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Another day, another layoff announcement. This time it comes from Zero Parades: For Dead Spies developer ZA/UM, which said on social media that despite the game’s critical acclaim, the studio can’t sustain the size of its team.

ZA/UM took to Bluesky on July 17 to share the unfortunate news. The team said that although Zero Parades reviewed well, “its commercial performance” made it difficult for the studio to maintain its current employee count. As a result, the company has “served redundancy or at-risk notices” to up to 32 staffers at the RPG studio.

“Throughout this difficult process, we have continued to consult and work with representatives of the ZA/UM Workers’ Alliance,” the studio wrote on Bluesky. “This changes the shape of ZA/UM, but not its purpose. Our artistic standards remain unchanged: We will persist.”

Zero Parades: For Dead Spies is the second game from ZA/UM following the studio’s 2019 outing Disco Elysium. Released in May 2026 for PC with a PS5 version coming later this year, Zero Parades is an isometric espionage RPG about a female operative named Hershel Wilk who’s tasked with uncovering the secrets of her haunted past. It’s chilling and thrilling in the best ways, receiving an 8/10 in GameSpot’s Zero Parades: For Dead Spies review and an 83 score on Metacritic.

ZA/UM is the latest developer to suffer layoffs, as 2026 has seen the games industry rattled by myriad studio closures and employee terminations. Earlier this month, Xbox let go of 1,600 staffers as part of its big “reset” earlier this month, with another 1,600 planned to get laid off in the next 12 months. Skate studio Full Circle was also hit with layoffs in February 2026, as was 2XKO developer Riot Games in the same month. Meanwhile, Sony shut down Bluepoint Games, the developer responsible for some excellent remakes, in February as well. It seems like everywhere you look, another layoff happens.

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Another day, another layoff announcement. This time

Following the news that the FIFA World Cup final will feature its first halftime show in history, The Cure‘s Robert Smith took to social media to slam the announcement.

“AAAAAAAAAAAAAAAAAAGH… #Breadandcircuses #MUGWANK #pleasejustfuckoff,” Smith wrote on The Cure’s Instagram account.

Curated by Coldplay’s Chris Martin, performers will include Madonna, Justin Bieber, Shakira and BTS. In a statement, FIFA president Gianni Infantosser described the halftime special as a “groundbreaking spectacle” that will celebrate “football, music and our shared values, ensuring a legacy that transcends the final whistle.”

A few hours after his initial post, Smith clarified in another post that he wasn’t critiquing the performers. “IT IS ABOUT THE #MUGWANK I D E A OF A FOOTBALL WORLD CUP FINAL HALF TIME SHOW… IF YOU NOW UNDERSTAND MY ‘AAAAAAAGH!’ A BIT BETTER, BUT STILL DON’T AGREE, PLEASE ADJUST YOUR RED CAP, YOUR ‘I 🖤 JANNY + DONNY + $$$’ TSHIRT AND… KNOCK YOURSELF OUT? ONWARDS,” he wrote.

Reps for FIFA did not immediately respond to a request for comment.

Another area of contention online has been the actual length of the halftime show; sources told BBC News that the halftime show may last up to 25 minutes, but tournament regulations state that players’ breaks should not go over 15 minutes.

As Variety exclusively reported, the halftime show will also include performances from members of the New York Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, who are set to jointly perform a tribute to Venezuela following the devastating earthquakes in the region.

The Cure is currently touring through Europe, most recently performing in Plovdiv, Bulgaria. Smith was also featured on the duet “What’s Wrong With Me” as part of Olivia Rodrigo’s new album.

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Following the news that the FIFA World

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    Bij Skyhils Casino hebben we ontdekt dat e-wallets zoals PayPal, Skrill en Neteller echt de snelste uitbetalingen bieden voor spelers uit Nederland. De theorie dat bankoverschrijvingen altijd langzamer zijn, klopt, gezien hun langere verwerkingstermijn. Door de juiste methode te kiezen en een paar eenvoudige stappen te volgen, kunt u vrijwel direct en met minimale moeite over uw winst beschikken. Laten we verstandige keuzes maken om ervoor te zorgen dat elke opname vlot en rap verloopt.

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    Freddy “Boom Boom” Cannon, the early rock & roller who scored big, joyful radio hits with, among others, 1959’s “Tallahassee Lassie” and 1962’s “Palisades Park,” died yesterday, July 17, at a California hospice facility following a brief battle with cancer. He was 89.

    His death was announced by Tom Cuddy, a longtime friend and iHeart Radio producer. Cuddy noted that Cannon’s children Conny Weber and Billy Cannon were with him in the days before his passing.

    Cannon, who earned the nickname “Boom Boom” from the percussive power of his songs as well as the double entendre of his last name, took a spot in the post-Elvis/pre-Beatles rock & roll landscape through a string of hits and, perhaps more significantly, repeated appearances on Dick Clark’s American Bandstand musical variety series.

    While Clark’s program introduced Cannon to TV audiences – at first when the show was produced locally in Philadelphia and later when it went national – the singer-guitarist would also appear on such music programs of the era as Shindig, Hullabaloo, Where the Action Is and, later, The Midnight Special.

    Cannon in one of his many ‘American Bandstand’ appearances (1959)

    ABC Photo Archives/Disney General Entertainment Content via Getty Images

    “Freddy didn’t do ballads,” Cuddy said. “Dick Clark once told me that every time he hosted an oldies concert, he asked Freddy to open it, because he knew Freddy would get the audience on their feet with up-tempo rock and roll.”

    In addition to “Tallahassee Lassie” (cowritten with The Four Seasons’ Bob Crewe) and “Palisades Park,” the latter remembered for its prominent use of circus calliope sounds as a recurring motif, Cannon’s other hits included “Way Down Yonder In New Orleans,” “Too Much Monkey Business,” “Action” (used as the theme song for Clark’s Where The Action Is series), “Transistor Sister” and “Abigail Beecher.”

    Born Frederick Anthony Picariello Jr. on December 4, 1936, in Lynn, Massachusetts, Cannon lived in the state until his late teens, enjoying some musical success in the Boston area before he and his wife Jeanette moved to Philadelphia at the encouragement of TV host Clark, who had become aware of Cannon’s music through “Tallahassee Lassie.” Clark suggested Cannon re-edit and overdub the recording with the stronger bass drums that would become Cannon’s trademark sound and nickname inspiration.

    Cannon is thought to hold the record for appearing on American Bandstand over the years, with estimates putting the number of his visits to over 100.

    His visibility and chart success – he scored three Top 10 songs and 29 Top 100 – led to a fan base that would include such future superstars as Mick Jagger and Led Zeppelin’s Robert Plant, who once told Cannon during a backstage visit that he and his Zeppelin bandmates loved “Tallahassee Lassie” so much they recorded a blues version of it (if true, the recording has never surfaced).

    Jagger has said in interviews that “Tallahassee Lassie” inspired the Stones’ hit “Brown Sugar,” noting, “The groove is similar to Freddy’s song.” (The Stones recorded their own cover of “Tallahassee Lassie” in 1978, with the song surfacing as a bonus track on the band’s 2011 re-issue of Some Girls.)

    Another fan was a young Stephen King, who mentioned Cannon in at least four of his books, most notably in the time-travel novel 11/22/63, in which “Palisades Park” features prominently.

    Over a career that spanned 70 years, Cannon, a longtime resident of Oxnard, California, performed on bills with some of the top musical performers the early rock & roll era, including Chuck Berry, Fats Domino, Little Richard, Chubby Checker, Jerry Lee Lewis, Bo Diddley, Connie Francis and Brenda Lee.

