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The Odyssey, the latest film from director Christopher Nolan, has been one of the most anticipated movies of the year. The movie opened in theaters on Jul. 17, 2026, earned rave reviews from critics, and currently holds a 96% rating on Rotten Tomatoes. Even though the movie was a nearly three-hour R-rated epic, it defied every tracking expectation and opened to $124.5 million.

In its opening weekend, The Odyssey has already outgrossed the domestic box office totals of movies such as Supergirl, Scream 7, Mortal Kombat II, Masters of the Universe, and Moana. While it might have fallen short of some records, it still broke six of them. I’ve listed every record The Odyssey broke over its opening weekend.

‘The Odyssey’ Had the Biggest Preview Screening of 2026

The Odyssey had been marketed as a cinematic event, and first tickets went on sale a year before the film’s release. Since demand was high, it’s no surprise that The Odyssey took the record for the biggest preview screening of 2026. The Odyssey grossed $17.6 million in Thursday night previews alone, just narrowly beating out Toy Story 5‘s $17.5 million from just one month prior.

‘The Odyssey’ Was the Biggest R-Rated Opening of 2026

Samantha Morton as Circe in The Odyssey Universal Pictures

R-rated horror movies have done exceptionally well at the box office, as seen by the staying power of Obsession and the breakout success of Backrooms. Backrooms set a high bar for an R-rated movie in 2026 and opened to $81.4 million. However, its reign as the biggest R-rated opening of 2026 was as short-lived as The Odyssey has now claimed that spot. Nolan’s epic will likely hold onto this record in 2026.

It Was the Biggest R-Rated Opening Weekend in Universal Pictures History

Matt Damon and Zendaya in The Odyssey Universal Pictures

The Odyssey has the fourth-biggest R-rated opening weekend, behind Deadpool & Wolverine ($211.4 million), Deadpool ($132.4 million), and Deadpool 2 ($125.5 million). However, it did take the record for Universal Pictures’ biggest R-rated opening weekend, which was previously held by Fifty Shades of Grey ($85.1 million). It is also the first R-rated Universal Pictures movie to gross more than $100 million in its opening weekend.

It Had the Best Opening Weekend for a Sword-and-Sandals Epic

Benny Safdie as Agamemnon in The Odyssey Universal Pictures

Among its many records, The Odyssey also set a new bar for the sword-and-sandals genre. This kind of film typically denotes historical, mythological, or biblical epics set in the Greco-Roman era up to the Middle Ages. The biggest opening weekend in the subgenre over the past 19 years was 300, which opened to $70.8 million in March 2007.

‘The Odyssey’ Had the Biggest Opening for Matt Damon

Matt Damon as Odysseus in The Odyssey Universal Pictures

For nearly two decades, The Bourne Ultimatum was Matt Damon’s biggest opening weekend, with $69.2 million. The Odyssey has easily taken the record. Even after adjusting for inflation, The Bourne Ultimatum‘s opening would be about $111 million, which is still below The Odyssey’s opening. This is also Matt Damon’s first starring movie to open above $100 million.

It’s the Biggest Opening Weekend for a Live-Action Film In 2026

Anne Hathaway in The Odyssey Universal Pictures

Nolan’s latest film is the third-biggest opening weekend of 2026, behind Toy Story 5 ($159.6 million) and The Super Mario Galaxy Movie ($131.7 million). However, The Odyssey is the biggest opening for a live-action film in 2026, beating Michael, which opened to $97.2 million. The Odyssey also became the first live-action movie of 2026 to gross over $100 million in its opening weekend.

The Film Is the Biggest Worldwide Opening for a Christopher Nolan Film

Christopher Nolan at the 77th British Academy Film Awards (BAFTAs) at the Royal Festival Hall Cover Images

While The Odyssey’s $124.5 million domestic opening was the third-biggest in Christopher Nolan’s career, behind The Dark Knight ($158 million) and The Dark Knight Rises ($169 million), the film did break the director’s worldwide record. The Odyssey grossed $264 million worldwide, beating the record previously set by The Dark Knight Rises, which made $249.9 million back in 2012. The Odyssey was the biggest opening weekend of Christopher Nolan’s career in 48 countries, including France, India, Spain, Italy, Brazil, Poland, and the Netherlands, proving how the director has become a global brand trusted by audiences the world over.


the-odyssey-poster.jpg


Release Date

July 17, 2026

Runtime

172 Minutes


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The Odyssey, the latest film from director

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De verwerkingstijden voor uitbetalingen bij Rizzio Casino worden niet alleen beïnvloed door de geselecteerde methode, maar ook door het verificatieproces dat moet worden voltooid voordat het geld wordt vrijgegeven. Dit proces omvat strenge verificatievereisten die gericht zijn op het waarborgen van veiligheid en naleving van de regels. Spelers moeten relevante documenten overleggen ter bevestiging van hun identiteit, zoals een officieel identiteitsbewijs en een woonadresbewijs. Hoewel deze focus op beveiliging cruciaal is, kan het leiden tot vertragingen bij het innen van geld. Afhankelijk van de complexiteit van de identiteitsverificatie kunnen spelers verschillende wachttijden meemaken. Begrip van deze tijdschema’s stimuleert geduld en een gevoel van vrijheid, omdat spelers het ontvangstproces met duidelijkheid ondergaan over wat ze kunnen anticiperen. Tolerantie en een goede voorbereiding kunnen de totale spelervaring bij Rizzio Casino verbeteren.

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Game Freak’s Beast of Reincarnation is coming to PC and consoles in just a few weeks, marking a major departure from the studio’s usual output. Built in Unreal Engine 5, the action RPG is now available for pre-order, which comes with a cute cosmetic reward for Koo, Emma’s loyal canine companion.

Here is everything you need to know about Beast of Reincarnation’s pricing, what comes in each edition, and which platforms you can pre-order it on.

Beast of Reincarnation Pre-Order Bonus

If you pre-order Beast of Reincarnation, you will receive the Brown Shiba Skin for Koo and 30,000 Amber.

Image via Game Freak

Unlike Koo’s default white coat, this skin gives the loyal companion the look of a traditional brown Shiba, with the new color extending all the way to the tail. Here’s another look at the skin from the pre-order trailer:

Brown Shiba Skin Beast of Reincarnation Gameplay
Image via Game Freak

You also get 30,000 Amber, which is the in-game currency. I’m not sure if that’s a substantial amount because it does sound like a lot.

Beast of Reincarnation Deluxe Edition

The Deluxe Edition for Beast of Reincarnation comes with the following content:

  • Alternate Brown Shiba Skin for Koo
  • Alternate Black Shiba Skin for Koo
  • Big Dipper sword for Emma
  • Oni’s Hat for Emma
  • 100,000 Amber (in-game currency)
  • Vegetable Seedlings for in-game use
Beast of Reincarnation Deluxe Edition
Image via Game Freak

Here’s a closer in-game look at the Black Shiba skin from the trailer:

Black Shiba Skin Beast of Reincarnation Gameplay
Image via Game Freak

You also get 100,000 Amber, which, paired with 30,000 from the pre-order bonus, should total 130,000 Amber. The Deluxe Edition doesn’t leave out Emma either and includes the Oni Hat and Big Dipper sword for her.

Beast of Reincarnation Oni's Hat and Big Dipper
Image via Game Freak

Finally, the Deluxe Edition also includes Vegetable Seedlings, which are another consumable or potential currency. For an extra $10, you’re getting a mix of cosmetics and in-game items, but no additional story content or future DLC.

Beast of Reincarnation Editions Comparison

Reward Standard Edition (Pre-order) Deluxe Edition (Pre-order)
Brown Shiba Skin for Koo ✅ ✅
30,000 Amber (Pre-order Bonus) ✅ ✅
Black Shiba Skin for Koo ❌ ✅
Big Dipper Sword for Emma ❌ ✅
Oni’s Hat for Emma ❌ ✅
Additional 100,000 Amber ❌ ✅
Vegetable Seedlings ❌ ✅

Beast of Reincarnation Edition Price
Standard Edition $59.99 USD
Deluxe Edition $69.99 USD

You can pre-order the title from the links below:

Beast of Reincarnation Release Date

Beast of Reincarnation is launching on PC, Xbox Series S|X, and PS5 on August 4, 2026.

Can You Play Beast of Reincarnation Early?

No, the Deluxe Edition of Beast of Reincarnation doesn’t have an early access incentive, so everyone will be able to play on the same date.

Is Beast of Reincarnation Coming to Xbox Game Pass?

