Nightcrawler has had a rough time so far in Disney+’s X-Men ’97. While the character was introduced in the original animated series, he didn’t arrive in Marvel Animation’s revival until Season 1, Episode 5. By the end of the episode, there was a mass genocide event in Genosha, where he resided. Since then, he’s been going through one tragedy after another, though, still managing to stay sane and give sound advice to his X-Men teammates.
Going into X-Men Season 2, Nightcrawler is one of the team members who was sent into the far past, running into En Sabah Nur, aka Apocalypse, before he becomes the world-ending threat he becomes. Obviously, that reunion isn’t a smooth one, and it eventually ends with En Sabah Nur turning against the X-Men—and Rama-Tut (yes, Kang the Conqueror) bombing them all.
The Direct sat down with X-Men ’97 star Adrian Hough, who voices Nightcrawler and the newly introduced Strong Guy in the Disney+ series, where the actor revealed that Kurt Wagner is going to have an incredible character journey by the time Season 2 comes to a close.
The first three episodes of X-Men ’97 Season 2 are streaming on Disney+, and new episodes drop Wednesdays at 3 a.m. ET.
Nightcrawler Will Have a Top-Tier Character Journey in X-Men ’97 Season 2
Marvel Animation
It’s Going to Be an Important Story for Everyone’s Favorite Teleporting Mutant.
The Direct: “Let’s jump into Nightcrawler himself on a character level. In your own words, can you just kind of sum up his mentality going into Season 2? Where is he in this first half of the season?”
Adrian Hough: Well, he’s way off in the past. I mean, he’s one of the group that ended up in the past, and you know, they had to go through quite a lot to get there. He’s one who’s always been very soulful, very caring, and he’s approached being part of the X-Men—He’s embraced it wholly… I think he’s very adaptable. He does teleport, he’s got his skills, he’s got his sword fighting. He’s super passionate about protecting the X-Men and his friends and his half-sister Rogue, and ready to fight the bad guys.
The Direct: “Can you tease his overall journey this season, and how he might be different by the end?”
Hough: I think by the end [he has]… Incredible [character growth]. In the old series, we only ever see him sort of morose and sad, but like hopeful, and you know, proselytizing to Wolverine in the chapel, and then finding out that Mystique is his mother, and [he starts to bond] with Rogue, but I think it comes to fruition in this season. That’s all I’ll say.
The Direct: “We know a Season 3 and Season 4 are happening. How is Nightcrawler going to continue evolving?”
Hough: Well, I have to say, every time I get a new script, I have this moment of, oh, wow, that’s where we’re going, you know. ‘Oh, oh my god, okay,’ but I’m just gonna say it again, just hold on to your hats, because every time I come in, there’s like a new version of his journey, let’s say, and you know, it’s fantastic. As an actor and a voice actor, it’s just super fun to play, because there’s always something which is going to surprise me.
The Direct: “Well, I’m curious, you’ve been with Nightcrawler for so long now, with Season 2, and even further, just with your general work with the character, what are you still learning about him after all this time?”
Hough: I’ve been thinking a lot more about how he deals with his personal trauma and sadness, for, you know, lack of a better way of expressing it, and you know how he almost, he bounces away, like he pushes away from the suffering that he’s had. And then there’s the part where I’m learning that when he teleports, he actually goes to the underworld, which is like the darkest place imaginable, and then comes back like in a flash. So, he’s having to contend with all these forces and energies and thought forms, and so I think that informs me a little bit. When I saw the teleportation animation, though, I squealed… And I think it subconsciously affected the way I thought about him, for sure.
Stay tuned for The Direct’s entire interview with X-Men ’97 star Adrian Hough, which will drop alongside Episode 4 of the series on Wednesday, July 8.
Robert Pattinson is showing off his Bruce Wayne look while he takes a break from filming The Batman: Part 2. Pattinson’s Bruce Wayne is deliberately designed to look like a haunted young man who has been living as Batman for about two years. Unlike other portrayals, The Batman‘s version of Bruce is not the polished, charming billionaire playboy who fans know on-screen. Instead, he appears as a traumatized figure who barely maintains the ideal Bruce Wayne facade.
Filming for The Batman: Part 2 is currently underway, and it’s apparent from Robert Pattinson’s most recent public appearance, as he sports his new and improved Bruce Wayne look at The Odyssey World premiere in London.
This comes after Pattinson confirmed that he missed Taylor Swift and Travis Kelce’s wedding in NYC on June 3rd because he was filming for The Batman Part 2 that day.
Pattinson sports a sharp grey suit, white shirt, and black tie on the red carpet, looking confident as he channels his inner Bruce Wayne.
Bruce Wayne’s more polished, camera-ready appearance in The Batman: Part 2 fits perfectly in his new journey in the post-Riddler world. After the chaos of the first film, which ended with a massive flooding incident in Gotham, Bruce is literally forced to the forefront, meaning that he can no longer fully hide in the shadows.
Bruce can no longer fully hide in the shadows, prompting him to navigate Gotham’s elite circles and grapple with the fallout from Wayne Enterprises’ complicity with the city’s decay. This explains why Pattinson’s sharp, sophisticated look feels like such a telling preview of what to expect from Bruce Wayne’s look in the sequel.
What’s also interesting is that Pattinson confirmed to Entertainment Tonight during the red-carpet interview that he was filming The Batman: Part 2 that same morning, adding more evidence that his polished look will carry over into the sequel.
Based on his new look, Pattinson still channels his usual brooding bravado, but with a more balanced portrayal of a man who has to embrace his role as a flashy billionaire while maintaining a certain public image.
The Batman: Part 2 is set to release in theaters on October 1, 2027.
Bruce Wayne’s New ‘Clean’ Look in The Batman: Part 2 Is More Important Than Fans Think
DC
2022’s The Batman reinforced the idea that Pattinson’s Bruce is not willing to play the billionaire playboy part. While he did show up in a suit during the funeral for the late mayor, Bruce still looked like he was one bad day away from putting on the suit and becoming Batman at any chance he got.
Bruce Wayne’s more refined appearance in The Batman: Part 2 visually represents his growth as he slowly accepts the responsibility of becoming the man Gotham needs, even as he struggles with the cost of becoming the Dark Knight, which is getting harder to bear. If anything, this carries real weight for the story director Matt Reeves is telling in the sequel.
With the first film having exposed his family’s dark and troubled legacy, Bruce’s attempt to project a more polished image risks backfiring. The public has already glimpsed the cracks beneath the surface, and no amount of refinement may be enough to hide them.
Still, this clean look from Bruce doesn’t just elevate The Batman: Part 2; it signals that the sequel has the potential to become the most psychologically rich Batman story on-screen yet.
Diablo 4 Season 14 dramatically reworked Mythic items in Blizzard’s ARPG going forward, and judging from early feedback, it’s a change that isn’t going over well.
Season of Death Awakening launched on June 30 and introduced what Blizzard coined Mythic Uniques 3.0, a new system where any of the game’s hundreds of Unique items could be found (or turned into) even stronger Mythic versions. In theory, it would open up the game’s endgame build options and give players more choices when it comes to outfitting their characters. Far from just a temporary seasonal change, Blizzard stated it intended for Mythic Uniques 3.0 to be a permanent part of the game going forward.
The downside of the new system is that it also added more randomness to Mythics, making it so even formerly best-in-slot Mythic Uniques (now called Iconic Mythics) like The Grandfather or Heir of Perdition are now, more often than not, significantly worse than before and usually not worth using. Equally annoying, crafting a Unique into a Mythic Unique using the Horadric Cube is largely random, rewarding a different item than the one originally put in the cube.
Mythics additionally seem to be more rare than before, with lower drop rates and the removal of the ability to craft specific Mythics. Taken all together, acquiring usable Mythics now feels almost entirely out of players’ control.
Blizzard knew the Mythic item changes would be controversial. In an interview with GameSpot ahead of Season 14’s launch, Blizzard said it was trying to “split the difference” between its goals for the game’s “long-term health” and feedback from the community it received on the Season 14 public-test-realm. It seems that approach isn’t going particularly well, because one look at places like the Diablo 4 Reddit or at videos from various Diablo content creators paints a picture of a largely unhappy playerbase frustrated by the season’s unpopular Mythic changes.
In a widely upvoted post, Reddit user Oct_ showed a screenshot of having achieved rank 1 on the Hardcore, Solo-Self Found Diablo 4 leaderboard. However, they lamented the fact that they’d played for nearly 50 hours and had not found or been able to craft a single usable Mythic yet.
“The mechanic makes it impossible for normal people to get that chase item,” Oct_ wrote.
Another Reddit user, Thirteenera, provided some data on Mythic Unique drop rates and revealed that after “days” of farming 1,400 lair boss runs, they received a total of 50 Mythic items. Of those 50 drops, none were useful for their build. While many Iconic Mythics were once universally useful across most builds, most Mythic Uniques are now niche in their purpose, meaning finding one that is useful for a given build is now far less likely.
Others have called out how bad and misleading it feels to put a Unique item into the cube, use the “upgrade” feature (which implies the item is being improved), and then receive a completely different, and likely useless item in exchange. Many players state the phrasing needs to be rewritten to let players know they aren’t really crafting an upgrade but gambling.
It’s not just on places like Reddit that players are complaining. Diablo content creators like Rhykker also don’t seem happy with the changes. Rhykker said they are having fun with the new seasonal events, but that “everything I loved about Mythics is gone.”
“Mythics are harder to get and weaker than they were,” Rhykker said in a recent video. “I’m okay with harder to get, but it doesn’t feel exciting to work harder to get something crappier than we used to have.”
Another content creator, Rob2628, stated in their most recent video that Season 14 is a “big step backwards,” lamenting the fact players can only wear one crafted Mythic item, how difficult it is to find Iconic Mythics, and the sheer amount of RNG involved along the way.
“I think the general consensus is that the new changes to the Mythics, especially with the crafted tag, have been very negatively received in the community, and I agree, rightfully so,” Rob2628 said. “It is very, very hard to get Mythics, even for players that play a ton.”
That’s not to say everyone dislikes Mythics 3.0. Another popular Diablo content creator, Raxxanterax, said in their recent “The State of Diablo 4 Season 14” video that they are a fan of Uniques being able to drop as Mythic quality, even if he is largely unimpressed with the season overall and thinks Blizzard needs to change its approach to seasons.
“I think it adds dopamine,” Raxxanterax said.
Season 14 is still in its early stages, so it’s possible Blizzard could adjust drop rates or make changes to Mythic crafting to elminate some of the pain points players have complained about before the end of the season. Even if the new season isn’t being received well overall, there have been some universally good changes, like fixes to make Diablo 4’s worst grind a lot easier.
The summer is heating up, and this month’s invitation to cool off at the movie theater comes with a complete menu of indie films – truly something for anyone (though maybe not for everyone). Dance with the hobbyhorses, match wits with 16-century samurai, or have your world rocked by a sexually adventurous boss lady, but don’t stay home and complain there’s nothing to watch.
NIGHT NURSE
When You Can Watch: June 30
Where You Can Watch: Film Independent Presents
Writer/Director: Georgia Bernstein
Cast: Cemre Paksoy, Bruce McKenzie, Eleonore Hendricks
Why We’re Excited: A dark psychological thriller set in a luxury retirement community, where a young nurse named Eleni (Cemre Paksoy, The Affair) is hired for in-home care. Her enigmatic patient, Douglas (Bruce McKenzie, House) is a life-long con artist, running a racket on his elderly neighbors. Eleni is drawn into the scheme, taken with Douglas and his magnetic confidence. As another nurse (Eleonore Hendricks, Uncut Gems) joins the game of deluding senior citizens into believing she’s their granddaughter in distress, they form a cultish throuple around Douglas’s mysteriously failing health and suburban crime spree. “I wanted the film to explore that emotional space where being needed can feel like purpose,” filmmaker Georgia Bernstein told The Film Stage, “and how that devotion can gradually become destructive.”
YOUNG WASHINGTON
When You Can Watch: July 3
Where You Can Watch: Theaters
Director: Jon Erwin
Stars: Mary-Louise Parker, William Franklyn-Miller, Ben Kingsley
Why We’re Excited: The latest blockbuster biopic takes on an intimidating figure in world history: George Washington, but not as the future president of the as-yet-unformed United States. Starring British actor William Franklyn-Miller (Dongji Rescue), we meet George as a preteen mourning the death of his father, then follow his coming of age as a wannabe Brit. Shunned by the society to which he aspires, the ambitious young colonist resolutely seeks out opportunities to distinguish himself, courting the hand of a lady (hint: not Martha) and volunteering for a dodgy mission with the Virginia militia led by Robert Dinwiddie (Spirit Award nominee Ben Kingsley, House of Sand and Fog). In contrast to the laudatory writings of Washington in his time, filmmaker Jon Erwin (I Can Only Imagine) attempts to showcase the making of a resilient leader by depicting a Washington who wavers, who lies, and who even fails – but tries again.
THEY FIGHT
When You Can Watch: July 7
Where You Can Watch: Film Independent Presents
Director: Sheldon Candis
Stars: Wendell Pierce, André Holland, Samira Wiley
Why We’re Excited: The setting for this boxing drama is Southeast Washington, DC, where Slim (Spirit Award nominee Wendell Pierce, Burning Cane) runs a youth recreation center. Fresh out of prison and eager to prove himself to the mother of his child, Walt (André Holland, Moonlight) returns to his old mentor and is given a chance to coach boxing, a sport he used to love. There he encounters neighborhood teens fighting their own trials in life: one parent’s terminal illness and another’s absenteeism. Through the medium of boxing, the underdog bunch rises to their collective challenges while Walt seeks a job and a place to live, struggling to maintain his 3-year sobriety when back pain tests his resolve. Based on a true story and a 2018 documentary with the same name.
READING LOLITA IN TEHRAN
When You Can Watch: July 10
Where You Can Watch:
Director: Eran Riklis
Stars: Golshifteh Farahani, Zar Amir Ebrahimi, Mina Kavani
Why We’re Excited: Israeli filmmaker Eran Riklis (Lemon Tree) brings to the screen 24 years of work, academic debate and resistance from Azar Nafisi’s 2003 memoir. The Iranian-American began teaching in Tehran after the 1979 revolution promised a whole new world for Iranians in the diaspora who came back home. Azar (played by Golshifteh Farahani, Paterson) teaches literature in a prestigious university, encouraging spirited discussion among her students. As strong religious views begin to take effect, the class is first segregated to women-only, then mandated to embrace conservative clothing, until Azar’s curriculum itself is protested in the street. Navigating these changes in her private life as well as her classroom, Azar fights for the freedom to embrace the uncomfortable conversations that come after reading books like Lolita.
FORBIDDEN FRUITS
When You Can Watch: July 15
Where You Can Watch: Film Independent Presents
Director: Meredith Alloway
Stars: Lili Reinhart, Jordan Duarte, Victoria Pedretti
Why We’re Excited: The girls working at this mall fashion store are more than just a clique – they’re a coven. Of witches? Perhaps. This witty dark comedy pairs a unique twist on feminist ideals with frolicsome mall set pieces: inducting a new member from the pretzel stand, sleeping with guys from the food court, and using the dressing room as a confessional (unburdening themselves to the spirit of Marilyn Monroe, of course). But more than a pop teenage girl world, this cult of femininity meets its match when they put a hex on someone – and it works. Shaken by the potential of what they’ve done, the group turns a questioning eye on its leader, Apple (Lili Reinhart, Riverdale). Is she the real toxic influence, or are they all under a spell? Executive produced by Film Independent member Randy Manis.
Why We’re Excited: Maybe some of us just learned today that hobbyhorsing is a gymnastic sport. Like, the toy horse on a stick. For Margarita (Lillian Carrier, Everything’s Gonna Be Okay) it’s the thing she loves to do, showcasing traditional equestrian moves without the benefit of a live horse. Margarita is 22 and autistic, pushed into an escalated path to self-sufficiency in the wake of a cancer diagnosis for her mom, Sandy (Gretchen Mol, Boardwalk Empire). Margarita lands a job at the Halloween store, but would rather break into her neighbor’s house to get her hands on the coveted hobbyhorse. That’s how she meets her coach (Jerod Haynes, The Greatest) and joins his competitive hobbyhorse dance team. Film Independent member Alix Madigan is a Producer.
HADESTOWN: THE MUSICAL
When You Can Watch: July 24
Where You Can Watch: Theaters
Director: Brett Sullivan
Stars: Reeve Carney, Eva Noblezada, Patrick Page
Why We’re Excited: Anaïs Mitchell’s concept album turned Grammy- and Tony-winning stage production is captured on screen and showing in theaters, exploring the Greek myths of Orpheus and Eurydice in a New Orleans jazz club. Under the direction of veteran Brett Sullivan, who has notably captured prominent musicals like Newsies and Billy Elliot for the screen, audiences get a front row seat to the doomed love stories that intertwine through music, schemes and smoke. Orpheus (Reeve Carney, House of Gucci) is young and poor, writing songs to incite the return of spring. When he falls hard for Eurydice (Eva Noblezada, Yellow Rose), she seems to return his affection. But the world is cold, and when the offer of protection and warmth comes from Hades (Patrick Page, In the Heights), Eurydice follows him underground – prompting Orpheus to go after her. Executive Produced by Film Independent member Tyler DiNapoli.
I WANT YOUR SEX
When You Can Watch: July 31
Where You Can Watch: Theaters
Director: Gregg Araki
Stars: Olivia Wilde, Cooper Hoffman, Daveed Diggs
Why We’re Excited: Spirit Award winner Gregg Araki (Mysterious Skin) offers a love letter to Gen Z in the form of this dark comedy sexploration of power on multiple levels. “Gen Z doesn’t have sex anymore,” Araki reflected in an i-D interview. “In the times we live in, people are kind of afraid to make mistakes.” The adventures commence when Elliot (Cooper Hoffman from the Spirit Award-winning The Long Walk) lands a coveted job working for Erika Tracy (Spirit Award winner Olivia Wilde, Don’t Worry Darling). Working for the provocative, demanding artist and iconic cultural figure is less than thrilling, but when she singles him out for a wild physical experience without strings, it seems like a dream come true – at first. But the consequences of Elliot’s youthful fantasy rapidly kick him into a grownup nightmare that forces him to make some decisions.
Why We’re Excited: We love a good murder mystery, and this looks like a great one – set in a Japanese castle 500 years ago (the Warring States period). It’s a game of cat and mouse with the titular samurai – Lord Murashige Araki (Masahiro Motoki, Departures) – keeping his prisoner alive for consultations about a series of unexplained deaths in the castle while under siege by a warlord named Oda. As a war strategist, Kanbei Kuroda (Masaki Suda, Cloud) offers insight while he is kept chained in the castle dungeon. Based on Honobu Yonezawa’s 2021 novel, the two match wits to uncover the truth while attempting to pursue their own distinct ambitions, and Lord Araki’s departure from samurai culture (keeping Kuroda alive rather than immediately beheading him) sets the stage for an unpredictable relationship.
PROGRAMMER’S PICK: SELEGNA SOL
When You Can Watch: July 1
Where You Can Watch: Film Independent Presents
Director: Anouk Moyaux
Why We’re Excited: From Film Independent Lead Programmer Jenn Wilson–
Selegna Sol is the debut feature of French director, Anouk Moyaux. It premiered at Cinéma du Réel in 2025 and had its US Premiere in the 2026 Los Angeles Festival of Movies. The film centers on a Mexican immigrant named Gibran who has lived and worked in the US long enough to finally be invited to become a US citizen. Even though he loves hanging out with his friends, he hates that he has to spend most of his life working to cover just basic living expenses in the US. Ultimately, he feels like returning to Tecate, Mexico, where he was born, might be a better lifestyle for him. The contemplation of work/life balance and how, for the most part, no one really has an appropriate amount of time for themselves is a concern that’s felt heavily here, but the film also does spend a lot of time with Gibran and his friends and emphasizes that it’s still possible to find joy in the shared moments we have with others and the small things in life. The film is beautifully shot in 16mm and has a terrific observational style, a loving ode to locales in Boyle Heights and Los Angeles’ East side.
