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TV

Never underestimate the paradigm-shifting power of a girls’ trip. That’s the gist of Peacock’s saccharine, infrequently potent The Five Star Weekend, adapted from the novel of the same name by Elin Hilderbrand. Like most of the author’s beach reads, this one takes place on sandy Nantucket, an idyllic backdrop for the journey of self-discovery undertaken by recently widowed Boston food blogger/influencer Hollis Shaw (an aptly cast Jennifer Garner). Hollis, who grew up on the island, invites four friends to her childhood home for a perfectly curated getaway—or “a sleepaway camp for grown-ups,” as one of her pals puts it, considering the itinerary includes a pizza and pajama party, spa time, and color-coordinated outfits. What could go wrong? Everything, as it turns out. And that’s without a dead body washing ashore (à la Hilderbrand’s The Perfect Couple). 

The Five Star Weekend is instead more in line with The Four Seasons in its understanding that low-stakes, everyday life is traumatic enough all on its own. Series creator Bekah Brunstetter presents the (wealthy, well-dressed) women’s midlife crises in a cozy setting to make their circumstances more digestible. The writing—cloying as it gets—manages to imbue each woman with a multi-faceted personality; it’s to the show’s detriment that we don’t get to see much of what’s beneath those facets, though. Still, when stories get clunky or far-fetched, the ensemble’s camaraderie and earnest performances elevate the material to make The Five Star Weekend an appetizing enough binge. 

The show quickly immerses us in Hollis’ beautiful world, one that set designer Barbara Cassel plucks straight out of the films of Nancy Meyers. Of course, Hollis owns a beach bungalow with sparkling countertops, airy rooms, and a backyard gazebo overlooking the ocean. Who wouldn’t seek reprieve in this version of Nantucket? The pleasant surroundings help Hollis forget that she and Matthew (Josh Hamilton) had marital issues long before his fatal car crash. In his absence, her picture-perfect life and career continue to shatter. As does the relationship with her daughter, Caroline (Harlow Jane), who is flunking out of med school and shows up on the island only to accidentally intrude on her mother’s seaside retreat. 

Hollis, seeking a fresh start and wanting to reconnect with parts of herself that were long since buried, brings together friends she made during different phases of her life: high school bestie Tatum (Chloë Sevigny); former college roommate Dru-Ann (Regina Hall); fellow mom Brooke (D’arcy Carden); and Instagram follower-turned-confidant Gigi (Gemma Chan). It’s a fun, if not bold, idea, because the other women don’t really know each other—or even get along well at first. The only common thread is their concern for a grieving Hollis, who insists on putting up a cheery façade of “I’m fine!” Still, it’s a great way for all of them to realize how much they’ve evolved, for better and worse. 

The trip couldn’t have come at a better time for Dru-Ann, a workaholic sports agent in the midst of being canceled and fired. She has a petty rivalry with the happily married Tatum, who still lives in Nantucket and runs a dry cleaning store. Hall and Sevigny bounce off of each other well, selling what could’ve come off as a juvenile turf war in a serious TV show about dealing with grief. Cool-girl Sevigny might be cast against type, but she brings plenty of snark to coastal grandma Tatum, despite her character going through a cancer scare. 

Sevigny’s acerbic humor helps counteract the show’s sweetness, much of which is filtered through Hollis and Brooke. Unlike the rest of the group, Brooke isn’t self-assured and awkwardly tries to fit in as best she can to please everyone. She goes through quite the transformation over three days, though, partly thanks to sound advice from the women around her, and partly thanks to falling for a local tour guide played by Roberta Colindrez—Carden’s co-star from Prime Video’s gone-too-soon A League Of Their Own adaptation. 

The biggest mystery is Gigi, essentially a stranger who recently connected with Hollis after a period of fervently following her blog. She arrives armed with secrets that could blow up the whole group dynamic. Due to the nature of her story, Gigi is the most underwritten of The Five Star Weekend’s guests, but an endearing Chan makes the most of what she’s given. Hollis’ other dilemma comes via Jack (Timothy Olyphant), an ex-boyfriend who still carries a torch for her. Jack is basically the Hallmark version of an ideal man, but you can’t go wrong by choosing Olyphant to play the lovesick romantic lead. 

The Five Star Weekend clearly has the right ingredients, whether it’s a solid cast or directors like Jennifer Morrison and Minkie Spiro—the female gaze enhances this material! However, the show’s interest in schmaltz over soul searching makes it less profound than it aims to be. Still, it’s escapism at its best. When the show works, it’s because it’s earnestly honoring female friendships and the difficulty of maintaining them as you grow older. It’s not exactly a recipe for a successful series, but The Five Star Weekend still makes for a satisfying one-time meal anyway. 

Saloni Gajjar is The A.V. Club‘s TV critic. 


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What to Watch







 Prime Video

Every day, TVLine’s What to Watch column spotlights new and returning English-language shows (and select movies) premiering or airing fresh episodes across broadcast, cable and streaming — organized below by release time and alphabetically within each slot.

On TV this Wednesday: Octavia Spencer and Hannah Waddingham headline “Ride or Die,” Marcello Hernández presides over the EPSYS, and Anya Taylor-Joy stars in “Lucky.”

If you’d like a recommended watchlist delivered to your inbox each morning, you can sign up for TVLine’s free What to Watch newsletter here.



Showtimes for July 15, 2026


ET

All the Queen’s Men

Paramount+

Carla finds herself desperately trying to escape Blue and Tommy’s wrath; Dime finds herself in an undesirable situation with a tough choice to make.

Christmas at Sea

Hallmark+

The Hallmark Christmas cruise docks in Cozumel, Mexico, where challenges, surprises, and life-changing moments await the passengers.

Lucky

Apple TV
FIRST TWO EPISODES

Series premiere: When a multi-million dollar heist goes sideways, a con artist (Anya Taylor-Joy) is forced to go on the run; Annette Bening and Timothy Olyphant co-star.

Maximum Pleasure Guaranteed

Apple TV

Season 1 finale: Everything everywhere all at once.

The Oval

Paramount+

Agent Isaac considers a new diversion, but is warned by Ghost about the risk of exposure; Jason hunts, Simone plots, and violence erupts from bedrooms to backrooms.

Ride or Die

Prime Video
EIGHT-EPISODE BINGE

Series premiere: Best friends Debbie Claybourne (Octavia Spencer) and Judith Burton (Hannah Waddingham) thought they knew everything about each other… except Judith turns out to be an international assassin.

Trying

Apple TV

Nikki and Jason start new chapters in their lives; Karen makes a shocking discovery.

The Ultimatum: Marry or Move On

Netflix
FIRST EIGHT EPISODES

Season 4 premiere: A new group of couples at a crossroads heads to Sin City, but what happens in Vegas won’t stay there, as relationship doubts, surprise connections, and hard truths lead to a life-changing decision: Will they get engaged or walk away forever?

X-Men ’97

Disney+

Wolverine, Morph, and a motley crew of old rivals face off against Weapon X’s latest experiment.


ET

FIFA World Cup

Fox/Telemundo

England takes on Argentina, live from Mercedes-Benz Stadium in Atlanta.


ET

Big Brother

CBS

Six players — including current nominees Mallory, Yash, and Taylor — compete for the season’s first Golden Power of Veto.

ESPYS

ABC

The Excellence in Sports Performance Yearly Awards are handed out to 2026’s best athletes; Marcello Hernández (“Saturday Night Live”) hosts. 

MasterChef

Fox

The Top 16 create chocolate confections inspired by their heritage as a double elimination looms.

The Valley

Bravo

Lala celebrates her sobriety anniversary while also dealing with the passing of her dog; Kristen and Luke struggle with what’s next for their relationship; Danny gets a vasectomy.


ET

Nation’s Dumbest

Fox

Series premiere: Hosted by comedian Jack Whitehall, the competition challenges celebrity contestants — including Hilaria Baldwin, Carmen Electra, Anthony Michael Hall, Jon Heder, Ice-T, JoJo Siwa, and Andrew Yang — to survive a gauntlet of quizzes, physical challenges, and classroom tests, all while trying to avoid being crowned the nation’s dumbest celebrity.

Next Gen NYC

Bravo

Longstanding tension between Georgia and Riley boils over; Liam leans further into his connection with Ariana; Brooks struggles to find his voice amid setbacks with his brand.


ET

Million Dollar Nannies

Freeform

A nanny agency lands a high-profile client seeking an actual princess, but envy and hidden truths put the business at risk.

Worst Yard on the Block

HGTV

Series premiere: Two teams of curb appeal aficionados search for the country’s most unsightly yards and transform them in just a few days.






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Awards

Ten filmmakers unveiled their AI-native short films at the recently concluded Raindance Film Festival in London, with the project – titled “Lost Canon” – produced by Moonmax and built entirely on CapCut Video Studio.

The initiative was commissioned jointly by CapCut, the AI-powered creative platform used by creators across more than 200 regions worldwide, and Moonmax, a studio focused on next-generation storytelling, in partnership with Raindance Film Festival.

Participants were challenged to imagine stories, artifacts, places, events, and cultural phenomena that never existed. Each film was conceived, developed, and finished within CapCut Video Studio, a canvas-based AI production workspace that covers ideation, storyboarding, scene generation, editing, and final export inside a single environment.

The 10 films and their creators are: “Black-Op77” by Frankie Caradonna; “Delete Forever” by Phill Turner; “Soft Play” by Ikenna Mokwe; “Cinema West!” by Jagger Waters; “What Chivalry Is This” by Toby Hyder; “Theodore and Wilson” by Ben Abergel; “All My Kitties” by Katharina Gellein Viken; “Mothmen” by Jan-Willem Blom; “Mayoiga” by Paige Piskin; and “E14” by Tamas Olajos.

“The concept of ‘Lost Canon’ has a double meaning for us,” said Daniel Gordon, head of AI at Raindance and CEO of Moonmax. “These tools give creators the ability to bring ideas into existence that might otherwise never have existed at all. AI allows filmmakers to realize stories that would previously have been impossible, inaccessible, or prohibitively expensive.”

In the lead-up to the premiere, the participating creators documented their development process across social media, sharing concept reveals, behind-the-scenes content, teasers, and poster artwork. Raindance, which has long championed emerging filmmakers and disruptive storytelling formats, provided the festival platform for the project.

“It’s exactly the kind of AI-native filmmaking we built Video Studio for: giving creators the tools to build entirely new worlds and blur the boundaries between fiction and history,” said Lewis Graham, partnerships and community lead at CapCut.

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Ten filmmakers unveiled their AI-native short films

Entertaintment

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Music

A toddler dressed in a pink tutu takes a seat on the floor of MGM Music Hall at Fenway, Boston’s 5,000-seat venue located directly next to Major League Baseball’s oldest ballpark and home of the famed Green Monster. The girl’s father looks down at the child, both smiling, eyes alight, and joins her on the floor. A few feet behind them a boy, possibly mid-teens, dances solo in head-to-toe green, a voluntary uniform he shares with most of today’s pre-St. Patrick’s Day crowd, some of whom are wearing flashing shamrock headbands, tall leprechaun hats and flat scally caps, and lots and lots of Dropkick Murphys gear. 

Kids are everywhere, in strollers or sitting on parents’ shoulders, large headphones cover most of their ears as they bounce along to the piped-in punk pre-show music. 

It’s mid-afternoon on March 14, the fourth annual Dropkick Murphys kids Claddagh Fund matinee show, where the band plays a nine-song set of uplifting hits, lowering the volume and editing expletives to make this a true family event. A celebratory graphic of a crotchety scowling leprechaun shines from the back of the stage. Under his feet in bold it reads: “FOR THE KIDS…IN THE PIT.” His left hand is extended in a punky “V” sign—the two-fingered salute—just so you don’t mistake him for the cozy bedtime-story type. 

Sinéad O’Connor’s haunting vocals on the Chieftains’ “The Foggy Dew”—DKM’s live lead-in/opener for over two decades—segues into a familiar rousing beat and the crowd jumps and claps in synch to Dropkick’s “The Boys Are Back.” (“The boys are back / the boys are back / the boys are back / And they’re looking for trouble…”) And this kicks off one of the most feel-good 40 minutes you’ll ever experience, with band frontman and founder Ken Casey reminding us throughout that this party belongs to the kids, extending the mic, encouraging them to talk and sing along. 

When it’s over, everyone lines up for photos with the band, where they’ll also receive a signed poster. The meet and greet takes longer than expected this year, cutting into precious pre-show time—did I mention they have a show that evening?—but if they’re the least bit tired it’s overshadowed by a fierce commitment to giving this audience the time and attention they deserve. 

All proceeds from the show go to the Claddagh Fund, the band’s nonprofit charity supporting “causes related to children, veterans, and addiction recovery.” Today, they’ve invited children and representatives from Franciscan Children’s, a Boston-based hospital that “has served children and adolescents with complex medical, mental health and special education needs” since 1949 to join the band onstage, to receive a donation for $60,000.

Maybe this is what a revolution looks like: community, gathering, music. 

Ken Casey working the crowd at the Dropkick’s grown-up show. (Photo by Derryl Burbank)

I caught up with Ken at the end of February, about two weeks before the kid-friendly charity event, but it might as well have been a world away, on a rare quiet moment on tour before a show in Des Moines. We chatted a bit about the then-upcoming free concert at the Palace Theatre in Saint Paul, Minnesota on March 6, neither of us knowing of the imminent firing of U.S. Secretary of Homeland Security Kristi Noem, whose controversial initiatives were heavily protested in the North Star State. It seems a cosmic coincidence that Dropkicks—known for their outspoken politics as much as their Celtic punk label—are celebrating their milestone 30th year in 2026, and 20 years since The Departed made their 2005 single “I’m Shipping Up to Boston” a certifiable anthem, during such a politically polarizing time. 

Discussion of the 30-year marker makes Ken “nostalgic,” considering Dropkicks formed in three weeks on a dare. “When I think about the intent in the beginning, which was just to have a laugh and win a bet, to becoming a career and a life and a ticket around the world, and to meet all these amazing people, it’s pretty mind-bending,” he smiles, noting he hopes the band will be remembered for their fans-first, true-to-their-roots pillars. And integrity. He wants Dropkicks to be known for their integrity: “As far as the band goes, it’s just staying the course and walking the walk and sticking to your guns. Just not changing with the winds and the times. Be it musically or philosophically.”

This naturally brings us back to politics. “We left it to the lyrics a lot more,” he says, of the band’s earlier days. “But we also weren’t facing the moment America is facing right now. To me, as the stakes ramp up, you got to ramp up your level of activism. I guess in some ways, I’d say it’s a shame that this would have to define us, but on the other hand, I almost feel like maybe the first 30 years was all just the warm-up for this moment. I’m all right with being remembered for putting what we believe in right ahead of what’s necessarily best for the band as a business.”

He’s referring to the cost that comes from speaking out. “We’re motivated to do it, and we also feel obligated to do it,” Ken says. “It’s not a burden. [It would] feel weird that if you’d be a punk band, and sung about the things we’ve sung about for 30 years—to not speak up, would just be incredibly cowardice.” 

A fierce political stance naturally provokes fierce opposition, even in the form of threats. But to this, Ken merely states: “I’m not scared of nothing.”