No, Beast of Reincarnation is not coming to any tier of Xbox Game Pass.

Is Beast of Reincarnation Coming to PlayStation Plus?

No, Beast of Reincarnation is not coming to any tier of PlayStation Plus.

Beast of Reincarnation is a wildly different title from the Pokémon games we’ve come to expect from Game Freak, and it’s easily one of the studio’s most interesting projects in years. Early impressions have been positive, and hopefully the final release lives up to that promise. It’s also nice to see Koo getting some customization options, and here’s hoping there are even more skins to unlock beyond the brown and black variants.

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Location Managers Guild International has the recipient of its 2026 Trailblazer Award. The group will honor the Association of Film Commissioners International during the LMGI Awards on August 22 at the Eli and Edythe Broad Stage in Santa Monica.

The award recognizes individuals and organizations whose visionary leadership has expanded opportunities, inspired innovation and left a lasting impact on the film and television industry, per LMGI.

Founded more than a half-century ago, the AFCI is the leading global network for film commissions, working to strengthen relationships between film commissions and the screen industry through education, advocacy, professional development, and strategic connections. Its programs, events and resources — including the Global Production Network Tool — connect producers, content creators, location managers, studios and other industry professionals directly with AFCI member film commissions worldwide.

RELATED: Emmy Nominations 2026: The Complete List

The Location Managers Guild said it is honoring AFCI this year for its global leadership in advancing the film commission profession, fostering collaboration across the screen industry and strengthening partnerships that enable film and television productions to succeed in communities around the world.

“Location managers know that every successful production depends on collaboration, LMGI Awards chair Nancy Haecker said. “Throughout our careers, location managers have benefited from the expertise of film commissions, which help connect productions with communities, build local partnerships, and navigate production complexities. AFCI has played a vital role in strengthening that global network of film commissions, helping them become even stronger partners for location professionals and the production teams they serve.”

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Location Managers Guild International has the recipient

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Andy Burnham is, officially, the U.K.’s seventh Prime Minister in 10 years.

The 56-year-old has been named Britain’s new political leader and begins his stint in office from Monday, after being named leader of the Labour Party and meeting with the King, who invited Burnham to form a government. It is unclear if culture secretary Lisa Nandy, currently responsible for shaping industry policy around British film and TV and securing funding for the BFI, will remain in her post in Burnham’s cabinet. A reshuffle is imminent, but the two are long-time friends and allies in British politics.

Britons knew Burnham would be PM weeks before this announcement. His predecessor, Keir Starmer, was pushed into resigning by his own party following months of speculation that he was deeply unpopular among Labour ministers. Starmer’s critics said he tried too hard to pander to Conservative and Reform voters on issues such as Gaza, transgender rights, as well as immigration and measures to tackle soaring inequality.

Ultimately, Starmer simply wasn’t deemed a particularly strong leader for Britain. Enter Burnham, whose supporters believe he can bring the fight to Nigel Farage’s far-right Reform U.K. at the next general election, while maybe even winning over some Green Party voters while he’s at it.

Burnham was born in a suburb of Liverpool and joined the Labour Party at 15 years old. After studying at Cambridge University, he slowly rose through the U.K.’s political ranks and worked in government for former PMs Tony Blair and Gordon Brown. He’d later take on shadow secretary roles for Ed Miliband and Jeremy Corbyn, though through this time also launched multiple (and unsuccessful) campaigns to become Labour Party leader.

From 2017 until 2026, Burnham was mayor of Greater Manchester, a position that earned him an image as a real “man of the people.” Over the last decade, his superpower has been acquiring an incredibly broad appeal across the north of England. Part of this is thanks to his instrumental role in introducing and passing the Hillsborough Law, legislation designed to prevent state cover-ups following public disasters and scandals. It earns its name from the Hillsborough disaster in 1989, which saw 97 Liverpool fans killed in a crowd crush at a soccer game, and the decades-long fight by victims’ families to pry the truth out of authorities.

He sits closer to Corbyn than Starmer or Blair on the left, and has even been branded “King of the North” for his anti-Westminster approach. This will be one of the central themes of Burnham’s government: pushing power out of London and into regional political hubs, as well as bolstering public transport to northern cities and tackling homelessness and social housing.

But Burnham will have to traverse some pretty bumpy political terrain here in Britain, with far-right politicians committed to weaponizing immigration policies and stoking the flames of division. Farage’s Reform, in particular, is eyeing a win in the next election — which will take place no later than August 2029 — though Kemi Badenoch’s Tory Party is increasingly taking a far-right stance on certain policies to claw back some of those voters lost to Reform.

Burnham has wanted to lead the Labour Party for much of his political career, and now faces an uphill battle in appointing a competent chancellor, finding £9 billion ($12 billion) for Britain’s defense, protecting the NHS, building the 1.5 million homes Labour promised in their manifesto, and getting over a million young people into work amid a brutal job market.

Add on top of this the fine line he has to walk on immigration, policing, and Gaza, and Burnham would be forgiven for feeling a little daunted. He maintains he is not. “I hear you. We have not been good enough and we need to be better. We will be,” he said from outside the Prime Minister’s official residence, 10 Downing Street, on Monday afternoon.

“We will make this moment a circuit-breaker for Britain and there will be a new political model,” he added. “I will put the care of people at the heart of everything I do. I will give this my all, and I ask you all to pull with me. Let’s build a new national sense of unity, of common purpose, and positivity. Let us make this the moment when Britain starts to believe again — the moment we bring back hope.”

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Andy Burnham is, officially, the U.K.’s seventh

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Following weeks of consistent play, I discovered myself opening Malina Casino not from routine but out of genuine preference. The combination of swift payouts, a curated game library, and polite communication created a connection that feels more like a collaboration than a transaction. I never got a aggressive email encouraging me to fund my account, and the offers that did come were relevant to the games I truly play. The VIP programme continued to reward me at a pace that felt fair, and I never experienced a technical glitch that interrupted a gaming session. I also noticed that the platform evolves. New games arrive weekly, the bonuses page updates with seasonal promotions, and the user interface undergoes small enhancements that show continuous development. This is not a stagnant casino that was released and abandoned. It feels alive, and that energy transfers to my own experience. I have endorsed it to friends who understand my frustration with cookie-cutter operators, and every one has reported the same pleasant surprise. In a industry filled with noise, Malina Casino stands out by merely doing the fundamentals remarkably well and never forgetting that behind every account is a player searching for a great time.

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If you can’t watch The Odyssey this weekend, I have good news for you: There is another very good movie about Matt Damon trying to get home, and it’s called The Martian. Based on the book of the same name by Andy Weir (aka the guy who wrote Project Hail Mary), this smart sci-fi film—anchored by Damon’s down-to-earth performance—will keep your eyes glued to the screen. Damon stars as Dr. Mark Watney, a botanist and astronaut left alone to fend for himself on Mars, after a NASA mission goes wrong.

Photo: Everett Collection

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By Anna Menta If you can’t watch The Odyssey

Christopher Nolan’s “The Odyssey” is easily the best-reviewed movie of the year so far — but it’s also creating a major headache for movie-goers trying to secure a spot at one of the few IMAX 70mm screenings. If you get a chance to see the movie this weekend — or bought your tickets up to a year in advance — listen to this week’s episode of IndieWire’s “Screen Talk” podcast.

Joined by IndieWire Craft Editor Sarah Shachat, co-hosts Anne Thompson and Ryan Lattanzio dive into what Nolan gets right and wrong about Homer’s epic poem, and why, but also… who cares when you’re in the face of such extraordinary filmmaking? Nolan is here to tell a new story about the decline of civilization, even if his Odysseus is sanded down, stripped of the brutality as seen in the epic poem, and here reconfigured as more of a dignified problem-solver who is nonetheless flawed and hubristic.

Sarah takes us behind the meaning of the mysterious “sea peoples” who are never seen in the movie but are often referenced by Odysseus (Matt Damon) and Penelope (Anne Hathaway). We also talk about the gainless culture wars raging online about the casting of Lupita Nyong’o as Helen of Troy and Helen’s half-sister, Clytemnestra (identified in the movie as Helen’s “twin,” another of Nolan’s artistic flourishes riffing off the text), and Elliot Page as Sinon, the Greek soldier who acts as a bait-and-switch for Odysseus to storm and sack Troy.

Elsewhere on the podcast, we also preview the latest film festival announcements, from Venice kicking off with Danny Boyle’s Rupert Murdoch bio-drama “Ink” to the New York Film Festival launching with James Gray’s “Paper Tiger,” a surefire Oscar contender and one of the year’s best-directed movies.

