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The Steam Machine is slowly making its way into the wild, with some folks getting their hands on Valve’s not-a-console console. One of those people is former SIE Worldwide Studios president Shuhei Yoshida, who called the device “meh” in some recent social media comments.

Yoshida took to X on July 2 to give his early impressions of the Steam Machine. In a long post, he not only called its performance “meh,” but he also said that it’s “hard to recommend” because of its high price tag.

“The system recommends to default to 1080p–am I going back to PS4 days?” Yoshida pondered. “Some games take a looooooong time to boot. What is it doing?”

He clarified that he’d only been playing it for “a few hours”–he posted his thoughts in the early morning on July 2–but ultimately concluded that the device just doesn’t live up to its $1,000+ retail price.

It’s not all bad for Yoshida, though. He did say that the Steam Machine’s “small form factor and quietness” are good while commending the device’s changeable faceplate, easy-to-use UI, and the ability to play Steam games on the living room TV. That last fact alone makes it “reason enough” to keep the Steam Machine, but these features appear to be where the positives end for now, as overall, Yoshida just isn’t quite buying what Valve is selling.

The Steam Machine has begun shipping out to folks following its June 29 launch. It’s very possible, though, that you may have to wait a while for yours, especially considering how confusing the preorder emails Valve started sending out were. You could always check out eBay, but be warned: You’ll likely pay double the price.

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The Steam Machine is slowly making its

Severe weather has postponed, for now, the Salute to America celebration on the National Mall that was to feature Donald Trump‘s speech followed by fireworks.

After a sweltering hot day of record breaking temperatures in the region, the scattered storms moved in around 5 p.m. ET. The Salute to America was set to start at 7 p.m. ET, but attendees were advised to seek shelter.

Freedom 250 spokesperson Danielle Alvarez said in a statement, “The safety of our guests, performers, and staff is our top priority. Due to approaching severe storms, Freedom 250, United States Secret Service, United States Park Police, National Park Service, the Federal Emergency Management Agency, and all public safety partners are asking all guests to evacuate event grounds and seek temporary shelter in a nearby building.”

Alvarez also provided a list of shelter locations, including the Department of Commerce, Department of Education, Department of Agriculture, Internal Revenue Service, VOA Building, Thomas Jefferson Memorial, National Museum of American History, National Museum of Natural History, the African American Museum, and the Ronald Reagan Building.

The Secret Service also announced that it was suspending admissions to the grounds, which feature security checkpoints. “This action was taken solely in the interest of public safety, and we have no estimate for when screening may resume,” the Secret Service said.

Throughout the day, there have been military flyovers in the region to celebrate America’s 250th anniversary. That has meant ground stops at Washington Reagan International Airport and delays at Washington Dulles International Airport.

On Fox News, Monica Crowley, chief of protocol, said that lightning strikes in the region have been a concern. “We are watching the weather very closely,” she said.

Trump is scheduled to start speaking around 9:45 p.m. ET. A stage was set up near the Washington Monument for the event, located just west of the Great American State Fair on the Mall.

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Severe weather has postponed, for now, the

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“The Pitt” star Noah Wyle recently told the “Still Here Hollywood” podcast that he missed out on roles in “Saving Private Ryan” and “Good Night, and Good Luck” because he couldn’t get out of filming the long-running medical series “ER.”

When asked if he had any roles that got away, Wyle said, “Yeah, tons. Happens all the time. We talked about a couple of them, actually. ‘Good Night, and Good Luck,’ George [Clooney] offered me a part in that. I couldnt’ get out of ‘ER’ to do it. I was offered the part of Private Ryan in ‘Saving Private Ryan,’ couldn’t get out of ‘ER’ to do it.”

Wyle added that he was in some ways glad he missed out on those parts, because the people who got them made the best of the opportunity.

“I almost am glad that I didn’t do them, because, you know, those guys made those parts,” he said. “Matt Damon was Private Ryan. There were two. I got offered the part of Upham, which was Jeremy Davies’ part, and he was so phenomenal in that I couldn’t imagine doing anything close to what he did.”

Wyle is currently starring in another hit medical drama, “The Pitt,” which wrapped up its second season on HBO Max in April. Production on Season 3 began in June and is set to take place on a day in November. “The Pitt” Season 1 took home five Emmy awards in 2025, including outstanding drama series and lead actor in a drama for Wyle for his role as Dr. Michael “Robby” Robinavitch.

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“The Pitt” star Noah Wyle recently told

Turning on the TV on any given night in the ’00s and 2010s meant the chance to immerse yourself in a number of cheesy yet compelling worlds: The Vampire Diaries‘ Mystic Falls, Veronica Mars‘ Neptune, or Pretty Little Liars‘ Rosewood, to name a few. These were the glory days of soapy teen and YA dramas, when staples of The WB like Dawson’s Creek, Gilmore Girls, Everwood, and One Tree Hill gave way to Gossip Girl‘s glamorized Upper East Side, a rebooted 90210, and stories of teens who were separated or, over on ABC Family, Switched At Birth. 

Yet after ABC Family rebranded as Freeform and its initial wave of millennial-skewing hits like PLL, Good Trouble, and grown-ish crested, the cable channel transformed into a hub for holiday specials and Disney movie reruns. The last remnant of the old CW, All American, wraps up this July, leaving in its wake a primetime lineup of uninspired reality TV, sports programming, and game shows. It’s a shift CW veteran Carina Adly Mackenzie likens to Game Of Thrones’ Red Wedding. 

“It felt like in one day, so many shows about teens that were soapy but bold got wiped out,” she tells The A.V. Club.

But none of this channel drift has diminished the demand for character-driven and breezy YA shows. If anything, the hunger for this type of programming has only increased thanks to recent breakouts like The Summer I Turned Pretty, Heated Rivalry, and other spicy and/or outright smutty romance tales whose source material first hooked viewers through their TikTok “For You” page. Like it or not, every generation wants heartfelt, awkward, and relatable stories about growing up. 

In The CW and Freeform’s absence, Prime Video has stealthily swooped in. The streamer delivered this summer’s unexpected TV sensation with its adaptation of Elle Kennedy’s hockey romance novels, Off Campus. Creator Louisa Levy has said she hopes her show provides “a warm, cozy escape from the world,”—the kind of thing The CW was pulling away from in the late 2010s, when Levy wrote for the network’s Life Sentence and In The Dark. “My favorite movies and TV shows have that nostalgic, aspirational, living-through-an-iconic-moment quality to them, and I wanted to build a show that pays homage to them,” she told the Women In Entertainment Substack.

You could argue that Off Campus is riding Heated Rivalry’s coattails (although, technically, it was greenlit first), but it also bears a resemblance to the aforementioned One Tree Hill. Like that WB/CW stalwart, Off Campus centers on a girl—intelligent, independent, and an aspiring musician—who agrees to tutor a charming male athlete, only for them to put aside their differences and fall in love. Levy has acknowledged the similarities between ice hockey star Garrett Graham (Belmont Cameli) and ace student Hannah Wells (Ella Bright) and OTH‘s Nathan and Haley, telling Brit + Co, “I love One Tree Hill. They handle music so well, and I wanted to bring that to [Off Campus]. Haley and Nathan are OTP.”

The popular jock/nerdy girl formula fits the romance genre like a glove—just ask  A Cinderella Story, or To All The Boys I’ve Loved Before. Clearly, Off Campus was destined for its own TV Tropes page: a little opposites attract here, a little fake dating there. Is it cliché? Yes. Does it work? Absolutely, considering it’s become a social-media-swallowing cultural phenomenon mere weeks after its May debut. And if Amazon’s viewership numbers are to be believed, all those posts are coming from a sizable audience. 

Despite relying on stock stories and calling back to ’ships of yore, Off Campus is effectively contemporary, with gentler male leads and arcs about sex positivity and consent culture—a much-needed antidote to the toxic guys of Tell Me Lies, Euphoria, or even Gossip Girl and Pretty Little Liars. That tone fits comfortably within the niche Prime Video first carved out with The Summer I Turned Pretty, thrillers like The Wilds and last year’s We Were Liars, and the German-language boarding-school drama Maxton Hall. And the slate continues to expand: The questionably necessary, already-renewed-for-a-second season Legally Blonde prequel Elle just debuted, and Megan Park’s teen drama Sterling Point arrives in August. There’s a definite shift in strategy here, further evidenced by the recent Obsessed Fest, a live event bringing together the casts, creators, and authors behind much of Prime Video’s YA lineup for panels, screenings, meet-and-greets, and a surprise performance from Jennifer Lopez, whose 2011 sequel “On The Floor” was boosted back onto the Billboard charts following its inclusion in a steamy Off Campus scene. 

