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
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
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
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
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
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
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.
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Hoofd conclusies
Stortingen via creditcard en e-wallet bij het Rizzio Casino worden bijna direct verwerkt, waardoor je snel over je geld kunt beschikken.
Opnames via e-wallets kunnen meteen worden voltooid, terwijl bankoverschrijvingen een aantal dagen kunnen duren.
De transactiesnelheid kan variëren afhankelijk van de uitgekozen betaalmethode, waarbij e-wallets meestal de snelste opties bieden.
Tijdens piekuren kunnen er door het verhoogde volume minimale vertragingen optreden bij de verwerking van transacties.
Het is essentieel om ervoor te zorgen dat de bankgegevens correct zijn om vertragingen bij zowel stortingen als opnames te voorkomen.
Samenvatting van Rizzio Casino
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Gangbare transactiemethoden
De dynamische spelomgeving van Rizzio Casino wordt aangevuld door een reeks aan veelgebruikte betaalmethoden die inspelen op de verschillende behoeften van de bezoekers. Creditcardbetalingen blinken uit door hun gebruiksvriendelijkheid en vlotheid, waardoor gokkers snel hun spelervaring kunnen bekostigen. Veel bezoekers stellen op prijs de flexibiliteit die e-wallets bieden, die een extra laag beveiliging en soepelheid verschaffen bij het managen van pitchbook.com hun geld. Deze virtuele wallets faciliteren onmiddellijke stortingen en uitbetalingen haalbaar, wat aantrekkelijk is voor technisch onderlegde gasten die effectiviteit belangrijk vinden. Door meerdere betaalmethoden aan te leveren, garandeert Rizzio Casino dat alle deelnemers een betaalmethode kunnen uitkiezen die overeenkomt met hun individuele voorkeuren en levensstijl, en zo de essentie van modern gokplezier omarmen.
Afhandelingstijden voor stortingen
De verwerkingstijden van stortingen spelen een cruciale rol in de totale spelervaring bij Rizzio Casino. Spelers appreciëren vlugge transacties, zodat ze zonder nodeloze vertragingen hun lievelings spellen kunnen spelen. Stortingen worden meestal bijna direct verwerkt, afhankelijk van de gekozen betaalmethode. Het is echter cruciaal dat spelers op de hoogte zijn van stortingslimieten die van toepassing kunnen zijn op basis van hun accountstatus of de concrete gekozen betaalmethode. Creditcards en e-wallets bieden meestal de rapste verwerkingstijden, terwijl bankoverschrijvingen meer tijd in beslag kunnen vergen. Door deze finesses te begrijpen, kunnen spelers hun stortingsmogelijkheden efficiënter afstemmen en zonder verstoring van hun spelavonturen genieten. Rizzio Casino probeert een efficiënte betalingsverwerking te bieden om aan de verlangens van haar gepassioneerde klanten te voldoen.
Verwerkingstijden voor opnames
Bij het opnemen van geld bij Rizzio Casino speelt de uitgekozen methode een belangrijke rol in de verwerkingstijd. Meerdere opnamemethoden kunnen de vaart waarmee het geld wordt ontvangen aanzienlijk beïnvloeden. Daarnaast kan het verificatieproces bijkomende vertraging veroorzaken, wat de algehele tijd die nodig is om toegang te krijgen tot het geld beïnvloedt.
Impact van de opnamemethode
De keuze van de uitbetalingsmethode heeft doorgaans een significante invloed op de https://data-api.marketindex.com.au/api/v1/announcements/XASX:ANZ:3A433758/pdf/inline/notice-of-2015-annual-general-meeting doorlooptijd bij Rizzio Casino in België. Spelers die snel toegang willen tot hun winsten, moeten overwegen de verschillende opties, zoals banktransfers, e-wallets en creditcards, en hoe deze de verwerkingstijd beïnvloeden. E-wallets bieden dikwijls de snelste uitbetalingen, bij gelegenheid zelfs onmiddellijk, terwijl bankoverschrijvingen enkele dagen in beslag kunnen nemen. Daarnaast kunnen de transactiekosten per methode variëren, wat van invloed is op het netto bedrag dat ontvangen wordt. Spelers moeten ook overwegen hun betaalmethode, aangezien sommige betaalmethoden snellere verwerkingstijden kunnen opleveren dan andere. Door deze elementen te begrijpen, kunnen spelers weloverwogen beslissingen nemen over hun uitbetalingen, wat garandeert een vlot verloop bij het innen van hun winsten.
Schema’s voor het verificatieproces
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.
Elementen die de transactietempo beïnvloeden
De transactiesnelheid bij Rizzio Casino wordt beïnvloed door diverse cruciale factoren. De gekozen betaalmethode, samen met het bepaalde beleid en de procedures van het casino, speelt een belangrijke rol in de verwerkingstijd. Daarnaast kan de stabiliteit van de netwerkverbinding het transactieproces versnellen of juist hinderen.
Gekozen betaalmethode
Hoe invloed hebben op meerdere betaalmethoden de snelheid van transacties bij Rizzio Casino in België? De gekozen betaalmethode heeft een significante invloed op de transactietijd en weerspiegelt de individuele voorkeur voor eenvoud en efficiëntie. Beperkingen van creditcards kunnen de verwerking vertragen vanwege autorisatievereisten en mogelijke tussenkomst van de bank, met name bij substantiële transacties. E-wallets daarentegen bevorderen doorgaans snellere overboekingen, bieden rechtstreekse toegang tot geld en geringe verificatiestappen. Spelers geven vaak de voorkeur aan e-wallets, omdat ze kiezen voor oplossingen die snelheid en autonomie in hun transactie-ervaring centraal stellen. Spelers die zonder onderbreking willen spelen, vinden e-wallets daarom wellicht een aangenamere keuze dan conventionele creditcardsystemen, die soms de beoogde soepele spelervaring kunnen belemmeren.
Casinobeleid en -procedures
Veel aspecten binnen het beleidssysteem en de processen van het casino kunnen de tempo van transacties bij Rizzio Casino in België aanzienlijk beïnvloeden. De rigoureuze casinoregelgeving schrijft diverse protocollen voor die moeten worden gevolgd om veiligheid en rechtvaardigheid te garanderen, wat onbedoeld processen kan vertragen. Elke transactie is onderworpen aan bevestigingsstappen die zijn ontworpen om de belangen van spelers te beschermen, waaronder fraudebescherming en leeftijdsbevestiging. Daarnaast kan het casino verwerkingstijden instellen voor grote betalingen om te voldoen aan wettelijke voorschriften. Spelers die snelle transacties willen, doen er goed aan zich bekend te maken met dit beleid om mogelijke uitstel te begrijpen. Door hun keuzes af te stemmen op voordelige regelgeving en op te komen voor hun rechten, kunnen spelers hun algemene ervaring verhogen en plezier hebben van onafhankelijkheid binnen de gamingomgeving.
Consistentie van de netwerkverbinding
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Adviezen voor snellere transacties
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Rizzio afzetten met andere casino’s
Een vergelijking van de transactieprocessen bij Rizzio Casino met die van andere gokgelegenheden toont duidelijke eigenschappen en efficiëntie die de keuze van een speler kunnen invloeden. Terwijl Rizzio vlotte transactiegoedkeuringen en minimale uitstel biedt, kunnen andere casino’s te maken hebben met uitgebreidere afhandelingstijden en aanvullende verificatiestappen. Deze doeltreffendheid komt spelers ten goede die vlug toegang willen tot hun winsten en vlot inleg willen doen. Casino-vergelijkingen bewijzen dat Rizzio zich onderscheidt door zijn eenvoudige interface en verschillende betaalopties, die aan verschillende keuzes voldoen. In een context waar vaart en comfort van cruciaal belang zijn, kan de performance van Rizzio spelers stimuleren om voor hun services te kiezen in plaats van die van tegenstanders, wat leidt tot een meer zorgeloze speelervaring. Op de lange termijn hangt de voorkeur af van de prioriteiten van een individu met betrekking tot verwerkingsefficiëntie en gebruiksgemak.
Conclusie
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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:
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
Image via Game Freak
Here’s a closer in-game look at the Black Shiba skin from the trailer:
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.
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 Pricing and Pre-Order Links
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.
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.
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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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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Little tests a casino’s integrity like the withdrawal process. I made it a point to request a payout after my first winning session, and the result genuinely surprised me. The verification step was completed within a few hours, and the funds reached my e-wallet the same day. Subsequent withdrawals were quicker still, sometimes going through in under an hour. read more supports a wide range of payment methods, including Visa, Mastercard, Skrill, Neteller, and several instant banking options that meet the preferences of UK players without excluding international visitors. I tested both card and e-wallet routes, and neither involved hidden fees or unexpected delays. The deposit interface is clean and does not redirect me through confusing third-party screens. I also found that the casino processes withdrawals around the clock, which counts when I play late at night and desire my winnings without delaying until a business day. This operational efficiency signals a well-capitalised operation that does not require holding up payments to manage cash flow, and that instills confidence to deposit larger amounts when I choose to.
Why I Come Back
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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Bienvenido a Cocoa Casino, una plataforma de juego online que opera en España con un enfoque claro en seguridad y accesibilidad. Este análisis se propone ofrecer una visión equilibrada de lo que propone Cocoa Casino para nuevos usuarios y jugadores habituales. A lo largo de la lectura, descubrirás cómo se organiza la navegación, qué aporta en términos de experiencia y qué herramientas de juego responsable se pueden activar. Aunque cada usuario tiene preferencias distintas, la primera impresión de la plataforma suele ser su diseño limpio y su promesa de facilitar el inicio.
