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Today Elliot Grove & Suzanne Ballantyne received their British Citizen Award Medal of Honour for Services to the Arts, their daughter Désirée Ballantyne-Grove collected on behalf of Suzanne Ballantyne.

For more than thirty years, Elliot and Suzanne have helped thousands of independent filmmakers find their voice. This award is recognition that independent filmmaking matters.

Elliot spoke on getting this award:

Receiving the British Citizen Award is an enormous honour.

But this recognition was never about me.

It belongs to every filmmaker who ever took a chance on themselves.
Every volunteer who gave up weekends.
Every tutor who stayed late.
Every donor who believed that talent deserves opportunity, regardless of background or budget.

For more than thirty years, we’ve helped thousands of independent filmmakers find their voice. Some have gone on to win Oscars. Many more have built meaningful creative careers. Countless others simply discovered the confidence to tell stories that otherwise would never have been told.

The award is recognition that independent filmmaking matters.

Now I’d like to ask for your help.

Through the Independent Film Trust, we’re creating opportunities for filmmakers who might never otherwise have access to training, mentorship or the industry connections they need to begin.

If you’ve ever believed that great stories can change lives, please consider making a donation.

Together, we can ensure the next generation of filmmakers gets the chance that so many of us were lucky enough to receive.

The award recognises the past.

Your support will create the future.

Through the Independent Film Trust (IFT), we’re creating opportunities for filmmakers who might never otherwise have access to training, mentorship or the industry connections they need to begin. If you’ve ever believed that great stories can change lives, please consider making a donation to the IFT at this link.

Together, we can ensure the next generation of filmmakers gets the chance that so many of us were lucky enough to receive.

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Today Elliot Grove & Suzanne Ballantyne received

A Canadian woman of Chinese origin who was an intern at NATO’s military headquarters in Belgium has been arrested on spying charges, Belgian prosecutors said on Saturday.

“She is suspected of spying on behalf of a third country and of being a member of a criminal organisation,” the Federal Public Prosecutor’s Office said in a statement.

The woman worked as an intern at NATO’s Supreme Headquarters Allied Powers Europe (SHAPE) in the Belgian city of Mons, the statement said. It did not provide further details of her identity or the country or organisation she is suspected of spying for.

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SHAPE is NATO’s top military headquarters, the base of Allied Command Operations, which is responsible for planning and carrying out all operations of the 32-member transatlantic security alliance.

The suspect had come to the attention of SHAPE’s security services, who reported her to Belgian intelligence officials, according to the prosecutors’ statement.


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Investigators searched the suspect’s home and her workplace at SHAPE, and she was placed under arrest on Friday.

A SHAPE spokesperson said there was no indication that NATO or SHAPE operational readiness, command and control arrangements or ongoing tasks had been affected.

“SHAPE continues to fulfil its responsibilities without interruption,” he said.

The prosecutor’s office said it would make no further comment as investigations continued.

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Josh Sapan, the former CEO of AMC Networks, left the entertainment company he had led through the peak TV era in 2021. He had helped transform the network devoted to reruns of classic movies into a programming powerhouse responsible for some of the biggest shows of the aughts — a list that includes “Breaking Bad,” “The Walking Dead” and “Mad Men.” What, Sapan wondered, would be his followup?

“I’ve always been interested in what you do after you do what you do,” Sapan says over Zoom.

The answer is a mixture of art and advocacy. For the past five years, Sapan has devoted much of his time to championing disability on screen through founding Marvels of Media Festival with the Museum of the Moving Image (MoMI), which celebrates the work of autistic media makers. On Saturday, Marvels will partner with the Academy Museum to present and program Disabilities, Representation, and Film Sensory Session. It brings together neurodivergent filmmakers, showcasing their short films, hosting a panel discussion and offering programming with sound and lighting adjustments in order to provide a more sensory-friendly experience.

“The work is amazing and uplifting, and the filmmakers are really quite extraordinary,” Sapan says. “I have always been interested in people who see things a little differently. The greatest successes that I’ve been associated with are things that were probably considered unlikely, as opposed to likely. And neurodivergent artists, because of who they are, just bring something unique in how they see the world and how they tell a story.”

It’s a perspective that Sapan understands intimately, because his son, Nate, is on the spectrum. The goal of Marvels of Media isn’t just to highlight autistic filmmakers. It also offers them workshops and gives them a platform so they can get funding for their next projects.

“I see it as a virtuous exercise,” Sapan says.

Since it launched, Marvels of Media has partnered with roughly ten theaters around the country, which serve as satellites for the program by showing movies and content from the media makers who are selected for the festival.

Sapan hasn’t given up on the media business. After leaving AMC, he launched Sapan Studios. In short order, it has backed several acclaimed indie films, including “Ghostlight,” “The Baltimorons” and “The Taste of Things” through a partnership with Independent Film Company, which is owned by AMC. That deal was recently extended and upcoming releases include “Mouse,” which is from the “Ghostlight” team of Kelly O’Sullivan and Alex Thompson and earned raves when it debuted at the Berlin Film Festival. Sapan also has a television development deal with Warner Bros.

“It’s something that I wanted to do early on, but then I got on the executive track,” Sapan says. “This gets me a few steps closer to the actual artistic process.”

Now Sapan finds himself pitching projects instead of greenlighting them. That means having to navigate a business that is contracting because of mergers and consolidation.

“It’s not great that these legacy studios are going away,” he says. “But that disruption is not without its creative potential. It presents opportunities, too.”

He’s also turned to writing, publishing “RX,” a collection of poetry in 2023, and “Third Act: Reinventing Your Next Chapter,” which profiles celebrities, government officials and business executives who have reached retirement age, checking in with everyone from Gloria Steinem to Rita Moreno and Alan Alda.

“We don’t always think of our lives as multi-chapter experiences, but they really are,” Sapan says. “When I was thinking of stepping down from AMC, the big question was what am I going to do? What’s my identity going to be? What you find out is it’s interesting to see what the world might invite you to do next or what you can make happen.”

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Josh Sapan, the former CEO of AMC

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    The best boxers in the world travel to Saudi Arabia this weekend, where British fighter Anthony Joshua (29-4-0) takes on Albania boxer Kristian Prenga (20-1-0) in the heavyweight main event on Saturday, July 25.

    The Joshua vs. Prenga pay-per-view event takes place at Jeddah Superdome in Jeddah, Saudi Arabia. Coverage and prelims begin at 1 p.m. ET/10 a.m. PT, while the main event is set for 12 rounds starting around 5:52 p.m. ET/2:52 p.m. PT.

    After seven months away from the ring since defeating and humiliating Jake Paul, Anthony Joshua is the favorite to win the match. However, Kristian Prenga is a pure power specialist who has the attack and smarts to beat Joshua in a knockout. By contrast, Joshua combines various punching techniques with power to win matches.

    Whoever wins would be one step closer to a heavyweight title shot against current-champion Tyson Fury.

    Additionally, there may be a few celebrities in-attendance. This may include celebrity boxing fans, such as Dr. Dre, Idris Elba, Dwayne Johnson, Rory McIlroy, Kevin Garnett and others.

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    • Heavyweight: Anthony Joshua vs. Kristian Prenga — Main Event
    • Super Middleweight: Hamzah Sheeraz vs. Simon Zachenhuber — WBO Title Fight
    • Super Welterweight: Josh Kelly vs. Caoimhin Agyarko — IBF Title Fight
    • Super Featherweight: Reito Tsutsumi vs. Alvino Herrera
    • Middleweight: Jakob Bank vs. Pawel August
    • Super Welterweight: Nishant Dev vs. Cesar Diaz

    On Saturday, July 25, Anthony Joshua vs. Kristian Prenga PPV is available to livestream on DAZN for $59.99. The boxing has a start time of at 1 p.m. ET/10 a.m. PT.

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    On the latest episode of Variety‘s “Strictly Business” podcast, Colleen Bell, director of the California State Film Commission, discusses her wins in her role as the Golden State’s film chief and the hurdles that remain to restore a high volume of TV and film lensing activity in Hollywood’s backyard.

    Bell says the past few years have been a “seminal moment” for the entertainment industry in California. “People want to shoot their projects here. Public policy needs to evolve to meet the moment,” she says.

    The state of California has never been more focused on the needs of Southern California’s creative community, the concentration of highly skilled film and TV production that has been the nucleus of the industry for more than 100 years. Bell is aware of the debate around whether the state’s recent efforts to sweeten its production tax incentive program is coming as too little too late amid the sharp downturn in lensing activity in Los Angeles County.

    But there’s no debate that the state on her watch boosted its annual incentive program to $750 million, from $330 million. It became law a year ago this month after a great deal of public policy diplomacy and coalition-building by Bell and others in the Newsom administration in Sacramento.

    One big change in the local political climate that has helped the industry is the fact that legislators in Sacramento from well outside Hollywood now recognize the value of investing in production tax credits. Bell’s commission has produced research demonstrating that every dollar granted in a production tax credit spurs $24.40 in economic activity from producers, spending that has a clear ripple effect across local communities.

    With more understanding of the value of TV and film production, legislators have become more supportive of tax credits to support the entertainment industry.

    “There is a much stronger understanding of the utility of tax credits and that they are an investment. And when we invest in the industry, the industry invests back in us,” says Bell, who was named the state’s film chief in May 2019.

    “But we continue to try to expand opportunity. We provide uplifts, for shooting outside the Thirty Mile Zone. And that’s been helpful,” she says. “We have had strong bipartisan support for launching this new, updated and modernized program. And that came from a lot of conversations and an understanding that this is our legacy industry and tax credit programs like ours — these are jobs programs. These are keeping talented people who work in the entertainment industry, working here in California where they should be working. I think the conversation has shifted dramatically. I’m really pleased that we were able to shift that narrative.”

    Listen to Daily Variety on iHeartPodcasts, Apple Podcasts, Variety’s YouTube Podcast channel, Amazon Music, Spotify and other podcast platforms.

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    On the latest episode of Variety‘s “Strictly

    Homer doesn’t say much about the actual sound of the sirens, aside from descriptions of their song as “honeyed” and “melodious,” in Emily Wilson’s translation. Odysseus says he “longed to listen to more,” but he doesn’t give in, remaining tied to the mast until the ship passes through.

    Nolan makes the scene more dramatically expansive, a reflection of Odysseus’ homesickness, his guilt over the sacking of Troy and his long recovery from the war. Asked what the siren song was, he answers:

    All the things you want it to be. Then, all the things you wish you had never wished for. It was the delicious itch you go to scratch but find it’s under the skin, you can’t reach it. So the delicious itch becomes unbearable. Told you what you most want is what you most can’t have. And what you most can’t have is what you already had, and lost.

    For most of the movie, Göransson’s music is metallic. He has said in interviews that he and Nolan didn’t want to use a traditional orchestra, so he assembled a chorus of gongs that are heard both acoustically and abstracted through synthesizers, making an earthy sound otherworldly. He occasionally brings in other textures, too, like the plucking of a lyre for a motif associated with Odysseus’ bow and, in the siren scene, an ancient reed instrument called an aulos.

    The aulos appears throughout Greek art, depicted in military and domestic scenes alike. To modern eyes it looks like two recorders that come together at a player’s mouth, blown at the same time. Its construction allowed Göransson to use one pipe for a droning pedal tone, and the other for melody.

    That melody is just four notes: two that reach up, as if yearning, and two that fall, like a collapse. It’s so simple and so sad.

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    Homer doesn’t say much about the actual

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    Throughout his career in the NBA, Michael Jordan made a massive impact on the court, as one of the best players in the league. He also made an impact in pop culture with his Nike signature shoes, which have been getting various updates and rereleases in new colorways over the years.

    Nike is set to reintroduce the Air Jordan 4 sneakers, originally released in 1989, in a new “Comic” colorway for a new generation of fans. The signature shoes drop on Saturday, July 25 at 10 a.m. ET/7 a.m. PT during this year’s San Diego Comic Con, but can be purchased on Nike.com.

    Priced at $230, the Nike Air Jordan 4 sneakers are designed from premium materials, such as a mixture of authentic and synthetic leather upper with a fresh look and clean feel that has a retro appeal, but with a comic book twist.

    In addition, the sneakers have the iconic “Jumpman” logo in action as a superhero on their tongues, head-turning netting, the “Nike Air” logo on each heel, transparent air bubble in each midsole and prominent flash wings on the fire pink collar. These sneakers have a classic look with loads of style that works just as well over 35 years later in 2026, as they did back in 1989.

    Nike

    Nike Air Jordan 4 Retro ‘Comic’ Sneakers

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    The Nike Air Jordan 4 Retro “Comic” sneakers come in an off-white, anthracite and fire pink colorway that’s great for casual use.

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    If you purchase an independently reviewed product

    Spider-Man: Brand New Day is tracking to outgross the MCU’s last three movies combined at the global box office. Marvel Studios endured a string of box-office disappointments in 2025 as Phase 5 concluded with Captain America: Brave New World and Thunderbolts*, before finally getting Phase 6 underway with The Fantastic Four: First Steps. The three MCU blockbusters’ box office gross totaled to $1.32 billion, just under the $1.34 billion that Deadpool & Wolverine earned single-handedly in the previous year:

    • Marvel Studios’ 2025 Box Office Gross – $1,319,397,222
      • Captain America: Brave New World – $415,101,577
      • Thunderbolts* – $382,436,917
      • The Fantastic Four: First Steps – $521,858,728

    The MCU is in desperate need of a box office win, as Captain America: Brave New World and Thunderbolts* are believed to have lost money, while The Fantastic Four: First Steps may have turned a small profit. Regardless, it’s safe to say that Marvel Studios left 2025 with a box-office deficit that it hopes to recoup this year with Spider-Man: Brand New Day and Avengers: Doomsday.

    Fortunately, Brand New Day is tracking to be a major box-office win, albeit one split between Marvel Studios and Sony Pictures. Estimates from Box Office Theory (BOT) have the web-slinger returning to theaters with a $212-255 million domestic opening and a forecast finish of $475-655 million. 

    When it came to No Way Home, 42.1% of its unprecedented $1.91 billion worldwide gross came from domestic audiences. If Spider-Man: Brand New Day abides by the same multiplier, and its domestic total lands in the middle of BOT’s estimate, around $570 million, it should finish with $1.35 billion worldwide, more than all of Marvel Studios’ 2025 blockbusters combined.

    Marvel Studios

    But there is reason to believe the overseas figure could go even higher, as Brand New Day has one thing that No Way Home didn’t: a Chinese release. The Asian market can greatly boost Western flicks, such as Zootopia 2, which grossed $651.4 millon in China, the highest-ever for a Hollywood movie in the region.

    According to data from Global Box Office, Brand New Day‘s pre-sales are tracking very well in China, higher than any other superhero movie since 2019’s Avengers: Endgame, and it could even open as high as $100 million. That is almost four times the $25.4 million that the MCU’s last four movies collectively opened to in China. Captain America 4 launched in China with $10.5 million, Thunderbolts* with $10.4 million, and The Fantastic Four with just $4.5 million.

    Beyond starring one of the world’s big three superheroes (Batman, Superman, and Spider-Man), Brand New Day has a major leg-up on its MCU predecessors due to its extreme proximity to an Avengers blockbuster. In fact, as stated by EmpireCity Box Office, Avengers: Doomsday‘s recent trailer release prompted a “massive spike in Spider-Man: Brand New Day sales yesterday.”

    Updated tracking from Global Box Office declared that Brand New Day is projected to open even higher domestically after the spike, around $260-300 million. That puts it on track to surpass No Way Home‘s astonishing $260.1 million domestic opening, albeit below Avengers: Endgame‘s $375.12 million.