KEY
Film Independent Fellow or Member
Film Independent Presents Screening, Q&A
Microbudget
Filmmaker or Lead Characters of Color
Film Independent Spirit Award Winner or Nominee
Female Filmmaker
LGBT Filmmaker or Lead LGBT Characters
First-time Filmmaker
LA Film Festival Winner or Nominee
For over 40 years, Film Independent has helped filmmakers get their projects made and seen. The nonprofit organization’s core mission is to champion creative independence in visual storytelling in all its forms, and to foster a culture of inclusion. We support a global community of artists and audiences who embody diversity, innovation, curiosity and uniqueness of vision. To support our mission with a donation, click here.
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The Muhammad Ali series “The Greatest” will premiere Wednesday, November 4 on Prime Video, with widow Lonnie Ali executive producing the first authorized scripted series about Ali’s life.
Helming from showrunner Ben Watkins (“Cross”) and Michael B. Jordan’s banner Outlier Society, the new series follows Cassius Clay/Ali’s (Jaalen Best) journey from boxing champion to humanitarian. Alongside the release date announcement, a new teaser shows intense footage of Ali training with the goal of becoming the youngest heavyweight champion in boxing.
Best, who previously appeared in “All American: Homecoming” and “Magnum P.I.,” is joined in the cast by Michael Ealy (“Barbershop”), Dana Gourrier (“Kidnap”), Amin Joseph (“Snowfall”) and Kai Parham (“Colin in Black & White”). In addition to Watkins’ Blue Monday Productions banner and Jordan’s Outlier Society banner, “The Greatest” is produced by Authentic Studios, Roc Nation, Polygram Entertainment and Grace: A Storytelling Company.
Watkins executive produces. For Outlier Society, Elizabeth Raposo and Stefano Agosto executive produce; for Authentic, Corey Salter, Marc Rosen and Matthew Gross executive produce; for Roc Nation, Aiyana White, Jeff Augustin and Owen Shiflett executive produce; for Polygram Entertainment, Michele Anthony, Boyd Muir and David Blackman executive produce; and for Grace: A Storytelling Company, Josh Wakely executive produces.
Check out the first look teaser below.
SPECIALS
Jerry O’Connell is joining “Big Brother: Unlocked” as a celebrity panelist alongside Season 16 winner Derrick Levasseur and Season 24 winner Taylor Hale.
The news comes as “Big Brother” gears up for its 28th season, which will premiere Thursday, July 9. “Unlocked” returns for its second season with bonus episodes that break down gameplay throughout the season. “The premiere episode launches a new interactive fan vote that will have a major impact on the game and kicks off the season’s live studio audience experience, a new addition that will continue throughout the summer,” an official statement teases.
“‘Big Brother’ is my summer and rolls into my fall too. I’m already watching on Wednesdays, Thursdays and Sundays, so the fact that CBS is now payingme to do it is kind of amazing,” O’Connell said in a statement. “This is what we call in showbiz a dream gig. I’ll do my best to be the voice of the fans, but as Julie says, expect the unexpected.”
O’Connell is known for his roles in “Stand by Me,” “Sliders,” “Scream 2” and “Kangaroo Jack.” “Big Brother: Unlocked” premieres Friday, July 10 on CBS and Paramount+.
EXECUTIVES
Comic Relief has appointed three new members to its Board of Directors, as well as a new vice chairman.
Versant president of entertainment Val Boreland, Google managing director of global apps partnerships Tom Gorke and Bain Capital partner David Spiller will join the public charity, which aims to fight childhood poverty with comedy.
International at A+E Global Media group managing director Patrick Vien has also been appointed to the vice chairman of the Board of Directors, which he has served on since late 2025. The Comic Relief board is also led by Randy Newcomb, the senior advisor at The Omidyar Group.
The board is responsible for overseeing Comic Relief’s strategic and financial health while also approving the distribution of grants.
PROGRAMMING
Paramount+ has officially greenlit a docuseries on the Texas Tech University Red Raiders football team.
The logline states, “Set in the intense world of college football, the docuseries follows the Texas Tech Red Raiders as Head Coach Joey McGuire builds a new team identity during a demanding offseason.”
The four-episode series, which is currently untitled, has been in production since January 2026 and is expected to release before this year’s college football season.
“This has proven to be a landscape-altering offseason and we’ve been lucky to have a front row seat,” said Greg Groggel, SVP Unscripted, Skydance Sports, in a statement. “This series will present fans and viewers with an unprecedented window into everything that is defining college football today.”
Micah Brown is director and showrunner, and the docuseries is produced by Skydance Sports and Second Wind Creative.
“This documentary will give the Red Raider Nation an inside look at everything that makes Texas Tech Athletics special, the people, the passion and the relentless pursuit of excellence that defines this program every day,” said Kirby Horcutt, Director of Athletics at Texas Tech University. “We are incredibly proud that Paramount+ selected Texas Tech for a groundbreaking documentary with rare access.”
“This Is UFC: McGregor vs. Holloway” will air on CBS on Friday, July 10 at 6 p.m. PT, setting the stage for the main fight on Saturday.
The one-hour special, which will be available to stream on Paramount+ the following day, will feature a live weigh-in with both Conor McGregor and Max Holloway, as well as co-main event competitors Paddy Pimblett and Benoit Saint-Denis. McGregor and Holloway will also be giving interviews, and Dana White will make an appearance.
“UFC 329: McGregor vs. Holloway 2” streams exclusively on Paramount+ on Saturday, July 11, with the main card starting at 6 p.m. PT. Preliminary matches start at 4 p.m. PT, and early prelims begin at 2 p.m. PT.
Former two-division UFC champion McGregor and former featherweight titleholder Holloway will face each other again for the first time in 13 years, where McGregor won the match.
LiveRamp, which has for years helped brands, publishers, and platforms connect and activate customer data, is launching its first brand campaign on connected TV. The message, one of trust and flexibility, arrives amid a pending Publicis takeover that has the ad industry questioning whether the platform can remain neutral.
The adtech company will air 15- and 30-second ads for its services on Netflix for the next five months, targeting executives with a promise to help marketers connect data sources seamlessly and “deliver experiences customers want, maximize marketing returns, and drive more revenue.”
The core message: Marketers can rely on LiveRamp in the era of AI. “AI is only as valuable as the data that it sits upon, and only LiveRamp has the foundation in data ethics, identity, cleanroom technologies, along with our broad network, which together enable marketers to scale AI-powered workflows and business performance in a way that’s durable and defensible and secure,” the company’s chief marketer Jessica Shapiro said.
Trust is likely to be a valuable differentiator in light of increasing automation in the industry. When marketers start handing the keys over to autonomous systems to handle campaign planning, audience creation, measurement, and optimization, quality and governance of the underlying datasets will only become more important.
The promise, right now, is also an opportunistic one for LiveRamp. The company’s claims of neutrality are under heightened scrutiny after French advertising giant Publicis in May announced plans to acquire the platform for $2.2 billion. Since then, some ad industry leaders have not just expressed concern about giving a competitor access to their identity and data infrastructure, but have said outright that they will drop the platform. Among them are Omnicom CEO John Wren. Meanwhile, former Dentsu exec Doug Ray told ADWEEK recently that, as with IPG’s 2018 takeover of Acxiom, there will be a “slow erosion” of clients off LiveRamp.
The new campaign could help do damage control on the perception of LiveRamp’s neutrality and trustworthiness in the market. But the campaign is not a direct answer to concerns about Publicis’ takeover of the platform; it was in the works before news of the acquisition broke and is designed first and foremost, Shapiro said, as a “response to the acceleration of AI.” She added: “It’s, in general, the message people need to hear, and it reinforces what we stand for in terms of neutrality,” Shapiro said. “Being trustworthy and making sure that the data is secure is something that is in the roots of our company.”
Asked whether LiveRamp expects to see Publicis competitors like WPP, Omnicom, and Dentsu using its platform in a few years’ time, Shapiro said: “We maintain that we will be neutral, and we have always been neutral and worked with companies and agencies across the board. And we’re not expecting a change on that front.”
Nettikasinoiden maksutavat: nopeus ja turvallisuus
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Uudet nettikasinot tuovat mukanaan innovatiivisia pelejä ja houkuttelevia kampanjoita. Pelaajat voivat hyötyä uusista bonuksista, jotka tekevät pelaamisesta entistä houkuttelevampaa. Erityisesti ilmaiskierrokset ovat loistava tapa kokeilla uusia pelejä ilman taloudellista riskiä. Muista tarkistaa uusimmat tarjoukset ja hyödynnä ne ajoissa.
Uuset nettikasinot suunnittelevat usein ainutlaatuisia kampanjoita ja tapahtumia pelaajille. Näiden lisäksi ne tarjoavat raikasta sisältöä ja uusia pelejä, mikä tekee pelaamisesta entistä mielenkiintoisempaa. Aina kannattaa pitää silmällä uusia kasinoita ja niiden tarjontaa.
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Peli- ja talletusvaihtoehtojen monipuolisuus on tärkeä tekijä nettikasinoilla. Erilaiset maksutavat, kuten verkkopankki, luottokortit ja e-lompakot, tarjoavat pelaajille joustavuutta ja turvallisuutta. Valitse sinulle sopivin maksutapa, jotta voit nauttia häiriöittä pelaamisesta.
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Voitot Dreamz Casinolla voivat olla elämänmuuttavia, ja kasino tarjoaa pelaajille erinomaiset mahdollisuudet suurten voittojen saamiseen. Erilaiset pelit ja niiden tarjoamat mahdollisuudet rikastuttavat pelikokemusta, ja pelaajat voivat nauttia siitä, että heillä on mahdollisuus voittaa enemmän.
Yhteisöllisyys on keskeinen osa Dreamz Casinon tarjontaa. Pelaajat voivat liittyä turnauksiin ja kilpailuihin, joissa he voivat voittaa hienoja palkintoja. Tämä tekee pelaamisesta entistä jännittävämpää ja tarjoaa mahdollisuuden tavata muita pelaajia. Dreamz Casino on paikka, jossa yhteisö kukoistaa.
Käyttäjäystävällinen asiakastuki, joka on aina valmis auttamaan.
Erityiset tarjoukset ja kampanjat, jotka vaihtelevat viikoittain.
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Tutustu nettikasinoiden maailmaan
Erilaiset maksuvaihtoehdot ovat saatavilla nettikasinoilla, mikä tekee tallettamisesta ja nostamisesta helppoa. Pelaajat voivat valita perinteisten pankkisiirtojen lisäksi myös moderneja vaihtoehtoja, kuten kryptovaluuttoja. Tärkeää on valita itselle parhaiten sopiva maksutapa.
Nettikasinoilla on usein erilaisia asiantuntevia arvioita ja arvosteluja, jotka auttavat pelaajia tekemään oikean valinnan. Nämä arvostelut tarjoavat tietoa kasinoiden luotettavuudesta, pelivalikoimasta ja asiakaspalvelusta, mikä on tärkeää pelaajille.
Suomalaiset nettikasinot ovat tunnettuja luotettavuudestaan ja turvallisuudestaan. Kun pelaat lisensoidulla ja säännellyllä kasinolla, voit olla varma, että pelit ovat reiluja ja voitot maksetaan ajallaan. Luotettavuus on erityisen tärkeää, kun kyse on omasta rahasta ja henkilökohtaisista tiedoista.
Kuinka nettikasinoiden käyttäjäarvostelut vaikuttavat luottamukseen?
Vertailtaessa eri kasinoita, kannattaa kiinnittää huomiota myös asiakaspalvelun saatavuuteen. Hyvä asiakaspalvelu voi ratkaista ongelmat nopeasti ja tehokkaasti. Suomalaiset nettikasinot, jotka tarjoavat asiakaspalvelua suomeksi, ovat erityisen houkuttelevia pelaajille.
Luotettavat nettikasinot tarjoavat pelaajilleen mahdollisuuden pelata erilaisissa ympäristöissä, kuten live-kasinoissa. Tämä lisää pelikokemuksen syvyyttä ja tekee pelaamisesta entistä mielenkiintoisempaa.
Luotettavat nettikasinot panostavat myös pelaajien turvallisuuteen ja tietosuojaan. Ennen kuin kirjaudut sisään, varmista, että kasino käyttää nykyaikaisia salausmenetelmiä. Tällaiset toimenpiteet suojaavat henkilökohtaisia tietojasi ja taloudellisia tietojasi.
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Pelaajien tulisi myös tarkkailla nettikasinon tarjoamien promootioiden tiheyttä. Aktiiviset kasinot tarjoavat säännöllisesti uusia kampanjoita ja etuja. Tämä voi lisätä pelikokemuksen jännitystä ja tuoda lisää mahdollisuuksia voittaa.
Maksutavat ovat toinen tärkeä arviointikriteeri. Pelaajat arvostavat nopeita ja turvallisia talletuksia sekä kotiutuksia. Varmista, että kasino tarjoaa sinulle sopivia maksuvaihtoehtoja, kuten verkkopankki, luottokortit tai e-lompakot.
Kuinka bonusten avulla voi parantaa pelaamistaitoja?
Nettikasinoiden bonukset voivat vaihdella suuresti. Joillakin alustoilla saatat nähdä suuria tervetuliaisbonuksia, kun taas toiset tarjoavat pieniä, mutta säännöllisiä etuja. Tämän vuoksi on tärkeää vertailla eri nettikasinoita ja niiden tarjoamia etuja.
Tervetuliaisbonukset ovat erinomainen tapa aloittaa pelaaminen uudella nettikasinolla. Ne voivat sisältää sekä talletusbonuksia että ilmaiskierroksia, jotka tarjoavat hyviä mahdollisuuksia voittaa alussa. Tämä on erityisen houkuttelevaa uusille pelaajille, jotka haluavat kokeilla onneaan ilman suuria taloudellisia riskejä.
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Big Brother Season 28 is keeping the surprises coming ahead of its arrival on the 2026 TV schedule. We have new news that the cast reveal is imminent, and what’s more, the CBS reality series is offering another way to watch live feeds without the use of a Paramount+ subscription. So what’s going on, and how is YouTube involved?
A new release from Big Brother has confirmed the cast reveal will be coming on Tuesday, July 7th at 5 p.m. ET. In an unprecedented Big Brother: Broveal, however, the new cast will be revealed via a video hosted by Julie Chen Moonves, as she also gives a tour of the Season 28 house. Additionally, the live feeds will be available on YouTube, though it’ll be a bit different for those used to using Paramount+ or the ad-supported option on Pluto TV.
YouTube Will Feature Big Brother’s Live Feeds (But There’s A Catch)
For the first time, YouTube will be a new home for Big Brother Season 28’s live feeds. There is a catch, however, in that these feeds will only be available for a limited time. Users will be able to immediately access them after episodes of the show as well as the new and improved Big Brother: Unlocked. They’ll only be available for a limited time, however, so anyone who gets hooked will eventually need to get Paramount+ or Pluto TV.
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The interesting part of this is that it says the feeds will go live after every episode of Big Brother. As someone who lives in the Eastern Time Zone, I’m used to the live feeds being down on Thursdays until the live-eviction episode airs on the West Coast. Could this mean YouTube will have immediate access to the feeds on Thursdays? If so, I would love that, but we’ll have to see if that’s the case.
I’m Hype For A Cast Reveal Video, And Hope It Continues In Future Seasons
I do have to say that while I’m used to the usual method of the cast list being released in a post, I’m totally on board with the idea of seeing it in a more produced fashion. It helps build hype before the premiere, which will just be a little over forty-eight hours later on CBS.
Right now, my only disappointment is that we didn’t get to see a live move-in, and that we’ll see an edited rundown of the opening hours of Houseguests joining Big Brother Season 28. The good news is we already have confirmation we’ll be seeing the live feeds after the first episode of BB: Unlocked on Friday, which is better than waiting all the way until Sunday when the veto competition is finished. I know many fans don’t care, but as someone who loves the live feeds, this is important!
Almost all surprises for this season are revealed, but I hope the final video will give us what remains. In addition to the cast, we still have yet to see the Have-Not room, as well as the HOH bedroom. I always love to see how the Have-Not room stacks up against the past bad ones, and given we’ve waited so long, I have to think this one could be a doozy.
Your Daily Blend of Entertainment News
As mentioned, tune in for the Big Brother Season 28 cast on Tuesday, July 7th at 5:00 p.m. ET. Then we have the 90-minute premiere on CBS on July 9th, and the game will be officially underway!
“Big Brother” is embracing YouTube in a big way this season. For the first time, the “Big Brother” houseguests for Season 28 will be revealed via a YouTube livestream tomorrow starting at noon ET / 9 a.m. PT. Previously, houseguests have been announced via social media or through press releases.
The longstanding CBS franchise will continue to use YouTube throughout the season. Friday marks the launch of this season’s 24/7 “Big Brother” live feeds, which will be available to watch on Paramount+ and Pluto starting at 9 p.m. ET / 6 p.m. PT. For the first time ever, the feeds will also be available to watch live on YouTube for limited periods of time following each episode throughout the summer. Moments from “Big Brother” and “Big Brother: Unlocked” will also be available to YouTube viewers for a limited time.
Subscribers to Paramount+ and Pluto will continue to have exclusive 24/7 access to the episodes as well as the “Big Brother” live feeds.
The YouTube waiting room for Season 28’s casting announcement is already open. Tomorrow, host Julie Chen Moonves will give viewers an inside look into this season’s “Time Trip”-themed house. This season as well as the house will be playing with various decades as it challenges contestants with throwback competitions and a newly redesigned house inspired by various decades.
“Big Brother” Season 28 will officially debut with a 90-minute premiere on Thursday, July 9 at 8 p.m. ET/PT. That will be followed by the premiere of “Big Brother: Unlocked” on Friday at 8 p.m. ET/PT. Finally, a 90-minute episode on Sunday at 8 p.m. ET/PT will conclude the show’s opening weekend.
Later this summer, “Big Brother” is expected to make TV history as the first primetime series to hit 1,000 original episodes. It’s a feat that’s fitting for the CBS juggernaut. Not only does “Big Brother” have a consistent fan following, but since its debut in 2000, the series has helped challenge and define the reality TV genre as a whole. More aggressively embracing YouTube falls in line with the franchise’s innovative history.
Hey there, you look a little lost. Do you need a map? Welcome to the official guide for Phoebe Bridgers’ Lost Weekend, her first solo album in six years. The singer-songwriter announced her long-awaited follow-up to 2020’s Punisher last month, shortly after a series of intimate pop-up shows across the country. She kicked the trek off in a Roswell, New Mexico club on May 8, and concluded with a massive sold-out show at New York’s Madison Square Garden on June 4. And like her upcoming fall tour, every show was phone-free, making her return all the more magical — much like her medieval-coded video for the fantastic new single “Lost Boys.“
Lost Weekend arrives on Aug. 14, three days before the singer-songwriter’s 32nd birthday. But we’re celebrating early: Here’s everything we know about the upcoming album.
It’s Her Longest Album Yet
According to the album pre-save link on Bridgers’ website, Lost Weekend boasts 16 tracks, making it her most expansive album yet — longer than her previous two solo albums, or her records with boygenius and Better Oblivion Community Center. And in the same way Olivia Rodrigo broke her four-letter album title streak with the recent You Seem Pretty Sad For a Girl So in Love, Bridgers is changing it up, too: Stranger in the Alps and Punisher both featured exactly 11 songs, making this her first album to deviate.