Protección contra fraude implica vigilancia y revisión constante de operaciones. Aunque la fuente no da ejemplos, es razonable esperar vigilancia proactiva y respuestas adecuadas en caso de incidencias. Los jugadores deben estar atentos a señales de actividad irregular y contactar con el soporte si es necesario. Un sistema seguro se construye con combinaciones de tecnología, procesos y vigilancia humana.
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La importancia de la navegación efectiva no puede subestimarse, ya que determina cuánto tiempo permanece un usuario dentro de la plataforma. Un diseño que facilita encontrar juegos, perfiles y soporte reduce frustraciones y mejora la experiencia general. Este análisis sugiere que Cocoa Casino aspira a convertir la exploración en una actividad placentera y educativa.
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El enfoque de la plataforma hacia el control del gasto y la gestión de la sesión se mantiene constante a través de herramientas sencillas y visibles. El objetivo es que cada usuario sienta que tiene el control de su experiencia de juego desde el inicio hasta cualquier sesión posterior.
La compatibilidad con diferentes dispositivos se describe como una ventaja operativa para quienes juegan desde casa o desde la calle cocoa-casinos.es. Sin entrar en especificaciones técnicas, se resalta la conveniencia de acceder a la biblioteca de juegos desde distintas plataformas.
Las funciones y tecnologías destacadas pueden incluir interfaces optimizadas, herramientas de juego responsable y posibles experiencias interactivas. La plataforma pretende equilibrar entretenimiento con seguridad, ofreciendo un entorno en el que las funciones adicionales acompañen a la experiencia principal sin distracciones innecesarias.
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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.
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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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.”
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 releaseDon’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.
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.
“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.
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.
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.”
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.
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LONDON — 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.”
“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.”
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.
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.”
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.”
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.
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
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
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
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
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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We chose our payment partners by examining their track records with British regulators and their commitment to proactive fraud detection. Each provider now operates an additional layer of behavioural analytics that learns your normal funding pattern and blocks any wildly out-of-character attempt until you confirm it via the app or a quick SMS code. Even small touches, like eliminating saved card details after a period of inactivity unless you explicitly opt in, reduce the attack surface dramatically. This partner network never sees your full gaming activity; they handle only the money trail, creating a clean separation that keeps your entertainment life private and your bankroll safe.
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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 VampireLestat 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.”
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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.”
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.
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.
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The game show category is where Betamo’s live lobby genuinely lets its hair down. Crazy Time and Monopoly Live have built a audience that transcends typical casino audiences, thanks to huge spinning wheels, augmented reality figures, and entertainers who behave more like TV personalities than dealers. Everyone at the table wagers on the same result, so when a bonus round hits, the chat box comes alive with a barrage of celebration. Dream Catcher maintains things straightforward with a vertical money wheel that’s easy to comprehend and oddly hypnotic to view. Mega Ball combines lottery-style ball releases with bingo card multipliers, creating a hybrid that doesn’t slot in neatly into any group. The technology behind these games is remarkable, real-time physics systems merge with digital graphics, dispatching virtual Mr. Monopoly roaming across a 3D board to scoop up prizes. For anyone who considers standard blackjack a bit stiff or roulette too foreseeable, these titles trade seriousness for pure entertainment, where the entertainment value carries as much importance as the payout.
Discovering the Comprehensive Roulette Collection
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Confidence sits at the heart of live dealer gaming, and Betamo creates it through tangible action rather than general promises. The streams themselves function as proof of fairness. Cards get reordered, handed, and spun under numerous cameras in real time, creating no gap for algorithmic questionable business. Independent testing agencies audit the studios, and the platform runs under established gambling jurisdiction licenses that uphold strict operational standards. On the technical side, SSL encryption protects financial transactions and personal data, maintaining banking details and identity documents protected. The cashier accepts credit cards, e-wallets, and cryptocurrencies, with transactions built around speed and dependability. Responsible gaming tools sit directly inside the live dealer interface, not buried in a separate menu. Players can set session time limits, deposit caps, and loss thresholds without departing the lobby. Reality check notifications pop up to mark elapsed play time, and self-exclusion options are accessible and implemented. The tools are present, they’re apparent, and they function.
Real-time dealer tables streamed in high definition from professional studios, ensuring real-time transparency and a authentic casino atmosphere.
Flexible stake options spanning from micro-stakes to high-roller VIP levels, accommodating every budget and strategy preference.
Live game shows like Crazy Time and Monopoly Live featuring interactive bonus rounds with multipliers and augmented reality hosts.
Targeted live casino promotions including weekly cashback on losses, leaderboard tournaments, and low-wagering reload bonuses.
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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.
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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 PlayStationState 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.”
New-Gen Universe, Inc. is launching its first consumer products initiative at San Diego Comic-Con, debuting an exclusive collector’s trading card set made with Cryptozoic Entertainment to celebrate its Marvel-distributed comic series.
Just 300 convention exclusive boxes exist worldwide for the July 23–26 event, making this among the rarest “New-Gen” collectibles released to date. Designed solely for the convention, the set also builds momentum for the upcoming 3D CGI animated series “New-Gen Nanobot Heroes.”
In the comic, twin brothers Sean and Chris learn their bodies have been enhanced by nanotechnology, thrusting them into a fight against the villain Deadalus within a futuristic world where nature and technology exist side by side.
“New-Gen” was created by J.D. Matonti, Julia Coppola and Chris Matonti and has grown from its Marvel-distributed comic book origins into a transmedia franchise spanning publishing, animation and consumer products. The Comic-Con cards give fans a tangible link between the source comics and the animated series still to come.
The initiative is led by Debra Joester, president of Joester Loria Group, who is spearheading New-Gen’s expanding consumer products program.
“We are thrilled to collaborate with Debra Joester and Cryptozoic Entertainment on this first New-Gen consumer products initiative. We envision many more imaginative opportunities like these as we work with Joester Loria Group, Toonz Media Group, and world class talent to bring our New-Gen Nanobot Heroes story to children of all ages,” said J.D. Matonti, creator of “New-Gen.”
Each box holds a set of 13 collectible cards: 11 base cards drawn from artwork in the comic book series, a single rainbow foil card, and one autograph card bearing the signature of either Matonti, voice actor Molly Fahey or voice actor Tony Oliver. Every autograph card carries an on-card signature and a limited run of 100, and select base and foil cards were produced as unique one-of-one pieces.
Buyers at the convention will also receive a free “New-Gen” graphic novel, with a foreword penned by Mark Hamill, that traces the franchise’s origin story.
“We are delighted to partner with J.D. Matonti, Toonz Media Group, and the extraordinary talent behind New-Gen Nanobot Heroes,” said Debra Joester. “Fans are craving the next evolution of superheroes and J.D. has created the gripping storytelling, compelling characters and rich, imaginative new world that delivers just that.”
Attendees can also preview new artwork for “New-Gen Nanobot Heroes” ahead of its animated debut on the franchise’s website, which will show the heroes touching down by spaceship in the series’ utopian setting. A separate giveaway offers fans the chance to win a graphic novel signed by Hamill.
The card release also builds momentum for “New-Gen Nanobot Heroes,” the coming 13-episode, 22-minute 3D CGI series from writer-director Matonti, whose representation includes Evan Anglin and Eric Williams at Zero Gravity Management. New-Gen Universe and Toonz Media Group are producing the show, with Chris Matonti, Julia Coppola, Brad Heisman and J.D. Matonti serving as executive producers.
Writers on the project include Brent Friedman, known for “Star Wars: The Clone Wars,” and Eugene Son, who worked on “Avengers Assemble,” alongside four other writers. Toonz Media Group will distribute the series internationally, and Ketchup Entertainment will handle its domestic release.
Voice talent set to appear includes Finn Wolfhard, Nick Wolfhard, Anya Chalotra, Luke Wilson, Henry Rollins, Taylor Gray, Molly Fahey, Lena Headey and Tony Oliver, and John Loeffler composed the score.
New-Gen Universe is a transmedia company built around the New-Gen IP and other properties; its advisory board counts New-Gen’s own creators alongside former Marvel CFO Ken West and Bonnie Arnold, a producer on “How to Train Your Dragon.” Co-producer Toonz Media Group has spent upward of 25 years in the animation business, turning out an estimated 5,000 minutes annually of CGI and 2D programming, with past credits on “Wolverine and the X-Men” for Marvel, “Speed Racer: The Next Generation” for Lionsgate and “Mostly Ghostly” for Universal.
“GasLand” premiered at the Sundance Film Festival and was awarded the Special Jury Prize for Documentary before releasing on HBO. The film was nominated for the Academy Award for Best Documentary and won an Emmy for best non-fiction director, among numerous other awards. Fox was awarded his third Environmental Media Association award for Best Documentary for “How to Let Go of the World and Love All the Things Climate Can’t Change.”
Fox’s short series based on the film called “Climate Interruptions” on the viral video outlet NowThis garnered over 15 million views on Facebook over the span of just 9 weeks. Fox spent a large part of 2016 at the Standing Rock Sioux Reservation observing the Native-led resistance to the famed Dakota Access Pipeline (DAPL). The culmination of Fox’s work at Standing Rock has resulted in his latest film, “Awake, A Dream from Standing Rock,” which was released by Netflix.
When you really dig deep into the unfolding global disaster of climate change, it becomes impossible to believe in any kind of justice on earth. There is no way to look at a landslide that has buried an entire neighborhood or a fiery inferno that burned down a town and say “everything happens for a reason.” In the face of climate change, such woo woo aphorisms seem ridiculous, naive, and cruel.
But there is a strange and mysterious thread that connects us all. In times of disaster, you can see the frayed ends of it, and you can pull at that thread and see where it weaves us all together.