    Just as Doomsday has reportedly boosted Brand New Day, the summer blockbuster may be able to return the favor. If the latest Spider-Man flick attracts a massive audience, receives stellar word of mouth, and sets up the next Avengers ensemble, it could build the momentum the MCU has been sorely lacking in recent years and drive interest in the next crossover to new heights. 

    How Marvel Studios Could Have Avoided 2025’s Triple Box Office Let-Down

    Marvel Studios began 2025 with disappointment as Captain America: Brave New World brought in just $415.1 million on a $180 million budget. Following the usual Hollywood rule of a movie requiring 2.5 times production budget to start turning profit, Brave New World may have lost Disney over $30 million, partly because its costs were inflated by extensive reshoots in 2024. 

    Sam Wilson in Captain America: Brave New World.
    Marvel Studios

    A fourth installment in a highly successful franchise like Captain America that trades out its main protagonist was always going to be a tough sell, so Brave New World needed to be great in order to succeed, and it simply wasn’t. 

    It was as clear as a summer’s day that Brave New World endured major changes from reshoots and post-production, resulting in a rather disjointed story. Simply put, Marvel Studios should have tightened up Captain America 4‘s script much earlier on, and perhaps followed DC Studios CEO James Gunn’s biggest rule. 

    Arguably, the greatest tragedy of Marvel Studios’ 2025 losing streak was Thunderbolts*, which bombed at the box office, grossing just $382.4 million worldwide on an $180 million budget. That may have prompted losses of over $60 million ahead of the New Avengers’ major role in Avengers: Doomsday.

    Thunderbolts on streets in New York.
    Marvel Studios

    Unfortunately, Thunderbolts* proved that the MCU’s box-office struggles run deeper than quality and word of mouth. The anti-hero ensemble was hailed as one of Marvel Studios’ best movies ever, with an all-star cast colliding from multiple projects, a uniquely deep exploration of mental health, and a long-awaited MCU addition in Sentry, but it wasn’t enough to save it at the box office.

    It’s tough to say how Thunderbolts* could have been saved, given that it delivered in terms of quality and had a bold A24-esque marketing campaign. Instead, Thunderbolts* was likely doomed from the get-go, as a movie centered around usually supporting characters, some of whom originated on Disney+, was always going to be a hard sell at a time when interest in the MCU had hit a lull.

    There was a sense of optimism in the MCU fandom moving into The Fantastic Four: First Steps, as Thunderbolts* had just been hailed as a masterpiece. That goodwill, combined with excitement to see Marvel’s First Family join the MCU, was enough to turn The Fantastic Four into 2025’s only profitable movie, earning $521.86 million worldwide on a $181 million budget (after U.K. tax breaks).

    Reed Richards and Sue Storm in The Fantastic Four First Steps.
    Marvel Studios

    For the most part, The Fantastic Four was well received, earning praise for its stunning sci-fi visuals, casting of Marvel’s First Family, and portrayal of Galactus. The movie ultimately suffered due to growing MCU fatigue and competition from James Gunn’s Superman, which took flight just two weeks prior.

    The Fantastic Four could have benefited from painting itself as a more integral piece of the Avengers: Doomsday puzzle by introducing Robert Downey Jr.’s Doctor Doom ahead of the 2026 event. Then again, perhaps First Steps was always doomed to stumble a little due to the MCU’s larger problems.

    Regardless, there are clear signs that the MCU is on the up-and-up once again, as excitement for the franchise in 2026 may be its highest since Avengers: Endgame. If Marvel Studios plays its cards right throughout Phase 6, the momentum of Spider-Man: Brand New Day along with two Avengers movies hitting theaters in back-to-back years could set it up to hit the ground running with Phase 7 and major event movies like X-Men and Black Panther 3.

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    The Walking Dead: Dead City is back for season three, and things are very messy. Maggie has a tenuous relationship with Negan (again) after her son Herschel totally betrayed her for the Dama. Based on trailers, it seems she will stick around in NYC and try to find a home there while she tries to save her son and others. Meanwhile, based on SDCC early footage, Negan is just a vibe after finding a weird dude and his bar decades into the apocalypse. Dead City made its way to SDCC and revealed more about the return of Beth, Maggie’s sister, in season three. 

    As us fans already know, Beth died a lonnnggg time ago in The Walking Dead season five at Grady Memorial Hospital after Dawn shot her in the head. We all remember that incredibly sad scene as Daryl carried her limp body and Maggie sobbed. It was truly a sad moment. Since then, Maggie let us know that she’s never forgotten her dear sister. And we will get a reminder of that in Dead City season three in an alternate reality episode where the apocalypse never happened and Beth is alive. 

    Negan (Jeffrey Dean Morgan) and Maggie (Lauren Cohan) in The Walking Dead: Dead City season three.
    AMC

    During the SDCC panel, Jeffrey Dean Morgan, who plays Negan, called the Christmas themed episode a “Hallmark episode,” and I personally cannot wait to see it. I love AU TWD fanfic, especially as a Richonne lover, and I just want all of my precious cinnamon rolls to be happy people without walkers and terrible people trying to kill them.

    THE WALKING DEAD’s Lauren Cohan Says Maggie Is Having a ‘Dark Night of the Soul’ Moment

    Maggie Rhee actor Lauren Cohan said this alternate universe episode is her favorite during her 16 years of being in The Walking Dead universe, so we want to see what happens with Maggie and Beth.

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    Television ⚡ Quick Take The Walking Dead: Dead City is

    Kratos’ story isn’t over yet, as God of War developer Sony Santa Monica announced that the main face of the franchise will lead a new game, following the launch of God of War Laufey in February 2027. Speaking at San Diego Comic-Con, Santa Monica Studio head of creative Cory Barlog briefly announced a new Kratos-led game that will connect directly to next year’s new God of War adventure that stars his deceased wife, Faye.

    “Everything we are doing in the Faye game is a continuation of what came before and to set up and expand what comes next,” Barlog said (via IGN). “Faye is–while it’s a different thing–it’s still part of the larger tapestry of what we truly really want to explore, all of these different characters in there. But there’s always going to be Kratos games, like, throughout the whole history. We’re super excited about that.”

    Beyond that, Barlog and the rest of the studio are keeping details on the next God of War game tightly under wraps, with no mention of when it’s expected to arrive, when it’s set, and its lead platform. It’s a busy time right now for the franchise, as in addition to the release of the metroidvania-inspired spin-off Sons of Sparta earlier this year, God of War fans can expect to see what Faye got up to in the afterlife when God of War Laufey launches next year, and a remake of the original God of War trilogy is also in development.

    For now, the focus is on God of War Laufey, which was officially revealed during the State of Play livestream in June with a dedicated 20-minute gameplay preview.

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    Kratos' story isn't over yet, as God

    While we often focus on narrative filmmaking and other commercial and corporate video spheres, one area of video production that can be both challenging and lucrative is streaming. And the market for streaming can be quite huge.

    If you work in streaming, or are curious to dive in, finding the right gear to help you monitor and control is key, and one of the best options for this is the Elgato Stream Deck and its various accessories.


    So, for our latest “Deals of the Week” roundup, we’re looking at just that, and we have some nice discounts and deals to share with you.

    You can find more filmmaking deals here.

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    While we often focus on narrative filmmaking

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    It is hard to be the Avatar, master of all four elements. The disrespect just piles up: A billion-dollar movie franchise cribs your title, forcing any of your cinematic efforts to carry a needlessly wordy name. A live-action Netflix series dilutes your brand. Your big sequel movie is first demoted to streaming, and then leaked ahead of its release. The four nations are very much not in harmony. Thanks to all this, Avatar Aang: The Last Airbender arrives on Paramount+ (and in a few theaters) with a palpable lack of pomp and circumstance. This is tough for a sequel film that is already burdened with fan expectations thanks to a hat trick of superlatives: It’s the first follow-up to Avatar: The Last Airbender since the sequel series The Legend Of Korra ended in 2014, the first to be about the Nickelodeon show’s cast as adults, and, of course, the first proper movie in the franchise. That’s a lot of needles to thread; a tall order for any film, much less a film that, at the end of the day, is merely serviceable.

    Directed by Avatar and Korra veteran Lauren Montgomery, Avatar Aang: The Last Airbender is more of a gorgeous and breezy reunion special than a case for returning to this world. Very little energy is expended on courting new viewers; while there’s some exposition setting up the basics of the world (Benders can manipulate elements, the original series chronicled a war between nations represented by each of those elements), the film presumes familiarity with these characters, and portrays their adult relationships as progressing naturally from where we left them at the series’ end in 2006. 

    This fan-centric approach results in a movie that is mostly just a good hang with great action, hinging on Aang (voiced here by singer and The Traitors contestant Eric Nam), the Last Airbender, discovering that there is a second Airbender lying in stasis as an adult, the way Aang was as a child at the start of the original series. That this man, Tagah (Dave Bautista), will eventually turn on Aang is obvious from the moment he arrives, Avatar Aang is just one of those movies where the plot has to catch up to the audience. 

    At a brisk 98 minutes, Avatar Aang does not have time to give everyone an arc, choosing to streamline things by focusing squarely on Aang’s brief friendship—then conflict—with Tagah, and the fight scenes. And the fight scenes are good, taking full advantage of a status quo where its heroes are masters of their arts, complementing each other’s powers like X-Men, the lush, colorful animation making a meal out of the choreography. It is beautiful on the small screens it will be streamed on, and it would be even more so on a large theatrical canvas. 

    However, outside of spectacle, Avatar Aang does not make a case for cinemas as a home for the franchise. In fact, it merely underlines that television is the proper venue for Aang and his friends. Avatar: The Last Airbender‘s acclaim was built on the slow cultivation of relationships between its characters and its audience. Those relationships—if you are familiar with them—are why Avatar Aang is such a pleasant watch, in spite of barely having anything for its supporting players to do. Katara (Jessica Matten), Fire Lord Zuko (Steven Yuen), Sokka (Román Zaragoza), and Toph (Dionne Quan) don’t really have stories here, their presence is mostly felt in the fights (again, amazing) and the jokes (fine). 

    The film’s villain, Tagah, gets far more time, but his heel turn is so obvious and underdeveloped that it’s all the more disappointing that he appears in a story with Zuko, one of the great reformed villains in modern genre fiction. Tagah is—along with a barely-explored cult of anti-bending extremists called The Denied—another reminder of how much better all this would be served if it was a season of television, and not a hurried film with a fraction of the space to work with. 

    Avatar Aang: The Last Airbender is a litmus test, a painless way to determine if you’ve still got affection for these characters and this world, or if you’ve moved on. Penned in between shows set in its past and present, the film does nothing to move its characters forward or backward, or to complicate our understanding of their world. For longtime fans, it is a generous gesture, a pleasurable reassurance that the creative voices stewarding these characters have not lost a beat and kept this world exactly as you remember it. As a story, it is a tragedy, so inconsequential it might as well have not happened. 

    Director: Lauren Montgomery
    Writer: Tim Hedrick, Christopher Yost
    Starring: Eric Nam, Dave Bautista, Jessica Matten, Román Zaragoza, Dionne Quan, Taika Waititi, Geraldine Viswanathan, Ronny Chieng, Ken Jeong, Dee Bradley Baker, Steven Yeun, Freida Pinto, Ke Huy Quan
    Release Date: July 24, 2026; July 24, 2026 (Paramount+)

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    It is hard to be the Avatar,

    The CW’s Arrowverse may be over, but under the rule of James Gunn and Peter Safran, the DC Universe on TV continues to expand on HBO Max. After Peacemaker and the animated Creature Commandos, the latest entrant, Lanterns, will premiere next month. To tease the plot and the franchise’s future, stars Kyle Chandler, Aaron Pierre, Poorna Jagannathan, and Garret Dillahunt, as well as co-creators Damon Lindelof, Chris Mundy, and Tom King, took to the San Diego Comic-Con stage on July 24.

    Lanterns follows former test pilot Hal Jordan (Chandler), who begins training new Green Lantern Corps recruit John Stewart (Pierre). However, they get caught up not in a massive cosmic battle, but in a chilling mystery in Nebraska involving Manhunters. The case puts them directly in the path of a dogged local cop, Kerry (Kelly Macdonald), and a charming but conspiracy-minded cowboy, William Macon (Dillahunt). Jagannathan stars as William’s wife, while Nathan Fillion is set to reprise his Superman role as bowl-cut emissary Guy Gardner. The ensemble also features Jason Ritter and Nicole Ari Parker. 

    The SDCC-released trailer promises plenty of banter between Hal and John. It also reveals that Hal sees his new pal as a replacement, not as a backup, according to what he tells his mentor, Sinestro (Ulrich Thomsen). 

    As for the other characters’ futures, it’s already confirmed that Pierre’s John Stewart will appear in next year’s Superman sequel, Man Of Tomorrow. But what does that mean for Hal Jordan’s fate? Will he truly die? We’ll have to tune into HBO Max’s Lanterns starting on August 16 to find out. Until then, check out the trailer below: 


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    Stream it here.

    This scuzzy 2021 action thriller plays like a 21st-century riff on the John Carpenter classic “Assault on Precinct 13,” similarly confining its action to a middle-of-nowhere police station and to characters of varying shades of gray. The primary conflict is between the fixer Teddy Murretto (Frank Grillo), on the run from the mob, and the hired killer Bob Viddick (Gerard Butler), who fakes a drunken-driving arrest so he can follow Teddy into the can and kill him. But things get considerably more complicated from there. The screenplay, which the director Joe Carnahan co-wrote with Kurt McLeod (from a story by McLeod and Mark Williams), works up a series of ingenious twists and reversals, and Carnahan executes the mayhem with vigorous brio. The matchup of Butler and Grillo (who are also among the producers) make this something of a “Heat” for aficionados of dirtbag cinema, though Toby Huss turns in the most memorable performance with his mid-film appearance as a flamboyant assassin.

    Stream it here.

    Nicole Kidman and Russell Crowe credibly shed their movie-star personas and immerse themselves in the difficult roles of Arkansas parents who try to reconcile their Christian faith with the coming-out of their son, Jared (Lucas Hedges), by placing him in a conversion therapy. Adapting the Garrard Conley memoir, Joel Edgerton wrote the script, directed and also co-stars as Mr. Sykes, the director of the “Love in Action” program, where the faith-based approach gives way quickly to humiliation and abuse. He is an easy villain, but “Boy Erased” resists the urge to paint in black and white, instead investing its characters with a wide spectrum of motivations and intentions.

    ALSO LEAVING: “American Gangster,” “Amy,” “The Best Man Holiday,” “Borat,” “Chef,” “Enough,” “Everest,” “Ex Machina,” “Father of the Bride,” “Fletch,” “The Five-Year Engagement,” “Fried Green Tomatoes,” “Hacksaw Ridge,” “Home Improvement” Seasons 1-8, “Kindergarten Cop,” “Locke,” “Lucy,” “Meet the Parents,” “The Mirror Has Two Faces,” “Mississippi Grind,” “National Lampoon’s Animal House,” “Pretty Woman,” “The Proposal,” “Single White Female,” “Smokey and the Bandit,” “There’s Something About Mary,” “Tootsie,” “Triple 9” (Aug. 1); “Spider-Man,” “Spider-Man 2,” “Spider-Man 3” (Aug. 5); “Labyrinth” (Aug. 7); “Colossal” (Aug. 9); “Free Fire” (Aug. 10); “Dark Places,” “The Game” Seasons 1-3 (Aug. 15); “Crane World,” “Fall” (Aug. 18); “Life After Beth” (Aug. 19).

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    ‘Copshop’ (Aug. 10)Stream it here.This scuzzy 2021

    Guillermo del Toro had one rule when bringing “Pan’s Labyrinth” back to theaters for its 20th anniversary: “No goddamn AI.”