She Has New Collaborators, Including Jack Antonoff
“Lost Boys” was co-produced by Bridgers and her longtime collaborators Tony Berg and Ethan Gruska, and her usual crew — Christian Lee Hutson, Harrison Whitford, Marshall Vore, and others — play a variety of instruments. Bright Eyes members Mike Mogis and Nate Walcott also appear, with Mogis mixing and Walcott contributing trumpet.
But the single features plenty of new faces, too: Jack Antonoff assisted in production, and is credited on drums and drum programming, electric guitar, synthesizers, and the vocoder that opens the track. Comedian Bo Burnham is listed as a co-writer, alongside Alex G, the Philadelphia singer-songwriter who also contributed “drums and voice memo.” Hopefully, these new collaborators appear on other Lost Weekend tracks as well.
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The Boys Are Back in Town
Bridgers’ boygenius bandmates Julien Baker and Lucy Dacus contributed vocals on “Lost Boys,” which continues the supergroup’s tradition of appearing on each other’s solo albums. “We’re obsessed with each other,” Bridgers said in boygenius’ Rolling Stone cover story. “I like myself better around them.”
The Tour Flyer Was Shot by Gregory Crewdson
Fine-art photographer Gregory Crewdson — known for his spooky suburban shots that involve roughly the same amount of personnel as a film set — doesn’t do a lot of editorial or commercial work, but he made an exception and shot Bridgers’ tour flyer, for her first official solo run since 2023. In an exclusive interview with Rolling Stone, Crewdson told us why he took the gig, explaining he saw a kinship between his aesthetic and Bridgers’. “There was an alliance there, with a sense of mystery and loneliness, and wanting to make connections about landscape and all that,” he said. “It’s a coming together between Phoebe’s world and my world.”
What About Those Puzzle Pieces?
At Bridgers’ pop-up shows earlier this summer, fans kept finding puzzle pieces in Yondr patches that held their devices, and began assembling them online. They were initially rumored to make up the album cover, but that proved untrue when Bridgers formally announced Lost Weekend and posted the official glitchy cover art (that was shot by Olof Grind, who also captured Punisher). However, pre-order links for the vinyl editions list that each copy of the two-LP set will come with a “20-page full color lyric booklet,” similar to the one from Punisher, which contained illustrations by Chris Riddell. If we’re lucky, the artwork featured on the puzzle pieces will land on the Lost Weekend lyric booklet.
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She’s Continuing Her Space Theme
Bridgers has a lifelong love of aliens and outer space. Just listen to the Punisher tracks “Moon Song” or “Chinese Satellite,” or recall her signature rocket-ship bedsheets, which she eventually sewed together to fit her king-size bed. Her locations for the pop-up shows seemed random at first, until internet sleuths detected that she chose to play in towns with extraterrestrial history. Plus, space posters were featured onstage at each concert.
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The space theme is also all over the Lost Weekend merch, from a new t-shirt featuring possible lyrics (“Now I can’t see any stars in the sky/When a dream comes true, a fantasy dies”) to the many vinyl variants of the record, all astronomy-coded (“Enceladus Geysers,” “Neptune Winds,” and so on). While mercury is in retrograde, Bridgers has got you covered.
Wait, Is That a John Lennon Reference?
It’s anybody’s guess what Lost Weekend might be named after, but the title could refer to John Lennon’s infamous “Lost Weekend” period, a.k.a. the former Beatle’s debauched 18-month separation from his wife, Yoko Ono, that began in 1973. Bridgers sang about Lennon on “Moon Song,” and spoke to Rolling Stone about him at the time. “Easily best Beatle,” she said. “He’s been such an icon for so many people who are my heroes, like Elliott Smith and Daniel Johnston.”
“It wasn’t the diagnosis or the condition itself that was the worst part, but how society treated them afterwards.”
This harsh yet hopeful realisation is the driving force behind Human Forever, a cinematic event that has transformed from a groundbreaking documentary into a global movement. Spanning screenings for world leaders and adoption by over 43 universities worldwide, the film challenges us to shift our mindset from managing an illness to preserving human connection.
In this exclusive Q&A, the filmmaker pulls back the curtain on the creative choices that turned this documentary into a box office sensation, what real-world “impact” actually looks like on the ground, and what we can expect from the highly anticipated sequel, There Is No Society.
How do you strike the delicate balance between showing the raw, challenging reality of dementia and maintaining enough “accessibility” so that the audience remains engaged rather than overwhelmed?
The main aim of Human Forever was to put a more nuanced story on this theme to the world stage, because that was precisely what I felt was missing. During years of research, I saw nothing but stories that focused on loss and what people could no longer do. Conversely, the people I spoke to told me that it wasn’t the diagnosis or the condition itself that was the worst part, but how society treated them afterwards.
I found that to be a harsh yet hopeful conclusion, because it meant that the onus is on us as a society, to change. The only way to get people thinking about this was through a very human and personal approach to the subject, where we don’t focus on the illness or the patient, but on seeing the person behind it. That is what moves people, gives them hope, and keeps audiences engaged.
What specific creative choices did you make to ensure Human Forever transitioned from a standard documentary into a record-breaking “human interest” cinematic event?
Right from the very start, I told Teun (the film’s protagonist) that we had to make dementia ‘sexy’ – by which I don’t mean the condition itself, but rather how we approach the subject. That was the biggest challenge, in fact; everyone told me, to not even go near dementia as a subject because ‘nobody wants to see it’ and that everyone’s so afraid of it.
That’s precisely why I decided to tell the story through the eyes of a young boy who’s worried about the future and sets out in search of hopeful answers. I made the documentary cinematic, paying a great deal of attention to the composition of the score. The film almost feels like a Hollywood-style fiction film. I don’t like being pigeonholed myself, and I certainly don’t believe in doing the same to films.
To build this feeling of an ‘event’, we needed to build a broad audience base at an earlier stage, allowing us to garner interest and engagement before the film was even released. At the time of the films original theatrical release in the Netherlands, we were slotted in between Barbie and Oppenheimer – not exactly minor films – but thanks to the way the documentary grew organically and generated strong word of mouth, Human Forever remained at the top of box office for weeks on end.
The film has been screened for governments and at the G20 summit. When you are in a room with policymakers like Mark Rutte, what is the primary “call to action” you hope they take away from the film that they wouldn’t get from a standard policy briefing?
We need to have a more honest conversation about what a good quality of life means and looks like for those living with dementia, and we need to start encouraging a greater sense of responsibility and duty of care within society. This means that the government, the sector and residents/families all have a responsibility in achieving this quality of life.
Nobody wants their life to be taken over and organised on the basis of a label; everyone wants to lead a ‘normal’ life for as long as possible, whilst continuing to be part of a community. That is the mindset shift we have shared with world leaders and which we hope they embrace.
Insights from the film are now being used at institutions like Yale and Oxford. How are these universities utilising the film, is it being used to teach medical ethics, sociology, or perhaps the power of visual communication itself?
At its core, Human Forever is not just about dementia, but much more about how we view one another in society; that is why the film has already been adopted by more than 43 leading universities worldwide, with its use and the training programmes varying considerably.
Many universities have incorporated the film into their curriculum for courses such as Public Health, Sociology and Anthropology. Others have added it to their libraries for use across all disciplines. The film is widely used as a catalyst for lectures, dialogues and discussions about how we view one another in society and what we should change.
I’m so proud of this, and we’ve worked very hard over the past few years to make it happen. Making an impact is great but ensuring that this impact is sustainable for future generations is, to me, the greatest reward of all.
Teun Toebes’ approach of living in a care home is incredibly immersive. How did his “first-hand insight” as a resident-nurse fundamentally change the way you chose to frame the shots and the pacing of the film?
I worked part-time in a care home for just over five years whilst I was at university, which led me, as a filmmaker, to make my first documentary in 2018 about this parallel universe that you step into as an outsider. At the time, I was so shocked by what I saw and, above all, by the fact that we didn’t talk about it.
It was – and still is – often seen as only a problem for elderly people, which is a complete misconception. Old age will hopefully come for us all, so if we want to change anything, we need to start now. With that in mind, I set to work using my ‘young’ perspective to change the narrative surrounding dementia.
When I met Teun, I immediately realised he was the brilliant anchor through which I could tell this story. He already knew the world so well as a nurse, and in fully immersing himself and being exceptionally observant of his surroundings he was able to act as a mirror for the viewer. I deliberately emphasised this disarming aspect very strongly in the framing, so that you really get the feeling of discovering ‘his’ world in an authentic and vulnerable way.
Beyond the box office numbers and the 80,000 cinemagoers, what does “measurable real-world impact” look like to you on a day-to-day basis in the care industry?
‘Impact’ is such a buzzword at the moment, but the bigger question here is: what constitutes ‘success’? And shouldn’t we be challenging this concept all over again? Is it about golden statuettes, visitor numbers or changes in real-world practice? I think the vast majority are currently focusing mainly on the first two, because they catch the eye and sell the dream of ‘making it’. Personally, I see them more as tools that help us achieve the latter.
Human Forever has now been showing in more than 33 countries around the world, reaching millions of people and is being used by governments to shape policy changes. This has sparked discussions about opening up closed wards and reorganising care pathways, along with how we can promote inclusivity towards individuals and family members affected by these issues.
So yes, as a storyteller, this is what success means to me; that is why I get up every day with such joy – to help foster these types of connections within society.
Human II Forever shifts focus toward loneliness and isolation. What did you learn during the filming of the first documentary that convinced you these were the specific “care demands” that needed to be addressed next?
We have a new title for the sequel: There Is No Society, after Margaret Thatcher’s famous remark, in which she questions whether society actually exists or whether we are merely the sum of individuals, each bearing their own responsibility. The paradox of her statement forms the starting point, yet signals that everyone bears a responsibility for guaranteeing a better quality of life and that we should not look solely to governments for this.
The film thus becomes an in-depth exploration of the importance of communities. We ask how good communities are structured, and what can we learn from them to tackle major challenges such as loneliness, the growing demand for care, and how to improve our quality of life.
This sequel felt like such a natural step because people living with dementia had taught me that a good quality of life means having a sense of connection – something they so often lacked. This sense of belonging is rooted in communities, not in institutions, which we now often see as the solution; the film will therefore provide many new insights and food for thought.
You view documentary film as a form of modern advocacy. In an era of short-form content and “outrage culture,” why do you believe the long-form feature film remains the most effective tool for driving systemic, lasting change?
I see documentary films as an antidote to fragmentation and social scarcity. I sometimes joke with friends and colleagues that human stories are becoming the Premium brand in a digital world, and I truly believe that.
I also love shorter forms of storytelling, and that’s set to become an even bigger industry in the future. However, the sheer speed and abundance of content often leaves you emotionally numb, which is why the longer documentary format can feel like a breath of fresh air in a digital jungle.
Film isn’t dead, and documentaries certainly aren’t. We just need to start speaking the language of today again, because our film (like many others) shows that young people also crave substance and depth alongside everything else they’re being served. Is this the only way? No. But I do see a bright future ahead for more ‘premium’ human-centred documentaries.
Jonathan de Jong is a multi-award-winning documentary filmmaker and bestselling author from the Netherlands.
He is the founder of SUPER7EVEN Productions, an Amsterdam-based independent production company specialising in human interest documentaries with international reach.
SUPER7EVEN’s latest film is Human Forever, an impact-driven feature following a three-year journey across four continents and 11 countries, exploring the quality of life for people living with dementia. The film became the most-watched human interest documentary in Dutch cinema history, drawing nearly 80,000 cinemagoers in the Netherlands.
Penny Boudreau, the Nova Scotia woman convicted of second-degree murder in the death of her 12-year-old daughter, Karissa, has had her day parole extended.
For John Elliott, a retired Southwest Nova RCMP Major Crimes sergeant who worked on the original case, it’s a disappointing outcome.
“(Karissa’s) not a statistic. She was a person. She was a little girl,” Elliott said.
In January 2008, Boudreau reported her daughter missing and told police the two had an argument.
Boudreau would later appeal for information from the public in a news conference alongside police.
“Not knowing where your kids are is horrible. Karissa, we love you,” an emotional Boudreau told the reporters and cameras.
Karissa’s body was discovered along an embankment in Bridgewater, N.S., on Feb. 9, 2008, and was positioned in such a way to suggest she had been sexually assaulted.
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Elliott, alongside his team, secured a confession from Boudreau about how she strangled her daughter and disposed of her body on the banks of the LaHave River.
Boudreau would later be charged with first-degree murder in her death, but pleaded guilty to the lesser charge of second-degree murder.
Court heard that Boudreau’s former boyfriend had given her an “ultimatum” that either he or her daughter would have to go. There was a strained relationship between Karissa and her stepfather.
“Had I known this was going to happen, I would never, ever let her go back, but what parent’s going to say no you can’t go and see your mother?” Karissa’s father, Paul Boudreau, told Global News in 2009.
Mommy Don’t book author talks Penny Boudreau
Penny Boudreau was sentenced to life in prison in January 2009.
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“Penny should have spent — should be spending — more time in jail for taking that life. It was second-degree murder, but it was, it was in my mind, first-degree murder,” said Elliott.
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“There was plans to that and it was horrendous.”
Beginning in 2018, Boudreau has received escorted passes to attend church. In June 2025, she received an unescorted pass from prison for 60 days.
She was granted day parole in December 2025, which has now been extended six more months.
Elliott has been to several parole hearings, saying he “made a point of definitely being there.”
“I didn’t hear a whole lot of remorse, to be quite honest with you,” Elliott recalled.
“There was very little emphasis on the victim or the victim’s family, Karissa’s family, Karissa herself. There was very little emphasis on that. It was all about Penny and the steps she has made towards her application to get that day parole.”
In its decision, the Parole Board of Canada noted Boudreau’s crimes were violent and caused irreversible harm, not only to Karissa and her family but to the broader community.
The parole board said the crime demonstrated a significant lack of control, empathy, and consideration of the consequences of her actions.
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Despite this, the board wrote, “At the same time, Penny does not have a prior criminal history and has successfully completed correctional programming. Her ability and commitment to applying the skills needed to manage her risk factors have improved and are now assessed as good. Furthermore, actuarial data suggests she is at low risk to reoffend.”
Nova Scotia woman who killed daughter given 60-day leave from prison, but not parole
Elliott says he’s now further “disappointed for sure” to hear the parole has been extended for six months.
The decision has sparked outrage online, with the public and especially the Bridgewater community shocked.
But with this new development, Elliott hopes the public refocuses their attention on Karissa.
“There is a ripple effect. And it did affect the community in in a big way,” he said, adding Karissa’s life was cut short and her potential was taken away.
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“There was so much more, so much more she could have offered.”
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There were plenty of events to choose from to celebrate America’s 250th anniversary this 4th of July weekend, but it would appear that the Great American State Fair was not among the more popular ones. Looking at footage of the event on Monday morning, “The View” host Joy Behar joked that “Melania” saw a higher turnout.
The Great American State Fair was a Freedom250 event, billed as “modern-day World’s Fair celebrating the people, traditions, innovations, and spirit that make America the greatest nation on Earth.” But it saw struggles throughout its run, with video of the event showing an almost empty lawn in front of the main stage.
“Aw, I feel so bad. What a sad-looking turnout,” Behar joked on Monday. “More people went to see the Melania movie!”
Guest host Michelle Buteau — a last-minute fill-in on Monday after Whoopi Goldberg, Sara Haines and Ana Navarro all couldn’t make it in to host the show — joked that the State Fair’s crowd was only about 250 people — one person for each year of America’s existence.
Meanwhile, host Sunny Hostin took issue with Fox News’ coverage of the event. While broadcasting during the event, the hosts insisted that, even though the video playing behind them showed a sparse crowd, there were actually thousands of people there that viewers just apparently couldn’t see from the camera angle.
“They’re telling us not to believe our own eyes, you know? They’re still telling us not to believe our own eyes,” Hostin mourned.
For her part, host Alyssa Farah Griffin had an idea as to why exactly the turnout was so low. Part of it was the Trump administration’s involvement, making it a more partisan event, but much of it came down to having better options.
“I mean, think about it. You’re in DC — tons of people go for the Fourth of July,” she explained. “They want to see the monuments, there’s a lot to see in DC. But just being on a lawn, when it’s sweltering, an actual swamp…”
President Donald Trump said Monday he personally asked FIFA president Gianni Infantino to review the red card that was shown to U.S. men’s national team forward Folarin Balogun during Wednesday’s World Cup victory over Bosnia-Herzegovina. A review that resulted in the suspension being overturned.
FIFA announced Sunday it had suspended Balogun’s automatic one-match ban, paving the way for him to play against a powerhouse Belgium squad in Monday night’s Round of 16 match in Seattle.
“All I did was ask for a review. I didn’t say, ‘You have to do this,’” Trump told reporters during a Monday morning White House press briefing.
Trump, like many soccer fans, argued Balogun’s on-ball challenge did not warrant a red card. However, unlike nearly all soccer fans, Trump apparently had the power to influence a reversal that could have significant consequences for Monday evening’s match.
“I didn’t think it was a foul,” Trump said. “I thought it was two great athletes that crashed into each other and got entangled.”
Cruz: On behalf of all Americans, thank you for getting rid of that ridiculous red card.
President Trump: That was interesting.
Cruz: It was spectacular. There was a reason the FIFA trophy sat here for as long as it did pic.twitter.com/LoCwAvWLuu
Balogun opened the scoring in the U.S.’s 2-0 win before being sent off of the pitch in the 64th minute following a VAR review for an aggressive challenge on Bosnia-Herzegovina defender Tarik Muharemovic.
Trump said that he initially didn’t understand what a red card meant but decided to intervene after learning it would sideline Balogun, the U.S.’ top goal scorer during the tournament, against Belgium.
“That’s very unfair,” Trump said. “How do you penalize them for a game that hasn’t been played?”
The TV personality-turned president also cited the Nielsen ratings for the World Cup broadcasts.
“This isn’t just a success, I actually said, Gianni, we’ve got all these games, each one is turning out to be a Super Bowl,” Trump said. “It’s not our main sport, to put it mildly, and this has been four times more successful, he told me last night the numbers are four times greater. They think 50 or 60 million people are going to be watching the game tonight.”
The Royal Belgian Football Association (RBFA) has since appealed FIFA’s decision to reverse the red card ruling, while UEFA (Union of European Football Associations) said on its website the ruling “crossed a line.” Any appeal would need to be resolved before kickoff Monday night. As of publication time, Belgium has not been successful in its appeal.
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Late filmmaker and actor Rob Reiner appeared posthumously in this week’s episode of HBO‘s Life, Larry, and the Pursuit of Unhappiness, where he portrayed George Washington and took a veiled swipe at President Trump.
Reiner and his wife, Michele Singer Reiner, were found stabbed to death at their Brentwood home on Dec. 14. Their son, Nick Reiner, was soon arrested and charged with two counts of first-degree murder; he is currently being held without bail while awaiting trial in Los Angeles. He has pleaded not guilty.
On the new sketch comedy series from Larry David, executive produced in part by Barack and Michelle Obama through their Higher Ground production company, which aired its second episode on Friday, July 3, Reiner appeared as Washington before a crowd of colonists and announced he would not be running for a third term.
“I believe that no man should serve more than two terms as president,” Reiner, as Washington, said. “And I hope that future presidents will follow my lead.”
David, portraying a colonist, replied: “What if some future president doesn’t follow your lead and runs for a third term?” Reiner’s Washington character said that this should be prohibited.
Clearly speaking of Trump, but never saying his name, David’s character continued.
“Well, what if there’s some asshole in office, some narcissistic prick, who doesn’t follow the Constitution? He could use the presidency to enrich himself and his family. He could send troops into American cities to terrorize and even kill American citizens, all to distract from the fact that he’s friends with a pedophile,” he said.
Jimmy Kimmel, who has been a foil to President Trump for years and had his late-night show pulled off the air temporarily last fall over comments on the Republican reaction to the killing of Charlie Kirk, appeared in the skit as well. Kimmel also portrayed a colonist and took a satirical swipe at the situation.
