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Glen Powell is one of Hollywood’s top A-list actors, and one influencer might’ve cracked the code as to why. As the actor talks about meeting people who gifted family photos of him to sign and other odd things, a viral video got into why some may not be able to resist his charm, and the actor actually reacted to it.

What is it about Powell’s movies and TV projects that have made him such a gift to the world? @Joshpray has a theory, and while I’m skeptical he was actually constructed in a lab for divorced women, I have to say the evidence is hard to dispute:

This Glenn Powell looks like the type of man women accidentally planned. One good date, one good afternoon. This man don’t even look real. He looks like somebody created him in a lab for divorced women. Glenn Powell got that, ‘Yes, ma’am, of course, ma’am. Let me grab that door chair and heart for you,’ type face. I’ve never seen this.

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Glen Powell is one of Hollywood's top

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Lograr el balance adecuado entre riesgo y recompensa es esencial para cualquier individuo que juegue en Qbet Casino en España. Los apostadores deben tener en cuenta su tolerancia al riesgo, ya que cada partida ofrece distintos grados de volatilidad y beneficios para la casa. Las tácticas efectivas para la manejo de fondos y el uso de promociones pueden impactar significativamente en la vivencia de juego. Sin embargo, entender cómo gestionar estos factores determinará no solo la diversión, sino también el potencial de triunfo. ¿Qué estrategias pueden optimizar este equilibrio?

Puntos clave

  • Entienda su tolerancia al riesgo personal para hacer elecciones de juego conscientes y gozar de una experiencia de juego balanceada en Qbet Casino.
  • Realice un control de sus desembolsos e aplique una gestión estricta de sus fondos para proteger sus finanzas mientras juega.
  • Aproveche promociones y incentivos, como promociones de bienvenida y giros gratuitas, para aumentar su capacidad de apuesta sin riesgo financiero adicional.
  • Analice regularmente su rendimiento en el apuesta y adapte las estrategias en función de las victorias, las derrotas y la volatilidad del juego para optimizar los desempeños.
  • Fije objetivos de apuesta específicos para orientar su apuesta y mantener la inspiración, ajustándolos según sea necesario en base de su progreso y tendencias.

Comprender los principios fundamentales de los apuestas de azar en línea

Aunque los juegos de apuestas en línea han ganado una enorme popularidad, entender sus principios es vital para cualquiera que se adentre en este mundo digital. Comprender la mentalidad del juego es fundamental, ya que muestra cómo los jugadores toman decisiones influenciadas por sentimientos y prejuicios cognitivos. Ser conocedor de la propia tolerancia al riesgo es también relevante, promoviendo un aproximación balanceado al desenvolverse en el frecuentemente incierto entorno en línea. Los jugadores deben darse cuenta de las posibles resultados de sus elecciones y entender que las ganancias implican riesgos inherentes. Al desarrollar la conocimiento del riesgo, las personas pueden gozar de la libertad del juego en línea y, al simultáneamente, resguardar sus intereses. Esta fundación no solo optimiza la experiencia de juego, sino que también promueve el juego responsable, facilitando a los jugadores participar con confianza en el dinámico mundo de los casinos virtuales, como Qbet Casino.

Elección de juegos y niveles de riesgo

¿Cómo se desenvuelven los apostadores entre la variada variedad de juegos ofrecidos en Qbet Casino y valoran su nivel de riesgo? Con una amplia selección, los participantes deben sopesar diversos elementos para mejorar su experiencia:

  1. Clases de juegos de azar
  2. Factores de riesgo
  3. Proporciones de pago
  4. Alternativas estratégicas

Administrar su bankroll eficazmente

Una gestión eficaz del bankroll comienza con establecer un presupuesto que los jugadores estén listos a gastar. Al ajustarse a este límite financiero y controlar meticulosamente los gastos, las personas pueden conservar el control sobre sus actividades de juego. Este enfoque no solo fomenta el juego responsable, sino que también aumenta la experiencia general del casino.

Definir un presupuesto

Fijar un presupuesto es fundamental para quienes quieren disfrutar de su tiempo en Qbet Casino y manejar los posibles riesgos. Al fijar restricciones financieros, los jugadores pueden aprovechar de la independencia de juego sin la presión de gastar de más. Aquí tienes algunas estrategias esenciales para un presupuesto eficaz:

  1. Definir un tope de gasto
  2. Reconocer los aspectos desencadenantes
  3. Reparte fondos sabiamente
  4. Establecer fronteras de tiempo

Haga un monitoreo de sus gastos

El control de gastos es crucial para los jugadores de Qbet Casino que desean gestionar su presupuesto. Con una seductora gama de juegos, es fácil perder la cuenta. Establecer límites de gasto mediante diversas herramientas de seguimiento permite a los jugadores tomar decisiones informadas sin sacrificar su libertad. Al establecer límites personales, cada persona puede gozar de su experiencia de juego y reducir el riesgo de excederse en gastos. Estas herramientas ayudan a monitorear las ganancias y pérdidas en tiempo real, garantizando que los jugadores se mantengan dentro de sus límites financieros deseados. Este enfoque fomenta el juego responsable, permitiendo los jugadores la libertad de explorar la emoción de Qbet Casino sin comprometer su salud económica. En definitiva, administrar eficazmente el presupuesto mejora el disfrute del juego.

Sacar provecho de promociones y bonificaciones

Las promociones y bonos de Qbet Casino brindan a los jugadores una manera fundamental de optimizar su experiencia de juego. Con un completo resumen de promociones, pueden sacar partido de varios tipos de bonos que mejoran su juego. Estas recompensas pueden incrementar las posibilidades de éxito y hacer que el juego sea más divertido.

  1. Bonos de bienvenida
  2. Bonos de recarga
  3. Giros gratis
  4. Programas de fidelización

Estrategias para maximizar los pagos

Las estrategias eficaces para maximizar los ganancias en Qbet Casino abarcan estrategias inteligentes de manejo de fondos, una meticulosa selección de juegos y el instante preciso de las puestas. Al emplear estos técnicas, los jugadores pueden mejorar sus probabilidades de lograr resultados beneficiosos y minimizar las derrotas. Entender cómo implementar estas estrategias puede llevar en una vivencia de entretenimiento más placentera.

Estrategias de administración de capital

Cuando los apostadores juegan en línea en Qbet Casino, controlar las métodos de administración de capital es crucial para mejorar su vivencia y maximizar sus beneficios eventuales. Estrategias productivas ayudan a los jugadores controlar las intricaciones de la mentalidad de las puestas y mejorar su estrategia. Las métodos fundamentales incluyen:

  1. Fije un límite
  2. Distribución de capital
  3. Utilice la norma 70/30
  4. Lleve a cabo un control de sus recompensas y pérdidas

Estrategias de elección de juegos de azar

Elegir los mejores juegos adecuados en Qbet Casino puede influir considerablemente en el triunfo global del jugador y sus eventuales recompensas. Con una amplia selección de juegos accesibles, los jugadores pueden aumentar sus oportunidades escogiendo juegos con un retorno al jugador (RTP) más elevado. Conocer las particularidades de cada juego puede ayudar la adaptación de la estrategia, permitiendo métodos personalizados que se adapten a la tolerancia al peligro y al estilo de juego individual. Por ejemplo, optar por juegos de capacidad, como el póquer o el blackjack, puede dar lugar a superiores beneficios si los jugadores implementan tácticas eficaces. Por el otro lado, juegos más simples, como las slots, pueden brindar emociones rápidas, aunque con premios medios más inferiores. En definitiva, las decisiones bien fundamentadas y la adaptabilidad planificada posibilitan a los jugadores examinar la propuesta de Qbet Casino para maximizar sus eventuales ganancias.

Midiendo el momento de sus apuestas de juego

¿Cómo puede influir el tiempo en el triunfo de un jugador en Qbet Casino? Las tácticas de timing son fundamentales para maximizar los recompensas y perfeccionar la emoción del juego. Al entender la comportamiento de las apuestas de juego, los jugadores pueden hacer decisiones más bien fundamentadas sobre cuándo apostar. Aquí se presentan cuatro estrategias clave a tener en cuenta:

  1. Observar patrones
  2. Elija el tiempo adecuado
  3. Utilice ofertas
  4. Manténgase enfocado

La significancia del juego responsable

¿Por qué es esencial el juego responsable en casinos como Qbet? El juego responsable impulsa un medio donde el goce no va en detrimento del bienestar personal. Subraya la concienciación sobre el juego, instando a los jugadores a entender los riesgos y a preservar el control sobre sus decisiones de juego. La deber del jugador es esencial; conlleva admitir límites, establecer presupuestos y distinguir la diferencia entre el juego de ocio y el comportamiento perjudicial. Al dar prioridad a el juego responsable, Qbet no solo protege a sus jugadores, sino que también cultiva un ambiente de casino duradero, promoviendo la autonomía y disminuyendo los riesgos. Este enfoque equilibrado optimiza la vivencia de los jugadores, permitiéndoles tomar decisiones conscientes y aprovechar del juego sin efectos negativas. En definitiva, tomar la responsabilidad en el juego impulsa una relación más saludable entre los jugadores y la industria del casino.

Análisis de su rendimiento y ajuste de estrategias

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Entender la relevancia del juego responsable contribuye a que los jugadores analicen su desempeño y modifiquen sus estrategias eficazmente. Al centrarse en las parámetros de actuación, las personas pueden obtener un comprensión útil sobre sus costumbres de juego y su sistema de decisión. Esta autoanálisis promueve un enfoque consciente del juego, incrementando el disfrute y minimizando los efectos adversos.

A posteriormente se presentan cuatro etapas para evaluar el actuación y adaptar las estrategias:

  1. Seguimiento de beneficios y déficits
  2. Estudiar las posibilidades de juego
  • Establecer objetivos claros
  • Implementar la adaptación de la estrategia
  • Conclusión

    En resumen, hallar el equilibrio correcto entre peligro y recompensa en Qbet Casino es fundamental para gozar de una experiencia de juego en línea placentera y posiblemente lucrativa. Al comprender los tipos de juego, gestionar eficazmente los recursos, aprovechar las promociones y implementar estrategias, los participantes pueden mejorar su juego y, al mismo tiempo, asegurar prácticas de juego sensato. La valoración continua del desempeño y el ajuste de las tácticas facilitan a los jugadores desenvolverse con seguridad en el ambiente de juego, lo que se convierte en decisiones conscientes y una experiencia global más satisfactoria.

    Lograr el balance adecuado entre riesgo

    Netflix co-CEO Ted Sarandos acknowledged that second seasons of the streamer’s shows tend to draw less well than debut seasons. But, he said, it’s not as bad as a recently prevalent narrative would make it seem.

    The streamer also touted some early results from the addition of video podcasts to the platform in its quarterly earnings report — but declined to divulge any specific numbers in a large-scale data release for the first half of the year.

    The season two problem narrative was sparked by a recent Bloomberg story detailing steep viewing declines for several shows in their second seasons, among them Beef, The Four Seasons and One Piece. Sarandos didn’t dispute those findings — which came from Netflix’s own publicly released weekly top 10 lists — but said that “in aggregate, we’re not seeing any material change in our second season viewing compared to season ones. Our second seasons are performing well within our bands of expectation.”

    Sarandos also said that viewing declines for the second season of a show are “very common” across the industry and offered this rationale for why it happens at Netflix: “It’s even moreso with us, because we launch our shows so big,” he said. “Our global reach, our discovery mechanism, releasing all at once — this enables us to find a very large audience early. Our shows tend to start really big, where most other places, their shows start pretty small and occasionally grow from there.”

    Sarandos added, “When we look across the entire portfolio … our season two fall-off has actually slightly improved this year relative to last year.”

    As for video podcasts, Netflix made a push into that area this year, adding shows from The Ringer, Jay Shetty, Pete Davidson, Brian Williams and New York’s Breakfast Club radio show, among others. Sarandos noted that the shows overindex with mobile users relative to long-form series and have driven up engagement a bit during daytime hours.

    So how are they doing, specifically? Well …

    A note at the end of Netflix’s data release said that all video podcasts (there are several dozen) are lumped into an “other shows” grouping that also includes any series that received fewer than 50,000 views (calculated as viewing hours divided by run time) in the first half of the year. That doesn’t necessarily mean that every podcast fell below that threshold, the company says. But since it’s a relatively new type of programming for the platform, Netflix opted not to break out the stats for any single show.

    The “other shows” category accounted for 757 million viewing hours from January to June — which sounds like a lot but is only about one percent of the 74.4 billion hours Netflix users spent watching all series in those six months.

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    Netflix co-CEO Ted Sarandos acknowledged that second

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    Korzyści z opcji z prawdziwym krupierem dla graczy

    Opcje z prawdziwym krupierem oferują graczom większe poczucie autentyczności, odtwarzając doświadczenie gry w kasynie na żywo w zaciszu własnego domu. Dodatkowo, gry te sprzyjają lepszej interakcji między graczami a krupierami, tworząc bardziej angażujące i społeczne środowisko. W rezultacie wielu graczy sądzi, że opcje z prawdziwym krupierem znacząco poprawiają ich całościowe wrażenia z gry.

    Wzmocnione wrażenia autentyczności

    Wraz z rosnącym popytem na immersyjne doświadczenia w grach, operatorzy częściej dostrzegają korzyści wprowadzania opcji z prawdziwymi krupierami do swoich platform. Takie podejście nie tylko zwiększa zaangażowanie graczy, ale także zwiększa autentyczność otoczenia gry.

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    2. Realizm wizualny
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    Wszystkie te elementy zdefiniowały na nowo doświadczenie gry w kasynach online.