    Cannon was working on music at his home in Oxnard right up to his death, Cuddy notes. He currently has a Top 20 song in the United Kingdom on the Heritage Charts with a number he recorded this year called “All She Wants To Do Is Dance.” The song is also in regular rotation on the Sirius XM 1960s channel.

    Cannon’s songs have appeared in such films as George Clooney’s Confessions of a Dangerous Mind and 2011’s X-Men: First Class. The MeTV horror host Svengoolie has featured Cannon’s music and recently paid tribute to the singer with an airing of 1965’s Village of the Giants, which includes an acting performance by Cannon.

    According to Cuddy, Cannon was scheduled to do what would have been his final interview on July 11 with longtime friend and NYC DJ Cousin Brucie Morrow, but was forced to cancel when he was hospitalized the day prior.

    Cannon published his autobiography Where the Action Is (with Mark Bego) in 2011.

    In addition to his children Conny and Billy, Cannon is survived by sister Mary Lou, son-in-law Jim, daughter-in-law Beth, five grandchildren and seven great grandchildren. He was pre-deceased by his son John, who died this past April 13, and wife Jeanette, who died in 2024.

    Daughter Weber said in a statement, “We would like to thank everyone for their love and support throughout our dad’s life. He will be remembered as a rock and roll icon. His music will live forever in our hearts.”

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    Freddy “Boom Boom” Cannon, the early rock

     

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    Samantha Morton doesn’t have a lot of screen time in “The Odyssey,” but when she shows up about halfway through the action epic, she commandeers the film. In an electrifying sequence that lasts roughly 10 minutes, Morton delivers a searing, richly textured performance as Circe, a sorcerer who transforms Odysseus’ men into pigs. In Homer’s epic, Circe is a beautiful temptress who toys with the soldiers for pleasure. In Morton’s hands, she’s a woman who has seen too much brutality and uses her magic as a safeguard against sexual violence.

    “My family is a military family,” Morton says. “War is complicated. Men are complicated. Our relationships with men as wives, sisters, daughters are complicated. I drew on that. And there are people in my family that have been sexually assaulted and raped, and I thought of that as well.” 

    Performing the scene made her “take a good long look at the behavior of mankind and men in particular.”

    When Christopher Nolan asked if she would meet about his next project, Morton couldn’t believe her luck.

    “When I got the call, I started to cry,” Morton remembers. “Then we had a get to know you chat, and I read the script. But I didn’t know if it would go any further. So when he called and said, ‘Would you like to do it?’ I was blown away. He could have anybody on the planet, and he chose me.”

    It was the kind of opportunity to work in a blockbuster alongside A-listers like Matt Damon and Anne Hathaway and a director like Nolan that Morton worried she’d never get again. She’s been a professional actress since she was 12, with a resume that includes everything from “Minority Report” to “The Whale” and “The Messenger.” She’s also earned Oscar nominations for “Sweet and Lowdown” and “In America.” But in recent years, Morton felt the opportunities to appear in major Hollywood movies were drying up.

    “As you get older as an actress, roles like this are just few and far between,” the 49-year-old Morton says. “I still work all the time, but predominantly in independent films or on television.”

    Filming the sequence where Circe lures the soldiers to her cabin, drugs them and then transforms them into swine using her bare hands was a thrill. Morton loved how open and collaborative Nolan was with the actors.

    “He’s so hands on,” Morton says. “Chris just made sure I had everything I needed and the time I needed to do what I had to do. There was an unbelievable sense of freedom and trust, and then just the gentlest, kindest suggestions and guidance to get me where I had to go.”

    The production presented some unique challenges. “The Odyssey” is shot entirely with Imax cameras, which are massive, noisy and weigh 300 lbs.

    “I would be lying if I didn’t say the first take was…interesting,” she says. “The cameras are just immense and they’re right there in your face. So at first I was like, ‘Whoa!’ But eventually I forgot about it. It became like any other camera.”

    After Odysseus gains the upper hand on Circe, she launches into a monologue about the cruelty of men and the way they can abuse their power. Morton relished the dialogue that Nolan had written for her to deliver.

    “It’s so impactful because there’s no extra meat on it,” she says. “It’s just so concise and pure.”

    The role serves as a reminder of Morton’s power as an actress, and if there’s any justice, it will lead to more meaty parts.

    “It felt like a rebirth,” Morton says. “I got to do what I do best for the best. To get the role felt like a second chance to be seen by the wider world.”

    It might also mean an invitation to the Oscars. “The Odyssey” opened on Friday, but Morton’s work is already generating awards buzz.

    “If your peers feel that you’re worthy of an accolade that means something, but I’ve never been somebody that chased that kind of gratification,” Morton says. “I just love what I get to do for a living.”

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    Samantha Morton doesn’t have a lot of

    Shania Twain always dreamed of playing Toronto’s legendary Horseshoe Tavern. The Queen of Country Pop, who has long headlined arenas and recently opened 12 stadium shows in London for Harry Styles, finally got to perform at the Queen Street landmark on Friday night, dropping into a venue that holds 500 people, testing out songs from her forthcoming album, Little Miss Twain, and delivering the pop smashes that helped sell more than 100 million albums worldwide.

    The evening was filled with stories about growing up in Timmins, Ontario, “the North” — memories about her mother, her father, his truck, driving at age 10, her ripped blue jeans, her fantasy man, and other deeply personal things that became the basis for the new songs. The lyrics meant so much to Twain that several times after performing the song with the band, she sang verses again on her own, just to make sure the crowd heard them.

    The $40 tickets (30 bucks in U.S. dollars) for the underplay sold out in minutes and were non-transferrable. A small number were set aside for contest winners, industry, media, and guests. The diehards who couldn’t get in listened from the sidewalk, but were unable to catch a glimpse of the five-time Grammy winner: the stage is located far in the backroom.

    “Quick story,” the chatty singer, now 60, said after opening the 75-minute set with two of her biggest hits, “Come On Over” and “Any Man of Mine,” and already declaring this “the best night ever.” Sitting on a stool with her sparkly, silver acoustic guitar, in front of the venue’s glittery backdrop and giant logo, she looked beautiful in a black bodysuit, shrug, tights, and knee-high suede boots, her layered hair styled with loose curls.

    “I grew up in northern Ontario. The dream in my little bar bands at the time, all through my youth and my teens, and even into my 20s, was to play the Horseshoe Tavern,” she said. “But we just weren’t established enough, so…this is my first time in the Horseshoe Tavern.”

    The 78-year-old music venue, still standing amid the crumbling history around it, including the construction of a subway stop next door, has hosted countless legends on its stage. On the country side alone, Waylon Jennings, Loretta Lynn, Conway Twitty, and Willie Nelson all played there; along with Canadian rising star Josh Ross. Though it’s no longer strictly a country bar — the Rolling Stones, the Ramones, Foo Fighters, and Bryan Adams are just some of the rock acts who’ve graced the stage—original owner Jack Starr built it into the “Grand Ole Opry of the North” in the early days.

    Notably, the late Stompin’ Tom Connors — whom Twain talked about last month onstage at another underplay, the Shacklewell Arms pub in London, and imitated his famed foot-stomping — was such a fixture at “The ‘Shoe” that he is immortalized in a mural shared with the Tragically Hip’s late singer Gord Downie on the wall by the stage.

    “I’m finally here, and I feel like it’s a very full circle moment,” Twain continued. “This is so historical. It’s a privilege to be here — finally.”