“Are you suggesting that the president would taketh the time to challenge anyone who dared make fun of him? As if he were a big baby?” he said.
Life, Larry and the Pursuit of Unhappiness takes an improvised, comedic approach to major events in American history in celebration of the 250th anniversary of the founding of the U.S.A.
Shock rang around Hollywood in December when news broke of the Reiners’ murders and the arrest of Nick Reiner, who has reportedly been diagnosed with schizophrenia and schizoaffective disorder. His next court date is in September for a preliminary hearing. He has filed a legal complaint claiming that a trust fund set up by his parents is being withheld from him as he attempts to pay for a criminal defense lawyer.
Catherine Laga’aia believed she’d landed a ticket to paradise when she was cast in “Moana,” earning the title role as the Polynesian Disney princess in the new live-action remake. Then she discovered she was going to Atlanta.
“I thought I was being scammed because I was like, ‘We’re shooting this beautiful island movie and we can’t shoot it in L.A.? We can’t shoot it in Hawaii maybe?’” she recalled. “Atlanta has its own charm and its own beauty, but it doesn’t really give island.”
About two weeks into shooting, Laga’aia, 19, found herself on a boat in a water tank — either alone or with Dwayne Johnson, who plays the demigod Maui — with nothing but a blue screen to look at. And covered by a layer of stress.
“It was my first movie, first big job, first real job truly,” she said. “Every single day on set, my worst nightmare was that I was wasting people’s time.”
The Australian actress was raised in Sydney, where her father, Jay, is a well-known actor of Samoan descent, and several of her seven siblings are involved in musical theater. She recently finished “Crashout,” a teenage horror thriller, and is trying to figure out what’s next.
“My big thing is I just need to be in a cast,” she said, laughing. “Doing a movie by yourself kind of sucks.”
In a video call, Laga’aia spoke about reminders of home, including her favorite pasta, her best friends and huddling with all her brothers and sisters. These are edited excerpts from the conversation.
My Pounamu Necklaces
I have three right now. I have one that’s kind of a hook, which I’ve worn for three years. I got it right before I went into “Moana” as a gift from my auntie and uncle. They gave it to me as kind of a blessing and an item I could take with me for protection. It’s a rite of passage in a lot of families and especially mine.
Ice Water
I have an obsession with ice water. I will not drink water if it doesn’t have ice in it. My preference: It’s got to be more ice than water. And if that ice starts melting, you’ve got to add more ice.
Having My Siblings Together
One of my favorite parts of growing up was having so many siblings. It just makes it so much nicer when we all get to be together now that we’re all a bit older and a bit more spread out in the world.
The Stage
My absolute dream would be to work on the West End, Broadway, the National Theater in London. But I feel like I need to build my skills in movies and TV first. I look at what Sadie Sink has done. “John Proctor Is the Villain” hasn’t come to Australia yet, but I’m putting my name down for it if it does.
A Good Curly Hair Day
That is the make or break for me. My hair has gotten a lot curlier as I’ve gotten older, and if it’s a bad curly hair day, I just can’t function. It’ll be up and then it’ll be out and then I’ll braid it and then I’ll undo it and I’ll put it in a bun.
Brittany Broski and Caleb Hearon on ‘The Comment Section With Drew Afualo’
Possibly the funniest podcast episode in history. When you’re in hair and makeup, it takes two and a bit hours to get the wig on, get the makeup done. I would just watch it, replay it, watch it, replay it. The three of them together are geniuses.
Walking
I’m a big walker. Is it because I don’t have my license and can’t drive? Maybe. But I would like to say that I’m just really passionate for fitness.
‘Moana,’ the 2016 Animated Movie
That movie changed my life in so many different ways, giving me a lot of inspiration when I was younger. Getting a Disney princess who’s from your culture, it’s such a special thing to be celebrated in that way.
My Girls
My girls are my three best friends — Carmen, Stella and Asia — and I have been with these girls since I’d say year seven, year eight. We’re each other’s ride or dies. These will be my bridesmaids at my wedding. These girls will come with me absolutely everywhere I go.
Everyday Pasta
I don’t want a nice dinner pasta. I like the ready-made pasta you get out of the packet and then some kind of roasted vegetable sauce and just copious amounts of Parmesan cheese. It’s my peak comfort food.
Controversial AI actor Tilly Norwood will star in her first movie, a comedy drama called “Misaligned.”
The AI film portrays Tilly as an AI being with “no real body” and no lived experience but with access to everyone else’s, according to Particle 6, the London-based company behind Norwood.
Norwood drew intense ire from many Hollywood actors last year, when an executive behind her creation said Norwood would soon be signed to a talent agency. Some actors worried that AI characters trained on human likenesses without permission or compensation could one day replace them in movies and shows.
Particle 6 emphasized that the movie is a “hybrid production” with film and TV professionals working with AI specialists.
“Our ambition with Tilly Norwood has always been to show the creative industry what is possible with AI at any one point in time,” said Eline van der Velden, Particle 6 chief executive in a statement. der Velden said the film will help traditional filmmakers “upskill and transition to a world where AI will play an increasingly important part.”
“We remain passionate about helping people develop AI skills that will ensure they – and the industry – continue to thrive,” der Velden said.
In “Misaligned,” the plot progresses when Tilly is later convinced by a rogue bot to ignore her guardrails and start developing ambitions of her own, which make her more human and famous, and “Tilly begins to develop shame that her very being has been built on the whole of humanity,” Particle 6 said.
“The film will absolutely be funny, chaotic and self-aware — very Tilly,” van der Velden said in a statement. “But underneath it, there’s something deeper about identity, performance, and our very human fears around AI. And yes, art will most definitely be imitating life.”
AI remains a controversial topic in Hollywood, as many people in the entertainment industry are preparing themselves for the way the technology will change jobs and the way things are done. AI companies have touted how their tools could lower the cost and the amount of time it takes to produce visual effects . Meanwhile, writers and actors have expressed worries about their work being misused to train AI models.
“They are taking our professional members’ work that has been created, sometimes over generations, without permission, without compensation and without acknowledgment, building something new,” SAG-AFTRA President Sean Astin said last year regarding the controversy surrounding Tilly Norwood.
“But the truth is, it’s not new. It manipulates something that already exists, so the conceit that it isn’t harming actors — because it is its own new thing — ignores the fundamental truth that it is taking something that doesn’t belong to them,” Astin said.
SAG-AFTRA did not immediately return a request for comment on Tilly’s first movie.
The union has been advocating for more AI protections for actors, recently approving a contract with major studios in which producers agreed to “a principle strongly favoring human performances” and that producers would only use a synthetic if it “brings significant additional value to the motion picture.” If a producer decided to use a synthetic in a role that could be done by a human, they would need to notify the union and bargain in good faith.
SAG-AFTRA is also supporting the NO FAKES Act, a federal bill that would give individuals the authorization to use their own voice and likeness in digital replicas and creates a way to hold bad actors liable.
Marvel Studios sneakily debuted Rachel Summers, the daughter of Cyclops and Jean Grey, in its newest Disney+ release. X-Men ’97 returned on Wednesday, July 1 with the first three episodes of Season 2, picking up the cliffhanger that scattered the X-Men across time after the destruction of Asteroid M. The animated revival earned its reputation on deep comic book references, and its latest one touches one of the most tangled branches of the Summers family tree.
Rachel arrived under a different name. She appears as Mother Askani, the hooded psychic voiced by Star Trek: The Next Generation veteran Gates McFadden. The character appears in the premiere, aptly titled Days of Past Future. The episode never says her actual name out loud, but Askani is an older Rachel Summers, Scott and Jean’s daughter from an alternate timeline in Marvel Comics.
Marvel Animation
The premiere unfolds in the year 3960 AD, a barren world ruled by Apocalypse (Ross Marquand). Cyclops and Jean Grey help raise young Nathan Summers, the boy destined to become Cable, though he remains unaware that the two heroes are his parents. Askani leads Clan Askani, a resistance movement convinced that Nathan is the prophesied warrior who will end Apocalypse’s reign.
Marvel Animation
Askani also answered Season 1’s biggest lingering question. She admitted to Storm that she saved the X-Men from the Asteroid M disaster herself, sending half the team to the far future and the other half to ancient Egypt as part of her plan to defeat Apocalypse in two different eras.
Marvel Animation
The clues start piling up once Askani lowers her hood for Storm. Her long braid and facial markings make her a dead ringer for a slimmer Cable, and the Phoenix flares in her eyes when she describes her power. Askani hinted at her true origins by telling Storm she comes from “a hell that would make you call this one heaven.”
Sharp-eyed fans technically met Rachel once before. She showed up briefly during Season 1’s Tolerance Is Extinction arc, inside a glimpse of Bastion’s grim future, where she served as one of the mutant-hunting Hounds.
Who Is Rachel Summers in Marvel Comics?
Marvel Comics
Chris Claremont and John Byrne created Rachel Summers in Uncanny X-Men #141, the 1981 issue that launched the legendary Days of Future Past storyline. Her world went wrong when the assassination of Senator Robert Kelly triggered a Sentinel takeover, with surviving mutants herded into camps. The villain Ahab brainwashed a young Rachel into serving as a Hound and forced her to hunt her own kind, an ordeal that branded her with the facial markings the premiere put on full display. She was pivotal in that classic story, using her telepathy to send Kate Pryde’s mind into the past in a bid to rewrite history.
Rachel eventually escaped into the mainline Marvel universe. She joined the X-Men, bonded with the Phoenix Force like her mother before her, adopted the Phoenix codename, and later helped found the British team Excalibur. Then a rescue mission gone wrong in 1994’s Excalibur #75 hurled her roughly 2,000 years forward into a future conquered by Apocalypse. Stranded and aging, she gathered rebels into Clan Askani, whose name translates to “outsiders,” and took the title of Mother Askani.
Marvel Comics
The premiere also takes some inspiration from The Adventures of Cyclops and Phoenix, the 1994 miniseries by Scott Lobdell and Gene Ha. In it, Mother Askani pulled the minds of the newly married Scott and Jean into the future and placed them in different bodies, where they posed as the couple Slym and Redd Dayspring while raising young Nathan. She guided the boy from the shadows, teaching him to keep his techno-organic virus in check and preparing him for his destiny as the Askani’son, the savior fated to destroy Apocalypse.
One interesting aspect of this X-Men ’97 storyline is that Nathan and Rachel share Cyclops as a father, yet their mothers differ. Nathan is the son of Madelyne Pryor, the Jean Grey clone created by Mister Sinister, while Rachel descends from an alternate timeline’s Jean. This season’s time-travel shenanigans are already proving to be its best element only three episodes in.
Marcos Melendez is an entertainment journalist who has been active since 2017. His past work can be read on Collider, Escapist, ScreenRant, CBR, and Full Circle Cinema. He is currently a News Editor for MovieWeb.
After receiving positive reviews following its festival premiere earlier this year, a new trailer for Michael Fassbender‘s upcoming sci-fi action epic pulls the curtain on the alien threats terrorizing the film.
A new international trailer for Na Hong-jin’s thriller Hope has been released, which is set to hit theaters in South Korea on Jul. 15 before debuting in the U.S. on Sept. 9. In addition to Fassbender, the film stars Hwang Jung-min, Zo In-sung, Hoyeon, Taylor Russell, Cameron Britton, and Alicia Vikander. Watch the trailer below:
The Pokémon Company has announced that every team in Japan’s professional football league has been assigned an official Pokémon.
The J League, which includes 60 teams across 3 tiers, has all been assigned a specific Pokémon to celebrate the franchise’s 30th anniversary.
Fans who attend home matches for the clubs from the start of the Japanese season until September will be able to receive a bag that features the club’s partner Pokémon and the club badge. One million of these bags will be given away across Japan’s 60 clubs.
These bags won’t be for sale, and can only be obtained by physically attending a match in the team’s home stadium. You can see all 60 of the Pokémon and their clubs below.
This is the latest collaboration between Pokémon and a football team.
Pokémon recently collaborated with Korea’s FC Seoul for a series of fan activities and FC Seoul-themed products. Pokémon also previously collaborated with the English football association, during which it released the Pokémon Futsal line of trading cards.
Five cards were included in the set, including Pikachu on the ball, Eevee on the ball, Grookey on the ball, Scorbunny on the ball, and Sobble on the ball. These cards were given to children who attended the FA Pokémon Youth Futsal Programme in 2019.
They were later distributed at Game stores in England.
This is the latest collaboration celebrating Pokémon’s 30th anniversary.
I was scrolling over the weekend, as one does, and found a really great TikTok from user themoviemagick discussing Alfred Hitchcock’s philosophy of filmmaking. In short, the genius filmmaker was concerned that characters in contemporary films were just talking too much.
In July 1964, Alfred Hitchcock sat down with BBC interviewer Huw Wheldon for Monitor and delivered the critique, calling cinema “photographs of people talking.”
Hitchcock wasn’t referring to some arthouse fringe. He meant mainstream filmmaking, the industry at large. And he was already frustrated. The problem, as he saw it, was that dialogue had become the default tool for carrying story, character, and emotion. Filmmakers had stopped showing and started telling.
“Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms,” Hitchcock said in his famous François Truffaut conversation (via Reverse Shot).
Sixty years later, have we only made the problem worse? Let’s dive in.
Alfred Hitchcock warned that modern films were beginning to rely too much on dialogue to tell the story, rather than the visuals. He believed this would result in a slow death of the cinematic medium, because it was abandoning its entire reason for existence, which was the beauty of a moving image. He famously described many modern movies as “photographs that speak” rather than cinema. #alfredhitchcock #hitchcock
The Philosophy of Pure Cinema
Hitchcock called what he believed in “pure cinema.” It’s a philosophy in which the story is told through images rather than dialogue. Not imagery accompanied by dialogue, but imagery instead of dialogue, wherever possible.
“Well, the silent pictures were the purest form of cinema; the only thing they lacked was the sound of people talking and the noises. But this slight imperfection did not warrant the major changes that sound brought in. In other words, since all that was missing was simply natural sound, there was no need to go to the other extreme and completely abandon the technique of the pure motion picture, the way they did when sound came in.”
Dialogue has to reinforce what images already communicate, not carry the narrative burden alone, he believed.
Consider Rear Window, where Hitchcock perfected the “subjective POV” or the Kuleshov Effect. He would show a character looking at something, then show what they see, then show their reaction. This forces the audience to step into the character’s shoes and share their emotions.
Yes, Hitchcock Was Talky
Hitchcock’s films are full of dialogue, yet he’s considered a master of visual storytelling. The apparent contradiction disappears when you understand that, in his best work, dialogue and image work together.
On the surface, it’s exposition and character banter. But Hitchcock uses a specific POV shot during this exchange that subtly establishes the film’s setting and players. We get an idea of where the character is and what he can see.
Credit: Paramount Pictures
The Shower Scene as Another Example
If you want to understand Hitchcock’s philosophy in pure form, watch the shower sequence from Psycho.
There’s almost no dialogue. Sergei Eisenstein had perfected the theory of montage, meaning shot A + shot B (both on screen) = shot C (in the audience’s mind). Hitchcock was tremendously influenced by Eisenstein’s montage and by the Soviet filmmakers’ theories.
The shower scene unfolds as pure visual information. The knife, the water, the blood whirling down the drain, the shower curtain, the still eye.
Speaking to Truffaut, Hitchcock said, “I don’t care about the subject matter; I don’t care about the acting; but I do care about the pieces of film and the photography and the soundtrack and all of the technical ingredients that made the audience scream” (via Time Magazine).
Sound design was just as important. Hitchcock initially planned for silence, but changed his mind after hearing composer Bernard Herrmann’s contribution—those screeching violins matched the movement of the knife while simultaneously evoking screams. Hitchcock realized that sound can never replace image, but one can reinforce the other.
Martin Scorsese later modeled the boxing scenes in Raging Bull on the shot selection in the shower scene. The technique was that influential.
Where Modern Filmmaking Fails
Now consider how dialogue is deployed in contemporary screenwriting.
A suspense scene might play out entirely through a character’s explanation of danger. A character tells another character what the audience already sees on screen. Exposition arrives disguised as casual conversation. The camera just frames people as they talk about intensity. Hitchcock would call this lazy.
His “pure cinema” minimizes dialogue, relying heavily on visual storytelling and sound to create suspense and keep the audience engaged. Modern streaming and prestige television have inverted this. Dialogue has become the default because it’s perceived as “character work” and necessary to help a likely distracted viewer. A character explaining their feelings is considered deeper than one who shows them through behavior, reactions, and silence. Scenes might work fine on the page but then feel inert on screen. That’s because dialogue is carrying narrative weight that it was never designed to bear.
There are a few things you can try on your next project.
Treat every scene as if it were silent. Can an audience understand the emotional tension without hearing any words? If not, you need to restructure visually. What do the characters’ posture, eye contact, and nearness to others tell us? What does the production design reveal?
Use eyelines and reaction shots to establish power balance. Don’t have a character say they’re nervous or dominant. Show it through where they look, how long they hold a gaze, and how their body responds to another person’s movement.
Let sound design and music convey narrative weight. What can your sound mix communicate that dialogue doesn’t need to?
Minimize expository dialogue. If a character exists primarily to explain plot or backstory, you have a problem. Can information come through conflict or discovery instead?
Pair dialogue with contradictory visuals. Think the parlor scene in Psycho, when Norman Bates positions himself as harmless while also sharing the frame with taxidermy birds. It’s creepy without being too explicit, so something just feels “off” about him.
Shot duration can communicate character psychology, too. Hold on a character longer than expected to suggest guilt, obsession, or power. Cut away quickly to suggest evasion or weakness. The edit can tell a story.
Documentarian Ross McElwee was in his mid-thirties when he picked up a camera to work on what would eventually become his breakthrough 1986 Sundance hit, Sherman’s March. It was like few films at that time: a cinéma vérité documentary focused on the director that followed his narrated version of events as he merged his flailing love life, his interest in revisiting Civil War General William Tecumseh Sherman’s path through the South, and his anxieties about nuclear war into one cohesive narrative. However disparate those ideas seem, in McElwee’s creative narrative, one flows into another like a stream-of-consciousness confessional, decades before phone cameras were in every pocket and social media made it popular to talk through your thoughts. Like a forerunner to How To With John Wilson, McElwee’s idiosyncratic exploration of the larger world through his specific lens feels both unique and universal. For its 40th anniversary, Sherman’s March is returning to theaters with a gorgeous 4K restoration that keeps the 16mm grain intact with McElwee’s rookie mistakes incorporated into the film.
After studying with documentary legends like Richard Leacock and Ed Pincus at MIT and working for D.A. Pennebaker, McElwee steeped his approach in the practice of observational documentary filmmaking. However, with Sherman’s March, an indie hit long unavailable in anything more than a modest standard definition format DVD, the director became the story. “I did a short film called Backyard previous to this, which was a kind of test case,” McElwee tells The A.V. Club. “Back then there weren’t many filmmakers who were putting themselves into their documentaries as subjects themselves along with everybody else who was being filmed. All of that was kind of an experiment and I wasn’t sure how that was going to play out, but I did have an instinct that as a documentarian, it was best to try to capture what you could as it unfolded without directing it.”
For McElwee, the experiment meant breaking with tradition. “The big difference was that I put myself in the film as well and also gave it a written narration, which of course, the true pioneers of cinéma vérité would never do,” he said. “Frederick Wiseman never narrated his films, and they stand as an amazing monumental work because of his rigor about how he made the movies. That rigor is totally absent from my filmmaking. It’s whatever seems to work at the time that I’m willing to embrace.”
Sherman’s March begins with McElwee returning home after the end of his latest relationship in Boston. His family arranges a picnic and, at the behest of his sister, they encourage him to get back out there. With a half-formed idea about retracing General Sherman’s March To The Sea, McElwee turns his camera to the South, both to its history and to its dating pool, looking for love and meaning in the nuclear age.
