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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Τα τζακποτ αποτελούν παιχνίδια απόλυτης τύχης. Όμως, κάποιες έξυπνες κινήσεις αναβαθμίζουν την εμπειρία σας. Προτίστως, διαβάστε πάντα τους κανόνες του παιχνιδιού. Πρέπει να ξέρετε ακριβώς πώς ενεργοποιείται το τζακποτ. Ακόμη, διαχειριστείτε το κεφάλαιό σας με σύνεση. Το παιχνίδι για προοδευτικό τζακποτ συχνά χρειάζεται μεγαλύτερα ποσά. Προγραμματίστε τις συνεδρίες σας ανάλογα. Ένας συχνός μύθος υποστηρίζει ότι ένα τζακποτ είναι ώριμο να πέσει μετά από πολύ καιρό χωρίς νίκη. Στην πραγματικότητα, κάθε περιστροφή είναι ανεξάρτητη και τυχαία. Η καλύτερη στρατηγική στο Casinia Casino είναι να διαλέγετε παιχνίδια τζακποτ που σας αρέσουν πραγματικά, σε ύφος και gameplay. Έτσι, απολαμβάνετε κάθε στιγμή, άσχετα με το αποτέλεσμα. Η νίκη μπορεί να έρθει στην πρώτη σας περιστροφή ή στην χιλιοστή.
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Πώς να βρω τα φρουτάκια με το ανώτερο RTP στο Casinia;
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Ποια τα πιο δημοφιλή προοδευτικά για Έλληνες παίκτες;
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Υποστηρίζει το Casinia Casino ελληνικές συναλλαγές συναλλαγές;
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Η ασφάλεια σας είναι η πρώτη μας προτεραιότητα. Το Casinia Casino είναι ενεργό με νόμιμη άδεια από επίσημη αρχή. Αυτό σημαίνει ότι τηρούμε τους πιο αυστηρούς και κανόνες δικαιοσύνης και ασφάλειας. Όλα τα παιχνίδια μας βασίζονται σε τυχαίους αριθμογεννήτρες (RNG) που επιβλέπονται ανεξάρτητα, εξασφαλίζοντας δίκαια αποτελέσματα. Τα προσωπικά σας στοιχεία και οι συναλλαγές σας προστατεύονται με βιομηχανικά πρότυπα στάνταρτ κρυπτογράφησης. Μπορείτε να απολαμβάνετε με ησυχία, έχοντας επίγνωση ότι είστε σε ένα αξιόπιστο και και ρυθμισμένο περιβάλλον.
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)
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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)
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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)
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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.
Rozdíl mezi místními a celosíťovými narůstajícími jackpoty
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.
Dalším benefitem, kterou oceňuji hlavně jako český hráč, je úplná lokalizace do češtiny. Rozhraní hry, podmínky bonusů, historie transakcí – vše je v rodném jazyce, což odstraňuje nepříjemná překvapení z nepochopených pravidel. Platební metody jsou přizpůsobeny českému trhu, takže vklady i výběry se uskutečňují rychle a bez nadbytečných konverzních poplatků. Když už vyhrajete progresivní jackpot, poslední co chcete je čekat týdny na převod peněz. V Spingranny casino jsou výplaty zajištěné profesionálně a řídí se přísné regulaci, takže máte jistotu, že se ke svým penězům doberete v rozumném čase. Progresivní jackpoty k tomu nejsou nijak omezovány maximální výplatou za den či měsíc, jak tomu bývá zvykem u méně renomovaných platforem – když vyhrajete sto milionů, získáte sto milionů, a to bez zbytečného natahování výplatního procesu.
Mobilní hraní progresivních jackpotů v českých podmínkách
V Česku věnuje stále více hráčů čas u mobilních zařízení a Spingranny casino na tento trend odpovědělo vzorně. Progresivní automaty jsou uzpůsobené pro dotykové obrazovky, s přehledným rozložením ovládacích prvků a ponecháním plné grafické kvality i na menších displejích. Osobně hrají na mobilu přibližně polovinu svého herního času, hlavně při cestování nebo během krátkých přestávek během dne. Co potřebuji vyzdvihnout, je stabilita mobilní verze – za celou dobu jsem neviděl jediný pád hry uprostřed zatočení, což by u progresivního jackpotu dokázalo znamenat katastrofu. Technické řešení Spingranny slots funguje přímo v prohlížeči bez nutnosti nahrávat jakoukoliv aplikaci, takže úložiště vašeho telefonu zůstává nedotčené. Přistupujete stejným účtem jako na desktopu a veškerá herní historie i stav vašeho bankrollu se sladí v reálném čase.
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.
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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.
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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.
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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…”
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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…”
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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
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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
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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’
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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
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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.
Satluj, Honey Trehan’s human rights drama starring Diljit Dosanjh, has been pulled days after its launch in India. The film has been at the center of a censorship battle and tells the story of human rights activist Jaswant Singh Khalra.
It launched on the Zee5 streaming service on July 3. It was taken down two days later. Zee5 issued a statement on social media that said: “In light of current developments, Satluj will be unavailable in India until further notice.”
Zee5 did not elaborate on the “current developments” it alluded to, but added that it stood by the movie and is “committed to exploring every appropriate avenue through due process to bring the film back to our audiences.”
In an Instagram post, Zee5 added: “Satluj may have paused. But the conversation it started hasn’t. Thank you for the incredible love. We hope to bring it back soon.”
The movie follows Khalra’s campaign to uncover the unlawful killings and disappearances of thousands of Sikhs by Punjab police between 1984 and 1994. Khalra disappeared in September 1995. Six Punjab police officers were convicted of his abduction and murder a decade later.
Satluj was produced by Ronnie Screwvala’s RSVP Movies and MacGuffin Pictures, the banner founded by Trehan and Abhishek Chaubey. The film was originally called Ghallughara, a Punjabi word that refers to historic massacres of the Sikh people. It was then called Punjab ’95, before finally getting its short-lived release with the title Satluj.
Ahead of release, it was in the news amid struggles to get certification. Trehan told Deadline that after it was submitted in late 2022, India’s Central Board of Film Classification demanded numerous cuts and for the film’s original name to be changed. The filmmakers pushed back, meaning long delays to the process.
The team behind the movie pulled it from the Toronto International Film Festival ahead of a planned world premiere in 2023. In 2025 it still had not been given a certificate. At a private screening at Cannes that year, Trehan told Deadline: “There’s pressure on my producers to write off the film, coming from government officials, from central government officials.”
Trehan’s reaction to Satluj getting pulled was reported in The Indian Express: “I got to know about the removal of Satluj from ZEE5 in India at around 8:15 pm on Sunday. I am at a loss right now. I don’t know how to react to this development.”
Zee5 added that the film remains available outside of India.
“We were both young when I first saw you” goes the first line of one of Taylor Swift’s most enduring matrimonial tales, a bit of pop-musical Shakespearean fan fiction she wrote when she was 17 and had the audacity to call, simply, “Love Story.”
That 2008 hit is hardly an outlier. Swift’s songbook is littered not only with wedding imagery but also with recurring fantasies of star-crossed couples who met when they were wide-eyed kids. Take “It’s Nice to Have a Friend,” a lilting ditty from her 2019 album “Lover” that follows a pair of schoolmates from awkward walks home and afternoons playing video games before time-jumping to an altar scene: “Church bells ring, carry me home / Rice on the ground looks like snow.” The penultimate track of her 2006 self-titled debut, a rose-colored country rocker called “Mary’s Song (Oh My My My),” was inspired by her family’s next-door neighbors, an older couple who had grown up together and gradually fallen in love. “Take me back to the time when we walked down the aisle,” a sighing 16-year-old Swift sings in the imagined voice of a much older wife. “Our whole town came and our mamas cried.”
As we all heard this weekend, these quaint scenes of church bells, thrown rice and small-town social gatherings did not exactly align with Swift’s own singular and long-awaited journey to the altar. For starters, swap out the chapel for a maximum-security arena, the townsfolk for a somewhat absurdist litany of A-list celebrities (Hugh Grant? Brad Pitt? Mike Vrabel?) and the implied priest for Adam Sandler. Now you’re closer to the mark.
And unlike the fantasy she has imagined in song, Swift wasn’t a kid when she met the man she would marry. She was 33, still young by most metrics but also a grown woman with several dozen lifetimes’ worth of accomplishments under her belt, plenty of hard-won wisdom and self-knowledge gleaned from past relationships, and a net worth somewhere north of $1 billion and rising. It was still a fairy tale, perhaps, but a distinctly modern variety in which the princess doesn’t need saving by the prince so much as an assurance that he can handle, and maybe even be attracted to, her adult self-confidence and professional success.
Across the two decades that Swift has been releasing music, writing vivid depictions of romance and generally growing up in public, her ideas about marriage have slowly evolved, sharpening from soft-focus fables into something more realistic and personalized to her (very) specific needs. As the many fans who pore over Swift’s lyrics like scripture will tell you, the best way to chart that shift is to listen to her songs.
Fractured Fairy Tales
Despite her reputation as a wild-eyed dreamer, even in her early years Swift could temper her more starry-eyed depictions of marriage with skepticism. “Back then I swore I was going to marry him someday / But I realized some bigger dreams of mine,” she sings on “Fifteen,” from her 2008 album “Fearless” — looking back on her younger days from the wise, old age of 18. She wrote perhaps her most satirical take on holy matrimony for the playful title track of her third album, “Speak Now,” from 2010, which finds Swift scheming from the sidelines as the object of her affection prepares to marry a bridezilla, “wearing a gown shaped like a pastry” with a “snotty little family dressed all in pastel.” And so the girl who sang “It’s a love story, baby, just say yes” employs some light satire to skewer a sanctimonious ceremony and, in the song’s chorus, even slyly inverts that “Love Story” lyric: “Don’t say yes, run away now.”