Every documentary filmmaker or journalist or investigator learns how to pull at that thread. It laces through our lives in ways that don’t seem to connect, but if you can follow it, you find that it loops through your instincts. Logic gives way and you tug at the mystery that connects us all.
“The Welcome Table” is a film about that thread, that deeper level of intuition. In a disaster, it compels us toward the instinctual communal generosity that can, for a moment, rise above the normal world to create a better one. The fabric of the best of all possible worlds is woven out of that care, that moment of contact, that will to give.
I arrived in Brazil to film a segment of “The Welcome Table” just after torrential mudslides ravaged the city of Sao Sebastiao. Scores of people had been killed and thousands were displaced. Whole city blocks buried under thousands of tons of mud.
‘The Welcome Table’
I thought I was prepared for all the worst of the climate horrors the floods, the fires, the droughts, the starvation. But nothing quite prepares you for when the earth decides to just rip itself out of its own foundations and bury whole neighborhoods alive in what seems like the blink of an eye.
Landslides have a type of brutality that I had not experienced before. Sao Sebastiao had experienced 700mm of rain in seven hours, more rain than some whole countries get in a year. Climate change is causing rain bombs to carren out of the sky.
I was there to follow Leo Farah, a disaster specialist, a firefighter turned famous first responder and author. His organization, Humus, had been hired by local philanthropist Maria Antonia Civita and her organization Verde Scola, a local after school program for disadvantaged kids that had turned into the hub of aid distribution after the landslides.
Leo had been to hundreds of disasters, mounting life saving operations in earthquakes, floods, landslides. Where there is horror and catastrophe, Leo is there, trying to pull survivors out of the rubble.
He had agreed to let me trail him three weeks after the landslides to observe recovery efforts. His job was not only to rescue but to welcome. “To welcome people is to give the best that you have at that moment,” he told me. He said, “It is my job to be the best person a survivor meets on the worst day of their lives.” Truly heroic.
He takes me to Vila Sahiy. Turning the corner, we see a river of mud frozen in place, standing atop where there used to be a neighborhood. All they could do was pull out the bodies. Leo says this is one of the smaller ones, in Rio de Janeiro, these landslides have killed thousands.
The inequalities are stark. The rich folks live down near the water, and the poor people who service their homes live up in the mountains, in the hills that surround the beach town. The shoreline is like the Hamptons, rich folks and lavish houses, but the on the dangerous mountain face above is the ghetto. The rich and poor are in such close proximity, and the mud crashed down into both.
But it is the favelas, the lively neighborhoods where the poor and middle class live, work, play and love that had it the worst, of course. Those neighborhoods are the most vulnerable to these landslides anywhere at the bottom of a hill, anywhere underneath a slope. And of course, the poorer you are, the further up you’ve got to live, the further up the mountain, the further up the long winding steps that ascend the slopes, and the more danger you’re in.
Leo tells me, surveying the horrific damage that people ask him to dig in the mud for their photos, their keepsakes, not their TVs or appliances. “They want their memories.”
After seeing the devastation of Vila Sahiy, Leo takes me to the place where people have been relocated. An empty apartment complex in a town called Bertioga, 45 minutes away. A temporary shelter, it has nothing of the vibrancy and aliveness of the favelas. It’s stark, Orwellian, naked, isolating, confronting, boring, oppressive. Like a prison. Everyone now remanded to a cellblock. No furniture, no rugs, no carpets, no art on the walls. No possessions.
And into this bleak landscape marches the blue-haired angel, Gabriel. A victim of the landslides himself, he lost his apartment and some family members, but he decided to pick himself up and walk over to Verde Scola, where he was recognized as a leader. As a compassionate person who didn’t lose his shit in the midst of this insanity. And now here he is, walking from house to house, person to person, apartment to apartment, asking people what they need.
Compassion. Asking people what they feel. Just being that shoulder to cry on. And that guy who says, OK, I’m going to try to get you a couch or a rug or some rice or psychological care. He does evaluations on the spot of how devastated people are.
Gabriel emerges as the second strand of the thread I am winding along.
He is a gay man who knew of his sexual orientation as a teenager, as most of us do. Homophobia and bias in his own family forced him to live in the streets, he was thrown out of his family home in Sao Paulo. It seems that in Brazil there is still brutal bigotry against the LGBTQ community.
But Gabriel is a leader here in San Sebastian. He found a community of acceptance, a place on the beach where he could be who he is, a place where he can live and dream. And now he’s one of the most valuable leaders in the community.
When I ask him if can he go to the church for aid he says, no, not really. “There’s so much bias against us. There’s bias against people who are outwardly gay.” And the thread begins to weave a part of the climate crisis that also is not spoken about so much. Climate change is homophobic. It reinforces the bias that exists in society. People who are LGBTQ are already struggling, but in a climate-related disaster, they’re going to be struggling that much harder.
‘The Welcome Table’
LGBTQ and trans people are already struggling all over the world, suffering horrible bias. In and after a crisis, that bias might be the difference between life and death. It might be the difference between having food and supplies and starving. It might be the difference between finding kindness in your community and finding hate.
After leaving Bertioga, I go to survey more damage in another favela, and then that weird thread began to pull again. That weird moment where you know your life’s about to change forever and something is about to occur that there’s no way you could have possibly planned for or anticipated. Down at the bottom of the ravine, while I was shooting a mangled mud filled washing machine that had crashed down the slope, a family passes right behind what looks like two women and a child. They lean over and say, hey, you know, if you’re doing videotaping of the landslides, the view is much better from up at the top. Karina, my translator and I realized that it was a welcome. And as we start to walk up the thousand steps up the mountain, they start to tell us their story.
Their house slid down the side of the hill. Today was the first day that they had off of work since the landslides. They went to the beach to have good time but they were harassed and someone stole their sandals yelling at them for being LGBTQ. Yelling at them for being queer.
Taunting them. Being violent, bigoted, and scary. But as they walked up those long, long steps in the unbelievable heat and humidity, they are calm and open. And this is quite a workout, at the top, all the way up, they told us about how their house had slid off its perch had collapsed down the side of the mountain, crashing to pieces. Now they were living with their whole extended family and a six, and in basically a hallway with a few bedrooms tacked on, no adequate oven or burner and no refrigerator.
They described the sheer terror that comes every time it rains, worrying, traumatized that this might happen one more time. Their new cramped house looking incredibly precarious up the side of this hill. And when we go to interview this person who says her name is Jessica, her eyes open up like waterfalls. She tells us of the bias that she suffered as a child.
When she was 13 years old, she was forced, just like Gabriel, to live on the streets.
Jessica then reveals that her pronouns are actually he/him and that his name is Jeff. Now the trust has been established Jeff can say he’s a he and Jeff can tell us all of his concerns, all of his worries, all of his fears.
Jeff is taking care of the family, of his brothers and sisters, and also of his wife’s brothers and sisters, all of whom are living in this same tiny little place, 30 people in all. And Jeff is cooking for the family out back, burning scavenged pieces of wood and pallets and working double shifts down at the restaurant that employs him. He says, “We all have jobs, and no matter how hard we work, we still have to live in the dangerous areas.”
It’s such a beautiful family. Such a beautiful person. It doesn’t make any sense to me that anyone would hold bias against this person. This person who is very clearly in their identity as a human being, a parent and a provider.
We learn that Jeff somehow has received no aid from anyone. The people from the state have been slow to help them, and Verde Scola and other mutual aid orgs missed him and his family. Jeff also refuses to go to the church for aid saying, “I’d rather have nothing than walk in there and receive their hate.”
Somewhere in Jeff’s eyes, somewhere in his incredible vulnerability and in his trust, that mystery is opening up. That door that says this is where welcoming truly happens. The moment when everything has been flung apart and is exploding in front of you. The moment where nothing makes sense and everything does all at once.
To find out what happens next, which is the wildest thread I have followed in years, you gotta watch the movie.
The film is a journey of nine years, watching that thread keep spinning and visiting ten communities on five continents. It gave me an enduring faith, to see a tapestry based on faith and mutual aid all across the world. In these dark times, our collective joy and love needs to be documented, embraced and cultivated. It is a stark contrast to the racism, bigotry, and xenophobia that dominates the ideological landscape in the USA on issues of migration.
The wall of xenophobia and bigotry, turned on its side, can be a table. A table of welcome.
When all the walls come down, we can choose to meet each other. We greet each other. We’re present. We’re here. We want to tell our stories. In spite of the agony and terror, the defiant desire is to be human, to meet, to stand in the midst of all that has fallen and embrace another person. What really matters has the chance to come out at that moment.
Rebecca Solnit tells us we can find a Paradise built in hell. That is our ultimate challenge when we face climate change. We can create a better world. We just have to keep asking, can we have faith that our kindness and connection to each other is stronger than the hate that wants to pull us apart?
Come watch the film, “The Welcome Table.” We invite you to sit with us and hear our stories, and watch that thread weave a tale of love and joy that we can use to fight back.
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Een generieke welkomstbonus is niet toereikend voor een branche die zo eigen is als Nederland. Onze promotionele aanpak is vandaar volledig herzien. We streven naar meerwaarde leveren die overeenkomt met hoe Nederlanders gokken. Onze welkomstbonus is bijvoorbeeld makkelijk in te stellen ingericht. Gokkers kunnen hem toepassen op de spellen die zij het liefst spelen, van slots tot live casino. Daarnaast beginnen we structureel promoties die gekoppeld zijn aan lokale evenementen. Denk aan EK- of WK-kwalificatiewedstrijden van het Nederlands Elftal, Koningsdag of Sinterklaas. Deze acties voelen op maat en passend. Ook onze beloningssystemen zijn aangepast. De vergoedingen zijn niet alleen cashback of free spins, maar af en toe toegang tot exclusieve Nederlandse evenementen of merchandise die hier gewild is. Elke bonusvoorwaarde is doorzichtig en realistisch, zoals zoals Nederlanders dat prefereren. Onterechte aanbiedingen vermijden ze, en dat doen wij dan ook ook.