    The filmmaker returned to San Diego Comic-Con to discuss the film’s 20th anniversary, which returns to theaters Oct. 9 in 3D and HDR for the first time.

    The filmmaker said he converted “Pan’s Labyrinth” into 3D by hand and opted not to use AI.

    “Obviously I said, ‘Absolutely no goddamn AI,’” he said, which was met with the audience’s applause. “What we’re protecting is the beauty and the redeeming power of art. It’s not about who gets the job. We are protecting a lineage of art. If we cut a generation of people from learning their craft, you’re cutting the rest of the history of that medium away from them for what?”

    When doing the conversion, del Toro said he had two options: to do it quick, or to do it good.

    “I chose good. You have to put in time. You have to do every element by hand. A human made a decision of depth,” he said.

    During the panel, del Toro teased a documentary that explores the process of creating the original film, which features appearances and commentary from Jacob Elordi, Cate Blanchett and Charlie Day.

    Also offered in 2D HDR, Cineverse and Fathom 4K will bring the re-release to the big screen, with each version being overseen by del Toro himself. Tickets will be available to purchase on Sept. 9.

    “Pan’s Labyrinth” follows a young girl named Ofelia (Ivana Baquero), who travels into a fantasy world after fleeing the danger of 1944 Francoist Spain in the aftermath of the Spanish Civil War. While there, she befriends a mysterious faun and navigates the realm of deadly beasts. Starring alongside Baquero are Doug Jones, Maribel Verdú and Sergi López.

    “Pan’s Labyrinth” earned $83 million worldwide at the box office in 2006 and received six Oscar nominations and three wins for best makeup, cinematography and art direction.

    Del Toro returned to Cannes Film Festival earlier this year to debut a 4K restoration of the film, which was met with several minutes of applause. Two decades ago, the film made Cannes history of the longest standing ovation, totaling 22 minutes.

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    Michael Stipe is offering another glimpse into his long-gestating solo era. The former R.E.M. frontman today (July 24) unveiled “Hum Desiderata,” a new spoken word and musical work created for the latest edition of the online sound/art platform Joyfully Waiting. Click here to sample it.

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    For NZ users who love the adrenaline

    Unless you’ve been sleeping under a rock, almost everyone in the world knows Sacha Baron Cohen and his alter ego, Borat. Writer/director/actor Atilla Végh puts his own spin on an outlandish character and brings audiences Luca Wanderbaum, aka The Swiss Traveller, a television host traveling around the country and documenting his destinations and encounters.

    The Great American Road Trip in America begins with a parade in South Pasadena on the Fourth of July because that date is about as American as you can get. We’re introduced to Luca Wanderbaum (Végh), dressed in lederhosen and a tyrolean hat, as he asks locals where the best places to visit are. His attire immediately lets us know the kind of “character” we’re dealing with. Wanderbaum believes the start of his travels is Washington, D.C., except he’s actually in Los Angeles at the Hollywood sign. This sets the tone that not all the landmarks he visits will necessarily be the actual places he thinks they are.

    You also can’t have a television host without a proper local, for-hire producer, and that’s where Robert Palmer (Robert A. Palmer) comes in. Palmer plays the straight man to Wanderbaum’s folly. Their journey together and the hijinks that ensue drive the story.

    “Wanderbaum travels around the country interviewing different people at some of his stops.

    Once upon a time, when I took hosting classes, the teacher said the best way to get practice and create content was by doing man-on-the-street interviews. This film essentially takes that concept and adds to it. Wanderbaum travels around the country interviewing different people at some of his stops. However, if it were just straight interviews all the way through, that would get boring. There has to be some kind of story or antics, and that’s where some of the genius filmmaking takes place, mainly because it’s relatively cheap to execute, other than the cost of gas and maybe some lodging. At one point, they even use their accommodations as part of the story, with Wanderbaum describing a first-class hotel that is actually a luxury tent with two beds, or what some would call “glamping.”

    In the car, GoPros were installed to document the ride, and I can just imagine Végh and Palmer brainstorming before improvising dialogue in character, trying out different conversations and retakes that could be edited later. It’s almost like a YouTuber creating content and having to redo takes because they couldn’t get their thoughts across or found a better way to say something. With all that time spent driving, I’m sure they had everything polished by the time they arrived at their final destination.

    Watching the duo travel across the country really made me wonder if they had planned everything out beforehand and discussed the scenarios, or if they simply stopped somewhere, looked at a map, and said, “That place sounds fun.” One particular stop to watch for is when they hit Las Vegas. That location definitely made me think it was in their plans all along.

    The concept of taking a foreign man and putting him in a foreign land is not new. I would look at this film as an homage to Borat, but with its own uniqueness. I always admire anyone who can pull this off and stay in character because I would give in so fast, just like a failed bad prank. Perhaps the biggest highlight of the film is when Wanderbaum meets Tom Cruise, or at least his doppelganger.

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    Unless you’ve been sleeping under a rock,

    WINNIPEG – Tyreik McAllister put together among the rarest of performances in the CFL on Friday night, scoring three different ways to lead the Calgary Stampeders to a dominating 52-30 win over the Winnipeg Blue Bombers.

    McAllister became the first player in league history to record a rushing touchdown, a receiving touchdown, and a kick return touchdown all in a single game. The 28-year-old running back opened the scoring with a 17-yard run, hauled in a 56-yard TD pass, and returned a missed field goal 118 yards for a major.

    All three touchdowns came in the first half.

    “They told me at the end of the game and I was like, ‘Wow, that’s crazy,’” McAllister said after the game. “I’m just grateful for my coaches and my teammates for putting me in a position to make those plays.”

    According to the CFL, McAllister is just the third player ever to score in three distinct ways in the same game. He’s the first since Earl Winfield did it on Sept. 5, 1988, and joins James Jefferson (Oct. 4, 1987) as the only other players to accomplish the feat.

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    Calgary quarterback Vernon Adams Jr., who helped recruit McAllister during the off-season, was thrilled to see his teammate make history. McAllister was with the Hamilton Tiger-Cats in 2023 before a stint with the NFL’s Las Vegas Raiders.

    “We were actually joking on the sideline like, ‘Hey, let’s do a toss to Tyreik and let him throw it for a touchdown,’” Adams said. “He’s just a hell of a player and an even better dude. Just happy for him and his family, and happy we got him.”

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    Stampeders head coach Dave Dickenson praised McAllister for making the most of his opportunities and having such an impact on the game.

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    “We feel very fortunate when we got a chance to bring him into our team,” Dickenson said. “We knew he was good and we actually wanted to give him more run plays, get him more touches.”

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    The win snapped a two-game losing streak for Calgary (3-4), while the Bombers (4-3) had their three-game winning streak come to an end.

    “Our focus was coming out fast and I think we did that,” McAllister added. “We wanted to pride ourselves on playing the whole 60 minutes.”

    Adams continued his own historic run, going 18-of-27 for 319 yards and three touchdowns. He moved to 20 passing touchdowns without an interception to start the season, setting a new record while also tying Dickenson for the most passing scores within a single season without a pick.

    Adams has now thrown 269 consecutive passes without an interception dating back to last season.

    “(Dave) said something about that in the room just now,” Adams said of tying his coach’s mark. “It’s an awesome feeling, but we just want to get some wins. That’s it, man. I just want to win some football games.”

    Calgary’s offence totalled 387 net yards, with Jalen Philpot, Tevin Jones and Dedrick Mills adding touchdowns. Philpot led all receivers with four catches for 128 yards, including a 69-yard score.


    Dru Brown threw for 249 yards and one touchdown for Winnipeg, but was intercepted four times. Brady Oliveira rushed 14 times for 128 yards and two touchdowns in the loss at a hot and humid Princess Auto Stadium.

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    “It was tough,” said Brown. “I’m disappointed in how I took care of the football tonight, so, I’ll wear that. I didn’t feel like I gave us quite a chance there.”

    McAllister set the tone early, capping a three-play opening drive with his 17-yard touchdown run. The Bombers answered early in the second quarter when Brown hit Nic Demski on a 37-yard screen pass.

    Calgary responded immediately as Adams found McAllister wide open over the middle for a 56-yard score, followed midway through the quarter by McAllister’s highlight reel 118-yard missed field goal return.

    Oliveira cut the deficit to 22-14 with a 13-yard touchdown run, but a late exchange of field goals sent Calgary into halftime leading 25-17.

    Calgary started fast in the second half when Adams connected with Philpot for a 69-yard touchdown. Adams later threw a seven-yard touchdown pass to Jones to extend the lead to 39-20.

    Winnipeg rallied briefly behind a 45-yard touchdown run from Oliveira and a Sergio Castillo field goal following a Michael Fletcher fumble recovery at the Calgary 26. But the Bombers’ comeback stalled on consecutive interceptions by Ben Labrosse, who finished with three picks, and Zy Alexander. Winnipeg’s last two drives resulted in turnovers on downs.

    “Yeah, not nearly good enough … You certainly don’t want to go get into a track meet against a good offence like that,” Bombers head coach Mike O’Shea said. “They scored 52 on us. All three phases accounted for that score.”

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    Jude McAtamney added a pair of fourth-quarter field goals for Calgary before Mills rounded out the scoring with a late rushing touchdown.

    UP NEXT

    Stampeders: Visit the Hamilton Tiger-Cats on Saturday, Aug. 1.

    Blue Bombers: Host the B.C. Lions on Thursday.

    This report by The Canadian Press was first published July 24, 2026.

    &copy 2026 The Canadian Press

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    WINNIPEG – Tyreik McAllister put together among

    As Guillermo Del Toro brings Pan’s Labyrinth back to theaters 20 years later, he’s sticking to tried-and-true restoration techniques.

    During Friday’s Hall H panel for the movie’s milestone anniversary at San Diego Comic-Con, the 3x Oscar winner reinforced his stance on using “absolutely no goddamn AI” in the 3D re-release, which premieres Oct. 9 in theaters.

    “I said, ‘Absolutely no goddamn AI,’” said Del Toro to applause. “It’s much more expensive. I don’t care. The thing is, what we’re protecting is the beauty and the redeeming power of art.”

    Del Toro’s latest comments come after he has frequently denounced generative AI, saying last year that he’d “rather die” than use it in his filmmaking. “Fuck AI!” he has declared on more than one occasion.

    At Friday’s panel, the Mexican auteur also recalled the crew of Pan’s Labyrinth not initially understanding his wild vision of a dark fantasy set during the Spanish Civil War of 1936-’39.

    Doug Jones in ‘Pan’s Labyrinth’ (2006) (Picturehouse/Courtesy Everett Collection)

    “We had a lot of adversity in the movie,” said Del Toro. “And a lot of the crew was very skeptical. They would see a faun come in in the middle of a civil war movie, and they would say, ‘This fucker is crazy.’ But I remember the first time I knew, we were shooting the Pale Man.”

    Re-enacting the Pale Man’s now iconic moment of holding up his own eyes in his hands to see, Del Toro noted that was the moment the crew was on board with his vision. “I said, ‘Ah, see?’” he recalled.

    On Oct. 9, Pan’s Labyrinth will be presented theatrically for the first time by Cineverse and Fathom in 4K, with versions available in both 3D and HDR by Barco.

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    As Guillermo Del Toro brings Pan’s Labyrinth

    Larry David has returned to HBO Max with the American history-centered sketch comedy show Life, Larry and the Pursuit of Unhappiness, following the conclusion of his long-running series Curb Your Enthusiasm — and it’s not just executive producers Barack and Michelle Obama who are along for the ride. Dozens of celebrity guests have joined the comedian to fill out the cast of historical figures.

    This is not just a few cameos here and there — each episode of Life, Larry and the Pursuit of Unhappiness has over a dozen celebrity guests, and the roster ranges from a few of David’s co-stars on Curb to the late Rob Reiner, in what became his final screen performance. Major Hollywood stars including Samuel L. Jackson and Lin-Manuel Miranda don the wigs and garb of decades and centuries past alongside television’s biggest names, like Jerry Seinfeld and Jon Hamm. The Hollywood Reporter is watching the series closely to make sure all these stars are accounted for — after all, they deserve some credit for spending time working with L.D.

    New episodes of Life, Larry and the Pursuit of Unhappiness air Friday nights at 9 p.m. on HBO and stream on HBO Max.

    Episode 1 – “Livingston”

    President Barack Obama as Himself; Samuel L. Jackson as The Narrator; Henry Winkler as John Hancock; Chris Parnell as Benjamin Franklin; Alan Tudyk as Thomas Jefferson; Alison Becker as Spectator 1; Mary Sohn as Spectator 2; Rodney J. Hobbs as Spectator 3; Richard Kind as Thomas Watson; Jake Reiner as Private Wallace; Mike Castle as Private Smith; Michael Chiklis as Sergeant; and Jurnee Smollett as Rosa Parks.

    The series opens with an appearance by one of its EPs and a familiar face to all: former President Barack Obama, whose Higher Ground Productions is behind the historical sketch comedy show. Obama praises the nation he led for eight years as it reaches its semiquincentennial and dunks on David a bit — because why not? He’s America’s most beloved curmudgeon. The intro gives way to narration from Samuel L. Jackson, a go-to voiceover these days, giving Morgan Freeman a run for his money.

    The first sketch has Winkler, Parnell and Tudyk as our founding fathers as they shut down the additions David’s Robert Livingston is trying to include in the grievances section of the Declaration of Independence. Next up, David portrays Alexander Graham Bell, forced to make awkward conversation with Curb cast member and national treasure Kind as Thomas Watson, as Bell debuts the telephone to a crowd of revelers already demanding text messaging and a variety of color options for the new invention. The annoying crowd features sitcom stalwarts Alison Becker (Parks and Recreation), Mary Sohn (A.P. Bio) and Rodney J. Hobbs (The Office, Modern Family).

    The third sketch involves WWI trench warfare, where David portrays a cowardly soldier under the command of a sergeant, played by none other than The Shield‘s Michael Chiklis; his fellow soldiers are Comedy Bang Bang and Curb alum Mike Castle and Jake Reiner, the son of the late Rob Reiner (who also appeared on Curb). The premiere episode closes with David as an irritating bus passenger who sits next to famed civil rights icon Rosa Parks, perfectly cast with Jurnee Smollett in the role.

    Episode 2 – “Farewell”

    Samuel L. Jackson as The Narrator; Rita Wilson as Mavis Lewis; Jerry Seinfeld as William Clark; Matthew Jones as Tilden’s Aide; Rich Fulcher as Tilden’s Aide; Larry Wilmore as Barney; Kaley Cuoco as Gloria, the Widow; Colton Dunn as Dominic the Soup Server; Rob Reiner as George Washington; Jimmy Kimmel as Crowd Member; and Allan Havey as Crowd Member.

    The second episode opens with a reunion between the two creators of the greatest sitcom of all time: Larry David and Jerry Seinfeld. The comedy duo behind the ’90s hit Seinfeld portrays explorers Lewis and Clark, whose landmark military mission, commissioned by President Thomas Jefferson, mapped the newly acquired Louisiana Territory and sought a water route to the Pacific Ocean. The gag is that the two are drinking buddies and it’s a bit too convenient they’re off to explore together for years on their own — as noted by Rita Wilson as Mavis Lewis, Meriwether Lewis’s long-suffering wife.

    David then skewers the Electoral College as he portrays Samuel Tilden, who won the popular vote in the 1876 presidential election but fell one vote shy of an Electoral College majority, ultimately losing to Rutherford B. Hayes. Ranting ensues as Matthew Jones, a Curb alum, and Rich Fulcher of The Mighty Boosh portray his aides.

    Next, in a Great Depression-set segment, David is joined by Larry Wilmore (formerly of late-night fame) and the incomparable Colton Dunn (Superstore, Parks and Recreation), and, in a series highlight, Kaley Cuoco as a grieving widow David is trying to use to cut in line for bread for his soup.