The increasingly pop-oriented albums Swift released in her 20s — “Red,” “1989” and “Reputation” — more or less stopped mentioning marriage. Those albums were made as she honed her ability to document relationships that didn’t necessarily have staying power, but also as she learned how to better skewer her own hopeless romantic impulses. As she put it on the self-aware smash “Blank Space,” “So it’s gonna be forever / Or it’s gonna go down in flames,” knowing that the ashes would at least provide fodder for her songwriting.
Swift started singing about marriage in earnest again on her 2019 album “Lover,” released three years into her long and relatively private relationship with the British actor Joe Alwyn. The entire bridge of the title track is a recitation of playfully bespoke vows: “Ladies and gentlemen, will you please stand? / With every guitar-string scar on my hand / I take this magnetic force of a man to be my … lover.” A few tracks later, on the energetic pop rocker “Paper Rings,” Swift professes with palpable giddiness, “I like shiny things, but I’d marry you with paper rings.”
A New Romanticism
After pivoting to more character-driven fictions on her pair of 2020 albums, “Folklore” and “Evermore,” Swift began picking apart ideas about marriage with a newfound gusto on “Midnights,” her moody, malcontented synth-pop album from 2022. “He wanted a bride / I was making my own name,” she sings on “Midnight Rain,” auditing the failings of a relationship with a man looking for a wife who would be content to put her career on pause. On “Lavender Haze,” she rails against societal expectations of women and “the 1950s [expletive] they want from me.” As she puts it to her comparatively chill lover, “All they keep asking me is if I’m gonna be your bride / The only kind of girl they see is a one-night or a wife.”
Of course, it’s certainly possible (perhaps even recommended) to be critical of one’s aspirations, so what some of Swift’s detractors missed is that the critique of “Midnights” did not necessarily mean she no longer dreamed of marriage. That much became clear on her next album, “The Tortured Poets Department,” a lengthy purging of all the feelings surrounding her 2023 breakup with Alwyn and an intense rebound fling with the 1975 frontman Matty Healy. (The subject of her songs was often seemingly inspired by an amalgamation of the two.) On the title track, an otherwise flighty lover suggestively slips off the ring on her middle finger and puts it “on the one people put wedding rings on,” a romantic gesture that makes her swoon, “That’s the closest I’ve come to my heart exploding.” That image curdles into a false promise on the devastating piano ballad “loml,” which accuses an ex of stringing her along by “talking rings and talking cradles.” That Swift ends up rhyming “getting married” with “cemetery” suggests how that ended up. Even a song as arch as the flushed, cheeky pastoral “But Daddy I Love Him” has matrimony on the mind, as Swift has some pointed words for those who tsk-tsk her taste in men: “No, you can’t come to the wedding.”
Last year’s blockbuster “The Life of a Showgirl” was the first album Swift wrote entirely after she had started dating the N.F.L. star Travis Kelce, and it was released two months after they had announced their engagement. Skeptics were quick to accuse Swift of backsliding into some sort of pre-feminist fantasy, because she’d returned to singing about love, marriage and children (“have a couple kids, got the whole block lookin’ like you,” she sings on the airy reverie “Wi$h Li$t”), and some even used the reductive buzzword of the moment to dub “Showgirl” her “tradwife” album. But tradition has not exactly laid out a blueprint for a wife like Taylor Swift — a 36-year-old billionaire confessional singer-songwriter whose commercial peak is extending well into her late 30s and whose net worth (if you’re into that sort of thing) is estimated to be about 20 times her husband’s. Betty Draper she is not.
A Millennial Mirrorball
Swift’s engagement and marriage have been the subject of outsize fascination in part because she has chronicled her love life in her songs so vividly and for so long. But it is also because she has done so during a time of rapidly changing matrimonial mores, when more and more people are delaying marriage, forgoing it entirely or deciding for themselves which aspects of it to honor and which to discard. (The little we know about Swift’s wedding ceremony suggests that combined convention and idiosyncrasy, such as the decision to forgo a bridal party and call her brother, Austin, “the man of honor.”)
Indeed, across the two decades of Swift’s career the institution of marriage has undergone huge cultural, and legal, transformations. Consider that the first album she released into a moment when all 50 states constitutionally recognized same-sex marriage was her sixth, “Reputation.” The median age at which a woman gets married for the first time has risen about five years since Swift was born, and even about three years since she wrote “Love Story.” The sociologist Andrew Cherlin has popularized the idea that many modern marriages are not foundational transformations that herald the beginning of adulthood but “capstones,” occurring when both parties are a bit older and more financially independent. Despite its extravagant locale and ridiculous, megawatt guest list, Swift and Kelce’s marriage seems to fit this model.
“When I said I don’t believe in marriage / That was a lie,” Swift sang on the unapologetically earnest “Showgirl” piano ballad “Eldest Daughter.” You could read that as an overwriting of the more confrontational ideas she expressed on “Midnights,” I suppose. But you could also hear the song as the culmination of Swift’s two-decade self-interrogation and eventual acceptance of her own desires, a trial-and-error process in a time of rapidly changing mores that led her toward clarity about what her most personalized version of happiness looks like. That’s a love story, too.
Clooney – who is one of only three people nominated in six different Oscar categories (best picture, director, lead actor, supporting actor, original screenplay and adapted screenplay) – will be celebrated on the Lido in his triple guise as actor, director and producer.
“A perfect combination of the star glamour of days gone by, remarkable professionalism, and modern sensitivity, the actor has crossed genres with rare versatility: war movies with ‘Three Kings’ and ‘Syriana’; thrillers with ‘Michael Clayton’; sophisticated comedies with ‘Ocean’s Eleven’ and ‘O Brother Where Art Thou?’; science fiction with ‘Gravity’ and ‘Solaris’ and and bittersweet comedies with ‘The Descendants,’ ‘Up In the Air,’ and ‘Jay Kelly,’ the Venice Biennale, which oversees the fest, said in a statement.
“In each one of these movies, he calibrated his register while remaining true to himself: ironic and melancholy, fascinating and reflective, brilliant and capable of unexpected depth,” the statement added.
“He did the same in the nine films he made when he decided to go behind the movie camera, all of which reveal a demanding and generous concept of cinema,” it continued, citing Clooney-directed films “Confessions of a Dangerous Mind,” “Good Night and Good Luck,” “The Ides of March,” and “Suburbicon” as “examples of films that are refined, ambitious, and outside the rules and conventions of Hollywood cinema,” it noted.
The works Clooney directed also reflect his other vocation, “a commitment to social and humanitarian causes, making him a figure of absolute prominence in the universe of show business today,” the statement concluded.
Commented Clooney: “I’ve had so many extraordinary moments in Venice. This festival is without question my favorite and to be given the Golden Lion is a tremendous honor.” He further added: “It also probably means I’m old, but I’ll take it.”
Clooney is a Lido aficionado having strutted down the Venice Palazzo del Cinema red carpet several times over the decades with movies such as 1998’s “Out of Sight,” 2005’s “Good Night, and Good Luck,” 2024’s “Wolfs” and “Jay Kelly” last year.
“In his triple capacity as actor, director, and producer, George Clooney is a complete and charismatic artist, impassioned and original, who has transformed a deep vocation into one of the most luminous career trajectories of contemporary film,” said Venice chief Alberto Barbera.
“An early career launched without shortcuts, with small roles in TV series and B movies until his major success as the star of the series ‘ER,’ formed an actor who is able to inhabit the screen with disarming spontaneity,” Berbera added. “He is endowed with the gift of making his characters seem not only credible but desirable, approachable, and human, thanks to his undeniable charm,” Barbera continued. “
“But Clooney’s charisma is constructed on his credibility, not on his image, because his seductive side has never been merely aesthetic,” he concluded.
Clooney has scored Academy Awards for best supporting actor for playing a veteran CIA officer in “Syriana” (2005) and as a producer alongside Ben Affleck and Grant Heslov on “Argo” which scored the Oscar for Best Motion Picture in 2012.
Most recently, in 2025, Clooney earned a Tony Award nomination for his Broadway debut in the stage adaptation of “Good Night, and Good Luck” in which he starred as Edward R. Murrow. The show made Broadway history as the first live Broadway performance to be simultaneously televised on CNN to audiences across the world.
The 83rd edition of Venice will run Sept. 2-12, with the festival’s lineup being announced July 23.
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Ko iščemo dovoljeno igralnico v Sloveniji, sta varovanje in zaupanje bistvena. Igralnica Bonuskong se pokaže kot privlačna možnost, saj ponuja skladnost s strogi lokalnimi predpisi in zavarovano igralno okolje. Kaj pa jo poleg dovoljenja resnično loči od drugih? Od širine iger do zaščitnih funkcij in pomoči igralcem se nahaja več plasti, ki jih je koristno raziskati in določajo celotno doživetje za slovenske igralce.
Zakaj izbrati dovoljeno igralnico v Sloveniji
Čeprav je na voljo številne možnosti, izbira dovoljene igralnice v Sloveniji nudi, da igramo v zavarovanem in nadzorovanem okolju. Prednosti dovoljene igralnice ne zajema le upoštevanja s strogimi nadzornimi standardi, temveč tudi okrepljeno varovalno jamstvo za naše zasebne podatke in sredstva. Te igralnice so pogosto podvržene nadzorov, ki potrjujejo pravičnost igre in finančno poštenost, kar povečuje naše zaupanje. Dodatno institucije za dodelitev dovoljenj izvajajo stroge politike o odgovornem igranju na srečo in nas zaščitijo pred nepravičnimi praksami. Odločitev za dovoljenega ponudnika pomeni tudi dostop do pravnega pravnega varstva v dogodku sporov. Za vse, ki si stremimo za veščino v svojem igralnem načinu, je dojemanje teh pooblaščenih prednosti ključnega pomena. To poveča našo izkušnjo nad le zabave, saj v vsako igro, ki jo vložimo v okviru reguliranih igralnic v Sloveniji, vnaša zanesljivost in varnost.