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    W jaki sposób włączenie opcji z prawdziwym krupierem modyfikuje interakcję graczy w rozgrywce? Zastępując zautomatyzowane interfejsy krupierami na żywo, Hugo Casino wzmacnia poziom zaangażowania i generuje bardziej immersyjne środowisko. Gracze mogą wymieniać się informacjami bezpośrednio z prawdziwymi krupierami za pośrednictwem czatu, co usprawnia interakcje społeczne i zmniejsza izolację często towarzyszącą grom online. Ta dynamika umożliwia natychmiastową informację zwrotną i bardziej responsywne wrażenia z gry, oferując graczom możliwość wpływania na przebieg gry. Ponadto opcje z prawdziwym krupierem często wykorzystują zaawansowaną technologię, aby zapewniać transmisje wideo w wysokiej rozdzielczości, dostarczając przejrzystość i utrzymując skupienie gracza. W rezultacie te interakcje nie tylko wzmacniają poziom wrażeń z gry, ale także tworzą poczucie wspólnoty, ściśle zgodnie z do zmieniających się oczekiwań współczesnych entuzjastów kasyn.

    Technologia zapewniająca ulepszone wrażenia z gry

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    For a movie that probably won’t ever begin production, the rumored Madonna biopic has taken on an almost mythic quality. At one point, it was reported that she was putting potential actresses—including Alexa Demie, Florence Pugh, and Sky Ferreria—through a “grueling,” months-long bootcamp to find an on-screen Madge. Julia Garner won, and Madonna had intended to direct the film herself. Then, it was downgraded to a Netflix limited series. Now, other than a gag in the upcoming season of The Studio, the project is dead. Madonna said that her life was just too big for a Hollywood budget. 

    While it would have been interesting to see the (presumably batshit) cinematic project that Madonna would have put together, it’s probably for the best. The majority of musician biopics that Hollywood has pumped out in the past decade have had the depth of a Wikipedia article. Besides, Madonna’s life has been extensively, constantly documented over the past 43 years. The appeal of this biopic would have been seeing Madonna more or less tell the story herself, rendering it more of an autobiopic. But this is also ultimately unnecessary; Madonna just told her life story—in its ideal form—with her splendid new album Confessions II. 

    Madonna’s work in film has been, to put it politely, a mixed bag. She has an obvious appreciation for Hollywood history that has shown up in some excellent music videos. As an actor, she is sometimes competent; both of her feature directorial efforts have been panned. Though she obviously loves film, it is not her medium. Her medium is dance-pop music. If you were to tell the story of Madonna, one of the most prolific producers and performers of dance-pop music ever, it would be best told in that medium. 

    For a long time, Madonna has staunchly refused to become a nostalgia act. Up until her 2023 Celebration Tour, her live shows have existed to promote her new work, making the case that she is not a legacy act, but someone still producing new, trend-conscious pop music about what’s happening right now. I find this admirable, even if it has usually missed the mark in the past 20 years; those more critical may call this a stubborn refusal to acknowledge the fact that she is aging. But after a greatest hits tour, a brush with death, and a scrapped biopic, it seems she is finally in the mood to reflect on her life. That is essentially what she does on Confessions II: reflect on her rise in the downtown Manhattan scene of the 1980s, her relationships with her parents, brother, and daughter, her former flames. The album is not a Wikipedia summary, and it is not a meticulously crafted recreation of Madonna’s most iconic images. Confessions II tells us what those memories feel like, in a way that only music can. 

    For this endeavor, Madonna has chosen a sonic palette reminiscent of some of her previous highs, particularly 2005’s Confessions On A Dance Floor (for which Confessions II is a sequel, at least in name) and 1998’s Ray Of Light. There are more specific musical and lyrical references to her existing body of work, too. In “The Test,” which Madonna sings with her daughter Lordes Leon, she addresses her daughter as “Little Star,” the title of the Ray Of Light track dedicated to her. “Danceteria,” a cut as solid as anything in Madonna’s discography, deploys a bridge similar to that of “Vogue.” But here, instead of name-checking the icons of Hollywood’s Golden Age, we hear the names of people that Madonna might have seen at the titular club: best friend Debi Mazar, collaborator Martin Burgoyne, doorman Haoui Montaug, artists Fab Five Freddy, Keith Haring, Basquiat, Kenny Scharf, Nile Rogers, David Byrne, the B-52s. The sense of excitement and inspiration that a 20-something Madonna would have felt dancing and performing in this environment is palpable in the musical production. It’s showing us, not telling us, what it felt like to be there in a way that only a musician who was actually there could manage. 

    Other tracks are a bit more confessional, seemingly referencing specific instances and characters from her life. “Bizarre,” a driving track with production from Martin Garrix, lyrically references “deep blue eyes” and a Shelby Cobra, which have been connected to ex-husband Sean Penn. The more atmospheric Fragile” is about her brother, with whom she had a semi-estranged relationship. “Betrayal” seems to be about her stepmother (“You’ll never take my mother’s place”). All of these tracks are directed at people who Madonna has had issues with, but the topics are handled surprisingly gracefully and maturely. Instead of score-settling, Madonna tends to throw her hands up, adopting an attitude of “life’s crazy, man.” By going backwards, it seems she’s actually able to move on. The second chorus of “Betrayal” lyrically changes from “this is a story of betrayal” to “this is the story of survival,” ending with, “Open the dam, let the water crash in / Let it go, let it go, let it go.”

    Confessions II ends on its most poignant note: “L.E.S. Girl.” The song, one of the most beautiful and moving in Madonna’s entire body of work, looks back on her early days in New York being young, broke, and in love. She sings directly to this version of herself, telling her “everything fades away, except for you.” But when the song ends, the lyric is now just “everything fades away.” It’s a stunning admission of aging and mortality from an artist known for resisting those things. She’s not the Lower East Side girl of the “Borderline” era anymore, even if that image is frozen in time forever. There’s a sense of relief in recognizing that even if Madonna the icon is eternal, Madonna the person isn’t, nor does she need to be. 

    It’s details like these that make Confessions II feel less like a monument to the greatness of Madonna, as an autobiopic almost certainly would have been, than an interrogation of it. Of course, it’s not without self-mythologizing—”Bring Your Love,” her collaboration with Sabrina Carpenter, practically demands worship—but you couldn’t have the story of Madonna without it. Much of Madonna’s life and long career exists because of her unyielding belief in her own exceptionalism. Confessions II is a pretty good case for that exceptionalism; it’s not just good for a late-career Madonna album, but one of the strongest pop albums in recent years. There will almost certainly be some kind of onscreen depiction of Madonna’s life eventually, whether in her own lifetime or not. But for understanding how and why Madonna is Madonna, Confessions II will likely remain the ultimate text. 

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    For a movie that probably won’t ever

    Tamil-language drama “Members of the Problematic Family” will have its Australian premiere as the opening night film of the 2026 Indian Film Festival of Melbourne (IFFM), following the film’s world premiere at the Berlin Film Festival earlier this year.

    IFFM, billed as the largest Indian cinema showcase in the Southern Hemisphere, will run Aug. 13-23, with the opening night screening set for Aug. 14 in Melbourne. Director R. Gowtham and lead actor Karuththadayan will travel to Melbourne for the opening night celebrations and the film’s Australian premiere.

    “Members of the Problematic Family” is also nominated in the festival’s IFFM Awards jury competition, in the best indie film and best director categories.

    The film centers on Prabha, a troubled young man whose sudden and unexplained death triggers a ripple effect across his extended family and community. When his mother, uncle and cousins gather for a 16-day mourning ritual, long-buried tensions and complicated family bonds rise to the surface. The ensemble drama traces the unpredictable shape of grief and family dynamics, aiming for an emotionally candid portrait of loss and the ties that hold communities together.

    “’Members of the Problematic Family’ is a deeply personal story that examines grief, family and the complexities that exist within every community,” Gowtham said. “It is an honor for the film to open the Indian Film Festival of Melbourne following its premiere at Berlinale. IFFM has become one of the most important platforms for Indian cinema internationally, and I am excited to share our film with Australian audiences alongside our wonderful cast.”

    “IFFM has always celebrated the extraordinary diversity of Indian cinema by bringing together stories from every corner of the country and every language,” festival director Mitu Bhowmick Lange added. “’Members of the Problematic Family’ is an exceptional debut that is both deeply rooted in Tamil culture and profoundly universal in its exploration of grief, relationships and the human condition.”

    The 2026 edition of IFFM will present its usual slate of films, conversations and cultural programming spanning Indian cinema’s various languages and regional traditions.

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    Tamil-language drama “Members of the Problematic Family”

    Winkler’s Tristan Peters is enjoying quite the breakout rookie season in the majors of baseball.

    The Chicago White Sox made him an everyday player in centre field, and Peters has flourished, getting named an American League all-star after becoming just the second Canadian to hit for the cycle in a big-league game.

    “I dreamed of it ever since I was a kid,” said Peters.

    It’s been a dream come true for the 26-year-old Peters. He got his first callup to the majors last season with the Tampa Bay Rays where he went 0-for-12 at the plate in appearing in just four games. But he’s making the most of his second chance with the White Sox after being acquired in a trade in the off-season where he thought he was headed back to the minor leagues.

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    “It’s amazing,” he said. “It’s surreal every day really. It’s a blessing to be able to come to the ballpark in the big leagues.”

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    Peters is batting .301 with six homers and 36 RBI in the first 91 games in helping the White Sox lead the AL’s Central Division. His batting average this season is actually higher than it was the last four years in the minors.

    “I think we’ve made some swing adjustments and stuff like that,” Peters said. “But ultimately too I think, I’ve talked about this with my wife. It’s just like, in the big leagues, winning matters a lot and I’m a very competitive person and I think that I thrive in an environment like that, especially with this team.


    “Everybody here wants to win. Everybody lifts you up and I feel like that is a big part of why I’ve been able to play at the level I’m playing at.”

    It took Peters just five short years to go from Manitoba Junior Baseball League to the Major Leagues. He was the MJBL’s batting champion and rookie of the year with the Pembina Valley Orioles. He left home at just 16 to pursue his big-league dream in Alberta and that’s where he first realized it could become a very real possibility.

    “I remember when I first went to Okotoks, they were talking about a guy getting drafted,” said Peters. “And I was like wow that’s actually possible. I could do that. It felt so far away but then it really started getting bigger and bigger.”

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    And now the sky is the limit.

    &copy 2026 Global News, a division of Corus Entertainment Inc.

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    Donald Trump lashed out at ABC and NBC, the two networks that chose not to carry his speech live on their broadcast platforms, as he delivered a 25-minute long speech full of claims that included China obtaining voter registration data and the “deep state” withholding that intelligence from him.

    Without evidence, Trump claimed that ABC and NBC and others in the media “want to continue this fraud for whatever reason. They want to keep it going. They want to protect the radical left. They can’t have a great country, and that’s true. You can’t have a great country without free and fair elections. Fraud like this should mean a revocation of their licenses. They use our public multi-billion dollar in value airwaves for absolutely no money. They pay nothing. All we want is honesty in our elections and honesty in reporting.”

    The networks had announced earlier in the day that they would not carry the speech, but would feature it live on their streaming channels.

    CBS News did air the speech — albeit not in its entirety. But anchor Tony Dokoupil preceded the address by telling viewers, “Honestly, much of what the president has said on this topic is false.” He then explained why they were doing a special report, noting, “This speech will be made. It will be news. And it is our job to cover the news.”

    Then he went to Major Garrett, who offered some context on what viewers could expect to hear. After CBS News cut away from the speech, Garrett said that one of the most newsworthy claims — that China acquired 220 million voter records — was unsubstantiated. It also was addressed on the network by David Becker, of the Center for Election Innovation & Research. “It sounds bad when you hear about it, right? But the reality is, voter files in the United States are public.”

    Trump’s threat of NBC and ABC is nothing new. he’s done that before. But ABC already has been ordered to put the licenses of its eight owned and operated stations up for an early renewal by the FCC and its chairman, Brendan Carr. Such a rare move opens up the stations to challenges to its licenses as the FCC determines whether they have served the “public interest.”

    ABC is challenging the early license renewal, calling it an “extraordinary demonstration of power and coercion.” Carr has said that the early license renewal was tied to an investigation of the network’s diversity, equity and inclusion practices, but it was launched after Trump called on the network to fire Jimmy Kimmel.

    The FCC also is investigating NBC-parent Comcast over DEI, but Carr has not said whether he would call for additional early license renewals.

    Despite ABC and NBC not airing the speech, screen grabs were posted on social media showed that some Sinclair-owned stations did carry it as part of their National Desk. A spokesperson for the broadcast group did not immediately return a request for comment.

    In the aftermath of the speech, networks devoted some time to fact checking claims — or at least warning that portions of what Trump said was unverified.

    Sen. Mark Warner (D-VA), the top Democrat on the Senate Intelligence Committee, posted on X, “It’s pretty laughable to watch Trump try and pretend accessing the voter file is the same thing as election interference. Any statewide candidate will tell you that information is publicly available to purchase — it’s not some huge breach.”

    More to come.

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    Donald Trump lashed out at ABC and

    After more than 10 years of streaming content to the country, Netflix has kicked off production on its first original series ever commissioned in New Zealand. On Friday, the company unveiled Queenstown, an eight-episode drama set amid the luxury ski scene of the titular South Island resort town.

    Unfolding amid the moneyed gloss of the town’s ski-resort elite, the series follows a privileged family and the people who work for them as their lives collide over power, loyalty and desire — or, as Netflix put it, “a wealthy family at war with itself.” Production is underway on location in Queenstown itself.

    Queenstown was created and written by Chloe Stearns (Wolf Like Me, The Falling Girls, Evergreen), who executive produces. Glendyn Ivin (The Lost Flowers of Alice Hart, Penguin Bloom) serves as lead director and executive producer, with New Zealand filmmaker Roseanne Liang (Netflix’s Avatar: The Last Airbender) also directing.

    Emmy nominee Rufus Sewell (The Diplomat, Scoop, The Father) leads the ensemble alongside Frances O’Connor (Wednesday, The Missing), Australian actress Alycia Debnam-Carey (Apple Cider Vinegar, The Lost Flowers of Alice Hart, Godzilla x Kong: Supernova) and New Zealand actor Te Kohe Tuhaka (Chief of War, The Convert, Kōkā).