Plus, what impact will the 12-state antitrust lawsuit attempting to block the Paramount/Warner Bros. Discovery merger have on the deal? We are cynically, with a heavy heart, assuming not much.

Listen to the episode below or on your preferred podcast platform.

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Christopher Nolan’s “The Odyssey” is easily the

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Au-delà de l’infrastructure technique, l’équité des jeux est confirmée par l’utilisation de générateurs de nombres aléatoires certifiés par des laboratoires autonomes, tels qu’iTech Labs ou eCOGRA. Ces organismes vérifient que les résultats des machines à sous et des jeux de table ne sont pas truqués et qu’ils sont conformes aux taux de redistribution annoncés. Pour vous, cela se traduit par la certitude que chaque partie se déroule de manière équitable. J’ajoute que le casino met en avant des outils de jeu responsable qui permettent de fixer des limites de dépôt, de session ou de perte, ainsi que des options d’auto-exclusion temporaire ou permanente. C’est un engagement concret en faveur d’une pratique du jeu maîtrisée.

Une ludothèque riche et variée pour tous les préférences

La grande chose qui m’a frappé en parcourant Spingranny Casino, c’est la variété de son catalogue de jeux. Vous y découvrez bien sûr un nombre considérable de machines à sous, des classiques à trois rouleaux jusqu’aux vidéo slots les plus nouvelles, avec des thèmes qui parlent à tous les imaginaires. Les amateurs de jackpots progressifs ne sont pas en reste, avec des titres capables de transformer une mise modeste en gain éventuellement massif. J’ai pu constater que les jeux viennent d’éditeurs reconnus comme NetEnt, Pragmatic Play ou Play’n GO, ce qui garantit des graphismes soignés, des bandes-son immersives et, surtout, un fonctionnement irréprochable basé sur des générateurs de nombres aléatoires certifiés.

Le casino en direct requiert une attention particulière, car il simule l’ambiance d’un établissement physique avec des croupiers professionnels filmés en temps réel. Vous pouvez vous installer à une table de blackjack, de roulette ou de baccarat et échanger avec le croupier et les autres joueurs via un chat. J’ai essayé plusieurs tables et la qualité du streaming est remarquable, même sur une connexion standard. Pour ceux qui apprécient le rythme plus posé des jeux de table virtuels, le choix est tout aussi large : plusieurs variantes de poker, de vidéo poker et de jeux de dés sont proposées en quelques clics. Cette abondance permet de diversifier les plaisirs sans jamais s’ennuyer.

Ce que j’apprécie particulièrement, c’est la possibilité de filtrer les jeux par catégorie ou par fournisseur, ce qui simplifie énormément la navigation quand on désire un titre précis. Un mode démo est souvent disponible, vous autorisant d’essayer une machine à sous gratuitement avant de miser de l’argent réel. C’est un outil important pour se acclimater avec les mécaniques de jeu, les fonctionnalités bonus et la volatilité d’un slot. Je vous suggère de toujours utiliser cette option pour préciser vos préférences et jouer ensuite en toute connaissance de cause, ce qui accroît la confiance dans vos sessions.

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Liam Gallagher did not enjoy the halftime show during the final match of the FIFA World Cup on Sunday night. The Oasis singer, who has been very vocal about the games throughout the sporting event, likened the performances by Madonna, Shakira, Justin Bieber, BTS, Burna Boy, composer Gustavo Dudamel, and the Muppets to a “bad trip.”

“This is like a bad trip,” the musician wrote on X. “It’s a good job I’ve got my spiritual socks on or that halftime entertainment could have tipped me over the edge.”

The halftime show began with a two-song performance by Madonna, who rode through New York New Jersey Stadium’s underground tunnels in a golf cart driven by Brazilian football legends Ronaldo and Ronaldinho while blazing through a new version of her 2000 hit “Music” and her recent single “Danceteria,” from the fresh release Confessions II.

BTS popped in to perform a few seconds of their hit “Dynamite,” while actor Jason Sudeikis came onto the pitch in character as Coach Ted Lasso, with his trusty deputy Coach Beard (Brendan Hunt) by his side, in order to give a pep talk to Justin Bieber. Bieber then performed a rendition of his “Everything Hallelujah.”

The show also featured “Dai Dai,” by Shakira and Burna Boy, and the PS 22 Chorus — a choir comprising fourth and fifth graders from a public elementary school in Staten Island — performing a song written by Coldplay called “We Dance,” with frontman Chris Martin joining in.

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Gallagher was perhaps disappointed by England’s loss on Wednesday night, which opened the door to Argentina going up against Spain the final. Oasis’ hit “Wonderwall” had become the team’s unofficial anthem leading up to the semi-finals, with Gallagher leading the charge on its popularity. “Cmon England cmon Wonderwall,” he wrote ahead of the match with Spain.

Oasis will release Don’t Look Back in Anger, the almost-shelved documentary about the Gallagher brothers’ unlikely comeback, in September. The film was created by Peaky Blinders’ Steven Knight and directed by Dylan Southern and Will Lovelace, and will open in IMAX and cinemas before arriving on Hulu and Disney+ later this year.

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Liam Gallagher did not enjoy the halftime

In the 1960s, the avant-garde film movement began. This was both the best and worst thing to happen to cinema. It was great in that the experiments conducted on film by luminaries such as George Pekar, Stan Brakhage, and Robin Leacock led to the wild technological innovations we enjoy today. It was bad in that it taught generations of filmmakers there were no boundaries. You could do as you please, and no matter how terrible the final product, you could always fund another experimental film.

A.I. has only intensified the need to create wildly strange obscurantist cinema. Nay, not even film. Sometimes these productions are in fact video sculptures. What, dear reader, is a video sculpture? It’s an action, a singular action captured on video. Bill Viola and Nam Jun Paik were famous practitioners of video sculpture. And with The Cerebral Organoid, we have been introduced to a film that is, in fact, a video sculpture powered by Mutant A.I.

The Cerebral Organoid is an experiment administered by the Cerebral Organoid Research Institute. In this video tour of the facility, the spectator will experience a series of vignettes – nay, video sculptures prepared by Ian Haig and his collaborator Phillip Brophy. Powered by A.I. Tools, and featuring limited in-camera acting and effects, the sculptures all inform us that the Cerebral Organoid Research Institute is studying the effects of brain rot caused by A.I. It’s measuring and testing this brain rot with – you guessed it – an A.I. Tool. This wickedly tongue-in-cheek feature of the film The Cerebral Organoid is broadcast to us over and over, ad infinitum.

A bandaged patient slumps in a wheelchair inside a decaying medical facility in The Cerebral Organoid.

“The Cerebral Organoid Research Institute is studying the effects of brain rot caused by A.I.”

Dear Reader, The Cerebral Organoid is a pure experiment of cinema. This is a test of how much of a cineaste you are. Can you tolerate watching an hour of video sculptures that are brilliantly shot and rendered? Are you able to tolerate repetitive imagery detailing the grotesqueries of exploring brain rot in human males? If you answered yes to these questions, then it is indeed the case that you may very well enjoy The Cerebral Organoid for the avant-garde film experiment it is.

One of the tropes in Haig and Brophy’s work I most appreciate is the repeated leitmotif of the AI voice issuing an apology for the routine maintenance of the Institute, which may lead to AI hallucinations. This particular trope of The Cerebral Organoid will move on a trajectory from annoying to simply charming. It wears you down as you watch this hour-long experiment progress.

Another trope I would urge you to track, dear reader, is the position of the brain. Let me explain. There is a human brain, or at least an AI-generated image of one. It will be positioned in various parts of the screen over the course of The Cerebral Organoid. Depending on where it’s situated determines how far from normalcy this gonzo experiment is being pushed with each and every shot of each and every video sculpture. It really engages you, following where Haig places the brain in each shot.

So, how does this experimental film compare with other A.I. efforts I have witnessed? The Cerebral Organoid is the hands-down winner, bar none. This wild fantasia of gruesome visual expressionism is a hoot, albeit one for a very specific cinematic taste bud involving sadomasochism. If you have the daring, the intestinal fortitude, and the will to view a truly wild avant-garde experiment, seek out The Cerebral Organoid. It will blow your mind.

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In the 1960s, the avant-garde film movement

Donors to the Ontario Progressive Conservative Party have funded thousands of dollars in meals, flights and hotel room costs for Willowdale MPP Stan Cho — a former senior minister in Premier Doug Ford’s cabinet who resigned amid a spending scandal at Queen’s Park.