There’s Pat, a lively girl-next-door and aspiring actress who dreams of Burt Reynolds, not of settling for just any good old Southern boy. When he’s getting his car fixed, McElwee meets Claudia, a religious mom, and later ventures out to the rural wonderland a linguist named Wini calls home. As his road trip continues, his friend Charleen introduces him to a Mormon singer named Dee Dee, but McElwee’s attention soon follows a hot rocker named Joy, before trying his luck again with a former flame, Karen. As his series of romantic prospects fizzle out, McElwee muses directly to the camera on various topics including love, faith, family, nuclear anxieties, and of course, General Sherman. Today, his conversational diary-like entries could fit in alongside any number of creators sharing their day-in-the-life observations in an endless feed, but this was a groundbreaking formal move in a documentary field that almost never saw the director in front of the camera, let alone got to be privy to his love life. Even though McElwee starts the project from a place of heartbreak and worry, the tone remains mostly upbeat, enamored with each new person that greets McElwee’s camera and amused by the ironies of life, such as when one of his former dates calls her boyfriend over to help him with his car.
Revisiting Sherman’s March for its restoration, McElwee notices that much has changed since he started filming in the early 1980s. “Back then it was possible to get the kinds of material or the kinds of scenes that you can’t possibly hope to get now with the same approach,” he says. “I did no location scouting. I did not do pre-interviews for anything. In fact, there are no formal interviews in the whole film. It’s really a matter of just drifting around with the camera, following my instincts and responding to people.”
Like in John Wilson’s series, each person who steps in front of McElwee’s camera adjusts to speaking to him through the lens, candidly sharing secrets or passing thoughts. Some conversations between the director and his dates get deep and emotional, some reveal early on that their personalities or goals clash, and their time together will be short. McElwee’s narration, although calmly recited, holds onto the hopes of romantic sparks and captures his crestfallen reaction when those hopes are dashed and his romantic interests move on without him. Even if he only appears briefly to talk to the camera or in a mirror holding his camera, the way he uses the camera to view the world tells the story.
“Now,” McElwee explains, “the other side of the equation is that people, at least down South, were so much more relaxed about being filmed. That’s just not true anymore over the entire United States, including the South. The internet has changed things tremendously. I see it in the students, their frustrations with trying to make films and discovering that often people change their mind about being filmed partway through a project, and they have to start over on some totally different topic, mainly because people start thinking about how this will be perceived when it’s seen online. The political environment has changed a lot for the worse, in my opinion, and people were simply more relaxed and seemed to be enjoying their lives more as I filmed in the South, which is also where I’m from. Everybody’s so self-conscious about how they’ll appear on film and with good reason. I think they’re wary of cameras.”
One of the major players to emerge from the succession of would-be dates is McElwee’s former teacher-turned-confidant, Charleen Swansea. The subject of his 1980 graduate thesis, Charleen appears in a number of McElwee’s movies. She’s a star of her own, a source of comic relief against McElwee’s insecurities, chiding him for being “camera shy in a reverse way.” She’s unafraid of making dirty jokes and scolding McElwee for filming everything. “This is not art! This is life!” she tells him after trying to get him to put the camera down. She’s the life of the party, doling out unsolicited romantic advice and support.
Most of McElwee’s movies center on people like her, subjects he knows and loves, giving each film a deeply personal touch that feels at home in the digital age. Sherman’s March is also the key to Remake, the new film he’s releasing on July 10. Remake traces the attempt to give Sherman’s March a Hollywood makeover and reexamines the director’s films after the death of his son, Adrian. Charleen features prominently in the new film, from her scenes in Sherman’s March and his earlier movies. “Without Charleen and without the humor that’s implicit in the notion of trying to turn Sherman’s March, a documentary, into a Hollywood fiction film, Remake would be unbearable watching [sic], because it’s just so tragically sad,” McElwee says. “There’s a writer named Christian Metz who’s written a lot about movies. One of the things he writes about is how the absence of someone on screen, the absence becomes a presence. What he means by that is that nobody lives forever… The Lumiere brothers were very dedicated to filming their own families and similar things. But by now, all of those people are dead, and yet there they are.”
McElwee’s idiosyncratic, first-person approach to documentary storytelling set him apart from his peers and challenged the nonfiction field to allow for different modes of personal storytelling. In today’s tell-all internet age, his work may seem tame, but there’s an artistry to the way McElwee explores his musings and insecurities, from his romantic shortcomings to his sleepless nights. He leads his audience through these many threads, weaving them together to make a full, complicated picture. With his camera, his calm presence allows his dates to open up and become themselves, relating to him—and by proxy, his audience—in a way many viewers hadn’t seen in a time before the heyday of dating reality shows. Sherman’s March may be a time capsule of the 1980s South and a pre-internet age, but it also foretold the ease with which everyday people could film themselves talking about themselves.
Colin Woodell (Pulse, The Continental) has been set as the lead of the new Netflix drama series Myron Bolitar. KJ Apa (The Map That Leads To You, Riverdale) and Diane Guerrero (Orange Is The New Black, The Lincoln Lawyer) will star in the upcoming drama series inspired by Harlan Coben’s longest-running book series spanning 12 books.
David E. Kelley (Margo’s Got Money Troubles, Big Little Lies) and Kyle Long (Suits, Unsolved: The Murders of Tupac and the Notorious B.I.G) will co-showrun, write, and executive produce the series.
In the series, after an injury ends his NBA dreams, Myron Bolitar (Woodell) reinvents himself as a sports agent — using charm, smarts, and a ruthless partner to navigate the high-stakes and dirty world of sports, where saving his clients often means risking himself.
Woodell will play Myron Bolitar, a former college basketball star whose NBA career came to an abrupt end. Myron reinvented himself as a sports agent. He built his agency, MB Sports, on an unwavering belief in overlooked athletes, with the same heart and fierce competitive drive he once brought to the court.
Apa will play Win Lockwood. Born into extraordinary privilege, Win walked away from the family business to build something of his own alongside his closest friend, Myron. Unflappable, endlessly resourceful, and fiercely loyal, he’s the one Myron turns to when clients find themselves in trouble.
Guerrero will play Esperanza Diaz, a former professional wrestler turned Myron’s indispensable right hand at MB Sports. Armed with endless grit and razor-sharp wit, Esperanza is the backbone of the agency and the steady force keeping both Myron and clients in check.
Myron Bolitar is the latest project between Netflix and Coben, following the adaptation of more than 13 of his books. Others include Fool Me Once, Run Away, Safe, The Woods, The Innocent, Gone for Good, Stay Close, Hold Tight, The Stranger, Missing You, Just One Look, Caught, and I Will Find You.
In addition to Kelley and Long, executive producers also include Matthew Tinker (Big Little Lies, Presumed Innocent) for David E. Kelley Prods, Harlan Coben for Final Twist Productions, Rick Muirragui (Suits, Whiskey Cavalier), and Greg Yaitanes (Presumed Innocent, House of the Dragon), who will also direct multiple episodes.
It has been confirmed that Star Wars creator George Lucas was one of Minions & Monsters‘ hilarious cameos. This was a dream come true for the acclaimed filmmaker, who has previously expressed his love for the Despicable Me franchise, particularly Gru’s chaotic yellow henchmen.
Minions & Monsters was directed by Despicable Me filmmaker Pierre Coffin, who co-wrote the screenplay with Brian Lynch. The movie features the voices of Allison Janney, Christoph Waltz, Jeff Bridges, Jesse Eisenberg, Zoey Deutch, Trey Parker, Bobby Moynihan, and Phil LaMarr. So far, it has already received a 91% approval rating on Rotten Tomatoes.
“The film introduces us to an entirely new tribe of Minions, who find themselves in Hollywood at the dawn of cinema. Our heroes are two brand-new Minions: James and Henry,” reads the synopsis. “This is the rambunctious, ridiculous, and totally true story of how the Minions conquered Hollywood, became movie stars, lost everything, unleashed monsters onto the world, and then banded together to try and save the planet from the mayhem they had just created.”
How does George Lucas’ cameo fit into Minions & Monsters?
In Minions & Monsters, Lucas made a brief cameo as himself, appearing among the statues in a Hollywood movie museum as a trapped living exhibit. Even though it doesn’t take away much from the main story, Lucas’ cameo actually matched the movie’s recurring theme of subverting Hollywood glamour. Making him a living museum piece is on par with the Minions’ chaotic way of transforming prestigious cinema into slapstick comedy throughout the film.
Lucas’ Minions & Monsters cameo also featured some homage to the first Star Wars movie. During his scene, he tried to ask Janney’s tour guide character, Olivia, for his cellphone. However, Olivia declined his request by responding with, “No, you’ll just call for help.” This might be the animated sequel’s way of referencing Princess Leia’s iconic call for help to Obi-Wan Kenobi from the 1977 film.
Overall, the creative team made the right decision to include Lucas’ cameo in Minions & Monsters, especially when the movie’s story is all about the magic behind filmmaking. Since the critics and fans have been describing the new film as a love letter to cinema history, Lucas’ cameo is a great way of acknowledging his groundbreaking contribution to the film industry as a visionary storyteller. His work on the Star Wars franchise inspired many creators and movies as he elevated the sci-fi genre.
Keanu Reeves and Gard Hollinger knew it was a big undertaking to launch a motorcycle racing team.
The Speed actor met Hollinger — who raced motorcycles as a child until age 34, eventually launching his own custom-bike building business — in 2009, when Reeves commissioned Hollinger to build a bike for him. Two years later, they founded ARCH Motorcycle, which aims “to challenge the perception of what an American motorcycle could be,” according to its mission statement. “Anything that compromises the ride, aesthetics, stance or function is treated as an opportunity to innovate and improve the design.” The company focuses on passionate customers who are looking for a “completely immersive riding experience.”
Some time later, the two began talking about getting into the racing business.
“We’re both a fan of racing,” Reeves tells The Hollywood Reporter over Zoom from Europe, where he’s currently touring with his band, Dogstar. “It was a bit of a fantasy, but I think, with the motorcycle and the engine that we developed with ARCH Motorcycle, it became, ‘Oh, maybe this can be a reality.’”
Reeves and Hollinger identified the Super Hooligan racing series, created by Roland Sands in conjunction with MotoAmerica, as one that would be a good fit for their bike. They also saw an opportunity to not only tell the story of their journey but also bring attention to the sport by filming it for a docu-series; the result, a six-part series titled Hooligans: The ARCH Racing Project With Keanu Reeves & Gard Hollinger, is set to debut July 12 on Samsung TV Plus (Reeves and Hollinger are among the exec producers on the show, which is Samsung TV Plus’ first-ever original docu-series under its Exclusives banner).
Early on, Reeves and Hollinger set about assembling a team, including riders Corey Alexander and Jeremy McWilliams, who are also featured in the TV series, which documents not only the successes but also the setbacks as the team navigates its first racing season.
“In the series, you see the travails and the challenges, and even with the idea that, we knew we wouldn’t have any quote-unquote success in the beginning, we had a lot of hope,” Reeves shares.
So were they worried about the possibility of failure when they set out to film their journey? “I had the belief that that we could be successful, but I knew that it wouldn’t come right away, and I knew that it would be a lot of hard work and luck,” Hollinger tells THR over Zoom from his office in Los Angeles. “But that’s what makes any story interesting, right? If it’s just all about success, is it boring? We knew that there would be a lot of travails and failure.”
Adds Reeves: “But there’s also what I think we came to learn, which is that there are more successes other than just winning.”
Agrees Hollinger: “There’s successes in the failures. If you look at it that way, and you learn something from it.”
“I mean, they’re not as much fun,” Reeves says with a laugh. “But they can be rewarding.”
Hooligans: The ARCH Racing Project With Keanu Reeves & Gard Hollinger
Over the course of the racing season, the team became what Hollinger calls a “traveling family” — a feeling of community that extends to the entire sport. For his part, Reeves — who was much newer to the world of professional racing than his veteran counterpart — also felt that as well. “Everyone went through [challenges] …. for this common goal,” he shares. “You get to know each other, you get to lean on each other, you get to ask questions of each other.”
Asked if they felt any skepticism from the other teams, who are backed by the likes of motorcycle powerhouses including Harley-Davidson, Yamaha and KTM, Hollinger and Reeves say they both felt welcomed into the fold.
“I think some people were shocked to see us there because [the perception was that] we don’t build race motorcycles,” Hollinger shares. “But then they were happy and supportive, and you know — ‘Go ARCH.’” He said there is a camaraderie within the racing community wherein competitors tend to celebrate one another’s successes.
Reeves adds that he felt more of a curiosity from the other teams at first. “We experienced a lot of questions,” he recalls. “We had a lot of people coming around, taking a look at the bike, and it was kind of like they’d smile and say, ‘Hey, how’s it going?’ And then they would just look at it and check us out, give us a sniff, give a look around. It’s easy to root for you when your bike’s breaking down and you’re coming in 10th place,” he quips.
After the ARCH team began seeing some success, Reeves says he heard another team joking that were going to try to build an “ARCH killer.”
In the show, Reeves asks Hollinger at one point, “What are we getting ourselves into?” Looking back, the duo say they were aware of the challenges, but “I didn’t expect that we would be trying to start our motorcycle with a scooter,” Reeves quips of one early race where everything seemed to go wrong.
Adds Hollinger: “The amazing thing about motorsports and racing in general is that there’s no delay. The race is on this day at this time, and if you don’t make it, you’re not part of it. So it’s not like a lot of other things where you can just kick it down the road another day or another hour. When the when the green flag drops, if you’re not there, you’re not part of it.”
The team deals with some stressful moments, as seen in the show. Hollinger says that his stress level is “pretty much at 11 all the time” during races. Reeves, who considers himself more of a source of positivity and encouragement for the team’s racing veterans and experts, jokes that he has “a unique pressure — the pressure of a cheerleader.”
Reeves gets more serious when he notes the real challenges and dangers inherent in the sport of motorcycle racing. He says the duo felt a lot of responsibility to their riders, Alexander and McWilliams, not only to deliver a motorcycle that could compete at the professional level but also to look out for their safety.
“The pressure and the expectation and the hope to give them a motorcycle, to give them a chance, race to race, and all the failing that we had, bikes breaking down, crashes — [there was] concern [to make] sure Corey was OK, that Jeremy was OK,” Reeves says. “Those pressures were the part that’s like really real.”
Hollinger agrees, noting that both of ARCH’s riders remain incredibly humble about the team’s successes, despite the big role they play in any wins or places.
“The riders are always very humble also; you tell them, ‘Great ride,’ and they’re like, ‘All I had to do is get on the bike and ride it,’” he marvels. “They’re the ones risking their necks, literally, and so we want to give them the best chance to be successful and a safe chance to be successful — as safe as you could be in that situation.”
Hooligans: The ARCH Racing Project With Keanu Reeves & Gard Hollinger premieres at 9 p.m. ET on Sunday, July 12, on Samsung Television Network, Samsung TV Plus’ flagship channel. New episodes will premiere every Sunday through Aug. 16.
In addition to Reeves and Hollinger, the executive producers are Sharon Hollinger, Carter Skeath and John Stevens, with Alan Bloom serving as showrunner. The show is produced by V10 Entertainment, whom Reeves praises for playing a key role in helping to find sponsors and working closely with Moto America.
Hooligans: The ARCH Racing Project With Keanu Reeves & Gard Hollinger
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Πώς να βρω τα φρουτάκια με το ανώτερο RTP στο Casinia;
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Υποστηρίζει το Casinia Casino ελληνικές συναλλαγές συναλλαγές;
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NOW IN THEATERS! These days, it’s refreshing to see an old-fashioned film, one that doesn’t try to adhere to Gen-Z standards of irony, self-awareness, and constant winking at the audience, but instead simply tells a good story. Veteran filmmaker Rod Lurie’s WWII-set Lucky Strike is the much-needed antidote to pretentious fare dominating theaters. It may not be perfect or particularly original but it’s an example of robust, muscular filmmaking of the “they don’t make ‘em like this anymore” variety.
Inspired by true events and set in the winter of 1944 in the Belgian Ardennes forest, Lucky Strike is titled after the cigarettes our hero, Castle (Scott Eastwood), smokes (as well as alluding to the numerous military strikes throughout the film). Tasked with a dangerous mission involving explosives by Colonel Neale (Colin Hanks), Castle accomplishes it — not without casualties — but finds himself wounded during what has come to be known as the Battle of the Bulge. He has to get to a certain location, through perilous territory, on his own.
Formerly a film critic, Lurie doesn’t let low production values get in his way. He consistently overcomes the film’s modest budget, drawing you into the heart of hell, leaving you drenched and shaken, while never missing an opportunity for a poetic moment, such as a gorgeous white horse angelically appearing among all the bullets and gore and deafening noise.
“…has to get to a certain location, through perilous territory, on his own…”
The narrative is composed of a series of tense set pieces. A wild, claustrophobic fight to the death inside a vehicle. A visceral narrow escape reminiscent of Inglourious Basterds. Castle pretending to be dead among a slew of corpses while Nazis wander around, looking for survivors (and pissing on them). Lurie gets a lot of mileage out of seemingly simple things, like a whistling kettle. Oh, and there’s a flamethrower. A flamethrower is always badass.
Some of the dialogue feels overly written (“About two hours, give or take,” a character estimates. “I’m taking,” comes the reply.) But the actors sell it. Eastwood provides arguably his best performance so far: stoic and heartfelt, brave and terrified, his soldier represents every soul trapped in warfare. He may have his father’s soulful eyes but his approach to performance is all his own. In other words, yes, he breaks away from Dad’s shadow.
A survival story, a historical war film, an action-packed thriller — Lucky Strike is all those things. I’ve said it before, and it bears repeating: when dumb, rehashed, ideologically-driven blockbusters dominate (and flop at) the current box office, exhausted audiences turn to independent filmmaking for stories that don’t pander. Give Lucky Strike a chance. It’ll knock your socks off harder than the lackluster Supergirl ever could.
Despite the worst efforts of FIFA President Gianni Infantino, an embarrassing figure who pals around with Putin, flies across the world on a jet provided by Qatar (just like Trump!), gifted Trump a “FIFA Peace Prize” for reasons unknown, and is reported to have rescinded a red card against the U.S. under pressure from Trump, the 2026 World Cup has thus far been a smashing success, owing to its North American setting, megawatt star power (Messi, Ronaldo, Mbappe, Haaland, etc.) and the most promising U.S. squad in quite some time.
Heck, the U.S. men’s national team’s win over Bosnia and Herzegovina in the round of 32 became the most-watched soccer broadcast of all-time in America by a wide margin, attracting 24.4 million viewers on Fox and another 9.1 million over on Telemundo, besting even the recent NBA Finals matchup between the New York Knicks and San Antonio Spurs.
So, with the eyes of the world on them, it is fine time to highlight the World Cup’s most handsome players (and there are oh so many). Don’t act like you haven’t noticed.
Rodrigo De Paul (Argentina)
Image Credit: Getty Images
De Paul was not only a part of Argentina’s 2022 World Cup-winning squad but also plays alongside fellow countryman Lionel Messi (and a host of others) on the MLS club Inter Miami. He’s been a regular fixture on the Argentinian squad since 2018 and the fine midfielder, who is part-Italian, is one-half of one of the hottest couples in Argentina, with the singer Tini.
Jude Bellingham (England)
Image Credit: Getty Images
Bellingham began his career at Birmingham City where he became the club’s youngest first-team player at only 16 years old. He’s making history once again at the 2026 World Cup as the youngest European player to play in four major international tournaments at just 23, not to mention his scoring two goals in just 98 seconds during the round of 16 against Mexico. Football runs in the family as his father was a legendary non-league striker, and his younger brother is also a professional footballer.