    “Shooting our first locally-commissioned series here in New Zealand is a huge moment for us,” said Amanda Duthie, Netflix’s content director for Australia and New Zealand. “This is a bold, propulsive story of power, class and family set against the opulent world of a luxury ski town, and we can’t wait for our members to fall in love with this series the way we have.”

    Jodi Matterson (The Dry, The Lost Flowers of Alice Hart) — who launched her Silent Firework banner in 2024 after exiting Bruna Papandrea’s Made Up Stories — executive produces alongside Libbie Doherty (Bluey, Crazy Fun Park) of Runaway Unicorn, with Jeremy Platt and Erika North rounding out the exec producer team.

    Matterson and Doherty, in a joint statement, hailed Stearns as “an extraordinary new voice” — and predicted the series will become “audiences’ next obsession.”

    The commission marks a notable step for Netflix’s originals strategy Down Under, which has so far centered on Australia with hits including Heartbreak High, Boy Swallows Universe and Apple Cider Vinegar. New Zealand, by contrast, has long served the streamer primarily as a spectacular production location — Sweet Tooth and Jane Campion’s Oscar-winning The Power of the Dog both shot there — without ever hosting a homegrown series of its own. The Queenstown production is backed by the New Zealand Film Commission and the country’s Screen Production Rebate. A premiere date has yet to be announced.

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    After more than 10 years of streaming

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    The Walt Disney Co. is protective of its iconic characters and intellectual property. The National Football League is too. The league wants its teams showcased in the best light, and Disney wants its characters to shine.

    On Thursday afternoon, in New York’s Jacob Javits Center, the world of Disney collided with the world of the NFL, all in service of an unusual new consumer product line, one that mixes some of Disney’s characters with all 32 NFL teams.

    That’s how Darth Vader, flanked by a pair of Storm Troopers, found himself on stage at Fanatics Fest alongside NFL legend and Las Vegas Raiders owner Tom Brady, Raiders quarterback Fernando Mendoza and NFL Commissioner Roger Goodell, with Marvel chairman Kevin Feige looking on from the audience.

    Vader was the first pick in the “Disney Fan Draft,” held on the floor of the convention, which served as a launchpad for the “Disney | Champion NFL Collection,” which pairs Disney characters with an NFL team.

    Darth Vader, Fernando Mendoza, Tom Brady and Roger Goodell at the Disney Fan Draft at Fanatics Fest.

    Alex Weprin

    The apparel line launched at the Fest with eight teams (and characters), with all 32 launching in August.

    In addition to Vader and the Raiders, the collection includes the Buffalo Bills and Beast from Beauty and the Beast; the Dallas Cowboys and Toy Story’s Woody; the New England Patriots and Marvel’s Captain America; the New York Giants and Wreck-It Ralph; the New York Jets and Toy Story’s Buzz Lightyear; the Tampa Bay Buccaneers and Captain Hook; and the Washington Commanders and Toy Story’s Hamm.

    “The Disney | Champion NFL Collection reflects our continued commitment to creating consumer products and experiences that sit at the intersection of culture, fandom, and storytelling,” Paul Gitter, executive VP global brand commercialization for Disney Consumer Products, tells The Hollywood Reporter. “As we build toward ESPN’s ‘Year of the Super Bowl,’ we’re expanding how fans engage with Disney across sports through moments that drive relevance, connection and long-term brand affinity.”

    According to Bret Healey, director of graphic design at Disney Consumer Products, the Disney products team really did draft the characters for each team. While what happened on stage at Fanatics Fest was in service of the show, the Disney team put a lot of thought into each pairing.

    “We did the draft based on the team first: What’s the team’s personality? What are their colors? What’s their team name? What are their fans like? What’s their city like? What are their ‘like ‘if you know you know’ moments? So I took that all into consideration with my team, and we essentially drafted all 32 of the teams together,” Healey says.

    And while many of the characters are Disney “all-stars,” so to speak, he says that they were deliberate in their choices.

    “Whichever character worked best for that team, that’s the story we were going to tell, even if they are a tertiary character,” he says.

    Consumer products are one of the core parts of Disney’s corporate flywheel. The business generated revenue of $974 million in the company’s latest quarterly report, with operating income of $479 million, enormous margins that reflect Disney’s heavy focus on licensing through partners like Champion.

    With its latest effort, the company is banking that it can bring some NFL fans along for the ride too.

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    The Walt Disney Co. is protective of

    Famous Final Movie Lines Trivia Quiz | BuzzFeed

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    Famous Final Movie Lines Trivia Quiz |

    Miksi nettikasinoiden yhteydenpitomahdollisuudet ovat tärkeitä?

    Tutustu myös nettikasinoiden turvallisuusominaisuuksiin, kuten salaukseen ja tietosuojakäytäntöihin lumocasino-suomi.com. Turvallinen pelikokemus on ensiarvoisen tärkeää, joten valitse kasino, joka ottaa nämä asiat vakavasti.

    Verovapaat voitot ovat yksi merkittävimmistä syistä pelata nettikasinoilla. Suomalaiset pelaajat voivat nauttia verovapaista voitoista tietyillä kasinoilla, mikä tekee pelaamisesta entistä houkuttelevampaa. Tämä etu kannattaa ehdottomasti hyödyntää, kun valitset kasinolle.

    Luotettavat nettikasinot varmistavat turvallisen pelikokemuksen. Pelaajat voivat olla varmoja siitä, että heidän henkilökohtaiset tietonsa ja varat ovat turvassa. Tärkeää on valita kasino, joka on saanut hyviä arvosteluja ja jolla on voimassa oleva lisenssi. Tämä takaa, että pelaajat saavat reilua peliä ja voivat keskittyä pelaamiseen ilman huolia. Pelien laadukkuus ja asiakaspalvelu ovat myös osa turvallista pelikokemusta.

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    Lumo Casinon asiakaspalvelu panostaa erityisesti kommunikaation avoimuuteen. Pelaajat voivat esittää kysymyksiä ja antaa palautetta suoraan asiakaspalveluun. Tämä vuorovaikutus auttaa parantamaan palvelua ja tekee pelaajien kokemuksesta miellyttävämmän.

    Kampanjoiden ja tarjousten jatkuva uudistaminen Lumo Casinolla pitää pelaajat kiinnostuneina ja sitoutuneina. Erilaiset tarjoukset ja kilpailut tarjoavat uusia mahdollisuuksia voittaa ja kokeilla uusia pelejä. Tämä jatkuva innovaatiotaso on syy, miksi pelaajat palaavat yhä uudelleen.

    Pelivalikoima Lumo Casinolla on laaja ja monipuolinen. Sen yhteistyökumppanina toimii White Hat Gaming, joka tuo mukanaan korkealaatuisia pelejä tunnetuilta pelituottajilta. Tämä takaa sen, että pelaajat löytävät kasinoilta aina jotain uutta ja kiinnostavaa.

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    Turnausten palkinnot houkuttelevat kilpailijoita.

    Pelaajat voivat nauttia monista eri maksutavoista, kun he valitsevat nettikasinon. Suositellut kasinot tarjoavat useita vaihtoehtoja, kuten nettilompakoita ja pankkisiirtoja. Tämä tekee talletuksista ja nostamisesta entistä kätevämpää.

    Pelaajat voivat löytää kasinoita, jotka tarjoavat erityisiä VIP-ohjelmia. Nämä ohjelmat tarjoavat uskollisille asiakkaille erikoisioita, kuten suurempia bonuksia ja henkilökohtaista asiakaspalvelua. Tämä tekee pelaamisesta entistäkin palkitsevampaa ja houkuttelevampaa.

    Kasinopelien pelaaminen mobiililaitteilla on yhä suositumpaa. Monet suomalaiset kasinot tarjoavat optimoituja mobiilisivustoja tai sovelluksia, jotka tekevät pelaamisesta helppoa ja mukavaa liikkeellä ollessa. Varmista, että valitset kasino, joka tukee mobiilipelaamista.

    • Ota selvää bonuksista ja kampanjoista
    • Valitse oikea nettikasino
    • Pelien demoversiot

    Nettikasinoiden pelivastuullisuus ja sen merkitys

    Pelaaminen nettikasinolla voi olla myös turvallista, kunhan tiedostaa riskit ja pelaa vastuullisesti. On tärkeää asettaa itselleen budjetti ja noudattaa sitä, jotta pelaaminen pysyy hauskana ja hallittavissa.

    Pelaajat arvostavat nettikasinoilla usein myös mobiilitoimintoja. Voit pelata suosikkipelejäsi älypuhelimella tai tabletilla, mikä tekee pelaamisesta entistä joustavampaa. Mobiilipelaaminen on kasvanut nopeasti, ja monet kasinot tarjoavat optimoituja sovelluksia tai verkkosivustoja.

    Mikäli etsit suomalaisia kasinoita, on hyvä tietää, että monet näistä alustoista tarjoavat suomenkielistä asiakaspalvelua. Tämä tekee pelaamisesta sujuvampaa ja helpompaa. Pelaajat voivat esittää kysymyksiä tai pyytää apua omalla äidinkielellään.

    Luotettavat nettikasinot ja pelaajien oikeudet

    Kokemus ja maine ovat tärkeitä tekijöitä nettikasinon valinnassa. Kasino, joka on ollut alalla pitkään ja saanut hyviä arvioita, on yleensä turvallisempi vaihtoehto. Tutki kasinoa ennen rekisteröitymistä ja varmista, että se on luotettava.

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    Kris Jenner’s mother Mary Jo Shannon has died at the age of 91. Affectionately known as ‘MJ’, she grabbed the hearts of many Keeping Up With The Kardashian fans with her humour and wit.

    “Today, we said goodbye to my beautiful Mommy MJ. There are no words that could ever capture what she has meant to me or the heartbreak of having to say goodbye. My mom was the heart of our family. She taught me everything that truly matters, to love your family fiercely, to be kind, to show up for the people you love, and to never take a single moment together for granted,” Jenner, 70, shared in a tribute on social media.

    “She taught us that family is everything. She showed us how to love unconditionally and how to find joy in the little moments. She showed me how to face life’s challenges with resilience and faith. Mom, thank you for every sacrifice you made, every piece of wisdom you shared, and every moment you loved us so completely. I will miss our daily talks, your smile, your laughter… Our hearts are broken, but we find comfort knowing that love like yours never truly leaves us. Your love will live on in our family, in our traditions, in every moment we are together, and in every life you touched.

    “When I look at my kids and my grandkids, I will forever see pieces of you in all of us. There is not a part of me that isn’t shaped by you. And if I have done anything right in this world, it’s because I spent my life trying to live in a way that would make you proud. Every memory, every moment, every blessing, it was all because of you, and I will forever thank God every single day for making you my mommy. My heart is broken into a million pieces… thank you for giving me the greatest childhood and oh what a beautiful blessed life… I love you forever Mommy. Thank you for giving us everything,” Jenner shared.

    MJ was born on July 26, 1934. She married her high school sweetheart, Robert True Houghton in 1954. The couple later divorced and she married Harry Shannon.

    In the latter episodes of the family’s reality series, they shared about MJ’s declining health, especially following Jenner’s sister’s death in 2024.

    In an episode, Jenner mentioned her mother’s frailty, added that she was very sad by Karen’s death.

    MJ’s cause of death has not been revealed.

    [email protected]

    IOL

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    Kris Jenner's mother Mary Jo Shannon has

    Rejoice, Nova fans, as Marvel Studios’ take on its Green Lantern replacement superhero is finally edging closer to reality. Up next for James Gunn’s DCU is Lanterns, diving into the Green Lantern mythos in an eight-episode premium HBO crime drama. Despite being well over a decade older, Marvel Studios still hasn’t introduced its own version of DC’s Green Lantern: Nova, who is similarly a superpowered space cop working for an intergalactic peacekeeping force. Funnily enough, the MCU’s Nova Corps was introduced in Guardians of the Galaxy by Gunn, who is now executive producing Lanterns.

    According to an exclusive report from Deadline, Michael Waldron, writer of Disney+’s Loki Season 1 and Doctor Strange in the Multiverse of Madness, is in “early development” on a Nova movie for Marvel Studios. The Phase 4 scribe is penning the script and reportedly has an “eye to directing” the movie after making his debut on Hulu’s football comedy Chad Powers, starring Glen Powell. 

    Marvel Studios

    The latest update on Marvel Studios’ first Nova venture comes as DC Studios prepares to premiere Lanterns on HBO on Sunday, August 16, although the Emerald Knight’s DCU crime drama has already faced massive backlash.

    Now that Nova has been upgraded to a theatrical affair, it ought to reduce the expected comparisons that it will receive to Lanterns, which may still be airing by then if DC Studios’ multi-season hopes for the will-powered hero become a reality. 

    Kyle Chandler in Green Lantern suit as Hal Jordan in Lanterns.
    DC Studios

    This isn’t Marvel Studios’ first attempt at bringing its space cop to life, as Moon Knight writer Sabir Pirzada was hired to write Nova’s Disney+ series in 2022. He would later exit the MCU series when Criminal Minds scribe Ed Bernero was brought on as showrunner in December 2024, although that wouldn’t last long.

    The Disney+ series had reportedly been scrapped by early 2025, while further reports stated that Nova could be reworked into a theatrical movie. Almost exactly one year later, fans are finally seeing those rumors come to fruition, with Waldron now on board the project for its new and improved big-screen iteration.

    How Marvel Studios’ Nova Can Beat the DCU’s Lanterns

    DC Studios has faced backlash ahead of Lanterns for neglecting the source material by relegating the Emerald Knights to an Earthbound crime drama, seemingly with limited use of superpowers. Beyond that, the DCU is skipping over Hal Jordan’s peak superhero days by casting the 60-year-old Kyle Chandler, setting up Aaron Pierre’s John Stewart as the DCU’s main Green Lantern.

    In developing Nova as a blockbuster movie, not a streaming series with major budget constraints, Marvel Studios has the potential to right Lanterns‘ wrongs. The MCU will likely lean into Nova’s sci-fi policing on a scale closer to Guardians of the Galaxy, packing in different planets, crazy cosmic powers, and alien species.