Detailed disclosures from Cho’s constituency office show, between 2023 and 2026, the MPP billed the office for pricey dinners at steakhouses and lobster restaurants, airline tickets, hotel stays at the Fairmont Chateau Laurier and even the cost of renting a vehicle from a limousine company.

The revelation comes less than a week after Cho was forced to pay the Ontario Legislature back more than $16,000 in hotel room expenses that he billed to taxpayers over three years.

Cho, who lives just six kilometres away from Queen’s Park, claimed the expenses under a “special circumstance” designation.

The former minister resigned from cabinet on Friday morning, admitting that charging the public for the hotels was a “mistake.”

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“Looking back now, I made a mistake. I am taking full responsibility,” Cho said in a statement. “I did not stop to ask how it would look to a person in my riding working a double shift.”

The latest expenses, however, raise new questions about Cho’s donor and taxpayer-funded lifestyle and whether the Ford government and Progressive Conservative Party view them as out of bounds.

While riding associations typically generate revenue through donations to the party, constituencies also receive a per-vote subsidy, which results in thousands of dollars in income from Elections Ontario, which is ultimately public money.

“What you see when you look at the riding association expenses is a whole bunch of expenses that seem to be used to support a lavish lifestyle by Stan Cho,” Ontario Liberal MPP Adil Shamji told Global News.

“It paints the picture of someone who really enjoys a particularly lavish lifestyle and is essentially using different credit cards to be able to expense these things.”

All of Cho’s expenses were certified by the riding’s Chief Financial Officer between 2023 and 2025 and submitted to Elections Ontario’s compliance division.

Global News asked Cho’s constituency office, the Ontario Progressive Conservative Party, and the premier’s office to outline the necessity of the expenses, but did not receive a response.

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Over the course of three years, Cho submitted nearly $100,000 in food and beverage expenses to his riding association, all of which were reimbursed using donor cash and taxpayer-funded subsidies.

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While Cho claimed all the expenses were for “meetings hosted,” many took place outside his Willowdale riding, including in upscale restaurants in downtown Toronto and other establishments scattered around the GTA and beyond.

Dozens of receipts indicate Cho was billing the riding association for meals at Sotto Sotto in Yorkville, Barberian’s Steak House near Yonge Street, The Score on King Street, the Fishman Lobster Clubhouse in Scarborough and the ONE Restaurant in the swanky Hazelton Hotel.

At one restaurant alone, Sher-E-Punjab on Danforth Avenue, Cho expensed more than $16,500 over three years for “food and beverages,” claiming he was hosting meetings at the restaurant.

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Another $10,500 was spent at Nome Izakaya, which bills itself as “Toronto’s premier Japanese tapas bar.”

Cho also spent more than $9,000 on food, beverages, catering and room rentals at the members-only Albany Club over the three-year time frame and $1,621 at various steak houses in Toronto.

Other expenses include:

  • $6,055.12 at Moxies
  • $2,724.11 at Mapo Korean
  • $2,050.96 at The Keg

While some of the expenses, including LBCO and Beer Store purchases, might have been used for larger employee and volunteer appreciation events, dozens of meals charged to the riding were within the $200 to $300 range, suggesting a small number of diners.


Cho’s riding expenses also show multiple flights and hotel trips that took the MPP out of the constituency, with little explanation about how the travel benefited residents in Willowdale.

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Between 2023 and 2025, Cho billed the constituency more than $6,100 for airfare on Porter Airlines and Air Canada.

While the expense logs don’t offer details on the destinations, Cho also submitted $12,700 in hotel expenses, which shed some light on where the MPP had travelled.

Over the three-year time frame, Cho travelled to Ottawa, Banff, Calgary and Montreal and charged his riding to stay in upscale hotels such as the Fairmont Chateau Laurier, the Hilton hotel, the Fairmont Pallister and the Rimrock resort hotel.

“There are all sorts of peculiarities that seem to suggest that many of these expenses didn’t serve the purpose of representing his constituents,” Shamji said, “And instead served the purpose of allowing him to enjoy a lavish lifestyle.”

Cho expensed $318.66 to stay at the Clock Tower Inn, a historic hotel in Strathroy, Ont., roughly a three-hour drive away from his north Toronto riding.

In 2025, Cho also billed the riding $1,500 to rent a vehicle from “Top Limo,” which specializes in luxury SUVs, stretch limousines and party buses.

Expense records also show MPP Cho was billing the riding association to attend events at various sporting venues in Toronto — a bill that totalled $13,388 over four years.

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Much of that money was spent at the Rogers Centre, where Cho claimed he hosted meetings that required food and beverage expenses.

In 2022, Cho submitted $1,138 in expenses for food at the Rogers Centre during a Toronto Blue Jays game — part of those expenses were incurred during the provincial election campaign period.

In 2024, the price tag escalated dramatically. Cho, once again, hosted a meeting at the Rogers Centre during a Toronto Blue Jays game and charged his constituency association $6,970.67.

During the 2025 snap election campaign, the MPP charged the constituency $3,000 for a “suite rental” at the Rogers Centre, along with food and beverages.

It’s unclear what event Cho would have attended at the Rogers Centre that required a suite during that time period.

Disclosures also show Cho charged the riding association for food and beverages at the Scotiabank Arena and with Maple Leafs Sports and Entertainment, totalling more than $1,600.

Global News asked the Ontario Progressive Conservative Party whether supporters are told their donations could be used to fund meal, travel, hospitality and entertainment expenses of the MPPs.

The PC Party did not respond to the question.

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Donors to the Ontario Progressive Conservative Party

Fresh off the set of Star Wars: Starfighter, Daniel Ings (A Knight of the Seven Kingdoms, The Gentlemen) has joined Jessica Brown Findlay (Peaky Blinders, Downton Abbey) in Olivia Grant’s directorial debut, a short film called The Two Week Wait.

Fenella Woolgar (Call the Midwife), Rick Warden (Happy Valley), and Sophie Colquhoun (Captain America) co-star in the project, following a woman in her late thirties (Brown Findlay), who comes up against a series of dissociative experiences as she navigates her deteriorating mental health during the rollercoaster of IVF alongside her incompetent, albeit guileless, boyfriend (Ings).

The Two Week Wait, penned by Grant, is a co-production between her new production banner Cavalry Films and Symphony Films, headed up by actor-producers Rebecca Night (Wuthering Heights) and Harry Hadden-Paton (The Crown). The film is set to premiere on Tuesday at the Indy Shorts Film Festival.

Grant, best known for her acting roles in Stardust, Lark Rise to Candleford and Indian Summers, told The Hollywood Reporter that her desire to start making film came from a mixture of timing and a new sense of urgency. “I’ve wanted to make my own work for a while now and, like many actors, had a feature script I’d been quietly writing for a couple of years, but there was always enough acting work not to focus exclusively on writing, and I was ambivalent about what I would write about. It was COVID that changed that; firstly because it cleared time to focus on generating new work and, secondly, because it coincided with my personal struggles with IVF and its mental toll. As a way to hold on to my sanity, I ended up writing a 30,000-word diary documenting the rollercoaster of grappling with my infertility and transcribing the arguments my husband and I were having, which felt very specific to the process and uniquely gendered.”

She continued about her personal experience influencing the process: “It was only as the world opened up again, and I was able to reconnect with more women and couples, that it became clear that many elements of my mental anguish were remarkably universal. My shame around not being able to have a child and what that meant was normal; my partner’s difficulty salving that particular wound for me was perhaps predictable, and the intense sense of dissociation that permeated that period was again part of the experience for many. Like a lot of women, I did not share the experience with my close friends and family and suddenly felt there was a real need to shed some light on what can be the profound interpersonal effects of this remarkably successful, albeit oft-harrowing, process.”

The Two Week Wait is a proof of concept for a feature-length narrative Baby Mine, slated for 2027, she added. Ings and Brown Findlay are also attached, with Amy Hubbard on board as casting director.

Ings added: “Olivia is a singular new voice in British filmmaking, with a lot to say on some fairly universal themes affecting many women. Getting to work with her, Nanu Segal and Jessica Brown Findlay on this beautiful film was an embarrassment of creative riches. You haven’t heard the last of Olivia Grant.”

Night describes the script as “so instantly unique, compelling and beautiful.” She said: “[It] deals with the choices we make, the relationships we foster, and people seeking love and connection as they journey together through life’s struggles. Full of drama, yes, but so witty and heart-wrenching too.”