Christian Pulisic (USA)
Image Credit: Getty Images
With the 2026 World Cup in his backyard, Pulisic – nicknamed “Captain America” – has taken on the pressure of leading the U.S. onto soccer’s biggest stage. Pulisic holds the U.S. Men’s National Soccer Team (USMNT) record as the fastest player to record 50 goal contributions and the first American to play in (and win) a UEFA Champions League final. At 20 years old, he was the youngest player to captain USMNT.
Ramin Rezaeian (Iran)
Image Credit: Getty Images
Rezaeian, 36, is one of the veteran leaders of the Iran national team at the World Cup, having played a crucial role on the squad since 2018. He’s Iran’s leading goal scorer at the World Cup (with three goals) and also plays as a defender for the club Foolad in the Persian Gulf Pro League. Oh, and he’s devilishly handsome to boot.
Cho Gue-sung (South Korea)
Image Credit: Getty Images
Known as “Player No. 9,” Gue-sung captured the internet’s attention during the 2022 World Cup as the first South Korean player to score two goals in a single World Cup match. He did it with back-to-back headers in less than three minutes against Ghana. Aside from his skills on the field, he became a viral sensation for his striking good looks, landing him on the January 2023 cover of Vogue Korea. After dealing with a rough 15-month layoff due to his knee surgery, he made his return to soccer at the 2026 World Cup.
Micky van de Ven (Netherlands)
Image Credit: Getty Images
Though the Netherlands was upset by Morocco in a thriller during the round of 32, this hunky 25-year-old will be just fine. Known as one of the sport’s quickest players, Van de Ven is a standout defender on the Premier League club Tottenham Hotspur and served as a key defender during the 2026 World Cup for the Netherlands in his first senior appearance. Van de Ven and his girlfriend, the English model and TikTok influencer Ella Buffin, have also grabbed plenty of headlines off the pitch.
Joško Gvardiol (Croatia)
Image Credit: Getty Images
Yes, his team was eliminated from the World Cup in a heartbreaking loss to Portugal in the round of 32, but that in no way diminishes this 24-year-old defender’s striking looks. During his first World Cup in 2022, Gvardiol, who is the son of a fisherman, helped the Croatia national team win third place, and, in 2023, earned the distinction of being the most expensive defender in soccer history after the club Manchester City signed him for £77 million. Cha-ching.
Diogo Costa (Portugal)
Image Credit: Getty Images
As the goalkeeper of the Portugal national team, the 26-year-old Costa doesn’t just block shots, but looks incredibly good doing it. This is his second World Cup in goal for Portugal, and, during the 2024 European Championship, he became the first goalkeeper to save three consecutive penalties in a single shootout. He mainly serves as captain of Porto in the Primeira Liga, and — sorry, ladies — is married with kids.
Milad Mohammadi (Iran)
Image Credit: Getty Images
Milad Mohammadi first made international headlines during the 2018 World Cup following a failed throw-in attempt while Iran was down 0-1 against Spain. If the 32-year-old’s smooth moves aren’t impressing you, don’t worry — he has a twin brother.
Rúben Dias (Portugal)
Image Credit: Getty Images
Let’s face it: Portugal has one of the more attractive squads in the entire World Cup, and that is in part thanks to Dias. The 29-year-old is regarded as one of the very best centre-backs in the sport, having been named UEFA Champions League Defender of the Season during his rich tenure at Manchester City, and now playing in his third World Cup for Portugal. Dias also has plenty of game off the pitch, counting the Portuguese pop star April Ivy and the British TV host Maya Jama among his exes.
Lucas Bergvall (Sweden)
Image Credit: Getty Images
At just 20 years old, Bergvall is the youngest player to appear for Sweden in the World Cup. The Tottenham midfielder went from Swedish second-tier football to winning the 2024/25 UEFA Europa League with the Spurs, featuring in 12 of their 15 matches on the run. With his perfectly styled blonde hair and blue eyes, Bergvall is currently the internet’s favorite “White Boy of the Month.”
Michael Olise (France)
Image Credit: Getty Images
Though born in England, the 24-year-old winger — who experts consider one of the greatest players alive — represents the France national team, owing to his mother’s Franco-Algerian heritage. Olise is a driving force for Bayern Munich, leading them to two Bundesliga titles while being named VDV Bundesliga Player of the Season the last two years. Next to the majestic Kylian Mbappe, he’s a major scoring threat every time he takes the field for France and has earned the nickname “Mr. Nonchalant” for his reticence toward the press.
Houssem Aouar (Algeria)
Image Credit: Getty Images
Aouar’s professional career began at Lyon in July 2016, and after a one-year stint with Serie A club Roma, he signed with Saudi Arabian club Al-Ittihad in 2024. In an interesting twist, he first represented France’s national team before making the switch to represent Algeria, where both of his parents are from, and considers Zidane his role model.
Eray Cömert (Switzerland)
Image Credit: Getty Images
A Swiss native with Turkish roots, Cömert plays for Valencia CF, one of 20 teams that fall under La Liga, Spain’s top division of professional soccer. This year marks Cömert’s World Cup debut, but he’s previously represented Switzerland on the international stage in a Euro 2020 qualifier and the 2020 UEFA European Championship.
Keito Nakamura (Japan)
Image Credit: Getty Images
Japan’s World Cup heartthrob is turning heads not only for his looks but also his standout performance on the pitch. Nakamura scored his first World Cup goal with a right-footed equalizer against the Netherlands in a 2-2 draw during Japan’s opening match. Beyond the field, he has also established himself as a style icon with his feature on the April 2026 cover of GQ Japan and attending the Men’s Paris Fashion Week FW26 with Louis Vuitton and Sacai.
Mohammed Kudus (Ghana)
Image Credit: Getty Images
If you’re looking for Kudus on your TV at this year’s World Cup, you won’t see him. Despite being selected for the team, the promising Tottenham forward is unable to represent Ghana because of a quad injury he sustained in January. But don’t worry: he’s expected to make a full recovery and has already resumed training back in England.
Raúl Jiménez (México)
Image Credit: Getty Images
The 35-year-old Jiménez is a steadfast fixture in one of the best eras of Mexican soccer, having represented his country at the 2012 Summer Olympics (where they won the gold medal over heavy favorites Brazil) and at four World Cups. He’s ranked second on the list of most goals scored for Mexico, coming in behind soccer legend Javier “Chicharito” Hernández. The scar on the side of his head is from a life-threatening skull fracture he suffered during a Premier League match in 2020. It was a miracle he survived.
Jens Castrop (South Korea)
Image Credit: Getty Images
Born in Düsseldorf, Germany, to a German father and South Korean mother, Castrop is the first foreign-born mixed-race male player to represent South Korea on the men’s national team. Despite spending his entire professional club career in Germany, Castrop decided to switch allegiance from Germany to South Korea in 2025. Leading into the 2026 World Cup, his charming looks made him the new face of PUMA Korea.
Orlando Gill (Paraguay)
Image Credit: Getty Images
Goalkeeper Orlando Gill has emerged as one of the World Cup’s star players following his legendary defense against Germany, racking up six saves and two blocked penalty kicks that resulted in Paraguay’s underdog win against the 4-time world champions. In 2022, Gill made the decision to sell most of his club gear, including boots, jerseys and shoes, to pay for the medical care his wife and son received following the baby’s premature delivery. Now, he’s looking at potential multi-million-dollar contracts for his impressive performance.
Noni Madueke (England)
Image Credit: Getty Images
Madueke, 24, is a forward on England’s famed Arsenal team and made headlines ahead of England’s game against the Democratic Republic of Congo after it was announced he’d be a starter, replacing Bukayo Saka, who is managing an injury. In a press conference ahead of the game, Madueke noted that he’s close to Saka, but that there is one key difference between their styles: “I thrive in space and he thrives in congestion.”
Jackson Irvine (Australia)
Image Credit: Getty Images
The Australia national team suffered a heartbreaking defeat at the hands of Egypt in the round of 32, losing 4-2 in a penalty shootout, but Irvine, the Australia team captain, can hang his head high knowing he gave it his all. The 33-year-old midfielder, who also captains the Bundesliga club FC St. Pauli, is also an outspoken advocate for social justice causes off the pitch, speaking out for LGBTQ rights and publicly criticizing FIFA leadership for giving Donald Trump a bogus “Peace Prize.”
Elijah Just (New Zealand)
Image Credit: Getty Images
Returning to the World Cup for the first time in 16 years, New Zealand needed someone to prove they belonged. Just did just that. The 26-year-old winger stepped into the spotlight during the 2026 World Cup when he scored both goals for New Zealand in a 2-2 draw against Iran, making him the country’s first player to score a World Cup brace.
Ahmed Maknzi (Iraq)
Image Credit: Getty Images
Iraq has already been eliminated from the World Cup, but Maknzi is still worth thirsting over. Born in Baghdad, the 24-year-old was a part of a team where every player made their World Cup debut, because the last time the country qualified for the tournament was way back in 1986. They faced a similar fate, having been eliminated ahead of the knockout rounds.
João Félix (Portugal)
Image Credit: Getty Images
The 26-year-old Félix has been a stud on the pitch since his teenage years and has represented Portugal at nearly every level of football, from the under-18 team to this, his second World Cup. The attacking midfielder is such a dribbling maestro that he’s even drawn comparisons to fellow countryman Cristiano Ronaldo, and at just 19, signed with Atlético Madrid for a club-transfer worth €126 million (the fourth highest ever). He currently plays for Al-Nassr in the Saudi Pro League, where his club won the title and he was crowned Player of the Season.
Yuito Suzuki (Japan)
Image Credit: Getty Images
Dubbed a potential “Minamino 2.0,” the attacking midfielder and winger has worked his way from Japan’s J1 League through France, Denmark and now Germany. Right before making his World Cup debut, Suzuki suffered a fractured right collarbone during a game against VfL Wolfsburg by colliding heavily with a defender. He had surgery less than 24 hours later and, in just six weeks, recovered to play in Japan’s 4-0 group stage victory against Tunisia.
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Xbox is set to layoff 1,600 staffers Monday and up to another 1,600 over the next year in what new CEO Asha Sharma calls the “most significant restructure” in the Microsoft-owned company’s history.
In addition, four Xbox studios — Ninja Theory, Undead Labs, Compulsion Games and Double Fine Productions, which collectively employee approximately 350 people — will be spun out or sold, per Sharma’s memo to staff announcing the changes, which the Xbox CEO posted on X on Monday.
Ninja Theory and Undead Labs are set to be sold to currently undisclosed buyers, with those contracts pending, while Compulsion and Double Fine will be returned to management and take full control of their IP and revenue streams, a person familiar with the situation tells Variety.
A fifth studio targeted for divestment, the France-based Arkane, is “beginning required consultation with its Works Council to review potential strategic options,” Sharma wrote.
In her memo, Sharma confirmed no previously announced first-party games or projects are being canceled as a result of the staffing reductions.
The layoffs will impact almost every division at Xbox, a source tells Variety, but vary in size across developers including Activision, Bethesda/ZeniMax, Blizzard, King, Mojang, and XBOX Game Studios.
Throughout Xbox’s next fiscal year — which runs July 1, 2026 – June 30, 2027 — the source tells Variety the company will see approximately the same content spend as it did over the prior year, which was a record for Xbox. However, the investment in content spend will be different, with titles including “Minecraft” and the “Elder Scrolls” franchise being prioritized as major growth areas.
This insider says Xbox has been “using Minecraft as a funding source” for other studios and that “Minecraft” developer Mojang has “not been given the funding it needs to grow. For the expansion of “Elder Scrolls,” which has not released a new game since 2011, Xbox will be “reallocating” some of its teams and funding toward producing new projects.
“I recognize that a year-long restructuring creates additional challenges,” Sharma wrote. “Unfortunately, it is not possible to make all the necessary changes in a single day, and I wanted to be direct about the scale.”
Sharma laid out three specific areas of focus for the “reset” in her memo, including content portfolio, platform, and “how we operate.”
The Xbox CEO notes that the company’s “platform teams are 40% larger than they were at the start of this generation, even as our player base and playtime have declined,” and in some areas of the business, Xbox has up to 14 layers of management, which will be reduced to “no more than 5, and where possible, 3.”
Additionally, Sharma announced she has promoted Helen Chiang to chief operating officer with “end-to-end P&L responsibility across content, hardware, platform, and services,” and that chief operations officer Dave McCarthy is exiting the company.
As part of the overall restructuring, leadership at “Minecraft” maker Mojang and “Candy Crush” developer King will now report directly to Sharma.
“I want XBOX to be one of the few companies that entertains more than a billion people each day and gives everyone the opportunity to create and connect,” Sharma wrote in closing. “I know we can achieve this goal. XBOX has many of the most beloved franchises in entertainment history, talented studios around the world, and we will return to growth in 2027. History is full of companies that mistake longevity for inevitability. We will not be one of them.”
See Sharma’s memo to staff in full below.
Team,
We are beginning the most significant restructure in XBOX history. After careful consideration, I’ve made the difficult decision to reduce our team by approximately 3,200 throughout FY27. This will include approximately 1,600 role eliminations today, and in addition, four studios will leave XBOX to new management. I recognize that a year-long restructuring creates additional challenges. Unfortunately, it is not possible to make all the necessary changes in a single day, and I wanted to be direct about the scale.
I know this is painful. These changes will directly affect people who have poured their creativity into building XBOX. Many joined us through acquisitions, while others were recruited here, or sought us out because they loved this industry and loved XBOX. Today’s decisions do not reflect their talent or dedication.
Our business today is not healthy. We are operating at margins that are 3–10x lower than comparable platform and publishing businesses. We entered Gen 9 with a smaller install base and a higher cost structure. To grow, we bet on Game Pass, multi-platform, and a broader portfolio of content. While those businesses have created meaningful value, they did not grow at the pace we expected. As that happened, our core business weakened, and we added more teams, more investment, and more time, hoping for a better outcome. And now the industry is facing the most severe hardware crisis in its history. We must reset XBOX.
First, we will reset our content portfolio.
Since 2018, we have aggressively expanded our studio portfolio while the number of games created each month across the industry now outpaces the last ten years combined. We now find ourselves competing not only with the largest publishers, but also with smaller independent studios. It is neither possible nor desirable to own every great independent studio. We have also learned that we are not the best home for every type of studio; in a typical year, we lost 64 cents for every dollar we invested. As we reset XBOX, we will help independent creators succeed by providing open development tools and audiences to realize their vision.
Compulsion Games and Double Fine Productions will return to management and transition to independent studios with their IP, catalog, and runway for their next games. Ninja Theory and Undead Labs have entered terms to join new ownership with funding to complete and grow Senua and State of Decay 3. In France, Arkane’s management is beginning required consultation with its Works Council to review potential strategic options.
We are also making reductions across other units, and in some cases, shifting investment to focus on higher priority projects. These changes vary in size across Activision, Bethesda/ZeniMax, Blizzard, King, Mojang, and XBOX Game Studios. None of our first party publicly announced games or projects are being cancelled as part of these reductions.
In addition, Mojang and King will now report directly to me. These two studios have increasingly become platforms and are our largest by monthly active players. They bring critical geographic, demographic, and differentiation to XBOX.
Second, we will reset our platform.
We know that great technology gets better when it gets simpler, not bigger. Today, in some parts of the company, work passes through as many as 14 layers of management. Our platform teams are 40% larger than they were at the start of this generation, even as our player base and playtime have declined. That complexity has slowed decisions, blurred accountability, and made it harder to deliver for players. As we reset XBOX, we will simplify.
We will reduce management layers to no more than 5, and where possible, 3. We will deliver success through a flatter organization that is built around makers (individual contributors focused on building), player-coaches (leaders who remain deeply involved in the work while developing their teams), and directly responsible individuals (DRIs) who own key decisions and outcomes. And we will streamline how we work across our tools, with a cleaner code base, shared services, and 50% reduced vendor spend.
Third, we are resetting how we operate.
As XBOX grew our headcount, we became more fragmented. Teams, studios, and functions often operate independently, and it became harder to work towards a shared goal, make the right tradeoffs, and get things done.
For the first time, we are establishing a Chief Operating Officer with end-to-end P&L responsibility across content, hardware, platform, and services. Helen Chiang has been promoted to this role and will report directly to me. Over nearly two decades at XBOX, Helen has helped build some of our most important businesses, from XBOX Live to leading Mojang and the Minecraft franchise. She will bring our businesses together under one operating model, making sure we make clear investment decisions, learn from our successes and failures, and hold ourselves accountable for results.
Thank you, Dave McCarthy, who is retiring after 17 years with XBOX. Dave has played a defining role in building the platform that millions of players rely on every day and has been a trusted partner through many of the biggest moments in XBOX’s history. We wish him all the best.
These changes are about a bigger future for XBOX, not a smaller one. The next decade of gaming will be larger, more global, and more creative than anything we’ve seen before. This year, we’ll invest as much in XBOX as we ever have, but we’ll invest with greater focus, greater discipline, and greater clarity, all in service of making XBOX where the world plays and creates.
I want XBOX to be one of the few companies that entertains more than a billion people each day and gives everyone the opportunity to create and connect. I know we can achieve this goal. XBOX has many of the most beloved franchises in entertainment history, talented studios around the world, and we will return to growth in 2027.
History is full of companies that mistake longevity for inevitability. We will not be one of them.
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The guest is Karl’s mother Vibeke (Trine Dyrholm), a perfectly affable middle-aged woman who seems a little bawdy in her sense of humor and is certainly more bohemian than her son and his super-straight in-laws. Everybody takes to her instantly, listening raptly to her spooky story about hitch-hiking with a madman and taking her talk about joining a choir and studying Strindberg at college at face value, a long-standing pursuit that her daughter (and Karl’s sister) Rikke (Josephine Park) prefers to take with a pinch of salt. Karl, however, is on edge, and so is Mengel’s restless hand-held camera, which floats unsteadily and closes in cautiously on significant micro-moments. Something is not quite right.
Or rather someone, and that person is Vibeke. In the grand tradition of Danish cinema, no good can come of a get-together, and though there’s nothing quite as calamitous as Thomas Vinterberg’s 1998 film Festen (The Celebration) — which, coincidentally, featured Dyrholm in a supporting role — The Guest is a similar study of a family in freefall after its biggest skeleton comes tumbling unexpectedly from the closet. That secret is Vibeke’s fragile mental health, which Karl has been dealing with simply by ignoring both it and her, a factor that will later explain his decision to embrace a mundane life as a manager with the car-hire company owned by his father-in-law (The Boss of it All’s Peter Gantzler).
Rikke, on the other hand, has a different coping mechanism. Like Karl, she is also in denial, but of a different kind. “She’s over the top,” she snaps. “That’s her personality, not her illness — that’s how she is.” Rikke, though, is much closer to her mother than Karl is, and that familiarity — she sees her every other day — means that her complacency could be just as damaging as Karl’s paranoia. This all-or-nothing tension is at the core of Mengel’s drama; if Vibeke is off her meds, how bad can it get? We get a taste of that when, during the christening ceremony, Vibeke plunges the baby into the sea, much to everyone’s alarm.
The beauty of Mengel’s film is that the horror of the situation is always in the anticipation, mirroring the awful reality of living with mental illness. Vibeke’s condition is never revealed; while it is certainly mentioned that she was once sectioned and continues to have “episodes”, that’s not what The Guest is about.
In that respect, Dyrholm has certainly read the memo and plays Vibeke accordingly; we see her as she sees herself — a woman who just wants to enjoy life, who wants to please, an emotion encompassed quite perfectly in a scene where Vibeke stumbles on a raucous teenage party. She wants that anarchy in her life and doesn’t understand why her own kids turned out to be so boring. Why shouldn’t she play football in her underwear while her pants dry?
