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This Circe seems cruel and crazed. In Homer’s telling, Odysseus becomes so enamored of her that she becomes a kind of substitute wife. In the story, when Odysseus goes to Circe’s home to save his men, he uses an antidote given to him by the gods, threatens her with his sword and then sleeps with her. When she changes Odysseus’ soldiers back, Homer notes that they’re even more handsome than before, and are bathed in oil and dressed in nice clothes. Odysseus and his men spend a year living happily with Circe and her nymph servant girls, as Wilson writes in her translation: “Then every day / for a whole year we feasted there on meat / and sweet strong wine.” In fact, after that year of leisure it’s Odysseus’ men who bring up that they should probably get back on the road to Ithaca; only then does it seem to occur to Odysseus that they should leave their cozy vacation spot and now welcoming host.

Of course every adaptation offers its own twist on her. This has been true dating back millenniums, to early classics writers like Ovid and Hesiod. In some versions, Circe bears Odysseus’ children; in others she is an obsessive, vengeful predator. Contemporary authors like Madeline Miller reclaim the character as more than a brief detour in Odysseus’ journey and offer a more sympathetic, well-rounded version of her.

Over the years Circe’s transformations of Odysseus’ men have been read in various ways depending on the cultural context and sexual politics of the time: as a commentary on etiquette and social behavior, as a philosophical critique on the inherently beastly nature of men, as a misogynist cautionary tale against a sexually liberated woman. One can often determine the politics and perspectives of an “Odyssey” adaptation by how Circe is depicted.

So what does that say about Nolan’s dark, succinct telling? In this film of majesty and scope, of star power and visual appeal, Circe helps show how Nolan’s “Odyssey” ultimately takes the epic at face value, reducing it to terms the director is most comfortable with: Odysseus is a man burdened by the weight of his brilliance. Circe is an obstacle he must overcome, just like the other women in the film have very specific ways to round out the hero’s tale of triumph. Calypso’s role is to trap Odysseus. Athena’s to act as his (mostly silent) conscience. Helen and Clytemnestra are simply disloyal women at the periphery of Odysseus’ journey. And Odysseus’ faithful wife, Penelope, isn’t shown doing much of anything, but gets an adamant speech about her queenly autonomy to telegraph her as a more modern, empowered hero-wife. None are fulfilling, but none feel as dismissive as the evil witch treatment of Circe.

At the end of the day, this is a man’s story of greatness. Even in Odysseus’ questionable moments, there’s never any question that he is still the noble warrior, the honorable leader. As for the women — the lovers, the betrayers, the goddess and, of course, the witch — they’re no more than the trimmings on our hero’s armor.

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This Circe seems cruel and crazed. In

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Betye Saar, a Los Angeles artist who transformed collections of bigoted bric-à-brac — Sambo dolls, ceramic mammies and crude renderings of pickaninnies — into potent works of assemblage that mined the searing history of race in the United States, and whose works influenced generations of artists, has died. She was 99.

Saar died in her sleep — just a few days short of her 100th birthday — in Los Angeles, her longtime gallerist Julie Roberts at Robert Projects said. Saar’s death was confirmed by her publicist Hannah Gottlieb-Graham.

“Betye Saar was one of the greatest artists of our time, and it has been an immense honor to work with her for nearly 20 years,” Roberts said. “Her singular vision transformed the course of contemporary art, and her legacy will continue to inspire generations of artists, scholars, and audiences around the world.”

A diminutive woman with a low-key manner that belied a steely resolve, Saar was known for combing garage sales, flea markets and junk piles for objects that she employed in collages and assemblages large and small. These explored difficult aspects of American history — including slavery and Jim Crow — but also touched on more personal themes of family, memory, magic and spirituality.

“My work has to do with recycling,” she told a documentary crew in the 1970s. “Each item I collect has a certain energy from its previous function that carries over into its new use.”

Artist Betye Saar in her Laurel Canyon home in 2016.

(Gina Ferazzi / Los Angeles Times)

In a 1984 profile, Times art writer Suzanne Muchnic described Saar as an artist who used found objects in a way that “draws on the power of mystery, the hurt of discrimination and the authenticity of individual vision.”

As Saar’s 100th birthday approached, her work and its groundbreaking importance were celebrated afresh in a slew of articles, including two recent profiles in The Times. As she approached the momentous milestone, Saar appeared more interested in creating new art than in dissecting her legacy. “That’s what art is,” she told The Times in an interview in late June. “Making something where there was nothing.”

Saar first rose to prominence in the 1970s, after crafting a small assemblage — roughly the size of a shoebox — that featured at its center a stereotypical Black mammy figurine bearing a rifle in one hand and a grenade in the other. The piece was first shown at the Rainbow Sign, a community center in Berkeley that was located near the headquarters of the Black Panthers.

The artist had begun her professional life as a designer of greeting cards and home accessories. But 1972’s “The Liberation of Aunt Jemima,” as the assemblage was called, catapulted her into the center of the Black Arts Movement and connected her with a broader tradition of assemblage in California and the art world at large. Three years after its creation, she had a solo exhibition at the Whitney Museum of American Art in New York. Decades later, activist Angela Davis credited “The Liberation of Aunt Jemima” with spurring the Black women’s movement.

“It’s like they abolished slavery, but they kept Black people in the kitchen as mammy jars,” Saar said in a 2015 interview. “I had this Aunt Jemima, and I wanted to put a rifle and a grenade under her skirts. I wanted to empower her. I wanted to make her a warrior. I wanted people to know that Black people wouldn’t be enslaved by that.”