Producer and writer Mackenzie, who adapted We Were Liars for Prime Video alongside her former Originals and Roswell, New Mexico colleague Julie Plec, tells The A.V. Club she hopes that Off Campus taking off “opens the door for more lighter shows with wacky hijinks, frankness, and sexuality that are geared toward young women.” She, too, has an affinity for what the old hubs of YA TV achieved at the turn of the 21st century. “The CW wasn’t afraid to be edgy and push boundaries,” she says, nodding toward Gossip Girl‘s controversial threesome episode and the promotional campaign that splashed quotes from negative reviews of the show across photos of its stars in compromising positions. Mackenzie sees Prime Video taking a similar route with We Were Liars and its peers.

Yet for all the nostalgia for unserious dramas satisfied by Off Campus and its fellow 2026 premiere Every Year After (also renewed recently for season two), some elements of the YA heyday simply can’t be replicated in the current TV landscape. When asked why other streamers, networks, and cable channels aren’t going all-in on the genre, Mackenzie points out that it isn’t fully compatible with the TV business’ current standards: only six-to-eight episodes per season, long gaps between seasons, and binge releases.

“The question now is what even constitutes a young or new adult show, and Off Campus toes that line well,” she says. “We Were Liars has darker bones and doesn’t line up exactly with the lighter The Summer I Turned Pretty, but we ultimately found the right tone for it [for the platform].” She notes that while Prime Video is figuring out its embrace of a younger audience on the fly, she’s grateful that the streamer feels like it’s championing TV for young women. 

“If the guys want to come and watch, great, but this slate feels very much for the girls, gays, and theys, which is nice because there are enough dude shows out there,” she says.

While other platforms have had a few successes in this area (beyond Heated Rivalry, there’s Netflix’s Heartstopper and Hulu’s Tell Me Lies), only Prime Video has really seized on the number one source for potential future YA hits: BookTok, the passionate TikTok subcommunity for readers that previously bumped titles like Kennedy’s Off Campus series, The Summer I Turned Pretty, and Red, White & Royal Blue to bestseller status. Adapting novels with a built-in and vocal fanbase, especially amongst young viewers, is likely to drive online conversations (and, yes, invite scrutiny). At the very least, BookTok is shaping Gen Z‘s reading habits, especially as they pick up the romance genre, which makes it a fertile ground to look for adaptations for viewers young and old. 

It’s an interesting pivot from the dad TV action thrillers (Jack Ryan, Reacher) and IP-driven fantasy and sci-fi (The Wheel Of Time, Fallout, The Rings Of Power) series that dominated the Prime Video lineup in years past. It’s even more eyebrow-raising because this is coming from the streaming arm of a company that’s had a devastating impact on the sort of independent, brick-and-mortar businesses where one might buy both a Jack Reacher novel and the next volume of Off Campus. 

The enthusiasm and passion these new shows have generated signal a craving for the type of youth-leaning dramas that have been missing from our screens—the kind that are inherently cringeworthy, affecting, and led by relatively fresh faces. They may not win Emmys or top critics’ year-end lists, but they form an essential part of the TV ecosystem, especially for the key 18-34 demographic. The present-day counterparts of One Tree Hill and Pretty Little Liars aren’t always comfort viewing, and with significantly fewer episodes per season, they have their work cut out for them in terms of endearing their characters and relationships to new and returning viewers. But it’s still somewhat relieving to know, all these years later, that there’s still room for nostalgia to be paired with a mostly modern-day, swoon-worthy lens on YA and new adult stories. 

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


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Pitch Perfect is an iconic movie in online culture. With covers and references still made today, you are absolutely missing out if you somehow haven’t seen the film yet. The 2012 musical comedy follows college freshman Becca Mitchell (Anna Kendrick), as she is thrown into the chaotic world of a cappella. The Barden Bellas, an all-female a cappella troupe, are on a mission to beat their rivals the Treblemakers, restore their credibility, and win the ICCAs. The movie is a story of girlhood and friendship, with catchy renditions of fan-favorite songs. If you have no idea what a riff-off is, it might be time for you to finally watch Pitch Perfect.

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By Sydney Johnson Pitch Perfect is an iconic movie

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For all that filmmaking is a collaborative endeavor — and camera departments especially rely on each other — department heads don’t often get the chance to compare notes about the difficult parts of the job and different practical/philosophical approaches that might help elevate the work. But DP Natasha Braier, who tries to teach as much as she can around her shooting schedule, doesn’t think it has to be that way.  

From the boisterous inventiveness of “I Love Boosters” to the ruthless beauty of “The Neon Demon” to the slippery fantasy of “Honey Boy” (and even a brace of Ed Sheeran music videos), Natasha Braier has been there, done that, and bought the t-shirt. When the Argentinian-born cinematographer joined the American Society of Cinematographers, it finally, finally felt like she’d found a community of peers to inspire her and learn from — just not necessarily when she needed them. 

“ When I was a student, I knew of three [cinematographer] names that I could see in credits, but I didn’t even know how they looked. So it’s important to reassure people and give them a mirror where they can see themselves in this career and keep going,” Braier told IndieWire.

Over some enforced downtime during the COVID lockdown, though, Braier started organizing a set of workshops, panel discussions, mentorship programs, a worldwide crew recommendation list, and even a Discord for cinematographers at much earlier stages in their careers to learn from working DPs and each other. They’ve come together as Deep Light, a community which Braier oversees (modded by many of her mentees) to give young cinematographers the conceptual tools, as well as the actual ones. 

“You have thousands of YouTube accounts and Instagram accounts and online things and publications, and everyone talks about the tools. And there’s new tools every day — new cameras, new light. I felt like [the conversation] was really becoming about the tools and not about the meaning,” Braier said. “What are we doing with these tools? What stories are we telling as filmmakers? Why do we want to be filmmakers? Why do we want to produce images?” 

To help cinematographers answer those questions, Deep Light has started running workshops led by filmmakers with a really distinctive point of view (pun unintended) on the art of image creation — with the first being led by Bradford Young at PanaVision. “We had 30 people, and Bradford, for two days, and it was amazing,” Braier said. “We recorded some of it — some parts were off the record so that he could be free to talk as much as possible — and there will be a recorded version we’re editing now and hope to launch around August.” 

Braier and her collaborators are also working on an interview series called “Through Their Eyes” with notable cinematographers focusing specifically on the kinds of career challenges that don’t necessarily come up in a piece about the work of a specific film or a gear survey. So far, Braier’s posted wide-ranging talks with Lol Crawley, Michael Bauman, and Autumn Durald Arkapaw. 

“We ask them about the 10 films that shaped their DNA, and then based on that, we also do a Cine Club. We started it in May with “Malcolm X,” one of Autumn’s favorite movies. We’re going to be doing the next session of the club in July, as well, probably,” Braier said. 

Deep Light is, of course, not the only hub for cinematographers and aspiring cinematographers online. But Braier finds that organizing community and teaching within her community helps keep her perspective fresh and keeps her in love with the work of filmmaking and excited to make the movies that are important to her. Ideally, it will help other cinematographers who make independent films feel less alone, too. 

“There’s always this perception that people in this town perceive success as going into studio movies, as getting out of indies to do Marvel,” Braier said. “I don’t want out of indies. I’m here for these kinds of movies. And so I think it’s important — this society gets you very confused, with Instagram and all these things. So for me, it’s like, what’s the idea of success? To me, success is doing movies that we love.”

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For all that filmmaking is a collaborative

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Back in June 2024, when Cats: The Jellicle Ball first premiered at the Perelman Performing Arts Center, whenever I told people that it was one of the best theater experiences I had ever had, they cocked their heads, looked at me funny, or gave a slight eyeroll. Sure, a production of Cats might be vaguely enjoyable, but borderline profound? An Andrew Lloyd Webber show? If the musical had, despite one of its showstoppers (the ubiquitous “Memory”), become both part of the theatrical firmament and also a joke, cemented by a lamentable 2019 film adaptation by Tom Hooper (nothing if not one of the purer examples of naive camp in the 21st century), what hope was there for one of the most famous musical theater figures of all time? 