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Our recommended activation route works through the special back-end portal as opposed to relying on pop-ups. Initiate by tapping the profile avatar in the top right corner of the Priced Up Casino home screen. From the drop-down tray, select the golden promotions entry, which loads a full grid of every active campaign linked to your account.
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A success pop-up shows up and immediately names the specific slot game that will launch. Don’t shutting this pop-up too fast. It contains a direct deep-link that brings you straight to the qualifying game with the credits pre-loaded. If you go manually instead, the system might fail to register the session as bonus-eligible, and you could end up spinning with your cash balance by accident.
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The Game Start and Bet Placement Protocol
Choosing the Right Stake Size
As the slot loads, overcome the muscle memory that seeks to slam the max bet button. Priced Up Casino usually locks the stake to a fixed value during free spin rounds to keep compliant with UK bonus fairness rules. Check the bet per line indicator before initiating the sequence. You want to be sure the software hasn’t defaulted to a cash wager because of a cached preference from an earlier standard session.
Differentiating Bonus Credits from Cash
The playing screen changes subtly when you’re operating in bonus mode. Look for a separate balance display, often tinted gold or blue, sitting apart from the withdrawable cash pool. Any winnings generated go straight into this locked pot. Don’t try to withdraw this figure mid-session. The interface blocks the cashier until the playthrough counter reaches zero or you manually give up the bonus.
Hand Spin Execution vs Auto-Play
We lean to favour performing the spins manually instead of leaning on the auto-play function. Manual play gives you granular control over the pacing and allows you watch the spin counter tick down with every click. Auto-play can speed through the batch so fast that a network blip causes a loss of spin history. If you do choose automation, set the loss limit to zero in the advanced settings to keep the session purely bonus-driven.
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Inside the promotions or bonus tab, you’ll see a full ledger of active and pending offers. Filter the view to show only free spins so deposit matches and cashback credits won’t crowd the screen. The platform shows the eligible game title directly beneath each batch of spins, a detail that matters more than you might think.
If the spins you expected aren’t showing up, check the expiry timer filter. Priced Up Casino automatically files away expired rewards to maintain a tidy interface, but a toggle switch enables you to see recently lapsed bonuses. A quick page refresh or logging out and back in often restores the sync between the server and your device, displaying the missing balance.
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We see free spins not as a one-off gift but as a recurring loyalty loop that incentivizes steady engagement. Priced Up Casino structures its UK calendar around weekly drop events, often revealed via push notification on Thursday evenings ahead of weekend slot launches. Activate all notification channels so you never miss a limited-quantity batch that vanishes within hours.
The VIP ladder grants progressively better redemption terms, and you climb it by concentrating your real-money play on a single consistent network provider. Higher tiers unlock friction-free spins that carry drastically reduced or even zero wagering multipliers. Focus on the mid-week booster campaigns specifically. They deliver double the conversion cap compared to standard welcome-trail free spin offers.
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Maintain a meticulous record of which game providers consistently provide the highest return-to-player percentage during free spin modes. Historical data suggests slots with a volatility rating below three stars delivering steadier clearing conversion, preserving more of the generated winnings through the wagering churn. Steer clear of high-variance jackpot titles when you’re working against a strict clearing deadline.
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Settling Funds and Turning to Withdrawable Cash
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Maximum bet rules stay in force throughout the clearance period. UK regulations restrict the permissible stake while a bonus is active, usually around five pounds per spin. Surpassing this cap by even a few pence initiates automated risk management scripts that can void the entire bonus balance. Deliberately cut your bet size to no more than two pounds to preserve a comfortable safety buffer below the hard limit.
When the progress bar attains one hundred per cent, the system activates an automatic migration of funds. Reload the cashier page and watch the total balance consolidate. At this stage, the funds become fully unrestricted and subject only to standard identity verification checks before withdrawal. We advise initiating a withdrawal right away to lock in the profit rather than letting it sit in the playing wallet.
FAQ
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A delay is common when the email verification step hasn’t been completed. Check your inbox and spam folder for a confirmation link from Priced Up Casino and click it to complete the identity check. Some UK welcome bundles also need a minimum five-pound deposit before unlocking the spins manually from the promotions page.
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The top British presenter is launching Holly Willoughby Together, a lifestyle series for YouTube and social that counts Stanley Tucci, Katherine Ryan, Joanne McNally, Emma Bunton and Nicole Appleton in its first tranche of guests. She will also speak to campaigners like Ellen Froome, who is lobbying for regulation of the tech giants, and chefs including Lauren Leyva.
The first ep will launch on July 28 and there will be two per week under five pillars: Talk Together, Cook Together, Look Good Together, Better Together and Hang Out Together.
Filmed in a purpose-built studio, Willoughby will hang out with guests and talk about the week’s chosen topic.
Produced by Hungry Bear Media, which is run by Willoughby’s husband Dan Baldwin, Holly Willoughby Together is the presenter’s first big YouTube push. According to her reps, she has a digital audience of 16 million. Willoughby is one of the UK’s most popular presenters but she has had a difficult few years, first dealing with the fallout from the scandal around former This Morning co-host Phillip Schofield and then the terror of a man convicted of an alleged plot to abduct and murder her.
She has since returned to presenting, fronting ITV’s You Bet! and Netflix’s Celebrity Bear Hunt with Bear Grylls.
Willoughby said: “I’m so proud of the work all the team who make Together have put into this exciting new project. We’ve had a lot of fun developing it and look forward to seeing what you think.”
The show counts tech health provider Voy as founding brand partner.
Numerous top presenters have turned to YouTube in recent years including Piers Morgan, whose hit Talk TV YouTube show now airs a highlights compilation on Paramount network 5.
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Between streaming and cable, viewers have a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that are airing or streaming this week, July 20-26. Details and times are subject to change.
Bravo, Bravo, Bravo.
The surprising and scandalous relationship between Amanda Batula and Kyle Cooke changed the trajectory of the reality show “Summer House.” Its spinoff “In the City” has provided a bit more clarity about their dynamic, and has introduced the audience to new members of Lindsay Hubbard and Cooke’s friend group. To finish up the season, the group gathered in the “Watch What Happens Live” clubhouse to reminisce and hash out their remaining differences. The first of the reunion’s two parts will air this week. Tuesday at 8 p.m. on Bravo.
Though the rebooted series “Ladies of London: The New Reign” hasn’t been renewed, the lives of several other women in that city will soon come into focus on “The Real Housewives of London.” The series originally aired on Hayu and was acquired by Bravo this year. Tuesday at 9 p.m. on Bravo.
A cowboy and a comic book guy walk into a bar …
The yearning between a cowboy and a creative woman in a small Texas town always feels swoon-worthy. And that is the case in “Ransom Canyon,” which is returning for its second season. Josh Duhamel plays Staten Kirkland, a man grieving his wife and daughter while also having an on-and-off connection with Quinn O’Grady (played by Minka Kelly), a pianist and dance hall owner. Relationships blew up and drama was aplenty last season. This season is set to tie up some loose ends, while surely creating more. All eight episodes will drop simultaneously. Begins streaming Thursday on Netflix.
If you ever wondered, “Hey, whatever happened to that comic book store owner Stuart Bloom in ‘The Big Bang Theory’?” then HBO has you covered. The new spinoff “Stuart Fails to Save the Universe” follows the titular character (Kevin Sussman) and his girlfriend Denise (Lauren Lapkus) on a mission to save the universe after Stuart breaks a device made by Sheldon (Jim Parsons), which throws everyone into a multiverse mess. They’re joined by fellow “Big Bang” alums Bert (Brian Posehn) and Barry (John Ross Bowie). This show is the fourth in the “Big Bang” universe. Thursday at 9 p.m. on HBO Max.
Two very different documentaries.
As so many people do these days, Sophia Maddox took an ancestry DNA test — but hers revealed that her grandfather was the infamous cult leader Charles Manson. Maddox told People that she began filming herself after finding out the news because she didn’t know how else to cope. And now, that footage is coming out in the feature-length documentary “My Grandfather Charles Manson.” In the film, Maddox presents insight into her family lineage and explores the generational trauma that might be associated with Manson and his crimes. Begins streaming Wednesday on Hulu.
Nick Nelson (Kit Connor) and Charlie Spring (Joe Locke) have been giving viewers butterflies with their stolen glances and sweet affirmations since the show “Heartstopper” premiered in 2022. Their story arc ended last week with the feature-length film “Heartstopper Forever.” Now the documentary “Heartstopper: Ending on a Hi” is taking viewers behind the scenes. It will include previously unseen production footage and interviews with Locke, Connor and Alice Oseman, the show’s creator and writer. The documentary will also explore fan perspectives and the show’s cultural impact. Begins streaming Friday on Netflix.
Catch up on Emmy-nominated shows.
The nominations for the 78th Emmy Awards — set for Sept. 14 — were announced this month, and as TV hits its summertime lull, now might be a great time to catch up on new shows that earned their first nods.
The postapocalyptic drama “Pluribus” stars Rhea Seehorn as Carol, a cantankerous novelist who is one of a few people immune to an extraterrestrial virus that renders others peaceful and complacent. Season 1 now available to stream on Apple TV.