    Finally, the episode ends with the much-talked-about final screen appearance of Rob Reiner; here he portrays George Washington as he discusses term limits for the U.S. presidency in front of a gathered crowd. It’s all a setup for David’s townsman to take veiled swipes at President Trump, who is not named but we all know who L.D. is talking about. Jimmy Kimmel delightfully turns up in some meta-commentary on his forever feud with Trump, too.

    Episode 3 – “McCarthy”

    Samuel L. Jackson as The Narrator; Lou DiMaggio as Colonial Man; Lin-Manuel Miranda as Michael Finney; Jordan Black as Samuel Cooper; Brad Morris as Joseph Warren; J.B. Smoove as Jonesy Dean Sharpe; Armoire Tru Valentino as Ottoman Jon Hamm as Orville Wright; Sean Hayes as Wilbur Wright; Michael McKean as Joseph Welch; and Rob Huebel as Senator Mundt.

    The episode opens with David again playing his usual “guy caught up in a real historical moment” role as he crashes the Boston Tea Party [see flag No. 2 above]. Lin-Manuel Miranda, in fun stunt casting given his Broadway Revolutionary War pedigree from Hamilton, steals the scene as one of the Tea Party ringleaders. Comedian Lou DiMaggio appears too, playing off David’s character being left out of the rebellion.

    Speaking of scene stealers, J.B. Smoove’s character Jonesey makes a stop along the Underground Railroad, flabbergasting David’s host with his demands and, soon, his arriving friends. Next, David plays a fictional, less-than-heroic Wright sibling squabbling with his wife (Isla Fisher) over her critique of his butter-churning skills, while Jon Hamm and Sean Hayes play the actual Orville and Wilbur Wright preparing for the first flight.

    The episode’s closing and most talked-about segment features David himself playing Senator Joseph McCarthy. It also features SNL alum and Better Call Saul‘s Michael McKean as attorney Joseph Welch, delivering the famous “Have you no decency, sir?” rebuttal, and Rob Huebel (Human Giant, Transparent) as a senator helping moderate one of the infamous hearings.

    Episode 4 – “Deepthroat”

    Samuel L. Jackson as The Narrator; Beck Bennett as Bob Woodward; Ike Barinholtz as Henry Ford; Diallo Riddle as John Appleton; Katie Aselton as Sylvia Jordana Brewster; Beatrice Merle Dandridge as Clementine; Andrea Savage as Cordelia; Rory Scovel as Jefferson Davis; Judy Gold as Evelyn; Adam Lustick as Jonas Salk; and Gregg “Jeep” Perrie as Bobby.

    The Watergate scandal gets the Larry David treatment: in the first sketch of the fourth episode, he portrays “Deep Throat,” the anonymous source who leaked details of the hotel break-in to Washington Post reporters. But David’s leaker doesn’t provide any useful information to SNL alum Beck Bennett’s Woodward when they meet in a parking lot — just trivial nonsense.

    Next up, Ike Barinholtz plays the notoriously antisemitic Henry Ford, less than thrilled to be showing his new vehicle to David’s rabbi character. David then portrays President James Buchanan, hitting on each passing lady at a party where he’s introduced the concept of passed appetizers in lieu of dinner. Jordana Brewster of the Fast & Furious movies and The Other Two, and The League‘s Katie Aselton, are among the unfortunate ladies to cross his path; Diallo Riddle (Marlon, South Side) is Buchanan’s assistant, John Appleton.

    The big talker of the episode is saved for the finale, with David reviving an old stand-up bit as the overly proud mother of Jonas Salk, Dora, bragging on her son to her neighbor Evelyn about his discovery of the polio vaccine. It gets personal as David mocks his former friend and former co-star Cheryl Hines’ husband, HHS Secretary Robert F. Kennedy Jr. Soon a young man named Bobby turns up to naysay, telling Dora Salk, “That vaccine’s gonna kill people. It’s gonna give them heart attacks!” A parody of the stark politics of the MMR vaccine ensues, as only David could script.

    Episode 5 – “Lincoln”

    Samuel L. Jackson as The Narrator; Don Johnson as Doc Holiday; Timothy Olyphant as Wyatt Earp; Johnno Wilson as Virgil Earp; Marc Menchaca as Joseph Clanton; Maximo Salas as Young Clanton; Bill Hader as Abraham Lincoln; Kathryn Hahn as Mary Todd Lincoln; Lennon Parham as Laura Keene; Jay Renshaw as John Wilkes Booth; and Seth Morris as Andrew Johnson.

    Only two historical moments get the Larry David treatment in the fifth installment of the sketch series, but they are two pretty big moments. First, we’re at the O.K. Corral with Wyatt Earp (Timothy Olyphant) and Doc Holliday (Don Johnson), as a classic Curb-style obnoxious conversation about logistics gets applied to the location and timing of the famous shootout on Oct. 26, 1881. Marc Menchaca (Curb‘s Klansman Joe) plays a cowboy who calls out L.D.’s “pig-parking” job; Johnno Wilson as Virgil Earp and Maximo Salas as Young Clanton round out the cast of outlaws.

    Abraham Lincoln’s strained relationship with his wife, Mary Todd Lincoln, became Broadway fodder recently with Cole Escola’s Tony Award-winning turn in Oh, Mary!, and now it’s David’s turn to give us his take on the mentally unstable first lady. Bill Hader of SNL and Barry gives us a put-upon Lincoln who, in the sketch, connives with his chief of staff, Lawrence Butterfield, to get rid of Mary at Ford’s Theatre. A game of telephone ensues, with Lincoln wedged between the two as they watch Our American Cousin from box seats. The sketch’s second half has Butterfield and Mary arguing over a stolen sweater in another moment that could be straight out of Curb.

    This story was originally published on July 17, and has been updated as new episodes release.

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    Larry David has returned to HBO Max

    The Dog House Megaways play demo slot - Official game site

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    This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.

    For a few years in the 1960s, a teenage filmmaker from Queens named Barbara Rubin helped jolt Manhattan’s underground art scene by pulling poets, painters, rock bands and experimental filmmakers into the same rooms.

    She had just turned 18 when she joined the filmmaker and critic Jonas Mekas in championing experimental movies. She also made one of her own, “Christmas on Earth,” a roughly 30-minute, black-and-white, 16-millimeter collage of naked bodies and overlapping images that became a touchstone of the New York avant-garde.

    She met the Beat poet Allen Ginsberg and, by his account, seduced him. And she brought both Ginsberg and Bob Dylan to Andy Warhol’s studio, the Factory, the new epicenter of a burgeoning art-world subculture.

    Rubin may not have introduced the underground to sex and drugs, but as the movement’s resident baby boomer she added a measure of rock ’n’ roll.

    She turned solemn poetry readings at the East Village café Le Metro, a hangout for young writers, into impromptu dance parties at a dive bar around the corner, and she prodded two regulars, Ed Sanders and Tuli Kupferberg, to channel that spirit into a satirical rock band called the Fugs. She also escorted Warhol and his entourage into the tourist trap Café Bizarre, and introduced them to a raw young band, the Velvet Underground.

    She filmed the scenes she helped create. Her best known and only surviving film, shot intermittently between 1963 and 1965, began with an unprintable working title before she borrowed its name from a line in the poet Arthur Rimbaud’s “A Season in Hell”: “Christmas on Earth.”

    The film could be clinically described as an exercise in gynecological exploration. Essentially performative, it was first shown at the Film-Makers’ Cinematheque, on a double bill with Warhol’s “Outer and Inner Space,” with two reels projected side-by-side.

    More often, her film was shown with one image superimposed on the other. Occasionally she showed the reels sequentially or ran them backward and upside down. She continued to edit as well, cutting one print into four-frame shards and resplicing them at random. In every case, the content — an alternately obscure and bleached-out but always in-your-face entanglement of naked bodies — was impossible to ignore.

    Writing in Artforum in 2022, the critic Amy Taubin called “Christmas on Earth” “the most transgressive and transcendent” of American underground movies.

    Barbara Rubin was born on June 8, 1945, the second child of Lester Rubin, a businessman, and Pauline (Katz) Rubin, who managed the home. She grew up in a two-family house in Cambria Heights, a suburban neighborhood in southeastern Queens.

    Relatives interviewed in Chuck Smith’s 2019 documentary, “Barbara Rubin & the Exploding NY Underground,” describe her parents as permissive and Barbara as willful. An addiction to diet pills while she was in high school landed her in Silver Hill Hospital, a sanitarium in New Canaan, Conn.

    Rubin was discharged in June 1963, shortly after turning 18. Her uncle William Rubin, who was managing the Off Broadway Gramercy Arts Playhouse, found her a job working as an assistant to Mekas, an evangelist for independently made movies, at the Film-Makers’ Cooperative, which had been set up to distribute underground films.

    “A week out of nine months of mental hospital indoctrination and I meet Jonas Mekas and he gives me a camera and film, love and trust,” she wrote in the Film-Makers’ Cooperative catalog by way of introducing her films.

    Her arrival had coincided with the first screenings of Jack Smith’s scandalous “Flaming Creatures,” which quickly became a test case for obscenity laws.

    In December 1963, Mekas intended to present his magazine Film Culture’s annual award by screening “Flaming Creatures” at the Tivoli Theater, a seedy Times Square movie house. When the theater abruptly canceled the show, Rubin led an occupation until the police cleared the building.

    Later that month, she and Mekas smuggled “Flaming Creatures” into an international avant-garde film festival in Belgium, forced their way into a projection booth and managed to show part of it before the organizers cut the power, helping touch off a near riot that made the front page of Variety.

    According to Mekas, those battles transformed Rubin from an apparently shy teenager into a rebel, “bursting and burning with hallucinations, shooting her first movie, with the excitement of a holy nun,” he wrote of his protégée in his weekly Village Voice film column.

    When “Christmas on Earth” was shown in 1965, Mekas was moved to poetry: “As the film goes, image after image, the most private territories of the body are laid open for us. The first shock changes into silence, then is transposed into amazement.”

    He proposed a syllogism: “Barbara Rubin has no shame; angels have no shame; Barbara Rubin is an angel.”

    She solicited support from Walt Disney for a sequel, “Christmas on Earth Continued,” that would feature the Beatles and Dylan with Hollywood stars like Elizabeth Taylor alongside cartoon characters like Tinker Bell, Dumbo, and the Seven Dwarfs. Her request was ignored.

    While on a flight to London with Ginsberg, she slipped a copy of her script to Dylan, who was also on the plane, to give to the Beatles. In London, Rubin was an organizer of the International Poetry Incarnation at Royal Albert Hall in June 1965. The event drew 7,000 people, including Mick Jagger, Marianne Faithfull and Indira Gandhi.

    She moved forward on other projects, including collaborating with Warhol and his associates on the “Exploding Plastic Inevitable,” an immersive, multimedia art event staged on St. Marks Place in April 1966.

    In 1967 she pulled together a three-week mixed media extravaganza called “Caterpillar Changes” at the Film-Makers’ Cinematheque. A kaleidoscopic presentation of multiscreen projections accompanied by live music, including performances by the Argentine saxophonist Gato Barbieri, the program was described on fliers as “New York’s First United Acidheadspeed Relief Fun Ball and Glitter Parade.”

    Rubin was a fixture at major countercultural events like the Easter 1967 Central Park Be-In and the October 1967 antiwar March on the Pentagon, which she participated in with the filmmaker Shirley Clarke.

    She and Clarke wanted to collaborate on an anti-Vietnam movie with a working title of “The Fugs Go to Saigon” and with a supporting cast that included the writers William S. Burroughs and LeRoi Jones (who later changed his name to Amiri Baraka), but they were unable to secure funding.

    Rubin’s last major project was creating East Hill Farm, a bohemian commune in upstate New York that was funded by Ginsberg and populated by his friends. Rubin envisioned it as a place where she could settle down and have a child with Ginsberg; he did not share her interest.

    Rubin was heartbroken, said the photographer Gordon Ball, a farm resident, and took refuge in a nearby Orthodox Jewish orphanage.

    She studied with the charismatic rabbi Shlomo Freifeld at his yeshiva in Far Rockaway, Queens, and in 1971 married a fellow student, Mordechai Levy, at a traditional Orthodox wedding attended by Ginsberg and Dylan.

    Rubin made one last movie, “Emunah” (the Hebrew word for faith), which she described to Mekas as “a film dealing with the concentration camp experience.” It has since been lost.

    Rubin and Levy divorced, and she married the French-born painter Israel Isaac Besancon, and, in 1973, they moved to Aix-les-Bains a town in eastern France renowned as a post-Holocaust sanctuary for Jewish rebirth.

    She died on Sept. 17, 1980, of a postnatal infection after giving birth to her fifth child. She was 35.

    Two years later, Mekas arranged for a screening of “Christmas on Earth.” He also archived their plentiful correspondence, rescued her work from obscurity and created a short film, “To Barbara Rubin With Love” (2006).

    In 2013, Anthology Film Archives and the Boo-Hooray gallery showed her films and exhibited her notes and letters and relevant photographic material. The next year, the film scholar Ara Osterweil’s book “Flesh Cinema: The Corporeal Turn in American Avant-Garde Film” placed Rubin in the context of the radical feminist artists Carolee Schneemann and Yoko Ono.

    The final issue of Film Culture, published in 2018, was devoted to “The Legend of Barbara Rubin.” Smith’s “Barbara Rubin & the Exploding New York Underground” followed in 2019, and Todd Haynes’s 2021 documentary, “The Velvet Underground,” confirmed Rubin’s centrality to the downtown avant-garde scene.

    Utterly otherworldly, Rubin moved through the 1960s as a kind of human switchboard, connecting poets, filmmakers and rock musicians long before social networks existed.

    Her path traced an improbable trajectory from Cambria Heights through the downtown underground to the exaltation of Hasidic mysticism. The films, records and memories she left behind are fragmentary, but they suggest that the connections she forged and the life that grew out of them were her enduring achievement and ultimate mystery.

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    This article is part of Overlooked, a

    We see it all the time at Slotsvader Casino https://slotsvader.com.pt/slots. Fresh players jump in into flashy bonus rounds not knowing what activates them or how they actually pay. The thrill is tangible, but so are the bankroll drains that come next. Slot bonus features are the lifeblood of contemporary video slots, yet they conceal more traps than a cursed treasure chest. We’re not here to dampen the fun. We’re here to supply you with the street-smart knowledge that transforms random spins into strategic adventures. From misjudging free spin multipliers to blindly buying bonuses, these novice slip-ups cost more than you realize. Let’s tear apart the mistakes that keep your balance mired in the mud and teach you how to spin with your eyes wide open.

    Ignoring the Paytable Is the Quickest Way to Lose

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    A common trap we fall into is seeking any bonus round just because it appears explosive. The truth is, some features are built to offer frequent tiny wins, while others are high-volatility beasts that can return nothing for twenty triggers and then explode. If you handle a low-variance pick-and-click game the same as a high-volatility free spins round with increasing multipliers, your expectations will crumble. At Slotsvader, we always verify the game’s volatility rating and RTP before committing. A 96% RTP slot with a bonus that triggers often but pays modestly demands a different bankroll approach than a 94% monster where the bonus is rare but can deliver 5,000x your stake.

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    Misinterpreting Multiplier Mechanics During Free Spins

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    A bonus buy lets you pay a fixed multiplier of your bet to instantly enter the bonus round. It jumps over the base game grind entirely. Whether it’s worth it depends on the game’s average bonus payout and your risk tolerance. We purchase only bonuses when the potential max win significantly outweighs the cost, and we always test the feature in demo mode first to see how it behaves.

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    We see it all the time at

    “She was more ambitious for me than I was for myself.” It’s a simple sentence, but one that captures the heart of bestselling author, columnist and cultural commentator Khaya Dlanga.

