaptation. Thus, we very much hope The Vampire Lestat series takes one more step and reveals to us that Claudia and Madeleine do eventually find one another in the afterlife. We’d very much like to imagine that Claudia can return to the love and happiness that filled her when she was alive, especially during the period when she had her companion. Seems like it would be a reasonable amend for Louis and Lestat to summon them both together to allow them some peace. Make it happen, boys.

    THE VAMPIRE LESTAT’S Ghost Scene Comes Straight from the Books

    The Vampire Lestat is now streaming on AMC and AMC+. If you’d like more insights into the season, you can also pick up The Vampire Lestat by Anne Rice for your reading pleasure.

    Rotem Rusak is the Editor-in-Chief of Nerdist. She cannot possibly wait two more years for more of The Vampire Lestat. She hopes for Claudia and Madeleine’s happy reunion in time.

    This post has affiliate links, which means we may earn advertising money if you buy something. This doesn’t cost you anything extra, we just have to give you the heads up for legal reasons. Click away!

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    ⚡ Quick Take In the final episodes of The

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    In den letzten Jahren habe ich unzählige

    Xbox’s chief technology officer says the issue that led to a major Xbox outage last month has been fixed.

    Xbox acknowledged early on July 27 that it was suffering “major outage” status in a number of its services, preventing players from being able to sign in, view their library or launch some games or apps.

    The outages continued for a large part of the day, with 13 hours between Xbox’s tweet acknowledging the issue (it had been going on for some time before this) and its tweet stating that it had been resolved.

    The following day, Xbox CTO Scott Van Vliet took to X to write a lengthy post explaining what led to the major outage, and vowing to investigate it to prevent it happening again.

    Now, in a follow-up post, Van Vliet says the issue has been identified, explaining that “an underlying service required for Xbox Home Console sharing and Game Pass purchased content, as well as some PC scenarios, experienced an outage whereby an update to the system put some services in an unresponsive state”.

    “This was compounded by a bug in the Xbox client software stack, which caused other license checks to also fail when that first service went down,” he added. “These two issues created some cascading failure scenarios that affected some players’ ability to launch games and causing cascading issues with library enumeration.”

    According to Van Vliet, the issue has now been addressed, with a firmware update rolling out this week to Xbox users.

    “We are transitioning ownership of the underlying licensing service to the Xbox team while our engineers are actively hardening the services and infrastructure for future updates,” he wrote.

    “The client bug has been fixed in an upcoming release, which starts rolling out today, August 10, and becomes mandatory August 17.”

    Van Vliet says Xbox’s engineering and operations teams will now focus on “looking broadly across our stack to improve reliability of our products and services”, to make further outages less likely in the future.