The Minneapolis concert would go as planned—the day after Kristi Noem’s firing was announced in the press—at the memorial site for Alex Pretti, the 37-year-old intensive care nurse who was fatally shot by federal agents in January. “We’re so proud of how Minneapolis has stood up on behalf of all of America,” Ken said. “They are just such good, nice, kind people up there. That’s been our 30 years of experience, and seeing a lot of people who, it’s probably not in their nature to be out doing what they’re doing to fight back, but they did it anyway. They have stood up.”

He encourages everyone to speak up in the face of opposition. “That could mean in a circle of 10 people you know or that could mean in a way larger circle,” he says. “I was taught, in a lot of ways, if you don’t have people pissed off or hating on you, you’re probably not doing enough. Especially when we’re speaking about current times, I think silence is complicit at this point. I hate to say that because it sounds so dramatic, but fuck this, man, we’re about to lose all our freedoms. I think at this point in time, it’s not being dramatic at all. There’s so many people that say, ‘I don’t do politics,’ well, politics does you. When you lose your healthcare or maybe a relative loses their healthcare, they can’t afford it, or someone loses their career as a public servant because of fucking bullshit DOGE cuts by a South African billionaire, you better speak the fuck up.

“I’ll tell you what I’m scared of,” he says. “I don’t like to think about the future ahead for my children if they are going to be living in an authoritarian technofeudal system, which is why I’m willing to do whatever it takes to make sure we vote out these villainous scumbags.“

Dropkick Murphys backstage in London, U.K. 2002. (Photo by Ian Dickson/Redferns via Getty Images)

“Where it began…I can’t begin to know when…” 

After L.A.’s the Aggrolites played a spirited, laid-back supporting set, the room shifts and fills, and over the PA comes the warm, familiar opening beats of the Neil Diamond classic—and Fenway Park anthem—“Sweet Caroline.” Haywire’s lead singer Austin Sparkman screams towards the crowd just as the song reaches the “touching me, touching yoooouuuuuu” crescendo. “Alright,” he commands, “I need everyone’s help! Front to back, side to side!” The crowd abides, swaying and singing. You might not know Haywire, but Boston definitely does. This is a band that fosters fanatics, and we’ll soon see why. After about a minute, once everyone’s past the obligatory “bom, bom, bom” ad lib, Haywire, without warning, explodes into their namesake single “Haywire,” a fiery mix of heat and frenzy that lays the groundwork for their entire performance. 

Ken comes out to join them on “New England Forever” (from the New England Forever Dropkick Murphys / Haywire split 12” LP) and anoints them “The New Kings of Hardcore.” They remind Ken of Dropkicks way back when. While the afternoon’s little kids have long left the building, there are pre-adolescents all over who know every Haywire lyric. In front of me, a young girl, probably 10, sits on her father’s shoulders, hand raised as she fist-pumps while singing, and soon she’ll disappear—only to reappear safely crowd surfing towards center stage. 

By the time Dropkicks take the stage with 2003’s “Worker’s Song,” Boston is more than ready. 

“I think with the nature of the internet and 30 years of touring, a Boston show isn’t necessarily a thousand times better crowd-wise or anything like that,” Ken says, though the history and family ties create an undeniable specialness. “You can’t say that you’re not more inspired to put on a slightly better show when your oldest friends and your loved ones are watching.”

Near the end, before launching into their beloved, folky “Rose Tattoo,” Ken asks the crowd to make space for the women and girls in the center, and one-by-one they surf through the crowd, landing on the stage and jumping and running off, euphoric, muscling their way through the mob to do it again. “Having the pit for a song be just about women, I do think it empowers [them],” Ken says. “When I do that, they don’t leave after that song. They’re like, ‘We’re in here now, motherfuckers. We’re staying.’ It’s badass. It definitely just gives them a moment to just fucking be in charge.”

And then, after more than 90 minutes, Dropkicks close out their show and leave the stage. The lights come on—and Ken is still there. He leans forward towards the crowd, eventually coming down to ground level, shaking hands and smiling. He’s there so long, I leave before him, as do a lot of people, but so many stay. It’s a ritual he’s performed at almost every show for 30 years.

“I’m looking at these people in the face for an hour and a half… they’ve paid their money, they’ve come to support us over and over again. I just feel like a lot of them are people that I respect and care about because they’ve given us this opportunity. You also get great stories and feedback. You get to hear what it’s meant to people’s lives… It’s a different story all the time, and I said, ‘Man, I wouldn’t have never known all these things had I not had these conversations with people.’

“Then, other times, it’s just to say thank you.”

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NOW ON TUBI! Up in the heavens, there is a brand new constellation in the Milky Way of bizarre cinema: the mind-melting British dark superhero film The Phantom Warrior, written and directed by the next great cult moviemaker, Savvas D. Michael. Nemesis Knight (Nicole Bartlett) was given her unusual name by her junkie daddy, who was blasted on acid at the time. He left, and then her mother died, leaving the now grown Nemesis nothing but the family stable and an old horse named Zeus. Nemesis lives off the land in Chaos County, hunting for what she eats, while bidding time until the sun sets and sleep creeps up. Nemesis doesn’t care for what she calls “the unconscious world”, because when she goes to sleep, she is visited by strange gods, who are beautiful, and bathed in light. The gods interest in her confounds and confuses Nemesis, until she realizes they are all pointed her toward her path. Nemesis rises from her slumber to step into her destiny, riding her horse into the night with a shotgun.

Figures surrounded by blazing supernatural energy in The Phantom Warrior.

“Nemesis rises from her slumber to step into her destiny, riding her horse into the night with a shotgun.”

She enters a neon churchyard and has to confront a cyclops (Charles Rawes) before she can seek direction from the oracle of Delphi, Pythia (Ivana Radjenovic). Pythia informs her that Nemesis has always been the instrument of vengeance for the gods, with all of her previous lives lived as a phantom warrior. She travels to the unconscious world where all the gods still exist, meeting with the lord of the underworld himself, Hades (Steven Berkoff). During the slaying of a particularly nasty child abuser, Nemesis gets a chemical burn across half her face. To cover up her disfigurement, she wears a golden mask while she dispenses the wraith of the gods from the barrel of a shotgun. However, behind the scenes, the fabulous evil demigod, Dollos (Elijah Rowan) is gathering together a deadly army of wronged women is about to cross Nemesis Knight’s path of destruction.

The Phantom Warrior is instantly awesome because it keeps refusing to behave like an ordinary movie. It’s like the first bad kid you brought home that said outrageous s**t to your parents. At first, you like it ironically. Right from the beginning, Michael establishes an aura of high camp, the kind we have not seen in years. You think you are liking it ironically, until you discover that you are flat out liking it. Then it starts tricking with your head in the oddest ways, at which point you have fallen in love with this R-rated violent super-heroine film. You are also treated to that amplified London perspective of American culture, complete with heavy southern accents and 90s slide guitars. It is a star-spangled world very similar to the one Nick Cave would visit in his lyrics for the classic gothic group The Birthday Party.

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NOW ON TUBI! Up in the heavens,

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Er is wat nieuws te zien in de Nederlandse online gaming. Een vertrouwde trend komt terug, maar dan anders. Mensen zoeken weer de sociale kick van het samen gamen, het gevoel van een ouderwetse LAN-party. Alleen gebeurt het nu online. Pirots 5 Slot Welkomstbonus reageert hier vlot op. Dit is geen normaal online casino. Het is een plek die draait om saamhorigheid en gedeelde spanning. We onderzoeken hoe Pirots 5 Slot poogt die sfeer van een kamer vol kabels en geschreeuw te vangen in een digitaal jasje. Het platform zet in op multiplayer slots en opties die spelers verbinden. Voor Nederlanders die dol zijn op een praatje en een vriendelijke competitie naast het geluksspel, is dat een boeiend idee. We kijken naar de werking, de sociale kant en of dit model echt iets toevoegt aan een markt waar je normaal vooral alleen speelt.

Conclusie: Een Nieuwe LAN-Party voor een Moderne Generatie

Pirots 5 Slot betreft een moderne, digitale vertaling van de sociale essentie van de LAN-party, toegepast op slots. Het dicht een hiaat in de sector door saamhorigheid, gezamenlijke opwinding en speelse rivaliteit centraal te plaatsen. Het eigen jagen van winst is secundair. Dit is geen substituut voor het officiële online casino. Het is een bijkomend weg voor entertainment, gericht voor een bepaalde doelgroep. Voor wie de isolatie van het solo-spelen beu is en verlangt naar de gezelligheid van een game-avond met vrienden, al is het dan virtueel, biedt dit concept iets nieuws. De obstakels rond community en uitgaven zijn echt. Echter de visie is krachtig. Pirots 5 Slot stelt hiermee een boeiende stap in de ontwikkeling van sociaal gamen in Nederland.

Het Sociale Systeem: Groep en Competitie

Een omgeving als dit wint of verliest met de sociale aspecten. Daardoor kijken we goed naar de community-tools. Allereerst is er een vriendenmodule. Gebruikers kunnen makkelijk een spel beginnen en maten uitnodigen, vergelijkbaar met het vormen van een team voor een LAN-bijeenkomst. Daarnaast zijn er vrije “tafels” of “ruimtes” met thema’s en specifieke gokkasten. Daar kun je direct aansluiten en meespelen. De live chat is overal te zien, maar wordt gemodereerd om het gezellig te houden. Verder houdt het platform geregeld toernooien en evenementen met eigen klassementen en prijzen. Dat levert de ervaring van een dynamische omgeving. Voor de Nederlandse speler, die direct is maar ook van een ontspannen sfeer geniet, is die balans van belang. Pirots 5 Slot schijnt te snappen dat de sociale band de echte valuta is om spelers te binden.

Contrast met Gewone Online Casino’s in Nederland

Om Pirots 5 Slot te situeren, stellen we het naast de gevestigde online casino’s in Nederland. Die laatstgenoemde focussen zich op het individuele spel, op maximale snelheid, een gigantisch game-aanbod en substantiële geldtransacties onder het nauwgezette toezicht van de Kansspelautoriteit. De sociale interactie blijft daar vaak ingeperkt tot een praatje met de live dealer of de klantenservice. Pirots 5 Slot verandert de volgorde om.

  • Focus: Sociaal spel versus individueel kansspel.
  • Core Loop: Communicatie en samen momenten versus vliegensvlugge, achtereenvolgende spins.
  • Monetisering: Virtuele items/coins voor sociale voordelen versus hard geld storten voor kans op geldwinst.
  • Sfeer: Ontspannen, party-achtig versus zakelijk, op winst gericht.

Veelgestelde Vragen over Pirots 5 Slot en Sociaal gamen

Na dit verhaal kunnen er nog vragen leven. We beantwoorden er een aantal. Dat maakt de praktische kant en de plek van het platform helderder.

Is Pirots 5 Slot een toegestaan online casino in Nederland?

Nee. Pirots 5 Slot heeft geen toestemming van de Kansspelautoriteit voor online gokspelen. Het is een sociaalplatform. Je speelt er niet met echt geld om daadwerkelijke geldprijzen te behalen. Alle transacties gaan via virtuele munten of objecten die je op het platform verwerft en toepast. Het zit in dezelfde klasse als veel mobiele sociale games. Daar vormen interactie en progressie voorop, niet het gokken.

Hoe kan ik met mijn vrienden spelen op Pirots 5 Slot?

Het platform is hier speciaal voor gebouwd. Meestal werkt het via een vriendensysteem. Je zoekt gebruikersnamen op en deelt een verzoek. Eenmaal gekoppeld maak je een eigen “room” of tafel klaar voor een bepaalde slotgame. Je vraagt je vrienden uit via een link of een snelle uitnodiging in de app. Vervolgens speel je dezelfde game, geef je elkaar bonussen en praat je via de ingebouwde chat. Het lijkt veel op het opzetten van een privé-sessie in een gewone multiplayer game.

Wat zijn de uitgaven verbonden aan dit soort sociale gaming?

Je kunt het platform doorgaans gratis binnenhalen en beginnen. Je krijgt een beginsaldo aan virtuele munten. Om lang en uitdagend mee te kunnen meedraaien, zijn er vaak aankopen nodig. Voor extra munten, unieke power-ups, cosmetische items voor je avatar, of entree tot exclusieve evenementen. Dit heet een “freemium” model. Het is slim om voor jezelf een budget te vaststellen, net zoals voor andere vrijetijdsuitgaven.

Is Pirots 5 Slot bedoeld voor alle mensen?

Omdat het niet onder de kansspelwet ressorteert, kan de minimumleeftijd lager uitvallen. Vaak is dat 18+ of soms 16+, afhankelijk van de regels. Toch zijn de transactiemogelijkheden en de van gokken ontleende spelmechanieken een indicatie. Ouderlijk toezicht voor minderjarige tieners is daarom heel aan te raden. Kijk altijd even naar de officiële leeftijdsclassificatie en de bepalingen op de website van het platform zelf.

De Evolutie van Gezamenlijk Gamen: Van LAN naar Online Platformen

Waar heeft Pirots 5 Slot vandaan? Om dat te snappen, kijken we terug. Naar het tijdperk van de LAN-party. Dat was het hart van de spelersgemeenschap. Het ging om samen in één ruimte verkeren, om de energie die je ervaarde, om de moppen en de snacks. De game was het alibi, de saamhorigheid het einddoel. Toen kwam snel internet thuis in huis. Iedereen ging online multiplayer gamen, maar die fysieke dimensie van omgang ging verloren. Stemchat en vriendenlijstjes trachtten het gemis te opvullen, maar het aanvoelde nooit volledig hetzelfde. Pirots 5 Slot springt in dat gat. Het begrijpt dat de Nederlandse speler, vertrouwd met gezelligheid in de kroeg en online snelheid, iets mist. Het platform bootst na de LAN-party niet simpelweg. Het grijpt de kernwaarden: onmiddellijke, speelse, interactie in een collectieve, ongedwongen context. En het vertaalt die op speelautomaten.

De Toekomst van Sociale Gaming in Nederland

De opkomst van platforms als Pirots 5 Slot wijst op een trend in Nederland. De lijnen tussen gaming, sociale media en kansspelvormen vervagen. Deze gemengde omgeving zal alleen maar uitbreiden. Technologie zal de ervaring verrijken. Denk aan betere live streaming, VR-compatibele “social rooms” en nog slimmere gedeelde spelmechanieken. De winnende platforms zijn die de community echt centraal zetten. Authentieke interactie is key, niet een sociale laag dat er aan is toegevoegd. Voor de wetgever in Nederland vormt dit een interessant domein om te monitoren. Het bevindt zich in een grijs gebied tussen puur entertainment en gok-mechanieken. De komende tijd ligt in de erkenning van dit soort platforms als een volwaardige, eigen vorm van digitaal vermaak.

Pluspunten van het Sociale Spelmodel voor Spelers

Waarom zou een Nederlandse speler hiervoor opteren? Er zijn een enkele evidente pluspunten. Het eerste is minder isolement. Online gaming kan incidenteel afzonderend zijn. Hier maak je deel uit van iets actiefs. Ten tweede voordeel neemt toe de entertainmentwaarde. De sociale omgang en de gezamenlijke opwinding tijdens een groep bonus maken een speelsessie waardevoller dan in je centje naar spins turen. Ten derde punt is het een veilige omgeving om slots te verkennen. Je bekijkt hoe medespelers het doen, in een setting zonder echte inzet. Ten vierde punt is het in lijn met de trend van streaming en bekijken. De bewegingen zijn van nature aantrekkelijker om naar te zien of om te uitwisselen. Als laatste voordeel verschaft het een ervaring van progressie en prestatie via de concurrentie-elementen, zoals scorelijsten en toernooien. Dat overstijgt alleen je tegoed.