    Back when it was a Disney+ series, Nova was rumored to end with the experienced Richard Rider and the rookie Sam Alexander carrying the space cop mantle into the MCU’s future. That premise sounds awfully similar to Lanterns, with a veteran space cop training a new recruit, but Marvel Studios would probably lean younger, placing Rider in his 30s-40s and Alexander in his teens.

    Of course, Nova has just gone back to the drawing board in “early development” as a new movie, positioning its release some time away. Depending on how smoothly development moves along, fans could see Nova around 2029/30 as part of the MCU’s Phase 7 slate, where it may be vital in setting up the saga to come.

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    A strong password for your Ringospin Casino account represents the first and key barrier against intrusion. Swiss players who create an account through ringospincasino-ch.ch expect a gaming environment that follows local data protection standards. A reused or weak password can compromise your account to credential stuffing, where automated tools test leaked username-password combos across many sites. The casino wallet stores real money and your personal verification documents, so a breach is much more than a hassle. This guide explains how to create, handle, and secure a password that meets the platform’s technical rules while aligning with practical habits that reduce long-term risk.

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    The Ringospin Casino login page guards your balance of real money, bonus credits, and confidential ID documents. Attackers target gaming platforms because transactions occur often and compromised accounts can allow them to redirect withdrawals. A strong password turns brute-force guessing computationally unfeasible. Modern cracking rigs can test billions of combos per second against weak hashes, but every extra character of length and complexity increases the time needed exponentially. Swiss regulations also push operators to apply sensible security measures, and you carry the responsibility by selecting a credential that isn’t guessable from public social media, common wordlists, or leaked databases.

    Leveraging a Password Manager for the Login Page

    A password manager eases the mental load of dreaming up and remembering unique credentials for every service. When a Swiss player accesses the Ringospin Casino login page, the manager fills in on recognized URLs and declines to give up the password on lookalike phishing domains. That prevents visual impersonation attacks where a fake site copies the exact layout of ringospincasino-ch.ch. The vault itself demands a strong master password and, ideally, a second factor like a hardware security key. Leading password managers employ local encryption so the database never exits your device in plaintext. Regular backups of the vault onto encrypted external storage keep you safe if your phone or laptop breaks down.

    Core Technical Specifications for the Passcode

    Ringospin Casino enforces baseline rules during registration to block the weakest patterns. The system requires at least eight characters, though longer passphrases get a strong nudge. You must have one uppercase letter and one lowercase letter, which stops all-caps or all-lowercase strings that reduce the search space. A digit is mandatory, and the platform allows special characters like exclamation marks, at signs, and hash symbols. The password cannot have your first name, last name, or email handle in any connected form. These rules match advice from Switzerland’s National Cyber Security Centre, which advises against using predictable personal references in authentication secrets.

    Safe Storage and Routine Rotation Practices

    Placing your password on a monitor sticky note or storing it in an unencrypted spreadsheet ruins every other protection you put in place. If you must keep a physical copy, store it in a drawer away from the device you play on. Don’t store the password digitally outside a dedicated password manager. Ringospin Casino doesn’t force you to rotate on a fixed schedule, but change it immediately if you suspect any compromise, like logging in from a shared network without a VPN or detecting unfamiliar session activity. The new password should be fully unique: don’t just add a higher number onto the old one.

    Turning On Two-Factor Authentication Post Sign-Up

    A strong password gets a massive power boost when you pair it with a second factor. Ringospin Casino offers two-factor authentication you can enable right after registration is confirmed. The most secure choice is a time-based one-time code from an authenticator app on your phone. The code refreshes every thirty seconds and doesn’t rides SMS networks that crooks can intercept via SIM-swaps, so it closes the window an attacker could leverage even if the password is exposed. Store the backup recovery codes on paper in a physically safe spot, not in a cloud note or email draft that someone could access remotely.

    Recognizing Phishing Attempts That Aim at Credentials

    Swiss casino players are being affected more often by phishing campaigns that impersonate Ringospin Casino support. A typical trick sends an email stating your account needs immediate verification and leads a link to a fake login page. The phony page grabs your password and, in slicker attacks, relays it to the real site in real time to also intercept the two-factor code. Before typing any credential, verify that the browser address bar shows the exact domain ringospincasino-ch.ch. No real communication from the casino will ever demand you for your password directly. When something seems wrong, start a new tab and manually input the known URL instead of selecting an embedded link.

    Constructing a Passphrase That Resists Guessing

    Length beats complexity in most threat models. A sixteen-character passphrase made from four or five random words linked with symbols holds much more entropy than an eight-character jumble of hard-to-recall substitutions. Your brain retains a visual story like “coffee-boat-ladder-cloud” much more easily than “P@55w0rd!”. Attackers utilize dictionaries of common word combos, so the words must be independent and not drawn from song lyrics, movie quotes, or famous phrases. A password manager can generate such a sequence instantly. Players who opt to memorize a passphrase should roll dice against a wordlist of at least seven thousand entries. The result withstands online guessing limits and offline hash cracking.

    Dealing with Password Recovery Without Disclosing the Account

    The password reset flow on the Ringospin Casino login page validates your identity through the registered email address. Be certain that recovery email account is guarded by an equally strong, unique password and its own two-factor authentication. If someone breaches your email inbox, they can trigger a reset and grab the temporary link before you spot it. Recovery links expire fast, but automated scripts work in seconds. An unsolicited password reset email means somebody attempted to begin the process. Instead of clicking the link inside, open your browser, go to the normal login page, and check for any unauthorized changes.

    Frequent Errors That Compromise Casino Account Security

    Support logs and security audits consistently reveal the same mistakes on gaming platforms. The list below presents the most common ones Swiss players face, along with simple fixes.

    • Employing again a password that matches an email already involved in a breach. Even a strong password is worthless if it appeared in a previous data leak. Verify your email address against public breach databases and change any overlapping credentials right away.
    • Placing the casino brand name or the word “casino” inside the password. Attackers create custom wordlists filled with brand names, sports teams, and gambling terms, which turns that choice foreseeable.
    • Saving the password in the browser’s built-in save feature when no master password locks the device. Malware or someone sitting at an unlocked computer can pull saved credentials directly.
    • Employing personal dates like a birth year or anniversary. That info often sits out in the open on social media or public records, cutting the search space significantly.
    • Omitting the two-factor enrollment step after signing up. Delaying leaves a gap where the password alone guards the entire account balance.

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    James Gunn’s DC Studios cast its first character with major ties to the Flash in the new DC Universe. The Flash has had a complicated run in media over the last few decades, with Grant Gustin’s The Flash on The CW becoming a big hit in the Arrowverse before Ezra Miller’s The Flash turned out to be one of the most maligned movies in DCEU history. 

    Deadline reported that Jimmy Tatro has officially signed with DC Studios to portray Gorilla Grodd in DC Crime, the upcoming Jimmy Olsen-led Superman spin-off series on HBO Max. This comes after David Sobolov voiced the villain across multiple episodes of The CW’s The Flash, the Arrowverse’s longest-running show.

    Tatro was reported to be in talks for the role a week ago as of writing, though it has seemingly become official in the days since the news first broke. This will give Tatro his first comic book role, and it will mark Gorilla Grodd’s second live-action appearance since his run on The CW.

    DC

    In DC Comics, Gorilla Grodd is one of the Flash’s most prominent antagonists, a super-intelligent, telepathic gorilla who can talk. He was blessed with a genius-level intellect and psychic powers from a mysterious meteorite. While he rules over a hidden, technologically advanced land called Gorilla City, he regularly sets out to conquer the human world on Earth.

    Gorilla Grodd is expected to be one of the biggest villains, if not the main villain, of Skyler Gisondo’s upcoming DC Crime series centered on Jimmy Olsen. The show is created by Tony Yacenda and Dan Perrault, and there is no release date for HBO Max yet.

    When More Flash Characters May Show up in the DCU

    Ezra Miller as the Flash in 'The Flash.'
    Warner Bros.

    While the Flash had a small cameo in a vision from Creature Commandos in 2024, there are no signs pointing to when the character will make his live-action debut as a fully fleshed-out character. Many expect to see the Barry Allen version of the hero, but as The CW’s solo series showed, many other speedsters exist in the greater multiverse, including Jay Garrick, Bart Allen, and Wally West.

    For now, after Superman and Supergirl, Batman is the only core member of the Justice League with an officially titled movie in development (The Brave and the Bold). Additionally, Gunn and co. plan to give Diana Prince/Wonder Woman her own movie, although casting for the character seems far from a done deal.

    On the streaming side, HBO Max’s Lanterns will debut the first story featuring Kyle Chandler’s Hal Jordan and Aaron Pierre’s John Stewart, offering a first look at the DCU’s Green Lantern Corps. After that, the Flash seems to be one of the heroes fans are most looking forward to seeing, especially after 2023’s The Flash became such a critical disaster.

    Considering how few DC projects are confirmed and on the release schedule for Gunn, plus the bleak reviews for the last Flash movie and the end of The CW’s solo series, news on the Scarlet Speedster may still be a long coming.

    Source link

    This week, Fortnite is adding multiple skins based on Christopher Nolan’s The Odyssey film, including one of Matt Damon as Odysseus. While this is the first time the actor’s likeness has been in a video game, that was nearly not the case. Way back in 2008, a little game called The Bourne Conspiracy released, and the plan was originally for Damon to reprise his role of Jason Bourne for the project.

    We heard rumors over the years, but it was a 2021 interview Matt Damon gave with Sean Evans’ Hot Ones that gave us concrete details. Damon was interested in the project and said he was offered a bunch of money to make it happen, but he didn’t want the game to be “just a first-person shooter” and hoped for something a little more cerebral. His point of reference for this was the puzzle-adventure game Myst, which famously has no gunfire, car chases, stealth, or fisticuffs.

    Despite the star power that Damon would bring to the project, the development team at High Moon Studios evidently thought his idea was a bit of a non-starter. The game was developed without his involvement, nor the involvement of Chris Cooper, who played Alexander Conklin in The Bourne Identity. Franka Potente, who played Marie in the first two Bourne films, did reprise her role.

    All in all, Damon didn’t end up missing out on that much. While The Bourne Conspiracy wasn’t a bad game, its mix of brawling, stealth, shooting, and driving made it a jack of all trades and master of none. The Bourne movie franchise has been on ice for years at this point, with the stinker sequel Jason Bourne releasing back in 2016. Really, as someone who loves the first three movies, you do not need to watch it. Just pretend it all ended with Ultimatum.

    Source link

    This week, Fortnite is adding multiple skins

    Netflix launched a number of new reality series in the first half of the year and it turns out viewers were most turned on by its age-shifting dating escapades.

    Age of Attraction, from Velvet Hammer Media, was the streamer’s top performing new unscripted series over the first six months of 2026, per its What We Watched report.

    The show, which debuted in March, recorded 10.9M views. Quickly renewed for a second season, the show, which opened with 3.8M views in its first week, essentially asks the question: is love ageless. It was hosted by Nick Viall and his wife Natalia Joy.

    Funny AF with Kevin Hart technically recorded more views, bringing in close to 42M views, but Netflix recorded views per episode rather than over the course of its ten episodes. It most popular episode drew 8.3M views.

    Elsewhere, Members Only: Palm Beach, which follows a group of women in President Trump’s own Florida neighborhood, drew 3.4M views.

    This was much higher than its other big reality ensemble launch, Calabasas Confidential. The series, which launched in May and follows a group of lifelong friends who return to Calabasas, CA, post-college for a summer of reckoning, could not crack the top 1,500 series with only 1.5M views.

    Star Search also didn’t break through. Its opening episode drawing 2.6M views. The big-budget live competition series, hosted by Anthony Anderson and featuring a judging panel of Sarah Michelle Gellar, Chrissy Teigen and Jelly Roll, saw its final three episodes draw 600,000 views.

    Much like Funny AF, which had a different roll-out strategy, the whole series drew 9.3M views over its nine episodes.

    Former unscripted boss Jeff Gaspin, who left in June, as revealed by Deadline, said that while Star Search probably won’t have a second season, it was buoyed by the use of the technology.

    “We’re only 10 years old in our reality journey, and so we’re going to keep trying things. Some will work, some won’t, but it’s still an exciting time and place for us,” he said at Deadline’s Reality TV Summit.

    Game show What’s In The Box?, which was hosted by Neil Patrick Harris and launched in December, drew 1.7M views, and Zach Galifianakis’ This Is A Gardening Show dug up 3M views.

    Returning shows fared much better with season 10 of Love Is Blind scoring 13.1M views and season four of Love on the Spectrum drawing 11.2M.

    In related programming, Reality Check: Inside America’s Next Top Model, a documentary series about the classic modeling competition series, drew 22.4M views, but Simon Cowell: The Next Act could only muster 2.4M.

    Source link

    Netflix launched a number of new reality

    The Chosen, the crowdfunded series centered on the life of Jesus, is accused in a new lawsuit of squeezing out smaller investors in the production, The New York Times reports this morning. Puck first reported the news last week. Minority shareholder Christopher Garabedian, who invested $300,000 in 5&2 Productions (then operating as The Chosen Productions) in 2019, filed a class action lawsuit last month alleging that the company had forcibly cashed out more than 16,000 shareholders against their wills. This was about 45% of the company’s financial backing, according to the lawsuit. 

    Per the Times, Garabedian expected to be a long-term shareholder in the company, and accused the company of understating potential future earnings while taking the company private. The Chosen became more financially successful over time, playing in movie theaters; season five grossed $40 million alone, according to Puck. Per the outlet, the upcoming final seasons—which will focus on the climactic crucifixion and resurrection of Jesus—and their follow-up movies and TV shows were expected to generate $1.4 billion in revenue between now and 2029, which would make for an enterprise value of about $150 million. 