In June 2020, in the wake of the uprisings following the murder of George Floyd, Quaker Oats announced that it would retire the Aunt Jemima brand. Saar took to Instagram with an image of her famous work and a message: “She’s liberated! Finally at long last! And it’s about time!”

“Liberation” now resides in the collection of the Berkeley Art Museum and Pacific Film Archive, not far from where it was first shown.

Betye Saar was born Betye Irene Brown in L.A. on July 30, 1926, the eldest of Jefferson Maze Brown and Beatrice Lillian Parson‘s three children. Her father, with whom she was close, died when Saar was about 5. And shortly thereafter, Parson relocated the family to Pasadena to live with her maternal aunt, Hattie Parson Keys. (Years later, Saar created a series of works in honor of Keys, employing objects that her aunt had left behind — something she would do for other family members as well.)

Saar’s parents weren’t artists, but art was in the air. When she was a child, her mother encouraged her to sew and make crafts. And, in the summers, she spent time at the home of her paternal grandparents in Watts, where she saw Simon Rodia building the Watts Towers and was struck by his use of materials.

“The one I find the most amusing is the corn cob,” she told the podcast “The Modern Art Notes” in 2016. “He had a piece of space with wet cement so he just put the corn cob in there. And I just love the kind of freedom to make the piece. Anything can go in there.”

After graduating from high school, Saar spent two years at Pasadena City College before transferring to UCLA in 1947. She majored in design, figuring that she would become an interior decorator — and, for a time, she did indeed work in that field, teaming up with Curtis Tann to form a cleverly named studio called Brown and Tann. Operating out of Tann’s home, the company produced an array of decorative and functional objects, including bowls, ashtrays and jewelry.

To market their goods, they turned to an informal network of African American artists, staging pop-up exhibitions in people’s homes and in other impromptu locations. In 1951, the pair was featured in Ebony magazine.

It was through that circle that she met a ceramicist of German American descent by the name of Richard Saar. In 1952, they married. The following year, their daughter Lezley was born. Two other daughters followed: Alison in 1956 and Tracye in 1961. (Lezley and Alison are now respected artists in their own right. And, in fact, on more than one occasion, all three women have shown their work together, most recently at the Museum of Art & History in Lancaster in 2018.) In 2024, the Equal Justice Initiative Legacy Gallery installed Saar’s “Seeking Secrets of Destiny” alongside her daughter Alison’s sculpture “The Beckoning.”

Betye Saar, flanked by her daughters, stands before a brick wall with fading paint.

Betye Saar, flanked by her daughters, stands before a painted brick wall.

(Carolina A. Miranda / Los Angeles Times)

In 1962, the Saar family moved to a rambling hillside home in Laurel Canyon, then a very rustic part of L.A. It put them in a hotbed of hippiedom right as the 1960s got rolling.

“Down the road was Frank Zappa,” Saar recalled in one interview. “There weren’t that many houses. We had the long skirts and long hair, and it was very casual. You’d go to a love-in or a concert.”

“We were as hippie-ish as hippie could be, while still being responsible.”

By the late ‘60s, she and Saar had divorced. But she remained in Laurel Canyon, where she would live and work until the end of her life.

Saar came to art almost by accident. In the late 1950s, she enrolled at Cal State Long Beach to pursue a master’s degree so that she could teach. But a stroll through campus led her past the university’s printing department.

“I walked past the print workshop and I was like, ‘Heyyy!’ ” she later recalled.

The master’s degree never happened. Instead, she poured herself into printing.

“I loved making prints,” she recalled. “The move into fine art, it was liberating. It gave me freedom to experiment.”

A pair of other, longer journeys, also proved formative.

There was a trip to Chicago’s Field Museum, where she immersed herself in the institution’s extensive collection of African art, followed by a trip to Haiti in the early 1970s. Saar was drawn to the Caribbean nation because of her interest in voodoo and magic — and the power that these could confer on inanimate objects.

“In the early 1960s I began going to coffee houses and they’d have books on the occult,” she told the New York Times in 1978. “I was attracted to signs and diagrams of alchemy and palmistry, and I began to use them in my prints. I also haunted second-hand and junk stores, and I started to frame my prints in old window frames.”

But it was a visit to an exhibition of the work of Joseph Cornell at the Pasadena Art Museum (now the Norton Simon Musuem) that inspired her to take a three-dimensional turn in her work. Saar was moved by the surreal qualities of the New York artist’s intimately scaled assemblages, which were often presented in small boxes.

“I immediately started collecting stuff after I saw that show,” she told the L.A. Times in 2016. “I started going to yard sales and estate sales.”

During the ‘60s and ‘70s, she took on a series of part-time jobs to provide for her children, designing costumes at a cultural center and teaching at area art schools. These provided her with necessary income, but also allowed her enough time to make work — which she often did at the kitchen table.

Saar’s creations from that era are on display through Aug. 22 at Roberts Projects. Titled, “Let’s Get It On: The Wearable Art of Betye Saar,” the show covers the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions.

“Art comes from the heart and the head,” she once said. “You don’t need to have a separate space in which to make it.”

Plus, art gave Saar a crucial political voice at a time of the civil rights and Black power movements. “If you are a mom with three kids, you can’t go to a march,” she once stated, “but you can make work that deals with your anger.”

An assemblage features trapped figures inside a vintage bird cage.