Analiza dovoljenja igralnice Bonuskong
Poglejmo podrobneje licenciranje igralnice Bonuskong, s poudarkom na agenciji, ki ga upravlja, in kako nudi usklajenost s nacionalnimi zakoni. Dojemanje pravilnosti njihove licence in procesa podaljšanja je bistvenega pomena za oceno zaupnosti v igralnico.
Informacije o instituciji za podelitev dovoljenj
Ker je licenciranje bistvenega pomena za zagotavljanje zaščite igralcev in poštene igre na srečo, nam razumevanje podrobnosti o licencah igralnice Bonuskong pomaga oceniti njeno verodostojnost. Bonuskong deluje v skladu z robustnim licenčnim okvirom, ki ga urejajo priznani regulativni organi, ki izvajajo strogih standarde. To zagotavlja, da se igralnica drži podrobnih protokolov skladnosti s predpisi, vključno z zaščito igralcev, pravičnim igranjem in zanesljivimi transakcijami. Z priznano licenco priznanega organa Bonuskong izkazuje preglednost in odgovornost, ki sta bistvenega pomena za zanesljivo delovanje. Ocenjevanje licenčnega okvira razkriva, kako dobro igralnica uporablja svetovne najboljše prakse in omejuje tveganja, povezana z nepooblaščenimi operaterji. Za tiste, ki obvladajo področje slovenskih spletnih igralnic, je poznavanje teh podrobnosti o licenčnem organu ključnega pomena za razlikovanje zanesljivih platform, kot je Bonuskong, od manj zanesljivih možnosti.
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Čeprav je pridobitev licence ključni korak za vsako igralnico, je dojemanje njene veljavnosti in postopka obnove enako ključnega pomena za zagotovitev neprekinjenega zakonitega delovanja. V igralnici Bonuskong je obdobje veljavnosti licence nedvoumno opredeljen, kar povečuje preglednost tako za igralce kot za nadzornike. Zavedamo se, da ohranjanje skladnosti vključuje izpolnitev strožjih zahtev za podaljšanje, še preden obstoječa licenca izteče. Ta proaktivni pristop prispeva k izogniti se morebitne motnje v storitev ali zakonitem položaju. Obnova vključuje temeljite preglede operativne celovitosti, denarne trdnosti in usklajenosti s slovensko pravili o iger na srečo. Z obvladovanjem teh postopkov Bonuskong vzdržuje svoj sloves zaupanja vrednega upravljavca. Za nas in za vas kot izkušene igralce ta neprekinjenost zagotavlja zanesljivo in pravno neoporečno igralno okolje brez motenj ali regulativnih skrbi.
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Poleg široke ponudbe igralnih avtomatov igralnica Bonuskong impresionira tudi s svojimi možnostmi namiznih iger, ki so namenjene naši strateški plati. Izbor vključuje znane različice blackjacka, rulete in pokra, pri čemer vsaka ponuja edinstvene nianse, ki preizkušajo naše razumevanje verjetnosti in odločanja. Mojstrstvo strategij namiznih iger je tukaj ključnega pomena, saj so igre zasnovane tako, da nagrajujejo analitično razmišljanje in ne zgolj srečo. Na primer, igralnica ponuja evropsko in ameriško ruleto, kar nam omogoča, da primerjamo prednosti hiše in ustrezno izboljšamo svoje stave. Podobno nam številne različice pokra omogočajo, da spremenimo svoje sloge igre in napovemo poteze nasprotnikov. Bonuskongova skrbna izbira namiznih iger zagotavlja, da bodo izkušeni igralci, ki želijo strategijo in raznolikost, našli privlačno izkušnjo, usmerjeno na spretnosti.
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Ko raziščemo bonuse in promocije, ki so na voljo slovenskim igralcem, je očito, da licencirane igralnice ponujajo različne spodbude, namenjene izboljšanju naše igralne izkušnje. Ugodnosti za slovenske igralce presegajo zgolj zgolj bonuse dobrodošlice; vključujejo različne vrste promocijskih ponudb, prirejenih različnim slogom in preferencam igre. Običajno vidimo:
Bonusi za polog v višini ujemajočih se depozitov za izboljšanje začetnega stanja na računu.
Brezplačni vrtljaji za ljubitelje igralnih avtomatov, ki povečujejo čas igranja.
Ponudbe za vračilo denarja, ki zmanjšujejo morebitne izgube.
Programi zvestobe, ki spodbujajo dosledno sodelovanje.
Vsaka od teh tipov promotivnih ponudb je namenjena določenim segmentom uporabnikov in nudi vrednost na vseh področjih. Poznavanje teh sistemov nam omogoča taktno uporabiti bonuse, izboljšati našo korist in istočasno upoštevati pravila stav. Ta preciznost spremeni vsakdanje obiskovanja igralnic v kontrolirane in ugodnejše doživetja.
Varnostne funkcije in pristopi fer igre na srečo
Ker je naše zaupanje v licencirane slovenske igralnice zelo odvisno od tega, kako zavarovane in poštene so igre na srečo, je razumevanje njihovih varnostnih funkcij in pristopov za fer igro ključnega pomena. V igralnici Bonuskong rigorozni varnostni protokoli ščitijo podatke uporabnikov z naprednimi tehnologijami šifriranja, kar zagotavlja močno varnost igralcev pred vdori. Poleg tega samostojne pregledi ustvarjalcev random števil (RNG) verificirajo integriteto in randomnost rezultatov iger, kar povečuje fer igro. Spoštujemo, kako Bonuskong izvaja instrumente za odgovorno igranje, ki dovoljujejo samoodločitev in omejitve depozitov za varovanje ranljivih uporabnikov. Jasnost odstotkov izplačevanja in skladnost s slovenskimi pravnimi normami še dodatno povečujeta zaupanje. Z integracijo obsežnih zaščitnih protokolov s rigoroznimi pristopi za pošteno igro na srečo igralnica Bonuskong ponazarja zanesljivost, ki je bistvena za igralce, ki želijo verodostojno izkušnjo dovoljene igralnice v Sloveniji.
Plačilne načini, ki so dostopne v kazinoju Bonuskong
Ko preučujemo finančne metode, ki so dostopne v igralnici Bonuskong Account Verification, je očito, da sta udobje in varnost prednostna prioriteta za izboljšanje naše igralniške izkušnje. Platforma nudi vrsto priljubljenih izbir, ustreznih našim zahtevam, kar zagotavlja hitre vplačila in izplačila. Pri ocenjevanju časa in verodostojnosti poslov, izstopajo te metode:
Plačilne/debetne kartice
Spletne denarnice
Bančni prenosi
Kriptovalute
Izkušnja iger na mobilnih napravah in dostop
Čeprav številne kazina zagotavljajo mobilne platforme, spletna igralnica Bonuskong izstopa po tem, da ponuja tekoče doživetje igranja, ki je pristopna in uporabniku prijazna na mnogih platformah. Njihova prilagodljivost s sistemi nudi, da interface ostane enostaven, neodvisno od tega, ali uporabljamo pametne telefone ali tablete, Android ali iOS, brez izgube delovanja. Mobilno igralno okolje je izboljšano za zagotavljanje ekspresnih časov za nalaganje in nemotene uporabe, kar je zelo pomembno za potopitev v igralno izkušnjo in produktivnost. Vidno je, da Bonuskong postavlja v ospredje odzivnemu oblikovanju, ki se nemoteno prilagodi velikostim zaslona, brez izgube jasnost slike ali funkcionalnost. Ta predanost kaže, da se je mogoče kadar koli in kjer koli vključimo s veliko izbiro igralnih možnosti, brez srečanja s problemi, tipičnimi za slabo prilagojene mobilne sisteme. Za uporabnike, ki dajejo prednost fleksibilnost in prefinjenost pri igranju na mobilnih napravah, igralnica Bonuskong izstopa tako v dostopnosti kot v tehnični izvedbi.
Podpora strankam za slovenske igralce
Kljub temu da je neprekinjeno igranje bistvenega pomena, se zavedajo, da lahko zanesljiva podpora strankam poveča ali pokvari našo celovito doživetje igranja. Za uporabnike iz Slovenije se spletna igralnica Bonuskong je znana z zagotavljanjem hitre podpore skozi številnih poti. Njihova sistem za podporo osredotoča se na:
Dostopna je podpora preko klepeta za takojšnje odpravljanje težav med igro.
Hitro reševanje e-poštnih poizvedb, ponujanje podrobnih in temeljitih izvedb.
Večjezična podpora, prilagojena uporabnikom slovenščine, kar zmanjšuje komunikacijske ovire.
Strokovni agenti, ki so seznanjeni z lokalne predpise in delovanje igralnic, vam bodo za točna navodila pomagali.
Ta struktura ne le povečuje zaupanje uporabnikov, temveč zagotavlja tudi učinkovito reševanje morebitnih težav. Kombinacija podpore v živo in odzivnosti po e-pošti loči Bonuskong na konkurenčnem trgu, saj zagotavlja izkušnjo storitev za stranke, ki odlično dopolnjuje status licence igralnice.
Orodja in viri za odgovorno igranje na srečo
Ko gre za odgovorno igranje igralniških iger, je dostop do učinkovitih orodij in virov ključnega pomena za vsakega igralca. V igralnici Bonuskong smo ugotovili, kako integrirane funkcije odgovornega igranja na srečo – kot so možnosti samoizključitve, omejitve depozitov in preverjanje realnosti – uporabnikom omogočajo vzdrževanje nadzora. Ta orodja služijo kot proaktivna podpora pri igranju na srečo in zmanjšujejo tveganja, preden se težave stopnjujejo. Poleg tega dobro zasnovani ukrepi za preprečevanje odvisnosti odražajo zavezanost ne le skladnosti s predpisi, temveč tudi dobremu počutju igralcev, kar je v licenciranih slovenskih igralnicah najpomembnejše. Z uporabo teh virov lahko spodbujamo okolje, kjer zabava ne ogroža dobrega počutja. Razumevanje in izkoriščanje teh orodij je bistvenega pomena za obvladovanje v reguliranem igralniškem prostoru, saj zagotavlja, da užitek ostane uravnotežen in trajnosten skozi čas.