Eventuele Uitdagingen en Aandachtspunten

Niet één platform is ideaal. Een noodzakelijke noot is nodig. De primaire uitdaging is de houdbaarheid van de community. Sociale platforms zijn breekbaar. Ben je de kritieke massa kwijtgeraakt, dan vervaagt de gehele sfeer. Ten tweedes kan de inkomsten, ook al betreft het niet om echt geld, aanzetten tot hoge uitgaven aan digitale items. De wedijver kan oplopen. Een grens hanteren en toezicht van ouders blijven belangrijk. Ten derden is er steeds kans op nare sociale interacties, zoals geïntimideerd in de chat. Moderatie blijkt hier toch een prioriteit. Een extra punt is de complexiteit van de games. Spelers die op zoek zijn naar de diepgang van poker of de absolute snelheid van klassieke slots, kunnen dit sociale model wellicht te licht beschouwen. Het is een beslissing tussen sfeer en diepe strategie. Tot slot moet het platform voortdurend innoveren met evenementen en features om zijn spelers te boeien.

Wat houdt Pirots 5 Slot over? Een Platformanalyse

Pirots 5 Slot noemt zichzelf een sociaal spelplatform voor multiplayer slotgames. Bij een gewoon online casino ben je alleen tegen de machine. Hier gaat het om de groep. Het idee is simpel: je speelt slot-sessies gezamenlijk met anderen. Dat kunnen vrienden zijn, of vreemden. Jullie acties, bonussen en soms de winsten beïnvloeden elkaar. De interface is ontworpen voor contact. Je hebt live chat, gedeelde bonus-triggers en scoreborden die competitie en samenwerking stimuleren. Het platform bevindt zich in de sociale gaming-hoek. In Nederland geldt dat onder andere regels dan geld gokken. Daardoor kan het zich volledig toeleggen op de speelse en sociale elementen, zonder de zware licentie van de Kansspelautoriteit. Het verdienmodel draait waarschijnlijk op de verkoop van virtuele munten of indrukwekkende power-ups. Voor een geïnteresseerde speler is de drempel daardoor hanteerbaarder.

De Essentiële Spelonderdelen van Multiplayer Slots

Het unieke van Pirots 5 Slot zit in de spelmechanieken. Normale slots zijn individueel. Hier worden ze een activiteit voor de groep. Neem de “Group Bonus Rounds”. Activeert één speler een bonusronde, dan kunnen anderen in de sessie vaak aansluiten voor extra gratis spins. Of bekijk “Jackpot Pools”. Elke draai van elke speler legt een beetje in een pot. Die pot wordt groter en kan door een willekeurige deelnemer gewonnen worden. Dit soort ontwerpen creëert een gedeelde spanning. Het lijkt meer als een casual party game dan als serieus gokken. Het tempo ligt lager, omdat spelers op elkaar wachten. Er ontstaat zelfs een soort sociale strategie bij kijken. Wanneer activeer je je bonus om de groep er het meeste plezier van te laten hebben? Het is een andere kijk op de slotmachine, speciaal voor mensen die samen willen spelen.

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Er is wat nieuws te zien in

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Tracee Ellis Ross grew up rubbing shoulders with some of the biggest names in Hollywood, but one of her mom Diana Ross’ friends left a particular impression.

Tracee, 52, named some of the celebrities she has been “starstruck” by on the Tuesday, July 14, episode of the “Baby, This Is Keke Palmer” podcast, recalling how she met Lucille Ball as a young girl and Marvin Gaye regularly called the family home.

She then said, “Andy Warhol painted me and my sisters,” referring to her siblings, Rhonda, 54, and Chudney, 50. (Diana shares Rhonda with Berry Gordy and Tracee and Chudney with first husband Robert Ellis Silberstein.)

“I was not starstruck — I was actually frightened,” the Black-ish actress went on to reveal.


Related: Diana Ross’ Family Guide: Meet the Singer’s Kids and Exes

Diana Ross’ family members were the true stars of her jaw-dropping Met Gala 2025 gown. The “Queen of Motown” turned heads on the red carpet at the Metropolitan Museum of Art in New York City in May 2025 by wearing an 18-foot long white shawl that was embroidered with the names of her five children […]

“Probably the look? He had a very distinct look,” host Keke Palmer suggested, referring to Warhol, who was known for his shock-white hair.

Tracee responded, “I did not understand what was happening.”

Tracee Ellis Ross Names Mom Diana Ross' Celeb Friend Who Scared Her as Kid
Susan Greenwood / Liaison Agency

In 1981, Warhol photographed Diana, 82, Tracee and her sisters for silkscreen artwork commissioned by the legendary singer. One of the portraits was later used by Diana for the cover of her 1982 album Silk Electric.

Tracee previously opened up about growing up with a famous mom in a 2023 interview with Flaunt magazine.

The Girlfriends star said that while there were often A-list names around, her mom wasn’t a big “partier.”

“Don’t get me wrong, Michael Jackson was around. Marvin Gaye called the house all the time. Cher and my dad and my mom and Michael played doubles tennis. Andy Warhol photographed me. You know what I mean?” she shared.

Tracee Ellis Ross Celebrates Her 53rd Birthday With 20 Sizzling Bikini Photos: ‘Bathing Suit Retrospective’


Related: Tracee Ellis Ross Celebrates 53rd Birthday With 20 Sizzling Bikini Photos

Tracee Ellis Ross celebrated another trip around the sun nearly in her birthday suit. Ellis Ross, who turned 53 on Wednesday, October 29, showed off a number of bikini pics throughout her life while commemorating her birthday. In a carousel of photos, which she shared via Instagram on Thursday, October 30, Ellis Ross first posed […]

Despite Diana’s fame, Tracee said she had a fairly normal childhood.

“My mom, of course, has led a very public life, but she is such a private person and such a home person. She’s a mom before she’s ‘Diana Ross,’” Tracee said. “My childhood was very anchored in real family life. My mom was home, my mom came and woke me up for school.”

“Yes, my mom had a unique job, but I wasn’t this crazy person standing out in my school because of that, or was in a situation where my life was so different from everyone else,” she continued. “There were certain unique things, but my mom woke us up for school in the morning. We would sit down and have dinner together. She would record when we were asleep at night. She never left for longer than a week. All of those kinds of things were very much a part of who I was.”

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Tracee Ellis Ross grew up rubbing shoulders

Tech

For years, the central question around AI was whether it really works the way much of the market’s hype says it does.

That debate is settled, and we’ve seen what AI can do. The more important question now – and one most organizations still aren’t asking – is whether we’re working alongside it the right way.

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For years, the central question around AI

Video

Matt Damon admitted he mistook his co-star Tom Holland’s wardrobe struggle as a heartfelt acting choice while they filmed “The Odyssey.”

The Oscar winner recalled the behind-the-scenes exchange during a Tuesday appearance on “The Tonight Show,” telling host Jimmy Fallon that he thought Holland, who plays his son Telemachus in the Christopher Nolan-directed film, was giving him a poignant salute in one scene. In reality, Holland was simply trying to stop his costume from choking him.

“There’s a moment where we see each other, and I’m on a boat and he’s on the shore. And I saw him, and I was kind of on this boat all day, separated from the crew, and he was putting his hand on his heart,” Damon shared. “And so, I started to do it, too.”

He continued: “And, at the end of the day, we reconnected and I was like, ‘Chris told you to do that? Put your hand on your heart?’ And he goes, ‘Matt, my costume was choking me!’ He’s like, ‘I was pulling my [collar].’”


Anne Hathaway joins "Late Night With Seth Meyers" on July 13, 2026. (NBC/YouTube)

However, Damon defended that where he was standing, Holland’s movement looked like he was “saluting” him as a part of “a father-son moment.” In Damon’s defense, he is nearsighted.

“Needless to say, it’s not in the final film,” Damon quipped.

With “The Odyssey” hitting theaters on Friday, the epic film was the topic of the evening, with Damon recalling the huge undertaking it took to bring Homer’s poem to life.

“[Filming] was like six months,” Damon told Fallon. “It was the hardest [and] most challenging movie I’ve ever been apart of, but it was hard for everybody. I’ve never been more proud to be a part of a crew. Because we shot it all on IMAX, we were in six different countries and Chris Nolan does everything in camera. So, he doesn’t do CGI like, if there are boats in the background, they’re real boats, and if there’s a thousand people fighting, there were a thousand people fighting.”

Watch Damon’s full interview above.

“The Tonight Show Starring Jimmy Fallon” airs weeknights at 11:35 p.m. ET on NBC.


Tom Holland appears as a guest on the July 13, 2026 edition of "The Tonight Show Starring Jimmy Fallon" (NBC)

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Matt Damon admitted he mistook his co-star

Entertaintment

We know what a new Future album means at this point. Too much dissociated sex. Trust issues. Insecurities that turn into mind games with the same women he’s hoping will save him from himself. Rapper soap opera stuff. Numbing all that pain by going on The Lost Weekend-style binges of booze and drugs. The Real Me is a little different, though—not because all 22 tracks don’t contain the same anxieties that have been haunting his acidic ATL soul music since Honest, but because it’s just as much about living up to the reputation of being Future: the blurred lines between his true identity and his artist persona, and how fucking crazy it makes him feel that he can barely tell the difference. It’s a meta look at the long-term effects of more than a decade as a massively popular rapper whose popularity is based on digging into the darkest parts of himself.

Admittedly, Future spiraling over the ways mega-fame and money have permanently changed him isn’t nearly as fascinating or endearing as Future spiraling over getting his heart broken—à la his Monster era in the mid 2010s—but hey, at least it feels real. “Life get crazy when you get everything you thought you needed,” he sings like a zombie on the washed-out “Cast a Spell,” before muttering something about ketamine and how the latest fling he met during his nonstop travels saved him. Midway through “Radio,” which has this airy bounce that reminds me of the tender moments on 2017’s Hndrxx, he grapples with the pressures of not messing up what he’s got going on because so many people depend on him. André 3000 pops into “No Misery” sounding like Zordon for a monologue about what the experience of listening to Future is like: “We all on edge watching it,” he says. That’s probably a trip for Future, knowing that people gravitate to the sensation of listening to him come apart at the seams. In his warped verses he lives up to that expectation, wailing about girls purposely tracking him down when he’s hammered to try to get pregnant.

No score yet, be the first to add.

What’s off-putting in Future’s search for The Real Me is how often his frustrations turn into resentment toward the women around him. Plenty of women in Future songs feel like side characters in his mission to claw his way back from rock bottom, but here they’re more like faceless props passing in and out of his life until he discards them for showing any sort of personality. He’s never been a feminist, but his best stuff is complicated by real yearning for love and affection, telling stories based on relationships that he can’t stop torpedoing. “I don’t wanna let you down, I don’t wanna let you down,” he chanted on 2017’s “Solo,” knowing he probably will. The Real Me’s lack of emotional intimacy, its lack of regret, just makes it seem like he hates these girls, especially since there’s hardly any specificity about anything other than their graphic sex.

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We know what a new Future album

Movies

For the final onscreen installment of “Heartstopper,” its creator, Alice Oseman, wanted to get cinematic.

For three TV seasons, this uplifting coming-of-age romance has followed the artsy Charlie (Joe Locke) and the sporty Nick (Kit Connor), who fall in love as they navigate a British high school. Oseman wanted the film “Heartstopper Forever,” which comes to Netflix on Friday, to feel a “little bit more elevated and mature,” she said in a recent video interview, “which is kind of in line with the fact that these characters are almost adults now.”

Like the show, the film incorporates distinctive hand-drawn doodles from Oseman’s “Heartstopper” graphic novels, with animated hearts, stars and leaves bursting across the screen to show the strength of Nick and Charlie’s feelings. But “Heartstopper Forever” also feels bigger in scale, including through a wide shot following the boys as they sprint down a pier toward the ocean at sunset, the sky striped with orange and purple clouds, before they kiss passionately in front of the harbor’s sparkling lights.

Their emotional arc in the film, which is directed by Wash Westmoreland (“Still Alice,” “Colette”), is also more mature.

A key part of “Heartstopper” has always been how Nick and Charlie “make each other stronger and more confident,” Oseman said. The pair must draw on this support in “Heartstopper Forever” as they grapple with mental health issues and increasingly grown-up challenges. As they approach the end of their time at school together, Nick is getting ready for university, and Charlie, whom a friend once called “a borderline outcast,” is campaigning to be the leader of his high school class. (We also see them having more sex than in the preceding seasons.)

Locke, who plays Charlie, said that a lot of the film was about the two characters’ “figuring out how, instead of being one whole circle together, they can be like a Venn diagram where they have their own things in their own lives, but also fit together.”

The sweetness of the pair’s relationship has helped “Heartstopper” become a phenomenon and has earned the show (and the graphic novels it was based on) a loyal fan base over the years. Each season of “Heartstopper” amassed over 10 million views and made the Netflix Top 10, a list of the service’s most watched shows in a given week, in dozens of countries, according to Netflix data.

Over the last several years, the cast has also grown up along with the characters. Locke, who was 17 when he was cast, said in a recent video interview that the show had “changed my life in pretty much every way.” Although he didn’t expect to be able to make it as an actor before the show, he has since starred in the Marvel show “Agatha All Along” and has several upcoming movies.

Of the early seasons, Locke said, “I was almost playing a version of myself.” But as both the character and the actor have grown up, Locke has stopped seeing Charlie as “such an extension of myself — it almost feels like siblings that grow up and just go in different paths,” he said.

When “Heartstopper” premiered in April 2022, the story lines for teenage L.G.B.T.Q. characters on popular shows like “Euphoria” often focused on risky sex and shocking behavior. Many queer love stories told on screens big and small have ended in tragedy.

But Oseman’s career started in young adult fiction, where “even at that time, there was a wide range of uplifting, positive, happy queer stories,” the writer said. She said she was surprised when TV viewers praised Season 1 of “Heartstopper” for “doing something quite different to what was currently out there” onscreen.

Today, as other queer love stories with happier endings like “Heated Rivalry” have become wildly popular, “it’s nice to see romance have a little bit of a moment,” Oseman said.

“Maybe that’s what people want at the moment,” she added, “when the world is so awful.”

Oseman pointed out that in both Britain and the United States, legal decisions have restricted transgender people’s access to bathrooms, medical care and sports. But the “Heartstopper” friend group has always represented a kaleidoscope of gender and sexual orientations, and Locke said that he was “incredibly proud that as the political landscape of the world has changed since the show began, the show hasn’t changed with that and has maintained its ethos,” which he described as showing a “positive portrayal of queerness and queer people.”

Last year, several weeks after Britain’s Supreme Court ruled that transgender women did not fall within the legal definition of women under the country’s equality legislation, the show’s cast and crew shot scenes involving a transgender Pride march for “Heartstopper Forever.” Nick, Charlie and their friends attend partly to support Elle (Yasmin Finney), who used to attend their all-boys school but transfers to the sister school, where she makes friends with Tara (Corinna Brown).