“The Weight of Betrayal,” 2015, by Betye Saar.

(Brian Forrest / Roberts Projects)

In her assemblages, she incorporated symbols that channeled dark episodes of U.S. history and African American struggle: the schematics of slave ships, the hackneyed images of vintage kitsch and the cruel sobriquets used by white supremacists to describe Black children.

At first she was apprehensive about using this type of imagery in her work. “Blacks were ashamed of those derogatory images,” she told the New York Times. “I like to think I recycled those images from negative to positive.”

But there was power in those images — and Saar knew just how to harness it.

“Saar’s assemblage doesn’t just describe history,” wrote former Times art critic Christopher Knight of her work in 2019, “it embodies a visceral connection to it.”

She would go on to deploy these tropes in myriad ways throughout her career — in particular the stereotypical figure of the Black mammy.

This included one particularly potent work: a glass bottle featuring the visage of a smiling mammy, which she transformed into a Molotov cocktail. The piece, which for decades had been in a private collection, reappeared in the traveling exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” which went on view at the California African American Museum (CAAM) in 2017.

“Historically, the mammy was the ultimate image of Black female servitude in the American psyche,” wrote historian Steven Nelson in the catalog that accompanied a 2017 exhibition of Saar’s work at the Craft Contemporary (then known as the Craft & Folk Art Museum). “She was kind and giving. She cooked and cleaned and did the laundry. She took care of the children. She was harmless.”

By arming her mammies with revolvers, rifles and bullets, Saar turned a symbol of servility into one of militancy and power.

A vintage bottle of Aunt Jemima syrup is transformed into a sculpture resembling a Molotov cocktail.

“Liberation of Aunt Jemima: Cocktail,” 1973, shown at the exhibition “We Wanted a Revolution” at CAAM in 2017.

(Jonathan Dorado, Brooklyn Museum / Betye Saar, Roberts Projects)

Her work also frequently touched on the personal: family, dreams, magic and the body (particularly the Black female body). In the process, she influenced a younger generation of artists, key figures such as Houston Conwill, Senga Nengudi and David Hammons.

“You can really see the impact she had on them,” said Kellie Jones, a scholar and independent curator who organized “Now Dig This!: Art and Black Los Angeles 1960-1980” at the Hammer Museum in 2011. “She had this multimedia practice. It was about Africa, but it was about the world. She has works with Mexican milagros, she has titles in Spanish, she at certain points has Asian influence and Haitian influence. She was really looking at the globe. She was a person in the world, and she really modeled that for people like Hammons and Conwill and Nengudi.”

Saar’s work resides in the permanent collections of more than 80 international museums, and in recent years, she was the subject of solo shows at the Museum of Modern Art in New York, the Prada Foundation in Milan and the Scottsdale Museum of Contemporary Art in Arizona (which hosted a retrospective).

In L.A., she had regular exhibitions at her Culver City gallery Roberts Projects, as well as one-woman shows at CAAM and the Craft Contemporary. In 2019, a small but potent show at the Los Angeles County Museum of Art explored the ways in which her drawing process factored into her assemblage work. But a full retrospective at one of her hometown’s major museums eluded her.

Saar told The Times that she didn’t let it bother her: “I’ve always done what I did and never felt I was competing with what was going on.”

A museum installation shows tumbleweeds surrounding a table for four in front of a wall painted blue.

An installation view of “Mojotech,” 1987, by Betye Saar at the Scottsdale Museum of Contemporary Art.

(Tim Lanterman / Scottsdale Museum of Contemporary Art and Roberts Projects)

If anything, she competed only with herself.

Well into her 90s, she continued to get up every day to craft assemblages out of the objects she had amassed in her studio. At 96, she scoured the Huntington Library gardens for a commissioned installation she called a “full-circle” project.

“I used to come to the Huntington with my mother when I was a child. She loved to garden, especially African violets, and she passed that love of plants and nature on to me,” Saar told the New York Times Style Magazine in 2024.

That love is palpable in “Drifting Toward Twilight” and its accompanying documentary, which sees Saar fawning over the orange tint of sloughed bark and the mystical qualities of garden scraps.

“Even in death those things can be really beautiful,” Saar said in the short documentary.

After working with a 17-foot canoe as a centerpiece for the Huntington exhibition, Saar told Curate LA that she felt compelled to return to small-scale pieces. The result was her 2024 Roberts Projects exhibit, “Betye Saar: New Work,” an objet trouvé medley in bronze and gold hues.

“At first, the new works were more nostalgic, with vintage photos and female ephemera, like gloves and such,” Saar said. “Then I brought in the tall ship bookends and African masks, and the works moved in a more ancestral and political direction.”

Even her grandson’s discarded computer parts made a cameo, a testament to Saar’s uncanny ability to mine inspiration from the most mundane objects.

“The worst problem for an artist is having nothing to say,” she once said in an interview. “I just have so many ideas. … Look at things that are important to you, what’s happening in your life. If you have that, you never run out of ideas.”

With her centennial on the horizon, Saar in 2025 formed the Betye Saar Legacy Group, a committee of her trusted curators and collaborators charged with preserving her vast archive and keeping her name fresh in the minds of new generations of artists.

A Saar biography penned by Zoé Whitley, who co-curated “Soul of a Nation: Art in the Age of Black Power,” is expected in 2027.