In “Margo’s Got Money Troubles,” Elle Fanning stars as the titular character, who — after sleeping with her English professor and getting pregnant — turns to OnlyFans to support herself. Nick Offerman, Michelle Pfeiffer and Nicole Kidman round out the cast. Season 1 now available to stream on Apple TV.
“Widow’s Bay” was nominated as a comedy, and it does have its funny moments, but it’s also spooky and unnerving. A New England mayor (Matthew Rhys) tries to entice tourists to his island, which may or may not be haunted. Season 1 now available to stream on Apple TV.
In “Your Friends & Neighbors,” Jon Hamm plays a titan of finance who, after losing his job and getting divorced, begins stealing from his neighbors. Seasons 1 and 2 now available to stream on Apple TV.
In the “Game of Thrones” prequel “A Knight of the Seven Kingdoms,” Dunk (Peter Claffey) and Egg (Dexter Sol Ansell) find themselves in risky situations and classic shenanigans as the Targaryen line holds the Iron Throne. Season 1 now available to stream on HBO Max.
Stephen Chow‘s perfectly timed return to soccer comedy kept on kicking in its second weekend at China‘s box office. Kung Fu Soccer, the comedy legend’s Shaolin Soccer spinoff, added $73.7 million (RMB 501.1 million) over the July 17-19 frame, lifting its total to $214.3 million (RMB 1.46 billion) in just nine days, according to data from Artisan Gateway.
In a market where second weekends routinely shed half their opening business, the film instead topped its two-day debut frame of $73.6 million (RMB 500.3 million), albeit spread across three days this time. Having crossed $147 million (RMB 1 billion) in its first week, the film has prompted ticketing giant Maoyan to raise its full-run forecast to $441 million (RMB 3 billion), up from the RMB 2.5 billion it projected on opening weekend. The film looks likely to finish just short of Chow’s personal box-office record of RMB 3.39 billion ($500 million-plus), set by the fantasy comedy The Mermaid in 2016.
Chow, 64, wrote and directed Kung Fu Soccer — his first feature behind the camera since 2019’s The New King of Comedy — but does not appear onscreen, having stepped away from acting after 2008’s CJ7. Released to mark the 25th anniversary of Shaolin Soccer, and to ride this summer’s FIFA World Cup fever, the film reworks the beloved original’s premise around an underdog, all-female squad whose players integrate martial arts into their game to make an improbable run at a tournament dubbed the Supreme Invincible Cup. Zhang Xiaofei (Hi, Mom) leads the cast as the team’s captain, with Dilraba Dilmurat as its star striker and Lay Zhang as its kung fu coach, plus guest turns from Hong Kong screen icon Carina Lau, Japanese star Takeru Satoh and U.S. comedian Jimmy O. Yang.
Chow’s singular blockbuster prowess has been demonstrated — yet again — by the way he released the movie with little to no conventional marketing campaign. He set the release date via a casual social media video on his birthday in late June, and the film hit theaters less than three weeks later with minimal advance marketing.
A North American theatrical release is expected later this year but remains undated. Singapore’s Encore Films, which handled the international rollout of China’s record-setting animation Ne Zha 2 last year, acquired worldwide rights to Kung Fu Soccer outside the mainland and is lining up territory-by-territory deals.
Kung Fu Soccer faced markedly stiffer competition in its sophomore weekend than its first in the form of All Wishes Come True, an animated tentpole from state-backed Pearl Studio, the Beijing outfit formerly known as Oriental DreamWorks, whose credits include Kung Fu Panda 3, Abominable and the Oscar-nominated Over the Moon. Written and directed by Mu Zhengyang, the comic fantasy reimagines the classic folk tale of the Eight Immortals crossing the sea, following a group of ordinary individuals who outwit the gods to earn their legendary titles. It opened Saturday and brought in $30.6 million (RMB 207.8 million) over two days — a solid start — for an early total of $39.6 million (RMB 269 million) including previews. Pearl and partner CMC Pictures have set a global rollout beginning Aug. 13 in Australia and New Zealand, with the U.S., Canada, the U.K. and other markets to follow from Aug. 14.
The rest of the weekend’s top titles trailed the two blockbusters from afar. Enlight Pictures’ A Part of Me, a female-friendship tearjerker starring Zhang Ruonan and Jin Jing — a remake of the 2015 Toni Collette-Drew Barrymore dramedy Miss You Already — opened third with $13.6 million (RMB 92.4 million). Universal and Illumination’s Minions & Monsters held fourth in its third frame with $3.7 million (RMB 25.1 million), nudging its China total to $40.3 million (RMB 274 million). And Triangle, Christopher Smith’s 2009 time-loop thriller starring Melissa George — a curious cult favorite among Chinese movie lovers — took fifth with $3.7 million (RMB 25 million) after arriving in mainland theaters Friday, 17 years after its original release.
China’s 2026 box office now stands at $2.97 billion, down 35.3 percent from the same point last year — a comparison skewed by animated mega-blockbuster Ne Zha 2, which earned over $2 billion in China alone during the first half of 2025. The gap has nonetheless narrowed considerably from the nearly 56 percent deficit of early March, as Chow’s comeback hit has given the country’s summer moviegoing season a healthy kick-start.
Curry Barker’s horror phenomenon Obsession, which has grossed more than $400 million worldwide since its mid-May debut, opens in the country on Friday. The film will pose an interesting test of whether the wave of young, internet-bred filmmakers taking Hollywood by storm can help revive the studios’ fortunes in China, where filmgoers have long grown tired of U.S. franchise fare.
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De charme van Vulkan Vegas Casino reikt verder dan de uitnodigende sfeer; het imposante spelaanbod zorgt ervoor dat er voor ieder wat wils is. Tijdens onze exploratie van dit dynamische casino kunnen we niet anders dan de uitgebreide variëteit aan gokkasten bewonderen. Van traditionele fruitautomaten tot moderne videoslots, elk spel biedt verschillende thema’s en functies. Daarnaast biedt het casino een scala aan tafelspellen voor verschillende niveaus en voorkeuren. Of we nu de voorkeur geven aan de strategische aanpak van blackjack of de vlugge actie van roulette, er is voor ieder wat wils. Deze gevarieerde mix van spellen verhoogt niet alleen onze ervaring, maar geeft ons ook een gevoel van vrijheid, waardoor we zelf kunnen bepalen hoe we onze spelbeleving invullen.
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Live dealer spellen geven een enerverende dimensie aan onze spelervaring, waarbij het gemak van online spelen naadloos wordt gecombineerd met de oorspronkelijkheid van een fysiek casino. Deze live dealer spanning zorgt ervoor dat we als nooit tevoren kunnen genieten van een meeslepende spelervaring. Hier zijn vier redenen waarom we live dealer spellen zo boeiend vinden:
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Deze elementen samen creëren een uniek gevoel van verbondenheid en spanning, waardoor onze game-ervaring wordt versterkt.
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Deelnemen aan spannende live dealer-spellen is slechts het begin van ons avontuur bij Vulkan Vegas Casino. Een van de aantrekkelijkste aspecten voor nieuwkomers zijn de promoties en welkomstbonussen die onze spelervaring verhogen. Deze bonussen bieden niet alleen extra speelgeld, maar fungeren ook als een toegangspoort tot het ontdekken van verschillende spelopties zonder het standaard financiële risico. We kunnen deze promoties gebruiken om de mogelijkheden te verkennen en spellen te vinden die ons boeien, terwijl we tegelijkertijd een vangnet hebben. Dergelijke incentives kunnen onze eerste ervaring omvormen en ons in staat stellen dieper in de dynamische wereld van online gaming te duiken. Door deze mogelijkheden optimaal te benutten, spelen we niet zomaar; we verrijken strategisch onze tijd bij Vulkan Vegas Casino.
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Hoewel veel online casino’s conventionele spelervaringen bieden, onderscheidt het VIP-programma van Vulkan Vegas Casino zich echt door bijzondere voordelen die ons spelplezier vergroten. Door lid te worden, krijgen we toegang tot talloze voordelen die onze spelervaring sterk verbeteren:
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Bij het beoordelen van de veiligheid en beveiliging van Vulkan Vegas is het essentieel om te overwegen hun maatregelen voor gegevensbescherming, vergunningen en voorschriften. Deze factoren garanderen niet alleen de geloofwaardigheid van de site, maar bevestigen ook hun inzet voor verantwoordelijk spelen. Samenvattend, begrip van deze elementen bevordert een veilig spelgevoel tijdens het spelen.
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Bij ons studie naar de veiligheidsmaatregelen bij Vulkan Vegas is het evident dat de beveiliging van onze informatie een hoogste prioriteit is voor het casino. De robuuste aanpak die ze toepassen, verzekert dat onze gevoelige informatie op verschillende manieren beschermd blijft, wat we erg op prijs stellen. Hieronder zijn vier belangrijke maatregelen voor gegevensbescherming:
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Inzicht in de licenties en regelgeving bij Vulkan Vegas is cruciaal voor een beschermde spelomgeving. Het is van groot belang te weten dat Vulkan Vegas opereert onder toezicht van een gerespecteerde kansspelautoriteit, die strenge nalevingsnormen onderhoudt. Door zich aan deze normen te voldoen, beschermt het casino niet alleen de informatie van spelers, maar garandeert het ook rechtvaardig spel en creëert het geloof op bij de spelers. Deze inzet aan openheid en verantwoording maakt het mogelijk om zorgeloos te spelen, in de wetenschap dat we deel uitmaken van een gereguleerd platform. In de dynamische wereld van online gokken is het geruststellend om verbonden te zijn met een casino dat onze veiligheid vooropstelt, de vereiste wettelijke kaders volgt en tegelijkertijd een spannende spelervaring biedt.