    Fresh off the announcement of his partnership with iconic Highland single malt whisky brand Glenmorangie as part of its pan-African The Height of Character campaign, Dlanga reflected on the experiences and lessons that have shaped the person he is today.

    The campaign brings together three influential African storytellers, Dlanga, Kenyan actress Kate Kamau and Nigerian musician and creative executive Darey Art Alade, to celebrate the connection between craftsmanship, patience and character.

    While the collaboration centres on storytelling, Dlanga’s own story is rooted in something much closer to home.

    Speaking candidly about his late mother, he recalled how she encouraged him in quiet but powerful ways.

    “She wasn’t the kind of person who pushed you in obvious ways. She pushed you without you even realising you were being pushed.”

    Dlanga revealed that his mother often reminded him that he was “a lucky child”, something he only fully understood years later. Whether luck exists or not, he has chosen to embrace the confidence that comes with believing in possibility.

    “If an opportunity comes for me, I need to believe it’s going to go well.”

    Despite his public confidence, Dlanga admitted self-belief doesn’t always come naturally. “I know I look very optimistic, but I’m a natural doubter.”

    Yet rather than allowing doubt to define him, he has learnt to keep hoping.

    “It’s better to be disappointed while hoping for something than not hope at all. Because what kind of life is that? If you don’t hope, you’re not dreaming bigger. You’re not believing you can do more than you think you’re capable of.”

    That philosophy extends to how he deals with setbacks. Dlanga’s resilience, he says, comes from remembering where he started.

    “I know what it’s like to have nothing. It didn’t kill me. It didn’t destroy me.”

    Because of that, failure no longer carries the same fear. “Not having anything again isn’t likely to destroy me either. I can always get up again.”

    For someone who has built a career telling stories with honesty and wit, authenticity remains one of his core values.

    In an era dominated by carefully curated social media feeds, Dlanga believes there’s value in showing the full picture.

    “Everyone looks polished on social media. They’re always in Paris or New York, but they don’t show where they come from.”

    He believes people who find success have a responsibility to acknowledge their beginnings.

    “It’s important to show where you’ve been. If we find ourselves in a position of success, we have a responsibility to show people where we started.”

    Perhaps the most moving reflection came when he spoke about staying grounded. “Home is where you don’t really fall. Home catches you.”

    It’s a fitting thought for someone whose career has taken him from rural South Africa to becoming one of the country’s most recognisable cultural voices, and now onto a global stage with Glenmorangie.

    While the partnership celebrates craft developed over generations, Dlanga’s own journey is a reminder that character, much like storytelling, is built over time, through hope, resilience and never forgetting where you come from.

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    "She was more ambitious for me than

    In the fallout from this summer’s highly anticipated crossover event QUEEN IN BLACK (2026), Eddie Brock and Venom will find themselves reunited while soon-to-be-former Venom-host Mary Jane Watson will once again strike out on her own! 

    Revealed during the Marvel Comics: Next Big Thing panel at San Diego Comic-Con, the two new series launching this fall will showcase new adventures and status quos for Eddie Brock, freshly reunited with Venom and once again the Lethal Protector, and Mary Jane Watson, now separated from the symbiote and launching her own business venture in New York City with a supporting cast that includes Black Cat, Iron Man, and more.

    How exactly do Eddie Brock and Venom get back together and what is their new mission all about? Fan-favorite writer Charles Soule bonds with red-hot artist Tommaso Bianchi to reveal the secrets behind Eddie and Venom’s reunification and detail the next steps for the former King in Black in VENOM #1, a new ongoing series launching in October.

    Having been bonded to the Venom symbiote for the past several months following the events of VENOM WAR (2024), Mary Jane Watson emerges from QUEEN IN BLACK with a new lease on life, new career ambitions, and… a top-secret gift? Rising star writer Ashley Allen and legendary artist Phil Noto are teaming up to pull back the curtain on FRIENDLY NEIGHBORHOOD MARY JANE, a five issue limited series, beginning this November.

    VENOM #1

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    In the fallout from this summer’s highly

    The next adventure in the DC Universe will bring two of the most iconic heroes in the comic canon to life.

    The Green Lantern Corps was introduced through the DCU’s Chapter 1: “Gods and Monsters” slate in 2025 in James Gunn’s Superman movie, starting with Nathan Fillion’s Guy Gardner. However, that is just the beginning, as HBO is about to explore the iconic mythology in greater depth.

    The Lanterns TV show is less than a month away from its big HBO premiere, and as San Diego Comic-Con 2026 is underway, with ScreenRant in attendance, DC Studios released the final trailer for the superhero drama, which will introduce DC’s Manhunters into the franchise. Check it out below:

    The footage shows more of the powers that come with being a Green Lantern, while also shedding light on the villains that they will be facing in Lanterns season 1. While their faces aren’t fully shown, John asks Hal about the Manhunters, leading Kyle Chandler’s character to wonder how he knows about them.

    It has also been confirmed that all eight episodes will now drop all at once instead of doing weekly releases. Several exclusive SDCC clips were also showcased at the Hall H presentation. The following footage was previewed:

    Clip 1: Hal is training John, the car bit from the trailers where he gives John the ring and jumps out the car. John saves himself by using the ring with “bubblewrap.” John finds Hal at a taco stand, where Hal is being getting celeb treatment from civilians — Hal is popular.

    Clip 2: Hal is interrogating a man, who (through Hal’s prodding) revealed to be an alien hiding among humanity with some mysterious purpose. John and the main cop are watching and commenting about Hal. He reveals he has a bomb in his spine. After he angers Hal and gets him to attack him, the alien sets off the bomb. Hal is able to contain the explosion but it still does serious damage to the building.

    Clip 3: A flashback explores John’s time as a Marine sniper, as he receives a secret mission. After meeting up with his superior officer at an Outback Steakhouse, who tells John he has “an impeccable” kill record, Aaron Pierre’s character is instructed to take out a target who is “impossible to track.” The clip sees John parachuting out of a plane during stormy weather as he crashes through several trees before landing in water.

    Clip 4: Hal is picking a fight at a bar to go to jail so he can interrogate the person he thinks is an alien (likely the second clip). He tells John to not involve himself and leaves him the ring. John ends up chatting with Zoey, where he explains there is only one Lantern and he’s training as backup.

    Clip 5: Hal goes to see Sinestro in prison. The Emerald Knight goes to confront his former mentor, who has heard about John. Hal returns back to Earth, where a confrontation happens between the two heroes, as John demands to have the ring. The scene ends with a red light.

    Another DC character was also revealed at Hall H, as Laura Linney’s mystery character was confirmed to be one of the Guardians of the Universe. Fillion’s Guy Gardner will also be part of the Lanterns show, bringing the three iconic heroes together for the first time in live-action.

    The DCU already has plans for John and Guy after 2026, as both of them will be back in Gunn’s Man of Tomorrow movie, which is currently in production. However, whether or not the HBO drama will do any setup for the 2027 installment remains to be seen.



















    Sector 2814 · Ring Active
    How Well Do You Know Lanterns?
    “In brightest day, in blackest night…”

    💍The RingPowered by will

    🔦The Corps3,600 sectors

    🌌OaThe Guardians

    👮Earth BeatSector 2814

    ⚠Yellow
    Peril
    The fear entity

    01

    Lanterns is one of the tentpole TV series launching James Gunn and Peter Safran’s rebooted DC Universe. On which streaming platform does it air?




    ✓ Correct! HBO Max — Warner Bros. Discovery’s flagship streamer and the natural home for DCU prestige TV alongside Peacemaker and The Penguin. Lanterns is positioned as the DCU’s high-end serialised drama counterpart to Gunn’s theatrical Superman relaunch, sharing canon with the films. Disney+ runs Marvel; Netflix and Apple are rival streamers.

    ✗ Ring malfunction! The answer is HBO Max. Netflix has had various superhero shows but not DCU. Disney+ is Marvel’s home. Apple TV+ doesn’t house DC. HBO Max is Warner Bros. Discovery’s streamer and the TV home of the Gunn/Safran DCU — Lanterns joins Peacemaker and upcoming DCU series there.

    02

    Unlike most Green Lantern adaptations, Lanterns pairs two Earth-based ring-bearers in a buddy-cop framework — a weathered veteran and a newer recruit partnered together on Sector 2814 duty. Which two Lanterns lead the show?




    ✓ Correct! Hal Jordan and John Stewart — two of the most beloved Earth-assigned Lanterns — are paired as the show’s central duo. Hal is the hot-shot test-pilot veteran, John the disciplined ex-Marine architect with a sharper sense of justice. The pairing draws heavily from the Geoff Johns comics era and lets the show explore two very different philosophies of what a Green Lantern should be.

    ✗ Ring malfunction! The answer is Hal Jordan and John Stewart. Guy Gardner (played by Nathan Fillion) is a separate DCU character who appears in the 2025 Superman film. Kyle Rayner is a beloved Lantern but not part of this show. The Lanterns duo is the Hal/John pairing — a pointedly contrasting veteran and recruit on Sector 2814 duty together.

    03

    The role of Hal Jordan — the weathered, test-pilot-turned-space-cop original Earth Lantern — went to a veteran actor best known as Coach Eric Taylor on Friday Night Lights and for leading Bloodline. Who plays Hal?




    ✓ Correct! Kyle Chandler — Emmy winner for Friday Night Lights, star of Bloodline, and part of the Monsterverse (Godzilla: King of the Monsters) — plays an older, weathered Hal Jordan. James Gunn wanted a seasoned, grounded presence rather than a rookie. Ryan Reynolds played Hal in 2011’s widely-mocked Green Lantern film (a different continuity); Nathan Fillion plays Guy Gardner in the 2025 Superman film.

    ✗ Ring malfunction! The answer is Kyle Chandler. Ryan Reynolds’ Hal was the 2011 film (a separate, mostly-disowned continuity). Nathan Fillion plays Guy Gardner in the 2025 Superman film — not Hal. Chris Pine isn’t in the DCU. Chandler’s weathered, Friday-Night-Lights gravitas is exactly the mature Hal energy Gunn wanted for the show.

    04

    John Stewart — ex-Marine sniper, architect, and one of DC’s most iconic Black heroes — is played by a British actor who broke out in Barry Jenkins’ The Underground Railroad and Jeremy Saulnier’s Rebel Ridge. Who is he?




    ✓ Correct! Aaron Pierre — the British actor who earned raves as Caesar in The Underground Railroad (2021) and carried Netflix’s Rebel Ridge (2024) with a performance frequently compared to early Denzel Washington. Gunn called his casting “a no-brainer.” Winston Duke, Sterling K. Brown and John Boyega are all great actors but not in the role.

    ✗ Ring malfunction! The answer is Aaron Pierre. Winston Duke is M’Baku in the Marvel universe. Sterling K. Brown (This Is Us, American Fiction) is Marvel-adjacent too. John Boyega famously played Finn in Star Wars. Pierre’s Rebel Ridge performance — playing a disciplined ex-Marine — is essentially his audition for John Stewart, and Gunn’s team cast him off it.

    05

    James Gunn has repeatedly pitched Lanterns as a grounded, small-town murder-mystery thriller — where the space-cop rings are secondary to a detective case on Earth. Which acclaimed HBO series is his go-to tonal comparison?




    ✓ Correct! Gunn has explicitly called Lanterns his “True Detective in the DCU” — a slow-burn, atmospheric, character-driven case with superhero elements layered over a grounded murder mystery. Showrunner Chris Mundy actually did True Detective: Night Country duties, bringing that DNA directly. Watchmen (Damon Lindelof) was also cited, and Lindelof has consulting writer credits, but True Detective is the primary comp.

    ✗ Ring malfunction! The answer is True Detective. Gunn has named it as the explicit tonal blueprint — a slow-burn, character-driven murder mystery with superhero elements layered over it. Chris Mundy, the show’s runner, worked on True Detective: Night Country, bringing the DNA directly. Watchmen was a secondary comp (Damon Lindelof consults), but True Detective is the primary pitch.

    06

    When James Gunn and Peter Safran took over as DC Studios co-CEOs in 2022, they announced a rebooted slate of interconnected films and TV shows — with Lanterns among the launch titles. What is this first DCU phase officially called?




    ✓ Correct! Chapter 1: Gods and Monsters — announced in January 2023 as the Gunn/Safran DCU’s opening slate. It includes Superman (2025), The Authority, Supergirl, The Brave and the Bold, Paradise Lost, Waller, Creature Commandos, and of course Lanterns. Crisis on Infinite Earths is a comics event; Flashpoint and Dark Knights are other DC storylines, not the chapter branding.

    ✗ Ring malfunction! The answer is Chapter 1: Gods and Monsters. Crisis on Infinite Earths is a famous DC comics crossover event (and Arrowverse crossover) but not a DCU chapter label. Flashpoint was referenced in The Flash (2023) from the now-defunct DCEU. The Gunn/Safran era officially named its launch phase Gods and Monsters — Superman 2025, Lanterns, and related titles.

    07

    Green Lanterns serve the Guardians of the Universe, an ancient race who created the Corps’ 3,600-sector peacekeeping force and charge the Lantern rings from a central Power Battery on their home planet. What is the Guardians’ homeworld called?




    ✓ Correct! Oa — the small blue-skinned Guardians’ home at the centre of the universe. It houses the Central Power Battery from which all Green Lantern rings draw their energy, and serves as the Corps’ academy and operational base. Krypton is Superman’s destroyed homeworld; Themyscira is Wonder Woman’s hidden Amazon island; Apokolips is Darkseid’s hellscape.

    ✗ Ring malfunction! The answer is Oa. Krypton is Superman’s homeworld. Themyscira is Paradise Island where Wonder Woman was raised. Apokolips is Darkseid’s grim world in the Fourth World mythos. Oa is specifically the Guardians of the Universe’s planet — home to the Central Power Battery that fuels every Green Lantern ring in all 3,600 sectors.

    08

    Every Green Lantern recites the same oath when charging their ring — a four-line rhyming incantation that’s become one of the most famous pieces of verse in comic-book history. How does it famously begin?




    ✓ Correct! “In brightest day, in blackest night / No evil shall escape my sight / Let those who worship evil’s might / Beware my power — Green Lantern’s light!” The oath dates back to 1940’s All-American Comics #16, was refined through the Silver Age, and is considered one of DC’s most sacred bits of verse. Every canonical adaptation includes some version of it.

    ✗ Ring malfunction! The answer is “In brightest day, in blackest night…” The full oath: “No evil shall escape my sight / Let those who worship evil’s might / Beware my power — Green Lantern’s light!” It’s been canon since 1940 and remains one of comics’ most instantly recognisable pieces of verse — recited in every major Green Lantern adaptation.

    Ring Depowered · Report to Oa
    Your Corps Rank

    💍

    / 8

    Honor Guard veteran — or still in Corps training?

    It’s unknown right now if Lanterns will have more than one season, but depending on its success, the series could go on for several seasons, exploring various corners of the iconic mythos. The sci-fi adventure was created by Chris Mundy, who serves as the showrunner, while Tom King and Damon Lindelof worked on it as executive producers.

    Lanterns premieres on August 16 on HBO.


    lanterns-poster.jpg


    Release Date

    August 16, 2026

    Network

    HBO

    Showrunner

    Chris Mundy

    • Headshot Of Aaron Pierre

      Aaron Pierre

      John Stewart

    • Headshot Of Kyle Chandler

    • Headshot Of Nathan Fillion IN The The Walking Dead Live: The Finale Event

    • Headshot Of Kelly Macdonald

      Kelly Macdonald

      Sheriff Kerry


    Source link

    The next adventure in the DC Universe

    007 First Light is one of the best releases of the year, and like Hitman, IO Interactive hasn’t stopped supporting it since launch. After releasing several hotfixes to improve the experience, the studio has now rolled out its first major patch, adding new TacSim content while also providing an update on the game’s future.