Saar is survived by her daughters Lezley, Alison (both artists) and Tracye (a writer), and her grandchildren Kyle Leeser, Maddy Inez, Sola Saar, Gen Saar Agustsson, Spencer Saar Cavanaugh, Megan Cavanaugh

Times staff writers Malia Mendez and Jessica Gelt contributed to this report.

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Betye Saar, a Los Angeles artist

Entertaintment

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Como experto en casinos online, he presenciado

MCU

Spider-Man: Brand New Day‘s marketing campaign and promotional wave revealed major plot details, twists, and character details about the Tom Holland-led movie ahead of its premiere. Marvel Studios and Sony Pictures had been going all-in to ensure Spider-Man: Brand New Day‘s success, flooding the final stretch before its July 31 premiere with an aggressive marketing campaign packed with exclusive San Diego Comic-Con footage, cast interviews, a wave of trailers, and major hints about Sadie Sink’s character. 

Several intriguing details, such as the Smart Hulk’s return and the inspirations from Tobey Maguire and Andrew Garfield’s Spider-Man suits, have piqued interest in Brand New Day. Despite that, the marketing campaign has revealed far more, providing fans with an unusually detailed preview of what to expect while still managing to hide its biggest spoilers. 

Spider-Man Fights Smart Hulk

Marvel Studios

At Marvel Studios’ Hall H panel at this year’s San Diego Comic-Con, The Punisher star Jon Bernthal introduced exclusive footage of Spider-Man and the Punisher teaming up against Mark Ruffalo’s Hulk. 

What’s interesting about this reveal is that the pair of MCU heroes is fighting Smart Hulk instead of Savage Hulk. In the clip. Spider-Man is still using his traditional web-shooters, indicating that this fight takes place early in the movie. 

Smart Hulk’s inclusion in Spider-Man: Brand New Day carries significant narrative weight. It’s possible that whoever the villain ends up being in Brand New Day finds a way to push Banner’s limits, turning him from the Smart Hulk to the more Savage version of the hero. This is important because it establishes that the merged Banner-Hulk personality remains the character’s default state, meaning that the Savage Hulk rampage is temporary.  

Brand New Day’s Score is Missing Something

Tom Holland as Peter Parker.
Marvel Studios

Spider-Man: Brand New Day composer Michael Giacchino discussed the MCU film’s score during an SDCC panel, Musical Anatomy of a Superhero. Giacchino confirmed that he stripped notes from the original Spider-Man: Homecoming theme to represent the “missing pieces” in Peter Parker’s life: 

“What if we start removing all the extraneous notes from the theme in the way that represents pulling away all the pieces of his life that he doesn’t have anymore?”

Giacchino noted the approach made the score feel “down to its base roots,” ultimately reflecting Peter’s isolation after Doctor Strange’s memory-wipe spell from Spider-Man: No Way Home. 

While it is unknown if Zendaya’s MJ and Jacob Batalon’s Ned Leeds will regain their memory of Peter Parker in Spider-Man: Brand New Day, it will be interesting to see if the “missing pieces” in the score will be restored once it happens, serving as a musical cue to the audience that the pair now remembers their past lives with Peter. 

Sadie Sink is Wearing Jean Grey-Inspired Clothes

Sadie Sink, Jean Grey.
Marvel Studios

Sadie Sink’s role in Spider-Man: Brand New Day remains one of the film’s closely guarded secrets in marketing. The only glimpses of the character in the trailer were quick shots of Sink wearing a hoodie, seemingly controlling other people’s minds. Promo images, footage, and press tour looks have fueled speculation that she is, in fact, Jean Grey. 

In one widely discussed shot from the latest Spider-Man: Brand New Day promo, Sadie Sink’s clothing appears to be inspired by Jean Grey’s new X-Men uniform, and some have also noted that she has green eyes, a classic comic-book trait for the X-Men member. 

These visual cues, combined with the psychic influence and hints of mind-control, lean into the long-running theory that Sink is playing Jean Grey in Spider-Man: Brand New Day, marking the character’s MCU introduction. If true, 2026 marks the start of the X-Men era in the MCU, an exciting phase ahead of the game-changing events of Avengers: Doomsday. 

Brand New Day’s Hidden Villain

Spider-Man vs. Tombstone.
Marvel Studios

Spider-Man: Brand New Day promotional materials and casting reports already confirmed Marvin Jones III’s role as Tombstone in the film. Still, the new MCU villain has been deliberately kept largely out of the trailers and major footage, making him one of Brand New Day‘s more low-key reveals. 

While fans have yet to see Tombstone in action due to being hidden from promos, official looks at the villain have already surfaced via a New York City promotional pop-up styled like Peter Parker’s board inside his room. The design stayed comic-accurate, with the MCU’s version incorporating pale skin, white hair, and a sharp suit-and-tie look reminiscent of Vincent D’Onofrio’s Kingpin. 

It seems as if the first looks at the character’s position: Tombstone at the height of his criminal empire in New York, making him one of the wildcards who could be pulling the strings to make Spider-Man’s life difficult in the film. Marvin Jones III’s casting as Tombstone also makes MCU history because he previously voiced a version of the villain in Spider-Man: Into the Spider-Verse. 

How Spider-Man Beats The Hulk

Hulk device.
Marvel Studios

A new image from Spider-Man: Brand New Day, shared by Empire, could strongly hint at how Spider-Man will defeat the Hulk in the film. The still shows Zendaya’s MJ standing over Peter’s shoulder at his workbench as he works on a small device. The schematic on his computer seems to match Banner’s Hulk inhibitor device, the same technology that allows Bruce to “contain” his Hulk persona. 