    Backed by a six-piece band, that included four women and her longtime music director Brent Barcus, Twain strummed guitar for nearly all the songs. She apologized to the crowd for the “go with the flow” nature of the evening, which included some tiny tech requests, and half-joked that she didn’t know all the lyrics yet because she’d just recorded them.  

    Teeing up the roots-rocker “Dirty Rosie,” the lead single and opening track from Little Miss Twain, due July 24, she described it as being inspired by “my favorite truck,” which also appears in the music video for the song. “I grew up on the backroads and gravel roads of Timmins, Ontario, deep in the bush, and that’s where I learned to drive,” she told the crowd, explaining that she was 10 years old when she got behind the wheel of her dad’s pickup. “I thought, ‘Someday, if I ever have my own truck, it won’t be shiny and clean; it would be a truck that had purpose.’”

    The song “I’d Be Loving Me,” she said, came out of a jam with musicians who had played on Motown records — “It’s my soul side coming out” — and spoke again about her youth and upbringing and what the big city of Toronto meant.

    After the lilting soul ballad, Twain performed the harmony-heavy “Stranger Things,” another track off the forthcoming LP. “This is the song that I wrote about the whole Little Miss Twain album. It’s a reflection on my life growing up in the North, in Ontario,” she said. “There’s snow and trees and lakes and rivers and gold in the ground and all the things that we are about Ontario.”

    At one point, Twain reminisced about her childhood dream guy who inspired the song — imagining a lumberjack-type partner who could do all the things she could do. “I mean, I can chop wood, I can trap. Ontario girls, I can change tires,” she said, describing a man twice her size who filled up a door frame, like a Daniel Boone figure. “So, I wrote this song all about the fantasy man when I was a kid.”

    Twain then went back to the classics, “That Don’t Impress Me Much” and “You’re Still the One,” the crowd excited, phones up in full force, singing along, before she played “Faded Blue Jeans,” a new track that features Queens of the Stone Age singer Josh Homme. There was no metaphor here: The song is about Twain’s hole-filled denim that repeatedly came back into style over the years, and the life moments she had while wearing them.

    While Twain talked a lot about her father, it was her mother who loomed largest over the night. “My driver, my manager and my agent,” is how Twain described her. “Her dream was that I would be a childhood country music star. Now, I would never hit that mark, and my mother would not live to see me, ever, have success. But her dream was that I would be the next Tanya Tucker.” (Tucker sings on the album’s title track.)

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    Twain wrapped up the night with “Man! I Feel Like A Woman!” noting how it’s become a karaoke favorite and holding out the mic for everyone to join in. “We’re flying by the seat of our pants,” Twain said after the song, seemingly unprepared for an encore and listening as fans yelled out suggestions. She settled on 2023’s “Giddy Up!” “Don’t forget to lasso,” she told the crowd, egging them on to dance. “I’ll be broken hearted if you don’t lasso.”

    In the end, the concert succeeded on its spontaneity, and Twain looked genuinely happy to be at the Horseshoe, going deep into the new songs that clearly mean so much to her. Outside, a large trailer took up the venue parking lot. She might have always wanted to play the ‘Shoe, but the dive bar’s green room is not fit for a Twain — Little Miss or superstar.

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    Shania Twain always dreamed of playing Toronto’s

    Freddy Cannon, a veteran of the early rock scene whose hits of the late ’50s and early ’60s included the top 10 hits “Palisades Park,” “Tallahassee Lassie” and “Way Down Yonder in New Orleans,” died Friday at 89.

    A representative said Cannon, who lived in Oxnard, California, died at a hospice facility after very recently being diagnosed with cancer, as confirmed by his longtime friend, iHeart Radio’s Tom Cuddy. Cannon had been scheduled to do “what would have been his final interview” on July 11 with legendary DJ “Cousin Brucie” Morrow, but he ended up being taken to the hospital the day before.

    Cannon, who was sometimes billed as Freddy “Boom Boom” Cannon, was revered by many fans of his original era because, for one thing, he “didn’t do ballads,” said Cuddy. “I had never seen a performer who kept his performance so upbeat and fun. Dick Clark once told me that every time he hosted an oldies concert, he asked Freddy to open it, because he knew Freddy would get the audience on their feet with up-tempo rock ‘n’ roll.

    Cannon’s acolytes included Mick Jagger (who said the groove of “Brown Sugar” was Cannon-inspired), Robert Plant (who said Led Zeppelin played “Tallahassee Lassie” in jams when they were just finding their sea legs) and Stephen King (who mentioned Cannon’s music in four of his books).

    His first hit, “Tallahassee Lassie,” made it to No. 6 on Billboard’s Hot 100 in 1959, with a No. 13 showing on the R&B chart and a No. 17 peak in the U.K. That same year, he reached No. 3 on the Hot 100 with “Way Down in New Orleans,” which peaked at No. 14 on the R&B chart and went all the way to No. 3 in the U.K.

    His third, last and biggest top 10 hit was “Palisades Park” in 1962. It went to No. 3 on the Hot 100, landed at No. 15 on the R&B chart and made it to No. 20 in the U.K. The song, written by future “Gong Show” host Chuck Barris, was subsequently covered by Jan and Dean, Gary Lewis and the Playboys, the Beach Boys (in the 1970s, as a nostalgic throwback on “15 Big Ones”) and the Ramones (on 1989’s “Brain Drain”), among others.

    Cannon continued to have hits through 1964’s No. 16-peaking “Abigail Beecher” and 1965’s No. 13 “Action,” released after he switched from the Swan to the Warner Bros. label. In 1981, he made one last return to the Hot 100 with “Let’s Put the Fun Back in Rock N Roll,” which peaked at No. 81. Shout! Factory released a compilation, “Boom Boom Rock ‘n’ Roll: The Best Of Freddy Cannon,” in 2009.

    Cannon’s rep said he held the record for the most appearances on Dick Clark’s “American Bandstand,” with 110.

    Other screen appearances ranged from “Where the Action Is” (which became the title of his 2011 memoir) to the cult genre film “Village of the Giants” to the soap opera “Never Too Young.”

    Freddy Cannon in May 2026

    Courtesy David Salidor

    He was born Frederick Anthony Picariello Jr. on Dec. 4, 1936 in Lynn, Massachusetts. In his late teens, he and his high school sweetheart-turned-wife, Jeanette, moved to Philadelphia at the behest of Dick Clark, the city that then hosted “American Bandstand,” early in that lifelong friendship.

    Cannon continued to work on music in Oxnard right up to his recent hospitalization, the rep said.

    Cannon is survived by his children Conny and Billy, his sister Mary Lou, his son-in-law Jim and daughter- in-law Beth, five grandchildren and seven great grandchildren. Cannon was pre-deceased by his son, John, in April of this year, and by his wife and high school sweetheart, Jeanette, in September 2024.

    “We would like to thank everyone for their love and support throughout our dad’s life,” said Conny Cannon. “He will be remembered as a rock ‘and’n’ roll icon. His music will live forever in our hearts.”

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    Freddy Cannon, a veteran of the early

    Paramount Pictures‘ upcoming “Call of Duty” movie from writer Taylor Sheridan will be based on the Xbox-owned first-person shooter franchise’s “Modern Warfare” games.

    Plot details about the movie have been kept under wraps since it was first announced in September 2025. But during a “Call of Duty in Culture Panel” promoting the October release of “Modern Warfare 4,” which took place at Fanatics Fest in NYC Saturday, “Call of Duty” movie director and co-writer Peter Berg took the stage to reveal to fans that the film will be set in the “Modern Warfare” universe.