Lloyd Webber is one of the richest people in the music world, with an estimated net worth of £500 million, yet he is, despite only a smattering having successful runs on Broadway, emblematic of a kind of theater kid mentality all by himself. He is a composer nearly devoid of irony. When Hal Prince was preparing to direct the original production of Cats, he asked Lloyd Webber about the allegorical depths of the show, if it was, as David Fick recounts, “a metaphor for life in the United Kingdom, with some cats representing figures like Queen Victoria and Benjamin Disraeli and others the general populace.” Lloyd Webber replied, “Hal, it’s about cats.” Trevor Nunn ended up directing the show. He’s the kind of musical theater composer who inspires a reaction akin to hearing artillery fire when someone chooses one of his songs for karaoke: the opening sounds mean it’s already too late. 

Even through his ambition of subject and framework—the Passion as rock opera, the Book Of Genesis’ Joseph as pop opera, Eva Perón’s life as, yeah, rock opera—there is a straightforwardness about his musicals that, despite wanting to filter history through popular culture, or mash the two together, drips with earnestness. They may be catchy and have moments of ingenuity, but they’re not, like, cool. They’re not transgressive and they seek the approval of the audience, and only that can be the conduit for their emotional and theatrical heights. 

And yet, Cats: The Jellicle Ball, which has extended its run twice and become one of the hottest tickets Off Broadway, was one of the pieces of evidence that appeared to signal a slight change in the general attitude about Andrew Lloyd Webber, or at least his works. His adaptation of Sunset Boulevard, with book and lyrics by Don Black, Christopher Hampton, and Amy Powers, enjoyed a buzzy minimalist 2023 revival that transferred to Broadway in 2024 starring former Pussycat Doll Nicole Scherzinger and under the direction of current avant pop enfant terrible Jamie Lloyd. The production netted four Olivier Awards (Best Revival Of A Musical, Best Director For Lloyd, Best Actor For Tom Francis, and Best Actress For Scherzinger) and three Tonys (Best Lighting Design, Best Revival of a Musical, and Best Actress for Scherzinger). And though Phantom officially closed on Broadway after nearly 14,000 performances, it reopened in September 2025 as a reworked immersive theatrical experience under the title of Masquerade and directed by Jagged Little Pill’s Diane Paulus, featuring styling by fashion director (and Gaga collaborator) Nicola Formichetti. Lloyd even revived his own 2019 take on Evita on the West End with Rachel Zegler in 2025 with plans for a Broadway transfer next season, and his fever dream train/roller skating musical Starlight Express (not seen on Broadway since 1987) has been enjoying positive reviews in a 2024 production Troubadour Wembley Park Theatre. The composer is now frequently seen outside the doors of the Jellicle Cats’ pad, the Broadhurst Theatre, headphones wrapped around his head, spinning remixes of his own famous songs into Lady Gaga tracks. 

You could say Lloyd Webber is in the period of his life and artistry where he’s letting people do what they want with his output, allowing for there to be a level of experimentation. These are not museum-piece productions or even stagings that feel the hint of a slavish dedication to the originals. They are, compellingly, recontextualizations of decades-old artifacts, and sometimes best-case scenarios for how revivals of famous and canon shows can be engaged with. In Cats: The Jellicle Ball has directors Zhailon Levingston and Bill Rauch and choreographers Arturo Lyons and Omari Wiles set the show in the world of ballroom; Evita has dancers running up and down stairs and Ms. Peron speak to the people on a balcony. Sunset Boulevard is all lights and black plain clothes costuming and lots of live video feed, and Masquerade turns Phantom into a haunted house attraction. 

What is particularly enlivening about these revivals, and about the choice to re-engage with Lloyd Webber’s work as a popular artist, is that directors are testing the boundaries and constraints of the artist himself. Jamie Lloyd’s approach, at least as far as Sunset Boulevard goes (I have not yet seen Evita), seems to resist or work against the text in some ways: The director strips the show of period setting identifiers (it’s set in the ‘50s, but everyone wears dark contemporary street clothes) making it as bare and sparse as possible. He cast someone explicitly hot in the role of the monster Norma Desmond. He filters Lloyd Webber’s spectacle through the heavy use of live video feed, juxtaposed against the deadpan deliveries of the entire expressionless cast, more evident in the factory lineup staging of “Let’s Do Lunch.” But the impulse to take a sleek, streamlined view on Sunset Boulevard has the effect of laying bare the musical’s flaws: It’s overlong, it flattens the complexity of Norma as a character and relies too heavily on the meta-text of Nicole Scherzinger being the star without giving her enough good material to support it. The video feed makes it feel less like theater, but not quite a movie, trapped somewhere in the middle. As the camera switches between the leads and side characters with an apparent randomness, the production betrays a lack of coherent logic as to the live video’s extensive use, and, thus fails to distract from the matter of the libretto’s lyrics being rather clunky and the music sloppy and overwrought. 

Conversely, Cats: The Jellicle Ball and Masquerade successfully reimagine Andrew Lloyd Webber’s musicals by playing to their existing strengths. Cats was always a dance competition musical, but what (arguably) weighed it down was a sense of stakes. The show’s inherent silliness (not a bad thing) eclipsed any emotional through-line, struggling to create enough connective tissue between the thematic content of T.S. Eliot’s poetry from song to song in an effort to create a cohesive piece of theater as a whole. Thus “Memory,” Cats’ standout number, has always felt relatively unmoored from the musical—emotional, graceful, but kind of unrelated to anything else that happens on stage. But in Levingston and Rauch’s hands, Eliot’s core ideas about loneliness, history, frivolity, tenderness, and ultimately, community are crystallized and made tangible by placing them in a context—the Black queer world of vogueing and ballroom—where those themes have a tactile resonance. They’re ideas that end up being connected to both individuals and the whole community, giving lyrics and phrases new meaning, such as sections like “The Naming Of The Cats” where they describe the different ways in which cats are addressed by family, friends, and authority. 

With The Phantom Of The Opera, its original 1988 production sat in the middle of Broadway’s era of megamusicals, all bombast and spectacle over refined artistry and subtlety—lake fog, magic tricks, and that giant, plummeting chandelier. It ran for 35 years on Broadway, closing in 2023. As Christine followed the Phantom down to his subterranean lair beneath the Palais Garnier, the mental image of one of those touristy Halloween mazes or a pop up “haunted house” attraction (per The Washington Post in 1990) wasn’t far behind. Masquerade doubles down on this analogy, turning the musical into a guided amusement park attraction, and all for the better. Though the show’s pomposity and kitsch was surely enjoyable in its original iteration, transforming Phantom into a theme park ride feels not only like the next logical step, but, similarly to Cats: The Jellicle Ball, as it perhaps should have always been. Singers belt their faces off in front of you and the crowd of 30 or so; visitors wander down escalators and through a steady stream of plastic battery powered candles and stage fog; ticket buyers make their way through labyrinthine corridors whose walls are adorned with custom masks and art; and the (many) climactic sequences are up close and personal in a rather delightful way. Through this quasi-immersive production, The Phantom Of The Opera is able to both play up its kinkier and kitchier components, really letting the audience’s fantasies unwind, as well as embody what the show kind of always was. 

Amplifying the aspects of Lloyd Webber’s work that prioritized extravaganza doesn’t overshadow or distract from his skill as a composer (and master of flagrant derivation) so much as it helps cultivate a theatrical language through which his texts are best articulated. Andrew Lloyd Webber is not simply music, as good or mediocre as it is, so much as he is representative of what Andrea Long Chu describes as an attempt to “give definite shape to the abstract emotionality of music.” It is music and magic tricks and theme park rides and and and. 

As Long Chu argues in her excellent essay, Broadway, as an enthusiastic purveyor of the megamusical, has been remade in Lloyd Webber’s image ever since, for better or worse. From Les Misérables to Wicked to Hamilton to Hadestown to this year’s Schmigadoon!, the theater world has either responded by doing the opposite and focusing on intimacy and carefully wrought drama and music, or followed in the Brit’s footsteps, or tried having it both ways. And with productions like The Lost Boys and Stranger Things: The First Shadow, megashows that rely on pyrotechnics and people flying around on wires are dealing with a theatrical landscape that seeks to cater to audiences hungering for bluster, but must contend with dwindling resources and risk-averse producing armies. (The Lost Boys features 53 credited producers. Cats: The Jellicle Ball has 64. The original production had four.) 