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    Today’s 1.1.0 update for 007 First Light includes over 200 bug fixes, two new three-tier TacSim Escalations, The Workshop and Extraction Avenues, and several new unlockables. You can earn three new TacSim weapons, including the Stormberg .50 Cal, DRX-2 Machine Pistol, and DRS-7 Silenced SMG, alongside the new Diamond in the Rough outfit.

    As with previous unlocks, all of these rewards can be purchased with Intel after reaching the required Clearance Level, giving players more reasons to revisit TacSim. While the patch notes are packed with improvements, it’s easy to miss a brief announcement at the very end. IO Interactive confirmed that more content updates are already in development for 007 First Light, adding that it will share more details in the future.

    Our work does not stop here. More improvements and content updates are already in development. Stay tuned for what lies ahead.

    The studio didn’t specify what this upcoming content will include. It could just mean additional TacSim missions and unlockables, but I’m choosing to believe it hints at future story content out of pure desperation to find out what happens after the ending. Maybe it’s the “Bawma Will Return” mission teased in the roadmap. We’ll have to wait and see.

    007 First Light 1.1 Update Size

    Detail Information
    Game Client Version 1.1.0
    Release Time 09:00 UTC / 11:00 CEST
    PlayStation 5 Update Size 23.84 GB
    Steam Update Size 3.6 GB
    Xbox Series Update Size 1.39 GB
    Microsoft PC Update Size 2.24 GB
    Epic Games Store Update Size 3.99 GB

    If you’ve been waiting for the Path Tracing update, I’m afraid there’s no mention of it in these patch notes. Personally, I think the game already looks fantastic, and with today’s bug fixes, this is probably the best time to jump in. However, if you’re holding out for the best possible visuals, at least on PC, it might be worth waiting a little longer. Path Tracing is still part of the game’s Year One roadmap, so I’d expect it to arrive later this year or in early 2027.

    You can check out the complete patch notes for the 1.1.0 update for 007 First Light here.

    Source link

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    Speaking at the rescheduled White House Correspondents’ Association Dinner on Friday, Donald Trump delivered an hour-long speech blending shopworn rally material with a string of leaden one-liners.

    He was making his first appearance as president at the dinner, which had to be rescheduled last Aprtil after a shooter attempted to rush the ballroom and was subdued by the Secret Service. While presidents for decades have long used the event’s keynote slot to zing reporters to varying degrees, Trump lapsed into rally mode, only deviating for some personal broadsides at members of the press, marbled with references to their appearance.

    After one quip about an elderly U.S. senator’s sex life drew crickets, Trump asked, “Does anybody get that? I thought that was actually great. That was actually the only thing I thought was good in this whole frickin’ stupid speech. It was the only good one, and that went down with not exactly great laughter.”

    Over the rest of the meandering speech (watch the whole thing below), Trump seemed to recognize that many of his would-be jokes were not landing. There were few laughs or reactions at all beyond squirming or fidgeting as he veered in stream-of-consciousness fashion from topic to topic.

    “Tonight’s event is even crazier than the last time,” Trump said. “It’s so successful that I’ve been informed by CBS News’ David Ellison” (Ellison is CEO of CBS parent Paramount) that “next year, they’re going to call it the Trump White House Correspondents’ Dinner.” Changing the name, he added, “is the only way you’re going to get me back here.”

    The hour-long speech tested the patience of all but the fiercest Trump loyalists in attendance. The audience only sporadically showed a notable reaction, with long periods of near-silence prevailing. Once Trump’s remarks concluded and mentalist Oz Pearlman took the stage, a number of guests streamed toward the exits.

    Compared with April’s event at the Hilton, the ballroom at the Waldorf-Astoria is much smaller. Trump cabinet members mingled with reporters in an aisle near one of Paramount’s tables. Chief Legal Officer Makan Delrahim was at the dinner just a couple of hours after the decision to push back the company’s planned merger with Warner Bros. Discovery amid an antitrust challenge. At a Paramount table with Delrahim were cabinet members Pete Hegseth and presidential advisor Stephen Miller and his wife Katie Miller. Also at the event: Secretary of Health and Human Services Robert Kennedy Jr. and his wife Cheryl Himes, as well as Commerce Secretary Howard Lutnick, Department of Homeland Security Secretary Markwayne Mullin and Acting Attorney General Todd Blanche, who was at the center of one of Pearlman’s mental feats.

    Prior to Trump’s remarks, there were some awkward moments onstage as annual awards were given out, including to some journalists behind investigations of the president. As Wall Street Journal reporters accepted an honor for their Jeffrey Epstein story, Trump shook their hands and then threw his hands up in the air and smiled a bit. Wolf Blitzer, who was presenting the award, noted that he sued the WSJ over the story for $20 billion.

    Once at the lectern, Trump went after Josh Dawsey, one of the WSJ winners, and CNN host Kaitlan Collins with highly personal digs, but the room fell nearly silent as the would-be laugh lines were delivered. Weijia Jiang, outgoing president of the White House Correspondents’ Association, was stone-faced as Trump went into the would-be-roast-like digressions.

    CNN even released a statement during the speech, defending its journalists.

    The president appeared to have a set of prepared jokes, but he frequently veered off script, or their subjects seemed to remind him of an aside. The result was a speech that weaved through familiar political attacks, like on Adam Schiff’s appearance, to an extended riff on his plans for a White House ballroom. At one point, he pointed to details on the chandeliers at the Waldorf Astoria venue, which he built and previously operated as a Trump hotel. Some of his biting insults at the press were perhaps more muted than they otherwise would have been, given the sheer length of the speech and the topics covered.

    When Pearlman took the stage, he noted that Trump had made “an announcement that he will attending next year’s event. I thought he was going to speaking until next year, actually.”

    Trump had been scheduled to speak at the April dinner, but it was interrupted and then ended after a gunman breached a security barricade. The incident took place just outside the Washington Hilton ballroom, but shots could be heard among dinner guests. That sent the Secret Service scrambling to remove Trump and Vice President JD Vance from the dais, as well as other guests seated in the ballroom.

    RELATED: Behind The Scenes As C-SPAN’s Team Captured The Chaotic, Harrowing Night Of The White House Correspondents’ Dinner

    Trump urged the White House Correspondents’ Association to reschedule, but the new arrangements were for a new venue at the Waldorf, formerly a Trump hotel, and with a new set of security measures in place.

    But just as in April, there has been attention on the WHCA and what would be said during the evening, not just by Trump but by other journalists. In addition to a flurry of lawsuits against media outlets and routine rants about the news media, Trump has threatened to pull network broadcast licenses and his Justice Department has subpoenaed reporters to try to obtain their sources. In the latter case, the DOJ this week withdrew subpoenas issued to New York Times reporters who wrote pieces on the lack of security features on the new Air Force One. That followed a court hearing in which a federal judge criticized government attorneys for the way that the subpoenas were issued.

    The president skipped the WHCA dinners last year and during his first term, at times holding counter events. But he agreed to attend this year, putting him front and center at an event celebrating some of the journalists he has attacked. Among those receiving awards were reporters for The Wall Street Journal who reported on a bawdy letter with Trump’s signature sent to Jeffrey Epstein. Trump denied he sent the letter, and sued the publication, along with its publisher and Rupert Murdoch.

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    Le cashback, ou remise en argent, est un incontournable des programmes de fidélité. Il opère comme un mécanisme de retour sur les pertes du joueur. À la différence des bonus traditionnels, il récompense l’activité même après un résultat négatif. Cette approche crée un sentiment de sécurité et de reconnaissance.

    En quoi consiste le cashback ?

    Dans les faits, le cashback est un montant versé chaque semaine ou chaque mois. Il correspond à un pourcentage des pertes nettes de la période. Ce n’est pas un bonus sur dépôt, mais une rétribution directe à votre engagement. Sa force provient de sa prévisibilité et d’un calcul arithmétique simple.

    Qu’est-ce qui fait que le cashback est-il apprécié ?

    Les joueurs avertis y voient un amortisseur de risques. Il atténue la volatilité de leurs sessions sur la durée. Et il ne nécessite pas de conversion en points ou de choix compliqués. Cette simplicité en représente un outil de fidélisation transparent, aussi bien pour le casino que pour le joueur.

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    Les casinos utilisent plusieurs systèmes pour attacher, des points échangeables aux tours gratuits. Le cashback se différencie par son attribution directe sur les pertes, procurant une consolation rapide. Mettons-le en parallèle à d’autres formes de récompenses.

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    Les programmes à points demandent un cumul avant échange, ce qui retarde la gratification. Le cashback, lui, fournit une valeur liquide presque immédiate. Son avantage mathématique est plus aisé à calculer pour le joueur, qui peut l’inclure directement dans sa gestion des risques.

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    SkyHills Casino parie sur la simplicité et la régularité. L’attribution automatique enlève le risque d’oublier de réclamer son dû, un problème fréquent ailleurs. Les taux affichés demeurent compétitifs sur le marché, et les conditions de mise associées sont en général communiquées clairement.

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    Le programme crédite un pourcentage, qui peut changer avec votre statut, sur vos pertes nettes. Ces pertes correspondent à la différence entre le total des mises et le total des gains. Le crédit obtenu est ensuite ajouté à votre compte, souvent sous forme d’bonus avec des conditions de mise.

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    Tous les jeux ne comptent pas de la même manière. Les machines à sous sont généralement prises en compte à 100%, alors que les jeux de table ont parfois une contribution inférieure. Pour bien appréhender l’éligibilité, notez ces points en tête :

    • Le calcul repose sur les pertes nettes de la période promotionnelle.
    • Un seuil minimum de pertes peut être nécessaire pour obtenir cashback.
    • Chaque jeu contribue avec un coefficient propre, expliqué dans les conditions générales.

    Cas pratique de calcul du cashback

    Considérons un joueur qui a parié 1000€ et empoche 920€ sur une semaine. La perte nette est de 80€. Avec un taux de cashback de 10%, le crédit attribué sera de 8€. Cette somme, une fois créditée, devra généralement être rejouée un certain nombre de fois avant tout retrait.

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    Pour appréhender la valeur véritable, il est nécessaire de modéliser l’impact du cashback sur l’espérance de gain. Il sert de correctif, diminuant le bénéfice initial de la maison. Cette partie quantifie cet effet avec des concepts probabilistes simples.

    Représentation des gains et pertes

    Prenons un jeu avec un taux de retour au joueur de 97%. Sur des mises de 100€, la perte théorique est de 3€. Un cashback de 15% sur cette perte restitué 0,45€, ce qui diminue la perte finale à 2,55€. Le cashback a donc fait passer le RTP effectif de 97% à 97,45%.

    Effet sur le retour au joueur (RTP)

    La hausse du RTP est directement liée au niveau de cashback et au montant perdu. Pour un joueur habituel, cet phénomène se additionne session après session. Le programme améliore ainsi positivement l’espérance durable, à condition de maintenir une gestion de bankroll sévère.

    Détermination du RTP effectif avec cashback

    Nous avons la formule : RTP_effectif = RTP_base + (Taux_cashback * (1 – RTP_base)). Avec un RTP de base à 95% et un cashback à 20%, on calcule 95% + (20% * 5%) = 96%. Cette augmentation, en apparence faible, devient significative lorsque les volumes de jeu sont importants.

    Approches pour optimiser le cashback

    Pour en profiter au maximum, une stratégie réfléchie du programme s’impose. L’idée n’est pas de miser davantage pour produire plus de cashback, mais d’perfectionner le jeu que vous pratiquez déjà. Voici quelques pistes à examiner.

    Administration de bankroll

    Distribuer votre bankroll sur toute la phase de calcul vous permet de recevoir le cashback régulièrement. Écartez les sessions uniques avec de lourdes pertes, car le cashback n’en compensera qu’une faible partie. D’un point de vue mathématique, une perte répartie et modérée peut être plus profitable avec ce système.

    Préférence des jeux

    Optez pour les jeux qui contribuent à 100% dans le calcul des pertes pour le cashback. Les machines à sous sont souvent idéales, contrairement de la roulette ou du blackjack qui peuvent être moins bien considérés. Vérifiez toujours la liste des contributions avant de démarrer. Un choix éclairé amplifie l’effet protecteur du programme.

    • Centre votre activité sur les jeux à contribution maximale.
    • Repérez les promotions temporaires qui élèvent les taux sur certains jeux.
    • Trouvez un juste milieu entre le RTP de base d’un jeu et sa contribution au cashback pour un gain global.

    Restrictions et mises en garde

    Nul programme n’est exempt de conditions, et le cashback de SkyHills n’échappe pas à la règle. Appréhender ses limites est primordial pour prévenir les déceptions. Ces restrictions maintiennent aussi la viabilité économique de l’offre pour l’opérateur.

    Termes de retrait

    Le crédit issu du cashback est généralement assorti de conditions de mise (wagering requirements). Elles déterminent combien de fois le montant doit être rejoué avant un retrait. Si vous ne les remplissez pas, vous perdrez le crédit attribué.

    Exclusions courantes

    Plusieurs types de paris ou de jeux sont exclus du calcul des pertes éligibles. Jouer sur ces produits ne générera aucun cashback, ce qui peut ruiner votre stratégie. Les exclusions habituelles sont les suivantes :

    1. Les paris effectués avec de l’argent bonus non converti.
    2. L’engagement à certains tournois ou jeux progressifs.
    3. Les actions sur des produits comme le poker sportif ou les paris virtuels.

    Lire les termes et conditions constitue l’étape obligatoire pour une utilisation optimale.

    Notre conclusion définitive

    L’offre de cashback de SkyHills Casino constitue une offre à la valeur substantielle pour le parieur habituel. Notre étude chiffrée valide son rôle d’amortisseur de pertes, qui augmente concrètement le RTP effectif sur le long terme. Son fonctionnement automatisé et sa transparence sont ses principaux atouts.

    Mais son efficacité réelle repose sur d’une adoption stratégique et informée par le joueur. Il ne convertit pas un jeu désavantageux en activité rentable. Il en diminue simplement le coût financier attendu. C’est un outil de gestion du risque, pas une source de revenus garantie.

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    In 2022, New York Liberty forward Breanna Stewart became the first WNBA player to score a signature sneaker since 2012, when Candace Parker and Adidas released the Ace Versatility. Now in its fifth model, the Puma Stewie is a breathable, lightweight sneaker that promises “all-day comfort” with vibrant details on even the most neutral pairs.

    Puma Stewie 5 Women’s Basketball Shoes

    Puma Stewie 5 Women’s Basketball Shoes

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    WNBA tunnel walks may be the new

    This week, a new group of professional dancers start competing for a spot as a pro on the new season of Dancing with the Stars, and both kids and adults start baking challenges.

    Here’s what’s coming to Hulu this week.