Zaključek
Pri izbiri igralnice je dovoljenje pomembna – in igralnica Bonuskong ima močno slovensko dovoljenje, ki zagotavlja varnost in poštenost. Ali ste vedeli, da igralnice z dovoljenjem v Sloveniji poročajo o več kot 85-odstotnem zadovoljstvu igralcev zaradi izboljšane zaščite in pestre ponudbe? Verjamemo, da je Bonuskong zaradi svoje obsežne izbire iger, močne varnosti in predane podpore odlična izbira. Skupaj te lastnosti ustvarjajo zanesljivo in prijetno igralniško izkušnjo, ki Bonuskong resnično loči od drugih na živahnem trgu igralnic v Sloveniji.
EXCLUSIVE:The Assassin‘s upcoming second season is already making a killing, with a host of international buyers now attached.
Season 2 of the Prime Video series, which counts Australia’s Stan and Germany’s ZDF as co-producers, has been acquired by several networks and streamers who ran Season 1. We revealed news of the recommission back in February after reporting it was in development in November last year.
They are namely Canada’s Bell Media, which will bring the new series to Crave and CTV Drama Channel; NBCUniversal LatAm, which has taken pan-territory rights for Universal+; NPO (the Netherlands); SVT (Sweden); TV2 (Norway); DR (Denmark); Cosmote (Greece); VRT (Flemish Belgium); Hot (Israel) and to Sky Free in New Zealand.
The deals come soon after YLE (Finland), Pickbox (the Balkans), RTBF Auvio (Flemish Belgium), SIA Tet (Latvia), LRT (Lithuania), Freedom Media (Kazakhstan) and Canal+ (Czech Republic, Hungary, Romania, Slovakia) acquired rights to the first season.
Set on an idyllic and remote Greek island, Season 1 followed retired assassin Julie (Keeley Hawes) and her estranged son Edward (Freddie Highmore), as they were forced to work together in a fight for survival amid questions around Edward’s paternity and Julie’s dangerous past.
The second series, currently in post-production, picks up after Edward and Julie have returned from a disastrous trip to Berlin, where they find themselves estranged once again following a mysterious fall-out no one is willing to discuss. Julie has returned her old ways as an assassin, whilst navigating an equally perilous dating scene, while Edward’s honeymoon with Kayla (Shalom Brune-Franklin) doesn’t go quite as planned. He’s then forced to reunite with Julie to take on Spain’s corrupt underworld.
The Assassin Season 2 comes from All3Media-owned Two Brothers Pictures and was made for for Prime Video in the UK, ZDF and Stan in association with All3Media International. Two Brothers founders Harry and Jack Williams are the writers and creators of the six-part season, and both also serve as executive producers along with with Sarah Hammond, Alex Mercer and Daisy Mount. Hawes and Highmore also serve as executive producers, with John Griffin the producer with Terry McDonough – another executive producer – directing episodes 1-3 and Sarah O’Gorman directing episodes 4-6. Jessica Mescall serves as casting director. Halo Pictures is the service company in Malta, where the show was shot.
Italian Global Series award
The news comes as Lisa Mulcahy, who directed Season 1 of The Assassin, is honored at the Italian Global Series Festival in Italy. The event is being held this week and will honor the likes of Natasha Lyonne and Richard Gadd.
All3Media International, which has sales rights to The Assassin, is attend the Italian Global Series Festival with Potboiler’s espionage thriller Secret Service, which stars Gemma Arterton. The show will have its Italian premiere on 5 July, where it will screen as part of the festival’s International Drama Competition.
Every payment at an online casino carries a spark of potential, but deposit match offers transform that spark into a significant opportunity. At Kong Casino, Australian players realize that a well-timed deposit can unlock bonus funds that extend every dollar further across slots, table games, and live dealer sessions. A deposit match offer is exactly what it sounds like: the casino mirrors a percentage of a deposit with bonus money, building a larger bankroll before the first bet is wagered. Instead of funding an account with only the initial amount, players receive an extra layer of value that can convert an ordinary session into something far more exciting. These promotions are not random giveaways; they are carefully designed deals with specific rules, caps, and wagering requirements. Understanding how they work is the key to unlocking their true potential. Kong Casino has established these bonuses a central part of its promotions page for Australian players, and whether a newcomer testing the waters or a seasoned high roller chasing bigger thrills, these match offers create a safety net that changes ordinary deposits into amplified bankrolls.
Understanding Deposit Match Offers?
A deposit match offer acts as a promotional tool that boosts the value of a player’s deposit by granting bonus funds on top of the deposited amount. The most common format is a percentage match, such as a 100% match up to $300, which means the casino provides one bonus dollar for every real dollar deposited, up to the stated maximum. Some offers employ smaller percentages, like 50% or 75%, while high-value promotions may extend to 200% or more. The bonus funds appear in a separate bonus balance and can be used on eligible games, but they are not immediately cashable. Before any winnings generated from the bonus can be cashed out, players must satisfy a wagering requirement, which is a multiplier applied to the bonus amount or the deposit plus bonus total. Time limits, game restrictions, and payment method exclusions often are included. Kong Casino displays these conditions clearly, helping players decide which deal suits their style. This mechanism has become the backbone of online casino welcome packages and ongoing loyalty rewards, providing players extra firepower to explore hundreds of games. By effectively doubling or tripling a bankroll, deposit matches reduce the sting of early losses and extend playing time, which is why Kong Casino highlights them prominently on its promotions page.
Deposit match ratio – the portion of the payment credited as bonus, such as 50%, 100%, or 200%.
Maximum bonus cap – the maximum amount on extra credits, such as $200 or $1,000.
Initial deposit requirement – the smallest qualifying amount, often $20 or $30 in Australia.
Wagering requirement – the amount of plays the bonus needs to be wagered through before payout.
Qualifying games – slots, table games, and live dealer titles that apply toward the wagering target.
Expiration window – the timeframe, usually 7–30 days, in which the bonus must be used.
Frequent Versions of Matching Deposit Offers
First-deposit match bonuses represent the most prominent category, usually providing a 100% match on a new player’s initial deposit to kick-start their journey. These welcome offers frequently feature the highest match percentages and generous caps, making them excellent for exploring Kong Casino’s extensive library of pokies. Regular players encounter reload deposit matches, which are offered on subsequent deposits as a way to sustain momentum. Reload offers often feature smaller percentages, such as 50% or 75%, but they arrive weekly or monthly, rewarding loyal Australians with consistent extra funds. Kong Casino frequently ties these reload deals to specific days of the week or sporting events, adding a layer of excitement timed to real-world calendars. Such calendar-based promotions convert ordinary Tuesday deposits into small celebrations, ensuring every week offers potential for boosted bankrolls. Players who schedule their deposits around these themed reloads can stack extra value repeatedly, creating a significant difference over a month of play.
Beyond regular matches, high-roller deposit bonuses cater to players placing larger amounts, commonly with greater ceilings and unique terms. A high-roller 50% match up to $2,000 rewards big funds without needing an enormous percentage. Some sophisticated promos even strip wagering demands entirely, awarding bonus money as cash after a simple wagering condition. Kong Casino from time to time features no-wager offer offers, instantly turning a deposit into cashable profits once the playthrough is met. These uncommon gems draw savvy players who know that sidestepping wagering chains boosts real cash-out possibility. The appeal of no-wager matches resides in their clarity; the bonus functions almost like additional real money, allowing immediate cash-out upon winning, which amplifies the sensation of outsmarting the house fairly. By combining match percentages with small or no-wagering systems, casinos like Kong develop promotions that appear fair and entertaining. For Australians seeking maximum authority over their funds, these simplified bonuses represent the truest type of deposit match excitement.
How Deposit Match Bonuses Function at Kong Casino
How to Claim at Kong Casino
Getting a deposit match at Kong Casino is meant to be simple for first-time players while providing experienced Australians full authority over their bonus. The process starts on the promotions page, where current deposit match promotions are displayed with key information. After choosing an offer, players log in to their Kong Casino account and go to the deposit section. Before finalizing the transaction, they can enter a promo code if one is necessary or tick the relevant bonus box. The minimum deposit amount has to be achieved for the offer to trigger, and some payment methods may not be eligible depending on the promotion. Once the deposit is accepted, the bonus funds are added to the player’s bonus balance right away, ready to be used on a vast variety of pokies, table games, and live dealer tables. This smooth process means the bonus appears within seconds, letting players dive into the action without hesitation.
Comprehending Wagering Requirements
Wagering requirements are the most critical clause in any deposit match promotion. They determine how many times the bonus amount, or sometimes the bonus plus deposit, must be wagered before winnings become withdrawable. For example, a $100 bonus with a 35x wagering requirement means a player must place bets totaling $3,500 on eligible games. Kong Casino clearly states the wagering multiplier for each offer, ensuring no hidden surprises. Many Australian players overlook the difference between wagering on the bonus only versus on the combined deposit and bonus; the latter can double the effective playthrough target and significantly affect withdrawal odds. Understanding this mechanic turns a seemingly generous match into a calculated opportunity rather than a blind gamble. Meeting wagering demands a strategic approach: selecting high-contribution games, pacing bets, and monitoring the bonus balance progress bar that Kong Casino provides. This transparency empowers players to make informed decisions before they even claim a match.
Identify the promotional value awarded, such as $150 from a 100% offer.