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Fresh off the set of Star Wars:

You might already know how to style wide-leg pants, but if you’re like me, you probably have a formula you rely on way too much. With a new season on the horizon—and no end to the baggy pants trend in sight—it’s time to push ourselves to try something fresh. Consider this your crash course in making the most of the slouchy, relaxed staple.

I’d argue tgat anyone, tall or petite, can pull off wide-leg pants—and that’s coming from a 5’2″ fashion writer. No matter your height, it’s important to play with proportions; try balancing them with fitted tops or nipped-waist layers. That said, if you prefer oversized ’fits (à la Billie Eilish or Hailey Bieber), by all means, go for it. Baggy trousers and a slouchy button-down are just as suited for work as they are for play. Scroll on for six fresh ideas on how to style wide-leg pants in 2026.

What to wear with wide-leg pants, at a glance

Buck Mason Surplus Rib Scoop-Neck Tank

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Hollister Andi Low-Rise Super-Baggy Jeans

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For a nice brunch

BARCELONA SPAIN  JUNE 22 Anna Wein wears striped multi colored Mango top white wide leg Zara pants Mango heels shoes...

Christian Vierig/Getty Images

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You might already know how to style

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Ewan Mitchell shares few similarities with Aemond Targaryen, his unhinged character on HBO’s “House of the Dragon.” The British actor, 29, is soft-spoken, thoughtful and quick with a “thank you.” His hair is currently brown rather than Targaryen blond, although he says the color is actually left over from filming Justine Triet’s upcoming psychological thriller “Fonda.” Although he is very different from the power-hungry second son he plays on TV, Mitchell understands him.

“I always empathize with that little kid in Season 1,” he says, speaking from London’s 180 House on a sunny day in July. “He was this neglected, bullied boy. He was never given a dragon egg. So from the beginning he recognized that he was on the back foot, and he was bullied for being different. What’s nice about Season 3 is it’s showing Aemond’s true colors.”

Early in Season 3, Aemond asserted his dominance over his mother Alicent (Olivia Cooke) with a gasp-inducing kiss on the mouth, a moment Mitchell compares to Michael Corleone’s iconic kiss on Fredo in “The Godfather Part II.” The disgraced prince regent left King’s Landing for Harrenhal in search of Daemon (Matt Smith), only to murder Ser Simon Strong and his sons instead. His fray with the Strong family was triumphant, but left Aemond with a wound in his side. He begged the castle’s mysterious inhabitant Alys Rivers (Gayle Rankin) to help him before vanishing for the next two episodes.

In Episode 5, Aemond is back. At first, he appears wounded and broken. But he ably defends Alys from a group of invaders, relying on muscle memory and — perhaps — a sense of honor to pay her back for saving his life.

“I liken Harrenhal to the White Lotus of Westeros,” Mitchell says. “It’s a place you go for a retreat. You have all of your toxins drawn out of you. You have to confront them head on. You discover like the darkest, deepest places of yourself. And the general manager of that place is Alys Rivers.”

In Episode 5, Aemond (Mitchell) fights off invaders, saving Alys’ life.

(Theo Whiteman / HBO)

The upcoming episodes will keep Aemond at Harrenhal with Alys and expand on the events of George R.R. Martin’s 2018 book “Fire & Blood,” on which the series is based. Showrunner Ryan Condal wanted to explore what wasn’t in Martin’s fictional history of Westeros.

“We knew from the book that he goes to Harrenhal and effectively disappears, at least from the interactive narrative,” Condal says, speaking later over video call. “It’s thought that he establishes some relationship with Alys Rivers. We had that as a baseline, but the idea was: ‘Where can we take Aemond from here?’”

He adds that there was “a danger of the character becoming an anime villain,” which the writers wanted to undercut. “He looks a certain way,” Condal says. “He has this eye patch. He rides this Godzilla-sized dragon. And he’s done some pretty reprehensible things.”

But the writers wanted to go beyond Aemond’s surface, to “a different place and excavate that trauma and vulnerability.”

Mitchell says Alys is the key to Aemond finding himself. “We know his dragon Vhagar is missing,” he says. “And if Aemond is nothing without his dragon, then does he really deserve her? We’ve got to challenge what we know of the character already … Vhagar was the wind in his sails.”

He compares Aemond with Spider-Man, an oddly aligned character. “With great power comes great responsibility to wield that power,” Mitchell says. “He’s got to be able to show he can control it effectively. That’s what he wanted to prove throughout Season 1 and 2.”

He laughs: “It’s just like ‘Spider-Man 2.’ I find it really interesting building up this character over two seasons to bring him back down.”

A man in a brown suit leaning against a set of glass windows with his foot propped up on the ledge.

“I find it really interesting building up this character over two seasons to bring him back down,” Mitchell says of Aemond, who is facing turbulent times in Season 3.

(Jennifer McCord / For The Times)

Condal adds, “He’s feeling isolated and alone and he possibly has made an enemy of his family. And then this woman saves him. He feels this sudden magnetic draw to her. In the episodes that follow, we will further excavate that relationship. It’s one of the most surprising and engaging and emotional stories we have this season.”

Mitchell first appeared as Aemond, the son of Viserys and Alicent and the brother of Aegon II, in the eighth episode of Season 1. He was originally played by Leo Ashton, who Mitchell says “really set up the character for me.” Production had already begun when Mitchell auditioned, first with a self-tape and then for the producers. Initially, he didn’t know which character he was up for.

“I knew this character was the younger brother and that was like a theme of the first season and going through further seasons,” Mitchell recalls. “The second son out to prove his worth.”

Mitchell’s audition was memorable. “He came into the room in character and he scared all of us,” Condal says. “I remember the first question that I asked [our casting director] after he left was, ‘Is he always like that?’ Because it felt like he had gone to such a dark place just to do the audition. When I spoke to him later, I loved how different the person was on the phone versus the person I met in the room.”

To play Aemond, Mitchell looked at MMA and cage fighters to hone in on the character’s agile, brutal fighting style. He trained physically to make Aemond lean but also strong and imposing. He took inspiration from paintings, including Alexandre Cabanel’s 1847 work “The Fallen Angel,” which depicts the devil after his fall from heaven.

“There’s this tear in his eye and you don’t know if he’s feeling sorry for himself or he’s looking at things to come,” Mitchell says. “Is he thinking about the harm he’s going to inflict in retaliation? That was something I wanted to do in Season 2. It contrasts his muscular physique. It’s a mixture between vulnerability and sheer muscle.”

Season 2 saw Aemond purposefully incinerating his brother, leaving him badly burned, and decimating the Riverlands while on Vhagar. The character was grappling for power, even if it meant brutalizing his own family. Condal hints that a reckoning with Aegon will come.

“In the great tradition of ‘Game of Thrones,’ I feel like that is a fairly safe bet,” he says. “Characters are scattered all over the map and then slowly find themselves being brought back together, but in different forms. That was always something we were talking about doing with Aemond and Aegon.”

A man in a brown suit holding his hand near his mouth.
A man in a brown suit with no undershirt looks out a window.

To play Aemond, Mitchell looked at MMA and cage fighters to hone in on the character’s agile, brutal fighting style. He also took inspiration from paintings, including Alexandre Cabanel’s 1847 work “The Fallen Angel.” (Jennifer McCord/For The Times)

Mitchell sees Aemond as a product of his circumstances, rather than just a murdering psychopath. He was bullied as a child and coddled by his mother, but never received the unconditional love he craved. He was taken to brothels from an early age. He lost an eye. And he grew up in the midst of a brutal war between the Greens and the Blacks. Now he has to reckon with what he’s done.

“You might not understand all of the things he does,” Mitchell says. “And you might not feel like you’re supposed to understand all the things he does. But you do feel something for him. In the moment he saves Alys, maybe there is a redeemable Aemond in there somewhere.”

Cooke says she loves working opposite Mitchell thanks to his complex approach to the character.

“He has such intensity and helps me as an actor in playing Alicent to feel like I’m completely on the back foot,” she says in a voice memo. “It’s filled with tension trying to guess what he’s going to do. Yet in reality, he is the most gentle, lovely, quiet, beautiful person. He’s a joy to work with and I think he makes such interesting choices outside of ‘House of the Dragon.’”

Between Seasons 2 and 3, Mitchell filmed Emerald Fennell’s “Wuthering Heights.” He had previously worked with the filmmaker on 2023’s “Saltburn,” for which he auditioned using a Harold Pinter monologue. For “Wuthering Heights,” Fennell simply texted Mitchell asking him to play Joseph, a servant in the Earnshaw house, whose sexual depravity electrifies Cathy.