    Monday, July 13

    • Rabbit Hole: Complete Season 1
    • Start Here: Complete Season 1

    Tuesday, July 14

    • Dancing With the Stars: The Next Pro: Series Premiere

    Wednesday, July 15

    • Mission: Yozakura Family: Season 2 Episodes 28-39 (DUBBED)
    • Brave Wilderness: Creator Essentials: Complete Season 1
    • JJ & Mikey: Creator Essentials: Complete Season 1
    • KidCity Ultimate Mishmash: Complete Seasons 2–5
    • Topper Guild Hidden in Plain Sight Creator Essentials: Complete Season 1
    • Tyler & Snowi: Escape Buddies: Complete Season 1

    Thursday, July 16

    • Blippi Celebrates Dia De Los Muertos
    • After the First 48: Complete Season 10
    • American Wreckers: Complete Season 1
    • Road Wars: Complete Season 6
    • Blippi’s Spooky Spell Halloween
    • Blippi’s Trick-or-Treat Halloween Adventure
    • The 2026 ESPYS Presented by Capital One: Special Premiere
    • Meekah’s Pumpkin-tastic Halloween
    • The Hockey Mom’s Revenge
    • A Real Pain (2024)

    Friday, July 17

    • America’s Funniest Home Videos: Complete Seasons 19-21
    • They Fight: Film Premiere

    Saturday, July 18

    • Baking Championship: Next Gen: Complete Season 1
    • House Hunters: Paradise: Complete Season 1
    • Kids Baking Championship: Complete Seasons 5 and 6
    • Moonshiners: Complete Season 2
    • Say Yes to the Nest: Complete Season 1
    • Suddenly Amish: Complete Season 1

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    This week, a new group of professional

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    Jeśli cenisz sobie emocjonujące wrażenia z gry, kasyno AlaWin w Polsce to autentyczna oaza dla Ciebie. Dzięki obszernej ofercie gier, to tętniące życiem miejsce obiecuje emocje na każdym kroku. Od pokera z wysokimi stawkami, przez ekscytujące sloty, po czarujących krupierów na żywo – nie ma tu miejsca na nudę. Przepych i wyjątkowość potęgują przygodę, a unikalne nagrody mogą ujawnić coś wyjątkowego. Czy jesteś gotowy, aby odkryć, co kryje się za tym wszystkim?

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    On Friday nights, IndieWire After Dark honors fringe cinema in the streaming age with midnight movies from any moment in film history.

    First, the BAIT: a weird genre pick, and why we’re exploring its specific niche right now. Then, the BITE: a spoiler-filled answer to the all-important question, “Is this old cult film actually worth recommending?”

    The Bait: A Critic, Two Directors, and Cryptina(?) Walk Into a Bar

    A bustling hub of multicultural film discourse each July, McKibbins’ Irish Pub in Montreal (the one by Concordia University, not Cinema L’Amor) is a pretty good time. That’s where I met filmmakers Steph and Ryan Twyford-Rigley, also in town for the 2026 Fantasia Film Festival this week and revving up to make their crowdfunded debut feature “Goat Sword.”

    It’s a heavy metal vampire comedy that sounds like it might actually be destined to find real support among the French-Canadian genre crowd. But 20 minutes later and half a beer in, the two married New Yorkers weren’t talking about their new project at all. Instead, they were showing off pictures of a white-blonde horror hostess they know as… CRYPTINA!

    If you haven’t heard of Cryptina, don’t feel bad. Although, that is your loss. The cult character debuted in a 12-minute proof-of-concept pilot, titled “Cryptina’s Spook-Time Variety Show,” back in 2017. She later returned for a handful of feature-length anthology hosting gigs during the pandemic, but mostly exists as a collection of online clips today. (You can find the debut Cryptina performance on Troma Now, while the 2020 segments are free on YouTube.)

    A testament to awkwardness, boob tape, and the enduring influence of Adult Swim, Cryptina still has a real fanbase in Brooklyn, especially at home with the Twyford-Rigleys. The original pilot even caught the attention of Joe Bob Briggs and earned a spot in the competition to become one of “The ABCs of Death 2.5,” suggesting the character might have a future beyond the festival circuit. But like so many beloved genre oddities, that next chapter never materialized.

    Cryptina’s planned TV series fell apart, an oversized coffin Ryan built for the production eventually wound up hanging from the ceiling of a local bar, and just this year, an AI imitator became such a nuisance that the filmmakers had to send a cease-and-desist. Yeah… Cryptina’s story is kind of a rough one. So, why couldn’t Steph, Ryan, and I stop talking about her?

    “Whenever someone asks me if I’m embarrassed by my old work, I always say no,” the actress behind those luminous black-and-white bedroom eyes told IndieWire. “I love everything I’ve ever done. I don’t even want to call it a stepping stone because that implies that it’s a lesser thing of the past. It was a different time, and it forever brings me joy.”

    That giddiness was impossible to miss once we ducked into the festival’s green room and started watching old Cryptina clips together. Steph remembered constructing the graveyard-themed set in their living room, while Ryan ran around in his underwear because the fog machine had made their city apartment unbearably hot. Remembering the ordeal, the spouses interrupted each other with behind-the-scenes trivia memories, compliments for their other collaborators, and insights into how they had both changed as artists in the years since.

    “The pandemic ones were really fun to work on as a team because we actually were able to bounce ideas off of each other,” Ryan said. “We were a writers’ room, just the two of us.”

    Delighting in gags they’d come up with nearly a decade ago, the Twyford-Rigleys don’t see Cryptina (or her skeleton roommate Javier!) as a false start so much as a time capsule from the beginning of their marriage. Thanks to a mutual friend and an ill-timed Facebook request, the couple first met after a Ghost concert. The date that followed lasted 14 hours, and the very next day, Steph moved to Japan and Ryan went to spend time with his father after a cancer diagnosis.

    They kept the relationship alive through letters and horror-themed care packages, with Steph mailing a tiny casket full of dead roses back to the U.S. and Ryan responding with a fake severed finger attached to a ransom note — demanding she move back to New York. They still tell the story like they’re trying to convince themselves that the last part actually happened, but the creative passion that formed between the Twyford-Rigleys has been burning ever since.

    In addition to the forthcoming “Goat Sword,” Steph and Ryan have worked on a slew of music videos and short films. Of course, they’re proud of their wedding video (they built a funeral pyre?!) but Cryptina will always be close to their horror-loving hearts.

    “We would resurrect her immediately,” Steph said. “People have been asking.”

    Cinema is unusually good at preserving memories. Not just the masterpieces and heavily worshipped cult classics, but the strange little indie efforts that become inseparable from the people who made them. Sometimes those stories survive because the ideas at their center are later recognized as great, but sometimes they exist because a few fans refused to let them die.

    Years after Cryptina had seemingly faded into obscurity, Ryan was in a New York emergency room when a doctor walked in, glanced at his chart, and suddenly stopped.

    “Wait,” he remembered the physician saying. “‘Cryptina’s Spook-Time Variety Show?’ That’s you?”

    The doctor had caught the Twyford-Rigley’s pilot at a New Jersey film festival years earlier, and even though Ryan and Steph had never met him before, Cryptina’s spirit lived on in him — and this week, at McKibbins’ bar, she possessed one more. Well, two. Happy haunting, Wilson! —Alison Foreman (P.S. Thanks for watching my cats.)

    The Bite: Elvira for the Socially Awkward

    Sometimes, when you volunteer to contribute to an After Dark entry here at IndieWire, you get led to places you’ve never once thought of going before — expanding your conception of what the film world is and discovering new avenues for creativity and art. What I’m getting at here is that, to write this column, our fearless leader Ali asked me to sign up for a free trial of something called Troma Now.

    The world of midnight movies has become increasingly digitized and democratized over the past 15 or so years. Streaming and social media have expanded the avenues through which filmmakers can break through. Ali is currently rubbing shoulders with the midnight crowd up north, but thanks to a tiny indie streamer, I’m able to immediately engage with the work of the people she’s meeting from the comfort of my Los Angeles apartment. And that’s how I ended up spending my Friday afternoon watching a few short films presented by a socially awkward, Elvira-esque Mistress of the Night.

    Trying to do Elvira is setting yourself up for a thankless challenge. Because really, who can fill the shoes of Cassandra Peterson’s iconic character? Elvira might be one of the few truly universally beloved figures in the horror community, a vampy ghoul with a Valley Girl affect whose humor and wink-wink, nudge-nudge approach to sexuality helped her transcend her local TV origins to become a genuine legend. The gays love Elvira, the girls love Elvira, the bros love Elvira — everybody loves Elvira.

    But since Peterson retired the character, it has felt like there’s been a hole in horror. More than just a character, Elvira was an ambassador, someone whose effervescent presence elevated the B-movies she presented. The modern horror landscape could use someone like her again. So, is Cryptina and her “Spook-Time Variety Show” up to the task?

    Cannily, the 2017 pilot for “Cryptina’s Spook-Time Variety Show,” now streaming on Troma Now, doesn’t try to strike gold twice by presenting its ghoulish host in the same fabulous mold as Elvira. Playing the character, filmmaker Steph Twyford-Rigley instead opts for a version that feels true to our modern landscape of internet overuse and social anxiety, portraying Cryptina as someone desperately trying to be a mysterious, seductive horror host but who’s just a little too self-conscious and uncomfortable in her own skin to pull it off.

    The film she presents is delightfully silly. The pilot only features a handful of shorts, but the main one is a doozy: a “Twilight” parody in which the brooding Edward Cullen is replaced by Count Orlok in biblically accurate makeup. Watching an ordinary girl swoon over this obvious bloodsucker before reenacting the iconic “I know what you are” scene from Stephenie Meyer’s vampire saga is exactly the kind of so-dumb-it’s-genius comedy I want from a horror short.

    Beyond the Troma Now pilot, you can also find on YouTube the hosting segments from four feature-length anthology episodes Twyford-Rigley and her husband, Ryan Twyford-Rigley, produced during the pandemic. It’s a slightly surreal experience watching the platinum-blonde host riff on movies we never actually get to see, but it’s fun largely because Twyford-Rigley is so effortlessly charming in the role. She sells jokes about Cryptina forgetting her cues or overexplaining a cheesy punchline until it’s beaten into the ground with an endearingly self-aware sense of relatability, and she makes the banter between Cryptina and her monstrous sidekick, Ghoulsby, feel surprisingly natural.

    Does she fully measure up to Elvira? Well, no. But the fact that we’re even having the conversation suggests this character has the potential to go further than these few episodes. If Cryptina isn’t quite ready for primetime (or, uh, post-primetime) TV, that’s also part of her appeal. Horror could use a host who’s just a little anxious, a little awkward, and very, very online. —Wilson Chapman

    “Cryptina’s Spook-Time Variety Show” is streaming on Troma Now.

    Read more installments of After Dark, IndieWire’s midnight movie club:

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    On Friday nights, IndieWire After Dark honors fringe cinema

    S’immerger dans l’univers d’un casino en direct est l’expérience la plus immersive qui soit sans quitter son salon. Nous avons vu la frontière entre un établissement physique et l’écran s’estomper grâce à une technologie de streaming irréprochable. Pour un nouveau venu, rejoindre une table avec un croupier en chair et en os peut mêler excitation et appréhension ; notre but est de clarifier chaque étape, du fonctionnement du flux vidéo à l’étiquette à adopter, en passant par le choix du jeu adapté. L’offre s’est tellement diversifiée que chacun, avec son budget et son niveau, trouve désormais un environnement sécurisé et convivial pour jouer en temps réel. Ce guide vous donne les clés pour débuter sereinement.

    Appréhender la technique du streaming en continu

    La fondation d’un casino en direct est la retransmission vidéo en direct, bien différente des générateurs aléatoires des jeux numériques. Un flux haute définition est filmé depuis un studio professionnel ou un vrai casino terrestre, avec des caméras multiples qui embrassent chaque angle du tapis, de la roulette ou des cartes. Une interface de reconnaissance optique traduit instantanément les gestes du croupier en données numériques affichées sur votre écran : quand la bille tourne, le gain potentiel s’actualise en une fraction de seconde. La stabilité de votre connexion internet est le seul véritable prérequis technique pour une image fluide, sans décalage ni coupure au moment crucial de la mise.

    Nous insistons sur la transparence de ce dispositif. Chaque mouvement de carte, chaque lancer de dé est transmis sans manipulation possible, et l’élément humain est central : vous voyez le croupier mélanger, tailler le sabot et échanger avec les joueurs via un boîtier de messagerie. Ce climat de confiance est complexe à instaurer avec des animations 3D. Les studios sont équipés d’un éclairage sophistiqué et de microphones directionnels qui focalisent la voix du croupier. Avant de vous asseoir, testez la latence de votre réseau et optiez pour une connexion Wi-Fi stable ou des données mobiles haut débit pour ne rien perdre du spectacle.

    Mettre en place une stratégie réfléchie et conserver le contrôle

    Il est attrayant de rechercher des martingales infaillibles, mais la majorité des systèmes de mise, de la classique à la Fibonacci, ne changent rien à l’avantage mathématique de la maison. Une montante en pertes peut dépasser très vite les plafonds de mise et se avérer désastreuse. Nous choisissons nous appuyer sur le taux de redistribution théorique (RTP) propre à chaque variante : une table de blackjack avec huit jeux et des règles libérales n’offre pas le même rendement qu’une table à six jeux. Envisagez le coût statistique d’une session comme le prix du divertissement : calculez le total des mises par l’avantage maison pour avoir une estimation réaliste.

    Pour que le jeu demeure un plaisir, nous instaurons des habitudes solides. Définissez un créneau horaire précis, sans nuire sur vos obligations personnelles. Offrez-vous des pauses régulières toutes les quarante-cinq minutes pour vous hydrater et fixer au loin, réduisant ainsi la fatigue visuelle et mentale. La fonction d’historique de jeu, consultable depuis votre profil, permet de contrôler objectivement l’argent et le temps dépensés ; une revue hebdomadaire aide à garder une perspective claire. Employer les outils de limite de dépôt ou d’auto-exclusion disponibles chez Fortunica Casino n’est pas un aveu de faiblesse, mais une preuve de maturité. Ces dispositifs offrent que le jeu reste une passion maîtrisée, jamais une source d’angoisse financière.

    Choisir entre la roulette, le blackjack et le baccara

    La décision du premier jeu joue un rôle clé. La roulette en direct constitue l’accès la plus intuitive, car aucune décision complexe n’est requise après la pose des jetons. Nous séparons les variantes européennes, à un seul zéro, plus avantageuses statistiquement, des tables américaines au double zéro. Les amateurs de rythme rapide peuvent opter pour la roulette en angle rapide. Le blackjack en direct, en revanche, procure un contrôle stratégique puisque vous décidez de tirer, rester, doubler ou partager selon la main. Nous vous conseillons de consulter les tables qui autorisent le jeu sur plusieurs sièges ou la mise à l’écart lorsqu’une place est occupée.

    Le baccara, souvent rattaché aux hauts rouleaux, est d’une simplicité désarmante : il suffit de miser sur le joueur, le banquier ou l’égalité avant que les cartes ne soient retournées. Aucune décision tactique une fois le tour lancé, ce qui correspond à ceux qui préfèrent le spectacle au stress analytique. Pour vous aider à faire votre choix, trouvez un aperçu des trois jeux phares :

    • Roulette en direct : Pas de compétence nécessaire, tension immédiate, variantes européennes et rapides, idéal pour débuter.
    • Blackjack en direct : Décision stratégique à chaque main, avantage maison réduit avec les règles optimales, interaction élevée.
    • Baccara en direct : Jeu de pur hasard, rythme cérémonial, souvent prisé par les joueurs souhaitant une expérience élégante sans complexité.

    Contrôlez toujours les limites de mise affichées, qui varient considérablement d’une table à l’autre. Fortunica Casino présente un hall où les vignettes de prévisualisation affichent le type de jeu, le croupier en poste et le minimum d’entrée, ce qui facilite une orientation rapide.

    L’influence des bonus sur l’expérience en direct

    Les bonus peuvent changer une session, à condition de bien comprendre leurs mécanismes. Contrairement des machines à sous, les jeux en direct participent souvent de manière réduite aux exigences de mise. Seul un faible pourcentage des mises au blackjack ou à la roulette peut être pris en compte pour obtenir des gains issus d’un bonus. Avant d’activer une offre de bienvenue ou un remboursement, consultez attentivement les conditions. Certaines plateformes, dont Fortunica Casino, proposent des promotions spécialement conçues pour le direct, avec des règles mieux adaptées à la réalité de ces tables.