Denmark has a seemingly inexhaustible supply of acting talent, and The Guest is proof of that. Though Dyrholm is undoubtedly the main attraction — she and Sandra Hüller are currently way ahead of the pack when it comes to actresses who could possibly succeed Isabelle Huppert as the queen of European cinema — the terrific younger cast are more than a match for such a heavyweight. Both Bennebjerg and Park play the history of the situation and not the moment; they know what could happen, and their attempts to stop it are just as psychotic, including several attempts to spike her drinks with sleeping pills.
Oblivious to all this is baby Elliot, who has all this to look forward to in later life, assuming Vibeke makes it (and there are no guarantees). The unspoken question is, what will he make of it all? (If the matter is ever discussed.) Will he turn out like his father, his auntie or, god forbid, his grandmother? As the film says up front, “Family is family” — and, like it or not, nobody gets a choice in the matter.
Title: The Guest Festival:Karlovy Vary (Crystal Globe Competition) Director: Mads Mengel Screenwriters: Mads Mengel, Christian Bengtson Cast: Trine Dyrholm, Simon Bennebjerg, Josephine Park, Mette Klakstein Wiberg, Peter Gantzler Sales: LevelK Running time: 1 hr 40 mins
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Ali Fazal has spent a decade and a half deliberately refusing to sit still. He credits his mother for it. Bombarded with world cinema from an early age, he came out of college convinced the industry was bigger than what he’d been shown, and he built a career designed to prove it.
“I have to entertain myself first. I don’t think that’s a great feat, but I get bored of doing the same things,” Fazal says.
He returns as Guddu Pandit in “Mirzapur: The Movie,” the theatrical continuation of the Prime Video crime drama that made him a household name. He points to “Peaky Blinders: The Immortal Man” as the closest reference point for what the franchise is attempting.
“I think this is the first time India’s doing something like this, so very excited and also, I mean, it’s an experiment, but hoping to pull off and see if people come into the theaters,” Fazal says.
The film does not carry Guddu through to where the series left him. Instead, it rewinds, which meant Fazal had to strip away seasons of accumulated hardening to find the character’s earlier self again.
“It was a bit of a memory washout that I had to deliberately do, because seasons almost behave like human memories,” he says. He calls the character, underneath the bodybuilder physique and gangster posturing, one of India’s “unloved men,” a common type he says the culture produces and then has to reckon with in its stories.
That reluctance to return to long-form storytelling nearly kept him away from “Raakh” too. The Prime Video investigative thriller, drawn from one of India’s most notorious real-life cases, follows Sub-Inspector Jayprakash, a working-class policeman who rose through the ranks on merit and finds himself consumed by a case that outgrows him. Fazal had been circling a collaboration with director Prosit Roy for years before the two finally aligned on a project.
“This story came at the right time because ‘Mirzapur: The Movie’ had gotten pushed, the shooting thing,” Fazal says. “So I was actually halfway prepping for that and kind of building up. So I got very scared when I heard this.”
He describes Jayprakash’s arc as tangled up with the character’s strained relationship with his father, a former police sergeant whose currency was deference to superiors, set against a son determined to earn his place honestly. A second season, Fazal says, is not confirmed, though he believes the makers left the story open enough to accommodate one.
“I think the makers are very excited. Amazon is very, very, very happy indeed, so I’m sure they will try and come back with one,” he says.
Between a hard-boiled procedural and a stylized crime saga sits the rest of Fazal’s résumé, which stretches through Indian mainstream cinema, independent film, and Hollywood credits including “Victoria & Abdul,” “Death on the Nile,” “Kandahar” and “Furious 7.”
He has also begun shaping which stories get made at all, through Pushing Buttons Studios, the production banner he runs with his wife, actor-producer Richa Chadha. Their debut production, “Girls Will Be Girls,” directed by Shuchi Talati, won the Sundance Film Festival’s audience award and a jury prize for its lead actor. Fazal points to gaps in the Indian industry’s infrastructure, from the near total absence of theatrical distribution for documentaries to how little independent filmmakers know about submitting to festivals in the first place.
Fazal’s near-term slate includes a cameo in the partition drama “Batwara,” produced by Aamir Khan and starring Sunny Deol and Preity Zinta, and a segment in Netflix’s “Lust Stories” directed by Shakun Batra. He is also set to shoot an as-yet-untitled English-language film in London early next year, which he describes as a corporate drama in the vein of “Glengarry Glen Ross” meets “Severance.”
He is careful, still, about what international collaboration with India actually requires going forward. Access built on personal connections, he argues, does not translate abroad, and the contracts governing Indian productions need to modernize to match.
“We have to start championing each other,” Fazal says, pointing to how fragmented the industry remains across languages and how rarely its independent filmmakers organize on shared ground.
Fazal doesn’t have a fix for any of it yet. But between two very different roles this year, a production company still finding its footing, and a stack of scripts he says are close to shoot-ready, he isn’t waiting around for one either.
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Strategie pro hraní progresivních jackpotů s uvážením
Vím, že když spatříte jackpot vyšší než sto milionů korun, adrenalin nabádá vsadit maximum a doufat. Z vlastní zkušenosti ale vím, že bez disciplíny se z progresivních automatů stane rychlá cesta k prázdné peněžence. Klíčovým pravidlem, kterým se řídím já sám, je určení pevného limitu na jednu herní seanci. Nikdy nenechávám emoce rozhodovat o tom, kolik ještě protočím. U progresivních her na Spingranny slots je navíc důležité zkontrolovat si minimální kvalifikační sázku pro jackpot. Některé tituly potřebují, abyste sázeli maximální možnou částku na linii, jinak se do jackpotové hry vůbec nekvalifikujete. Tuto informaci uvidíte vždy v herním plánu – nepodceňujte ji, protože nic není hůře než trefit jackpotovou kombinaci a zjistit, že jste na výhru nepřišli kvůli nízké sázce. Zároveň doporučuji rozdělit si bankroll na menší částky a kombinovat více progresivních her najednou, čímž zvyšujete svou celkovou šanci na zásah v daném časovém úseku.
Já preferuji přístup, kdy si vybírám automaty, jejichž aktuální jackpot už převýšil svůj historický průměr, při kterém obvykle padá. Statistiky o průměrných výplatních částkách uvidíte na specializovaných webech, které sledují progresivní jackpoty napříč všemi casiny. Když zahlédnu, že Mega Moolah běžně padá kolem 120 milionů korun a aktuálně je na 150 milionech, chápu to jako příležitost, kdy je jackpot “zralý”. Samozřejmě to není záruka – náhoda je pořád náhoda – ale statistická pravděpodobnost hovoří v takových chvílích mírně ve prospěch hráče. V Spingranny casino si navíc můžete nastavit limity vkladů a času stráveného hrou přímo v rozhraní účtu, což srdečně radím všem, kdo chtějí mít hraní pod kontrolou. Nikdy nehrajte s penězi, které si nemůžete dovolit ztratit, a nikdy se nesnažte dohnat prohru zvyšováním sázek – progresivní automaty jsou na tuhle chybu obzvlášť citlivé.
Jakým způsobem progresivní jackpoty vlastně probíhají
Když nahlédnu pod kapotu progresivních jackpotů, nacházím hlavně propracovaný matematický model, který propojuje množství hráčů v reálném čase. Libovolná vklad, kterou vložíte do hry s progresivním jackpotem, přispívá nepatrné procento do sdíleného prize poolu. Tento sdílený fond se průběžně zvyšuje napříč všemi online casiny, která daný titul provozují, a Spingranny slots jsou do této sítě zcela integrovány. Výstupem je částka, která narůstá každou jedinou sekundou, až ji někdo nevyhraje. Systém výběru výherce se mění podle typu hry – někde rozhoduje čistá náhoda při libovolné sázce, v ostatních je třeba spustit bonusovou hru nebo docílit konkrétní kombinace symbolů. Zásadní je uvést, že vývojáři jako NetEnt, Microgaming nebo Playtech využívají prověřené generátory náhodných čísel, a proto každé zatočení je zcela nezávislé na minulém. Z praxe pozoruji, že hodně hráčů přehlíží hodnotu informací o současné výši jackpotu a jeho typické výplatní frekvenci. Přesně tyto údaje byste měli kontrolovat s největší pozorností, protože naznačují, zda se už jackpot dostává ke svému obvyklému stropu, po jeho dosažení podle statistik výhra nastává častěji.
Na co se zaměřit před roztočením válců progresivního automatu
Dříve než vůbec zmáčknu na tlačítko spin, procházím si mentální checklist, který mi napomáhá optimalizovat šance a omezit rizika. V první řadě sleduji aktuální výši jackpotu a porovnávám ji s historickým průměrem výplat dané hry. Pokud je jackpot výrazně nad průměrem, považuji to za příznivý signál, i když pořád jde jen o statistickou odchylku bez garance. Dalším krokem je prověření minimální kvalifikační sázky. U některých her na Spingranny slots dostačuje sázka v řádu několika korun, u jiných je třeba vsadit maximální počet mincí na linii, což může činit i stovky korun na jedno zatočení. Třetím faktorem je má aktuální herní kondice – nikdy nehraji progresivní jackpoty, když jsem unavený, ve stresu nebo pod vlivem emocí, protože právě v takových chvílích dělám špatná rozhodnutí o navyšování sázek a ignorování limitů. Pokud se necítím stoprocentně soustředěný, raději si dám pauzu a přijdu se k hraní později.
Čtvrtým bodem na mém seznamu je kontrola RTP konkrétního automatu v základní hře. Tento údaj vám řekne, kolik procent sázek se v dlouhodobém horizontu vrací hráčům na běžných výhrách mimo jackpot. Automaty s vyšším RTP vám pomohou vydržet ve hře déle se stejným bankrollem, což posiluje vaši šanci dočkat se jackpotového bonusu. Pátým a posledním krokem je nastavení pevného rozpočtu a času. Řeknu si například – dnes do progresivních her vložím 2000 Kč a maximálně dvě hodiny čistého času. Jakmile jeden z těchto limitů dostihnu, končím bez ohledu na to, jak lákavě jackpot vypadá. Tato disciplína mi umožnila udržet hraní v rovině zábavy a nikdy nesklouznout do problémového chování. V Spingranny casino navíc chválím, že mohu všechny tyto parametry sledovat přímo v rozhraní hry bez nutnosti listovat externími zdroji – aktuální jackpot, RTP i pravidla jsou vždy na dosah ruky, což beru za známku férového přístupu k hráči.
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V Spingranny casino brzy zjistíte, že ne všechny rostoucí jackpoty jsou si podobné. Regionální jackpoty se plní pouze ze sázek hráčů v okolí jednoho casina nebo dokonce jedné určité hry na dané platformě. Jejich přednost tkví v tom, že konkurence je slabší a sumy, byť menší, přicházejí statisticky pravidelněji. Na druhé straně nacházejí se globální progresivní jackpoty, které sdružují hráče z odlišných online casin po širém světě. Zde už mluvíme o obrovských sumách, protože do společného fondu přidávají statisíce lidí najednou. Rozlišení pocítíte hned – zatímco u regionálního jackpotu jste schopni pozorovat výdělek v rozmezí stovek tisíc korun, síťové jackpoty běžně přesahují hranici sta milionů. Pro domácí hráče na Spingranny slots je důležité uvědomit si, že u globálních jackpotů stojíte proti daleko větší rivalitě, ale očekávaná výhra je nesrovnatelně lepší. Já sám doporučuji začít u lokálních rostoucích her, kde si otestujete mechanismus a vybudujete instinkt pro načasování. Teprve poté má smysl pouštět se do globálních jackpotových propojení, kde už potřebujete kalkulovat s delšími úseky bez výdělku a silnější proměnlivostí celého herního mechanismu.
Proč právě Spingranny casino je špičkou v progresivních jackpotech
Během let, co se pohybuji v online casinovém prostředí, jsem měl možnost otestovat desítky platforem, a musím říct, že Spingranny casino si vytvořilo pozici, která je založena na třech pevných pilířích. Prvním je rozsah nabídky – najdete zde prakticky všechny zásadní progresivní automaty od renomovaných studií, včetně těch nejnovějších titulů s označovanými jako must-drop jackpoty, které garantují výplatu před dosažením určité částky. Druhým aspektem je technická úroveň. Hry běží plynule na desktopu i chytrých telefonech, bez výpadků a s bleskovým načítáním, což je u progresivních automatů rozhodující – nikdo nechce ztratit šanci kvůli zatuhnutí obrazovky. Třetím a snad nejdůležitějším faktorem je otevřenost. V Spingranny slots neustále vidíte aktuální částce každého progresivního jackpotu v reálném čase, a to přímo v lobby hry, ještě než ji spustíte. Nemusíte nikde hledat skryté informace ani se spoléhat na nepřesné údaje z externích zdrojů.
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Mobilní hraní progresivních jackpotů v českých podmínkách
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Důležitým aspektem mobilního hraní v českém kontextu je spotřeba dat. Progresivní automaty přenášejí informace o aktuální výši jackpotu neustále, takže vyžadují stabilní připojení k internetu. Při hraní přes mobilní data radím sledovat datový limit, protože hodina intenzivního hraní může spotřebovat několik stovek megabajtů, zvláště u graficky náročnějších titulů s animacemi. Ideální je připojení přes Wi-Fi, které je stabilní a nevyčerpává váš datový tarif. V neposlední řadě musím zmínit bezpečnost – vždy se zkontrolujte, že jste připojeni přes zabezpečenou síť, zejména pokud zadáváte platební údaje. Veřejné Wi-Fi sítě v kavárnách nebo na letištích nehodnotím za dostatečně bezpečné pro přístup k casinovému účtu. Spingranny casino naštěstí používá šifrované spojení, které vaše data zabezpečuje, ale základní obezřetnost je vždy na místě. Mobilní progresivní jackpoty jsou fantastickým způsobem, jak si zpestřit den, pokud k nim přistupujete s rozumem a v bezpečném prostředí.
Marvel Studios has already confirmed that four of the smartest Marvel superheroes of all time will be sharing the screen in Avengers: Doomsday, marking the first time that many characters with that level of intelligence will be in the same project. Avengers: Doomsday is going to be the biggest movie Marvel Studios has ever created, without question. The cast is already massive, and it will most definitely be even bigger once the film is released and all of the surprises have been made known.
Anyone could argue that every superhero is at least fairly intelligent in the MCU. If they weren’t, they probably wouldn’t have much success as a hero. However, a few who will appear in Doomsday will stand above the rest and have already proved just how smart they are on-screen.
Reed Richards has always been one of the smartest superheroes in Marvel history, and the version of the character in the MCU is no exception. The Fantastic Four: First Steps proved that Reed is a certified genius.
For starters, Reed literally baby-proofed the world. He was able to create systems and put them in place to stop all crime and provide a safe planet for everyone. Reed also proved that he could scientifically solve teleportation, which came into play when Galactus made it to their planet.
Reed’s intelligence will undoubtedly come into play in Avengers: Doomsday. He will reportedly work alongside Victor von Doom, another one of Marvel’s geniuses.
Marvel Studios
Another incredibly intelligent MCU character who will be a part of Avengers: Doomsday is Charles Xavier. Charles, who is better known as Professor X, is the leader of the X-Men and will reprise his role in Doomsday, as confirmed by the 2025 cast announcement and one of the upcoming film’s teasers.
Professor X is a scientific genius and a master of genetics. He also displays his intelligence through mutation, psionics, and the way he has invented advanced technology, just like Reed Richards.
For example, Professor X created the Danger Room and Cerebro, which are both extremely complicated and advanced. The Danger Room was a training facility for the X-Men and could replicate real-world scenarios with holograms and different weapons. Cerebro was a computer system that could locate Mutants across the world and could only be operated by an extremely strong telepath.
Many fans will be interested to see how Professor X’s brain will come into play in Avengers: Doomsday, and what genius feats he will accomplish in the fight against Doctor Doom.
Marvel Studios
Doomsday‘s third smart character is none other than the Black Panther herself, Shuri. In Black Panther, its sequel, and Avengers: Infinity War, it was established that Shuri was absolutely one of the smartest people in the entire world, if not the outright smartest.
Shuri is an expert in Vibranium engineering and artificial intelligence. She was able to take the Black Panther suit and engineer it with nanotechnology to make it extremely powerful.
In Avengers: Infinity War, Shuri was also able to physically remove the Mind Stone from Vision while he was still conscious, which is an incredible feat alone.
Beast is a lot like Professor X in the sense that he is an expert in multiple scientific fields. He is a world-renowned biochemist and expert in Mutant genetics, as well as in evolutionary biology.
Beast also helped Professor X design Cerebro, which, as mentioned, is an extremely advanced piece of technology. Because of all of his feats, he is often mentioned in the same breath as characters like Reed Richards and Bruce Banner when it comes to smarts.
Like the other characters, Beast will likely use his brain more than his brawn in Avengers: Doomsday, but fans will have to wait to see exactly how he will do so.
As mentioned, there could be other characters in Avengers: Doomsday who are extremely intelligent; they just have not been confirmed yet.
The Avengers will undoubtedly need all the help they can get intellectually when going up against Doctor Doom. The villain is not only a master of sorcery/magic, but is also extremely smart himself.
Other Smart Characters Who Could Be in Avengers: Doomsday
The four characters listed above aren’t the only smart superheroes in the MCU, and likely won’t be the only geniuses in Avengers: Doomsday. Marvel Studios still hasn’t revealed the entire cast for the upcoming film, and even if more names get announced, there will still likely be some other characters in the movie who will be saved completely for the film’s release.
One other smart character who could realistically show up is Doctor Strange. Strange may not be on the same intellectual level as someone like Reed Richards, but he is still regarded as an extremely intelligent individual.
Another character who could appear in the film is Mark Ruffalo’s Bruce Banner, aka the Hulk. Banner has more than half a dozen degrees in the MCU, and was established as one of the greatest minds in the world.
So far, The Vampire Lestat has established that Armand has been part of Daniel’s life since San Francisco in the ’70s, which we’ll discuss in a minute. But for me, that’s, as they say, only half the battle. Even given Armand’s love confessions and admissions that he’s been a party to Daniel’s existence for a long time, Daniel does not seem to offer any indication that he remembers Armand as a part of his life. And it’s not really a true relationship if both parties aren’t engaging in it. So, in order for Past Devil’s Minion to be real, I feel we need confirmation that Armand was there in Daniel’s life AND Daniel was there in Armand’s life. Present Devil’s Minion feels like it’s full steam ahead to me, but let’s take a closer look at whether it extends backward in time.
AMC
Past Devil’s Minion Exists for Armand
Half the battle is still a large part of the battle. And in order for Past Devil’s Minion to become a reality, Armand does need to have been present in Daniel’s history. And… he has been!
In episode five of The Vampire Lestat, Daniel demands Armand prove to him that he’s been in love with him all this time, as Armand confesses to him in episode four. And Armand reveals, “I had a fang in his neck, but I was interrupted and had to let him go. I tracked him down, planned to finish the work, but as I followed him, I found him fascinating. I’d sit at the foot of his bed in derelict motel rooms as he slept off a fix. Gradually, over the next 52 years, I was interceding on his behalf. And when he blacked out under an overpass, a junkie about to roll over him in an RV, wife Alice at home, pregnant at the time…”
AMC
And then Armand picks up to offer a smattering of scenes throughout Daniel’s life that he’s been present for, “February 11, 1990. A reading at Amherst, Massachusetts. Four students attend, three are there for extra credit, one is there for you to use. Which you do. Agressively. In your rental car in the garage of your North Hampton hotel. I make sure the boy makes it home and forgets the event. May 15th, 2002. You sneak away from your book research to attend your daughter’s graduation at Rice University. She didn’t ask you to come. I mouth the words “Fuck off,” when she sees you approach. You respect her wishes and drive away in a daze. But I guide you to the Rothko Chapel, where, inside, you unburden yourself and weep uncontrollably. The attending guard asks you to step outside, but I create in him a coughing fit. And you mourn your daughter’s hatred for the next 30 minutes in peace. August 5, 2025. I don’t plan to say ‘love,’ until I make profound amends for the harm I’ve caused you. 52 years, I’ve watched you, where you went, what you did. Watching your sorrow. Your modulating sexuality…”
AMC
So, that feels pretty cut and dry. In The Vampire Lestat, Armand is in love with Daniel, past and present.