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Tijdens het navigeren door de dynamische wereld van online gaming bij Vulkan Vegas, moeten we het belang van verantwoord gokken herkennen, waarbij de bescherming en het welzijn van spelers prioriteit hebben. Door bewust te blijven van bewust gokken, kunnen we een spannende én beschermde omgeving vormgeven. Hier zijn vier essentiële praktijken die we kunnen toepassen:
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Samen kunnen we op een verantwoorde manier genieten van de sensatie van Vulkan Vegas.
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Wat maakt een bezoek aan Vulkan Vegas Casino nu echt onvergetelijk, afgezien van de spelervaring? Wij vinden dat de diverse culinaire en amusementsopties ons verblijf nog plezanter maken. De culinaire delicatessen variëren van culinaire restaurants met voortreffelijke maaltijden tot ontspannen eettentjes met huiselijke gerechten die onze eetlust stillen. Elk gerecht reflecteert lokale smaken en internationale invloeden, waardoor er voor ieder wat wils is.
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The FIFA World Cup Final Halftime Show provided an answer to the burning question of how you fit Madonna, BTS, Justin Bieber, Shakira, Burna Boy, Gustavo Dudamel, Chris Martin and the Muppets into a single 11-minute segment: as fleetingly as possible.
Although there were reports that the halftime extravaganza would be allowed to go over the allotted 11 minutes, it indeed came in at just a few seconds over that mark, which meant that none of the superstars involved got more than about two minutes of time on the field… or mostly off it, in the case of Madonna.
The segment opened with an apparently pre-taped segment in which Madonna and passengers Ronaldinho and Ronaldo Nazário were carried along on a jeep through tunnels, apparently in the bowels of New York New Jersey Stadium — a journey that lasted long enough that it seemed in doubt whether she would ever make an appearance out on the field. She did, but by that time, her performance of “Music” was over, with nothing left to do in sight of the live fans but strike a pose before the action moved on to Dudamel and the Muppets.
The transition at the two-minute mark found the outgoing LA Phil conductor leading string sections from New York and Venezuela in supporting a Muppet band’s rendition of the White Stripes’ “Seven Nation Army.” The next minute was given over to leaving viewers wondering why puppets rather than Jack White himself were squeezed into the mega-medley to deliver the biggest riff in rock or sportsdom, before BTS took over at the three-minute point.
RM, Jin, Suga, J-Hope, Jimin, V and Jung Kook of BTS perform during the Topps Final Halftime Show in the FIFA World Cup 2026 Final match in East Rutherford, New Jersey.
Getty Images
The K-pop superstars got in a minute and 40 seconds’ worth of “Dynamite,” complete with some altered football lyrics, before they were succeeded by an unbilled appearance by Jason Sudeikis, briefly reprising his role as Ted Lasso. His entree into the World Cup: coaching Justin Bieber, just he went onto the field with an acoustic guitar to sing a fully solo rendition of “Everything Hallelujah,” from his “Swag II” album, sans a band (or laptop).
Justin Bieber performs during the Topps Final Halftime Show the FIFA World Cup 2026 Final match in East Rutherford, New Jersey.
Getty Images
Shakira performs during the Topps Final Halftime Show the FIFA World Cup 2026 Final match in East Rutherford, New Jersey.
Getty Images
Who would be “headliner” in this lineup? Not surprisingly, it was Shakira, joined by Burna Boy, singing “Dai Dai,” the FIFA anthem that has “Here in this place you belong” as its brotherhood-of-men-and-feet sentiment. Then, with a minute and a half to go, it was back to the Muppets, now joined by the Webby Award-winning PS22 Chorus and one much taller fellow in the chorus line, Chris Martin, who’d curated the halftime. “We believe in love,” they sang, a sentiment that came in second here only to a belief in brevity, with a more-is-better approach to making the final’s historic first halftime show as much of a cluster-FIFA as possible.
Earlier in the day, there was no hurry at all when Post Malone got to sing not just one but three numbers during the opening ceremony — including a partial version of “Chrome Heartbreaker,” teasing his upcoming, long-delayed “Eternal Buzz” album. Also getting an unusual amount of time, at least compared to the halftime superstars, was streamer/influencer-turned-singer ISHowSpeed, reprising his 2022 World Cup anthem, the prosaically titled “World Cup.”
Jennifer Hudson delivered the U.S. national anthem, giving the day its most honest jolt of genuine, un-lip-synched lung power. Robbie Williams, Nicole Scherzinger and Laura Pausini teamed up for another official FIFA theme song, “Desire,” which included Williams singing the line “Love is the law,” a directive that will no doubt hold true unless the president makes a call to get it overturned.
Nicole Scherzinger, Robbie Williams and Laura Pausini perform before the FIFA World Cup 2026 Final match between Spain and Argentina at New York New Jersey Stadium on July 19, 2026 in East Rutherford, New Jersey.
Getty Images
Post Malone performs during the closing ceremony before the FIFA World Cup 2026 Final match in East Rutherford, New Jersey.
Getty Images
Jennifer Hudson performs the U.S. national anthem before the FIFA World Cup 2026 Final match in East Rutherford, New Jersey.
Getty Images
Chris Martin performs during the Topps Final Halftime Show in the FIFA World Cup 2026 Final match in East Rutherford, New Jersey.
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Le catalogue de Goldex Casino est vaste et tire sa force de partenariats avec de nombreux développeurs de première ligne. On y découvre des centaines de machines à sous, des versions traditionnelles et modernes de jeux de table, ainsi qu’un salon live dealer bien fourni. Cette variété est un point fort essentiel, car elle répond aux attentes d’un public varié, du joueur occasionnel amateur de slots aux experts expérimentés du blackjack. La participation de développeurs réputés est habituellement un gage de qualité des graphismes, d’justice des résultats grâce aux générateurs de nombres aléatoires certifiés, et d’innovations régulières avec l’intégration de nouvelles références. L’système de recherche et de filtrage facilite la découverte dans cette profusion de choix.
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La légitimité d’un casino en ligne opérant en France se fonde essentiellement sur sa licence et son cadre réglementaire. Goldex Casino arbore une licence attribuée par une autorité reconnue, ce qui est un premier élément rassurant. Cette licence implique le respect de règles strictes en matière de protection des fonds des joueurs, d’équité des jeux, et de pratiques commerciales éthiques. De plus, le site utilise un chiffrement SSL de niveau bancaire pour garantir toutes les transactions et données personnelles. En tant qu’analyste, je estime ces éléments comme la base essentielle à toute recommandation. Un joueur doit toujours vérifier ces informations en bas de page avant de s’inscrire.
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Au-delà du bonus de bienvenue, Goldex Casino met en place un programme de fidélité conçu pour récompenser l’engagement continu des joueurs. Ce type de programme opère généralement sur un système de points accumulés via les mises effectuées. En montant les échelons ou niveaux, les joueurs peuvent déverrouiller des avantages comme des tours gratuits, des bonus de cashback, des offres personnalisées ou même les services d’un manager de compte dédié. Étudier la structure de ce programme est important pour les joueurs réguliers, car il peut représenter une valeur ajoutée significative sur la durée, convertissant une partie des pertes potentielles en avantages concrets et en expérience de jeu améliorée.
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Pour agir sur le marché français, un casino est tenu de offrir des solutions de paiement adaptées et fiables. Goldex Casino inclut les options courantes telles que les cartes de crédit/débit, les portefeuilles électroniques populaires et les virements bancaires. La procédure de dépôt est en règle générale rapide, ce qui offre la possibilité de commencer à jouer sans délai. Pour les retraits, les délais changent selon la méthode choisie, ce qui est une pratique standard. Je note l’importance des procédures de vérification d’identité (KYC), indispensables et primordiales pour la sécurité de tous. Ces vérifications, bien que pouvant retarder un premier retrait, sont une marque de conformité et de protection des joueurs.
Conditions des Bonus : Lecture Obligatoire des Termes
Je dédie une section entière à ce point, car c’est souvent la source de malentendus. Les conditions de wagering attachées aux bonus déterminent combien de fois le montant du bonus (et parfois du dépôt) doit être joué avant que les gains ne puissent être retirés. Un pourcentage trop élevé peut rendre le bonus pratiquement impossible à libérer. D’autres conditions cruciales englobent les jeux éligibles (les slots comptent souvent à 100%, les jeux de table beaucoup moins), les limites de mise autorisées pendant l’utilisation du bonus, et la durée de validité. Une analyse objective impose de souligner que la valeur réelle d’un bonus se juge à l’aune de ces termes, et non du seul montant affiché.
Ma Conclusion Finale sur Goldex Casino
Après cet examen approfondi, Goldex Casino se présente comme une plateforme intégrale, conçue pour satisfaire aux attentes standard du joueur français d’aujourd’hui. Ses points forts majeurs résident dans une bibliothèque de jeux variée et de qualité, une accessibilité mobile optimale et une offre promotionnelle initiale séduisante. Cependant, comme pour n’importe quelle plateforme, la clé d’une expérience satisfaisante réside dans une approche avertie et raisonnable. Cela requiert une maîtrise totale des conditions des bonus, une observance aux principes du jeu responsable et l’utilisation des outils de gestion de dépôt disponibles. La licence et les mesures de sécurité en place représentent un cadre sécurisant pour une activité de passe-temps.
En résumé, Goldex Casino présente une entrée en matière solide dans l’univers des jeux d’argent en ligne en France. Son offre de bienvenue est destinée pour donner un élan de départ, mais la valeur pérenne de la plateforme se trouve dans son catalogue de jeux et son fonctionnement global. Pour tout joueur à la recherche d’une nouvelle plateforme, je conseille de commencer par une exploration mesurée, en profitant éventuellement des jeux en mode démonstration, et de toujours privilégier une pratique de jeu modérée et responsable.