Radical revivals are perhaps old hat at this point—we had a sexy Oklahoma! from Daniel Fish in 2019, Sondheim (who basically loved all revivals of his work) sanctioned the gender-swapped revival of Company in 2019/2021, and Target Margin Theatre did a very Brechtian production of Show Boat, retitled Show/Boat: A River just last year—but what’s significant about reimagining Lloyd Webber’s work is that it situated commercial populism within ecstatic and virtuosic pageantry, and audiences’ capacity, visual language, and ability to finance those things has radically changed. If everything on stage has something to say about spectacle—be it the literal pyrotechnics on stage or the bluster of the political landscape—how can older works be renewed, with even a modicum of integrity, for an audience both deeply earnest and primed for cynicism? In this case, by taking stock of what Lloyd Webber, a maestro of the British schmaltz and grandiloquence, means to musical theater (and what commercial Broadway theater means to the form),  and bending and breaking the form’s technical attributes to do so. 

Technically, Lloyd Webber doesn’t need his reputation to be salvaged: He’s obscenely wealthy and his output is mostly beloved. But having his already extremely popular musicals poked and prodded at in this stage of his career is both a testament to his longevity as well as to the theater artists willing and interested in seeing the limits and boundaries of the work itself. It’s not just a poptimistic take that shades these works, but an interest in how populism and commercialism have shaped theater history and where it may go next. Lloyd Webber is a prism through which we can view and understand how the Broadway industry has changed. It may become austere and self-serious, or it may become an even crazier theme park ride, or it may become a platform to explore the histories and communities of underserved peoples. Hopefully, it will encourage theater artists to not only reconceptualize the productions of already canonized artists, but fuel their own creativity and originality into the distant future, when Andrew Lloyd Webber may be only but a memory.


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Vin Diesel took to Instagram on Thursday to give fans a behind-the-scenes look at “Fast Forever,” the 11th and final film in “The Fast and Furious” franchise. It hits theaters on March 17, 2028.

“I’m on set. People are grinding. Incredible crews are working,” said Diesel in the post. “I just wanted to take a second to say thank you. You guys are the best audience in the world, best fans in the world. You’ve been patient to the industry, you’ve been patient to the studio and you’ve been patient with me. Over the past three and a half years, we’ve been grinding to try to make the most amazing finale.”

Diesel said that he’s “been lucky to embark on other characters” during the wait for “Fast Forever.” He gave a special shout-out to the “Rock ‘Em Sock ‘Em Robots” movie, which he will star in and write for Mattel Studios.

He added, “But through it all, one thing I know is, I can feel your support, and that means the world to me. So, let me get back to this filming, and just know that I hope to make you all proud.”

Since its launch in 2001, the “Fast and the Furious” series has grossed over $7 billion at the box office, making it Universal’s highest-grossing and longest-running franchise. “Furious 7” was the best box office performer of the bunch with $1.5 billion worldwide.

Back in May, Universal unveiled that a “Fast & Furious” TV show was in the works at Peacock. The announcement was made by Diesel at this year’s NBCUniversal upfront presentation.

“For the last decade, we have realized that the fans have wanted more,” Diesel said. “They wanted us to expand the legacy characters, their stories. And for the last decade, the desire has been for us to enter the TV space that Fallon has mastered. And I had to wait till it was right… It became right when Donna Langley started to oversee it all, because that’s when I knew that the integrity of the characters, the international appeal, what makes us all feel like family would be protected in the TV space… The news that I have here today is that Peacock is launching four shows from the ‘Fast and Furious’ universe.”

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Vin Diesel took to Instagram on Thursday

U.S. Ambassador to Canada Pete Hoekstra is denying that donations from the family that owns the Ambassador Bridge are behind the delayed opening of the new Gordie Howe Bridge.

“Absolutely not,” Hoekstra said when asked by Global News whether the delay was tied to a US$1-million donation from billionaire Matthew Moroun — whose family owns the competing Ambassador Bridge — to Trump’s super PAC, MAGA Inc., in January.

“The bridge was not open when it was announced a couple of weeks ago by mutual agreement of the Canadian government and the U.S. government,” he said. “It has nothing to do with the Morouns.”

A planned ribbon-cutting event last month was cancelled at the request of the Americans, according to Prime Minister Mark Carney, who said there were “technical aspects” that were being worked through between Canada and the U.S.

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The New York Times reported that Matthew Moroun met with U.S. Commerce Secretary Howard Lutnick hours before Trump posted in February that he could block the bridge’s opening unless the U.S. was “compensated.”

Campaign finance records reviewed by Global News show members of the Moroun family also made 15 separate donations worth more than US$35,000 to Hoekstra during his final year in Congress, donations that Hoekstra said had no bearing on negotiations.

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Get breaking Canada news delivered to your inbox as it happens so you won’t miss a trending story.

“The Morouns operate a significant business in the United States, and in the United States, companies involved in those kinds of businesses donate to all kinds of campaigns,” Hoekstra said. “I know that they donate to Republicans and Democrats.”

A White House official told Global News last month that Trump’s position on the bridge “has not changed,” despite outreach from Canadian government officials, including Carney.

The new Detroit-Windsor crossing remains closed despite the fact Canada has paid for the entire cost of the bridge and will share ownership with Michigan. Hoekstra believes that isn’t good enough.

“Americans are contributing significantly more than half of the revenue that will pay back however Canada financed this,” he said, adding it’s being “paid for from revenue coming from the Ambassador Bridge, which is 100 per cent an American-owned company.”

Despite his complaints, Hoekstra remains upbeat about the bridge’s future. “We can reach an agreement on this bridge that is not tied into the larger CUSMA negotiations,” he said. “I’m optimistic we open the bridge relatively soon.”

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No guarantee CUSMA exemptions will remain


Hoekstra’s optimism fades when it comes to the ongoing trade negotiations and the renewal of the Canada-U.S.-Mexico Agreement (CUSMA).

“There’s maybe been some progress, but not the significant amount of progress that says, ‘OK, we know exactly where we’re going, now let’s fill out the details,’” Hoekstra said.

Canada has yet to hold formal negotiations with the U.S., which has already had multiple sit-downs with its Mexican counterparts.

Prime Minister Mark Carney has routinely pointed to Canada having the best deal with the U.S. due to tariff exemptions on free trade products — something the ambassador would not guarantee will continue.

“I’m not in a position to guarantee anything. These decisions are made at the White House. They are made by the president,” Hoekstra said.

His comments come just days after the Trump administration declined to extend the trilateral pact with Canada and Mexico for a new 16-year term, citing what the U.S. calls “shortcomings” and “trade deficits.” Mexico and Canada both publicly pushed for a renewal.

U.S. President Donald Trump suggested last month that the U.S. is “better without” CUSMA, and that he’d even prefer to see it “terminated.”

When asked by Global News, Hoekstra would not say if the administration is considering ripping up the deal, which can be done by any party with six months’ formal notice.

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“All options are on the table,” Hoekstra said. “[Termination] clearly is allowed for within the agreement.”

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

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U.S. Ambassador to Canada Pete Hoekstra is

Shakira gave her Instagram followers a warm, quick update this week, calling seven nights in Miami every single one unforgettable. Four fire emojis followed the message. Nothing more was needed.

The post was brief. The enthusiasm behind it was real.

The Colombian pop star has called Miami home since around 2022, after her high-profile split from Spanish soccer star Gerard Piqué. Her two sons, Milan and Sasha, enrolled in school there. She settled in quietly and built her life back up. It was a more private transition than most people expected.

Miami has a specific warmth in the summer, and Shakira appears to thrive in it. She named no venues and kept the details of the trip private. That’s pretty typical for her personal updates. She shares warmly but selectively.

The post drew 221,240 likes, a strong number for a casual vacation recap with no album or tour announcement behind it. Her Instagram following runs into the tens of millions, and she posts a mix of professional and personal content. For a low-key update like this one, that level of engagement reflects genuine affection from her audience, not just promotional traffic.

Her bond with Miami makes a certain kind of sense. The city has one of the largest Latin communities in the United States. Spanish is spoken widely there. Latin food, music, and the general pace of daily life feel familiar to Shakira. She grew up in Barranquilla, Colombia, and has been one of the most internationally recognized Latin artists for over two decades.