    Since the original game’s release in 2003, the “Call of Duty” franchise has grown to include more than 30 mainline games. Among the dozens of titles, which have hailed from different developers over the years but are now all under Xbox via its purchase of publisher Activision, are the “Modern Warfare” games. Beginning with “Call of Duty 4: Modern Warfare” in 2007, the “Modern Warfare” storyline marked the first “CoD” games to break from the franchise’s original World War II setting.

    The “Modern Warfare” games have largely been set in the Middle East and followed Captain John Price and his Task Force 141 team’s mission to defeat terrorist Vladimir Makarov. This story will continue with the fall launch of “Modern Warfare 4,” which features a war that breaks out between North and South Korea.

    Last month, Paramount Pictures set a June 30, 2028 release date for the currently untitled “CoD” film, which is being produced in collaboration with publisher Activision.

    When the deal to make a “CoD” movie was first announced last year by new Paramount owner Skydance, sources told Variety that while the focus was to make the one “Call of Duty” movie from writer Taylor Sheridan, the multiyear pact includes the potential for Paramount to expand the “Call of Duty” universe across film and TV.

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    Paramount Pictures‘ upcoming “Call of Duty” movie

    “The Vampire Lestat” has been a wild ride from the start, and with its sixth episode, the series slowed down, let you catch your breath, and then immediately took it away again … several times.

    “It’s like you get a sense of home from it,” Jacob Anderson told TheWrap of the episode’s hangout vibe.

    “It was fun, and I think to some extent as well, probably just a bit of a relief,” Anderson said. “Sam had been like, thrown around for four months or whatever when we got to shoot in that episode, so I think probably it was quite nice for him to just do some like walking and talking, and sitting down. And for me, so much of Louis’ season is just stewing in grief and sadness and like this really complex, creepy situation.”

    The penultimate episode of the season, “Montreal,” took a break from that creepy situation with Regina and saw less of Lestat’s fractured and frayed perspective (perhaps as a result of his weeks of domesticity with Louis in the gap between Episode 5 and 6, which audiences didn’t get to see), and followed its two leads through a soul-searching Halloween night that takes them from one explosive emotional revelation after the next, and all the queit tender moments in between.

    Or as series creator Rolin Jones described the episode, “Vampire ‘Before Sunrise.’”

    “We just said, let’s do the vampire version of that, and stay in that strict point of view and see where that gets us,” Jones said. “Because we had all this plot, and how are we going to get all those things through? It became a wonderful discipline. We got to put our two guys in the same frame all the time and carry all those two-shots.”

    “Aesthetically, it’s what sort of ends up making this year easier to talk about in terms of an album, and that these episodes are tracks, and that this one might look wildly different than this one, but when you put them all together, we hope there is an album,” Jones continued. “You’re sitting there in Episode 6, and I have another 53 minutes that you haven’t seen, which will change a lot of things that you’ve seen in the first six.”

    The Seance

    “The Vampire Lestat” (AMC)

    Indeed, “The Vampire Lestat” and “Interview With the Vampire” before it are always redefining what you thought you knew about these characters, their relationships and motivations. In that regard, “Montreal” packs a big wallop with Claudia’s own “one night only” – a brief, brutal return via séance.

    Lestat’s fledgling, Louis’ surrogate sibling, and their one-time daughter figure is ripped out of her afterlife for a poignant and oh-so-piercing conversation with the help of powerful witch Merrick Mayfair (Sarah Afful). And she’s got plenty of sharp words for both of them – well, a few more for Louis, which, as Delainey Hayles pointed out, could be a result of the story being told through Lestat’s point of view.

    “If you look at like ‘Stained Glass Eyes,’ that whole thing was romanticized by him. He like made it so beautiful, like, ‘I’m grieving my daughter,’” Hayles said. “When it’s like, would Claudia really be like in love with you right now, singing this song? No.” How does she think Claudia would actually react? “She’d probably turn it off.”

    “Here’s some truth for you, sad boy, you weren’t even my favorite,” Claudia rips into Louis, and she’s just getting started. “I hate you to the pit of all things,” she screams as her rage builds.

    For Hayles, stepping into Claudia’s unfettered anger and afterlife torment made for a “very heavy day” on set. “I was kind of, not stressed out, but like really wanting to deliver for Claudia,” the actress explained.

    “I went through a lot when I got the scripts. I went through stages of it where, when I first got it, I was like, “This is amazing! Like, yes, rip into them.“ And then there was stuff where I kind of combated with some of the things she says in this scene. Whether they’re right or wrong is another question. I just combated with them, me as a fan of Claudia and a viewer as well.”

    “But I think that’s the beauty of the show and our amazing writers,” Hayles continued. “They don’t create black-and-white characters; they create gray characters. And whether you agree with what they say or not, it’s not for you. It’s that character’s decision.”

    Even if her words are tough to swallow, Anderson thinks there’s something “healing” about the experience for Louis and Lestat. “Hopefully, even for Claudia,” the actor said, adding, “That’s maybe romanticizing it too much. I’m sure she was glad to be able to say some of this stuff to them.”

    “It’s a shocking scene, and she says some pretty wild s–t,” Anderson continued, “but there’s something really honest about it, and there’s something really healing about it.”

    Claudia’s Truth

    Delainey Hayles in "The Vampire Lestat" (AMC)
    Delainey Hayles in “The Vampire Lestat” (AMC)

    Claudia’s sentiments, as shocking as they might be, are pulled pretty directly from “Merrick,” the seventh book in Rice’s Vampire Chronicles. In the 26 years since that novel was released, there has been plenty of debate about how much of what Claudia said was true, or if you can even ever be sure that it was her spirit that was yanked out of the beyond.

    “There’s a totally easy way for somebody to look, then go, ‘Well, she’s that aggressive because they just pulled her out of this thing, and she was done with these people, so maybe she overdid it,’” Jones said. “Or maybe that’s the first time you got to see it all.”

    For Anderson, seeing all of Claudia’s truth, without the bias of their memory clouding the picture, is a powerful moment for the duo.

    “I do think that there’s something really beautiful, at least that I felt about it, what the séance does to them, is that it becomes about her again,” Anderson said.

    “I think, largely, they give her the space to say what she needs to say, and they feel the presence of her again,” he explained. “Not the romanticized vision of her that they would tell other people, aspects of her that they would remember; the frustration and the anger and the passion that she has, her way with words, all these things that can get sort of fogged over by all of the flowery language and the memory of a person, and how that can like sort of morph somebody.

    The way you remember somebody, you can change them, you can turn them into something different. And I kind of I love that have this final experience with her, and they accept her, and they decide they learn something about themselves.”

    “It’s brutal and tough, tough medicine,” Jones added, “but also that they get a glimmer of pure, unadulterated rage. It was complex. She was really fierce. You can look at a lot of things that are buried in Seasons 1 and 2 and say, ‘Aha, absolutely, that goes really, really well.’”

    Mourning Madeleine

    Delainey Hayles and Roxanne Duran in "Interview With the Vampire" Season 2
    Delainey Hayles and Roxanne Duran in “Interview With the Vampire” Season 2

    If there’s one thing everyone agrees on, it’s that the purest truth in the scene is Claudia’s grief over her lost love, Madeleine, who was also killed by the Paris coven in the Season 2 trial that took Claudia’s life. While Louis is seeking closure with Claudia, it turns out she has spent her afterlife seeking Madeleine, and she’s never found her.

    “I don’t see her here, and I can’t find her there,” Claudia cries out as her brief return to the world of the living comes to a close. “The one good thing in my bleak, Black life, and I don’t know where she is, and I spend every second of nowhere looking for her!”

    It’s one of the show’s most devastating moments yet.