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Ben Shapiro posted an 18-minute review of Christopher Nolan’s “The Odyssey” to his YouTube channel on Saturday, in which he called the Greek epic a “masterpiece” despite the conservative outrage about the film’s cast and historical accuracy.
“Nolan is unparalleled. He’s the best director working today, without a doubt. He just creates iconic movie after iconic movie,” Shapiro said. He also had lots of praise for star Matt Damon, adding, “I think he’s great in nearly everything. He sort of disappears into the part in a way that he doesn’t in a lot of other movies. He’s great as Odysseus.”
He likewise gushed about several other members of the supporting cast: “Robert Pattinson as Antinous is an excellent antagonist. He’s sleazy and gross. Tom Holland as Telemachus is excellent, well cast. Anne Hathaway does a great job as Penelope.”
Shapiro also fired back at those who complained about Lupita Nyong’o playing Helen of Troy.
“So, I know a lot of people were like, ‘Oh my god, Lupita Nyong’o is supposed to look like Diane Kruger.’ I don’t know. Diane Krueger doesn’t look very Greek. She’s German,” Shapiro said. “Lupita Nyong’o is a beautiful woman. But here’s the thing, actually, in the script, Nolan goes out of his way to explain that the war wasn’t really launched over Helen being gorgeous.”
The political commentator did, however, take issue with Elliot Page’s casting as Sinon. He called Page’s role an “absolute puzzler” before pointing out that he is “about 5’2 and 105 pounds soaking wet and has the voice of a woman. It doesn’t work.”
Despite outrage from right-wing voices like Elon Musk, Nolan recently told The Telegraph that he’s unbothered by the noise. He explained that online backlash “comes with the territory” when making a blockbuster.
“Remember, I spent 10 years of my life dealing with Batman,” Nolan explained. “When I came on ‘Begins,’ writers and artists had been working on this beloved character for almost 65 years, and a lot of freighted thoughts were out there about what he represents. And what I learnt over my time on that trilogy is you can’t worry about any of that at all. What you have to do is honor the original text by interpreting it in the strongest way you personally can.”
Dustin Lloyd, a Democratic primary candidate for Missouri’s state legislature, was a well-known member of his community when he started his political campaign.
But there was one important group that didn’t seem to know him at all: A.I. chatbots.
If voters quizzed a chatbot like OpenAI’s ChatGPT or Google’s Gemini about Mr. Lloyd, they would find only basic information that failed to convey his focus on helping small businesses.
Fortunately for Mr. Lloyd, there was a fix. He tweaked his online presence, publishing a Q&A about himself on his campaign website. Later, when the chatbots were quizzed again, they dutifully connected that personal history to his policy goals.
Editing A.I.’s output proved to be easier than he imagined. Since then, Mr. Lloyd said, “I’m constantly working on it every day.”
Candidates have long had to worry about their reputations among voters. Now, they have to worry about what A.I. thinks about them, too. And a new industry has sprung up to help them navigate this world.
Mr. Lloyd, 33, relied on a report on his A.I. presence from CampSight, a tool launched last month by Run For Something Action Fund, a progressive group that recruits young candidates to run for office. It determined that Mr. Lloyd’s website and his presence on Wikipedia and Ballotpedia — sites where voters regularly find information about political figures — were lackluster, advising him to make changes. It even recommended posting threads on Reddit so that the chatbots would begin including information from the online forum in their responses.
“Everyone’s just grasping for some sort of tool to at least inspect these results and ideally influence them,” said Jordan Haines, the chief technology officer for Run for Something.
The industry, known as answer engine optimization, or A.E.O., is a response to changes in how A.I. chatbots generate their answers. The earliest chatbots, released several years ago, were trained on huge amounts of information that was already published online. That made many of their answers about news events almost instantly outdated. Modern chatbots solved that problem by searching the internet and pulling in fresh content to answer questions about current events, including the midterms and candidates.
Recommendations from A.E.O. tools like CampSight are typically limited to rewriting content on a candidate’s own website or ensuring Wikipedia is up-to-date. But well-financed candidates may ultimately try to publish a wider array of content online that would be aimed squarely at getting noticed — and parroted — by chatbots, experts said.
“There is a certain degree of panic around it, because we understand it so little and it’s changing so fast,” said Beth Simone Noveck, a professor at Northeastern University who is studying democracy and A.I. tools, known as large language models or LLMs. “Even if there are people who claim to understand it, even if they master some of the techniques, the changing and unpredictable nature of LLMs just means it’s really difficult to control this process.”
Politicians are also weighing another risk: getting smeared by A.I. search results that are not just unflattering but also flat-out wrong. An experiment ahead of Scotland’s parliamentary election in May found that more than a third of A.I.-generated answers to questions about the upcoming vote were inaccurate. Researchers for Demos, a British think tank, found that multiple chatbots were inventing candidates, fabricating nepotism accusations or concocting financial scandals. Some falsely claimed that an incumbent was running when they were not, while others misstated candidates’ positions.
Still, voters are increasingly turning to chatbots for answers to their political questions. Caucus AI, a political A.E.O. research company, estimated that at least 16 million voters were getting election information from A.I., either through chatbots or from A.I.-generated answers on search results pages.
“As people get more used to this, and as the reliability of the information coming from these chatbots increases, we do think that there will be a significant uptick in 2028 and beyond,” said Meg Schwenzfeier, a founder at Caucus AI and the former chief analytics officer of Kamala Harris’s presidential campaign.
Caucus AI ran an experiment to see how long it took for content newly published to Wikipedia to end up in a chatbot’s answer. The result: about 12 minutes. That suggests that candidates can already insert their own information into an A.I.’s responses by tweaking public information “quickly, unvetted and without anyone on the other side watching,” the company wrote in a blog post about its findings.
Caucus AI is now tracking what chatbots are saying about all Senate, House and gubernational candidates, finding that some candidate messaging has an unusual ability to break through. For example, when the group asked three different chatbots about Mary Peltola, the Democratic challenger for United States Senate in Alaska, they all cited her unique slogan: “Fish. Family. Freedom.”
“We’re exploring what causes that to get picked up,” Ms. Schwenzfeier said. “There’s still a lot we don’t understand, and these models themselves are black boxes.”
If candidates and political groups can nudge chatbots to produce more palatable answers, experts in digital strategy worry that foreign influence operatives and others might also try to manipulate A.I. searches.
“Disinformation actors are, by definition, early adopters — they will use every technique and every technology they can,” said Tim Chambers, who runs the digital and social media arm of Dewey Square Group, a public affairs firm in Washington whose clients include labor unions and government agencies.
The firm has been helping clients audit their websites to see how accessible they are to chatbot scrapers; in research published in February, Dewey found that far-right sites and sites with “very low” factual integrity had set up their websites to be easily seen by A.I. tools, compared with outlets that were center-left or highly factual.
Mr. Chambers said that his clients were thinking about “needing to rebuild their websites for machines as much as for humans,” and considering how to show up in chatbot queries posed in multiple languages.
For Mr. Lloyd, the Democratic primary candidate in Missouri, the changes he made had an instant impact. When the chatbot was first asked who voters should support in the primary, it recommended his opponent, Tanya Lakins, citing her focus on small businesses. After Mr. Lloyd made tweaks to his website, the chatbot changed its tune.
“If you’re voting in the Democratic primary,” it wrote, “Dustin Charles Lloyd appears to have the strongest and most explicit small-business platform.”
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Within a few short years of debuting her youthful, meticulous homages to golden-era jungle, Nia Archives was opening for Beyoncé’s 2023 run of London stadium shows and jetting out to L.A. to write songs for Rihanna at Skrillex’s behest. These are not typical accomplishments for bedroom jungle DJs. There was a time when the odd chart slot and a feature on the soundtrack of the latest FIFA game would mark the mainstream zenith of a breakthrough junglist. Some might bend their arc toward pop, with compressed song lengths and more emphasis on daytime radio hooks than precision-engineered breakbeats. But Bradford-born Dehaney Nia Lishahn Hunt had managed to cross over without pandering or making concessions.
That Beyoncé slot came off the back of a firm but passionate letter Nia wrote to protest the lack of a dance-music category at the UK’s MOBO awards. She’d continued taking a hands-on approach to directing her own videos, and scored one of her biggest hits by sampling a Brazilian body percussion group. Fiercely protective of their culture, and almost uniquely self-sustaining within the wider UK dance-music scene, jungle and drum’n’bass have long tended to exist in their own siloed enclave. But Nia showed a talent for transmitting the scene’s legacy and ethos to a bigger, younger audience while pushing the envelope with her own sound, appearing current while earning crucial co-signs from scene elders like Goldie, DJ Die, and Randall. Her new position at the scene’s forefront came with considerable expectations, and her occasionally dazzling debut, Silence Is Loud, felt the weight of those demands. Its uneasy blend of jungle and Britpop ultimately carried unspent potential: vignettes of partying her way into isolation hinted at emotional vulnerability, but hid behind the immaculate clatter of drums. Then Nia fell in love, got dumped, had the cops called on her in a confrontation with her boyfriend—and produced her most heart-stopping work to date. On Emotional Junglist, Nia simultaneously accesses a new, emboldened register, and pushes jungle music into fresh, vulnerable territory.