    But when 5&2 chose to cash out its investors, the enterprise value fell to $52.9 million after an analysis from Goldman Sachs; investors were then cashed out at $3.75 per share. What’s more, Garabedian alleges that 5&2 held the vote for the reverse stock split during Holy Week, knowing that most of its obviously devout investors would be busy with other things; per the Times, 80% of minority shareholders missed the vote. The suit also alleges that 5&2 used funds that were supposed to be used for the final season of the show to cash out its investors. In a statement to the Times, 5&2 Productions co-founder Dallas Jenkins denied any wrongdoing. 

    The production and financial model of The Chosen has garnered attention basically since its inception. According to an article published in The Hollywood Reporter in early 2019, The Chosen used equity crowdfunding to raise millions, initially selling shares of the production for $1 per piece. Equity crowdfunding differs from donation-based crowdfunding in a key way; donations to a business are treated as taxable income, while money raised through equity crowdfunding is treated as investment capital and generally not taxed. With The Chosen, shares could not be sold until all of the investors earned 120% of their investments, but THR reported at the time that they would own the equity in perpetuity. Apparently, they didn’t, but The Chosen sure seems to have gotten a lot of investment capital. 

    Source link

    The Chosen, the crowdfunded series centered on

    Shudder has released the first trailer for its upcoming horror film Hellcat. Brock Bodell wrote and directed the movie, marking his feature directorial debut.

    The film’s official synopsis reads, “Lena wakes in a moving camper trailer with a horrifying wound. She’s warned by the driver that they have one hour to get to a doctor, or she’ll succumb to an unimaginable fate. As the pain sets in and reality begins to fray, who should really be afraid?”

    Check out the Hellcat trailer below (watch more trailers):

    What happens in the Hellcat trailer?

    The Hellcat trailer opens with a vehicle towing a camper before cutting to an unseen man tuning into a late-night conspiracy-theory radio show. Then, Lena (Dakota Gorman) wakes up with serious wounds and looks outside the camper. She whispers, “Is somebody there?” before a series of conversations with the unseen man begins. When asked who he is, the man replies, “I am the owner proprietor of this mobile home and truck that’s pulling you down the highway,” over the intercom.

    The trailer then shows a montage featuring a man, a baby, and a woman, seemingly depicting moments from Lena’s past. The driver then tells Lena that she has been infected, sending her into a panic. Lena desperately tries to slow the infection, tightening a belt around her arm. The unseen man assures her that he is trying to get her to a doctor because she has only an hour left.

    It further shows glimpses of the man wearing a cap and walking around his car. Lena struggles through intense pain. She peers into a room where a mysterious creature appears to be feeding on a body. The trailer ends with a man pointing a gun as Lena lets out a terrified scream.

    Alongside Gorman, the cast includes Todd Terry, Liz Atwater, Jordan Mullins, Elise Gilbert, Janey Ivey, and James Austin Johnson, who appears in a voice role. Brock Bodell also produced the film with Andrew Duensing and Nate Eggert.

    Hellcat had its world premiere at the Fantasia International Film Festival before being picked up by Shudder. The horror film runs for 95 minutes and begins streaming exclusively on August 14. With plenty of frightening moments, Hellcat looks poised to deliver an intense ride when it begins streaming exclusively on Shudder.

    Hellcat arrives on Shudder next month.

    Source link

    Shudder has released the first trailer for

    Four popular casino games in Canada | Infolific

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    Existiert eine native App von Golazzo Casino für hiesige Spieler?

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    Wie sicher sind mobile Zahlungen bei Golazzo Casino?

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    In mehreren Wochen absolvierten wir exakt 100

    Netflix is all in on live programming.

    After a number of its big-ticket live stunts such as The Roast of Kevin Hart, BTS: The Comeback Live – Arirang and Skyscraper Live performed well over the first six months of the year, the streamer said that it was doubling down on the nascent genre.

    The Roast of Kevin Hart and BTS: The Comeback Live – Arirang both entered the top 50 titles of the first half of 2026, per Netflix’s What We Watched report with both specials scoring 21M views. In addition, Skyscraper Live, which saw Alex Honnold climb Taiwan skyscraper Taipei 101 without the use of ropes, got 13M views.

    Not all live events broke through this year, however. Netflix streamed The Actor Awards Presented By SAG-AFTRA live in March and it picked up 2M views. This was down from the 4.3M views it received on Netflix last year.

    Star Search, its big-ticket life reality music competition hosted by Anthony Anderson and featuring a judging panel of Sarah Michelle Gellar, Chrissy Teigen and Jelly Roll, only just made it into the top 1000 titles.

    Its premiere episode scored 2.6M views but by its final three episodes, they were watched by only 600,000 viewers.

    The performance of its concerts and roasts has clearly encouraged the company with Co-CEOs Ted Sarandos and Greg Peters both waxing lyrical about live on its second quarter financial earnings call.

    The company said that live event programming accounted for six of the top 10 new member sign-up days over the last five years.

    “We’re also really pleased with the investment so far in our live programming,” said Sarandos. “It plays a really important role driving acquisition, accelerating ad revenue, fueling conversation [and] helping us to launch new shows. It’s also helping us to understand what are the benefits of live over the over the entire catalog. We’re ramping up our live event slate.”

    Earlier this week, Netflix streamed the 2026 Major League Baseball Home Run Derby for the first time. Sarandos said it became its most-watched program ever in Japan. “We’re continuing to lean into live events because they have a big outsized positive on the business,” he added. “We’re going to continue to build out that global live event calendar and include expand it to include some regional live events as well.”

    Peters noted that live events “do a lot of lifting for us for acquisition”. “They’re good for monetization. They drive ad revenue, fandom. They’re also a promotional platform, but they do not yield typically as many raw view hours. So, live we expect will be 5% of our content budget this year, but we think that’ll only be 1% of view hours,” he added.

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    Netflix is all in on live programming. After

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    It’s been over two decades since California resident Scott Peterson was convicted of killing his wife, Laci Peterson, and their unborn son, Conner. Peterson is currently serving a life sentence without the possibility of parole at Mule Creek State Prison after his original death sentence was overturned in 2020.

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    Miiku Sakanishi makes his feature-length debut with Memorizu. The writer and director’s drama opens with Yuta (Tasuku Emoto) discussing how long 60 days is with his young daughter. Why are they talking about that specific length of time? That is because Yuta is about to leave their urban home for the rural island of Kyushu to help his father-in-law, Makoto (Issei Ogata). Yuki (Moeka Hoshi), Yuta’s wife, cannot attend to her father’s broken leg due to work. So, after a long yet heartwarming farewell, Yuta is on the ferry and away from his family.

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    Chicago Fire FC announced on Thursday that the evening’s match against the Vancouver Whitecaps at Soldier Field has been rescheduled due to smoky conditions and poor air quality.

    The match has been rescheduled for Tuesday, Oct. 6.

    Wildfire smoke drifting into the region has led to poor air quality and rescheduled the post-match concert featuring Two Friends.

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    According to the Air Quality Index, Chicago recorded an air quality reading of 407 on the index scale at 1:30 p.m. PT.

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    Click to play video: 'Wildfire smoke blankets Toronto as Ontario air quality deteriorates'


    Wildfire smoke blankets Toronto as Ontario air quality deteriorates


    Vancouver Whitecaps FC will now turn their attention to an extended road trip next week, the team said in a statement, beginning with a visit to FC Cincinnati on Wednesday, July 22, before facing Minnesota United FC on Saturday, July 25.

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    They will then make their long-awaited return to BC Place on Saturday, Aug. 1 for a marquee Western Conference clash against Los Angeles FC.

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    He pasado por numerosas plataformas como para reconocer que no todos los casinos proporcionan las mismas condiciones cuando nos referimos de redes de jackpot. El primer aspecto que valoro es la variedad real de títulos enlazados a botes multimillonarios. Un catálogo con cinco o seis tragamonedas de red puede ser suficiente, pero yo elijo un lobby donde coexistan juegos de Microgaming, NetEnt, Playtech y proveedores que incorporan jackpots diarios. En Rtbet Casino encuentro precisamente esa combinación, lo que me posibilita alternar entre un progresivo clásico de área amplia y un bote de caída programada sin variar de operador. La diversidad de mecánicas evita la monotonía y me ofrece distintas opciones de disparo.

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    Debo ser claro desde el mismo momento: no se encuentra una estrategia matemática que asegure un jackpot progresivo. El resultado proviene de un generador de números aleatorios que no tiene memoria, así que la noción de que un bote está “a punto de caer” porque está tiempo acumulándose es una falacia. Sin embargo, sí puedes tomar decisiones sensatas sobre cuándo y cómo jugar. Personalmente, contrasto el valor actual del bote con su media histórica de disparo; si la suma está muy por encima de esa media, el valor esperado de cada giro se hace más interesante, aunque el riesgo permanece siendo altísimo. En Rtbet Casino puedes consultar el historial reciente de algunos jackpots para hacer ese cálculo mental.

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    El mecanismo de financiación es más simple de lo que parece y arranca con la semilla, que es el importe base que el proveedor o el casino adelanta para que el jackpot nunca arranque de cero. A partir de ahí, cada apuesta real en los juegos asociados separa un porcentaje minúsculo, que suele oscilar entre el 0,5 % y el 3 %, y lo añade directamente al bote. Cuando participo en Rtbet Casino, sé que parte de mi apuesta se dirige a ese premio común, lo que disminuye ligeramente el retorno teórico inmediato del juego, pero a cambio me da acceso al premio acumulado. Es importante entender que este porcentaje no lo determina el casino, sino el motor del juego y el proveedor, y es público en las especificaciones técnicas del título.

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    Más allá de los números y las licencias, lo que marca mi día a día en un casino online es la percepción de control y fluidez dentro de la plataforma. Cuando entro en Rtbet Casino y filtro las tragamonedas por la categoría de jackpot, veo de un solo vistazo los valores actualizados de los botes activos, el temporizador de los que son de caída programada y una miniatura clara del juego. Dicha estructura me libera tener que abrir cada título para averiguar en qué punto está el premio. También, la carga de los juegos es ágil tanto en ordenador como en móvil, y la interfaz se mantiene estable incluso cuando la conexión no es la mejor, algo que estimo mucho después de haberme encontrado con plataformas que se ralentizan justo en el momento clave de una ronda de bonificación.

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    Una variante que me parece especialmente atractiva para el jugador español son los jackpots diarios o de caída programada, como los que ofrece Red Tiger. Estos botes deben entregarse obligatoriamente antes de una fecha y hora concretas, lo que añade una capa de estrategia psicológica. Saber que el premio mayor caerá sí o sí antes de la medianoche cambia la dinámica de juego. En Rtbet Casino he visto cómo estos jackpots diarios se integran en tragamonedas muy variadas, y el valor garantizado suele mostrar una cuenta atrás que genera una expectativa muy diferente a la de un progresivo clásico. Conocer estos tipos te ayuda a determinar qué perfil de riesgo y qué ritmo de juego prefieres en cada sesión.

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    ¿Necesito realizar la apuesta más alta para acceder al jackpot progresivo?

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    El sistema es transparente y está determinado. En el momento en que se libera el premio, el juego detiene la pantalla con la notificación y el importe se abona de forma inmediata en el saldo del jugador. A partir de ahí, el equipo de pagos puede comunicarse al ganador para realizar la verificación de identidad, exigencia imprescindible por la normativa española. Una vez cumplido este paso, el jugador puede solicitar la retirada, que se tramita según el método escogido. Mientras tanto, el contador del jackpot se restablece al valor de semilla y la red sigue funcionando con normalidad.

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    ¿Están trucadas las redes de jackpots progresivos de los casinos online?

    En un casino con licencia española como Rtbet Casino, la respuesta es tajantemente no. Todos los juegos de jackpot utilizan un generador de números aleatorios verificado por laboratorios externos certificados, y la Dirección General de Ordenación del Juego supervisa el cumplimiento técnico. Las contribuciones al bote, los desencadenantes y los pagos están configurados en el software del proveedor y no pueden ser modificados por el operador. La transparencia del contador y la regulación certifican que cada giro tiene las mismas oportunidades de activar el premio, sin atajos ni trampas ocultas.

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    A White House teleprompter operator used his position to win around $100,000 by placing bets on the prediction market Kalshi about what President Trump would say in his speeches, the company said on Thursday.

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    In this case, Kalshi said Gabriel Perez, a technical assistant to Mr. Trump, had placed wagers on common words that would appear in the president’s speeches, such as country names and economic terms. In March, when Kalshi’s surveillance systems flagged some of Mr. Perez’s trades, the company froze the funds in his account and referred the case to the Commodity Futures Trading Commission, the federal agency that regulates prediction markets.

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    Prediction markets allow people to wager on everything from state elections to World Cup matches to who will win on “Love Island.” The companies have attracted billions of dollars in trades, but their popularity has raised concerns about whether they violate state gambling laws and are being manipulated by those with insider information.

    In April, three political candidates were found trying to bet on their own races. In June, federal authorities said they were investigating whether former Representative George Santos had made a bet about attending Mr. Trump’s State of the Union address.

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    In a press briefing on Thursday, Karoline Leavitt, the White House press secretary, said that she had talked to Mr. Trump about reports that his teleprompter operator had been making money off his speeches on prediction markets and that he had called it a “disgrace.”

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    Shawn McCreesh contributed reporting.

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    EXCLUSIVE: Netflix has announced that Liz Hannah, co-creator and co-showrunner of Netflix’s The God of the Woods, will direct on the show alongside Cory Finley, Meera Menon and Quyen Tran. Each will tackle two episodes of the eight-episode drama, based on the New York Times bestselling novel from co-creator/co-showrunner Liz Moore.

    Starring Maya Hawke and Kerry Condon, The God of the Woods is a multi-generational series set in the Adirondacks that explores the Van Laar family’s dark secrets, class tensions, and the mysteries surrounding the disappearance of 13-year-old Barbara Van Laar from her family’s summer camp — in the wake of an earlier family tragedy that may be related. As the past and present collide, the Van Laars’ wealth and influence unravel, revealing the damaging consequences of privilege and the abuse of power.