A shirtless man with long blond hair embraces a woman in a dark dress.

Aemond (Ewan Mitchell) and Alys (Gayle Rankin) share a tender moment in Episode 5.

(Theo Whiteman / HBO)

“I was like, ‘If you asked me to shine your shoes, Emerald, I would do that,’” Mitchell says. “All of her characters are so vibrant and so nuanced, and there is such a vision you see in her films. She’s a one-of-a-kind, singular visionary. I’ve learned so much working with Emerald that I’ve taken forward in my career.”

One of those things was a more playful, loose approach to acting. During his first two seasons of “House of the Dragon,” Mitchell felt locked into a particular performance. “I learned the scripts verbatim,” he says. “Aemond is such a calculating character and everything he does is premeditated. He’s so in control of himself. I found myself offering up the same take every single take.”

After working with Fennell on “Saltburn” and “Wuthering Heights,” Mitchell felt more freedom. She encouraged him to give a range of performances on set, allowing her to find the character during the editing process. He brought that with him to the third season of “House of the Dragon.”

“With Aemond being so unsure of himself, it happened more naturally,” he says. “He’s learning new things about himself. I was really open to finding the scene organically on the day and not coming in with any preconceived choices. And I found so much more enjoyment in it.”

Condal observed Mitchell’s looser approach. “I don’t think Ewan was ever rigid,” Condal says. “But what I saw happen over the seasons was someone learning from their professional experience. As a massive fan of Emerald Fennell’s work, I can see how being in that very different crucible could help him become his best version. We probably demanded the most out of Ewan in Season 3 than any of the other actors.”

A black and white photo of a man leaning against a window with reflections seen on the glass.

Mitchell says working with Emerald Fennell helped him take a looser approach to acting.

(Jennifer McCord / For The Times)

Since wrapping Season 3 last fall, Mitchell has stayed busy. He filmed “The Way of the Runner” in China with first-time filmmaker Yutong Bai, Gareth Evans’ remake of the 1960s Japanese crime film “A Colt Is My Passport” in Wales, Luna Carmoon’s sophomore feature “To Make Ends Meat” in London and Can Aydin’s directorial debut “The Healer” in Budapest. He then flew to France to work with Triet, an experience he loved because she shot on film. “Knowing you’ve only got a limited amount of time, there’s something beautiful about the imperfections of performances,” he says. “There was such a great energy with everyone in the room.”

Mitchell has been attracted to performing for as long as he can remember. Growing up in Derby, England, he admired films like “Citizen Kane” and “Taxi Driver” because they centered on “characters you don’t completely understand.” He appreciates the scope of projects he’s done so far, from the massive scale of production on “House of the Dragon” to smaller art house films.

“I love working as much as I can and learning,” he says. “I’d love to keep working with debut directors. After the recent films I’ve done and seeing ‘Obsession’ and ‘Backrooms,’ it’s really motivating seeing what they can do.”

Although Mitchell looks nothing like Aemond, he is frequently recognized. Someone stopped him on his way here today to ask for a photo. “I think it’s the chin,” he grins. He knows he’s inextricably linked to the character, for better or worse. He can’t give much away about what’s to come in Season 3, but Aemond is certainly not down for the count.

“What makes him so dangerous is that just when you think he has nothing left in the tank, it’s like, ‘Guess again,’” Mitchell says. “It’s not a question of whether he’s going to do evil. It’s inevitable that he will do it. And it will be brutal and it will be fast.”

He pauses, unsure of what he can reveal. “I don’t want to spoil anything,” he says carefully, “but I can’t wait for people to see what Harrenhal has in store for him.”

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LONDON — Ewan Mitchell shares few similarities with

Peter Parker’s world will be flipped upside down in Spider-Man: Brand New Day, a movie that will mark an important first for the franchise. Without a doubt, the Wall-Crawler’s fourth MCU solo outing will be his toughest challenge yet. Old villains like Scorpion and new ones like Tombstone and Boomerang seek to make New York City their playground, putting countless lives at stake.

And to make matters worse, there’s also a mystery villain on the loose with telepathic powers that they will seemingly use to unleash the Hulk. In the past, Spider-Man would’ve called up another MCU hero to help him with his giant green problem. However, he’s riding solo this time around because everyone forgot all about him at the end of Spider-Man: No Way Home.

All Spider-Man will have at his disposal are his own incredible gifts. But even those are going to stir up trouble because the hero’s set to undergo a transformation. His strength, senses, and agility will get a significant boost, which will take some getting used to.

Marvel Studios

Those pale in comparison to the change to Spider-Man’s webs, though. The MCU initially took the traditional route with the character’s favorite trick, having him create it in a lab. Brand New Day will change everything by giving Peter organic webs, just like the ones Tobey Maguire’s Peter 2 had in his trilogy and No Way Home.

Peter Parker trying out his powers in Spider-Man.
Sony Pictures

Sam Raimi’s hero didn’t have to wait around for four movies to get his webs. Right after he ended up on the wrong end of a radioactive spider on a school trip, he lost control of his new powers in the lunch room and ticked off Flash Thompson. Peter headed out to test the limits of his abilities and learned he could use the webs to swing.

The two movies that followed Spider-Man had no reason to use manufactured webs. The opposite was true for The Amazing Spider-Man movies, as Marc Webb and Co. opted to have their version of the character create his own. That means Brand New Day will be the first one to feature both kinds of webs, and it may very well be the last as well.

No matter how the highly anticipated movie ends, it’s unlikely that Peter will go back to using manufactured webs. There’s really no point in putting the genie back in the bottle once it’s out. It will certainly be a major shift for a hero who was once grossed out at the sight of organic webs. However, Brand New Day is differentiating itself so much from previous installments that it might be the least of his worries.

Every Way Brand New Day Is Different From All Other Spider-Man Movies

A Detective Story

Sadie Sink's character lifting her arms in Spider-Man: Brand New Day.
Marvel Studios

Most Spider-Man movies follow a blueprint, even the ones in the MCU. A new villain shows up on the scene, and Peter is forced to dig deep to defeat them. And very rarely does he have to seek out the identity of his adversary.

Tom Holland has confirmed that Brand New Day will “feel like a detective movie.” One would think Batman had a monopoly on sleuthing in the superhero genre. However, Brand New Day‘s mystery villain is going to force the titular hero to do plenty of investigating.

A Dark Transformation

Peter Parker looking sad in Spider-Man: Brand New Day.
Marvel Studios

As previously mentioned, Peter must learn to control his enhanced abilities in Brand New Day. That’s easier said than done, though, as the film’s marketing has confirmed that he will lose control from time to time, potentially even hurting his villains in the process.

Spider-Man 3 put the hero on a similar track when it introduced the symbiote. But there’s no sign of alien goo in any of Brand New Day‘s trailers, meaning whatever Peter is going through, no other version of the character has had to face it.

Practical Action

The Hand ready to fight in Spider-Man: Brand New Day.
Marvel Studios

Director Jon Watt had the honor of helming the first three MCU Spider-Man movies, and he did a great job. Few filmmakers could’ve balanced a coming-of-age story with everything else that accompanies superhero affairs.

Destin Daniel Cretton is taking over for Brand New Day and bringing his expertise in practical action with him. Shang-Chi and the Legend of the Ten Rings showed what he was capable of. Brand New Day appears to be Cretton at the height of his powers as he pits his hero against ninjas, monsters, and all sorts of other bad guys.

Street-Level Allies

Punisher leaning on railing in Spider-Man: Brand New Day.
Marvel Studios

Maguire and Garfield had limited options for their supporting cast because they were exclusively under the Sony umbrella. Holland doesn’t have that problem since he’s connected at the hip with Marvel Studios. And prior to Brand New Day, the braintrust at the company swung for the fences, teaming Spidey up with the likes of Iron Man and Doctor Strange.

The latest Spider-Man flick keeps things grounded, enlisting the help of Frank Castle, aka Punisher, the MCU’s deadliest street-level hero. While the two characters will surely take some time to get on the same page, there’s no doubt they’ll get results.

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Daniel Molloy is in his Manther, Nepo-Fledgling era—and we love that for him. We couldn’t help but notice that, in said era, Daniel’s usual choice of black button-ups with t-shirts underneath faded away into a silken, scarlet, floral number. (With, may I say, no undershirt underneath.) In a conversation with Nerdist, Assad Zaman and Eric Bogosian discussed what Daniel and Armand might have gotten up to in the time since Armand told Daniel he wanted to truly be his maker, and the finale of The Vampire Lestat. Among other things, we chatted about day-walking practice and blood-sharing, but somewhere in the mix, Assad Zaman confirmed that Armand did indeed buy Daniel his red, floral, manther-era shirt. And we love it.