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Loosely tracing the hot burn of a new relationship, then the hollowing out of a betrayal and breakup, Emotional Junglist makes good on the promise of Silence Is Loud. The friction between thumbed riffs and flurried breaks is productive rather than awkward, opening up meaner, moodier, and brighter spaces for Nia to write into. With a heavier emotional anchor, Nia’s signature combination of soul-baring rave and spiky guitars coheres more boldly. Simple, direct lines like the bridge on “Vertical”—“I don’t wanna be/Away from you”—turn whole scenes on a weighted pause, and conjure the matchless intensity of a burgeoning relationship. “This Could Be…” mirrors the giddy frisson that accompanies a new romance, with anxious, fast-picked guitars and drum fills buzzing like the group chat in response to one of those, “Guys, I’ve met someone” messages. Early highlight “Danger” was one of the songs to come out of the Rihanna writing room—all skidding, swerving raunch—and is all the better for being released here under a wash of breaks instead. Nia will occasionally stretch the odd metaphor beyond its tensile limit (rivers, seas, crashing waves on “Vertical”), but for the most part her writing is spare and lingering as a kiss.
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The Sign-Up Bonus and Recurring Incentives
Dissecting the Match Bonus
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The free spins portion offered clarity: 50 spins on Book of Dead at $0.10 CAD each, with winnings awarded as bonus funds subject to the same 35x playthrough. I had ten days to complete the wagering, and the contribution tracker changed in real time after every spin, giving me the feedback I seek. A $100 CAD maximum conversion cap from free spin winnings is typical and clearly stated. I was automatically enrolled in the tiered VIP program after my first deposit, and the interface displayed my progress through levels that activate cashback, higher withdrawal limits, and personalized bonuses. The cashback is particularly enticing because it arrives as real cash with minimal wagering, a stark contrast to the bonus-heavy welcome. I obtained a tailored monthly reload offer via email, suggesting the casino uses intelligent segmentation. For a new Canadian player who plans to make this their primary casino home, the loyalty shop and straightforward point redemptions underscore that ongoing play is genuinely recognized rather than quietly ignored.
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Upon moving to the real-time casino, I was met with a handpicked selection from Evolution and Pragmatic Play Live, the two providers that offer the most captivating real-time gaming for Canadians. The lobby features several blackjack variants, including Speed Blackjack and VIP tables, and roulette covers Auto, Lightning, and immersive classics. I entered an Infinite Blackjack table on a weekday evening and joined the game within seconds, confirming robust server infrastructure. The stream stayed clear at 1080p, and the dealer interaction was courteous, answering chat promptly. I also tested Crazy Time and Monopoly Live, because Canadian players prefer game-show experiences, and multiplier rounds occurred with the frequency I look for from trusted operators. One small detail that was notable was the interface showing bet amounts in CAD without any conversion confusion, avoiding the mental math that can sour a live session. That smooth integration of regional currency into a top-tier live lobby is a massive confidence booster for a new player.
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I began a live chat session at 10:30 PM Eastern Time and was patched to a human agent within ninety seconds. I posed a deliberately multifaceted question about the interplay between the welcome bonus and the cashback loyalty reward, vegas hero casino canada, and the agent gave a clear, accurate answer without using a generic script. The tone was friendly and professional, and the agent used my name, a personal touch I enjoy. I also evaluated email support and got a thorough response on withdrawal limits for unverified accounts in under four hours. On the security front, I verified the Kahnawake Gaming Commission license, a regulator that carries significant weight for Canadian players. The site uses 256-bit SSL encryption with an active certificate, and the privacy policy confirms that personal data is not shared with third-party advertisers without explicit consent. The responsible gambling page connects to ConnexOntario and Gambling Therapy, and the self-exclusion process is clearly described. The reality check tool activated exactly as described, and the independent RNG certification seal is shown near the game lobby. For a new player, this presence of trust signals transforms a cautious start into a secure onboarding journey.
You already know “The Odyssey” will be epic given its director (Christopher Nolan), its nearly three-hour run time and the mammoth IMAX cameras used to shoot it.
Based on an ancient Greek poem by Homer, the film, now in theaters, tells the story of Odysseus (Matt Damon) as he spends 10 years trying to return home to his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland), after the fall of Troy. Also in the cast are Robert Pattinson as Antinous, Penelope’s primary suitor; and Zendaya as the goddess Athena.
You may have read the poem in high school. But there’s no “Star Wars” scroll to refresh your memory; the film drops you quickly into the final weeks of Odysseus’ journey.
While many parts of the story — the Trojan horse, the involvement of the gods, any mention of magic — are decidedly fictional, historians do generally agree that a conflict did take place at some point between the Greeks and the people of Anatolia (modern-day Turkey), where the ancient city of Troy was located. The poem probably amalgamates several real skirmishes, raids and trade rivalries into a legendary 10-year siege.
When does ‘The Odyssey’ take place?
It’s approximately 1200 B.C., and the decade-long Trojan War has just ended. The events of the epic poem span the next decade. (Yes, if you’re counting, this means Odysseus will have been away from his family for 20 years by the end of his journey back to his kingdom of Ithaca.)
What was the Trojan War about?
It all started over a woman whose name you’ve probably heard: Helen.
On one side was the Bronze Age city of Troy; on the other, a coalition of ancient Greek kingdoms.
Helen (Lupita Nyong’o), the most beautiful woman in the world (a.k.a. “the face that launch’d a thousand ships”), was married to Menelaus (Jon Bernthal), the king of the Greek city-state of Sparta. While Menelaus was away, Paris, a young prince from Troy, paid a visit. Stories differ on whether he seduced Helen and convinced her to follow him back to Troy, or whether he abducted her, though Homer seems to favor the seduction version of events.
Menelaus was not pleased. He convinced his brother, Agamemnon (Benny Safdie), the king of Mycenae, another ancient Greek kingdom, to lead an army into Troy to pillage the city and retrieve Helen.
The campaign took 10 years. It was a blood bath, but the Greeks ultimately emerged victorious, thanks to Odysseus and his Trojan horse ploy.
What was the Trojan horse?
Even if you know nothing else about the Trojan War, you’re probably familiar with the expression “Trojan horse,” which has entered the lexicon as a metaphor for something that appears harmless but contains hidden malice. The ancient reference appears widely in pop culture, including in shows like “SpongeBob SquarePants” and “Doctor Who.”
In this case, the name is pretty literal: It refers to a giant hollow wooden horse that Odysseus and several dozen soldiers hid inside as a means of penetrating Troy’s city walls.
So how did this work? After a long day of fighting the Trojans, Odysseus and his men seemed to admit defeat, retreating from the battlefield and leaving behind just the soldier Sinon (Elliot Page) and the enormous horse, which they positioned outside the city gates.
The horse, Sinon told the Trojans, was a peace offering to the goddess Athena. The Trojans fell for it and dragged the supposed offering inside the city walls, celebrating what they believed to be the end of the war. After the city went to sleep, Odysseus and his men emerged and opened the gates to the waiting Greek army, catching the Trojans by surprise and leading to the city’s surrender.
What happens after the war?
For Odysseus, finally, it’s time to return to Ithaca after being away from Penelope and Telemachus, now a teen, for 10 years. Cue the events of “The Odyssey,” which follows Odysseus’ harrowing journey.
Along the way, he encounters sea monsters; a Cyclops; tempting Siren songs; and a sorceress, Circe (Samantha Morton), who turns men into pigs. Good thing he has Athena, the goddess of wisdom, looking out for him.
What’s going on back in Ithaca?
Penelope, who was a mere teen when Odysseus left, is now in her 30s. (Nolan ages her up; Hathaway is 43, though Damon, at 55, is around the same age as Odysseus at the end of his journey.)
Penelope’s attracted dozens of suitors — basically the island’s entire population of young, rich men — who are staying at the palace, ready to pounce if only she’ll admit what seems obvious to them: Odysseus is probably dead. They’re ready to murder his son and take the throne.
Penelope, though, never gives up. In an interview with Time magazine, Hathaway said she and Damon understood “The Odyssey” as a love story between soulmates. Penelope devises various means of keeping Antinous and the other suitors at bay.
What is Zeus’ Law?
It’s an implicit agreement between hosts and travelers, and it’s enforced by Zeus, the protector of strangers and guests. Hosts are required to provide food and shelter to travelers, who are in turn expected to be courteous and to not overstay their welcome. Violating it was seen as a grave risk; that stranger at your door might have been a god in disguise.
Who are some of the other major players?
In Nolan’s adaptation, Nyong’o is playing not only Helen, but also Helen’s sister, Clytemnestra, who is married to Agamemnon. Yes, two sisters are married to two brothers. (If you want more on what happens between Clytemnestra and Agamemnon after the war, check out Aeschylus’ “Oresteia” trilogy.)
Charlize Theron also makes an appearance as Calypso, a nymph who traps Odysseus on her island for seven years in the hope of making him her immortal husband.
Other notables: John Leguizamo plays Eumaeus, Odysseus’ blind swineherd and childhood friend; Mia Goth is Melantho, a maid serving Odysseus and Penelope; Himesh Patel is Eurylochus, Odysseus’ second-in-command; and Bill Irwin is Polyphemus, the Cyclops whom Odysseus blinds with a stake.
The rapper Travis Scott is also in this version, playing a bard. Nolan has said he included the character because he wanted to reference how the poem had been passed down orally, in a parallel to modern hip-hop culture.
How is ‘The Odyssey’ related to ‘The Iliad’?
The two epic poems are by Homer, with several characters, including Odysseus, appearing in both. “The Iliad” is essentially the prequel: It covers the final few weeks of the Trojan War. (Achilles is the protagonist; Odysseus is a supporting character.)
“The Odyssey” picks up roughly 10 years after the events of “The Iliad.”
I remember something about Odysseus killing his father and marrying his mother?
That’s Sophocles’ tragedy “Oedipus Rex,” — which was written several centuries later — not “The Odyssey.” No patricide here!