Verify if the wagering requirement applies to the bonus alone (e.g., 30x bonus) or to the deposit+bonus (e.g., 30x combined amount).
Multiply the applicable amount by the wagering factor to arrive at the total wagering target.
Track game contribution percentages to estimate how many spins or games are needed to achieve the requirement.
Remember the validity duration and confirm enough play sessions are scheduled to fulfill the wagering before the bonus lapses.
Slot Contribution Percentages
Not every games contribute the same amount toward clearing a deposit match bonus. Slots generally contribute 100%, meaning every dollar wagered counts fully toward the playthrough. Table games like blackjack, roulette, and baccarat often contribute significantly less, sometimes 10% or even 5%, because their low house edge makes meeting wagering conditions less demanding if they counted fully. Live dealer games may have distinct rules entirely. Kong Casino publishes comprehensive contribution tables for each bonus, and savvy players use this information to select the most efficient route to completion. A deposit match claimed with the intent of playing high-contribution pokies can be cleared within a few sessions, while attempting to grind through low-contribution table games can extend the requirement into a marathon. By matching the right games to the bonus terms, Australians can turn a $200 match into a comfortable clearance path that feels more like play than work.
Pokies vs Table Games: The Contribution Split
A major distinction between slot and table game contributions shapes many Australian bonus strategies. While one $1 spin on a pokie is counted as $1 toward wagering, the same $1 bet on blackjack might count as only 10 cents. This means a slots player might clear a $5,000 wagering requirement in one evening, whereas the identical requirement with blackjack might take weeks of regular play. Kong Casino’s terms often list contribution percentages right on the bonus detail page, and high-roller players look for live dealer blackjack matches that sometimes offer improved contribution for VIP tiers. Understanding these splits prevents frustration and empowers players to choose the bonus that fits their favorite games. For fans of lightning-fast clearance, slot-focused matches are the obvious choice, while strategic table gamers may prefer smaller bonuses with higher table contribution to enjoy their preferred experience without an excessive grind.
Maximizing Your Bonus at Kong Casino
Turning a deposit match into withdrawable cash is a ability that merges awareness of conditions, game selection, and self-discipline. At Kong Casino, where promotions change frequently, Australian players can adopt several best practices to maximize every matched dollar. The difference between clearing a bonus efficiently and losing funds to rushed play often boils down to grasping contribution tables, pacing bets, and respecting time limits. By regarding the bonus as a structured challenge rather than free money, players transform matched funds into real withdrawable profits. The following steps describe a battle-tested approach that operates across the wide range of deposit match offers featured on the Kong Casino promotions page. Savvy players who stick to these guidelines report not only faster clearance but also a more enjoyable journey, as they traverse the casino’s extensive library with purpose and excitement. These strategies turn the bonus into a strategic asset rather than a mysterious hurdle, making every deposit a calculated thrill.
Constantly review the complete terms—examine playthrough, game weightings, and bet caps when you claim.
Focus on high-contribution pokies—choose pokies featuring high RTP to extend bonus credit effectively.
Skip bonus void conditions—some bonuses become void if wagers exceed a certain limit, so ensure wagers moderate.
Trigger the offer as soon as possible—trigger it when you possess sufficient playing time to meet the time limit with ease.
Monitor progress using the bonus balance dashboard to change your pace and prevent rushing at the end.
Think about loyalty rewards—Kong Casino’s VIP program occasionally lowers playthrough for special reload bonuses.
Deposit match offers offered by Kong Casino convert a regular deposit into a fantastic amplified bankroll, but the magic lies within comprehending the workings of the match. By reading terms, picking high-contribution games, and remaining mindful of betting conditions, players from Australia can turn bonus money into real payouts. Be it a welcome 100% match or a weekly reload, the key is to treat the bonus as a resource that prolongs playtime and increases entertainment. With a clear approach and strategy, every deposit becomes a starting point for bigger wins.
FAQ
What exactly is a deposit match bonus?
A deposit match bonus is an offer where the casino grants bonus funds equal to a percentage of a player’s deposit https://kongcasino.win/bonus/. For instance, a 100% match up to $300 doubles the deposited amount with additional money that can be used on eligible games. The bonus funds are not available for instant withdrawal and carry terms such as wagering requirements which must be satisfied before any winnings can be cashed out.
How are wagering requirements applied to deposit matches?
Wagering requirements indicate how many times the bonus amount needs to be wagered before winnings can be withdrawn. A $100 bonus with a 30x requirement means $3,000 needs to be bet on eligible games. Some casinos apply the multiplier to the deposit plus bonus, effectively doubling the target. Be sure to verify whether the requirement is on the bonus only or on the total sum to understand the real clearance effort needed.
Can I withdraw bonus funds immediately after a deposit match?
No, bonus funds are restricted until wagering requirements are met. The deposit match adds bonus money to a separate balance, and any effort to withdraw before fulfilling the playthrough will cancel the bonus and any winnings generated from it. Once the wagering target has been completely met, the remaining bonus balance transforms into real, withdrawable cash in line with the casino’s terms.
Are deposit match bonuses exclusively for new players at Kong Casino?
Absolutely not. While welcome match offers are a common welcome offer, Kong Casino provides reload deposit matches for loyal players on a weekly or monthly basis. These ongoing deals recognize loyalty with reduced match percentages, and exclusive event-driven reloads appear around special occasions or major sporting moments. Both new and experienced Australians can locate match promotions customized to their player status.
What games help clear deposit match bonuses fastest?
Slots almost always count 100% toward wagering, rendering the speediest path to clearance. Games like blackjack and roulette often contribute only 5–20%, substantially slowing down the playthrough. Players seeking to clear bonuses swiftly should focus on high-RTP pokies and stay away from low-contribution table games unless the bonus specifically favours them. Kong Casino’s contribution table provides exact percentages for each game category.
What happens if I do not fulfill the wagering requirement before the bonus expires?
If wagering is not finished within the stated expiry period, generally 7 to 30 days, the bonus funds and any related winnings are forfeited. The original deposit balance remains unaffected, but the promotional value is gone. To prevent this, players should review the expiry date on the bonus details page and organize their sessions to achieve the playthrough with time to spare.
I vividly recall my first trip to a casino, striding in with a roulette system I was sure I’d cracked https://a-1.casino/. The croupier offered me a polite smile, the wheel spun, and by the end of the hour my wallet was visibly thinner. That night imparted something more important than any betting strategy: the house edge isn’t some myth—it’s a simple bit of maths that keeps things running and the cards shuffling. If you visit A1 Casino, or any UK-facing site for that matter, understanding this concept transforms you from a hopeful punter into a player who knows exactly what they’re paying for. I’m going to explain to you the house edge in plain English, no calculator needed, so you can take clear choices every time you log in. By the end, you’ll understand that a small percentage doesn’t mean you can’t win; it just means you’ll appreciate the real cost of the thrill.
What Exactly Is the House Edge?
The house edge is the mathematical advantage the casino built into every game. Think of a tiny levy on each bet—over millions of spins, hands, or rolls, the operator will retain a predictable portion of all the money wagered. There’s no trickery here; it’s laid out plainly in the game rules. At A1 Casino, you can usually find the theoretical return percentage in the help files. So when I say that European roulette comes with a 2.7% house edge, I indicate that for every £100 you bet, the casino projects to pocket £2.70 on average. That doesn’t signify you’ll lose exactly £2.70 every time you sit down. In the short term, variance can give you a fat profit. Over time, though, the maths churns steadily in the casino’s favour. The word to recall is “expectation”. One evening might defy the trend; a thousand evenings won’t. Understand this and you’ve made the first step toward gambling responsibly and enjoying the ride without false hope.
Casino Advantage vs. RTP
I come across these phrases tossed around as if they’re the identical concept, but they’re different sides of one coin. The house edge is the portion the casino keeps; RTP is what gets returned to players. So if a slot at A1 Casino displays an RTP of 96.5%, the house edge stands at 3.5%. Plain as that. The confusion emerges because RTP is a projected long‑term figure—it’s no promise for your individual session. I’ve observed punters score big on a 94% RTP slot and take a bath on a 98% one in the same evening. That’s fluctuation at work. What matters is that over hundreds of thousands of spins, the machine will give back about 96.5% of all cash fed into it. Table games generally reveal the edge straight away. Blackjack can have a house edge of just 0.5% with optimal basic strategy, while American roulette plods along at a thick 5.26%. Anytime you notice an RTP, just deduct it from 100% and you’ve got the edge. It may be the most helpful number you’ll ever encounter.
The way the House Edge Is Worked Out
You don’t require a statistics degree to follow the maths. I always start with a coin toss. If I gave you even money on a fair flip, the house edge would rest at zero—because heads has exactly a 50% chance, and the payout matches the true odds. Now suppose I pay you 95p for every £1 you bet on heads, and I keep your stake when you lose. True odds say you should get £1, but I’m shortchanging you by 5p. That 5p gap, divided by the total amount wagered, gives a house edge of 5%. Casino games operate on the same principle, only with trickier probabilities. In roulette, the zero pocket is the offender. A bet on red pays even money, but your chance of hitting red on a European wheel is 18 in 37, thanks to that single green zero. The payout falls one unit short, generating a 2.7% edge. Every game has its own mathematical skeleton. Once you see it, you can compare games with the precision of a surgeon.
House Advantage in Popular Casino Games
Roulette
Roulette shows the house edge more clearly than any other game, so I employ it as my learning aid. European roulette, with its single zero, provides the casino a 2.7% edge on practically every bet. That’s completely fair. American roulette, though, introduces a double zero and rockets the edge to 5.26%. If you’re at A1 Casino and spot both variants side by side, the decision is a simple choice. Some French roulette tables even provide the “la partage” rule: you get half your even‑money bet back if the ball stops in zero. That reduces the edge down to 1.35%, which is remarkably player‑friendly. I always advise UK players to check the wheel layout before putting down a chip. A quick look at the zero pockets reveals you the whole story about the mathematical impact you’ll take over time. Unless you’re actively chasing higher risk and you acknowledge the added cost, avoid the American wheel.