Brown said in a recent video interview that the current political climate around transgender rights had made scenes like the march “so political,” a difference from story lines in earlier seasons. Shooting the exuberant parade through a picturesque English town was “lovely,” Brown said, but “watching it back was hard.”

In a stirring monologue before the march, Elle says: “The world hates me right now. The government is taking away my rights and everything we fought for.” Closing her eyes and shaking her head, she adds: “I just want to be myself. To be free. To be happy.”

Oseman has spent a decade telling these characters’ stories in increasing depth, and she said it was “surreal” to be bringing “Heartstopper” to a close both onscreen and on the page. (The sixth and final volume of the graphic novel came out this month.)

“I’m aware that probably none of my work will ever reach this level of success again,” she said, “and that is a really strange thing to be facing, but it’s also kind of freeing, in a way.”

As for Nick and Charlie, viewers will have to imagine their grown-up relationship milestones, the writer said, including a possible wedding or getting a dog together.

But Oseman sees them staying together through college and beyond: “This is a romance story at the end of the day, and we want them to have their happily ever after.”

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For the final onscreen installment of “Heartstopper,”

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Jack White stepped in when Charley Crockett accidentally hired, then fired, a satanic doo-wop duo. Happens to everyone, right?

The outlaw country singer apparently thought the husband-and-wife duo known as Twin Temple were like Black Sabbath when he invited them to open two shows for him this week, a July 14 date in Troutdale, Ore., and another on July 18 in Paso Robles. With songs including “Satan’s a Woman,” “Lucifer, My Love,” “Let’s Have a Satanic Orgy” and “Burn Your Bible,” it’s anyone’s guess how Crockett missed the duo’s shtick.

“Today we were informed that Charley Crockett has decided to remove Twin Temple from his upcoming shows next week due to our Satanic imagery,” the musicians wrote on Instagram last week.

“Unfortunately, that means we will not be able to perform for you next week as planned. We are really disappointed as we were looking forward to getting back out and seeing you, and also what it meant as far as bringing different types of people and music lovers together. We are sorry to everyone who was planning to see us.

“We’re grateful for your support, not only of Twin Temple, but more importantly of artistic freedom. HAIL SATAN! 93/93”

Crockett, who dropped his 16th studio album, “Age of the Ram,” in April, posted his own since-deleted message on social media, writing, “Hail Satan? Not me Jack.”

Twin Temple, composed of married couple Alexandra and Zachary James, weren’t out of work for long. White, the former White Stripes frontman, who happened to be kicking off a world tour in support of his new album, “Frozen Charlotte,” caught wind of the debacle and stepped in.

“Twin Temple, Would you like to open my show in L.A. on September 29th at the Hollywood Palladium? Let me know,” White posted on Friday, adding, “Get in front of me Satan!”

The duo was quick to accept, commenting on White’s invite, “Unholy hell…. Sir Jack, you have no idea what this means to us. Lifelong fans- dead leaves on the dirty ground was one of the first songs I (Alex) ever learned on guitar. We were actually planning on coming to this show. It would be a most infernal pleasure to play the devils music with you.”

On Tuesday, Twin Temple announced their third record, “Doomed Lovers,” produced by Shooter Jennings (who also produced Crockett’s “Age of the Ram” and other recent albums). The album will drop Oct. 9 via their own Pentagrammaton Records. The duo told Rolling Stone on Tuesday that they were sad about the turn of events with Crockett but confirmed that their swanky Satan-loving doo-wop isn’t a sham.

“Satan’s the original outlaw, right? He’s a rebel angel,” Alexandra told the outlet. “He’s the one who questioned authority, fought for himself, refused to bow down or conform, and was like non serviam. That was a metaphor that resonated very strongly with me.”

She added, “It’s really fun to go shopping for a human skull and a Ronettes record in the same day, and we get to do that with our band.”

While Twin Temple has been booking shows and working on the album announcement, Crockett has continued to post about the drama from the road. “Well, now I know how it feels when they try to cancel you on the right AND the left,” he wrote on Facebook on Monday. “The thing is, I never subscribed. America can be a One Eyed Jack, but I’ve seen your other side.”

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Jack White stepped in when Charley

MCU

The Marvel Universe is coming to San Diego. 

Marvel is returning to San Diego Comic-Con for 2026, unveiling an all-star lineup of panels, meet-ups, and more! From Thursday, July 23, through Sunday, July 26, Marvel is taking over SDCC, giving fans a behind-the-scenes look at all the exciting news coming to comics, movies, TV, and games.  

This year, Marvel is back with two brand new booths on the con floor (#2329 and #2519), where fans can immerse themselves in the best of the Marvel Universe.

Some of the biggest names in Marvel Comics will be on hand in San Diego, headlining fan-favorite panels like Marvel Comics: Next Big Thing and Marvel Fanfare, while also teasing blockbuster events like Avengers: Armageddon and the terrifying Midnight Universe. X-Fans can also take a deep dive into X-Men ’97 Season 2 with Friday’s Marvel Comics to Screen: X-Men ’97 panel.

And of course, fans won’t want to miss Marvel Studios’ Hall H presentation on Saturday, where surprise guests will share an exclusive look at what’s next for the MCU. 

Gamers can also check out thrilling panels throughout the weekend, showcasing new looks at Marvel’s Wolverine, MARVEL Tōkon: Fighting Souls, and Marvel Rivals.

Check out Marvel’s full panel schedule at SDCC 2026 below, as well as details on cosplay meet-ups and exclusive Marvel partnerships and activations all around the con! 

Thursday, July 23

Marvel’s Wolverine — Deep Cuts (11:15 a.m. – 12 p.m. PT in Hall H) 

We’re not just scratching the surface; we’re cutting through it. Insomniac Games’ creative director Marcus Smith, game director Mike Daly, narrative director Walt Williams, and project director Jess Reiner-Reed are joined by actors Liam McIntyre (Wolverine) and Krizia Bajos (Jean Grey), along with executive producer Eric Monacelli from Marvel Games, to unveil exciting new details from the highly anticipated Marvel’s Wolverine on PlayStation 5. Get a behind-the-scenes look into the game’s story, characters, and exclusive never-before-seen content. 
 

MARVEL Tōkon: Fighting Souls — Behind the Battle (12-12:45 p.m. PT in Hall H) 

Step into the arena with MARVEL Tokōn: Fighting Souls. Moderated by fighting game commentator and streamer Sajam, game producer Takeshi Yamanaka (Arc System Works), localization director Amber Seitz (Arc System Works), and senior product development manager Michael Francisco (Marvel Games) take you inside the making of the game and the creation of MARVEL Tokōn’s place in the Marvel Universe. The development team is joined by Mike Deodato (Marvel Comics Artist & Knights of Doom Illustrator) and voice actor Josh Keaton (Iron Man and Spider-Man) to showcase behind-the scenes-looks and surprise announcements you won’t want to miss.
 

Marvel Comics: Avengers Armageddon (1:45-2:45 p.m. PT in Room 6A)

Armageddon is here! The Red Hulk has conquered Latveria and has his sights set on world domination. Only the Avengers can stop him… but at what cost? Join us for a special discussion about Avengers: Armageddon and breaking news about the blockbuster event set to usher in a new era of Earth’s Mightiest Heroes. Plus — attendees who survive until the end will receive an exclusive copy of Avengers: Armageddon #2 with a secret new cover by Chip Zdarsky, teasing the future of Earth’s Mightiest Heroes. 

 

Marvel Rivals: Meet the Cast (6-7 p.m. PT in Room 6BCF)

Marvel Rivals is dominating the gaming world with explosive action and an ever-expanding roster. Now, meet the phenomenal voice talent bringing your favorite heroes to life! Join Erik Braa (Moon Knight), Brittany Cox (Angela), Bill Millsap (The Punisher), Laura Post (Emma Frost), Hakeem Ysaguirre (Cloak), and Lenore Zann (Rogue) for an exclusive, high-energy Q&A. Better drop your Vanguard and secure your seat — you won’t want to miss this!
 

Friday, July 24

Marvel Rivals: Ignite the Summer! (10:15-11:15 a.m. PT in Room 6BCF)

Go behind the scenes of Marvel Rivals in this exclusive panel featuring creative leaders from NetEase Games and Marvel Games. Hear from Dino Ma (art director), Weitai Luo (principal environment artist), Zhen Li (principal 3D character artist), Peilin Zhong (lead character concept artist), Yachen Bian (marketing lead for Marvel Rivals), Jinghua Duan (lead narrative designer), and Donger Gan (narrative designer), alongside Marvel Games team members Danny Koo (executive producer), Dakota Maysonet (creative development manager), and Dan LaDuca (senior art director). Get an inside look at the visual and narrative design behind the game’s latest content, including the Hellfire Gala, Summer Special, and more, with fresh insights, creative reveals, and exclusive new announcements fans won’t want to miss.
 

Marvel Comics to Screen: X-Men ’97 (2:15-3:15 p.m. PT in Room 6A)

To me, my X-Fans! Join the creative team behind Marvel Animation’s X-Men ‘97 along with special guests, for a deep dive into X-Men ’97 Season 2! Featuring insider insights, special anecdotes, and hints of what’s to come, this panel has something for every Marvel fan, including a special giveaway comic at the end of the presentation.
 

Marvel Comics: Next Big Thing (3:30-4:30 p.m. PT in Room 6A)

The biggest comics panel of the weekend is here as the world’s mightiest comics creators take a look at the future of Marvel Comics. From Amazing Spider-Man #1000 to Infernal Hulk, DNX to Queen in Black, the Marvel Universe has never been busier or more dangerous for our heroes. Find out what else is coming down the line in this can’t-miss panel! Make sure to stay until the end of the discussion to score an extra special giveaway fans will not want to miss.
 

Saturday, July 25

Marvel Comics: Midnight Universe (1:45-2:45 p.m. PT in Room 6A) 

The light had its turn. Join us as we remove the cloak of secrecy around Midnight, the terrifying new Marvel Comics universe full of monstrous incarnations of the world’s biggest heroes. The writers behind this terrifying new creator-driven initiative are here to reveal all you’ll need to know. And stick around to the end if you dare so you can be among the first in the world to walk away with an exclusive black and white ashcan edition preview of the Midnight Universe. 
 

Marvel Fanfare (3-4 p.m. PT in Room 6A)

Take a behind-the-scenes trip through House of Ideas storytelling, including insider insights and unheard comic book anecdotes behind upcoming and past projects. Take a dive into the history of your favorite Marvel Comics storylines in this special panel built for fans, by fans. And be sure to stay until the end for the exclusive giveaway comic book!

 

Marvel Studios Hall H Presentation (5:30-6:30 p.m. PT in Hall H)

Join Marvel Studios, alongside special guests from across the Marvel Cinematic Universe, for an exclusive look at what’s next. 
 

All meet-ups at booth #2329

Thursday, July 23 — Avengers Cosplay Meet-Up     

  • Start time: 11:30 a.m.
  • Check-in: 11:20 a.m.

Friday, July 24 —  X-Men Cosplay Meet-Up  

  • Start time: 11:30 a.m.
  • Check-in: 11:20 a.m.

Saturday, July 25 — Super Heroes vs. Villains Cosplay Meet-Up      

  • Start time: 11:30 a.m.
  • Check-in: 11:20 a.m.

Sunday, July 26 — Kids Cosplay Meet-Up    

  • Start time: 11:30 a.m.
  • Check-in: 11:20 a.m.

NOTE: This cosplay meet-up is open only to participants under 18 years of age.

Make sure to stop by the Marvel booths (#2329 and #2519) for exclusive merchandise and limited-edition offerings! The AvengerZ Gift Shop is coming to Booth #2329, where fans can shop pins, variant comics, and a special discounted Marvel Unlimited gift bundle. Heroes & Villains will also offer daily exclusive tees at the booth, as well as the latest Marvel apparel and accessories. Fans of Marvel’s Wolverine can drop by Booth #2329 for a special photo op and walk away with Marvel’s Wolverine claws and a copy of the prequel comic written by narrative director Walt Williams while supplies last. Plus, the first 50 fans in line each day can receive an exclusive SDCC Marvel gift while supplies last. 

The fun isn’t limited to the official Marvel booths, either! Over at the LEGO Group booth (#2829), fans can get a look at new LEGO® Marvel sets, including the S.H.I.E.L.D. Helicarrier,  The Fantastic Four H.E.R.B.I.E., Venom Bust, and more. 

The Hasbro booth (#3213) will also have SDCC exclusives available for purchase, including a Marvel Legends Series Spider-Man, Marvel’s Lizard, Marvel’s Electro, and a Marvel Legends Series Professor Charles Xavier with Hoverchair from X-Men ’97. After San Diego Comic-Con, limited quantities will be available to order on HasbroPulse.com. 

The Topps booth (#2913) will showcase the 2026 Topps Mint Marvel collection, which features innovative designs and striking artwork of Marvel’s most beloved Super Heroes. The convention-exclusive release includes three exclusive original art cards by Ian McDonald showcasing Spider-Man, Hulk, and Punisher. 

And from Thursday through Sunday, Wizards of the Coast will host the Magic: The Gathering | Marvel Super Heroes Fan Experience in Petco Park. Open to all (no badge required), fans can dive into this new collection with learn-to-play sessions, ticketed play, and exclusive giveaways. 

All weekend long, Marvel fans can cool off with a Madripoor Sunrise Slushie inspired by Marvel’s Wolverine at the Omni Hotel Lawn and take a photo alongside a looming Proto-Sentinel Head before grabbing Marvel’s Wolverine claws. Also, be sure to keep an eye out while walking around the convention center and downtown area for a Marvel’s Wolverine-wrapped San Diego Trolley.

Gamers can get the full Marvel Games experience with a hands-on look at Marvel Rivals, MARVEL Future Fight, MARVEL Tōkon: Fighting Souls, and Marvel Contest of Champions at the Marriott Marquis San Diego Marina in the San Diego Ballroom, running from July 23 through July 26, 9:30 a.m. to 7 p.m. 

Marvel Rivals fans will have a chance to meet some of the game developers and voice cast behind some of their favorite characters, as well as walk away with exclusive items, including posters and badges.

MARVEL Future Fight fans are invited to challenge World Boss Thanos using Spider-Man in a special on-site gameplay event, with participants receiving an exclusive redeem code containing 550 crystals, along with a commemorative postcard. 

Fighting game fans can test their skills by playing a demo of MARVEL Tōkon: Fighting Souls and take photos with Doctor Doom and Storm statues.

And Marvel Contest of Champions players can test their skills with Towers, the brand-new game mode. Not only can visitors play the demo, meet the dev team, score a daily exclusive pin, and spin the prize wheel for in-game and physical items, but players can also take on the high-difficulty challenge to qualify for daily on-stage tournaments, competing live for ultimate bragging rights and massive prizes. We’ll see you there!

Get all the latest Marvel news and announcements at SDCC! San Diego Comic-Con 2026 runs Thursday, July 23, through Sunday, July 26. For all the biggest Marvel news, follow along live on Marvel.com.

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The Marvel Universe is coming to San

DCU

Another member of the DCEU is officially carrying over into the DC Universe.

While the DCU’s Chapter 1: “Gods and Monsters” serves mostly as a reboot, a few elements and characters from the previous DC franchise are being included in DC Studios’ main continuity. As characters like John Cena’s Peacemaker were integrated into the ongoing universe, another superhero is getting ready to return to the screen.