Brand New Day’s trailers confirmed that Peter seeks out Banner for help with his own accelerating mutations. Direct physical combat is effectively impossible against Hulk, so the smarter approach appears to be repairing or recreating the inhibitor to force a reversion to Banner. 

Given Peter’s genius-level intellect and scrappiness, combined with an assist from Punisher, this might be the only way to contain the green rage monster. 

Brand New Day’s Ending is…

Tom Holland as Spider-Man.
Marvel Studios

In a Japanese promotional interview for Spider-Man: Brand New Day with Mrs. Green Apple, Tom Holland came close to spoiling the film’s ending, saying something along the lines of “As emotional as the movie, it does end…” before being cut off. Zendaya interjected with “No, don’t say that,” and Jacob Batalon added, “Let’s just keep it locked.”

Tom Holland’s near-slip strongly suggested the film, while heavily emotional, concludes on a more hopeful, joyful, or optimistic note, contrasting the darker tone that precedes it. 

This is quite interesting because it aligns with Michael Giacchino’s decision to strip notes from the classic Spider-Man theme. A restored version of the score in the final moments could serve as an indicator that Peter is beginning to reconnect with the people and hope he thought he’d lost forever. 

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Entertaintment

Koho Casino hinges on a straightforward idea: you should get real value right after you take an offer. The platform bundles instant rewards, rebate promotions, casino games and sports betting into one Canadian-facing site. This guide explains how the reward mechanics actually work, what cashback actually means once you apply the fine print, which game categories matter, and how payments, security and mobile use affect the whole experience. I’m avoiding promotional fluff and focusing on the checks every player should run before they deposit. Specific caps, percentages and campaign windows change all the time, so view what follows as a useful framework, not a set of promises set in stone. The single best habit you can build is reviewing the current terms on the official page right before you opt in. That one step often dictates whether an instant reward turns into withdrawable cash or a bonus that runs out before you can access it. That’s why I’ve maintained every piece of guidance below grounded in verifiable checks.

Transaction Choices, Payout Speeds and Realistic Boundaries

Koho Casino supports the typical payment range for Canadian-facing casinos. Interac, Visa, Mastercard, e-wallet options and bank transfer commonly appear. Some methods perform better for deposits than withdrawals. My realistic approach: choose a method you can also employ to cash out, because casinos are inclined to return winnings to the first deposit method before presenting alternatives. Deposits typically land instantly, but withdrawals are delayed due to verification and banking timelines. Koho Casino may advertise a processing window for internal review, but the ultimate delivery time also depends on your payment provider. What’s instant for a deposit is rarely instant for a withdrawal, and that’s typical. When an e-wallet is available, it’s often the fastest withdrawal path after approval. I constantly check the cashier for method-specific estimates before I choose.

Before any withdrawal gets cleared, Koho Casino will usually request identity documents, proof of address, and sometimes a source-of-funds check. This is a common licensing requirement, not a stall tactic. The fastest way to ensure withdrawals moving is to provide clear copies early. Many casinos handle verification within a few days, but peak periods can lengthen that out. I also scan the fees page, because certain payment providers add conversion or transaction fees the casino doesn’t regulate. For Canadian players using Canadian dollars, dodging currency conversion is usually the simplest way to prevent extra costs. If a reward gets paid in a different currency value, I examine the exchange rate before converting. A less obvious point: your deposit method choice can affect bonus eligibility, since some promotions exclude specific e-wallets or prepaid cards. When you claim cashback, store payment receipts and promotion terms in one spot.

Which “Instant Rewards” Really Represents at Koho Casino

At Koho Casino, instant rewards typically relate to bonuses linked with a specific step—signing up, a first deposit, entering a promo code, or a time-limited event. The reward might show up as bonus funds, free spins on selected slots, or a percentage match on your deposit. I treat “instant” as a characterization of how fast the bonus lands, not a guarantee that you can withdraw it right away. A bonus may reach your account in minutes, but you still must clear any wagering requirement before it becomes real money. That gap is important because a lightning-fast credit doesn’t mean a fast path to your bank account. Before I claim anything, I examine the promotion summary, the list of eligible games, the minimum deposit and the expiry window. I also note whether the reward is cashable or locked as a bonus-only balance—this governs the actual value. Those checks need a couple of minutes but prevent most withdrawal headaches.

“Instant” also gets used in different ways across the site. Some cashback is determined after a set period ends; a free-spin reward could appear into your account automatically, while a deposit match may need a promo code. I wouldn’t assume every reward appears without you lifting a finger. The smartest move is to open the offer terms before you deposit. Look for whether the reward is cashable or bonus-only, how long you have to use it, and which deposit methods are excluded. On Koho Casino’s promotions page, these conditions typically sit right alongside each campaign. If anything’s murky, reach customer support and ask for written confirmation. Taking that extra moment outweighs chasing a reward that later turns into a withdrawal puzzle. Grabbing a screenshot of the terms can also help you if a dispute about wagering progress crops up later.

FAQ

What is the difference between cashable and bonus-only cashback?

Cashable cashback arrives as real money you can cash out straight away or after meeting some minimal turnover conditions. Bonus-only cashback comes wrapped in a wagering requirement you have to satisfy before any withdrawal is possible. I always look at the promotion terms to see which type I’m getting, because a 10% cashable cashback often outperforms a 15% bonus-only offer carrying a high playthrough. The difference directly affects how fast you can get to the returned funds.