Blackjack
Blackjack occupies a particular place for me because it can offer one of the lowest house edges in the casino—assuming you play it properly. The base edge can sink as low as 0.5%, but only if you follow basic strategy. Basic strategy isn’t card counting; it’s a set of statistically perfect decisions for every conceivable hand against the dealer’s upcard. When I launch a virtual blackjack table at A1 Casino, I keep a strategy chart open on my phone until the choices become second nature. Wander from that chart and the edge climbs fast. Rule variations also have huge weight. A table that pays 3:2 for a natural blackjack is miles ahead of one that pays 6:5, which alone adds roughly 1.4% to the house edge. A dealer who stands on soft 17 also acts in your favour. If you’re ready to learn one game inside out, pick blackjack. The effort returns in real money saved.
Slot games
Slot machines are the lawless territory of house edge, and I step in with my eyes wide open. A single spin can have an edge anywhere from a lean 2% up to a tough 10% or more, and unlike table games, you can’t sway the outcome with skill. The RTP is embedded in the game’s programming and confirmed by independent labs. At A1 Casino, you’ll often find the RTP located in the game info section, and I’ve developed a habit of checking it before I risk my bankroll. High‑volatility slots can share the same RTP as low‑volatility ones, but they hand out fewer, fatter wins. That doesn’t affect the edge—it just alters the ride. I often gravitate toward slots with an RTP of 96% or higher, which gives a house edge of 4% or below. Anything under 94% feels needlessly steep to me. Progressive jackpots often have a higher base edge because a chunk of each bet goes toward the jackpot pool. That’s the trade‑off for a shot at a life‑changing win.
Baccarat
Baccarat is the understated overachiever among low-margin games, and I wish more UK players would try it. The banker bet offers an edge of just 1.06%, while player comes in at 1.24%. The tie bet, though, is a trap with an edge that can vault past 14%, and I always avoid it. The game calls for no skill, no decisions beyond where you put your chips, giving you a calm session from start to finish. At A1 Casino, the live baccarat tables stream in high definition, and the pace feels pleasantly unhurried. Because the edge on banker and player is so low, your bankroll can last a long way, especially if you use flat betting. That 5% commission on winning banker bets is what creates the tiny edge, but even after the commission, it is still the best bet in the house. For pure mathematical efficiency, baccarat is on par with blackjack—without ever asking you to memorise a strategy chart.
Craps itself
Craps can intimidate a lot of UK players with its busy layout and loud crowds, but buried in that chaos are some of the fairest bets you’ll find. The pass line bet has a house edge of 1.41%, and once a point is set, you can back it with an odds bet that has exactly zero house edge. Yes, you heard that right: the casino takes no mathematical cut on odds bets, which is practically unheard of. At A1 Casino, the digital craps tables let you try out these wagers without the stress of a packed pit. The trick is to steer clear of the flashy proposition bets located in the centre of the table—those can have edges of 10% or more. Stick to pass line, don’t pass, come, and don’t come, and you’re playing a game that gives you a real fighting chance. I find craps remarkably social, and once you pick up the rhythm, it’s considerably simpler than it first looks.
Locating Low House Edge Games at A1 Casino
Scanning the A1 Casino game library with the house edge in mind is a talent that benefits you right away. I start by filtering for table games, then I dive into the specifics. For slots, I hunt for the information icon—usually a little ‘i’ or a menu button—that brings up the RTP. If a game hides its RTP, I might still play for fun, but I won’t put down serious cash without knowing the numbers. Live casino games often list their rules right in the lobby. I look for “European Roulette,” “Blackjack 3:2,” and “Baccarat Squeeze” as my go‑to low‑edge picks. The search bar is your helper; typing “low stakes blackjack” or “French roulette” can uncover hidden gems. I also watch for new game releases. Providers sometimes roll out titles with promotional RTPs to reel in players, and those windows are worth grabbing. The trick is to make checking the edge as automatic as checking your balance.
Inspect the Game Information Panel
Every trustworthy game at A1 Casino comes with a integrated information panel, and I handle it the same way I’d read a nutrition label. A couple of taps or clicks will show you the expected RTP, the volatility, and commonly the maximum win. I’ve made a habit of checking it before my first spin. If I see an RTP below 95%, I ask myself whether the entertainment value really covers the steeper cost. Sometimes it does—a hit branded slot packed with features can justify it—but I go in with my eyes wide open. The panel also highlights special features that can twist the edge, like gamble options or progressive jackpot contributions. I especially like it when the panel breaks down the RTP contribution of the base game versus the bonus round. That kind of clarity lets me figure out if the bonus buy feature is worth the price. Information is power, and in a casino, it’s also money kept in your pocket.
Employ Proven Low‑Edge Variants
I keep a selection of games I come back to over and over because their house edge remains reliably low. European roulette, standard blackjack with 3:2 payouts, baccarat banker bets, and pass line craps are at the core. At A1 Casino, I mark these for quick access. When the mood for slots arises, I drift toward titles from developers with a track record for high RTPs—think of certain NetEnt or Play’n GO classics that sit above 96%. I sidestep side bets unless I’m feeling flush and treating them as a separate entertainment expense. The real advantage of this approach is that I never complete a session feeling cheated. I understand the maths, I accept the cost, and any win lands like a genuine bonus. It converts gambling from a hopeful scramble into a calculated leisure activity. The casino still earns its money, and I maximise every pound into the longest playtime possible.
Popular Myths Regarding the House Edge
I’ve encountered some outlandish theories in my time, and shooting them down is half the fun. The one that won’t die is the idea that a game is “due” to pay after a long losing streak. The house edge doesn’t operate on a cycle; every spin, hand, or roll stands on its own. The roulette ball has no memory, and the slot machine’s random number generator owes you nothing. Another chestnut claims the casino can flip a switch and tighten a game from a distance. In the UK, games are scrutinized and certified to a rigorous standard. At A1 Casino, the software is checked and the RTP is fixed. The operator cannot adjust it on a whim. Believing in hot and cold streaks is harmless amusement, but taking it for a strategy is dangerous. I also hear people argue that betting systems can beat the edge. The Martingale, Fibonacci, and their relatives only modify the pattern of wins and losses, not the underlying maths. No system can flip a negative expectation into a positive one.
A slot machine that hasn’t paid all day is “due” to hit the jackpot.
The casino can remotely tweak a live game’s RTP while you’re playing.
Betting systems like the Martingale can erase the house edge over time.
Online games are rigged differently from their land‑based cousins.
Play long enough and you’re guaranteed to claw back all your losses.
The Effect of Game Rules on the House Edge
Minor rule adjustments can alter the house edge by a staggering amount, and I’ve learned to sniff them out like a hawk. In blackjack, the quantity of decks, whether the dealer hits or stands on soft 17, and your capacity to double after splitting all move the edge by portions of a percent. Those pieces accumulate fast. The move from European roulette to American roulette is the most evident example: one extra pocket nearly doubles the casino’s advantage. Even in slots, features like bonus buys or gamble features can shift the effective RTP. At A1 Casino, I always check the game rules before testing a new title. A slot that lets you enter straight into the bonus round may seem generous, but the RTP on that feature could be worse than the base game. The same thinking goes for side bets at table games. That enticing Perfect Pairs wager in blackjack often packs a house edge north of 5%. I treat side bets as a different game, and generally one with worse maths.
European-style vs. American Roulette
It bears repeating: the shift from a single-zero to a double-zero wheel is the greatest rule variation you’ll ever run into. On a European wheel, the house edge stands at 2.7%. On an American wheel, it climbs to 5.26%. Over the long haul, that signifies you’ll consume your bankroll almost twice as fast on the American variant. Whenever I check the live casino lobby at A1 Casino, I search for European or French roulette and nothing more. American wheels from time to time sneak in because they’re common in some markets, but for a UK player with options, there’s no need to tolerate the poorer odds. If you ever come across a French roulette table with the “en prison” or “la partage” rule, grab it. That rule reduces the edge on even‑money bets to just 1.35%, which is staggeringly good. It’s the gap between paying a fair price for your fun and being overpaying.
Blackjack Rule Differences
Blackjack is a real chameleon. The house edge can sit at a razor‑thin 0.4% or balloon to a chunky 2%, all relying on the table rules. I mentally check a mental checklist: does the table pay 3:2 or 6:5 for blackjack? Does the dealer hold on soft 17? Can I double down on any two cards, or only on 9, 10, and 11? Can I double after splitting? Does the table provide surrender? Every “yes” to a player‑friendly rule cuts a little more off the edge. At A1 Casino, the virtual blackjack tables usually display these rules right up front. I once sat down at a table that paid 6:5 without noticing, and I could have been furious afterwards. That one rule alone added 1.39% to the house edge, wiping out all the gains from my basic strategy play. If you take nothing else from this article, lock this in: 3:2 payouts are non‑negotiable for anyone committed about blackjack.
The Reason for the House Edge
Casinos are businesses, not charities. The casino edge serves as their revenue model, the same way a supermarket includes a surcharge to a pint of milk. If it didn’t exist, you wouldn’t have upscale establishments, live dealer streams beaming to your phone, or the promotional deals you see at A1 Casino. Friends occasionally feel cheated when I clarify this, but I ask them to reflect on the flipside: if the odds were entirely even, the operator would go bust as soon as a lucky streak hit. This edge is what keeps the doors open so you can play tomorrow, next week, and next year. It pays the developers who build those slot animations, the croupiers who greet you by name, and the security teams who protect your data. Here in the UK, we enjoy some of the strictest gambling rules anywhere, and the house edge is never hidden. You can always find the RTP (Return to Player) percentage, which is just the opposite face of the edge. A 96% RTP means a 4% house edge. That’s simple arithmetic, nothing dark or sinister.