The Wrap reports that Xolo Maridueña will be reprising the role of Jaime Reyes, a.k.a. Blue Beetle, in James Gunn’s Man of Tomorrow. This comes shortly after online rumors surfaced that the Cobra Kai lead had been spotted on the set. As of writing, DC Studios and Gunn have not responded to the report.

2023’s Blue Beetle came out in the midst of the DCEU timeline, slowly reaching its end. However, despite the summer film’s box office result, Gunn had made it clear that Maridueña’s time as the iconic DC hero would continue under the DCU era.

Even though Jaime doesn’t have an upcoming DCU movie that he will headline in Chapter 1: “Gods and Monsters,” an animated series is in development that would continue his journey after the 2023 installment. The movie’s director, Angel Manuel Soto, and screenwriter Gareth Dunnet-Alcocer are returning as executive producers, while Miguel Puga and Cristian Martinez are attached as the showrunner and writer, respectively.

While the Blue Beetle animated TV show has remained in active development for nearly two years, no announcement has been made yet on when it will actually premiere and where it will air. However, ScreenRant got the following update from Maridueña about the project’s status in 2025:

Xolo Maridueña: “No scripts. I can say that they’re working really hard on it. The whole DC fam has been really welcoming to Blue Beetle and that character, so I’m really appreciative of that. We’re getting hard at work on Cobra Kai, this last season of Cobra Kai, so I haven’t had a chance to peep too much on what’s going on over in the Blue Beetle world. But I can say that after Superman, I’m hoping that the floodgates open for the possibility of how big [that world could be]. They’re busy at work, honestly, so I’m glad we’re both getting to do our things right now, so I’ll be ready for the call whenever it happens at DC.”

How Blue Beetle fits into the Man of Tomorrow movie remains to be seen, but he is now one of several heroes who will be seen in the 2027 continuation. The Superman sequel is also set to feature Mister Terrific, Hawkgirl, and the two Green Lanterns, John Stewart and Guy Gardner.

Whether or not the upcoming David Corenswet and Nicholas Hoult-starring feature will pave the way for Blue Beetle to appear in other DCU projects remains to be seen. In theory, Jaime would fit into multiple upcoming films and series, including the Booster Gold TV show.




















Metropolis · Daily Planet Edition
Superman
Trivia Challenge

🌏OriginsLast son

☠VillainsKneel!

⚡PowersInvincible

🎥FilmsBelieve

💫LegacyHope

01

Before he was Clark Kent, Superman was born Kal-El on a distant planet doomed to destruction. His parents Jor-El and Lara placed him in a rocket ship as an infant, sending him across the cosmos to Earth. What is the name of Superman’s home planet?




02

Superman’s greatest love is a fearless, Pulitzer Prize-winning journalist who works alongside Clark Kent at the Daily Planet. She’s known for her relentless pursuit of the truth and for being one of the few people who sees both the hero and the man. Who is she?




03

Despite being nearly invulnerable under Earth’s yellow sun, Superman has one famous weakness — a radioactive mineral from the remnants of his destroyed homeworld. Exposure to it drains his powers and can even kill him. What is this substance called?




04

In 1978, a then-unknown actor donned the cape and made the world believe a man could fly. His portrayal of Superman became the gold standard for superhero films and he starred in four Superman movies. Who is this legendary actor?




05

Superman’s greatest enemy isn’t a superpowered alien — he’s a brilliant, ruthless human billionaire who believes Superman is a threat to humanity’s potential. This bald-headed genius has been Superman’s archenemy for over 80 years. Who is he?




06

After crash-landing on Earth as a baby, Kal-El was found and adopted by Jonathan and Martha Kent, a kind farming couple. They raised him with strong moral values in a small rural town. Where did Clark Kent grow up?




07

As Clark Kent, Superman disguises himself as a mild-mannered reporter working at Metropolis’s most famous newspaper, alongside Lois Lane and photographer Jimmy Olsen. Their editor-in-chief Perry White runs the newsroom. What is the name of this newspaper?




08

This Kryptonian military commander was banished to the Phantom Zone for treason before Krypton’s destruction. He escaped and came to Earth seeking vengeance, famously demanding that others “Kneel before” him. His iconic portrayal by Terence Stamp cemented him in pop culture. Who is this villain?




Mission Complete
Your Kryptonian Record

/ 8

Are you the Man of Steel — or still stuck in a phone booth?

Jaime could also show up in the Teen Titans live-action film that is in active development, as the character is one of the members who has joined the team in the comics. As filming for Man of Tomorrow continues, time will tell if the world will get any glimpses of him through set photos and videos.

In ScreenRant’s Blue Beetle review, Tatiana Hullender praised how it “doesn’t lose its sense of fun when it dives into the titular superhero’s bag of tricks, and Maridueña’s performance is as perfectly suited to the sci-fi action scenes as it is to the more tender or comedic ones.” Gunn has also confirmed that the 2023 entry is loosely tied to the DCU franchise and stands on its own.

Man of Tomorrow is officially scheduled to release in theaters on July 9, 2027.


man-of-tomorrow-upcoming-film-logo-placeholder.jpg


Release Date

July 9, 2027


Cast

  • Headshot Of David Corenswet In The 47th Toronto International Film Festival: `Pearl`

  • Headshot Of Nicholas Hoult

    Nicholas Hoult

    Lex Luthor

  • Headshot Of Rachel Brosnahan

    Rachel Brosnahan

    Lois Lane

  • Headshot Of Lars Eidinger


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Another member of the DCEU is officially

Comics

A big event just hit Escape from Tarkov, and there’s a lot to unpack, including a new boss and a new hot spot throughout the event. Raids are about to get more explosive, as everyone is looking to fight the new boss.

And to others, this may also signal that the very first season of Escape from Tarkov, or patch 1.1, might also be coming soon, so here’s everything you need to know about this Blackout event in EFT.

The Labs Blackout Event in Escape from Tarkov

The Blackout event brings the fight to The Labs, offering 5 new quests (exclusive questline) that unlock the “Going Dark” achievement, which is a legendary rarity achievement.

The quest chain starts with Wrench and Waterboarding, bringing you to The Labs with a lot of changes to it. First, a new boss, The Wedge, accompanied by its guards, roams The Labs. Wedge carries the best of the best loadouts, mostly using 7.62x51mm ammunition like M62s and M993s on the Mk17, X-17, SA-58 (short), or the MDR. He sometimes brings an MP7A1 with AP SX, and they all bring Model 8230 CS Gas Grenades, in line with the theme of the event.

He also drops a TerraGroup Labs Arsenal Storage Key (Blackout), which will help players finish the exclusive questline starting with the Key to Every Door quest.

During the Blackout event, the transit out of The Lab is unavailable. However, players can transit into The Lab from other maps. Most extractions are also closed apart from the Parking Gate and Hangar Gate, bringing the fights to the center of the Labs. Apart from limited extraction points, the only remaining extractions also need to be unlocked through activation in the system admin’s office, which is taught in the questline.

These changes make every run a chaotic nightmare, leading to fewer survivors but with massive loot. All keypad locks can be activated with a 4-digit code, giving you access to almost every good loot out there. The code changes every raid, so learning the code beforehand doesn’t matter.

The raid time is also reduced to 25 minutes, putting more pressure on players who seek to wait things out before looting or fighting.

This is surely a big event that will make players dump a massive chunk of their resources to play. Most events that could explode the in-game economy like this usually indicate a new wipe is coming, but in this case, it could be season 1 since the game has already launched. No holding back now.

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Festivals

New Zealands’s Black Mandala has acquired five horror features for its international sales slate: “The Tree House,” “Babybacks,” “The Driftless,” “Saturnalia” and “The Shug,” spanning psychological terror, survival horror, Midwestern folklore, supernatural giallo and British creature horror.

“The Tree House,” directed by Luis Calderón, is a Spanish slasher-thriller starring Goya Award nominee Sandra Escacena alongside Claudio Portalo, Kandido Uranga, Apolonia Lapiedra and musician Mala Rodríguez. The film follows Ale, who sees her partner die in a fall from a treehouse above the Zeanuri forest, then returns a year later to prove foul play – but her hunt for the truth leaves her the one being hunted. Shot in Spain’s Basque Country, it has already picked up honors for best international feature, best production and best horror film at various festivals.

“Babybacks,” written and directed by Geno Marx, stars Viridiana Márquez, Melissa Chambers, Ray Acevedo, Ryan Rathbun and Peter Lucas. The survival horror film centers on a young couple on the run from cartel hitmen through the Sonoran Desert who take shelter with an outwardly kind older couple – who turn out to be predators of their own. The film has been selected for the 2026 International Horror & Sci-Fi Film Festival.

“The Driftless,” from Midwestern filmmaker Tim Connery, is an anthology built around four tales tied to the folklore of America’s Driftless Region, framed by a mysterious antique-store owner. Its cast includes Ira Amyx, Torrey Hanson and Justin Marxen, and the film has collected 18 festival awards to date, among them honors from Eerie Horror Fest, Grimmfest and Midwest WeirdFest.

“Saturnalia,” directed by Daniel Lerch, is a supernatural giallo set in 1979 with an original score by Claudio Simonetti, a founding member of Goblin and longtime Dario Argento collaborator. The story follows Miriam Basconi, sent to the Alstroemerias Academy after her parents’ mysterious deaths, where she uncovers disappearances and a headmistress hiding something far darker. The cast is led by Sophia Anthony, Velvet, Dante Blake and Amariah Dionne. The film had its world premiere in 2025 at the Raindance Film Festival, then crossed to Dances With Films New York for its North American premiere.

“The Shug”: Martin J Pickering wrote and directed the British folk-horror creature feature set in Cambridgeshire, where sightings of the titular creature draw an alcoholic haunted by a childhood encounter back into the woods after his daughter goes missing on a camping trip. He joins an investigative journalist and a paranormal YouTuber in the search. Inspired by reported real-life sightings, the film has already won best indie film at the Boston Indie Film Festival and best screenplay and best practical or visual effects at the Catacombs Film Festival, along with recognition from several other genre festivals.

Black Mandala’s Michael Kraetzer said, “We are extremely excited about these five films. Each one approaches horror from a completely different direction, but they all have what we are looking for: a strong concept, memorable imagery, committed filmmakers and a clear identity. Together, they demonstrate how diverse and internationally appealing independent genre cinema can be.”

Black Mandala is an international sales and production company with a focus on horror, thriller, sci-fi and fantasy titles, working with independent filmmakers to build out festival, marketing and distribution strategy.

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New Zealands’s Black Mandala has acquired five

Film

Prominent Colombian shingle Rhayuela, known for such memorable pics as Cannes 2015 Un Certain Regard title “Alias María,” “El Páramo” and “Rebellion,” is shuffling its leadership although its six original partners remain on board. Among them, Federico Duran has formed his own company, El Sol Ermitaño, but retains a stake in the 30-plus year old company.

Catherine Villareal and Ana María Tarazona, will take over the helm while filmmaker Danniela Castro Valencia takes on the role of content consultant.

This new structure gives the partners greater flexibility to pursue projects with other companies and platforms, rather than working exclusively through Rhayuela.

“More than a change, this new structure represents Rhayuela’s natural evolution. What is changing is not the company’s direction, but who is leading it. We want to continue producing stories with a unique voice—stories that embrace creative risk, engage with the world and find new ways to connect with audiences without losing their commercial appeal,” said Villareal and Tarazona.

Reflecting on the changes, director José Luis Rugeles, one of the founding partners alongside Jader Rangel and Oscar Navarro, said: “I think they’re a natural evolution of Rhayuela. We’re making way for a new generation that is taking on the company’s management and day-to-day operations. Of course, we, the partners, will continue to support them, while also opening ourselves up to new opportunities and new challenges.”

Rugeles and Tarazona’s s TV series project “Rookies” (“Oficina de Detectives”) just swept the in-kind awards given out at the Bogota Audiovisual Market, which wrapped July 10.

Rhayuela’s current slate includes some five feature films and three television series in various stages of development, production and distribution. It’s an editorial line that features auteur cinema, documentary, thriller, contemporary drama and comedy.

Among its pics are “The Other Side” (“El otro lado”) ,the fifth feature by Rugeles; “Oblivion” (“El Olvido”), a Latin American Gothic thriller; “Lovers Go Home,” a co-production between Colombia, Canada and France; military action thriller “The Awakening” (“El Despertar”), which premiered at the Guadalajara Film Festival and was sold by Latido to multiple territories, and documentary “The Shape of Trees” (“La forma de los arboles”), directed by Castro, with backing from JustFilms at the Ford Foundation.

In television, aside from “Rookies,” the company is developing the series “On Hold,” and “We Promise You Nothing” (“No te prometemos nada”), reflecting Rhayuela’s commitment to exploring a variety of genres and narrative formats.

Rhayuela Films wrapped the shoot of “Lovers Go Home!” in Montreal earlier this year. The multi-country co-production – involving Rhayuela, Duran’s El Sol Ermitaño (Colombia), Dublin Films (France), Potenza Producciones (Spain) and Camera Oscura (Canada) – shot in the Colombian cities of Medellín and Santa Marta in November and December last year.

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Prominent Colombian shingle Rhayuela, known for such

What to Watch

‘The West Wing’


By Hope Sloop

After a long day of Emmy nominations, I opted to turn on one of (in my humble opinion) the best TV shows of all time, i.e. The West Wing. Let me tell you, this show just does not disappoint. Even when I am feeling particularly disheartened or dejected, The West Wing manages to remind me that there can be good in the world for anyone and everyone… Read more

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‘The West Wing’ By Hope Sloop After a long day

Entertaintment

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Maksujen läpinäkyvyys ja rahanpesun esto

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Awards

IndieWire has received two Daytime Emmy Nominations for the site’s Craft Roundtables series, highlighting the publication’s emerging work in the digital video space.

The Daytime Emmys nominations, announced on July 14, recognize artistic and technical achievements in the American daytime television space as well as online streaming content.

For the Craft Roundtables’ inaugural year, IndieWire received nominations in the Outstanding Directing for a Daytime Studio Non-Fiction Series as well as the Outstanding Editing for a Daytime Studio Program. The site was nominated in these categories alongside shows from traditional linear television outlets, including “The Drew Barrymore Show,” “Entertainment Tonight,” “The Kelly Clarkson Show,” “Today,” and “Extra.”

The nominated series was dedicated to the Editing Roundtable and included editors Kirk Baxter (“A House of Dynamite”), Affonso Goncalves (“Hamnet”), Michael P. Shawver (“Sinners”), Andy Jurgensen (“One Battle After Another”), Pamela Martin (“Springsteen: Deliver Me from Nowhere”), Saar Klein (“Dead Man’s Wire”), and Luke Lynch (“BLKNWS: Terms & Conditions”).

It was directed by IndieWire executive producer Mary Pelloni and edited by IndieWire video producer Trevor Wallace. The series’ executive producers are PMC senior VP Jerry Ruiz, IndieWire publisher James Israel, and IndieWire Editor-in-Chief Dana Harris-Bridson.

IndieWire’s Craft Roundtables series premiered in December 2025, and aired on PBS SoCal this January. Hosted by IndieWire features writer Jim Hemphill, the Craft Roundtables feature conversations between editors, cinematographers, casting directors, production designers, and more craftspeople working on some of the biggest films of the last year. Season 2 of the series, which focuses on TV artists, premiered this June.