    “I think for me the saddest part of the scene is when she calls out for Madeleine, and I think that’s kind of what it boils down to,” Hayles said. “When I read that, I got really upset, because in vampirism you get your companion, through thick and thin, and through death and whatever eternity, that is your companion, whether you like them or not, and I think she hadn’t been given the grace to experience that.”

    According to Jones, that’s the universal truth everyone can walk out of that scene with, regardless of how much you believe the other things Claudia said.

    “The thing that seemed most heartbreaking to me, and to our writing staff, that would be hard for anybody to have a different opinion on is that she’s out there in purgatory looking for Madeleine and hasn’t found her yet,” he explained. “It gets me choked up thinking about it. That seems, if there’s any objective truth in that scene, that’s probably it.”

    Meet Merrick Mayfair

    Sarah Afful in “The Vampire Lestat” (AMC)

    The séance didn’t just bring back a fan-favorite; it introduced a new one: Merrick Mayfair. The title character of Rice’s 2000 novel, Merrick is a powerful witch of the Mayfair lineage (the long line of witches that takes center stage in AMC’s “The Mayfair Witches). But if you watched Episode 6, you already know that.

    Sarah Afful brings the character to life in “The Vampire Lestat,” and while the actress had read the book years ago and thought there was much of Merrick’s description that didn’t match up with her, she found her “spine” of the character specifically in the character’s bravery in the face of terrifying circumstances.

    “The integrity of her, her artistry as a witch and her strength, her tenacity, and that bravery, and going into situations that potentially could kill her,” Afful said. “I wanted to add that or glean that from the book and match it up with what was written in the script.”

    On set, Afful got a piece of direction from Jones that helped further unlock that understanding of the character. During the scene, Claudia possesses Merrick’s body and smashes the witch’s face into her table. When they tell her to keep going, she insists they’re going to have to pay her dental fees, and Afful recalled Jones suggesting that maybe she’s just saying that because she’s afraid and needed to say something.

    “What it unlocked for me was to not get too comfortable with the fact that I’m doing this, that she is terrified,” Afful said. “I remember parts of that in the book, where she’s shaking because this is life and death, encountering death, her own mortality, right there, and she’s terrified. So that unlocked something for me in that the vulnerability is just as big as the bravery, and just as big as the fear. They’re all sitting up there together.”

    The Cliffhanger

    Sam Reid in “The Vampire Lestat” (AMC)

    In the aftermath of Claudia’s revelations, Louis and Lestat continue their walk-and-talk journey through Montreal, taking in the weight of what they just witnessed. “She spared us the ambiguity,” Lestat says as they stroll with stricken faces.

    “You’re going to be shocked, to say the least, coming out of that experience,” Anderson said, adding that it’s so on-character for them to walk out of that experience and focus on how it affected them.

    “It’s very them,” Anderson said with a laugh. “Claudia is in hell, ostensibly, or purgatory, or somewhere awful, and still, they walk away from it, and they’re kind of like, ‘This was a learning moment. This was like a learning moment for us.’”

    But that’s not to say that they didn’t take a hard lesson from the experience. “Part of their journey going forward is that they’re going to have to hold some of this stuff, like on her behalf, for the rest of their for the rest of their existence,” Anderson continued. “They’re gonna have to hold all these parts of her that were challenging for her and for them.”

    But before they do any of that, they’re going to have to get their heads back on their bodies.

    The pair sits on a park bench and ponders the fantasy of a quiet future, the two of them, out in the desert. Then two masked figures sneak up behind them and cut their heads off – Armand and Daniel Molloy, no less.

    The audience may have never seen it coming, but Anderson says the episode’s gasp-inducing cliffhanger was one of the first things he ever learned about the third season. “I’m pretty sure Sam and I were told towards the end of shooting Season 2.”

    “It’s a wild one,” Anderson said of the ending with a laugh, but also an appropriately twisted episode for the series’ Halloween episode.

    “I think we should make it a tradition,” Anderson said of the holiday episode. Just don’t expect Louis to get suited up in costume like Lestat. “Louis is not going to wear a Halloween costume. No way,” Anderson said. “He doesn’t go for all of that.”

    In fact, Anderson says there’s another cut of the scene where Louis is actively hating on the Halloween vibe. “It’s not really in the final cut, but I was doing all sorts of judgy looks at different people,” Anderson recalled. “As they were walking, in my mind, like Louis was also like scoring the Halloween costumes. He hated all of them, but like it’s just all too cute for him, and it’s not really his thing.”

    “The Vampire Lestat” airs its finale on Sunday, July 19.

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    “The Vampire Lestat” has been a wild

    Don Lemon revealed what it would take to get him to run for president — and it involves one key stipulation.

    During an appearance on the “Can’t Be Censored” podcast, the former CNN anchor was asked if he had “political ambition.” He indicated that he didn’t, but acknowledged that others have asked him if a 2028 presidential run was in the cards.

    “I don’t know, I might,” he told hosts Travis Dhanraj and Karman Wong. “Because people keep asking me to do it.” Lemon explained that many of the potential folks in the running are not “impressive” to him.

    “It seems in this day and age, you don’t have to have a ton of political experience,” he observed before taking aim at President Donald Trump. “Because our current president has had none. That’s very obvious. I think that he could have done a better job if he would actually listen to people. But he doesn’t. He thinks he knows everything.”

    That’s when Lemon boldly declared, “I actually think I would be a really good president of the United States. I’m being totally serious.”

    When asked what it would take to get him to run for president, Lemon replied, “For the people to want me.”

    He explained, “What it would take is if I ran a political campaign, a presidential campaign, I would like to run it — and I don’t know if this is realistic or not — without having to beg for money. I would like it to be a voter-citizen-driven campaign for as much as it can be. “

    Lemon continued, “I would rather the people of the United States to say, ‘That’s the guy that we want. I’m gonna give him five dollars or $10,’ or something that doesn’t break the bank because I know that the economy is tough.”

    Additionally, the journalist took further aim at Trump, claiming that the president was “not doing a great job for the working-class people, for the American economy.”

    He pointed out, “He’s doing a fantastic job for his rich friends and for people who happen to have 401Ks and investments.”

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    Don Lemon revealed what it would take

    Valentina, who has appeared on RuPaul’s Drag Race and Fox’s Rent: Live, will make her Broadway debut on Tuesday when she joins the cast of The Rocky Horror Show, the Sam Pinkleton-directed revival of Richard O’Brien’s time-warping musical.

    Valentina will take over the role of Columbia, the top-hatted acolyte of Luke Evans’ Frank-N-Furter initially portrayed by cast member Michaela Jaé Rodriguez, who left the show June 21.

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    Producers announced that Valentina will begin performances Tuesday, July 21.

    Valentina said she “is honored to be debuting on Broadway as the first Trans Mexican American featured in a principal cast.”

    In addition to Evans, the current principal cast includes Rachel Dratch, Andrew Durand, Harvey Guillén, Stephanie Hsu, Josh Rivera and Sherie Rene Scott.

    The revival began previews on March 26 and opened officially on April 23 at Broadway’s Studio 54. The production received nine 2026 Tony Award nominations but went home empty-handed. The production is one of the stronger box office performers of to have started this spring, with the most recent figures reporting attendance figures at 93% of capacity.

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    Valentina, who has appeared on RuPaul’s Drag

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    Directed by Christopher Nolan, this adaptation of the Greek epic stars Matt Damon as Odysseus, a troubled hero finding his way home.