    Hawke plays Judy Luptack, a smart and quietly determined investigator — the first woman one in the male-dominated Bureau of Criminal Investigation, who gets assigned to the case of Barbara’s disappearance.

    Condon, meanwhile, plays Alice Van Laar, mother of the missing 13-year-old.

    Finley, a director with credits like Thoroughbreds and Bad Education, will helm the show’s first two episodes. Tran (Maid, The Pitt) will tackle 103 & 104, with Hannah (The Girl from Plainville) taking 105 & 106, and Menon (For All of Mankind, Ms. Marvel) helming the final two.

    In addition to Hannah and Moore, exec producers on The God of the Woods include Neal H. Moritz and Pavun Shetty for Original Film. Hailing from Sony Pictures Television, the show also stars Damon Gupton, Ella Rubin, Susannah Perkins, Benjamin Walker, Nell Fisher and Autumn Molina, plus Tracy Letts, John Gallagher Jr., Lola Kirke and Colton Ryan.

    Hannah is repped by UTA, TFC Management, and Jackoway Austen Tyerman; Finley by CAA, Anonymous Content, and Jackoway Austen Tyerman; Menon by WME and Yorn, Levine, Barnes; and Tran by Liminal Talent, Untitled, and Sloane, Offer, Weber & Dern.

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    EXCLUSIVE: Netflix has announced that Liz Hannah, co-creator

    Akihiro Miwa, a gender-fluid singer and actor who captivated the Japanese public with his high-femme glamour and who lent his resplendent, booming voice to beloved characters from animated films produced by the celebrated Japanese company Studio Ghibli, died on June 20. He was 91.

    His death was announced on his official website. No location was given.

    Mr. Miwa was best known to audiences abroad for his work in two animated films directed by Hayao Miyazaki, “Howl’s Moving Castle” (2004) and “Princess Mononoke” (1997).

    In “Howl’s Moving Castle,” he played the Witch of the Waste, a corpulent villain clad in purple who is carried around town on a palanquin by an entourage of henchmen. Mr. Miwa’s rich voice transformed the familiar trope of a jilted lover determined to exact revenge into a three-dimensional character exuding feelings of yearning and loss.

    But it was his turn as Moro, the ancient wolf goddess, in the environmental drama “Princess Mononoke” that made him one of Studio Ghibli’s most memorable collaborators. In the film, which was described in a review in The New York Times as “a landmark feat of Japanese animation,” Moro acts as a mother figure to the protagonist and helps battle humans who threaten the forest’s resources.

    Taking his cue from Mr. Miyazaki, who instructed him not “to portray Moro as some kind of hero-like figure,” Mr. Miwa gave the character a deep baritone and a seismic cackle that emanated from the gut. Beneath the laugh, though, was a note of sorrow. Mr. Miwa’s Moro oscillated between tenderness and ferocity, male and female, deity and animal.

    In Japan, Mr. Miwa was a mythic figure in his own right. Inspired by the cross-dressing terakoshō, temple pages of the feudal era, he began wearing women’s clothes as a young man in the mid-1950s.

    “I dressed head to toe in purple and walked through Ginza” — Tokyo’s central shopping district — “singing as I went,” he said in a video interview in 2021. “People started saying, ‘There’s a purple ghost haunting Ginza!’ And that’s how I became famous.”

    One of the first gender-fluid Japanese celebrities, he caught the attention of the renowned novelist Yukio Mishima, who cast him in a starring role in his play “Black Lizard,” which was adapted into a 1968 film of the same name.

    In both the play and the film, he portrayed a duplicitous femme fatale who kidnaps the daughter of a wealthy jeweler with the goal of decorating an island lair with gemstones and the embalmed bodies of numerous attractive victims. (A shirtless Mr. Mishima made a cameo as one of those human statues.)

    The film was a commercial and critical success, in part because of its transgressive depiction of sexuality. The image of the young Akihiro in a sequined gown caressing the inert body of Mr. Mishima, a literary superstar, and planting a kiss on the side of his mouth represented a watershed moment in Japanese cinema.

    “Reporters used to warn me, ‘Don’t say you’re homosexual. You’ll be destroyed,’” Mr. Miwa recalled in the 2021 interview. “But I said, ‘No, go ahead and write it. I haven’t killed anyone. I haven’t stolen anything.’”

    He added: “This is part of Japan’s long history. It’s culture.”

    He also refused to ignore another part of the country’s history: the atomic bombs that the United States dropped on Nagasaki and Hiroshima during World War II.

    Growing up in Nagasaki as one of the hibakusha, or survivors of those bombings, he experienced acute symptoms of radiation poisoning, including hair loss and anemia, and sought to raise awareness of the horrors of nuclear war in his 1968 book “My Purple Biography.” In 2021, he condemned the Japanese government for refusing to ratify the international Treaty on the Prohibition of Nuclear Weapons.

    “For hibakusha, the abolition of nuclear weapons is only natural,” he told The Mainichi, a Japanese newspaper, in 2024. “The world needs to recognize that.”

    Akihiro Miwa was born Akihiro Maruyama on May 15, 1935, in Nagasaki, where his parents owned a restaurant, a cafe and a public bathhouse.

    He was 10 when the atomic bomb struck his hometown. “It was as if a million flashes of magnesium lit up all at once,” he recalled in 2021.

    “Outside, it was hell,” he added, describing a man whose entire body was covered in keloid-like burns. “At every elementary school playground, there were rows — lines and lines — of corpses laid out.”

    In 1951, he enrolled at the Kunitachi College of Music Senior High School in Tokyo but soon dropped out and began bartending, singing in the city’s chanson cafes and performing cabaret at gay bars.

    Modeling himself after singers like Edith Piaf and Yvette Guilbert, he developed a cover of the French song “Mé Qué Mé Qué” that became a hit in 1957.

    His most popular song, “Yoitomake no Uta,” a paean he wrote to blue-collar laborers, was released in 1965. The song, which was notable for his stripped-down performance — he sang it barefaced, in simple clothing — became a nationally recognized ode to the struggles of the postwar working class in Japan.

    He met Mr. Mishima during his early days of tending bar, when he was a teenager. Mr. Mishima was drawn to his androgynous good looks and asked six times if they could meet. On the seventh time, Akihiro accepted.

    When they finally met, Mr. Mishima asked if he wanted a drink.

    “No, thank you, I’m not a geisha,” Mr. Miwa recalled saying in “Miwa: A Japanese Icon,” a 2010 documentary directed by Pascal-Alex Vincent. “He said, ‘You’re not nice.’ ‘I don’t have to be nice, I’m beautiful,’ I replied.”

    Mr. Mishima liked his spirit, and they began a creative collaboration and friendship that lasted until Mr. Mishima’s death by hara-kiri in 1970, after a failed attempt to overthrow the Japanese government. That year, grieving the death, Akihiro changed his surname to Miwa.

    He never married or had children. A list of survivors was not immediately available.

    In the late 1990s and early 2000s, Mr. Miwa directed and starred in an acclaimed adaptation of Mr. Mishima’s “Five Modern Noh Plays.” He was also a muse to the avant-garde playwright Shūji Terayama, who cast him in the plays “Marie in Furs” and “The Hunchback of Aomori” in 1967.

    From 2005 to 2010, Mr. Miwa co-hosted a weekly talk show, “The Spring of Aura,” on the Fuji TV network in Tokyo, discussing reincarnation and spirituality with celebrities. It was during that time that he adopted his signature neon-yellow hair and transformed himself from a pop-culture star into someone the public looked to for wisdom.

    In a column that appeared in The Asahi Shimbun, he offered his advice to a young woman.

    “The more I stay true to myself, the more I seem to stand out awkwardly from those around me. What am I supposed to do?” she asked.

    He answered: “You have nothing to be ashamed of before a single soul. You stand out? Why, that is a splendid thing.”

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    Akihiro Miwa, a gender-fluid singer and actor

    NBC’s “Today” show cast and crew dealt with an unexpected and unwelcome guest off-screen Thursday who was ultimately arrested by New York police.

    A spokesperson for the New York Police Department confirmed in a statement to The Times that officers responded at approximately 9 a.m. to a report of a “disorderly person” at 30 Rockefeller Center, home of the morning show’s studio. Police responded to the incident and took the unidentified individual into custody.

    A spokesperson for NBC confirmed the “security incident” in a statement shared with The Times, noting that an individual entered “an unauthorized area” and “approached” co-anchor Craig Melvin, who notified security. According to TMZ, the alleged intruder was searching for Al Roker but instead turned his focus to Melvin when he couldn’t find the longtime weatherman. The man reportedly lunged and yelled the N-word at Melvin. TMZ on Thursday also published a photo of Melvin and Roker speaking to each other and co-anchor Dylan Dreyer while surrounded by numerous crew members.

    No injuries were reported and police will continue to investigate the incident, the statement added. The “Today” spokesperson said production is fully complying with law enforcement amid its investigation and is reviewing the incident and security measures.

    “NBC and ‘Today’ take the safety and security of our employees, talent, staff and guests extremely seriously,” the statement said, adding that production remains “committed to providing a safe and secure environment for everyone who works at and visits our studios.”

    Thursday’s occurrence marks the latest security concern for “Today,” which reportedly beefed up police and private security presence in February in light of the kidnapping earlier this year of Nancy Guthrie, mother of “Today” show co-host Savannah Guthrie.

    Nancy Guthrie, 84, was reported reported missing from her home in Arizona on Feb. 1. Law enforcement officials believe Guthrie was taken against her will from her Catalina Foothills home; her phone, wallet, car and medication were left behind. The investigation into her abduction is ongoing.

    Savannah Guthrie returned to her “Today” post in April and announced during Thursday’s broadcast that she will be absent “the next few weeks” to film NBC’s TV adaptation of the popular New York Times puzzle Wordle. She will host the game show, which is set to debut on NBC next year.

    Times staff writer Stephen Battaglio contributed to this report.

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    NBC’s “Today” show cast and crew

    Marvel announced today that veteran editor Stephen Wacker has been named Editor-in-Chief, Marvel Comics. Wacker will take over from C.B. Cebulski, who will be moving to Japan to become Editor, Asia Originals, for Marvel.

    “Few editors have had as long and accomplished a career as C.B. I’m grateful for his partnership over the past decade and thrilled that he’ll be on the ground in Japan, connecting with local artists and overseeing Marvel’s original graphic fiction and manga in the region,” said Brad Winderbaum, Head of Marvel Television, Animation, Comics & Franchise. “At the same time, I’m excited to welcome Stephen Wacker back to Marvel. He is a tremendous editor, a passionate advocate for creators, and someone who deeply understands that Marvel Comics is the source code of our entire enterprise, with a publishing resume that includes some of our most beloved modern runs.”

    Wacker is an acclaimed comic book editor and creative, with a long history of collaborating with the industry’s best and brightest comics talent. He previously spent more than 15 years at Marvel, seven of them as a senior editor overseeing several beloved and influential modern comic runs — including the best-selling “Brand New Day” and “Superior Spider-Man” eras of Amazing Spider-Man. During his previous Marvel Comics tenure, he also served as the editor behind the Eisner Award-winning comic series Daredevil and Hawkeye, the critically acclaimed relaunch of Captain Marvel, the introduction of Kamala Khan, A.K.A. Ms. Marvel, and the Marvel Infinity Comic series It’s Jeff!

    Wacker also has extensive experience across Marvel’s animation, television, and digital media divisions, where he expanded the brand’s reach and helped introduce Marvel’s iconic characters to new audiences. He co-produced the Emmy-nominated Rocket & Groot animated series in 2017 and served as a co-executive producer on several animated series, including Avengers Assemble, Ultimate Spider-Man, and Guardians of the Galaxy. He also executive produced the enormously successful Wastelanders audio series for Marvel.

    Prior to joining Marvel, Wacker worked as an editor at DC Comics. Post-Marvel, he served as EIC for Jonathan Hickman’s groundbreaking worldbuilding project 3W3M. Most recently, he co-founded the entertainment studio Stone Kite and served as SVP, Media, guiding storytelling across various media. 

    “Picking up Marvel Two-in-One #50 as a kid is what made me a comics fan, so returning to Marvel as Editor-in-Chief is a full-circle moment that I’m still wrapping my head around,” said Wacker. “I’m proud to join Kevin, Brad, David, and this incredible staff and amazing array of talent to build on the work started by Stan, Jack, Steve, Flo, John, and so many more. I truly believe the best Marvel comics have yet to be written and drawn, and I can’t wait to get to work adding some new floors to the House of Ideas.” 

    Cebulski is the third longest tenured EIC in Marvel’s nearly 90-year history. Prior to becoming Editor-in-Chief in 2017, he established himself as one of the industry’s top talent recruiters, discovering new talent from across the globe like Skottie Young, Pepe Larraz, Marco Checchetto, and Peach Momoko, who have brought new flair to the pages of Marvel’s comics. 

    As Editor-in-Chief, Cebulski shepherded ambitious creative initiatives and oversaw nearly a decade of comics storytelling, including the relaunch of the Ultimate Universe and the acclaimed “Krakoan Age” of X-Men comics. He spearheaded Marvel’s most comprehensive manga partnership with Shonen Jump, creating titles like Deadpool Samurai and Spider-Man: Octo-Girl. He also introduced Marvel’s Stormbreakers, the premier talent program designed to spotlight the next generation of elite comic artists, as well as Marvel’s Art Atelier, the talent training program jointly run with Disneyland Paris.

    Said Cebulski, “I’m incredibly proud of everything we’ve accomplished at Marvel Comics during my time as EIC, and I’m excited for this new role the leadership team has created for me. I’m looking forward to pursuing new opportunities across Asia while staying close to Steve and Marvel’s brilliant publishing team, who are all like family to me.”

    In his new role, Wacker will report to Winderbaum and Cebulski will be part of Wacker’s global leadership team.