Are instant rewards at Koho Casino require a promo code?

Some instant rewards appear automatically, like free spins awarded after registration or a deposit match that activates when you opt in. Other campaigns demand you punch in a specific promo code during the deposit flow. I’d advise reading the individual offer page before you top up your account. If a code is required and you miss it, the reward won’t come, and customer support might not be able to attach it after the fact.

What games contribute fully to cashback wagering requirements?

Reel games generally count 100% toward cashback playthrough, while table games such as blackjack and roulette commonly contribute a lower percentage or get excluded outright. Live dealer games often count for zero. I always check the game contribution table in the promotion terms before I start spinning. Picking an ineligible game can torch your wagering activity and push back the moment you can pull out any winnings tied to the cashback.

What timeframe does a withdrawal take after I request it?

Koho Casino usually processes withdrawal requests inside a few business days, but the total timeline depends on your payment method. E-wallets are usually the speediest after approval, often dropping funds within 24 hours. Bank transfers and card withdrawals can add several extra days. Verification also messes with timing; sending clear identity documents early helps prevent delays. I always check the cashier for method-specific estimates before I pick a withdrawal path.

Can I claim cashback and a deposit bonus at the same time?

Most promotions at Koho Casino don’t stack. If you grab a deposit bonus, you might become ineligible for cashback during the same window, and vice versa. The terms spell out whether joining one campaign locks you out of another. I read both sets of conditions before I opt in, because activating a bonus that clashes with a cashback offer could eliminate the cashback completely. When I’m unsure, I message support for written confirmation.

Is Koho Casino licensed and safe for Canadian players?

Koho Casino ought to hold a licence from a recognised gambling authority, and that licence has to be visible on the site. I always verify the licence number on the regulator’s official website to make sure it’s active and covers casino operations. The platform protects personal and payment data in SSL encryption. I also look around for responsible gambling tools like deposit limits and self-exclusion, which indicate a real commitment to player safety that goes beyond the bare legal minimum.

Does the mobile version offer the same cashback promotions as desktop?

Yes, every cashback offer and instant reward on the desktop site is also available through the mobile browser. The promotions page adapts for smaller screens, and claiming a reward works identically. I still tend to reading the detailed terms on a bigger display, but the mobile experience doesn’t block any cashback campaign. You can deposit, play eligible games and track your cashback progress entirely from your phone or tablet.

Regulation Protection and Safe Betting Checks

Koho Casino’s trustworthiness starts with its disclosed licensing and security info. A Canadian-facing casino needs to possess a licence from a recognised gambling authority, and that licence needs to be shown in the website footer or terms page. I won’t quote a licence number here because those details change, but you should confirm that the named company corresponds to the operator listed in the privacy policy and payment records. Security should encompass SSL encryption for account and card data. You can check for the padlock symbol in your browser and avoid punching in payment details over public Wi-Fi. Koho Casino also posts a privacy policy that details how your personal data is processed. Reviewing it isn’t as thrilling as claiming a reward, but it’s the clearest way to grasp who receives your information. Lack of licence information should be a red flag to halt and look more closely.

Responsible gambling tools provide additional practical safety. The site ought to include deposit limits, loss limits, session time reminders and self-exclusion options straight from the account settings. I hunt for these tools before I deposit, because they become much easier to set when you’re thinking clearly than after a losing streak hits. Many casinos also feature a reality check feature that pops up after a set period and prompts if you want to keep going. If Koho Casino connects to external organisations like ConnexOntario or Gambling Therapy, that’s a good sign. I consider these tools as a normal part of bankroll management, not an admission of a problem. https://www.reddit.com/r/movies/comments/bp51tt/robert_de_niros_method_acting_slammed_by_comedian/ Putting in place a weekly deposit cap that aligns with your entertainment budget keeps the experience predictable. If the responsible gambling page is buried or missing, I’d reconsider playing there, no matter how shiny the cashback offers look.

Verifying the licence yourself gives you an added layer of confidence. I go to the regulator’s website and find the operator’s name or licence number. That check verifies the casino is in good standing and that any complaints can be brought to an independent body. It also tells you whether the licence covers casino games, sports betting or both—vital if you plan to use multiple products. A valid licence implies the operator must follow rules on fund segregation, fair gaming and dispute resolution. If the licence comes from a jurisdiction with a weak reputation for player protection, I consider that against the rewards on offer. No cashback percentage can make up for a platform that lacks a clear path to resolve withdrawal disputes. This step requires five minutes and gives you a clearer picture than any promotional banner ever could.

In what manner Cashback Offers Function and For what reason They Are Never Uniform

Cashback at Koho Casino usually gets pitched as a percentage return on real-money losses over a specific stretch—a day, a week, or a certain promo window. The critical part: cashback is not the same as a refund. Some cashback lands as bonus funds with a playthrough requirement; alternative cashback arrives as withdrawable cash. I always pinpoint which type I’m dealing with because the difference shifts everything. A 10% cashback rate sounds nice, but if it’s paid as bonus funds wrapped in a steep wagering requirement, it’s less flexible than a smaller cash percentage paid in real money. The cashback percentage normally applies to net losses, not total wagered, and it often comes with a cap. So you must read the conditions closely before you attach any value to the offer. I treat headline percentages as a starting point, never a done deal.