    From our review:

    Nolan’s love of movies and commitment to them — to what they can do, what they can be, what they should be — runs like an electric current through his filmography, lighting it, and oftentimes you, up. That passion is in every frame of his monumental adaptation of “The Odyssey,” one of the most Nolan of Nolan spectacles in its thematic concerns, formal playfulness, kinetic thrills and unabashed showmanship. Few directors close the divide between the art film and the blockbuster like Nolan does; fewer still give the audience something to not simply look forward to but also be excited by.

    In theaters. Read the full review.

    Continuing the Netflix series “Heartstopper,” based on the graphic novels by Alice Oseman, this romance film sees the central couple move from high school into adulthood.

    From our review:

    With a script by Oseman that is less idyllic than the series, the director Wash Westmoreland likewise guides their maturation with a gentle hand: Once-bright colors deepen, the series’ signature slide transitions feel more sophisticated. Kit Connor brings profound emotional weight to Nick’s anxious devotion, while Joe Locke imbues Charlie with a quiet resilience. Together, they create a bond so convincing that it survives even the script and score’s occasional habit of overexplaining what their faces already reveal.

    Watch on Netflix. Read the full review.

    In this coming-of-age film directed by Lauren Meyerin, an autistic woman named Margarita (Lillian Carrier) finds independence in a competitive hobbyhorse team.

    From our review:

    Bursts of fantasy and flurried, slowed-down visuals of Margarita’s workout routine — like trotting on a treadmill — give an enchanted quality to her evolution. It’s a bit corny and cute, but the film balances out these feel-good elements with harder truths that contrast the heroine’s silliness and sincerity to create a weirdly dark and touching sense of humor.

    In theaters. Read the full review.

    A troubled young woman kidnaps a rebellious child whom she believes is her younger self and takes her on the road.

    From our review:

    “The Kidnapping of Arabella” plays like a comedy, though comedies about mental illness are, understandably, few and far between. It helps, though, that this sophomore feature by Carolina Cavalli is Italian: The long tail of Fellini can be sensed wagging through every quirky character and unwaveringly deadpan exchange.

    In theaters. Read the full review.

    Inspired by the documentary of the same name, this sports drama directed by Sheldon Candis follows Walter (André Holland), a formerly incarcerated boxer who takes up coaching a group of young boys.

    From our review:

    In one corner there’s a script that telegraphs its punches and leans too heavily on a traditional protagonist’s journey — will Walt beat his demons? In the other corner, there’s a wiry story that recognizes how the community … is the hero. The film’s nuanced moments are found in that encircling amity in which they all fight.

    Watch on Hulu. Read the full review.

    Compiled by Kellina Moore.

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    ‘The Odyssey’Directed by Christopher Nolan, this adaptation

    If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.

    W Hotels is continuing its reinvention with a growing portfolio of properties across Italy, anchored by its latest opening: W Sardinia – Poltu Quatu, a 157-room resort tucked into a secluded marina village on the island’s northeastern coast. 

    The property joins W Rome and the recently opened W Florence, giving the Marriott-owned luxury lifestyle brand three markedly different interpretations of Italy. Guests can now visit all three through W’s “Italian Tour,” a new travel offer combining suite accommodations and locally inspired food and drink experiences in Florence, Rome and Sardinia. 

    “We don’t need to reinvent it,” Brad Wulff, the vice president and global brand leader at W Hotels, tells Variety. “W Hotels has always been at its best when it’s a little ahead of where culture is headed, whether that’s design, music, fashion, nightlife or the way people come together. Our job now is to take that DNA and make it relevant for how people live and travel today.” 

    That evolution is immediately visible at W Sardinia, which occupies a collection of whitewashed buildings built into the rocky coastline surrounding the village’s marina. The hotel’s interiors were designed by Meyer Davis and draw from the island’s caves, coastal landscape, artisan traditions and folklore, including stories of the Janas, fairy-like figures said to inhabit Sardinia’s ancient sites. 

    W Sardinia

    W Sardinia

    W Sardinia

    Rather than replicate the overtly nightclub-inspired aesthetic associated with earlier iterations of W, the property offers a more restrained take on the brand’s social energy. Its 157 rooms and suites are conceived as grotto-like retreats, with textured stone, curved details and reflective surfaces that evoke the surrounding water. 

    “Sardinia has this incredible duality,” Wulff says. “It’s obviously beautiful, but it also has a wildness to it. It doesn’t feel overly polished or predictable. And Poltu Quatu in particular has this sense of discovery. You arrive and feel like you’ve found something unique.” 

    The resort is centered around its marina and WET Deck pool, while its food and beverage offerings include TANIT, a waterfront restaurant led by chef Antonio Bitetto. Named after an ancient goddess associated with abundance, the restaurant emphasizes Sardinian seafood and produce and overlooks the yachts moving through the harbor. A dedicated pastry room overseen by Italian pastry chef Fabrizio Fiorani makes breakfast one of the property’s more elaborate dining experiences.  

    Guests can also travel across the bay to the hotel’s beach club on nearby islands. An ideal day at the property might look like a coffee at TANIT, followed by a boat ride to the beach and an aperitivo back at the hotel as the sun sets. 

    That balance between seclusion and activity is central to the property’s intended appeal. “They don’t necessarily want to choose between a restorative escape and a social, cultural experience,” Wulff says of today’s luxury traveler. “W Sardinia gives you both and lets you decide when you want each one.” 

    W Florence

    The Sardinia resort also gives W a coastal counterpart to its two urban Italian hotels. W Rome, which opened in 2021, is housed inside a historic palazzo near the Spanish Steps and contains 148 rooms and suites. Its restaurants and nightlife spaces include Giano, the Sicilian-inspired restaurant from chef Ciccio Sultano; the cocktail-focused W Lounge; and Citrico Rooftop, which serves naturally leavened pizza and Mediterranean dishes overlooking the city. A sixth-floor WET Deck offers a plunge pool and another gathering space above the capital. 

    W Florence, meanwhile, opened with 119 rooms near Piazza di Santa Maria Novella. The property blends contemporary interiors with references to Florentine architecture, art and Medici history, including a custom reception mural depicting exotic animals once associated with the ruling family’s collection. Its Zefiro Rooftop looks out toward the Duomo and Santa Maria Novella, while hotel programming  includes art exhibitions, workshops and collaborations with local creatives. 

    The challenge in the next phase of the company’s overhaul is convincing travelers whose image of W may have been formed 15 or 20 years ago to reconsider the brand. “When you walk into this new generation of hotels, the change is pretty immediate,” Wulff says. “The design is more sophisticated, the service is more intuitive and the energy is still there — it’s just evolved.” 

    “We don’t want to erase what people loved about W Hotels,” he continues. “We want to remind them why it was so exciting in the first place and show them what that looks like now.”

    Source link

    If you purchase an independently reviewed product

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    The MCU is calling it quits with its first (and greatest) Disney+ staple this fall. Fans learned as early as September 2018, over a year before Disney+ launched, that Elizabeth Olsen’s Wanda Maximoff would headline a streaming show, which, of course, evolved into WandaVision and premiered by January 2021 as the first TV release from Marvel Studios, before the likes of Loki or The Falcon and the Winter Soldier. While the reality-bending chaos had finished unraveling by March, it wasn’t even a year before October reports revealed that Kathryn Hahn’s Agatha Harkness would front a Disney+ sequel, later titled Agatha All Along, in September 2024.

    Somewhere between the two, in October 2022, Marvel Studios doubled down on this trilogy by launching development on a WandaVision offshoot starring Paul Bettany’s Vision, which has become known as VisionQuest. Marvel Studios has gone on to market the synthezoid spin-off as the end of the WandaVision trilogy, with its Disney+ premiere date now officially set for this fall, on October 14.