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    Marvel announced today that veteran editor Stephen

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    Homer’s poem has pulled filmmakers back to the same shores for the better part of a century, from Italy’s 1968 L’Odissea to the 1997 NBC miniseries that won Andrei Konchalovsky an Emmy. By one count, it has been adapted for the screen more than a dozen times, so the material is well-used. This week, though, the story belongs to Christopher Nolan, whose $250 million adaptation reaches theaters on Friday, shot entirely on IMAX 70mm film and arriving on a wave of strong early reviews and Oscar chatter.

    That timing won’t be lost on the team behind a second, entirely separate take now heading for television. As Nolan’s The Odyssey lands in cinemas, an independent European-U.S. series titled Odysseus has been unveiled, produced out of Athens by Tanweer, the Greek company handling Nolan’s film in the region. The two projects share a myth and a distributor, and, the producers stress, little else.

    Matt Damon In The Odyssey
    Matt Damon In The Odyssey
    Universal Pictures

    As Deadlinereports, running the show is Karl Gajdusek, the showrunner and executive producer of the first season of Netflix’s Stranger Things, with Dutch director Roel Reiné (Halo, Black Sails) attached to direct. The pilot comes from Sean Finegan, Scott Windhauser, Noah Lang, and Blake Hoss, with Tanweer producing alongside U.S. label Tectonic and the U.S.-Armenian outfit USATV.

    The pitch leans hard into history rather than spectacle. Where Nolan’s film promises gods, monsters, and IMAX grandeur with Matt Damon leading a stacked ensemble, this Odysseus is being framed as a grounded, realpolitik account of the Bronze Age world that produced the legend, one of blood, ships, and betrayal set against the collapse that eventually broke the known world apart.

    “There’s something huge about taking on this epic story in the most grounded and realpolitik way we can,” Gajdusek said. The team has been developing it for close to five years, and they are open to seeding an expanded series universe rather than a one-off, which is a fair distance from the “true story” behind the myth that Gajdusek describes chasing.

    For now, plenty is still unsettled. There is no streaming home attached, no cast, and no release window, with production only targeted for early next year across Greece and Armenia. That puts Odysseus years behind Nolan’s film in practice, arriving at a moment Nolan will have largely defined first.

    Whether audiences have the appetite for two versions of the same journey is the more interesting question, and the answer may rest in part on how The Odyssey performs this weekend. A grounded, historical take is a genuinely different proposition, though, and if Gajdusek can carry over even a fraction of the character work that made Stranger Things land, the space between myth and history is where this one would have to earn its place.


    the-odyssey-poster.jpg


    Release Date

    July 17, 2026

    Runtime

    172 Minutes


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    Homer's poem has pulled filmmakers back to

    Castlevania: Belmont’s Curse was announced for PC and multiple consoles earlier this year, but the Nintendo Switch release date wasn’t revealed. Most players assumed this meant the Switch version would launch later, which isn’t uncommon for other releases. Thankfully, Evil Empire and KONAMI have announced the date.

    Castlevania: Belmont’s Curse Nintendo Switch Release Date

    Castlevania: Belmont’s Curse launches on the Nintendo Switch on October 15, 2026, alongside versions for PS5, Xbox Series S|X, and PC.

    This was announced today on the Japanese Castlevania X (formerly Twitter) account, and an update has been posted in the official website’s information section as well.

    Image via Evil Empire

    This means that whatever technical or logistical hurdle was preventing a confirmed simultaneous release has been resolved by Evil Empire and KONAMI. Note that this specifically refers to the Nintendo Switch version, as a native Nintendo Switch 2 release has not been announced. There is also no Nintendo Switch 2 branding in the trailers or the official announcement post.

    Castlevania: Belmont's Curse Platforms
    Image via KONAMI

    Castlevania: Belmont’s Curse Nintendo Switch Pre-Orders

    While the release date has been confirmed, digital pre-orders for the Nintendo Switch version are not yet available, and the game is also not listed on the Nintendo eShop. Physical pre-orders, however, are live at several retailers:

    Here’s a look at its current box art (though it does say “Artwork not final”):

    Castlevania: Belmont's Curse Switch Cover
    Image via KONAMI

    Pricing for the physical version is the same as for PS5 and Xbox Series S|X: $39.99. Pre-ordering either the digital or physical edition will net you a neat bonus inspired by Symphony of the Night.

    Castlevania: Belmont’s Curse, like many previous entries in the series, feels like a perfect fit for the Nintendo Switch and handhelds in general. Since it’s targeting the original Switch, however, I hope it doesn’t suffer from performance issues and that 60 FPS is the target. Additionally, neither KONAMI nor Evil Empire has announced what improvements, if any, a potential Nintendo Switch 2 version could bring, or whether a native release is even planned. It should ideally run better through backward compatibility, but we’ll have to wait until launch, or closer to it, to find out.

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    If comic book author Tom King has a superpower, it’s that everything he writes turns to gold.

    Marvel and DC have each adapted one of his comics, resulting in 2021’s “WandaVision” and 2026’s “Supergirl.” Now, he’s helping forge the rebooted DC Universe with his take on the Green Lanterns — galactic peacekeepers who can create any item imaginable using magic rings.

    Green Lanterns have struggled in Hollywood, falling far below the popularity of Superman, Batman and Wonder Woman. Ryan Reynolds brought one of the emerald heroes to life in his infamous “Green Lantern” movie in 2011; the result was a cheesy, CGI-filled disaster. With his new HBO series “Lanterns,” King has reimagined the Lanterns as gritty earthbound detectives, à la Matthew McConaughey’s and Woody Harrelson’s characters in “True Detective.”

    So don’t let the superhero genre fool you — “Lanterns” has as much gravitas as HBO’s top dramas; in fact, it’s charting a more mature path for the DC Universe after the spunky adventures in “Superman” and “Supergirl.” In the show, Kyle Chandler plays Hal Jordan, an ornery Green Lantern who is begrudgingly training his upstart protégé (Aaron Pierre). The argumentative duo are summoned to investigate a murder in rural Nebraska that has mysterious connections to dangerous extraterrestrials.

    King has the comic book credentials to infuse “Lanterns” with plenty of references for fans, but he also brings a wealth of spy craft and detective knowledge from an unlikely place: He worked as a CIA counterterrorism officer from just after 9/11 to 2009.


    It’s a rainy early morning in Brooklyn, but King, in town for the world premiere of “Supergirl,” based on his space-Western comic “Woman of Tomorrow,” is wide awake — no coffee needed. He was out late after the premiere and up early getting ready to fly to France’s Annecy film festival to show off “Mister Miracle,” an animated adaptation of another one of his comics. His three children joined him on the trip and got to see their dad schmoozing it up at a star-studded event. In just a couple hours, King will be leading them through Newark airport for the kids’ first international flight, but right now he’s calm and ready to talk about his favorite thing in the world: comics. When asked how he balances everything, he credits the CIA’s sleep-deprivation training. 

    “You’re doing two or three hours of sleep for months. You go insane,” he says. “Lately, I’ve been doing ‘Mister Miracle’ during the day, then spending time with my kids, and after 10 p.m., I’m back at my computer writing until 3.”

    Before his career took a detour into counterterrorism, King started out like many other comic writers — at 7 years old, he bought his first issue, “Avengers” #300 (which he still owns). His obsession grew from there, and he landed internships at both DC Comics and Marvel while attending Columbia University. As an intern, he worked as a copy boy on DC’s Vertigo imprint, making photocopies of Garth Ennis’ “Preacher,” and was the assistant to “X-Men” writer Chris Claremont, who turned Marvel’s mutants into the bestselling title in the world.

    Aaron Pierre and Kyle Chandler in “Lanterns”

    HBO Max

    But the comics bubble burst in the early 2000s, right when King was graduating from college. He learned this when his boss at Marvel called and said, “Hey, kid, comics are dead. This industry is dying. Marvel’s declaring bankruptcy. Superheroes are going away.”

    It’s true that before movies like “Spider-Man” (2002), “Batman Begins” (2005) and “Iron Man” (2008) launched superhero cinematic universes, the comics industry went through a bruising period that turned King toward a new career path: In 2000, after his call with his boss at Marvel, he pivoted to working for the Justice Department in Washington, and had plans to go to law school. But his life changed again on 9/11.

    “Like a million other people, I was like, ‘What can I do to help the country?’” King recalls. “I applied to the CIA, because I was good at information. I think comics helped me, like knowing every single Avenger and their first appearance. I could be a dot connector. To my surprise, after a year of training, they’re like, ‘You’re a frontline guy.’ Then I became a case officer in the CIA. That’s how I spent my 20s.”

    Some comics readers have taken issue with King’s past, equating his service with pro-war sentiment. A few of his books later channeled his CIA experience: DC’s “Sheriff of Babylon” followed a military consultant solving a murder in Iraq, while “Grayson” reinvented Batman’s former Robin into a gun-toting spy. But King shuts the gossip down.

    “I’ve seen rumors that I started the Iraq War. I didn’t start the Iraq War. I was 23 years old,” he says. “I was against al-Qaida and the Taliban. We were trying to stop them from doing horrible things. I was against the Iraq War. I thought it was the stupidest fucking thing. I watched people lie about stuff on TV, but I still had to go. It was my duty. I worked on some cases where people were going to blow up a base, and we stopped them. Should I have let them blow them up? Let those kids die because I didn’t agree with the war?”

    After seven “very stressful” years in the CIA, a care package from his mother sent to Baghdad, where he was stationed, convinced King to leave the CIA and return to writing. The package was full of new-age comics by Brian Michael Bendis, Mark Millar and Ed Brubaker, all powerhouse authors of the 2000s. After having given up on the medium, King discovered these writers elevating superhero stories into a prestige art form. “It was the generation who had reconstructed comics,” he says. “They turned them from books with pictures into movies with words,” he says. “It blew my mind.”

    After deciding to leave the CIA, King returned to writing comics for Marvel and DC. His first major hit was 2015’s “The Vision,” which relocated the Marvel android to a quaint suburban neighborhood, retired from fighting crime and living peacefully with a robot family. If that sounds familiar, it’s because it became the inspiration for Marvel’s inaugural Disney+ TV series, “WandaVision.”

    “The Vision” was the first of King’s comic books to be adapted for the screen, but it wouldn’t be the last. After that, he signed a deal to write exclusively for DC Comics, where he penned 85 issues of the flagship “Batman” series, 2021’s hit “Supergirl: Woman of Tomorrow” and many more. “Supergirl” caught the attention of filmmaker James Gunn, who earmarked the series for a big-screen adaptation when he and Peter Safran relaunched the comic book universe.

    “We thought it was a fantastic comic book, even before we took the job to build DC Studios,” Safran says. “We love the idea of working with comic book creators and taking them outside of their comfort zones into other areas.”

    So in 2022, Gunn and Safran recruited King for their DC brain trust — a Justice League of writers helping plot the future of the fledgling universe. The group met at Safran’s house, where everyone was given a copy of “Woman of Tomorrow” to read. In addition to the “Supergirl” movie being greenlit there, King also pitched “Lanterns” as a grounded murder mystery. The writers loved the idea, and “Lanterns” was added to the DCU’s slate announcement. 

    “It’s easy to forget that superheroes are human beings. What they want are the same things you and I want. That’s Tom’s fundamental approach,” says Damon Lindelof, who joined “Lanterns” as a co-creator alongside “Ozark” showrunner Chris Mundy. “There’s a sophistication to his writing because he’s lived a life. Before I was a writer, I was an assistant for writers; Tom was in the CIA. He’s experienced a level of intensity that permeates his work.”

    “Lanterns” is making a splash at San Diego Comic-Con, which means King isn’t getting more sleep anytime soon. After that, he’s sticking with the DC Universe and turning his acclaimed comic “Mister Miracle” into an animated series following Scott Free, an immortal escape artist with PTSD. King won two Eisner Awards — comics’ equivalent of Academy Awards — for the series.

    “Of all the things I’ve written, it’s the book that can connect with people on a deeper level because it’s about a man who attempts suicide, goes through something and comes out of it,” he says. “It’s about how you recover and live with trauma.”

    After his brief trip to France with his kids, it’s off to San Diego Comic-Con for “Lanterns.” He’s no stranger to Comic-Con or its massive Hall H stage, but this year will be different.

    “My first year at that convention, I was hand-selling my novel. They gave me the table in the corner at the very end to Hall H, where nobody showed up,” he says. “I sat there for five days, listening to the hall explode every 10 seconds. This year, for the first time, I’m gonna be in Hall H. It’s full circle.”

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    If comic book author Tom King has

    Kier

    When it comes to comic book adaptations, none feature as massive a contrast from page to screen as Chuck Russell’s 1994 comedy action blockbuster, The Mask. The film follows a lonely and socially desperate banker who finds a magical face mask that grants him cartoonish and God-like abilities. While these powers upgrade his lifestyle, they also set him on a path of danger and adventure. What you may NOT know is that this iconic and hilarious Jim Carrey comedy, which seemingly fits right in with his other ’90s outings like Ace Ventura: Pet Detective or Dumb and Dumber, is actually rooted in one of the darkest pieces of source material indie comics have to offer.

    Before the 1994 film, The Mask could be seen in the pages of Dark Horse Comics as early as 1991, starting with an initial five-issue run of the same name. However, the original three series of comics that inspired the film were really NOTHING like what we saw on the big screen. We’re talking about dark, violent, mean-spirited chaos on every single panel that had readers laughing just as much as they were looking away. This is the story of The Mask, and how an indie comic about a homicidal ancient artifact became a family-friendly popcorn flick that is STILL worthy of a nostalgic rewatch.

    The Dark Origins of “Big Head”

    The Mask was originally created and conceived by Dark Horse Comics founder and publisher Mike Richardson, who envisioned the character as a horror villain with comedic chops for adult readers wanting something edgier than anything DC or Marvel was producing.

    The original run began in the summer of 1991, written by John Arcudi with art by Doug Mahnke. This first five-issue run is truly something else. When Stanley Ipkiss purchases an ugly, old-looking mask at an antique shop as a gift for his girlfriend, Kathy, his world is completely rocked. He puts it on as a prank and transforms into an invincible, big-headed psychopath. He then uses his newfound identity as “Big Head” to commit a series of gruesome murders against anyone he feels has ever wronged him.