She’s also been creatively strong since moving to Miami. She released a Bizarrap Music Session in early 2023. It became one of the most-streamed Spanish-language tracks of that year, reaching well beyond Latin music audiences. The record had a confident, unapologetic quality. It caught a lot of people off guard in the best way.

She performed at the Super Bowl halftime show in 2020 alongside Jennifer Lopez, reaching a television audience of more than 100 million people. She turned 49 in February of this year. This stretch of her career feels like a second peak rather than a wind-down.

This visit landed over Fourth of July weekend, one of the most festive stretches of the year in South Florida. The city draws big crowds for the holiday, and the energy tends to be celebratory and warm. Seven nights in Miami over this particular window sounds like a genuinely great time.

Her caption was direct: “7 nights in Miami!!! Every single one unforgettable!!!” She’s not someone to oversell a moment. Those exclamation points matched the occasion.

No music announcement came with the update. The recap was a personal moment. She chose to share it briefly and then move on.

Miami has earned a real place in her life. She arrived there at a complicated time, and the city seems to have given a lot back. Four years in, she’s still calling it unforgettable.

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  • Air-filled fiber carried 51.3 Tb/s across 206.5 km unaided
  • Researchers push 1.2 Tb/s through each wavelength across record distances
  • AI infrastructure increasingly depends on networks moving data faster everywhere

Chinese fiber manufacturer YOFC says it has completed a hollow-core fiber transmission trial that reached 51.3 Tb/s over 206.5 km without regeneration.

The demonstration involved collaboration with China Telecom and optical equipment manufacturer Dekoli using a live network rather than laboratory conditions alone.

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Air-filled fiber carried 51.3 Tb/s across 206.5

Why Vogue World should definitely head to San Francisco next. The highs (Celine and Willy Chavarria) and lows (Kevin and Jayden Federline) of Paris Fashion Week Men’s. Angelina Jolie’s new film “Couture” reveals the real stories beyond the runway. And the new Tiffany & Co. store brings the California coast indoors.

Gavin Newsom and Anna Wintour at Vogue World: Hollywood 2025 at Paramount Studios on Oct. 26, 2025 in Los Angeles, Calif. Source: Getty
Gavin Newsom and Anna Wintour at Vogue World: Hollywood 2025 at Paramount Studios on Oct. 26, 2025 in Los Angeles, Calif. Source: Getty

Why Vogue World Should Come to San Francisco

Vogue global editorial director Anna Wintour is eyeing California for another edition of Vogue World after the pop culture runway extravaganza was held at Paramount Studios in Hollywood in 2025. 

As reported by the San Francisco Chronicle and confirmed by Vogue, the fashion maven recently visited the Bay Area to scout locations for the annual event, which combines runway shows and performances, attracts celebrity attendees, and raises money for a different local charity each time. Vogue World debuted in 2022 in New York and has since been hosted in London, Paris and L.A., and will head to Milan in September.

If it comes to San Francisco next year, it would be a coda of sorts to this year’s Met Gala, which was not so affectionately dubbed the “Tech Gala” because of the deep-pocketed tech moguls and firms that underwrote the evening, including Jeff Bezos and Lauren Sánchez Bezos, Amazon, Meta, OpenAI, Snap and Shopify.

Certainly, the Bay Area is the cradle of today’s Gilded Age, but following the money is only part of why Vogue World: San Francisco is a genius idea.

Apple Watch Hermes editions. Source: Getty
Apple Watch Hermes editions. Source: Getty

Sticking with tech, Cupertino-based Apple may be the most influential design brand of our time, having created the iPhone, which is in the hands and pockets of more than 1 billion people worldwide. Apple first intersected with fashion in a meaningful way with the debut of the Hermès Apple Watch in 2015. And tech’s love affair with fashion has only continued.

Just this week, Meta introduced photo- and video-capturing Meta Starfire Kylie Jenner Edition AI glasses, priced at $399, in an effort to leverage the beauty mogul’s influence over her 382 million social media followers and make smart glasses fashionable.

But San Francisco also deserves to host Vogue World on its analog laurels. Historically, it has been a hotbed of innovation and social change that has had an outsized influence on the democracy of fashion and what people wear every day.

Levi Strauss & Co. signature patches. Source: Getty
Levi Strauss & Co. signature patches. Source: Getty

Number one, it is the birthplace of Levi Strauss denim and the 501 jean, arguably the most recognizable and widely worn piece of branded clothing ever made.

The origin story goes like this: In 1853, Strauss, a Bavarian immigrant, opened a dry goods company in San Francisco. Recognizing the need for durable workwear during the height of the Gold Rush, he and tailor Jacob Davis combined copper rivet reinforcements with denim, leading to the first manufactured waist overalls in 1873. They were the precursor to what we now call blue jeans, an icon that has come to symbolize America around the world. It does not hurt Vogue World’s San Francisco prospects that the popular Mayor Daniel Lurie, whom Wintour met with, is a Levi Strauss heir.

The event could be a celebration of denim alone and still be a roaring success, with designers interpreting denim workwear from mass to luxury. (Perhaps this is why we have already seen so much denim on the spring 2027 runways … could Jonathan Anderson and Dolce & Gabbana know something we do not?)

Designer Zac Posen and Ejae, wearing a Gap Studio distressed denim gown, attend the 2025 CFDA Awards. Source: Getty
Designer Zac Posen and Ejae, wearing a Gap Studio distressed denim gown, attend the 2025 CFDA Awards. Source: Getty

Levi’s is not the only San Francisco American fashion success story, of course. There is also Gap, founded in 1969 by Donald and Doris Fisher. What started as a denim and vinyl records store evolved into a brand that transformed the way people dress for work, driving a generational shift to more casual attire that began in the 1990s, when Gap khakis and advertising campaigns became part of pop culture.

Gap also created the blueprint for modern lifestyle marketing with its peppy collaborations with entertainers, which have been rebooted under CEO Richard Dickson and Gap Studio designer Zac Posen, who have tapped Katseye, Young Miko, Gwyneth Paltrow and Apple Martin, among others. Gap is experiencing a renaissance, and Wintour was also spotted in San Francisco at Gap headquarters and with Posen.

Also founded in San Francisco: The North Face in 1964. What began as a climbing gear store (the Grateful Dead played at the opening) became a global juggernaut thanks in no small part to the 1990s hip-hop community, which made outdoor apparel into streetwear, establishing it as a key foundation of the modern casual wardrobe.

Esprit was founded in San Francisco in 1969 by Doug and Susie Tompkins (who previously founded The North Face) and Jane Tise. The brand’s colorful, cheap-and-cheerful, California-aspirational clothing, John Casado–designed stencil-effect logo, and Oliviero Toscani–lensed campaigns starring real people — a novel idea at the time — helped define 1980s fashion for young people and remain a touchpoint for designers today.

Beyond influential brands are the region’s influential social movements which have been inspiring trends and designer mood boards for decades.

Janis Joplin posing for a portrait in San Francisco, United States circa 1967-1968. Source: Getty
Janis Joplin posing for a portrait in San Francisco, United States circa 1967-1968. Source: Getty

Just as Hollywood’s larger-than-life blonde bombshells and teenage rebels shaped the imaginations and wardrobes of countless people across the globe, so too did counterculture and activist leaders in the Bay Area in the 1950s and ’60s, from the bookish workwear of the Beats in North Beach to the tie-dye and fringe-loving hippies of Haight-Ashbury, the Black Panthers in Oakland whose leather jackets, berets and sunglasses became a uniform of resistance, and the ““Castro clone” look of the LGBTQ+ rights movement.

All of it and more would be a rich tapestry for a Vogue World runway. As the song goes: “If you’re going to San Francisco, be sure to wear some flowers in your hair.”

Jayden and Sean Preston Federline walk the runway during the Vetements Menswear Spring/Summer 2027 fashion show at Paris Fashion Week on June 26, 2026. Source: Getty
Jayden and Sean Preston Federline walk the runway during the Vetements Menswear Spring/Summer 2027 fashion show at Paris Fashion Week on June 26, 2026. Source: Getty

New Clothes, Old Tricks

During the hottest days on record in Paris, designers still managed to show some cool Spring 2027 clothes, with slim, if not skinny, jeans, lots of sheer suiting, styling wizardry and footwear brand collaborations galore, drawing an impressive celebrity turnout, for better or worse.