The cinematography roundtable featured Adolpho Veloso (“Train Dreams”), Malik Hassan Sayeed (“After the Hunt”), Michael Bauman (“One Battle After Another”), and William Rexer (“The Testament of Ann Lee”).

The production design roundtable featured conversations with Cara Brower (“Hedda”), Sam Bader (“The Testament of Ann Lee”), Alexandra Schaller (“Train Dreams”), Scott Chambliss (“Kiss of the Spider Woman”), and Dylan Cole and Ben Procter (“Avatar: Fire & Ash”).

And finally, the casting roundtable was anchored by casting directors Nina Gold (“Jay Kelly”), Margery Simkin (“Avatar: Fire & Ash”), and Jessica Ronane (“After the Hunt”).

The Daytime Emmy Awards nominations come on the heels of IndieWire winning Best Website at this June’s SoCal Journalism Awards, the second year in a row the website received the honor. The website received six nominations from the awards body, which recognizes excellence in arts and entertainment journalism.

IndieWire’s Craft Roundtables are currently available to stream on IndieWire.com and PBS SoCal.Org.

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IndieWire has received two Daytime Emmy Nominations

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Docs

Paramount has agreed to a request from 12 states to link their federal antitrust case to a pre-existing suit brought by Paramount+ subscribers.

The move means that the states’ challenge to the $111 billion merger with Warner Bros. Discovery will likely end up before Judge Araceli Martinez-Olguin, a Biden appointee who is already handling the earlier lawsuit.

Martinez-Olguin, whose courtroom is in Oakland, worked for the National Immigration Law Center and the ACLU Immigrants’ Rights Project before being nominated to the bench in 2023.

California Attorney General Rob Bonta led the state coalition in filing the suit on Monday in the Northern District of California. The states are also asking for a temporary restraining order and an injunction that would prevent the merger from closing. No hearing has yet been scheduled on that motion.

On Monday, Bonta’s office filed a motion to relate the case to a lawsuit filed in April by Paramount+ subscribers who alleged that the merger would harm competition and drive up prices. The state argued that it would be more efficient to have one judge consider both suits.

“We like that judge,” Bonta told The Town podcast on Monday. “The fact that the judge is already up to speed, is thinking about this, thinking about its impacts — we like that.”

Paramount filed a motion Tuesday joining in the states’ request. A Paramount spokesperson declined to comment.

Martinez-Olguin is scheduled to hold a hearing on Thursday on the subscribers’ motion for a preliminary injunction and on Paramount’s motion to dismiss the subscribers’ suit.

Earlier Tuesday, the states’ case was randomly assigned to Judge P. Casey Pitts, another Biden appointee who, while a private attorney, represented the Writers Guild of America in its fight over agency packaging fees in 2019. The WGA is among the suit’s strongest supporters. Pitts, whose courtroom is in San Jose, likely will not have the case for long.

Pitts is already overseeing another high-profile antitrust action that has several parallels with the Paramount-Warner Bros. suit. In that case, 12 states and the District of Columbia are seeking to block the $14 billion merger of Hewlett Packard Enterprises and Juniper Networks, which the Trump Department of Justice approved last year.

In January, Pitts denied the states’ motion to halt the merger pending the outcome of the challenge, finding that the two companies had already spent several months integrating their operations. A final ruling on that case is still pending.

In the WGA lawsuit, Pitts was part of the Altshuler Berzon legal team that accused WME of collecting illegal fees from studios for packaging clients into projects. In that case, he squared off against Jeffrey Kessler, the high-powered litigator who is now leading Paramount’s defense of the Warner Bros. merger.

The WGA won a war of attrition in that case, with WME and other agencies ultimately agreeing to swear off packaging fees and to divest themselves of their content production entities.

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Paramount has agreed to a request from

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Global

Edmonton city councillor Michael Janz is no stranger to social media, but some of his recent posts have Edmonton’s Jewish community concerned he is spreading misinformation that could be harmful.

The Jewish Federation of Edmonton saved several screenshots of content shared to the city councillor’s Instagram stories last week, primarily focused on the conflict in Gaza and its impact on children.

“If you have a newborn baby right now, anywhere in the world, your brand new baby is statistically more likely to be killed by Israel than dying by any other way,” said one of the posts Janz re-shared from a pro-Palestine account.

“At the end of the day, councillors are free to speak to any issue they want. They are ultimately held accountable for their own actions,” Mayor Andrew Knack said.

He added Janz took that post down a short time later. The Jewish Federation said the damage was already done.

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“What he’s doing is demonizing Israel, demonizing the Jewish community there and, by extension, the Jewish community here — who is so connected to that — is feeling demonized as well,” said Jewish Federation of Edmonton CEO Stacey Leavitt-Wright.

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“It’s creating a security risk — a very real one for our community right now.”

Fellow city councillor Mike Elliott said he was stunned by the posts — he is of the opinion civic politics is no place for international issues.

“I know we have freedom of speech and we can say whatever we want, but let’s focus on what we need to focus on — that’s Edmontonians and our city,” Elliott said.

Global News reached out to Janz on Tuesday for an on-camera interview, which he declined and instead released a statement.

“Like many Edmontonians, I’ve been horrified by the genocide in Palestine and the numerous well-documented war crimes committed by the state of Israel,” it said in part.

“Our compassion must not have boundaries or borders.”

Janz added he will continue to share data from organizations like the United Nations Independent International Commission of Inquiry on the Occupied Palestinian Territory, which last week released a report on the physical and psychological harm by the Israeli security forces.

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“Every person should read these horrific findings. I will continue to share these reports on my social media,” he said.


Mayor Knack picked his words carefully on Tuesday when asked if Janz was out of line with his Instagram stories.

“Well, I would say anyone that’s not sharing accurate information, that’s not what we want to see,” Knack said. “There might not be a code of conduct anymore, but we still have to hold ourselves to a high standard.”

Elliott echoed that sentiment, releasing his own statement on Monday. He said city council’s job is to focus on local issues like roads, transit, housing and budget — which he said is a full mandate on its own.

He stated international conflicts are real and painful, but they fall outside council’s jurisdiction and expertise.

“Elected officials weighing in publicly on them doesn’t change anything overseas — it only risks dividing the very communities we’re here to represent,” Elliott wrote.

“The words we choose carry weight beyond our own opinions — they can either bring residents together or deepen divisions in the community we serve.

“That responsibility doesn’t disappear because the topic is outside our jurisdiction; if anything, it’s a reason for added care.”

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Leavitt-Wright agreed.

“I think this is a moment that calls for leadership — to say that here in Edmonton, city council needs to focus on the work of city council and keep out of the international conflict and not bring that divisiveness to our city.”

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

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Kingmaker Casino has introduced a new account Timeline feature for its Australian players https://kingmaker-kazino.com/en-au/. This tool offers users a detailed record of everything that happens in their account, altering how they perceive their own gaming history. For Australian players, it means more transparency and a improved control on their spending, raising the bar for clarity in online casinos. Players now have instant access to their full transaction story.

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The Timeline is a central dashboard in a player’s Kingmaker account. Think of it as a live logbook that logs every financial action and game session in the sequence it happened. Regular transaction histories often separate this data up. The Timeline brings it all together, merging deposits, withdrawals, bonus claims, game rounds, and wagering rules into one unbroken story. This gives Australian members a complete view of their bankroll’s journey, commencing from their welcome bonus through to the last bet they wagered.

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The Timeline’s main advantage is how it helps with budget management. By laying out every transaction in a direct, chronological line, Australian players can quickly see their net cash flow for any period, week, or month. This clear view makes it more straightforward to set realistic deposit limits and truly stick to them. Seeing how often and how much money flows can lead to more considered spending choices. This corresponds to the goals of Australia’s National Consumer Protection Framework for online wagering.

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When Australian players open their Timeline, they’ll see a detailed list of their activity. Every entry includes a timestamp and a distinct label. The feature indicates the precise amount and currency for each deposit and withdrawal request, along with its present status. It records game session details, showing the individual titles played, the bet amounts, and any wins. It also monitors anything related to bonuses, like which offers were used, how much wagering was finished, and alerts about promotions that are about to expire.

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Getting to the Timeline is easy for any user with a Kingmaker Casino account. After logging in, Australian players should look for a “Timeline” or “Activity” tab in the main account menu or on their dashboard. The interface typically has easy filtering options, letting users sort information by date, transaction type, or particular game. Scrolling through the chronological feed is simple, with obvious visual cues to differentiate deposits from withdrawals or game sessions for fast review.

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In Australia, where safe gambling is a key priority, the Timeline is a useful tool for keeping track and managing limits. Players can watch their outlay and gaming behavior without having to keep their own notes. This promotes a more disciplined approach to internet gaming. It also renders managing finances simpler, which is beneficial for anyone who must report gambling winnings at tax time. If there’s ever a question about transaction history or whether a bonus is active, the Timeline delivers an instant answer. This means less waiting for customer support and more information in the player’s hands.

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Figuring out bonus terms and wagering rules is commonly confusing. Kingmaker Casino’s Timeline tackles this by incorporating promotional progress directly into the account story. Players can see exactly how much of a wagering requirement they’ve completed, which games applied to it, and what’s remaining. This clarity eliminates the confusion from the process and helps steer clear of situations where a bonus is lost unexpectedly. Australian players can receive the full value from promotions, knowing exactly where they stand.

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Kingmaker Casino has built solid security around the Timeline to ensure data private and secure. The feature runs on the same high-level encryption that safeguards all financial transactions on the site. Only the person who owns the account can access it, and the log entries never disclose sensitive personal data. For Australian users, this indicates their financial and gaming history is protected from unauthorised access, adhering to good practices for data protection and privacy laws.

Evaluating Kingmaker’s Tool to Standard Casino Histories

Most online casino statements are just fixed, broken-up reports. Kingmaker’s Timeline is a lively and engaging step up. Old-school histories might keep cashier events and gameplay logs in different places. The Timeline connects them. It shows the direct relationship between making a deposit, claiming a bonus, and then playing a game. This unified perspective offers a depth of understanding that basic transaction lists are unable to provide. It shows Kingmaker Casino is planning ahead for its Australian players.

Long-term Implications for Player Experience in Online Gaming

The introduction of the Timeline points to a greater trend toward giving users more control and clarity in iGaming. For the Australian market, it establishes a new norm for how casinos should display account data. We may witness more advanced features next, like deeper analytics, data you can transfer to financial programs, or integrated spending alerts. Kingmaker Casino’s move shows that smart account management tools are not merely add-ons. They are central to a modern, responsible, and player-focused gaming experience.

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If anyone knows which Y2K trends deserve another moment, it’s Paris Hilton.

The longtime style icon has been shaping beauty and fashion since the aughts, so it’s only fitting she’s the face of NYX Professional Makeup’s latest If You NYX You Know campaign.

NYX Professional Makeup

Inspired by Los Angeles, California hot spot, Mel’s Diner, the partnership serves up a playful dose of nostalgia while giving a nod to Hilton’s The Simple Life days, channeling her time working at Sonic alongside Nicole Richie.

While reflecting on the past, Hilton tells ET which looks she’d happily wear again, and the one she’d rather leave behind.

“I had so much fun with fashion during that era, and I love that so many of those looks have become iconic now, but I think I would leave Ed Hardy in the archives,” she admits.

Sara Jaye/WireImage

Still, some throwback staples are eternal.

“Pink, sparkle, glossy lips, and a really cute matching set will always be a part of my style. I’ve always loved fashion and beauty that feel feminine, fun, and confident.”

Of course, maintaining Hilton’s signature glam regimen begins with products she knows have staying power.

Amy Graves/WireImage

“My secret is starting with the right long-wear formulas. I love using a liner or stain first, so the color really stays in place, and then adding gloss on top for that glam finish. The Lip Lingerie Lip Liner Stain and Lip I.V. Hydrating Gloss Stain are amazing because they give you color that lasts, but still feels comfortable and hydrating, so you can have dinner, take photos, and not worry about constantly touching up,” she shares.

“I lock everything in with The Face Glue Setting Spray. I’m constantly running around as a mom, CEO, DJ and entrepreneur, so I need my makeup to last and still look flawless,” Hilton adds.

The reality star’s cosmetic case also includes a mix of longtime favorites and newer additions.

NYX Professional Makeup

“I love pairing Butter Gloss in Crème Brûlée with Slim Lip Pencil in Nude Pink. It gives that perfect soft nude-pink lip that works for day or night. Since pink is my favorite color, I’m also obsessed with Buttermelt Blush in Butta Together. It’s such a gorgeous baby pink and gives the skin that fresh, glowy look.”

And while Hilton continues to draw inspiration from her early days in the spotlight, her wardrobe has evolved with her. 

“I wear those trends in a more modern, polished way. It’s still very Paris, just more elevated as a mom, CEO and sliving.”

Kevin Sikorski

Welcoming son Phoenix, 3, and daughter London, 2, with husband Carter Reum, has also shifted her approach to self-care.

“I’m much more intentional about taking care of myself. I try to stay hydrated, eat things that make me feel good, and make wellness part of my routine whenever I can, whether that’s skincare, red light therapy, or just getting quiet time with my babies. My schedule is very full, so for me it’s about consistency, not perfection.”

Parenthood has changed her outlook on what actually makes her feel her best.

Paris Hilton/Instagram

“Beauty has always been such a fun way for me to express myself, but becoming a mom has made me feel confident in a whole new way. My babies are my world, and they remind me every day what really matters. I still love getting glam, but now confidence feels deeper. It’s about feeling happy, grounded, strong, and comfortable in who you are.”

Those are exactly the lessons she hopes to pass on to her children.

“I want to teach them that beauty starts with being kind, confident, and true to yourself. Of course, I’ll also teach them the classics: always take care of your skin, wear sunscreen, drink water, never sleep in your makeup, and have fun with beauty. Makeup should be playful and creative. It should make you feel like the best version of yourself.”

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Tech

California Attorney General Rob Bonta expressed concern for CNN’s future at David Ellison’s Paramount, citing Bari Weiss’ CBS News revamp as an example.

“As an American—and a proud American who cares deeply about our democracy and the future of it, its durability, its sustainability—I’m very concerned about the reports about what’s happening at CBS,” Bonta told Status in a Tuesday interview. “And I’m also concerned about the possibility that what’s happening at CBS could be part of an attempt to curry favor with the president who might want something similar to happen at CNN. And that led to an approval by the DOJ, even though the career attorneys thought there were problems with this deal and opposed this deal. We’ve heard that.”

Bonta’s comments followed a similar accusation made by former “60 Minutes” correspondent Scott Pelley, who said last month in an exit statement that Ellison was “casting … aside” the news program to curry favor with Donald Trump.

“’60’ has been the number-one program in America for decades because our beloved audience finds integrity, quality and humanity in our stories,” Pelley wrote at the time. “When stewardship of the program passed to my colleagues and me, our responsibility was to expand energetically into a new age of media technology while preserving the values our audience expects. Now, the new owner of our network is casting this legend aside, apparently to curry a moment of favor with the Trump administration. The waste is heartbreaking.”