    The WandaVision trilogy has been a cornerstone of the MCU’s blockbuster live-action Disney+ slate for eight years, before the service even launched, effectively forming one three-season tale with overlapping themes and characters. This year will mark the end of an era for the MCU on Disney+ as Marvel Television phases away the WandaVision saga forever with this fall’s VisionQuest.

    Marvel Television

    Of course, when the WandaVision trilogy’s previous chapters were developed, the MCU was prioritizing one-and-done limited series, but has since put the focus on multi-season endeavors. While showrunner Terry Matalas hinted to The Direct that “you could very much see these characters,” he didn’t say anything definitive regarding Season 2 plans, signaling that this is truly the end for this five-year tale.

    That’s not to say the magically linked shows will leave no lasting legacy, as the WandaVision trilogy will reportedly be key to Avengers: Doomsday. Only time will tell what that hidden importance is, be it the magical concepts that were introduced or even the introduction of Joe Locke’s Wiccan and Ruaridh Mollica’s Speed.

    Many are expecting Wiccan and Speed to become founding members of the MCU’s Young Avengers (or Champions) in Doomsday or Secret Wars. That could lead to something of a pseudo-sequel to the WandaVision trilogy, if Wanda and Vision’s children are key characters in the planned Young Avengers Disney+ show.

    The MCU’s WandaVision Trilogy Replacement Is Already Clear

    WandaVision poster with Charlie Cox Daredevil from Born Again.
    Marvel Television

    Even with the WandaVision trilogy just winding down, Marvel Television may have already lined up its multi-series replacement. In recent years, much of the studio’s Disney+ focus has been on the street-level by reviving the narratives and characters from Netflix’s acclaimed Defenders Saga in projects like Hawkeye, Echo, Daredevil: Born Again, and The Punisher: One Last Kill special.

    While Born Again is the only one of those to run for multiple seasons, it seems Marvel Television isn’t done broadening that narrative. After all, there is reason to believe that a Jessica Jones revival project may be next after her Born Again return, with the potential for Luke Cage, Iron Fist, or Heroes for Hire to follow.

    Of course, that doesn’t sound exactly the same as the WandaVision trilogy, which was effectively one three-season tale, drawn out over three shows, likely due to the evolving lead character, themes, genres, and creative teams. However, it shows that Marvel Television remains committed to multi-project narratives.

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    • PO Box on utility bill: The algorithm detects non-residential addresses. We submitted a bank statement with a street address and secured instant approval.
    • Name mismatch: Our registration lacked a middle name that was on the passport. We messaged live chat to update the account name, then re-sent it without a hitch.

    Selfie verification occurs randomly for some Aussie accounts, especially those identified for VPN use or big first deposits. We encountered it and learned the selfie needs to be taken directly through your browser’s camera—you are not allowed to upload one from your gallery. The facial recognition verifies the live shot to your ID photo. Bad lighting that produces shadows across your face will lead to a mismatch. We solved it by putting a ring light right in front of our face and removing our glasses. If you get rejected, the Wonaco email provides a specific error code. Mentioning that code to support allows you to jump past the generic troubleshooting script.

    Step-by-Step Tour of the Wonaco Casino Account Verification System

    We explored the verification portal using a standard Australian IP. Once you log in, the dashboard displays a prominent “Verification Required” alert under the Profile icon. Click it, and you’ll see a document upload screen with three tabs: Identity, Address, and Payment. The system requires sequential processing—you can’t jump to Payment until Identity is approved. That structured flow reduces errors. Each tab lists the accepted file formats: JPG, PNG, PDF up to 10MB. After you click upload, the file undergoes an immediate virus scan before it even reaches the compliance server. That adds about 15 seconds but ensures no malware gets in.

    Once you upload a document, a preview appears with cropping tools to crop out unnecessary background. Utilize that cropping feature—cluttered backgrounds can throw off the automated document classifier. Once you confirm the crop, the system performs an immediate verification to verify that the document type corresponds to your chosen section. If you mistakenly upload a Medicare card under identity and the system immediately declines it with a straightforward error message. We saw that successful uploads switch the status from “Pending” to “Under Review,” and a countdown timer shows the estimated processing time. For docs from Australia, the auto-approval tends to be high during normal working hours in the Asia-Pacific region, which hints that the compliance team runs a dedicated regional queue.

    Organizing your Australian documents prior to starting

    Preparing your paperwork ready in advance is the best possible method to speed up verification. We recommend gathering your Australian-issued ID prior to logging into the Wonaco cashier. The key document must be a government photo identification—for Australians, namely a valid driving licence, passport, or a national Proof of Age card. We verified digital licenses from Service NSW and the mySA GOV app, and the platform accepts them as long as the screenshot includes the full card details and does not cut off the holographic features. The second piece is a recent address verification. Australian utility statements from Origin Energy, AGL, or a Telstra internet statement dated within the last 90 days work best. Avoid mobile phone bills from prepaid providers—they frequently miss the fixed address that the system checks for.

    The third thing to prepare is payment method verification, that many players from Australia miss until a withdrawal gets frozen. If you deposited with a Commonwealth Bank debit card, you will have to upload a image of the physical card covering the middle eight digits while the first six and last four showing. For POLi payments, a screenshot of your transaction history that contains the Wonaco deposit is enough. Have a clear camera or a decent smartphone ready—blurry images are the number one reason for rejection. The site’s OCR software has to read the text on your documents without manual intervention. If it cannot process the data, your submission is moved to a manual queue, which can take an additional 24 to 48 hours. Natural light near a window does wonders to eliminate shadows that obscure the fine print on the back of a driving licence.

    Approximate Timeframes for Australian Verification Approval

    We timed the full verification process across several test accounts to give Aussie players a solid benchmark. With a clear Australian passport and a matching selfie, automated identity verification finished in under four minutes during our morning test. Address verification using an AGL e-bill PDF cleared the auto-check in seven minutes—the system checked the address against the Australia Post postal database. Payment method verification for a Visa card lasted the longest at 22 minutes, because the compliance team manually masked the sensitive digits in the stored image before approving. Those times are under ideal conditions. Anything that lands in the manual review queue will take a lot longer.

    Manual reviews at Wonaco use a triage system that places withdrawal requests ahead of new account verifications. We submitted a slightly blurry driver’s licence at 9:00 PM AEST on a Friday and didn’t get approval until Monday afternoon—a gap of nearly 68 hours. The compliance team uses a follow-the-sun model, so Australian documents sent during the European night shift might stay untouched until the Asia-Pacific crew clocks on. We observed that accounts with a deposit history get priority over zero-balance accounts. That represents business sense, but it’s discouraging for new players trying to grab a welcome bonus. The fastest manual approval we saw was 11 hours for an account that had already deposited AUD 200 and sent in spotless documents.

    Information Security and Privacy Measures for Your Australian Documents

    We dug into how Wonaco Casino processes your data, especially how Aussie identity documents are kept and safeguarded after you send them. The platform encodes data at rest with AES-256, and the document storage servers reside in ISO 27001-certified data centres in jurisdictions with strong privacy laws. According to the privacy policy, submitted documents are maintained separate from the main gaming database and can solely be accessed by a restricted compliance team using multi-factor authentication. After a manual review, the system programmatically redacts the document number from the stored image, leaving only your name, date of birth, and address in the active profile. That reduces the damage if there’s ever a data breach.