Eligibility also shifts around. Cashback might only apply to slots, or exclude live dealer and certain table games. Some campaigns count losses from Monday to Sunday and credit the cashback the following day; others pay only if your account hasn’t grabbed another deposit bonus in the same period. I advise jotting down the start and end times, the minimum loss threshold, and the maximum cashback amount before you play. When a promotion page says “up to 20% cashback,” it doesn’t mean every player gets 20%. The top rate might only apply to the highest loss band or a specific VIP tier. I use cashback as a partial recovery tool, not an excuse to ramp up bets. It can ease a rough session, but it should never be the reason you stake more than you planned. Cashback works best when you compare it across offers instead of staring at it in isolation.

Mobile Compatibility and Mobile Gaming

Koho Casino doesn’t require you to get a dedicated app to gamble on a phone or tablet. The website renders through a mobile browser and adjusts itself to match different screen sizes. I’ve tested the phone version on both iOS and Android, and the interface generally keeps the navigation, game icons and payment section accessible without constant zooming. Slot machines and table classics work well as long as the internet connection remains strong, though live dealer broadcasts can eat more bandwidth. Quick rewards and cashback promotions are available on your phone just like on a PC, and the bonus page shrinks without obscuring the critical terms. I still choose to review the full terms on a bigger screen before I agree, but the mobile experience is convenient for monitoring balances, getting free spins and playing short sessions. Avoiding a native app also means I don’t have to stress about app store restrictions or hand updates.

Mobile play introduces a few extra things to keep in mind. Touch inputs tend to make it easier to accidentally activate a spin or wager, so I always recheck my stake before confirming. I also avoid public Wi‑Fi when accessing my account, because wireless connections are not necessarily safe. If the casino offers push notifications through the browser, I switch them on only for cashback updates and mute the promotional messages. Power drain is another issue; live dealer games and high-res slots can warm up a device rapidly. I keep a charger close during longer sessions. When I take advantage of a cashback deal on mobile, I nevertheless grab a screenshot of the terms and the refunded amount, exactly as I would on desktop. The mobile gaming experience at Koho Casino is usable and mirrors the desktop capabilities enough that I never feel I’m losing out on rewards or game variety when I play away from my computer.

Before you collect any instant reward or cashback promotion at Koho Casino, the absolute most valuable move is to review the full promotion terms and nail down whether the reward is cashable or stuck behind a playthrough. I treat cashback as a limited recovery tool; it performs best when you compare it across campaigns and match it with a clear deposit limit. The verifications I’ve described (verifying the licence, testing the mobile experience, matching games to wagering contributions) need only a few minutes but shield your bankroll far more than any headline percentage ever will. Treat the platform with that attitude, and instant rewards become a handy extra, not a reason to chase losses. The real win is a withdrawal that appears in your account without any unexpected issues.

Core Game and Betting Categories on the Home Page

Koho Casino’s landing page leads with a blend of casino games and betting options. In the casino section, slots generally claim the biggest chunk of the library—classic three-reelers, video slots, jackpot titles and fresh releases. The table games area usually features blackjack, roulette, baccarat and poker variants. A live casino section sits alongside it, offering you dealer-run games streamed in real time. For sports fans, the platform may also include sports betting markets, though the exact range hinges on the current site version. The menu layout counts because rewards and cashback often distinguish casino turnover from sports betting turnover. I tend to choose a category only after I’ve confirmed it adds to the specific reward I’m pursuing. That prevents me from wasting wagering activity on an ineligible product. The selection can vary between visits, so the landing page is always your best real-time guide.

Game choice influences more than just fun. When a bonus has a wagering requirement, different game types usually chip in different percentages. Slots often count 100% toward playthrough, while blackjack and roulette might count much less or get left out altogether. Live dealer games sometimes don’t count at all. That means a player who claims free spins and immediately plays the live blackjack table might not change the wagering requirement one bit. Before I begin playing, I check the game contribution table in the promotion terms. Bonus aside, game selection also shapes the rhythm of your session. High-volatility slots can produce long dry spells; low-volatility games tend to give smaller amounts more often. Neither is automatically better, but the style should fit your bankroll. If a specific game is restricted during a bonus, the casino typically flags it in the terms or blocks the launch. I also employ demo mode to try out unfamiliar slots without spending money.

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Koho Casino hinges on a straightforward idea:

DCU

A fourth Superman spinoff is in the works at DC Studios at a crucial time in the company’s history. Very few characters can bear the weight of an entire franchise on their shoulders. Marvel Studios was able to hand the reins over to Tony Stark because it caught lightning in a bottle. James Gunn and Peter Safran couldn’t take a risk that big when they took over DC, so they bet on old faithful, Superman.

Christopher Reeve’s four-film run captivated audiences in the ’70s and ’80s. And despite Zack Snyder’s DCEU not doing well critically, his take on the Man of Steel certainly drove conversations, which has to count for something. But Gunn really wanted to put his own stamp on the iconic hero, leading him to cook up a movie that was quintessentially him.

In addition to catchy songs and unique action, what Superman really had going for it was its stellar supporting cast. The employees at the Daily Planet who shared an office with Clark Kent all brought something interesting to the table, and the heroes that fought alongside his alter-ego felt distinct from anything in the MCU or beyond.

DC Studios

Of all the good guys, though, the one who really stood out was Mr. Terrific, played brilliantly by Edi Gathegi. The genius character went against his teammates’ wishes and helped Lois Lane recover the titular hero from Lex Luthor’s pocket dimension. And he wasn’t done after escaping a black hole, as he returned to Metropolis and turned off Luthor’s machine just in the nick of time.