Applying the House Edge to Gamble Smarter
Understanding the house edge isn’t about becoming pro; it’s about extracting the most fun out of your bankroll. I set a budget before I enter A1 Casino, then I choose games whose edge suits how long I want to play. With £100 and a full evening ahead, I’ll choose blackjack or baccarat with low flat bets, so the maths has less chance to diminish my funds. If I’m after a quick adrenaline jolt, I might allocate a smaller slice into a high‑volatility slot, knowing full well the edge is steeper. The edge also helps me evaluate bonuses. A welcome offer with a 35x wagering requirement tied to a high‑edge slot is far costlier to clear than the same requirement on a low‑edge blackjack game—though plenty of bonuses heavily restrict table game contributions. I read the fine print. In the end, the house edge is just a means for smarter decisions. It won’t assure wins, but it does mean you’ll never be blindsided by a loss.
Determine a strict budget, then split it by the house edge to get a rough idea of your expected playtime.
Choose the lowest‑edge games for longer sessions; keep the high‑edge titles for short, high‑risk bursts.
Always check the RTP or house edge in the game info panel before you place a bet.
View side bets as separate wagers with their own (usually worse) mathematics.
Use bonuses on games where the edge is lowest to squeeze the most value out of wagering requirements.
The Reason the House Edge Should Not Intimidate You
I’ve encountered numerous players who, the minute they find out about the house edge, believe the games are rigged. I remind them they’re funding an experience, much like a cinema ticket or a dinner out. The edge is the price you pay for the thrill, the suspense, and the sporadic rush of a big win. At A1 Casino, that price is out in the open and usually very fair. A 1% edge on blackjack means your theoretical cost stands at £1 for every £100 you wager. Compare that to the markup on a pint at your local, and instantly the casino starts to look like decent value. The trick is not ever to bet money you can’t afford to lose and to regard the edge as an entertainment fee. When I adopt that headspace, I appreciate the games more and pursue losses far less. The house edge isn’t your enemy; it’s the rulebook. Understand it, value it, and you’ll have a far healthier relationship with every bet you make.
I wrote this guide because I truly believe an informed player has more fun. The house edge is the most important concept in any casino, and the moment you really get it, you stop wandering and start deciding. At A1 Casino, the tools are located right there in the game lobbies, waiting for you to pick them up. Check the RTP, choose the European wheel, follow basic strategy, and the whole experience transforms. You’ll still lose sometimes—maybe often—but you’ll know precisely why and how much it’s costing you. That knowledge is freeing. So the next time you log in, take thirty seconds to glance at the numbers. Your bankroll will thank you, and you might find the games become a whole lot more fun when the mystery falls away.
3 Weeks After is not for the faint of heart. The timely new film from Miroslav Terzić (Redemption Street, Stitches) takes us inside the nightmares that high school can be made of. And the Serbian director’s third feature, which world premieres on July 7 in the Crystal Globe Competition of the 60th edition of the Karlovy Vary International Film Festival (KVIFF), does so in haunting fashion that is bristling with tension.
The film starts off with a group of high-school students and their teachers setting off from Serbia for a class trip to Bulgaria. But their bus breaks down, and they find themselves stranded in an old hotel. This is where the quiet and withdrawn Zoza decides to talk about his best friend’s recent suicide. The result is an unsettling cinematic deep dive into adolescent bullying, peer violence and the blurring lines between victim, witness, and perpetrator.
The director co-wrote 3 Weeks After, which features cinematography by Damjan Radovanović, with Vladimir Arsenijević and Bojan Vuletić. The editor is Marko Ferković. The young cast features Jovan Ginić, Klara Hrvanović, Andjela Alavirević, Tihana Lazović Trifunović and Branislav Trifunović.
The film comes from This and That Productions in co-production with Hit and Run Productions, Nightswim, Paul Thiltges Productions, Invictus and Kinorama. Bendita Film Sales is handling sales.
In a conversation with THR, Terzić discussed how, as a father, he felt real urgency to take on the difficult and universal themes of 3 Weeks After, and why he wasn’t afraid to do it in his in-your-face style.
The director knew about bullying and peer violence all too well. “I’m a father of two, so it’s an important issue for me,” he shared. “My children are grown now, but as a parent, I could never look at something like this from a distance.”
3 Weeks After is based on several true stories, and its journey started from there. “When I read an interview with the mother of a deceased boy, she mentioned that the whole class went on a field trip, and for me, that was one of the starting points. I thought about what that excursion would look like with these children, who are 15, 16,” Terzić told THR. “Soon, I started to realize that this is not just a film about peer violence, it’s about violence itself, about how it is learned, tolerated and allowed to grow.”
‘3 Weeks After’
While writing the script, the creative team couldn’t ignore all the things going on in the world. “We are surrounded by violence,” the filmmaker emphasized. “You turn on the news, open your phone – and it is there. This is the language of today, and children learn it very quickly. They begin to speak it fluently before they fully understand its consequences.”
All in all, creating 3 Weeks After was a journey for him as well. “I realized during the process that we as parents also have a responsibility, because it is easy to turn away when we see or hear something disturbing.”
3 Weeks After doesn’t offer easy answers. For example, key characters are not simply good or bad, nice or evil. “In life, this is not how things work: people are rarely only good or only bad,” noted Terzić. “It depends on the circumstances and on how we respond to them. Young people are still trying to find their place in this society and in this world. I didn’t want to create one guilty person and a crowd of innocent ones. I wanted to try to be truthful. In the film, some children actively participate in violence, some try to resist it, but the majority stay numb and neutral. By staying aside, they give power to those who act violently.” It’s not much different with the grown-ups.
The director’s takeaway: “What matters is whether a community recognizes violence when it begins and sets a boundary around it. When it looks away, violence does not remain neutral; it gains space, legitimacy and power.”
What role does Terzić see for traditional and social media? His hopes are for more voices standing up and speaking up against bullying. “These kids learn from the internet and from TV,” he told THR. “They are exposed to a culture in which humiliation and aggression are constantly turned into content. I do not think films or media can offer a simple solution, but they can refuse silence. They can make us see what we would otherwise choose not to see.”
Miroslav Terzić
Fire plays a key role in 3 Weeks After. For example, early on, the protagonist watches a fire burning down an apartment, with noone reacting or interfering. For Terzić, the fire is a metaphor for how humans often only start to care and speak out when we are personally affected. “We are already in the fire, but we don’t feel that flame around us,” he explained. “It doesn’t touch us.”
How did the filmmaker think about a potential happy or tragic ending? “Happy endings are often a kind of fairy tale,” Terzić said, without providing spoilers. “There are moments of happiness and light in the film, of course, but there is also a great deal of darkness. I wanted to provoke the audience, to leave them with something unsettled. The film is direct, at times deliberately uncomfortable, because I did not want it to be forgotten five minutes after the screening.”
In the casting process for 3 Weeks After, the creative team saw around 500-600 kids of different ages, and then it chose 24. “We spoke a lot about everything. But first, we just tried to have fun,” Terzić recalls. The conversations eventually turned to bullying. “We did not begin by asking children to disclose personal experiences. But as trust developed, many of them spoke openly about school, peer pressure, cruelty, silence and the different roles people can find themselves in within a group. Those conversations were extremely revealing.”
The creative team let the young cast members improvise a lot, except for key scenes, such as the one where talk about the suicide of a kid first comes up.
At times, 3 Weeks After feels like we are watching someone documenting this field trip from afar, and this was an approach that gradually became central to the film’s perspective, underlining how children and adults often put distance between themselves and any terrible interactions they witness. “I realized that it looked like we were watching real violence on the street from afar and standing aside,” Terzić told THR. “We are watching from above, on TV, on our mobile phones, and this form of the film carries something of that sensation we know from our media world. I hope that we will provoke some discussion and dialogue about this topic.”
‘3 Weeks After’
3 Weeks After is “dedicated to Aleksa and Mahir,” two young people whose deaths following peer violence deeply affected public consciousness in the region. Explained Terzić: “Several real cases were among the starting points for the film, including Aleksa’s story, but the film is not a reconstruction of any one of them. My responsibility as a storyteller was to make a film that could move beyond a single case and reach the people who may see themselves as neutral observers.”
“It was a really intense and very emotional journey for me,” Terzić tells THR. “I tried to bring everything I have learned as a filmmaker, and all the urgency I felt as a parent, into this film.”
What’s next for Terzić? “This time, I hope it will be a dark comedy, because, when you see my films so far, they all deal with very, very heavy topics,” he told THR. “The first one dealt with war crimes, the second one with a stolen baby, this third one with peer violence. I realized that I wanted to make something that will bring a smile to people.”
Mubi has expanded its theatrical distribution partnership with Madman Entertainment, tapping the independent Australian and New Zealand distributor to sub-release five films theatrically across the region, including several Cannes and Berlinale prize winners.
Madman will open Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma” first, on Aug. 6 in Australia and Aug. 20 in New Zealand. The film won the Queer Palm at Cannes this year. Schoenbrun, whose credits include “I Saw the TV Glow” and “We’re All Going to the World’s Fair,” wrote and directed the film, which stars Hannah Einbinder and Gillian Anderson alongside Amanda Fix, Arthur Conti, Eva Victor, Zach Cherry, Sarah Sherman, Patrick Fischler, Dylan Baker, Jasmin Savoy Brown, Kevin McDonald, Quintessa Swindell and Jack Haven. Plan B produced the film.
Madman will also release Paweł Pawlikowski’s “Fatherland,” which premiered in competition at Cannes this year, where Pawlikowski won the Best Director prize. Pawlikowski, known for “Ida” and “Cold War,” wrote the film with Henk Handloegten. The cast includes Sandra Hüller, Hanns Zischler, August Diehl, Devid Striesow and Anna Madeley.