    That’s right—the somewhat likable Stanley from the film was significantly different in the original run. He was abusive to his girlfriend, incredibly petty, and kept a literal hit list of people he wanted to execute as Big Head. This included an innocent teacher who embarrassed him in grade school, roughly one hundred police officers who were simply in the wrong place at the wrong time, and two mechanics whom he brutally murdered because they didn’t fix his car properly the week before. A lot of these concepts eventually found their way into the movie, but in much less grotesque ways.

    The interesting thing is that the mask didn’t even belong to Stanley for very long. After Kathy discovers that he’s been going out at night as a serial killer, she waits for him to come home, removes the mask from his face, and shoots him dead right there in her apartment. From that point on, the comic book unravels into a story about the many different faces who wear the mask. This includes Kathy, who uses it sparingly and is the only wearer who doesn’t actively abuse it, and Detective Kellaway, who wears the mask for the majority of the initial run. Kellaway tries to use its powers for good until it corrupts him to the point of almost killing his own partner.

    Despite—or perhaps because of—the brutality, these books were a massive hit. People were completely drawn to this mean-spirited comic book about an evil, mean-spirited mask.

    Shifting Focus: Who Wears the Mask?

    The concept that really stood out was that the Mask’s behavior depended entirely on the person wearing it. Stanley, the first person to use it, was a petty, insecure, bitter, and weak-minded guy who used the Mask to make himself feel powerful and dominant. Kathy only really used it to get herself out of the trouble the mask put her in to begin with (albeit, she does kill some people). Meanwhile, Detective Kellaway used it to enact vigilante justice on pimps and drug dealers who slipped through the cracks of the legal system.

    The Mask goes from being a terrifying serial killer to a vigilante hero, and later a mafia boss. It completely depends on who is wearing it and what their inner desires are. One thing remained true across all of the books, though: the mask itself IS evil. It actively corrupts the minds of those who wear it, eventually turning even the best-intentioned people into absolute monsters.

    New Line Cinema caught onto the hype of this alternative horror comic early on. They originally wanted to option the property to be a horror/slasher film that could replace their tentpole franchise, A Nightmare on Elm Street, which was losing steam and box office popularity at the time.

    By the time the next comic series released—a four-issue run called The Mask Returns—readers already knew what to expect and were looking forward to the absolute mayhem. Sure enough, Dark Horse delivered.

    The second series sees Detective Kellaway dig up the mask, which he had buried under cement in his basement at the end of series one, only for the mob to steal it from him after shooting him into a coma. Unaware of its true power, the mobsters jokingly put the mask on their driver—a meek and unattractive man who was constantly bullied by his employers. The moment he puts it on, he decides to slaughter his bosses and take over the Edge City mafia as its new, indestructible crime lord. That is, until Kathy and Detective Kellaway catch on and come together in a final showdown to battle Walter, an invincible mob enforcer who never speaks. The mask ends up at the bottom of the ocean, leaving fans waiting for it to be discovered once again. It was right around this time that New Line began actively developing the idea for their movie.

    Softening the Source Material for Hollywood

    Arrow Video's November 2025 line-up of 4Ks and Blu-rays includes films from Wes Craven, Chuck Russell, Billy Wilder, and more

    Ironically, when New Line hired director Chuck Russell, who had previously worked on the Nightmare on Elm Street franchise, he recommended making the movie a comedy instead of a horror film. Frankly, the comic book was far too violent to be adapted directly to the big screen. He wanted to tell a story with a fun, adventurous vibe that showcased mischief over pure mayhem.

    He brought on screenwriter Mike Werb, who handed in a script that sanded down the rougher edges of the story and condensed major plot elements from the original three comic series into a single 90-minute comedy.

    To further soften the source material, Jim Carrey was offered the starring role. Carrey, who was on the verge of breakout superstardom in the early ’90s, added a likable, every-man quality to Stanley Ipkiss that was completely absent from the pages of the comic. It’s an interesting creative decision because, in the comics, Stanley gets killed off almost immediately, and the main user of the mask is actually Detective Mitch Kellaway—who doesn’t even touch the mask in the film. If anyone else had written this adaptation, they likely would have ignored Stanley altogether and focused on a burnt-out Detective Kellaway discovering the mask for a gritty vigilante justice story.

    Instead, Carrey made Ipkiss a perfectly suitable protagonist, while Kellaway was reduced to a dopey detective who lacked the grit of his comic counterpart. Additionally, Stanley’s girlfriend Kathy from the comics was swapped out for a seemingly unattainable love interest named Tina, played by Cameron Diaz in her feature film debut. However, the writing for her character could easily have led to a Kathy-like arc in later sequels, if the movie had gotten a proper one.

    The character of Dorian was invented specifically for the movie, acting as a composite adaptation of the generic mobsters met throughout the books. Meanwhile, the character of Walter—who is, for all intents and purposes, the Mask’s archenemy—was scrubbed out of the movie entirely because he was simply too scary and violent for a PG-13 adaptation.

    Multiple early drafts of the script existed, ranging from a comedy-horror where the mask would possess an army of dead bodies to create a zombie squad, to a version much closer to the comics about a revenge-obsessed loser going on a bloody killing spree. Eventually, it became clear that the project was always meant to be a rowdy romantic comedy anchored by cartoonish and supernatural elements.

    Translating the Comic Panel to the Screen

    Many iconic elements from the comic did successfully carry over into the movie, including memorable visual gags like the “Awooga” wolf-face scene, the shady mechanics, several jokes, and a much softer version of the balloon-animal Tommy gun scene.

    In the comics, that Tommy gun scene plays out while Detective Kellaway is wearing the mask. He chases down two car thieves, corners them in an alley, does the balloon routine, and then shoots them point-blank in the face before disappearing into the shadows.

    There are also a lot of subtle details, like the formatting of the pajamas and specific disguises, that were pulled directly from Doug Mahnke’s artwork. Mahnke is easily one of the great cartoonists of the ’90s, and his aesthetic translated incredibly well to the screen through the film’s set design, lighting choices, and heavily animated visual style.

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    the mask

    Adapting the pages of these comics obviously required going beyond colorful lighting and comic-accurate costumes; it was absolutely vital that the filmmakers successfully adapt the reality-bending, cartoony powers of the Mask. In the books, Big Head can pull absurd weapons out of thin air, wear other people’s faces, and bend, bounce, and contort himself far beyond the laws of natural physics.

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    Jim Carrey earned the nickname “Rubber Face” in Hollywood for a reason, and it paid off massively for this film—which was a lifesaver, considering he had to endure about four hours a day in the makeup chair just to get the green mask applied.

    In the film, Stanley is still a bit of a pushover who gets walked on by more assertive people, but when he finds the mask, he becomes a vigilante hell-bent on taking down Dorian and his goons to save his crush and make Edge City a better place. His methods are significantly less bloody than the source material, but the hijinks and antics remain intact. Additionally, his dog Milo doesn’t appear anywhere in the first three mini-series of the comics, but he serves as a welcome addition to the film to help make the protagonist genuinely likable.

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    Some purists might call this an unfaithful adaptation due to the massive shift in genre and attitude. In many ways, however, it feels like a perfect adaptation because it adjusts what works on the page to work for a wider theatrical audience. This, in turn, draws people toward the character and drives comic book sales.

    A film adaptation should make people aware of the original source material and the talented creators behind it. Looking at the original trilogy of comic runs versus the movie, the film arguably offers a more streamlined experience. Having a solid protagonist beats a revolving door of unlikable main characters, and the simpler cast and timeline feel a bit more fluid than the print version.

    Furthermore, Jim Carrey in 1994 was an absolute force of nature. Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber all came out within the span of that single calendar year. The fact that he delivered all three iconic performances while caked in heavy makeup, suffering from the flu for a massive portion of the shoot, and carrying the pressure of adapting a hit indie comic character is incredible.

    If there is one critique of the movie, it is the total absence of Walter. In the comics, Walter is the Mask’s definitive adversary—a mysterious, giant, Solomon Grundy-looking enforcer-for-hire who never speaks, seemingly can’t die, and possesses the unique physical strength to actually wound or incapacitate the Mask. He would have been a perfect muscle henchman for the live-action movie.

    Audiences absolutely loved the film. It released in July of 1994 and pulled in an incredible box office run of over $350 million worldwide. With that kind of massive financial success, it seems shocking that a direct cinematic sequel with the original cast never materialized. There were immediate plans for one, but Jim Carrey became an overnight A-list star and was flooded with projects that kept him busy for the next few decades. Both Carrey and Cameron Diaz have mentioned over the years that they would potentially be down to do a proper sequel, so perhaps that door isn’t completely closed.

    We did get an excellent animated series based on the movie version which aired from 1995 to 1997. The cartoon maintained the comedic, TV-appropriate style of the film, though it did not feature the voice of Jim Carrey. The show followed Stanley (who kept the mask in this continuity) acting as a daytime vigilante against the mob and various weird villains, serving as great supplemental material.

    Then, in 2005, the franchise received Son of the Mask starring Jamie Kennedy and Alan Cumming. While you can’t blame the actors, the movie was a total disaster that effectively killed the franchise and kept it on ice ever since. It remains a big disappointment; a properly made anthology entry that leaned back into the darker, horror-tinged comic book elements could have been an incredible addition to the series. Instead, it put a definitive end to the live-action run of the invincible Big Head.

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    Péter Magyar‘s new Hungarian government has reaffirmed its support for the film production sector in the country, which is Europe’s second biggest hub for production, and has hosted Hollywood films like “F1: The Movie,” the “Dune” films, “The Brutalist” and “Poor Things,” and series like “The Day of the Jackal.”

    Applications for the 30% film incentive will be able to resume after the government removed the cap on new registrations, which was introduced last year by the outgoing administration.

    Ervin Nagy, state secretary for culture, said, “Today, we have opened a new chapter in our cooperation with the film industry by lifting the blockage on the tax incentive system that ensures the smooth and predictable operation of the Hungarian film industry. This decision was made in consultation with industry stakeholders and with the support and trust of the Ministry of Finance.”

    He added, “It is thanks to decades of work by our world-class, dedicated professionals and industry investors that Hungary has become the most sought-after film production hub in continental Europe, a place where almost any dream can be brought to the screen. We stand by the Hungarian film community in every situation; they deserve it. It is our fundamental duty to ensure state support for their work and to help them compete internationally.

    “The amount allocated to the tax incentive yearly pays for itself over through its multiplier effect, as numerous studies have already shown. Hungary’s highly skilled craftspeople and outstanding creative talents are increasingly taking on key creative and technical roles in international productions. Today, it is almost unimaginable to have a box-office chart or an awards season without a production made with the participation of Hungarian professionals.

    “We are proud that Hungary’s diverse landscapes and rich cultural heritage inspire global filmmakers, serving as the perfect backdrop for their stories. Beyond that, we are a nation of filmmakers ourselves. This craft is deeply rooted in our cultural tradition, and the powerful symbiosis between our incredible local creators and a robust industry truly sets us apart in the global marketplace. Let the adventures continue.”

    Recent productions filming in Hungary include Amazon MGM Studios’ “Alone at Dawn”; the second season of NBCUniversal’s “The Day of the Jackal”; the period drama “The Nightingale,” starring Dakota and Elle Fanning; the Arnold Schwarzenegger action-thriller “The Kellys”; and “Dinner With Audrey,” starring Thomasin McKenzie and Ansel Elgort.

    Hungary was the first country in Central Europe to introduce a film incentive scheme, back in 2004. The country’s highly competitive tax rebate system is guaranteed by the state through the collection account operated by the National Film Institute. The financial support is provided in the form of a cash rebate through post-financing. Currently the 30% incentive can be extended to 37.5% of eligible production expenditure by including 7.5% of non-Hungarian costs.

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    Péter Magyar‘s new Hungarian government has reaffirmed

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    My first test for any casino site doesn’t involve the welcome bonus or the game library. I use the Tab key. As someone who uses keyboard navigation, I’ve found that most online platforms handle accessibility like a box to tick, not a core feature. Betnella Casino is unique. They’ve created strong visual focus indicators into their design on purpose. This isn’t just about following rules. It’s a approach that makes sure every button, link, and slot machine control lights up clearly when you navigate to it with a keyboard. That careful work changes everything. It changes a confusing, frustrating hunt for the right element into a smooth and inclusive process. For players in jurisdictions with strict rules, like the UK, this kind of commitment reflects a platform designed for everyone. It makes a technical detail into a reason to trust the brand, and it opens up online gaming to more people based on what they want to do, not how they can click.

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    The UK creates a high bar for digital access. The rules come from the Public Sector Bodies Accessibility Regulations 2018 and the Equality Act 2010. They require sites to comply with the Web Content Accessibility Guidelines (WCAG) 2.1 at Level AA. Betnella’s work on focus states handles a key part of those guidelines head-on: criterion 2.4.7, named Focus Visible. By achieving this standard, Betnella exceeds protect its license to operate in a major market. It demonstrates a sense of responsibility that players see. I view this as a strategic move, not just legal cover. It’s an commitment in a wider audience. It prepares the platform for rules that will likely get stricter in other countries, and it fosters fierce loyalty among a group of users most rivals ignore. In an industry monitored closely for its social impact, taking this step first is a powerful way to stand out.

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    Betnella’s focus on accessibility brings real business wins. First, it provides access to millions of potential customers with disabilities, a group with significant spending power. Second, it develops a stronger brand. Users who discover a site that works for them keep coming and recommend to their friends. Third, accessible sites usually rank better on search engines. Clear structure and keyboard-friendly design match what search bots seek. Fourth, it reduces legal risk in strict markets like the UK. Fifth, it drives innovation. Solving accessibility problems often results in simpler, better code and user experiences that benefit things for everyone. That raises engagement and retains players. The payoff isn’t just about avoiding lawsuits. It’s about capturing more market share, raising the value of each customer, and keeping pace with new regulations.

    Obstacles and Constant Progress in iGaming Accessibility

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