Another fashion week, another nepo baby on the runway. Or two. Jayden and Sean Preston Federline walked the Vetements runway show. What’s Vetements? Now you know, which is why luxury brands continue to turn to children of celebrities, even those whose stardom has dimmed.

The brothers’ parents are pop star Britney Spears and her ex-husband Kevin Federline. “K-Fed,” for those who remember, is now living in Hawaii with a new wife and family. He works as a DJ and published a memoir last year, “You Thought You Knew.”

While some family connections bestow a brand halo of exclusivity, glamour and cultural relevance, this one left me rolling my eyes. I’m sure the Federline brothers are very nice, but fashion, is this all you’ve got? And to have them parading underwhelming clothes we’ve all seen before? It felt cheap.

Sharon Stone walks the runway of the Vetements Menswear Spring/Summer 2026-2027 show as part of Paris Fashion Week. Source: Getty
Sharon Stone walks the runway of the Vetements Menswear Spring/Summer 2026-2027 show as part of Paris Fashion Week. Source: Getty

The Federlines weren’t the only “famous” ones on the Vetements runway. Sharon Stone also walked the show, which I would argue was beneath her, given the company.

Dior Homme Menswear Spring/Summer 2027 show June 24, 2026 in Paris, France. Source: Getty
Dior Homme Menswear Spring/Summer 2027 show June 24, 2026 in Paris, France. Source: Getty

Dior’s Elevated Everyday 

Dior’s Jonathan Anderson dialed down experimentation to focus on the elevated everyday, including artfully distressed denim, what you might call pajama suits, and a Dior-ified version of fashion’s ubiquitous quarter-zip sweater among the highlights. Not one to resist jaunty neckwear, he also introduced a sparkly sailor tie.

Celine Menswear Spring/Summer 2027. Source: Celine
Celine Menswear Spring/Summer 2027. Source: Celine

Free-Styling

American designer Michael Rider continues to kill it at Celine, where he’s selling the idea of having fun styling your clothes.

This season’s mix had even more ease, including what I am sure will be a hotly anticipated Reebok sneaker collaboration. I loved the “Flashdance” sweatshirts with a customized feel, the perfectly proportioned jackets, and the offbeat hats, boots and beads. And I loved the show notes even more, which read like a manifesto for personal style: “Making do with a few great things. Customizing … panache. And being very unaware of having it.” More of that, please.

Willy Chavarria Spring/Summer 2027. Source: Willy Chavarria.
Willy Chavarria Spring/Summer 2027. Source: Willy Chavarria.

Hollywood Dreams

It may have been Men’s Fashion Week, but there was plenty of womenswear on the runway, too. Willy Chavarria has been working on expanding his women’s business for a while, and this collection really nailed it, with draped silk cocktail gowns, whimsical floral dresses, sexy slit skirts and sheer tops that should put him in the Hollywood dressing conversation in an even more meaningful way than before. Also coming soon: an Ugg collaboration.

Givenchy Spring/Summer 2027. Source: Givenchy
Givenchy Spring/Summer 2027. Source: Givenchy

Timmy, Is That You?

Sarah Burton held her first full Givenchy men’s presentation during the week, and the collection was a beautiful extension of what she has done on the women’s side, with exquisite tailoring and eveningwear, rich floral embroideries and refined streetwear, including a pink leather tracksuit like the red one sported by Timothée Chalamet last year when he was promoting “Marty Supreme.”

Chalamet wore Givenchy several times during awards season, when he made Burton’s double-breasted tailoring his own. Perhaps he even had an influence on the designer. “I wanted this to feel very personal and intimate, and to reflect the conversations that I have with the friends of the house,” she wrote in the collection notes. Could an official partnership be next?

Couture stars Angelina Jolie as an American filmmaker facing an unexpected health struggle amidst the swirl of Paris Fashion Week. Source: Vertical
“Couture” stars Angelina Jolie as an American filmmaker facing an unexpected health struggle amidst the swirl of Paris Fashion Week. Source: Vertical

Paris Fashion Week From Another Angle

While Men’s Fashion Week was unspooling in Paris, Angelina Jolie’s new film “Couture,” which uses Paris Fashion Week as a backdrop, opened in theaters in the U.S.

I went to see the film, which tells personal stories of those behind the scenes who do not usually have a voice, and chips away at some of the glamour of the shows in a way that was familiar to me.

Maxine (Jolie) is at the center of the story, an American director hired to create a short film for a runway presentation. After landing in Paris, she becomes immersed in the pre-show prep at a fashion house, only to receive a phone call delivering the devastating news that she has breast cancer and needs surgery right away, a medical diagnosis that mirrors Jolie’s own personal story.

As someone who spent years going to runway shows, the plot point brings home the disconnect between fantasy and reality that happens during fashion week, particularly when it comes to one’s personal life. It’s easy to feel like you are living in runway la-la land where nothing can touch you during the month of traveling to these fabulous shows twice a year.

A seamstress (Garance Marillier) works on a dress in Couture . Source: Vertical
A seamstress (Garance Marillier) works on a dress in “Couture.” Source: Vertical

The film also follows model Ada (played by real-life model Anyier Anei), a South Sudanese fresh face navigating her first fashion week in Paris, working to make money to send home to her family in Kenya to help lift them out of poverty.

Her journey (partly inspired by Anei’s own) has her palling around with other models too young to know better, staying up late drinking champagne, and disastrously twisting her ankle while practicing her walk ahead of her big runway debut. It is an illuminating look into the lives of the pretty faces who are so often expressionless and dehumanized on the runway.

A third character, makeup artist Angèle (Ella Rumpf), is the least developed. She is an aspiring writer (honestly, her job prospects would be better sticking with makeup design), lugging her kit from gig to gig around Paris, crossing paths with Maxine and Ada in scenes that are somewhat hollow. But somehow, this rings true, too. Brief, surface encounters are the way one experiences fashion week.

There is a lot of pain as Ada walks the runway with a swollen ankle, and Jolie struggles to put on a brave face as she goes between hospital appointments and the film shoot. But in the end, there is beauty under pressure, which is what fashion week is all about.

Makeup artist Angèle (Ella Rumpf) and model Ada (Anyier Anei) backstage at a runway show in the film Couture. Source: Vertical
Makeup artist Angèle (Ella Rumpf) and model Ada (Anyier Anei) backstage at a runway show in the film “Couture.” Source: Vertical
Tiffany ambassador Zendaya wearing Tiffany Elsa Peretti snake earrings. Source: Tiffany & Co.
Tiffany ambassador Zendaya wearing Tiffany Elsa Peretti snake earrings. Source: Tiffany & Co.

Tiffany & Co. is shining again on the SoCal retail scene at South Coast Plaza with the opening of a new 15,000-square-foot store designed by architect Peter Marino.

The new location reintroduces the LVMH-owned jeweler to Southern California, where it has invested heavily in celebrity ambassadors including Zendaya, Anya Taylor-Joy, Greta Lee and Chase Sui Wonders, and will open a new Rodeo Drive flagship in 2028 on the site of the former Luxe Hotel.

The South Coast Plaza space showcases the design concept first introduced at the Landmark store on New York’s Fifth Avenue, which opened with much fanfare in 2023. It will also feature an upcoming Tiffany Blue Box Café helmed by chef Daniel Boulud.

Tiffany & Co. South Coast Plaza. Source: Tiffany & Co.
Tiffany & Co. South Coast Plaza. Source: Tiffany & Co.

Marino’s concept brings the coast inside, with digital screens by artist Oyoram projecting sweeping views inspired by Newport and Laguna Beach.

Tiffany archival pieces with ties to the region are on display, including a specimen of morganite from Mesa Grande, Calif., on loan from a private collection, and others featuring kunzite, a gemstone first identified in California.

The space is also filled with contemporary art, including “Tiffany Miraculous,” “Tiffany Smashing,” “Tiffany Adorable” and “Tiffany Dish” by Damien Hirst near the entrance, as well as works by Urs Fischer, Michelangelo Pistoletto and Vik Muniz.

In addition to high jewelry and megadiamonds, the store showcases the HardWear, Bird on a Rock, Knot, Sixteen Stone and T by Tiffany collections.

Tiffany & Co., 3333 Bristol St., Suite 1509, Costa Mesa, Calif.

Tiffany & Co. South Coast Plaza. Source: Tiffany & Co.
Tiffany & Co. South Coast Plaza. Source: Tiffany & Co.