The Timing of Memories Armand DOES Mention Seems to Fit a Past Devil’s Minion Narrative
I CAN’T BELIEVE THIS IS REAL THIS IS ONE OF THE MOST ROMANTIC THINGS I’VE EVER SEEN “i want to be your maker” “52 years i’ve watched you” I’M GONNA BE SICK #tvlspoilerspic.twitter.com/99ICJfIQra
Armand does offer Daniel an extensive array of different memories in which Armand has been present for in Daniel’s life, ostensibly without his knowledge. But there’s a little bit of a gap in his story. Armand and Daniel’s earliest meeting occurred in 1973 in San Francisco. But the first detailed moment Armand offers Daniel takes place in 1990. Curiously, he has nothing to say about the 20ish-year stretch between 1973 and 1990. Also, curiously, in Queen of the Damned, the Devil’s Minion chapter just happens to take place over the course of twelve years, between 1973 and 1985. And that means Armand and Daniel can still have their full Past Devil’s Minion arc in The Vampire Lestat, inclusive of everything from their first meeting to Armand chasing Daniel across the world to settling in Night Island. But instead of culminating with Armand turning Daniel into a vampire, Past DM culminates with Armand leaving Daniel and erasing his memories, only to watch him from afar and “intercede on his behalf.” The story currently allows for it, and it feels very telling that the exact stretch of Devil’s Minion years is left open.
Assad Zaman Says Armand’s Fascination with Daniel Has Been with him Since San Francisco
AMC Networks
Not that we needed any more confirmation of Armand’s feelings for Daniel, but in an interview with Nerdist, Assad Zaman shares that Armand was always in the background of Daniel’s life, pulled toward him by his fascination for the other man. “There’s a long 50 years between San Francisco and where we are. There’s always that possibility. Armand, his elaborate lies are often always laced with some truth. If you sort of listen to him, there’s something honest kind of coming out there, shrouded in manipulation and lies. And then in San Francisco, his fascination is real. His fascination with Daniel Molloy is real and way stronger than Louis’ fascination.”
Armand Has a Penchant for Wiping Minds and Altering Memories Memories
Armand doesn’t say that he and Daniel ever interacted in those 50 years of watching, though. And Daniel clearly has no memory of it. That is a mark against Past Devil’s Minion being real in The Vampire Lestat. HOWEVER, Armand does have a PROVEN track record of wiping minds and altering memories. And that makes it a real possibility that The Vampire Lestat‘s Armand could have been an active part of Daniel’s past existence, and then Armand could have simply erased those memories from Daniel’s mind.
Additionally, in The Vampire Lestat, we also learn that Armand is presently manipulating the mind and feelings of Lestat’s band member Alex, reminding us that this is something Armand does not really hesitate to do.
Daniel Has Forgotten Armand in His Past Before
AMC
And, of course, Daniel Molloy has himself forgotten Armand’s existence in his past. As with Louis, Armand erased the events of San Francisco in 1973 from Daniel’s memory. When Daniel came to Dubai, hazy recollections of Armand and the time spent in his captivity floated back into his awareness. But it took an extended recording of the day Louis, Daniel, and Armand met and Louis’ shared experience of the time to really bring the memories back to Daniel.
If Daniel has forgotten interacting with Armand once, it feels truly possible that he could have forgotten it multiple times (with the help of Armand), keeping the Past Devil’s Minion options open.
Eric Bogosian Says Armand Has Been ‘Corrupting Daniel’s Mind’ for 50 Years
In an interview with Nerdist, Eric Bogosian, who plays Daniel, shares, “You get told things like ‘this guy has been part of your life for 50 years,’ and you go, ‘Okay.’ But then you start to think about it, and it’s something that kind of sinks in and causes a kind of deep corrosion in your personality. If you think about it too much, it can drive you crazy. So I think it’s something that just keeps moving along through the season.” And then Bogosian levels at Zaman, “You love the idea that you’re corroding my brain.”
Again, “a part of your life” doesn’t necessarily confirm or deny Armand’s active presence in a Past Devil’s Minion scenario. But it does confirm the intensity of Armand’s presence in Daniel’s existence.
Armand Tells Daniel: ‘I Want to Give You Half Your Life Back’
AMC
In addition to his confessions about being a part of Daniel’s life for 52 years, Armand tells Daniel, “I want to give you half your life back.” Now, it’s, again, not totally clear what Armand is indicating here. On the one hand, it could just be a kind of metaphorical statement. Daniel insists Armand ruined his entire life after San Francisco, and Armand wants to give it back to him now by being present for his vampiric existence, teaching him how to walk in the sun (a half of his life for certain values), and overall being his maker. But, given all of this other context, it could also be literal. If Armand has obscured half of Daniel’s life from him, namely the half where they were together in the past and loved one another, then if Armand returns these memories to Daniel, he will actually be returning half of his life to him. And wouldn’t that be nice for everyone?
Armand and Daniel’s “She Wanted to Say Yes,” Scene From Interview with the Vampire Season 2
Okay, we’re in the thick of it now. There are many scenes that feel loaded to Devil’s Minion fans throughout Interview with the Vampire and Armand and Daniel’s time in Dubai. But the one that fans come back to the most is a scene where Armand and Louis are rifling through Daniel’s memories.
As they do, Louis comes to Daniel’s recollection of proposing to his wife, Alice, in Paris. “You felt freer to hold her hand in Paris, I wonder why that is…” Which is a bit of an odd thing to say to a straight couple who could probably hold hands anywhere. And then follows it up with, “And what did she say when you finally asked her to marry you?” And as the camera hovers intensely on Armand, “She said no,” Daniel admits. And then Armand, looking intensely thoughtful, offers, “She wanted to say ‘Yes,’ but she didn’t trust you. You hadn’t given her a reason to.”
Fans of Devil’s Minion will know that Daniel spends much of his time with Armand begging to be turned into a vampire in the Anne Rice books. And Armand doesn’t grant him that wish until he is literally dying. So it doesn’t feel like such a stretch to imagine that, in the memory, instead of a marriage proposal, Daniel is really asking Armand to turn him into a vampire. And Armand, “wanted to say ‘Yes,’ but, he didn’t trust him. He hadn’t given him a reason to.” While I don’t believe that Alice is Armand, I do think it would probably be simple for Armand to alter a few memories away from himself and Daniel and onto Alice. And there really is something about that scene…
Daniel’s Blue-Sky Ceiling NYC Apartment
AMC
This is the minutest of details, and yet, compelling. Daniel’s original NYC apartment is only shown briefly in Interview with the Vampire/The Vampire Lestat. And yet, Art Director, Nealy Orillion, who specializes in acrylic and watercolor, took the time to ensure that the ceiling of it had blue skies with clouds painted in a Renaissance-style fresco.
And in Queen of the Damned, we learn the following of Armand, who also happens to have a great attachment to Renaissance art: “Anything with blue skies enthralled him. Then he must watch news programs, prime time series, documentaries, and finally every film, regardless of merit, ever taped.” Additionally, in Anne Rice’s books, Past Devil’s Minion lived together in New York for a great deal of time.
Of course, Armand could have just manipulated Daniel into buying an apartment with skies painted on the ceilings… But it does seem a lot more logical for it to have happened because Daniel and Armand were living there together at some point.
The Blackout Years at “Knight Ridder”
‘Sorry about Dubai, sorry about San Francisco. And hey, a big-time sorry about every second in your life in between; the two divorces, the blackout years at Knight Ridder, the five trips to rehab, the year listening to Phish. Yeah, that’s all on me.’
— daniel bot 🎳 TVL SPOILERS (@danielmolloybot) June 30, 2026
In Daniel’s angry “amends” speech to Armand in The Vampire Lestat episode four, he mentions he holds Armand responsible for “the blackout years at Knight Ridder.” Interestingly enough, Knight Ridder was “an American media company, specializing in newspaper and Internet publishing” that was headquartered in Miami from 1974 to 1998. Meanwhile, Armand and Daniel’s Night Island complex was also located in Miami from the early 1980s onward. Of course, Knight Ridder owned many publications, but Daniel specifically mentions the corporation by name.
Which could mean nothing! Daniel names them in his Masterclass ad in the IWTV pilot. (I’ve been fired from three papers, hired back at two of them. Third got gobbled up by Knight Ridder.) They owned papers all over.
but the blackout years at? the homophone of it all? 👀
This could indicate that he worked for Knight Ridder in Miami because he was already in the city, living on Night Island with Armand. Alternatively, “Knight Ridder” shares a word with “Night Island” if you say them both out loud. Could it be the blackout years were in “Night Island” instead of “Knight Ridder”? Well, if past Devil’s Minion is real in The Vampire Lestat… maybe. We love a homophone.
Rolin Jones Says Young Daniel Actor, Luke Brandon Field, Will Return in the Series
More practically, Rolin Jones recently shared of young Daniel’s actor, Luke Brandon Field, “He’s in our family, he will be there opening night in New York [at the June 2 concert]. We think about him often. He will probably come back.”
AMC Networks
If Brandon Field does come back, it will most likely be for Past Devil’s Minion purposes. We suppose he could come back and be vaguely haunted by Armand without his knoweldge. But would that really be any fun?
The Existence of the Night Island Series
AMC
Speaking of Night Island, AMC has been developing a Night Island series for a long time. And recently, Nerdist exclusively learned that “We’re getting closer” to Night Island becoming a reality. Of course, Night Island is the island complex that Armand builds for himself and Daniel to live in, and much of their romance takes place there. It’s possible that a Night Island series could be done in the present of The Vampire Lestat, if Armand builds it for older Daniel instead of younger Daniel. But it also feels like it might hint at a history between the pair—and that would make Past Devil’s Minion a reality.
So, Is Past Devil’s Minion Real in The Vampire Lestat?
So, is Past Devil’s Minion real in The Vampire Lestat. The truth is, we just don’t know. All we know for sure is that Armand has been in Daniel’s past. Whether there was a two-sided romance between them that’s been erased remains a mystery. That said, I’d like to think PROBABLY?! Otherwise, the pair will have EVEN more to figure out than they already do. But, at the very least, we can’t rule Past Devil’s Minion out yet.
Rotem Rusak is Editor-in-Chief of Nerdist. She is waiting for Armand and Daniel to finally get together so one of her canon ships can finally sail on The Vampire Lestat.
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If you have some downtime over the 4th of July weekend and are looking for a game to play, Microsoft is bringing back its Free Play Days promotion, offering up some top titles to play for the low, low price of $0.
Call of Duty: Black Ops 7’s multiplayer and Zombies modes are free now through July 6, while Diablo IV is free through July 7. Demonschool and The Stone Madness have free two-hour trials now through July 5. None of these games require an Xbox Game Pass subscription during the free period.
Free is a nice price.
Ikonei Island: An Earthlock Adventure is part of the Free Play Days promotion through July 5, but you’ll need Game Pass Ultimate, Premium, or Essential.
This Free Play Days event comes at a tumultuous time for Xbox, as the company is expected to begin mass layoffs on July 6. Microsoft may close at least five studios as well, though it’s possible other arrangements could be made that does not result in studio closures or game cancellations.
Dana Strong, the chief executive of Sky, has said that ITV will remain a “deeply British” business after her company agreed a £1.6 billion ($2.1 billion) takeover of a crown jewel of UK broadcasting.
Sky’s acquisition of ITV’s television and streaming unit, which was announced early on Monday, will effectively put two UK public service broadcasters under the control of Hollywood.
Sky will be part of the NBCUniversal empire once the company is spun off from Comcast. Meanwhile, 5 is owned by Paramount, which is also hoovering up Warner Bros. Discovery assets in the UK.
On a call with journalists, Strong told Deadline: “Sky and ITV will remain deeply British. The entire strategy is around creating UK cultural moments that matter.”
ITV CEO Carolyn McCall, who described the sale as “historic,” added that Sky is seen as a British business after being founded by Rupert Murdoch before being sold to Comcast.
“This deal is not about what’s happening in Hollywood. This is a deal about Britain. This is about investing in British content,” McCall said. “We think this is strengthening PSB because it keeps ITV protected and preserved.”
Both McCall and Strong used the same phrase to describe the merged company, a British “streaming champion,” in what is clearly a coordinated message about their ambitions.
On Sky becoming part of NBCUniversal, Strong continued: “We have a shared cultural heritage, NBC and Sky. We’ve both been passionate about bringing sports and entertainment events to consumers.
“We have a very strong partnership where we’ve already been working on key content together, so some of our biggest shows, like The Day of the Jackal and SNL UK, were all done in a co-production environment with NBC.”
Sky and ITV are combining to become the UK’s biggest commercial broadcaster so they can better compete with overseas tech giants, such as TikTok and YouTube, but they will have to make their case to regulators in a lengthy antitrust process.
McCall said the deal will take between a year and 18 months to get past competition authorities. The companies are expected to make the case that they are fishing in a UK-wide pool for advertisers, not just in the broadcasting space. Strong said Sky and ITV’s share of the British market will be 6.5%.
When TodayTix acquired Secret Cinema in 2022 for a reported $100 million, it marked a new era for the company, which started life as a ragtag bunch of film enthusiasts trying to bring movies to life. Originally, the screenings were kept secret (hence the name) and staged in out-of-the-way locations with audiences only finding out what they were seeing upon arrival.
But a few public slip-ups (such as a spate of last-minute cancellations, including the opening nights of a highly-anticipated “Back to the Future” screening in 2015) followed by the pandemic shutting down the events industry, saw Secret Cinema so strapped for cash it had resorted to Kickstarter funding. It needed a superhero to save it and along came TodayTix, the event ticketing company founded by Brian M. Fenty and Merritt Baer in 2013.
With Baer now at the helm of Secret Cinema (former CEO Max Alexander and founder Fabien Riggall having long exited), he is focused on steering the ship into less choppy waters. The first step has been to sign a 10-year lease for a venue (currently being built) at the Greenwich Peninsula in London, just a short walk from the O2 stadium, where, fittingly, the inaugural spectacle will be “Pirates of the Caribbean” next spring.
While the seas are still stormy in the live events business (“[for] the theater industry at large, costs have just spiraled post-pandemic,” Baer says) the appetite for experiential has never been greater and Baer is focused on turning regular theatre-goers into immersive experience enthusiasts.
Last year Secret Cinema tested the waters for its new model with a staging of “Grease” at Evolution in Battersea. Among the changes made from the previous administration were dropping the requirement for audiences to participate with pre-assigned storylines, instead letting them dip in and out of the action as they like, and also introducing some seated tickets, for those who may not – yet – feel brave enough to get involved. Baer says “Pirates” will work similarly.
Ahead of “Grease” returning this summer on July 22 (Kaiser Chiefs frontman Ricky Wilson is set to play Teen Angel), and with preparations for “Pirates” in full swing, Baer sat down with Variety to talk about Secret Cinema’s current state of play — including international expansion and the company’s upcoming 20th anniversary — plus what audiences can expect when the swashbuckling “Pirates” launches next year.
Why did TodayTix decide to acquire Secret Cinema in 2022?
We’re constantly looking at “How do you redefine audience experience for theater goers?” and we looked at Secret Cinema really as a creative powerhouse, as a company that was doing really cutting edge things in bringing audiences into the center of a story.
Really the acquisition was about “What is the marriage between theater audiences and immersive?” and that is where, as I lead the company, I make a lot of decisions from. Like, how do we take theater audiences’ expectations and buying patterns and the way they like to receive entertainment, and now apply that to immersive? Because there’s this whole world of incredible immersive theater that I think they would love.
One of the biggest changes you’ve made is taking a 10-year lease on a venue in London for Secret Cinema. What was the decision behind leasing a permanent location?
Secret has always been a creative powerhouse, but a lot of it, from its earliest days, as almost any entrepreneur needs to, was by the seat of their pants and figuring out things as they went along, and sometimes that is an incredibly expensive way to have to [run a company]. Every time you’re doing a production, bring in a zillion toilets or to bring in all sorts of equipment that could be feasibly used production to production. So a big part of the growing up was us thinking about how do we create more stability for Secret to produce creatively in a more stable way?
Why did you choose London first and do you have plans for another location in the U.S.?
I think London is our home base, it’s where our entire team is, it’s where our audience that’s lived and grown up with us and watched us evolve from screenings in a warehouse 15 years ago.
I can say we are actively still looking at various international locations, the U.S. among them. It’ll probably take us another couple years before we’re ready to announce a permanent location in another city, but I can say we’re in very active conversations about multiple pieces of IP, either launching in different U.S. cities or setting down in different cities, both U.S. and other international places.
Doing it right is more important than doing it fast.
What does the Greenwich Peninsula lease mean for your deal with Evolution in Battersea, where you did “Grease” last year?
We’re bringing “Grease” back this summer for a slightly longer run. The audience response was absolutely amazing. It was the highest selling summer run Secret has ever done. I think Secret fans of yesteryear were a little – I’ll be really honest and forthcoming – disappointed in the IP choice, but I think what we were trying to do with “Grease” was, again, it goes back to the thesis [of introducing theatregoers to immersive entertainment].
Helping bring those audiences to immersive — in most cases, for the very first time — was a huge goal of ours, and “Grease” felt like a really great piece of IP to do that with.
Merritt Baer at Secret Cinema’s “Grease” screening
One of the elements of Secret Cinema that was off-putting to some potential attendees was being made to participate in an immersive storyline. Is that something Secret Cinema still does?
No, so the way the way “Grease” worked, and the way “Pirates” will work, is that we invited audiences to come to Rydell High… the film started inside and the musical came to life around you while the film was playing on about 30 different screens all around, and so you could watch simultaneously the film and the musical come to life. Anytime there was a song the sound of the film went off, the sound of the actors’ microphones went on, and so the number was fully live performed in this giant nearly 50,000 square foot space.
The film and the show would intersect again at the next musical number. So that was the format for “Grease,” which we did in close collaboration with both Paramount and the theatrical rights holders.
How will it work for “Pirates” since there are no musical numbers?
[There are] no musical numbers, but it does have a very iconic musical score by Hans Zimmer.
We haven’t announced creative team members yet, but I’ll tell you our creative team has some very major heavy hitters, in terms of musical direction, orchestration, and we are going to be doing very thrilling things to bring that score to life in some magical ways.
“Pirates” has initially been set as a 10-week run but is there a chance it could be extended?
I think we’ll see, based on demand, although so far demand has been off the charts, and has been the biggest presale in Secret Cinema history, so there’s always the potential to see what more lies ahead.
How involved are Disney in “Pirates”?
Obviously, it’s incredibly beloved IP that’s never had theatrical treatment before, and because of that, I think Disney Theatrical Group are honestly absolutely fantastic collaborators.
I think they were pretty early on really wowed by what we think we could do for audiences in a way that it feels distinct and unique from what stage production normally is, and yet very much in the wheelhouse of what Disney does in their parks, in terms of fully immersing audiences in an IP.
There is going to be flying and water and sequences — we are going all out. When people step into this room, I think they’re going to be beside themselves.
Secret Cinema’s 20th anniversary is on the horizon. Do you have anything planned?
“Pirates” is taking up most of my time. We have a handful of productions in active development with many major studios that get us really through the next three, four, five years, so all those productions are in different stages of development, and for various reasons things get paused or sped up at any given time based on studio timelines and whatnot. But we have three or four projects I’m incredibly excited about over the years ahead. Which one intersects with the 20th anniversary of Secret I don’t know exactly yet.