Writers Guild

Pelley was terminated from “60 Minutes” after a clash with Executive Producer Nick Bilton, in which he accused Weiss of “murdering” the program following the firings of Tanya Simon, Sharyn Alfonsi, Cecilia Vega and more.

When asked whether he thought Ellison was a good caretaker of CBS News and if he was concerned for the WBD-owned CNN, Bonta, who is currently leading a coalition of state attorneys general in an antitrust lawsuit against the Paramount-Warner merger, voiced concerns about a “free and independent press.”

“I think that’s on the minds of many Americans and they’re worried about a lack of a free and independent press, overbearing editorial decision-making that undermines and undercuts free and independent journalism, that shuts down stories that should be told but then aren’t told, that favors the powerful when the powerful ask that a critical story not be told about them,” Bonta further noted to Status. “That’s not good for democracy. The truth should be told, whatever the truth is. And the truth should be told, especially about the powerful.”

Representatives for Paramount and CBS News did not immediately respond to TheWrap’s request for comment.

As we mentioned, Bonta and 11 other state attorneys general sued to block the Paramount-Warner Bros. Discovery merger on Monday. Bonta led the charge with the filing, blasting the merger as “unlawful.”

“Today, I am leading 12 states in challenging the proposed merger of Warner Bros. and Paramount and asking the court to block the deal,” Bonta said in a statement. “California’s film and entertainment industry touches the lives of Americans daily. We’re going to court to fight for a free and fair market and protect this iconic industry.”

The state AGs have argued that the merger would create an entertainment giant with increased leverage over movie theaters, as well as cable and streaming platforms.

In response, a Paramount spokesperson shared that they plan to “vigorously defend the transaction and demonstrate that this challenge is inconsistent with sound competition policy and the competitive realities of the media marketplace.”

“Delaying this transaction will only harm entertainment workers,” the spokesperson continued at the time, “who have already suffered over recent years as technology has disrupted their livelihood and cost California tens of thousands of entertainment jobs.”

Bonta and the other AGs then requested a temporary restraining order and an injunction to prevent Paramount and WBD from closing its proposed merger.

“Defendants have represented to counsel for the State of California that they may close and consummate the Transaction as soon as July 22, 2026,” the Monday evening filing stated. “Immediate relief from the Court is necessary to preserve the status quo and to protect this Court’s ability to order appropriate relief upon a finding that the Transaction is unlawful.”

Bonta explained on CNN that the legal move was meant to “make sure that the proposed merger is halted during the pendency of the litigation.”

“We have asked Paramount-Warner Bros. to agree not to close their deal, their proposed merger until the court can evaluate the merits of our case,” Bonta told Kaitlan Collins at the time. “They declined to do that.”


The Hollywood sign overlooks the Paramount Studios lot's iconic water tower in Los Angeles. (Justin Sullivan/Getty Images)

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California Attorney General Rob Bonta expressed concern

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“The Daily Show” took aim at Lindsey Graham’s senate successor, quipping “Wheel of Fortune” took more “consideration” to find Pat Sajak’s replacement.

During Tuesday’s monologue, host Michael Kosta weighed in on Graham’s sister, Darline Graham Nordone, being appointed as the late South Carolina senator’s replacement, calling it “an inheritance jackpot.”

“But now the question is, who will fill in the senator’s seat until the next election?” Kosta said while recapping the events following the politician’s passing. “I assume someone like the lieutenant governor or the secretary of state, whatever political process we have in place for this.”

As news footage from the day revealed that Graham Nordone would be stepping into the position for the remainder of the late Graham’s term, Kosta quipped: “His sister, a Senate seat? That’s an inheritance. jackpot. Most people just get a garage full of damp boxes.”


The Daily Show

After Trey Gowdy praised the decision as “tragically symmetrical” on Fox News, Kosta had a few choice words for the conservative commentator and former U.S. representative for South Carolina.

“If there’s one thing this guy knows all about, it’s being tragically symmetrical,” Kosta said. “But for real, I disagree with this guy who looks like a fingerling potato that they put a dollop of cream on top of. I mean, there was more consideration about who should take over for Pat Sajak, and his whole job was correctly reading up to three words at a time.”

Despite all of this, Kosta noted that he planned to give Graham’s sister “a fair shot,” even noting that the newly appointed senator may be “overqualified” after hearing about her 28 years of experience in the South Carolina government and her work as the commissioner for the South Carolina Commission for the Blind.

He added: “I’m worried she’ll make the other senators look bad, which would be embarrassing for the ones who know where they are right now.”

Watch Kosta’s full monologue above.

“The Daily Show” airs weeknights at 11 p.m. ET on Comedy Central.


Christopher Nolan appears as a guest on the July 13, 2026 edition of "The Daily Show" (Comedy Central)

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“The Daily Show” took aim at Lindsey

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Kyle Cooke didn’t mince words during the In the City finale when confronting Amanda Batula about her relationship with West Wilson.

“It just makes me so f***ing upset,” Kyle, 43, told Amanda, 34, during the Tuesday, July 14, episode. “You point blank lied to me about West.”

Kyle confronted Amanda on April 9, when cameras picked back up just weeks after she and Summer House star West, 31, went public with their friendship-turned-romance on March 31. (Both Amanda and West denied their romantic relationship prior to releasing their joint statement confirming they’re a couple.)

“You left me for a guy that rages three times harder,” Kyle alleged, referring to Amanda constantly reprimanding him for partying throughout their four-year marriage before they ultimately called it quits in January.

Amanda was taken aback before denying his accusations.

“I didn’t leave you for someone else,” she claimed, revealing, “I was scared.”

The estranged spouses then recounted how they announced their breakup in January, with Amanda admitting she was “so grateful we were able to do that together in the most messed up way.”

Kyle confessed, “I was no saint. I know I made things worse. I don’t know if I was self sabotaging or crying out for help or good old fashioned spiral. I’m not proud of how I acted.”

Amanda noted, “There were so many things that factored into the demise of our relationship.”


Amanda Batula and Kyle Cooke. Charles Sykes/Bravo

Kyle, for his part, confirmed it was “the right decision” and he’s glad they didn’t “give each other any more false hope” before pulling the plug.

Amanda — who has received backlash for her relationship with West in part because of her former friendship with Ciara Miller, West’s ex, and how she handled the scandal — joked that at least the drama has “helped” Kyle’s business, Loverboy.

“I think they hate me so much,” she said of the fans, to which Kyle replied, “I don’t think it’s all hate.”

Amanda admitted, “I feel like I can’t even leave my home” amid the scandal and fallout.

Kyle Cooke Shares a Laugh With Ex Amanda Batula After In the City Reunion And Fans Have Thoughts


Related: Fans Question Kyle Cooke and Ex Amanda Batula After Laughing Photos Surface

Exes Kyle Cooke and Amanda Batula are raising eyebrows after reuniting — and seemingly having a blast together — after taping the In the City reunion. The estranged couple, who announced their split in January, were photographed on Thursday, June 11, exiting a New York City studio after filming the season 1 reunion of their […]

“Walking over here was scary. I am literally terrified to walk outside because I’m afraid someone is going to scream in my face,” Amanda revealed.

She explained she wanted to “feel a sense of normalcy” now that her relationship has been found out.

Amanda insisted, “There was no f***ing affair” on her part and she didn’t cheat on Kyle with West.

“I’m not downplaying anything that I did,” Amanda continued. “And how f***ed up it was with my friendship but I also want to go out and do things.”

Amanda revealed, “If I keep hiding I’m going to fall into that dark hole,” which caused Kyle to jump back into protector mode.

Kyle Cooke Calls Out Amanda After She Point Blank Lied to Him About West During In the City Finale Inline

Amanda Batula and West Wilson. Courtesy of Amanda Batula/Instagram

“Make sure you do it with the people who have been there your whole life,” he warned her, referring to leaning on people who know her best.

Amanda acknowledged what Kyle was saying, realizing that he is one of those people who have been by her side for the past decade.

“Do you want to go to dinner?” she asked him.

Kyle joked, “It will probably create quite the internet storm, but I’m happy to.”

Kyle Cooke and Amanda Batula Have Blowout Fight on In the City as She Moves Out


Related: In the City’s Kyle and Amanda Have Blowout Fight as She Moves Out

Kyle Cooke and Amanda Batula had a blowout fight on In the City as she moved out of their shared apartment months before their official split. “I am finally moving out today and I was alone last night and I had a full breakdown,” Amanda, 34, revealed during the Tuesday, June 16, episode, explaining that […]

“Maybe me, you, West and Salley [Carson] can all get dinner together,” Amanda said with a smirk, referring to the Southern Charm star who Kyle was linked to after their split. “What a fun little double date.”

Kyle made a face, replying, “Oh, my God. On that note …” before telling Amanda he had to go back to work.

While Kyle and Amanda appeared to be on somewhat good terms during the April catch-up in a preview for the two-part In the City reunion, Amanda accused Kyle of cheating on her while they were married. (He previously confessed to cheating on Amanda before their engagement.)

“How many people are you sleeping with and how soon after?” Amanda asked Kyle in the trailer released on Monday, July 13, she then claimed that he “had sex with someone while we were married.”

In the City’s season 1 reunion begins on Bravo Tuesday, July 21, at 8 p.m. ET. with an uncensored version available to stream next day on Peacock.

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Based on Marissa Stapley’s 2021 novel of the same name and adapted for television by “Your Friends & Neighbors” creator Jonathan Tropper, Apple TV limited series “Lucky” is the captivating story of one young woman’s desperate attempt to break free of the dark and violent life that’s shaped her. More than an intricate game of cat-and-mouse, the crime drama plays on the tensions between nature and nurture while unpacking the dangers and vulnerabilities that come with loving other people.

We first see Luciana “Lucky” Armstrong (a fantastic Anya Taylor-Joy) trying to evade the FBI at a crowded bus stop somewhere in Arizona. But this is not where Lucky’s story begins. In a flashback to the previous day, Lucky embraces her husband, Cary (Drew Starkey), on the balcony of their massive hotel suite in Las Vegas. At the bidding of Lucky’s incarcerated con artist father, John (Timothy Olyphant), the couple has stolen $10 million from notorious gangster Wayne Whittaker (William Fichtner), and they decide to live it up for one last night before fleeing the country. Despite their celebratory mood, Lucky can’t quite shake the feeling that something is on the verge of going horribly awry.

When Lucky awakens the next day alone in the suite, with neither Cary nor the money in sight, she realizes her gut instinct was correct. With FBI special agent Billie Rand (Aunjanue Ellis-Taylor) on her tail and Whittaker underboss Priscilla Matheson (Annette Bening) on her neck, Lucky must use all the knowledge her sole parental figure instilled in her so she may emerge from her circumstances in one piece.

Replete with gunfights, car chases and more than a few intriguing grifts, all seven episodes of “Lucky” feature heart-racing sequences that rival those of any worthwhile high-voltage thriller. Still, the show maintains its dynamism because it remains character-driven. Billie’s obsession with taking down Priscilla constantly puts her team in peril, because being so laser-focused on one thing clouds the bigger picture. While it’s clear that John deeply loves his daughter, his addiction to manipulation and money usurps his paternal instincts. Priscilla is as vicious as they come, but her muscle, Dutch (Clifton Collins Jr.), does all her bloody bidding. Yet, in Whittaker’s presence, she becomes softer and more compliant. Cary, torn between his own desires and others’ expectations, can’t seem to determine where his loyalties lie. Lucky thinks she can escape the world she was born into unscathed. However, as Priscilla reminds her at one point, “Just because you don’t like who you are doesn’t mean you can run away from her.”

Lucky faces this conundrum as she tries to track down Cary while outrunning the FBI and Priscilla’s wrath. Meanwhile, the series unpacks how she even got into this predicament. Through flashback sequences, we see her childhood with John, which was shaped by distrust and lies. This exhausting existence has kept Lucky emotionally dependent on her father. It also cost her the only sense of true normalcy she’s ever known.

“Lucky” is a project worthy of Taylor-Joy’s talent. Following the resounding success of “The Queen’s Gambit,” she was cast in the high-profile 2024 movie “Furiosa: A Mad Max Saga,” where George Miller’s spectacle overwhelmed her performance — and it bombed. “Lucky” is different. Through Taylor-Joy’s character, the series reminds us to face ourselves, even the broken and painful bits that feel shameful. It is about embracing the good and the bad before fully shedding what no longer serves you. As Lucky comes to understand, it’s one thing to con other people, but the cost of conning yourself is often insurmountable.

The first two episodes of “Lucky” debut July 15 on Apple TV, with the remaining episodes airing weekly on Wednesdays.

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Based on Marissa Stapley’s 2021 novel of

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Breaking a key term such as the maximum bet rule or playing a restricted game usually voids the bonus and any related winnings. The operator’s software enforces these rules automatically, and the decision is rarely overturned. Our best practice is to consider every term as a mandatory part of the promotion.

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If we accidentally place a £6 spin while a £5 cap is active, the system highlights that bet immediately. The casino may strip the bonus and any winnings from the session. We verify the stake before each spin and use reminders where available because avoidance is the only reliable defence.

Do free spins come with independent wagering requirements?

Certainly, free spins nearly always have their own playthrough. Winnings from free spins are allocated as bonus cash, and a multiple between 20x and 35x has to be wagered before withdrawal. Cosmobet separates the deposit match and free spin conditions in its terms page.

Are live casino games ever be qualified for bonus wagering?

Eligibility changes by promotion. Standard welcome bonuses commonly assign live games a weighting of 10% or less, while specialised live offers may handle them better. We always consult the weighting table inside the specific bonus terms because expecting full contribution from live play impedes progress quickly.

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Every wager doesn’t weigh the same toward clearing a bonus. Slots usually count 100%, whereas table games, video poker, and live dealer games may count as low as 5% or 10%. When playing blackjack alone, we will likely to bet far more than a slot player might to fulfill the same terms.

Cosmobet lists a comprehensive weighting table inside each promotion. Standard and many video slots qualify completely, whereas roulette, baccarat, and blackjack fall in the range of 10%–20%. A few high-RTP slots might be omitted. We use the table as a planning tool, picking high-contribution slots and checking exclusions prior to playing.

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A bonus could be lost at the deposit stage if selecting the wrong payment method. Many UK casinos, including Cosmobet, bar e-wallets such as Skrill and Neteller from welcome offers while permitting them for regular play. We always cross-check the deposit methods against bonus terms before funding an account.

Cosmobet takes Visa, Mastercard, PayPal, Paysafecard, and bank transfers, with PayPal and debit cards generally fine for bonuses. Minimum deposit triggers differ, and free spins may require a higher deposit. The deposit itself remains real money and can be withdrawn after conditions are met, a point first-time claimants commonly misunderstand.

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MCU

A new rumor claimed that Marvel Studios has found its next Magneto for its upcoming X-Men reboot, and fans are conflicted, to say the least. Before Marvel Studios reboots the X-Men under director Jake Schreier for Phase 7 and beyond, Fox’s legendary mutants, including Sir Ian McKellen’s Magneto, will return one last time in Avengers: Doomsday. Whoever becomes the next Magneto will have no easy task, especially as McKellen is reportedly the “MVP” of Doomsday. That’s not to say that the British acting legend is the only one to play Magneto in live-action, as Michael Fassbender assumed the role in Fox’s later movies.