Lukas Dhont’s Cannes competition title “Coward” is also part of the deal. Emmanuel Macchia and Valentin Campagne won the Best Actor prize at Cannes for their performances in the film, a World War I drama centered on queer love. Dhont directed and co-wrote the script with Angelo Tijssens. Mubi previously released Dhont’s Oscar-nominated “Close” in select territories.
Rounding out the slate are the Berlinale selections “Rosebush Pruning” and “Rose.” Karim Aïnouz directed “Rosebush Pruning,” which follows a wealthy family navigating privilege, desire and buried secrets. Its cast includes Callum Turner, Riley Keough, Jamie Bell, Lukas Gage, Elena Anaya, Tracy Letts, Elle Fanning and Pamela Anderson. Markus Schleinzer directed “Rose,” which he wrote with Alexander Bom, starring Hüller as a woman disguised as a man who arrives in an isolated Protestant village in the early 17th century claiming rights to an abandoned farmstead. Hüller won the Silver Bear for Best Leading Actress at Berlinale for the role.
Reader submissions were light on documentaries or history-based fiction. Ken Burns’s work came up several times, but opinions didn’t coalesce around any specific title. The Vietnam War as a backdrop (“Apocalypse Now” and “The Deer Hunter”) was noted in different ways. The musical “1776” was cited more than 20 times, and (warming this journalist’s heart) so was “All the President’s Men,” the Watergate investigation docudrama.
The Hits
Perhaps unsurprisingly, recommendations skewed toward popular, long-established films with indelible performances (“Chinatown,” “Forrest Gump”). But memories are long, and readers reached back to the 1930s (“The Wizard of Oz”) and ’40s (“The Best Years of Our Lives,” “Citizen Kane”) for several picks.
The Surprises
“Breaking Away,” a 1979 sleeper about townies in the college town of Bloomington, Ind., was mentioned more than a handful of times for its sense of place and of working-class lives. And what passion for “The Sandlot,” the 1993 coming-of-age tale of young boys and baseball! Readers zeroed in on its idealism and haves-vs.-have-nots subtext.
Conversely, I thought straightforward westerns would make a strong showing, but while several did merit a comment (“How the West Was Won,” the Coen brothers’ “True Grit”), consensus on any one title never emerged.
The Miscellaneous
Films that came up more than once that made for interesting discussion included “Avalon,” “The Big Lebowski,” “Blazing Saddles,” “Dog Day Afternoon,” “Independence Day,” “Koyaanisqatsi,” “Little Miss Sunshine,” “Office Space,” “Rocky” and “Train Dreams.”
One Last Word
When I was putting together the initial story and asked the writer Melena Ryzik what she thought the definitive American movie was, she responded instantly: “Of course it’s ‘Dirty Dancing.’” No hesitation, no room for doubt. That’s the way it was with some commenters. The many votes for “Idiocracy” were accompanied with remarks like “hands down” and “no question.” One writer declared that nothing more perfectly fit the bill than the sci-fi thriller “RoboCop.” Then there was the commentator who argued that the answer was obviously the 1998 disaster picture “Armageddon.” Of course.
When businessman Michael Rubin hosts his annual White Party in the Hamptons, it is guaranteed that the guest list will read like a who’s who of music, Hollywood, sports and business.
The Fanatics CEO hosted the fifth edition of his star-studded White Party on Wednesday, July 1, at his $50 million oceanfront estate in Bridgehampton, New York, bringing together some of the biggest names in entertainment ahead of the Fourth of July celebrations.
Among the guests spotted at the exclusive event were Jay-Z, Travis Scott, Tate McRae, Cardi B, Leonardo DiCaprio, Teyana Taylor, Shaboozey, Ciara, Alicia Keys, Swizz Beatz, Ice Spice, Lil Wayne, Snoop Dogg, DJ Khaled, Lil Baby, Meek Mill, Martha Stewart, French Montana and Fat Joe.
The sports world was also well represented, with Tom Brady, Mike Tyson, Karl-Anthony Towns, Davante Adams, Klay Thompson, Alex Rodriguez and Puka Nacua among those in attendance.
Guests were treated to performances by Lil Wayne, Snoop Dogg and Cardi B, while Keys closed out the evening with a performance of “Empire State of Mind” as fireworks lit up the sky over the Atlantic Ocean.
However, what made this year’s White Party particularly interesting was not only who attended, but when it took place.
There aren’t many events that could compete with Rubin’s annual White Party in the Hamptons.
But when Taylor Swift and Travis Kelce’s wedding date became clear, the billionaire businessman decided he didn’t want his famous celebration forcing guests to make a difficult choice.
Speaking to “People” magazine, Rubin explained that he didn’t “want people to have to choose” between attending his famous Hamptons gathering and Swift and Kelce’s star-studded wedding celebrations in New York.
“We were aware of that date and we didn’t want to have people have to choose,” he said.
Of course, much of the conversation surrounding this year’s White Party centred on the event Rubin was trying not to compete with.
After months of speculation, Taylor Swift and Travis Kelce officially tied the knot on July 3 at Madison Square Garden in New York, surrounded by family, friends and an estimated 1,000 guests with actor Adam Sandler reportedly officiating the wedding.
And if you’re wondering why Sandler was chosen to officiate the ceremony, “BBC” revealed that the answer actually goes back to Swift’s own music.
In her song “Wi$h Li$t”, Swift imagined a future with Kelce, including “a couple kids” and “a driveway with a basketball hoop”. The singer later revealed that the song was inspired by Sandler’s character in the 1996 film Happy Gilmore.
“He has this happy place where he goes into… This is where he escapes to mentally in times of stress, pressure, anxiety or chaos,” Swift told Apple Music’s Zane Lowe. “And that chorus of that song is me just describing what my happy place is.”
The couple also reportedly wore custom Christian Dior Haute Couture designed by Jonathan Anderson, while Swift completed her bridal look with Christian Louboutin shoes and Cartier jewellery.
As per reports, the singer added another personal touch and chose her younger brother, Austin Swift, to serve as her “man of honour” instead of having a traditional maid of honour.
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Loki’s time on Disney+ might be done, but the perfect MCU TV replacement is on the way. Loki was the third MCU streaming series to release, and following WandaVision and The Falcon and the Winter Soldier, it added a dash of sci-fi adventure to the slate. Loki is one of the few live-action Marvel Studios shows to receive a second season, but its time seems definitely done after the resolution in the Season 2 finale.
Thankfully, the upcoming Marvel TV slate is stacked, and there’s one series that’s a strong contender to fill the void left behind by Loki. That series is VisionQuest, which is also the third in the unofficial WandaVision trilogy. VisionQuest focuses on Paul Bettany’s synthezoid Avenger, Vision, as he searches for the memories he lost after he was reprogrammed by SWORD in WandaVision.
VisionQuest will be released on October 14, 2026, and also stars James Spader, Todd Stashwick, and Ruaridh Mollica. This leaves viewers with only a few more months to wait before the perfect Loki replacement arrives.
Why VisionQuest Is the Ideal Loki Replacement Series
Marvel Television
From the outset, both VisionQuest and Loki have some clear parallels. Loki was a time-traveling multiverse series infused with comedy, heart, and action. Everything we know about VisionQuest so far suggests it will be similar, with both shows operating in the fantasy/sci-fi space, led by a familiar Avengers character, and that aren’t afraid to get a bit weird.
Much of VisionQuest’s plot will involve Vision trying to connect with the memories he was given by the Vision in Wanda’s Hex. On that journey, he’ll also meet physical manifestations of other AI programs in the MCU, including Ultron (James Spader), FRIDAY (Orla Brady), and EDITH (Emily Hampshire). Based on the first VisionQuest trailer footage, this journey has been described as Vision experiencing a simulated world in his own head, which means MCU fans will once again be diving into the surreal and fantastical in VisionQuest, similar to how they did with the Time Variance Authority in Loki.
Marvel Television
Loki and Vision also share similarities as leading protagonists. Both characters have both been previously dead and subsequently resurrected to lead their own Disney+ shows. Loki was killed (multiple times) but seemingly for good in Avengers: Infinity War, before one of his variants escaped in Avengers: Endgame and became the lead in Loki.
Vision, like Loki, was also killed by Thanos in Avengers: Infinity War. This led to his recreation in Wanda’s Hex in WandaVision and his resurrection as White Vision by SWORD. White Vision was freed by the Hex’s Vision and is now the lead fans will follow in VisionQuest.
While convoluted, the history of these characters informs their journeys in their respective shows, with Loki’s past actions (and those of his variants) a major factor in his selection by the TVA. Similarly, Vision’s death and resurrection mean he must now forcibly reconnect with his memories to return to the character fans know him to be. VisionQuest’s trailer suggests the two shows will have a more overt connection in how the two protagonists experience their pasts.
Marvel Studios
Another notable parallel between Loki and VisionQuest is the involvement of a supporting character who is unexpectedly connected to the main hero and challenges their very being. In Loki’s case, this was Sophia Di Martino’s Sylvie, a female Loki variant who spurred his growth as a character after he came to love her, helping him overcome his selfish ways.
VisionQuest will introduce Ruaridh Mollica as Tommy Shepherd, aka Tommy Maximoff, Vision and Wanda’s long-lost son from WandaVision, whom Billy Maximoff helped to save in Agatha All Along. Now a teenager in a new body, Tommy and Vision’s relationship has the chance to truly test and change Vision as a character, particularly as he comes to terms not only with his past but also with his future as a father.
While Marvel Television’s slate is full of exciting series like X-Men ’97, Your Friendly Neighborhood Spider-Man Season 2, and Daredevil: Born Again Season 3, only one project truly stands to replace the feeling of watching a show like Loki, and that’s VisionQuest.