All that hard work has paid off for Mr. Terrific, with The Hollywood Reporter revealing that a spinoff series is in the works that will place the character in the spotlight. Allan Heinberg, best known for developing Netflix’s The Sandman series and co-writing the script for Patty Jenkins’ Wonder Woman, is working on the pilot, which is sure to let its geek flag fly proudly.

No other details about the Mr. Terrific series are available at this point. However, it feels like a safe bet that Gathegi will be suiting up again when it comes time to roll cameras. There’s no reason to rush things, though, as Superman has a few other spinoffs to hold fans over in the meantime.

All Other Superman Spinoffs That DC Studios Is Working On

Supergirl

Kara Zor-El looking annoyed in Supergirl.
DC Studios

David Corenswet’s hero spent much of Superman looking after the ill-behaved dog, Krypto. Despite being best of friends in the source materialy, they didn’t really get along in the 2025 movie, raising some red flags. Well, it turned out Krypto didn’t belong to Superman but his cousin, Kara Zor-El, aka Supergirl.

Milly Alcock’s suprise cameo set up her solo project, Supergirl, which hit theaters in June 2026. The box office return and critical reception for the movie wasn’t what DC Studios was hoping for. But most everyone who watched it praised Alcock’s performance as the Girl of Steel. That means there shouldn’t be any hard feelings when she returns in the next Superman spinoff.

Man of Tomorrow

Lex Luthor sitting down in Superman.
DC Studios

Usually, if a superhero movie does well for itself, it earns a sequel that keeps the status quo intact. Gunn bought into that practice when he released Guardians of the Galaxy Vol. 2 while working with Marvel Studios. However, now that he’s calling the shots, he’s far less interested in walking the beaten path.

Man of Tomorrow will pick up after the events of Superman and bring back nearly all the original cast. But it’s having Nicholas Hoult’s Lex Luthor go from antagonist to co-lead, forcing him to team up with his arch-enemy because an even bigger threat is waiting in the wings. Brainiac, who’s somehow never gotten the nod as the villain in a live-action DC movie, is gearing up to make life difficult for everyone on Earth. 

There are also rumors of Man of Tomorrow being a secret Justice League project, as John Stewart is confirmed to be part of the proceedings and Wonder Woman could also have a role to play. If anyone could keep such an ambitious project under wraps, it’s Gunn. 

Jimmy Olsen & Gorilla Grodd Show

Jimmy Olsen holding a paper in Superman.
DC Studios

The fourth and final Superman spinoff is the one with the most mystery surrounding it. Fan-favorite ladies’ man Jimmy Olsen is getting his very own show, where he will use his journalistic skills to investigate villains across the DCU. But he won’t be alone on his journey.

The telepathic ape Gorilla Grodd, who made a brief cameo in the animated series Creature Commandos, is a big part of the series. How he fits into the narrative remains to be seen. However, Grodd rarely does anything that doesn’t get him closer to his goal of world domination, meaning Jimmy better watch his back if the villain suddenly offers a helping hand.

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Comics

Blizzard has fired an employee for using developer-only tools to help World of Warcraft players cheat their way to a victory.

The incident was first reported on the World of Warcraft Reddit page, where user Acrobatic_Pianist688 said they were looking at logs for the game’s Mythic Plus runs and found something odd.

Mythic Plus is an endgame feature in World of Warcraft where players can take on 5-player dungeons with an endlessly scaling difficulty.

According to the Reddit user, the log for a certain level 23 Mythic Plus run showed that despite the group being behind and seemingly unlikely to win, they “pulled it out of nowhere” and succeeded.

Upon further investigation, the log – which records every move used in a run and its effect – showed that a sixth user called Daijosai had used a move called ‘Area Death (TEST)’, the description of which is “kills all enemies in a 30-yard radius, cheater”.

It appeared that Daijosai was a Game Master – a Blizzard employee who can oversee games and take action if players have issues such as retrieving bugged items, teleporting stuck players and dealing with cheaters.

In this case, however, it seemed that the employee was the one doing the cheating, by using an instakill move only available to developers to help the group win their run.

“Against company policy”

In a statement on the official Blizzard forums, the World of Warcraft forum confirmed that the incident took place, and that the employee had been let go as a result.

“We internally monitored and confirmed a recent incident in which a World of Warcraft group gained an unfair advantage by abuse of access to development-only spells on a live realm,” the statement read. “Our tools confirmed what was also surfaced in community discussions, and we have investigated the incident carefully.

“We can confirm that this was the action of a single Blizzard employee, in violation of our Code of Conduct. This employee is no longer with the company effective immediately. We are also taking action against the player accounts that were complicit in this violation.

“It has always been the case that a small number of Blizzard employees can use developer tools and spells on live servers – this lets us test and make urgent fixes to the live game when they’re needed. Every use of these internal spells and commands on live realms is logged and shared with our Platform Security team to help ensure that the occasional use of this access is warranted.

“The use of development tools for anything other than development work is against company policy. It’s because of the process we have in place around use of these tools that we’re confident this incident was isolated to one individual.

“We want to thank those of you in the WoW community who reached out with information and real concern for the integrity of the game, as well as the community sites that are also working to remove the results of this violation from their records.

“When your findings line up with ours, it helps confirm that our own tools are catching what they should, and we’re grateful for the way we work alongside you all to protect the game and each other.”