    Australian privacy law works in your favour when it comes to data retention. Wonaco keeps your verified documents for as long as your account is active, plus five years after you close it—that’s in line with anti-money laundering record-keeping rules. But we observed that you can request early deletion of the raw document files once the account is closed and the mandatory retention period is up. The platform also employs a Data Protection Officer you can contact via a dedicated email address. Our test inquiry about document storage received a detailed reply within two business days. We consider the security is robust for the sensitivity of the info involved, though we always advise turning on two-factor authentication for your casino account as an extra shield against credential theft.

    When you upload documents, the transmission employs TLS 1.3 encryption—we confirmed that through browser dev tools during testing. The upload endpoint avoids caching files on your device, and the session token ends after 15 minutes of inactivity, so you have to log in again to get back to the verification portal. These technical measures are hidden to most users, but they create a defence-in-depth strategy that stops Aussie identity data from being intercepted in transit. We also like that the platform never asks for sensitive documents via email, which would expose them to less secure channels. All verification status updates come through the internal messaging system, which is protected by the same encryption as the financial transaction layer.

    Authenticating your login at an online casino

    If you’re a war movie fan like I am, you might not be pleased with the current state of the genre. It appears Hollywood isn’t currently keen on churning out big-budget flicks like Saving Private Ryan or Dunkirk. What’s going on? Many superstar directors are more interested in other genres, leaving the tanks and fighter jets unused. Among the 2026 releases, only Pressure, starring Brendan Fraser, can be categorized as a blockbuster.

    Thankfully, there is an abundance of great war movies from the past. So many great war movies have been made since the Golden Age of Hollywood that you can never finish them all, even if you spend every weekend watching at least two. Among the gems from the past, Stanley Kubrick’s Full Metal Jacket has aged quite well. Even better, you don’t need to pay for a streaming service to watch it. It’s currently available for free on YouTube. So, pack your bags. It’s time to head over to Vietnam. But first, let’s stop at the Recruit Training Center at Parris Island.

    Adam Baldwin in Full Metal Jacket Warner Bros.

    I remember exactly when I watched Full Metal Jacket for the first time. I was a child in the early 2000s, and my father put it on, figuring it would be a great movie for father-son bonding. Boy, did it turn out to be dark. I enjoyed it for the action, but later, I realized that it offered much more. When I rewatched it when I was older, I noticed the political subtext, the examination of mental breakdown, and the scathing commentary on the dismal process by which marine trainees were put through their paces in bygone eras.

    Full Metal Jacket’s plot is rather straightforward. This isn’t a typical Stanley Kubrick picture bound by complicated storylines. It opens with a group of United States Marine Corps recruits arriving for eight weeks of training at Parris Island, where Senior Drill Instructor Gunnery Sergeant Hartman (R. Lee Ermey) uses the harsh methods he can think of to get them ready for a tour of duty in Vietnam. Among the aspiring Marines are the wisecracking J. T. Davis (Matthew Modine), who is soon nicknamed “Joker” after making fun of Hartman. Another important character is the uninspired Leonard Lawrence (Vincent D’Onofrio), whom Hartman labels “Gomer Pyle,” like the naïve character from the popular 1960s sitcom Gomer Pyle, U.S.M.C. Terrible things happen during these two months, including a murder and a suicide. Terrible things also happen once the Marines head to Vietnam.

    I was particularly impressed by the efforts of Vincent D’Onofrio and R. Lee Ermey. The latter really knows how to yell in your face, and the former… well… the former is different. Recently, D’Onofrio has specialized in playing cold, dead-eyed villains. He’s much younger in the movie, and even though he portrays a naïve character, you can see the malice within. However, I bet that, at the time, no one expected him to morph so thoroughly from a soft-faced Hollywood newcomer to a tough dude with the aura of a boss. Academy voters should have noticed.

    Stanley Kubrick’s Movie Deviates From the Source Material in Several Ways

    Full Metal Jacket masterpiece war movie streaming hidden gem paramount plus Warner Bros.

    I have an uncontrollable urge to read every book that each of my favorite movies is based on. I’m always curious to know how different the film or TV show is from the source material. I noticed a few things while reading the autobiographical novel that Stanley Kubrick chose to adapt. Many might not know that Full Metal Jacket is based on The Short-Timers by U.S. Marine Corps veteran Gustav Hasford, who also helped Kubrick write the anti-war movie’s script.

    The first major difference lies in the story structure. The book is divided into three parts that were written in different prose styles. The first part focuses on the training, and the second and third parts focus on different timelines of the tour of duty. In contrast, the movie has a two-part structure that ignores the book’s last two sections. Regarding the characters, Sergeant Hartman’s and Gomer Pyle’s roles are each expanded. The latter goes from just an underperforming recruit mentioned occasionally to someone whose incompetence weighs down on the rest of the team.

    These changes are necessary as Full Metal Jacket’s legacy is mainly tied to those two characters. Without them, the Vietnam War movie would be forgettable. And, speaking of the darker tone that my father wasn’t aware of when he pressed the play button, I believe Kubrick did a great job going down that route. The novel’s narrative is mainly driven by dark humor, so the entire story often comes off as unserious, just like the Gomer Pyle sitcom. Should you read it? Only if you aren’t too busy. But don’t miss the movie.


    01141887_poster_w780.jpg


    Release Date

    July 10, 1987

    Runtime

    116 minutes


    Source link

    If you're a war movie fan like

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    Bethesda Game Studios has confirmed that Obsidian is working on a new Fallout game, Fallout 5 is in preproduction, and that several Fallout remasters are coming.

    In a lengthy note published on Friday, the studio revealed what’s planned for the future of its biggest games.

    “Fallout is one of our biggest priorities today,” the note reads. “Fallout 5 remains our long-range destination, and we have multiple Fallout projects in active development right now.

    Fallout 3 and Fallout New Vegas Remasters confirmed

    A new Fallout 76 expansion was also confirmed, which will serve as the prequel to Fallout 3. The note also confirmed that both Fallout 3 and Fallout New Vegas will receive remasters, as previously reported by VGC.

    “We also know many players want to revisit previous Fallout experiences. While we’re not announcing any dates today, we have been working on remasters for both Fallout 3 and Fallout: New Vegas.”

    BGS also confirmed that there won’t be a Fallout Day broadcast this year, but the company will celebrate the 30th anniversary of the franchise with fans in 2027. As part of this, a live event will be held in Washington, DC.

    Later in the note, Bethesda confirmed that Obsidian is working on a Fallout project.

    “The wasteland continues to expand as we team up once again with our longtime friends at Obsidian Entertainment. We’re happy to confirm they’re working with us on a new Fallout project. We’ll have more to share in the future.”

    It was reported last week that the Avowed and Outer Worlds studio would be working on a Fallout game following Microsoft’s recent restructuring efforts. 

    Speaking to Bloomberg, franchise director Todd Howard said that he “could not be more excited to work with Obsidian again.”

    Howard went on to say he prefers not to speak about projects too soon, but that fans also should have their expectations set appropriately.

    “We do realize we need to find a way to say a bit more so that our fans understand what we’re doing and why, while also protecting that moment when you really see the game and you press play,” Howard said.

    The note closes by confirming that The Elder Scrolls 6 is the studio’s current focus while Fallout 5 remains in preproduction.

    “Our teams are now developing The Elder Scrolls VI and Fallout 5 on Creation Engine 3, a shared technology platform we’ve been building since Starfield‘s launch. It allows our teams to support multiple projects simultaneously with new tools, rendering, and systems that define our games.

    “Fallout 5 is currently in preproduction. The Elder Scrolls VI is our primary development focus today, with the majority of our team currently working on the next chapter of the franchise. With over 65 million copies sold, players are still exploring Skyrim 15 years later, but we know it’s been a very long wait for the sequel.

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