    Nous attirons votre attention sur les pratiques de sabotage de bonus. Placer des mises occupant une large portion du tapis à la roulette, comme miser simultanément sur le rouge et le noir, est vu comme irrégulier et peut provoquer la confiscation des gains promotionnels. Notre conseil est d’utiliser un bonus pour allonger le temps de jeu et tester différentes variantes sans rechercher un profit immédiat sans risque. Évaluez la valeur réelle de l’offre en déterminant le montant total à miser avant de pouvoir retirer, et comparez-le à votre budget loisir habituel.

    La mobilité et la compatibilité des appareils

    Jouer depuis un smartphone ou une tablette est un besoin légitime aujourd’hui. Les éditeurs ont largement investi dans l’optimisation des flux vidéo pour les écrans tactiles et les connexions mobiles. Nous pouvons affirmer que la qualité d’image sur un appareil récent rivalise avec celle d’un ordinateur de bureau, à condition de avoir un réseau 4G stable ou d’un Wi-Fi performant. L’interface tactile a été refaite : les jetons sont élargis, le tapis se déploie en mode portrait ou paysage, et un simple tapotement valide une mise. Les applications natives, lorsqu’elles existent, optimisent davantage la réactivité.

    Avant de entamer une session mobile, éteignez les notifications superflues et assurez-vous que la batterie est assez chargée pour ne pas interrompre une main gagnante. Les jeux avec croupier en direct consomment significativement plus de données qu’une machine à sous à cause du flux vidéo continu ; une heure peut employer plusieurs centaines de mégaoctets, un détail à anticiper si votre forfait n’est pas illimité. Testez la fluidité avec des mises minimales au départ pour s’assurer de l’absence de micro-saccades. L’accès aux mêmes tables, bonus et messagerie que sur ordinateur garantit une nouvelobs.com continuité totale de l’expérience.

    Gestion des fonds et choisir un moyen de paiement approprié

    La fluidité d’une session est liée à la gestion des dépôts et des retraits. Nous suggérons un budget de session précis avant de se lancer sur une table, car le rythme soutenu peut altérer la perception du temps : un tour de roulette dure en moyenne une minute. Sans discipline, l’exposition financière grimpe vite. Fixez un seuil de dépôt journalier, hebdomadaire ou mensuel via les outils de jeu responsable, et fractionnez votre capital en unités de mise pour résister à la variance naturelle des jeux de hasard.

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    La légitimité d’une plateforme de jeu en direct dépend sur une licence attribuée par un régulateur réputé. Nous examinons systématiquement le numéro d’agrément et le logo de l’organisme de tutelle en pied de page. Cette licence garantit que le générateur de hasard, lorsqu’il est utilisé, est vérifié, que le flux vidéo n’est pas altéré et que la restitution financière est conforme aux standards. Le chiffrement des données via le protocole TLS est primordial pour sécuriser vos informations bancaires et votre pièce d’identité. Fortunica Casino incorpore en outre des protocoles de vérification à double facteur pour renforcer la sécurité de la connexion.

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    Intégrer une table en direct suppose d’adopter le code de conduite d’un casino physique. La politesse envers le croupier et les autres participants est indispensable, car ce sont de vraies personnes. Nous vous conseillons un pseudonyme neutre et d’éviter tout langage inapproprié dans le chat. Chaque action est encadrée par un minuteur visuel, souvent une barre colorée qui se réduit, pour placer vos jetons. Ne pas agir à temps vous écarte du tour, ce qui évite de ralentir le rythme collectif. Initiez-vous avec les options d’interface : un bouton permet de doubler la mise précédente ou de l’effacer d’un clic, et au blackjack, les décisions autorisées sont mises en surbrillance.

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    Un smartphone, une tablette ou un ordinateur récent avec une connexion internet d’au moins 4 Mbps est nécessaire. Les plateformes modernes diffusent le flux en qualité adaptative pour éviter de saturer une bande passante limitée. Nous vous recommandons de fermer les applications gourmandes en arrière-plan. Aucun téléchargement lourd n’est nécessaire, l’accès via navigateur demeurant le standard. Vérifiez que votre système d’exploitation est à jour pour une compatibilité maximale avec l’interface et le chat.

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    Est-ce que les jeux en direct sont délibérément ralentis ?

    Absolument pas, les tours ne sont pas inutilement ralentis pour nuire les joueurs. La cadence suit le rythme humain d’un croupier professionnel qui doit distribuer, annoncer les résultats et dialoguer. Les délais de mise sont prévus pour laisser à chacun de réagir tranquillement. Si l’attente vous paraît longue, privilégiez les tables à angle rapide ou les formats éclair. La vitesse est donc un ajustement de confort, pas un stratagème.

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    En cas de rupture de connexion, les mises placées et validées avant la panne demeurent en jeu https://fortunicacasino-fr.com/. Le serveur enregistre votre mise, et le tour se déroule normalement. Vous pouvez retrouver le résultat dans l’historique dès votre nouvelle connexion. Les technologies de reconnaissance optique garantissent qu’aucune mise n’est changée après validation, même si vous vous absentez momentanément de la salle virtuelle.

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    Un studio dédié est un plateau construit uniquement pour le streaming, avec un éclairage réglé et des angles de caméra idéaux ; l’ambiance y est gérée. Une table filmée dans un véritable casino terrestre propose une immersion sonore véritable, avec le bruit de fond des clients et l’architecture du lieu. Les règles demeurent identiques, mais l’accès à certaines tables privatives peut être réservé. Fortunica Casino présente généralement ces deux ambiances pour varier le plaisir.

    Une vidéo personnelle peut-il être utilisé comme preuve en cas de litige ?

    Une capture d’écran ou un enregistrement amateur peut accompagner une réclamation mais n’a pas valeur de preuve absolue. Les autorités de régulation se basent avant tout sur les journaux numériques datés du serveur de jeu, qui tracent chaque action de manière infalsifiable. En cas de désaccord, demandez l’historique officiel via le support client. Un enregistrement personnel peut néanmoins vous assister à clarifier le déroulement exact des opérations.

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    As Future‘s The Real Me debuted at No. 1 on the Billboard 200 albums chart (dated July 25), the rapper notched his 12th chart-topper. In doing so, he solely became the rap act with the third-most No. 1 albums on the chart. The Real Me is also Future’s fifth consecutive No. 1, dating to I Never Liked You in 2022. Future scored his first No. 1 album on the Billboard 200 with DS2 in 2015.

    The Real Me was announced on June 15, with its release date of July 9 shared 10 days later. Its lead single, “Radio,” dropped on June 26 and has hit the top 25 on both Hot Rap Songs and Hot R&B/Hip-Hop Songs.

    Take a look at the list of every act with at least 10 No. 1 albums on the Billboard 200 — since the chart began publishing on a regular, weekly basis in March 1956 — below. The list includes heavy-hitter rappers, a Queen of Pop and a “fab” band.

    The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new July 25, 2026-dated chart will be posted in full on Billboard‘s website on July 21. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

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    As Future‘s The Real Me debuted at

    President Donald Trump attended his first-ever White House Correspondents’ Association Dinner, with this year’s rescheduled gala held Friday evening in Washington, D.C., and delivered some pointed remarks to the assembled journalists in a rambling speech that stretched on for just over an hour — and during which he insulted several journalists, politicians and celebs that he’s sparred with.

    “I am delighted to be here at the White House Correspondents’ Dinner. Amazing people, a lot of people that I like,” Trump said. “Some I don’t like at all, but I respect most of them.”

    At first, Trump seemed unsure of the tone he wanted to impart, and suggested that — compared with barbs he was planning to deliver at the original WHCA dinner, which was disrupted by a gun-wielding attacker — he was pulling his punches. “I said, ‘What do we do here? Is this supposed to be fun? Am I supposed to be serious? Am I supposed to be a comedian?’ So I guess you said, maybe a little bit of everything.”

    But Trump quickly started bashing the press. “This evening it’s really all about the fake news media and your handling of prizes — writing and producing and performing made-up stories like the Academy Awards,” Trump said. The Academy Awards “used to be the the epitome of ratings outside of the Super Bowl… Now it’s down in the dumps. Nobody wants to watch it anymore because they took on Trump. They hit me all night long.”

    He told the journalists, “when I’m gone. You’re all going to be broke. Your business model is going to be finished. No, it’s true. When I’m not around, you’re going to be broke. There’s not going to be anybody to report on. Nobody gives a damn about anybody else.”

    Trump said that “mostly, I’ve given up on you and the media, so that now I just gave up on you, and I’m number one on TikTok. Did you see that?… I gave up on you, people. I gave up on traditional press, and it obviously worked because we did win in a landline” (he meant “landslide,” but that is not true). Trump boasted that “I was able to get [TikTok] sold to a group of very wealthy people, mostly Americans.”

    Trump said he did not attend past WHCA dinners because “I thought the press treated me very, very unfairly, and I don’t know. I think I made the right decision because they need to go where maybe you’re not wanted, but they did want me. They wanted me for ratings, and they wanted me for other reasons, but not for love. And I said, ‘You know, I’m not going to go.’ First time that ever happened… And I didn’t go for four years because I got treated terribly by the press.”

    This year, Trump noted, the WHCA decided not to have a comedian. “They considered using Jimmy Kimmel, Jimmy Fallon,” Trump said. “These guys — they’re terrible. They’re terrible. Stephen Colbert. These are people without talent… They have no talent, but they are not comedians. They’re not funny people. They’re angry people. They’re sick people.”

    Trump took the podium at 9:33 p.m. and held forth for about 64 minutes.

    Trump joked that Paramount CEO David Ellison, whose company owns CBS News (“He bought it, spent a lot of money, and he’s going to make, I think, fantastic changes and keep some of the great stuff going”), told him that next year Ellison will rename the WHCA dinner “the Trump White House Correspondents’ Dinner.” “He told me that, and I like that very much. We’re going to change the name of it, OK?” Trump said, alluding to his unsuccessful effort to add his name to the Kennedy Center.

    He also said at another point in his talk, “I, for one, wish Bari Weiss all the best at CBS News. She’s a wonderful woman,” which drew an audible murmur from the audience.

    He said White House press secretary Karoline Leavitt “may have one of the hardest jobs in the White House” because she has to “deal with all of you all the time, and you can be very difficult. You can be very, very difficult people. But I’m probably being a little bit oversensitive. Sometimes I really do think that some of you don’t like me.”

    He quipped, “This place is the really the largest group of Trump derangement syndrome people ever put together at one time, I suspect,” eliciting a smattering of laughter. (The president apparently believes that Trump derangement syndrome is a real medical condition.)

    Trump slammed some of his favorite perceived enemies. He said the winner of the lowest ratings and the “lowest IQ on television” was “actually Don Lemon,” whom Trump called “the dumbest man on television. I said, you know, when you say some things, you never make a comeback. It’s not like, ‘Oh gee, hey Don, let’s have dinner some night.’”

    Trump also took aim at CNN anchor Kaitlan Collins, who won the 2026 WHCA award for broadcast for her coverage of Trump’s confrontation in the Oval Office showdown with Ukraine President Volodymyr Zelensky in February 2025. Trump said, “I want to personally congratulate CNN’s Kaitlan Collins on receiving her award” but said it “was all about me. It’s a fake. She shouldn’t get the award. It was a fake, but I didn’t mind.” (In a statement issued as Trump was still speaking, Mark Thompson, chairman and CEO of CNN Worldwide, said: “We stand by our journalists and the integrity and fair mindedness with which the CNN team reports the news. Honest, accurate journalism may sometimes irritate politicians, but our right to report and present that reporting to the public without government interference is fully protected by the U.S. Constitution. CNN will continue to exercise this right.”)

    Trump then went on a weird tangent about Collins, calling her “a young, active woman” but that “she never smiles. I said, ‘Kaitlan, do you ever smile? Smile. You have a nice position. You’re at CNN fake news. You should be a happy person. Just smile, Kaitlan. Just smile.’” Then Trump tried to joke that Collins had signed “a major new sponsorship. But then I informed her that it wasn’t her on the Bud Light can. It was Dylan Mulvaney,” Trump said, referring to transgender influencer who was enlisted by the beer company in 2023, a campaign that suffered a huge backlash. “Dylan Mulvaney cost Bud like $35 million in market cap. It was the worst commercial ever made, by the way. For those few people that want to hear that, most people don’t care, but I would. I wouldn’t want to hire Dylan anytime soon,” said Trump.

    About another CNN anchor, Anderson Cooper, Trump said: “I like Anderson actually because he’s covered me well for many years, and he went bad as soon as I went for politics. But for years, he loved interviews. I did so many interviews with him, and he was great. But you know, he’s got a little different persuasion than me, in many ways actually.”

    Trump also lashed out at California Gov. Gavin Newsom, U.S. Rep. Ilhan Omar, Sens. Elizabeth Warren and Chuck Schumer, Rosie O’Donnell (a “sick older woman”), CNN’s Jake Tapper and Bruce Springsteen. About Springsteen, Trump said: “What the hell happened to that guy? He looks like hell… I’m sure he doesn’t like the way I look, but I don’t look so bad.” He complained that Springsteen made “four political speeches in his three-hour show,” leading Trump to joke, “The tour has been renamed ‘Bored in the USA,’ and his new song was so bad.”

    Trump, of course, has had a hostile relationship with the press. He not only routinely complains that news outlets are “fake news” and insults individual journalists but he has also sued multiple news outlets over coverage he dislikes, including the New York Times, the Wall Street Journal, CNN, ABC News and CBS News’ “60 Minutes.”

    At the WHCA dinner, the Wall Street Journal reporters behind the paper’s story about a birthday letter purportedly written by Trump to Jeffrey Epstein won the $10,000 Katharine Graham Award for Courage and Accountability award. Trump, who has denied he penned the Epstein letter, filed a lawsuit over the story, demanding $20 billion in damages. The Journal’s lawyers called Trump’s lawsuit “an affront to the First Amendment.” A judge dismissed his original suit but Trump refiled the complaint in May 2026 and the case is pending. At the dinner, Trump awkwardly shook the hands of the Journal reporters who were there to receive the prize, then threw up his hands in mock resignation and returned to his seat.

    “This has not been an easy evening. All these awards… Do I get a say in those awards?” Trump joked during his remarks.

    Near the end of his long speech, Trump joked that he would run for a fourth term — and he donned a “Trump 2028” hat — repeating his baseless claim that he actually won the 2020 U.S. presidential election. (He did not.) Trump said he plans to return to the correspondents’ dinner in 2027.

    Meanwhile, Trump also made a joke at the expense of Robert F. Kennedy Jr., his secretary of Health and Human Services. “Bobby Kennedy’s right here. He personally ran over the cow in his car… He brought it here for you to eat tonight,” Trump said. “So it’s very fresh. And Bobby also suggested an appetizer featuring his favorite cut of male raccoon roadkill. But we drew the line at that, Cheryl. We said, no, we’re not going to do that. We’re not doing that. We love Bobby.”

    Friday’s WHCA dinner took place at the Waldorf Astoria hotel in D.C. It featured a performance by mentalist Oz Pearlman, whereas the association has traditionally invited a comedian to roast the sitting president.

    The WHCA dinner was rescheduled after the first gathering, on April 25, was interrupted by an evident assassination attempt on Trump. The gunman who crashed through security at the Washington Hilton was apprehended and charged. Trump spent time discussing the April attack in his remarks, thanking the law enforcement personnel who subdued the suspect.

    Outgoing WHCA president Weijia Jiang, senior White House correspondent for CBS News, delivered opening remarks at the start of the event. She then alternated hosting duties with Fox News’ Jacqui Heinrich, who will serve as the organization’s president for the 2026-27 term.

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    President Donald Trump attended his first-ever White