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Price has been open about how much his work with Madonna means to him—she pulled him out of obscurity in the early aughts to work with her on the Drowned World tour and, later, Confessions, leading to hits with Kylie, the Killers, and Dua Lipa—and his love for her comes through in this album’s sheer attention to detail: The split-second rocksteady break on “Danceteria”; the nods to Erotica (on “My Sins Are My Savior,”) Bedtime Stories (on “Betrayal”), and Ray of Light (in the chord progression on “L.E.S. Girl”); and even in the fact that this might be the first Madonna record in years where she isn’t singing through grills.

Now, you do not have to be Stuart Price to whip up a pack of house and disco beats, get Madonna to topline them, and be safe in knowing it would be her best record in many years. (Why didn’t the EDM atrocity MDNA work? Because Madonna’s club music has always been social, sexual, and emotional, and the clinical, venture-capital-core aggression of EDM, while having its place, is the polar opposite.) But the thread of autobiography that runs through CONFESSIONS II is what makes it a better, more unwieldy, more satisfying piece of work.

Madonna describes this album as an outgrowth of the shelved biopic she was writing for Universal. This is how you get a song like “Danceteria,” an extraordinarily fun hybrid of bouncy disco, squalid electroclash, and sexy French touch, which recounts Madonna’s early years thrusting demo tapes in the faces of DJs at the Roxy, Paradise Garage, and the titular Danceteria. She whizzes past the most legendary figures of Madonna lore and, by extension, downtown NYC lore: Mark Kamins, the DJ who championed her early songs; club elevator girl and, later, actress Debi Mazar; Like a Virgin cover stylist Maripol; one-who-got-away Basquiat. She namechecks the B-52’s and the Puerto Rican boys who “make me craaaaaazy” and interpolates Lou Reed for a second; the whole song is excitable and frenzied—exactly how it feels to go to the club for the first time—and genuinely new territory for Madonna, who, until 2023’s retrospective Celebration tour, forcefully squashed any nostalgia that crawled into her work.

That song’s flipside is “L.E.S. Girl,” the album’s poignant closer. A dreamy lullaby whose dusky combination of drum machine and gentle guitar recalls, if you can believe it, early Beach House, “L.E.S. Girl” is suffused with a tenderness that’s rarely expressed in Madonna’s music. She sings about the stuff that happened outside the clubs: Scraping by to make rent, wearing threadbare clothing. The lyrics on “L.E.S. Girl” sound like they come from somewhere deeper, more raw than the emphatic tone poems Madonna usually writes: “He played guitar on St. Marks Place/Had a Marlon Brando face/Painted nails the same shade as his boots/Bleached hair, dirty roots.” There’s a resolute feeling to the way Madonna ends the song—repeating the line “everything fades away”—that speaks to how many of her friends, family members, collaborators, and lovers have died too early. But “L.E.S. Girl” still feels wounded and open in a way that I’m not sure Madonna has ever sounded on record.

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Price has been open about how much

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Fashion met creativity as South Africa’s biggest stars arrived at the 2026 Hollywoodbets Durban July, embracing this year’s “Country Allure” theme with striking looks and personal interpretations.

From dramatic couture to artistic designs, celebrities proved once again that the event remains one of the country’s biggest fashion stages.

Actress Jessica Nkosi-Dlamini made a memorable entrance in a custom creation by designer Ruberto Scholtz. Inspired by the racecourse itself, the outfit transformed her into the star attraction.

“I am wearing Ruberto Scholtz. Of course the theme is ‘Country Allure’ and it has to do with country and horses and everything incredible. Ruberto came up with the idea of why not arrive as a horse, you know, as the main feature of the day and that’s why he came up with this amazing creation,” she said.

Nkosi-Dlamini said that the Hollywoodbets Durban July continues to raise the bar for fashion every year because guests are willing to take creative risks.

“I feel like it’s all about fashion. Every single year the girls show out. Every single year they step it up. Every single year they take the theme more and more seriously and I love seeing the execution of everyone’s outfits and how they interpret the theme.

“She added that the event brings together people from different industries.”What I love about this event is many types of people coming together. It’s not fashion lovers, it’s sports lovers, it’s music lovers, it’s designers and interior design lovers so it’s everyone getting to come into one space and enjoy each other’s company.”

Media personality and rapper Nomuzi “Moozlie” Mabena surprised fans by moving away from the cowboy hat that has become part of her signature style over the past year.

“I have worn a cowboy hat the whole year and I and Zinhle (Jiyane) we have been doing it the whole year so when this theme came up I was like everyone is going to be expecting me to wear another cowboy hat so I wanted to interpret the theme a little bit quirky. It’s beautiful, it’s colourful, it’s artistic, it’s all of the things,” she said.

For Mabena, the Hollywoodbets Durban July is much more than fashion.

“Tonight I am going to Hotbox Durban. The Durban July is not just an event on the social calendar. It’s a hub for entertainment, music and advertising. As long as this event is going on you know the industry is still in a good place.”

Away from the racecourse, she is enjoying a new chapter on air.

“The most important thing that I am busy with right now is my brand new radio show on Metro FM. It’s everything you love about the culture on a radio show,” she said.

Actress Linda Mtoba arrived in a custom couture gown by award-winning designer Orapeleng Modutle, created in partnership with Don Julio. She completed the look with a statement hat by Anita Ferreira Designs and accessories by Jimmy Choo, bringing together fashion and craftsmanship in one standout appearance.

Former Miss Universe Zozibini Tunzi-Bolowana embraced colour in a red creation by Imprint ZA designer Mzukisi Mbane. Her outfit formed part of the designer’s collaboration with Colgate titled ‘Purple Allure’, blending fashion with artistic storytelling.

From daring interpretations to elegant couture, celebrities embraced the spirit of ‘Country Allure’ in their own way.

Whether inspired by horses, art or culture, each look added another memorable chapter to the Hollywoodbets Durban July, where fashion continues to share the spotlight with horse racing, music and entertainment.

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Fashion met creativity as South Africa's biggest

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Czy aby Luckera Casino bywa dozwolone w Polsce?

Luckera Casino działa w oparciu o globalną koncesję Curacao. Polski system legislacyjny uznaje jedynie dominację Totalizatora Sportowego i kasyn stacjonarnych. Granie w kasynach zagranicznych, takich jak Luckera, nie jest w Polsce ścigane, ale ma miejsce obok państwowym układem regulacji. Klienci opierają się w takim przypadku na standardach organu, który przyznał pozwolenie. Zalecamy sprawdzenie z aktualnymi normami.

Jakiego rodzaju środki płatnicze są obecne dla krajowych klientów?

Serwis udostępnia metody znane w Polsce. To są ekspresowe transfery online (np. Przelewy24), tradycyjne płatności bankowe oraz kart kredytowe Visa i Mastercard. Dostępne są też pewne systemy internetowe. Wszelkie operacje zabezpiecza szyfrowanie. Dolne i najwyższe wartości wpłat oraz wypłat określono jasno w zakładce płatności na portalu kasyna.

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Tak, procedura KYC (Know Your Customer) jest konieczna i stanowi profesjonalny normę. Przed pierwszą wypłatą wymagane jest potwierdzić tożsamość, dostarczając skan dokumentu osobistego lub podobnego dokumentu. To obowiązek legislacyjny, który dąży uniemożliwiać nadużyciom i legalizacji funduszy. Procedura jest potrzebny dla bezpieczeństwa również gracza, jak i samego operatora.

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Owszem. Luckera Casino wspiera odpowiedzialną grę i daje narzędzia do samokontroli. W ustawieniach konta można skonfigurować dzienne, tygodniowe lub miesięczne limity wpłat. Dostępne są też opcje czasowego samowykluczenia lub trwałego zamknięcia konta. Te funkcje łatwo znaleźć w sekcji odpowiedzialnej gry.

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W Luckera Casino polscy gracze chętnie wybierają automaty od producentów takich jak Pragmatic Play i NetEnt. Zwłaszcza te z motywami przygodowymi lub klasyczne sloty owocowe. Sporym zainteresowaniem cieszy się też Live Casino, głównie ruletka na żywo i blackjack z prawdziwymi krupierami. Platforma na bieżąco wyświetla listę najchętniej wybieranych tytułów.