Scooper MyTimeToShineHello took to X to claim that Star Wars: The Force Awakens actor Adam Driver has boarded the MCU’s X-Men reboot as a villain. While MTTSH has a track record of mixed reliability, things got interesting as insider Apocalyptic Horseman corroborated the news, stating that Driver has joined the Phase 7 blockbuster and that “he’s playing Magneto.”

As one would expect, the rumor has drawn mixed reactions, ranging wildly from extreme excitement to outright anger. Much of the positivity stemmed from Driver’s performance as Kylo Ren, aka Ben Solo, in Star Wars’ sequel trilogy, where he proved he could portray a morally complex character who blurs the line between light and dark, delving into extremism in pursuit of his cause. 

Lucasfilm / Marvel Comics

Magneto’s Jewish heritage and origins as a Holocaust survivor are crucial to his character (and a potential problem for the MCU’s X-Men reboot). That left many hopeful that Marvel Studios would cast a Jewish actor as Magneto, such as Harry Potter star Jason Isaacs, who has long been a popular fan casting choice.

Neither Ian McKellen nor Michael Fassbender is Jewish, and it seems Marvel Studios will continue that streak, as neither is Adam Driver. The MCU cast a Jewish actor to play Ben Grimm in The Fantastic Four: First Steps with Ebon Mass-Bachrach, sparking hopes that Magneto would get the same treatment.

Before Apocalyptic Horseman chimed in to declare that Driver will play Magneto, MTTSH had only claimed that he would be “a villain.” Initially, it was widely theorized that Mr. Sinister, rumored to be the X-Men reboot’s main villain, was the role for Driver, and many agreed he would be a strong choice. 

Mr Sinister in Marvel Comics.
Marvel Comics

Regardless of which role, if any, goes to Driver in the new mutant era, some have expressed criticism that the A-lister is attached to the project at all. In recent years, Hollywood has faced backlash for regurgitating the same faces into every major release, prompting calls for fresh faces and more unknown talent to be cast, especially in a potentially career-making role like Magneto. 

Magneto Isn’t Adam Driver’s First Major MCU Casting Rumor

Just over three years ago, Driver was reportedly in talks to launch another MCU superhero team reboot, seemingly being among those considered to play Reed Richards in The Fantastic Four: First Steps, before Pedro Pascal landed the role. 

On The Hot Mic podcast, Jeff Sneider claimed that Driver turned down the Mr. Fantastic role “very early” because he “couldn’t connect with the character on the page.” As the actor was clearly open to a major MCU role with long-term commitments like Richards, but only passed on that particular character, it stands to reason that Marvel Studios would quickly find him a new role.

Despite the clear issue of Driver’s lack of Jewish heritage, the California-born 42-year-old clearly has the talent and villainous experience to play Magneto. If the rumors pull through and Driver becomes the MCU’s Master of Magnetism, one has to wonder how he will play into the reboot’s narrative, as it’s tough to imagine Magneto being positioned as the main villain of yet another X-Men flick.

Marvel Studios isn’t expected to start shooting its X-Men reboot under Jake Schreier until next year, so it’s interesting to see casting heating up so early. As Sadie Sink is rumored to play Jean Grey in Avengers: Secret Wars after boarding the MCU with Spider-Man: Brand New Day, fans could see Driver’s Magneto and more of the new mutant era alongside her as soon as December 17, 2027.

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DC just gave its Clayface trailer a PG-13 makeover, trading the red-band cut for a version with new footage built for wider audiences. The rework comes after a rocky start to 2026 for DC Studios and James Gunn, whose Supergirl bombed at the box office and landed mixed reviews at best. Clayface, an R-rated Batman villain spin-off set for release this October, was supposed to be a course correction, and now new scenes screening in theaters this summer suggest DC is hedging its bets by courting a wider, more family-friendly audience.

Fans heading out to see Supergirl this summer quickly spotted the differences in the new green band Clayface trailer and the R-rated version from back in April.

The edits start small and escalate fast. Early on in the red band cut, Matt Hagen (Tom Rhys Harries) gets his face cut open in a bloody close-up; the PG-13 version swaps it for an earlier look at the character (with his face fully undamaged and not in danger).

DC Studios

About 10 seconds later, the trailer cuts to a shot that closely echoes footage already used a few seconds earlier in the official trailer.

Clayface emerging in the new movie.
DC Studios

In the theatrical version of the trailer, the freaky look of Clayface’s skin, which almost looks to be suffocating Matt, is not present; instead, another shot of his face drooping.

Comparing images of Clayface from the new trailer.
DC Studios

The next shot removed was of a man getting hooked by the mouth, a quick, but clearly violent scene based on the fear in his eyes. 

A man being hooked by the mouth in Clayface.
DC Studios

In the green band trailer, that image is replaced with a close-up of Matt’s face, before the transformation. This image of Matt shows clearly a time before the accident, where he’s trying to make it as a star in Hollywood.

Two alternate shots from the Clayface teaser.
DC Studios

Another moment from the red band trailer, showing someone upside down with their nose bleeding, has been replaced with a shot of class bubbling and rippling like wet clay.

Someone bleeding from their nose in Clayface.
DC Studios

This is a rearrangement, as this active clay moment was shown earlier in the first scene; it looks like a lump of clay vibrating on what looks like a subwoofer. In reality, maybe the clay is alive and moving on its own accord. 

A man bleeding and bubbling clay.
DC Studios

Here’s a full look at the re-edited teaser, and even though it was playing ahead of a PG-13 movie, the darkness of the upcoming film still shines through:

The new trailer objectively removed the bloody imagery, but still included the face-wiping-like-putty moment from Clayface‘s first trailer, and it lines up with the body-horror direction the film has leaned into since it was first unveiled. More additional shots are seen through the updated trailer, giving even more context to this DCU version of Hollywood, Gotham, Matt Hagen, and a collection of characters.

Speaking of which, Clayface marks the universe’s first real trip to Gotham, working in background nods to the Joker, Robin, and other names from Batman’s rogues’ gallery without putting the Caped Crusader on screen yet.

While Matt Reeves and Robert Pattinson are hard at work filming The Batman – Part 2, there’s no official update on when the DCU’s Brave and the Bold Batman movie will go into production. 

James Watkins is directing Clayface from a script by Mike Flanagan and Hossein Amini, with Naomi Ackie, Eddie Marsan, and Max Minghella rounding out the cast under the tagline “Look Fear In The Face,” which fits in nicely with the DCU.

Should Clayface Feel the Pressure?

DC Comics' Clayface character.
DC Comics

Supergirl was supposed to prove the DCU could thrive without James Gunn directing and writing every project himself. Before Supergirl, every new DCU project since the regime change was either written or directed by Gunn.

Instead, it became the growing universe’s first real letdown, a box office bomb with mixed reviews, caught in its own Snyder Cut-style standoff between director Craig Gillespie’s version of the film and a shorter cut shaped by the studio. 

That leaves Clayface carrying more weight than a horror movie with a reported $40 million budget should, but that’s the risk you run with interconnected storytelling.

Luckily, Clayface doesn’t need Superman-sized numbers to turn a profit; it just needs to clear a much lower bar, and a well-reviewed sleeper hit could help push DC’s momentum back in a good direction.

Whether that happens depends on how well Watkins and Flanagan worked with Gunn, since Supergirl‘s well-reported bumpy production influenced its final product. If Clayface lands with critics, fans, and turns a profit, that will be a major win, even though other future DCU projects could be in danger after this summer’s slump.

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Entertaintment

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I accessed my Crazytower Great Welcome Bonus Casino profile this morning expecting the usual lobby, but rather I found a completely redesigned personal space that seemed akin to a command center than a gambling site. The platform has discreetly rolled out a custom dashboard adapted to the Canadian market, and it instantly alters how I use every feature. Eliminated is the clutter of generic menus and pop-ups. Taking its spot sits a uncluttered, modular interface that remembers my preferences, brings up the games I frequently play, and positions real-time account data front and center. This is not a cosmetic refresh. It is a structural rethink of the player account area, designed to reduce friction and enable me to manage my entire experience from one screen that loads in under two seconds on a standard home connection.

Why a Personal Center is Key

Prior to this change, navigating an online casino resembled a warehouse lacking any signage. I needed to click through many layers simply to check a balance or find a specific live dealer table. The new dashboard brings everything together into one unified view, and that matters because it conserves mental effort. Rather than recalling where various tools are hidden, I now see them organized as tiles, widgets, and collapsible cards that I can rearrange myself. This transition from a site-oriented design to a player-oriented dashboard reflects a broader industry trend where personalization is no longer optional. For a Canadian audience that often manages several payment options and game types, having a central cockpit lessens the little irritations that gather over a session and silently steer players to other platforms.

Security Features Embedded within the Hub

Two-Factor Authentication Integration

Activating two-factor authentication does not require navigating away from the dashboard and hunting through account settings. A dedicated security card within the hub enabled me to activate TOTP-based 2FA with a QR code scan, then confirmed the modification with a test prompt. Once active, each login from a new device triggers an approval request that shows up as a push notification when I am already signed in on another device, or as a standard code entry. The dashboard also shows an active sessions list with IP addresses and browser fingerprints, so I killed a session from last week that showed a different city, presumably my own VPN connection, but the capability to end it instantly was confidence-inspiring.

Session Monitoring

A live tile shows my current session duration, average bet size relative to my historical baseline, and a gradual color gradient that changes from green to amber if my play patterns differ noticeably from my usual behavior. This is not an aggressive responsible gambling intervention, but it serves as a gentle mirror. I caught myself trying to recover on a roulette table, noticed the tile had turned amber, and took a break for ten minutes. The data stays private to my account, and no pop-up disturbed the flow, yet the visual cue was effective. For players who want more direct controls, the same tile links to deposit limits and cooldown options without exiting the screen.

Layout of the Dashboard and Main Modules

Live Activity Log

The central column displays a real-time activity stream that chronicles every deposit, withdrawal, bonus activation, and game session in chronological order. I am able to filter it by date range or event type, and each entry unfolds to show detailed information such as the exact game ID, session duration, and net result. This open log erases the need to dig through separate transaction pages, and I found myself using it as a live journal of my play without any extra effort. If a charge looks unfamiliar, I can flag it directly from the stream, creating a support ticket that pre-fills with the transaction hash. The mental impact is a sense of control that generic account histories seldom offer.

Wallet & Transaction Summary

To the right appears a wallet panel that surpasses a simple balance number. It splits available funds from bonus money, presents a mini pie chart of my deposits by method, and displays a pending withdrawal timer that counts down in real time. When I made an Interac e-Transfer, the dashboard refreshed within seconds to confirm the request was received, then moved to processing status an hour later. This live precision solves one of the most common anxiety points for Canadian players who need to see exactly where their money is at any given moment. A small refresh button is available, but the data updates automatically without full page reloads, which ensures the experience fluid.

Tailoring Features at Your Fingertips

Drag-and-drop functionality lets me decide what shows up where, and the system stores my layout across sessions through browser storage linked with the account cloud. I relocated the live support widget to the bottom left, adjusted the game recommendation panel to show six titles instead of four, and attached my three most-played live dealer tables so they appear as one-click launch buttons. The color theme also conforms to my system preference: dark mode by night, light mode during the day, with a manual override if I decide. These may sound like small touches, but after a week of use, the accumulated efficiency gain is noticeable. I spend less time navigating and more time involved in actual play, which is the entire point of a personal hub.

User onboarding and Account creation

I created a brand‑new account to test the flow from scratch, and the dashboard starts proving its value during registration. Rather than dumping me into a generic lobby, the interface presented a few short questions about my gaming preferences, deposit behavior, and language selection (English or French). That information configured the first dashboard layout without delay. The verification step included a document upload feature which displayed a clear progress indicator, so I never wondered whether my identification was pending or rejected. In under three minutes I received a fully operational hub with my preferred nickname visible, my default currency as Canadian dollars, and a quick‑start panel recommending three slots matching my chosen volatility. Nothing felt invasive, but the tailored experience was noticeable from the start.

Cross-Platform Consistency

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I moved between a laptop, an Android phone, and an iPad over three days to evaluate whether the dashboard experience worsened on smaller screens. It did not. The layout reflows into a single-column stack with the same widgets, though I had to scroll more to see everything. Touch targets are sufficient, and the drag-and-drop customization synchronizes through the account, so my phone shows the exact pinned games and panel order I configured on desktop. Load times on mobile data were under three seconds, and the dark mode conserved battery on an OLED screen. This consistency means I can start a session on my computer, check activity from my phone while commuting, and never feel like I am using a reduced version. The hub is genuinely device-agnostic, which reflects the truth of how people actually play today.

An Open Record of Your Own Activity

Beyond the live stream, the dashboard offers an export function that produces a dated CSV file of all transactions, bonus credits, and gameplay logs. I pulled my last thirty days and viewed the file in a spreadsheet, verifying every number matched my own records. This level of exportable transparency is rare, and it signals that the operator wants accountability rather than opacity. I can also refine the export by game category to see exactly how much time and money was allocated to slots versus live casino products. For anyone who keeps tabs on their play diligently or needs records for personal accounting, this single feature transforms the dashboard from a convenience into a practical financial tool. The download occurs entirely within the hub, with no email attachment delays.

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I accessed my Crazytower Great Welcome Bonus

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The upcoming Switch 2 version of Dragon’s Dogma 2 is performing better than Capcom expected, its producer says.

The Switch 2 version of the game will be released on October 9 and will include a new DLC expansion called Dark Arisen. The DLC will also be available on the existing PS5, Xbox Series X/S and PC versions on the same date.

In an interview with Eurogamer, Naoto Oyama explained that the team has been trying to improve the performance of the PS5 and Xbox Series X/S versions of the game in time for Dark Arisen, and the optimisation techniques applied for this have resulted in the Switch 2 version version performing better than initially predicted.

“We’ve been working not only to improve performance to let the game run on Switch 2, but to improve the current base game versions on other platforms too,” he said.

“In particular, we’ve been trying to find as many small tweaks as we can make so we can build up and have a big performance improvement on consoles when it comes to Performance Mode itself. That’s something we’re aiming for with the late August title update that’s in the roadmap – for Performance Mode on consoles will be able to reach 60fps.

“That means that, commensurately, all that effort we’ve put into the PS5 and Xbox Series X/S versions of the game also pays off in the Switch 2 version, and we’re currently seeing a minimum 30fps performance on that hardware (and, in many scenes, it’s even higher).

“So it’s a little while to go until the game releases, but it’s exceeding our expectations on Switch 2, and I hope the players agree that we’ve done a great job again with bringing this game to that platform.”

Elsewhere in the discussion, Oyama explained that Capcom‘s RE Engine runs well on Switch 2 – already the console has received ports of numerous RE Engine titles including Street Fighter 6, Pragmata, Resident Evil Requiem, and all have performed well despite Switch 2 being less powerful than PS5 and Xbox Series X/S on paper.

“The RE engine, which we’re developing our games on now, is something that has actually been a really great fit for Nintendo Switch 2,” he explained.

“We’ve had some really well-received Nintendo Switch 2 versions of major titles – such as Pragmata and Resident Evil Requiem this year – and, because this is an internal engine, we’ve been able to accumulate knowledge and know-how from other teams.

“And that means that the improvements that are made to the engine with each title, and the different features that are added with new games, get to stay with us – and we get to benefit from them on future titles. It’s a really positive cycle for us.”