AMC

We all laugh, and Zaman says, “Yeah, the red one. Definitely. It’s great.” in response to the idea that Armand is now dressing his fledgling/companion and bought Daniel this new shirt. And, though we don’t spend too much time on the point, we love the confirmation of it. Armand dressing Daniel in The Vampire Lestat is actually a time-honored tradition for the duo, and we love to see it become in the canon of the series as well.

In Anne Rice’s Queen of the Damned book, she wrote that Armand bestowed upon Daniel, “limousines and private planes… liquor closets stocked with rare vintages and dressing rooms full of exquisitely cut clothing.” That Armand was Daniel’s “immortal lover who gave him every earthly possession he could want.”

Armand and Daniel in The Vampire Lestat
AMC

Additionally, in the Devil’s Minion chapter, we read, “At sunset, when Daniel awoke, his clothes had already been laid out for him. Heaven help him if he were to change a single item, from the linen handkerchief to the black silk socks.”

And we also learn that “Clothes of all kinds fascinated Armand, not for their beauty but for what he thought they meant. He wore jeans and sweatshirts like Daniel; he wore cable-knit sweaters and workmen’s brogans, leather windbreakers, and mirrored sunglasses pushed up on his head. He wore tailored suits, and dinner jackets, and white tie and tails when the fancy suited him; his hair was cut short one night so he looked like any young man down from Cambridge, and left curly and long, an angel’s mane, the next.”

And, interestingly enough, Nerdist learned from The Vampire Lestat‘s costume cutter Wing Lee, that the flowers on Daniel’s shirt are red gerbera flowers. And red gerbera flowers actually have a very fascinating meaning. As we noted in our piece about Daniel’s shirt from Armand, Bloom & Wild shares, “Red gerbera flowers have a meaning of unconscious love or to be fully immersed and surrounded by love. They’re perfect to send as anniversary flowers or romantic gesture flowers to express your everlasting love for someone.”

The Manifestation of Armand and Daniel’s Vampire Bond Is SO Romantic (THE VAMPIRE LESTAT)

Armand, a vampire enchanted by the perceived meaning of clothes, who is dressing his love, Daniel, would certainly know that this chosen shirt implies that Daniel is immersed in his love. And we are delighted by this wildly romantic and intimate exchange between the pair of them. We toast to more companion dressing in season four.

The Vampire Lestat is now streaming on AMC and AMC+ in full. You can snag The Vampire Lestat by Anne Rice to read, if you’d like to know a little bit more about what’s going on.

Rotem Rusak is the Editor-in-Chief of Nerdist. She’s STILL ready for Armand and Daniel to become canon in The Vampire Lestat so one of her ships can finally sail.

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

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⚡ Quick Take Assad Zaman confirmed for Nerdist that

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Betamo Casino has pieced together a live dealer setup that exceeds the basics and continues to advance. The game library spans from classic roulette and blackjack to the energetic, colorful chaos of game show titles, so the likelihood of getting bored are minimal. The platform accommodates micro-stakes beginners and VIP high rollers inside the same clean interface, which speaks volumes about how it was built. Mobile performance performs well under shaky network conditions, and the security framework operates quietly so players can zero in on the game. Professional dealers, clear streaming tech, and a steady flow of promotions come together to make the live casino section seem like a place worth coming back to, a spot where every session has the gravity of a main event.

Entering a busy casino floor carries a

Legend-themed slots immerse you in worlds ruled by ancient gods, legendary heroes, and creatures that have been around for millennia. Jeton Casino has curated a collection that Canadian players seeking a story with their spins will appreciate. The appeal is the mix of familiar tales with modern mechanics: one spin can invoke Zeus’s thunder, reveal an Egyptian pharaoh’s secret, or set off a cascade of Norse runes. At Jeton Casino, these games aren’t just window dressing. They’re a central element of a library that covers hundreds of hand-picked games from top studios, reinforced by payment methods that suit Canadian habits, a mobile-first design that doesn’t skimp on performance, and a security setup that treats fair play as a given. This article examines every layer of the mythological slot experience on the platform, from the software providers that develop these worlds to the banking options that simplify funding a session, so you can move from interest to assured gaming.

Software Studios Supplying the Finest Mythological Adventures

The quality of a mythology slot depends heavily on the studio behind it, and Jeton Casino partners with industry leaders recognized for pushing creative boundaries. NetEnt’s divine series, such as Hall of Gods and Divine Fortune, merges cinematic graphics with pooled progressive jackpots that have minted millionaires in Canada. Play’n GO provides the iconic Book of Dead, a high-volatility Egyptian adventure where explorer Rich Wilde activates expanding special symbols, and the studio’s Norse-themed Viking Runecraft converts cascading wins into a board game of divine power. Pragmatic Play’s Gates of Olympus and Zeus vs Hades provide multiplier-heavy free spins that can reach 500x, while Microgaming’s Thunderstruck II and its sequel continue to be benchmark titles for Norse mythology fans. Each provider offers a distinct mathematical model and art style, so the library appears varied rather than repetitive. Jeton Casino selects games from over a dozen licensed studios, ensuring every mythology slot on the site has been independently certified for fair random number generation. This broad selection signifies a Canadian player can move from the low-volatility charm of Ancient Egypt Classic to the high-octane chaos of Raging Rhino Megaways without leaving the familiar mythological theme.

Protection, Licensing, and Equity in Mythic Gaming

Every mythological slot available at Jeton Casino functions under a structure that emphasizes player safety and game integrity, which is vital for an group that wants to concentrate on the tale rather than worry about safety. The platform holds a licence from a respected offshore authority that mandates regular inspections of the random number generator used by each title, and the independent testing organizations that approve these slots release their reports on the return-to-player figures. For Canadian gamblers, this implies that when they wager on a game like Book of Dead, the advertised RTP of around 96.21% is not just a marketing assertion but a verified statistic. The platform itself uses 256-bit SSL security to protect personal and financial details, and the account menu includes a range of responsible gaming options, such as deposit caps, loss limits, session alerts, and self-exclusion choices that can be turned on instantly. Age confirmation is compulsory, and the website complies with anti-money laundering protocols by demanding identity documents before handling large payouts. Jeton Casino also divides player funds from operational finances, a practice that adds an extra degree of protection in the unlikely event of financial problems. This devotion to transparent operations allows a player to lose themselves in the mythological world without doubting the equity of the gameplay.

Welcome Bonuses and Free Spins for Mythological Slot Fans

New players at Jeton Casino usually come across a welcome package that offers a deposit match and a package of free spins. The platform frequently allocates these spins toward famed mythology titles to give newcomers an immediate taste of divine action. A first deposit may be matched by 100% up to a certain amount, with the extra bonus of spins on a slot such as Book of Dead or Gates of Olympus, where the inherent volatility can convert a small bankroll into a significant win. The wagering requirements associated to these offers usually to sit within the range that Canadian players view reasonable, and the terms explicitly state which games count fully to the playthrough. Even after the welcome phase, Jeton Casino runs regular promotions that encompass reload bonuses, cashback, and leaderboard tournaments where mythology slots frequently appear as the game of the week. The key for a player is to check the promotion page each time, because the list of eligible slots, the minimum deposit, and the maximum cashout can vary from one campaign to the next. This transparent approach guarantees a mythology enthusiast can formulate a strategy around the bonuses available, using free spins to test a new release without additional risk.

Financial Choices Catered to Canadian Players

Financing a mythology slot session at Jeton Casino is simple for Canadian users, with a cashier that provides a blend of traditional and digital payment methods. Interac e-Transfer and Interac Online stay the most popular choices, providing instant deposits directly from a bank account in Canadian dollars without revealing sensitive banking details with the casino. The Jeton e-wallet, which matches the brand name, provides another fast channel, processing deposits in real time and withdrawals typically within 24 hours once the account is verified. Credit and debit cards from Visa and Mastercard are accepted, and a increasing number of players opt for cryptocurrencies such as Bitcoin and Litecoin to take advantage of near-instant settlement and enhanced privacy. The platform sets reasonable minimum deposit limits for each method, and the maximum deposit limits can be changed through the responsible gaming panel. Withdrawal processing times differ by method, but the platform’s policy ensures reviewing all requests within a 48-hour window, after which the funds arrive at the player according to the payment provider’s speed. The most commonly used methods at Jeton Casino for Canadian accounts are:

  • Interac e-Transfer plus Interac Online
  • Jeton e-wallet
  • Visa and Mastercard
  • Bitcoin, Litecoin, and other supported cryptocurrencies
  • Bank transfer for substantial withdrawals

All transactions are protected with TLS encryption, and the cashier shows the final amount in CAD before confirmation, erasing any confusion about exchange rates.

Mobile Play: Exploring Divine Reels on Any Gadget

Jeton Casino has been built with a mobile-first strategy, so the complete mythology slot collection shows cleanly on smartphones and tablets without having for a dedicated app https://jeton-casino.ca/. The instant-play interface adjusts automatically to iOS and Android screens, relocating the spin button, balance display, and game menus for thumb-friendly navigation. When a Canadian player loads a title like Rise of Olympus on a mobile device, the identical high-definition graphics and layered sound design that show up on a desktop stay intact, and the touch controls make the picking bonuses and free-spin interactions feel even more tactile. The platform reduces data efficiently, so a session on a 4G or 5G connection stays stable, and the games are optimized to stop battery drain during extended play. Landscape mode is the usual for slots, but the lobby and cashier sections switch smoothly to portrait, making it easy to deposit, claim a bonus, and launch a game without altering orientation. Because the mobile version employs the same account as the desktop, a player can initiate a session on a laptop and carry on on a phone during a commute, with all progress, balance, and bonus contributions synced in real time. This smooth transition assures that the mythological adventure doesn’t have to stop.

The Reason Mythology Slots Spark Canadian Players’ Fantasy

Mythology slots endure because they turn old stories into interactive, high-stakes fun. Greek, Norse, Egyptian, and even Aztec pantheons supply a rich visual language of gods, monsters, and enchanted artefacts that carry naturally into expanding wilds, scatter symbols, and multi-level bonus games. Canadian players, used to polished digital entertainment, appreciate the authenticity these games offer. When a slot like Rise of Olympus or Age of the Gods loads, the soundtrack, symbol design, and on-screen animations combine to generate the impression of stepping into a sacred temple or a stormy Mount Olympus. The narrative isn’t just a setting; it often determines the bonus structure. A free-spin round might symbolize a hero’s quest, with each retrigger pushing the story ahead, while a progressive jackpot can be presented as the ultimate treasure of the gods. Jeton Casino knows this emotional connection drives engagement, so the lobby highlights mythology titles and frequently matches them with targeted promotions that enhance the excitement for Canadian fans of these ancient tales.

Variance, RTP, and Picking the Right Mythological Slot

Understanding the mathematical character of a mythology slot is essential for matching the game to a player’s funds and temperament, and Jeton Casino’s selection spans the complete spectrum from low-variance tranquility to high-variance storms. High-volatility titles like Dead or Alive II or Zeus vs Hades can deliver long dry spells punctuated by massive payouts, making them fitting for players who pursue the rush of a god-sized win and can afford a patient bankroll. Low-volatility choices, including many Egyptian-themed favorites, produce tinier but more regular hits, which caters to those who enjoy an extended run with steady profits. The return-to-player figure, typically shown in the game’s information panel, offers another decision-making aid; most mythology slots at Jeton Casino fall between 95% and 97%, with some games featuring a boosted RTP during bonus buy modes. The portal does not confine a player to a single method, and the search tools and category tabs enable organizing by supplier, feature type, or jackpot availability. A practical method is to sample a game in demo mode initially, a feature Jeton Casino supports for most titles, so that a player can feel the volatility personally before risking real money. This way, the mythological adventure is influenced by informed selection rather than blind chance.

Unlocking Bonus Features Inspired by Ancient Legends

What separates a mythology slot from a generic fruit machine is the way its bonus features mirror the source material. Jeton Casino’s collection is full of titles that treat every bonus round as a chapter of a larger story. In many Greek-themed slots, a scatter symbol showing a lightning bolt or a trident triggers a free-spin round where a chosen deity adds a persistent modifier, such as expanding wilds from Poseidon or stacked symbols from Athena. The Norse-themed Thunderstruck II brings the Great Hall of Spins, a tiered bonus system that unlocks progressively more powerful features as players come back, mirroring the initiation into Valhalla. Egyptian slots frequently employ the book as both a scatter and a wild, a mechanic that converts a randomly chosen symbol into an expanding icon during free spins, a feature that has turned into a genre staple. Jeton Casino also features games with pick-and-click bonuses, where a player picks from urns, shields, or stone tablets to uncover instant cash prizes, multipliers, or entry to a second bonus level. These interactive elements increase the stakes beyond simple spinning, giving a player the sense of actively participating in the myth rather than passively watching reels. The result is a more immersive session that compensates both patience and knowledge of the game’s mechanics.

How to Start Your Mythic Journey at Jeton Casino

The path from a blank screen to a spinning reel of divine symbols is deliberately simple, and the registration process at Jeton Casino has been simplified to lessen friction for Canadian newcomers. A visitor presses the sign-up button, fills in a short form with basic personal details, selects CAD as the preferred currency, and validates the account through an email link. Once inside, the cashier prompts a first deposit, and the welcome bonus is usually applied automatically or through a code displayed on the promotions page. After the funds appear, the slot lobby can be sorted by the “mythology” tag or by provider, and the search bar accepts titles directly. The platform promotes responsible play from the first session, so setting a deposit limit during the deposit flow is a natural step that does not disrupt the fun. Withdrawals are processed through the same method used for deposit whenever possible, and the verification team typically clears documents within a day, paying out winnings without unnecessary delays. For a mythology fan, the complete experience unfolds in a single coherent flow: sign up, claim a bonus, pick a god, and spin, all within a secure environment that rewards loyalty with ongoing promotions and a constantly expanding game library that keeps the ancient legends feeling fresh.

Legend-themed slots immerse you in worlds ruled

Award-winning games actress Jennifer English has announced that she will no longer be starring in the upcoming fantasy action game Tides of Annihilation due to health concerns.

Announced last year in a PlayStation State of Play live stream, Tides of Annihilation takes place in a fantasy version of London, in which protagonist Gwendolyn – originally played by English – fights to save her sister and restore the world.

In a statement published on social media this weekend, the Games BAFTA-winning Clair Obscur and Baldur’s Gate 3 actress said she has now made the decision to step away from the project, after deciding that she had taken on too many commitments.

“I’m really grateful to have been part of Tides of Annihilation since the game’s inception and to have worked with such a lovely team,” English wrote on her Instagram account.

“Recently, I’ve found myself needing to slow down and reassess the commitments I’ve taken on. After careful thought, I’ve realised I need to take time to rest and properly look after my mental and physical health.

“With that in mind, I’ve made the difficult – yet personally necessary – decision to step away from the project as it moves into its next phase.”

English said she will continue to work with Tides of Annihilation developer Eclipse Glow Games as an advisor and claimed that she had introduced the studio to “a very talented actor who I believe is a wonderful fit for Gwen”.

“I wish the entire team nothing but success, and I’ll be cheering them on as they continue bringing the game to life,” she wrote.


Tides of Annihilation has already cast a new lead

In its own statement, China-based Eclipse Glow said it respected Jennifer’s decision to focus on her health and confirmed that it had found a new actor to play its protagonist.

“Earlier in June, Jennifer informed us that she would no longer be able to continue in the role,” it wrote. “While we were, of course, saddened by her decision, we completely understood and respected Jennfier in prioritizing her well-being. We are also deeply grateful for the care and responsibility she showed throughout this process.

“During this transition, Jennifer remained incredibly supportive and, together with other members of our voice cast, helped us identify and connect with talented performers who could carry Gwendolyn forward while staying true to the character.”

The studio confirmed that with “Jennifer’s support and recommendation, together with recommendations from other members of our voice cast”, it has cast a new actor.

While it didn’t reveal a name, the studio claimed the person’s “recent work in video games left a strong impression on both Jennifer and our team—not only for the performance itself, but for the remarkable care and dedication she showed in understanding the character—and we’re excited for players to experience her interpretation of Gwendolyn.”

It added: “She’s currently recording Gwendolyn’s English performance for our upcoming gamescom 2026 hands-on demo. Players will hear her performance for the first time in the demo this August, as well as in select official updates shared across our channels during the same period.

“We’d also like to thank Jennifer for everything she brought to the character and to the project. Her performance brought depth, strength, vulnerability, and heart to the role. We have truly enjoyed this journey together, and wish Jennifer all the very best, and most importantly, good health and happiness in whatever comes next.”