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Termin wypłaty zależy od wybranej metody. Szybkie przelewy online mogą zostać przetworzone w ciągu kilku godzin lub jednej doby roboczej. Klasyczne przelewy bankowe oraz wypłaty na kartę często trwają od 1 do 3 dni roboczych. Każda transakcja wypłaty podlega weryfikacji, co jest typową procedurą bezpieczeństwa przed wysłaniem środków.

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X-Men ’97 Season 2 confirmed that the newly assembled X-Force team has two more members who have yet to appear on-screen (and they are familiar faces from Deadpool 2). Given that the main X-Men team is scattered across time in their fight against Apocalypse, X-Men ’97 Season 2, Episode 2 revealed a power vacuum in mutant protection and action, prompting the U.S. government to form a sanctioned team called X-Factor to handle runaway mutants and contain them. Cable, however, sees the need for a more direct approach to handling mutant threats, leading him to form X-Force, which includes notable members Jubilee, Sunspot, Psylocke, and Archangel. 

The X-Force-themed opening of X-Men ’97 Season 2, Episode 2, sneakily included major Easter eggs that confirm more members of X-Force are recruited by Cable. Eagle-eyed fans spotted personalized gear for two mutants who don’t appear on-screen in the episode: Shatterstar and Domino – two heroes who also appeared in the Ryan Reynolds-led Deadpool 2 from 2018.

Marvel Comics

These quick background shots of the team’s armory featured Shatterstar’s iconic dual swords and Domino’s tactical equipment, confirming that Cable’s black-ops squad is bigger than the core group fans saw in the second episode.  

Domino's gear in X-Men '97 Season 2.
Marvel Animation

In Marvel Comics, both Domino and Shatterstar are members of Cable’s original X-Force. Domino serves as the reliable field leader and second-in-command, anchored by her probability-manipulating “luck” powers that make her an elite mercenary and clutch performer in chaotic fights.

Domino from Marvel Comics.
Marvel Comics.

Shatterstar, meanwhile, is the fierce warrior from Mojoworld, who provides tough offense with his signature dual swords. Shatterstar provides the grit and formidable frontline force against dangerous threats. 

Shatterstar from Marvel Comics.
Marvel Comics

What’s interesting about Domino and Shatterstar’s confirmed inclusion in X-Force in X-Men ’97 is that it creates a direct bridge to Deadpool 2, where both characters joined Deadpool’s short-lived X-Force squad on the big screen. 

Domino (Zazie Beetz) brought her signature luck and tactical prowess to the team, often shown in most of Deadpool 2‘s standout action sequences. While Domino didn’t return in Deadpool & Wolverine, her survival in the sequel suggests she is bound to return at some point. 

Domino in Deadpool 2.
Marvel

Meanwhile, Shatterstar (Lewis Tan) delivered a charismatic bravado with minimal action. Although he died in Deadpool 2, the film’s post-credits scene brought him back through the titular anti-hero’s time-travel antics with Cable’s device. 

Lewis Tan as Shatterstar in Deadpool 2.
Marvel

Domino and Shatterstar’s confirmed presence in X-Men ’97 Season 2 serves as a Multiversal wink, connecting the classic Marvel comics, the live-action Deadpool movies, and this animated revival in one clever stroke. If anything, this is smart storytelling that expands the lore without derailing the current episode’s focus. 

What Shatterstar & Domino’s Inclusion in X-Men ’97 Season 2 Truly Means for X-Force

X-Force.
Marvel Animation

Shatterstar and Domino’s confirmed inclusion in X-Men ’97 strongly indicated that Cable’s X-Force is being built as a deep, comic-accurate black-ops team poised to remain a regular team rather than just a temporary fill-in. 

While the on-screen team of Cable, Jubilee, Sunspot, Psylocke, and Archangel is already formidable on paper, the fact that Shatterstar and Domino are already recruited or on standby reinforces Cable’s intelligence due to having a backup plan or reinforcements in case the main core team gets in trouble with X-Factor or any other superteams in this world. 

It also provides a strong hint that there is a larger mutant network hiding in plain sight, with some strong characters, like the pair, who can be called upon when the going gets tough. 

All in all, including both Domino and Shatterstar also pays homage to the original X-Force lineup from Marvel Comics, signifying that X-Men ’97 is ready to embrace the team’s edgier and militant identity even more in future stories beyond Season 2.

It’s only a matter of time before Shatterstar and Domino make their on-screen presence felt, and they are proof that X-Force is here to stay, underscoring their long-term importance in the franchise.

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Upphetsningen på ett onlinecasino ska alltid vara

Leonardo DiCaprio has only ever starred in one sequel: the direct-to-video sci-fi thriller, Critters 3, released in 1991. He’d probably cover your mouth with his hand if you mentioned it in his presence, as it has a 0% score on Rotten Tomatoes. In his defense, he was just a kid at the time, grabbing any role that would come his way. Today, he has the right to be choosy, which explains why he never signs up for anything that doesn’t have a star director attached to it.

It’s thus not surprising that it has taken Michael Mann to convince Leo to do another sequel. The Hollywood superstar is set to star in Heat 2, based on Mann and Meg Gardiner’s 2022 novel of the same name. The upcoming film is both a prequel and a sequel to the 1995 crime film, Heat, covering the formative years of homicide detective Vincent Hanna and the outlaws Neil McCauley and Chris Shiherlis. And DiCaprio isn’t the only jewel. Several Hollywood talents have been assembled for the upcoming blockbuster.

Leonardo DiCaprio and Christian Bale Are Confirmed for ‘Heat 2’, With More Major Actors in Talks

Leonardo DiCaprio in One Battle After Another Warner Bros.

For over two years, Leonardo DiCaprio and Christian Bale have been the top two names rumored to be part of Heat 2’s cast. Now there’s official confirmation. The Wrap just revealed that the deals have been closed, with filming set to begin in November 2026. Bale will portray Vincent Hanna, the relentless LAPD Robbery Homicide detective made famous by Al Pacino in the original ‘90s flick, while DiCaprio will play Chris Shiherlis, the uncontrollable criminal originally portrayed by Val Kilmer.

Away from the two, Adam Driver is reportedly in talks to play the villain, Wardell. Stephen Graham is also being eyed for Neil McCauley, the character Robert De Niro portrayed. That’s one potential casting I’m particularly excited about as Graham rarely has a bad day in the office. Hollywood’s grapevine also mentions Jason Clarke as the person being targeted for the role of Nate, the veteran criminal fixer that Jon Voight played all too comfortably.

The original movie was based on L.A. Takedown, which Mann wrote and directed as a TV pilot for an NBC series. The network never picked up the series, a choice that turned out to be a blessing in disguise. Mann reworked the entire idea into a movie that eventually grossed $187.4 million on a tiny budget of $60 million. It’s now considered one of the best heist films of all time, famous for its many tense scenes, including the early street shootout and the climactic airport showdown.

Christian Bale as the serial killer Patrick Bateman in American Psycho Lionsgate

Heat 2 will mark the first time Leonardo DiCaprio and Christian Bale star in a movie together. However, the two superstars have been linked to the same projects a few times before, notably Titanic, What’s Eating Gilbert Grape, and American Psycho.

Bale made his name earlier, thanks to the Steven Spielberg war movie, Empire of the Sun. Unfortunately, he struggled to get major roles over that. He was one of the many actors who auditioned for the role of Jack Dawson in Titanic. However, James Cameron wasn’t keen on casting two British actors as the leads (with Kate Winslet already cast earlier), so he offered the role to DiCaprio, who went on to become one of the world’s most famous people, thanks to the movie’s massive popularity.

American Psycho director Mary Harron also had Christian Bale as his first choice for serial killer Patrick Bateman, but Lionsgate insisted on Leonardo DiCaprio, with Oliver Stone eyed to direct. DiCaprio eventually dropped out, forcing the studio to turn back to Bale. The actor’s incredible performance opened major doors for him, and he has never looked back ever since. There were also reports of a young Christian Bale auditioning for Arnie Grape, which ultimately went to DiCaprio, earning him his first Oscar nomination.

In a 2022 interview with GQ Magazine, Bale acknowledged DiCaprio’s industry demand, saying that he wasn’t the only one who lost roles to the Killers of the Flower Moon actor:

“It’s not just me. Look, to this day, any role that anybody gets, it’s only because he’s passed on it beforehand. It doesn’t matter what anyone tells you. It doesn’t matter how friendly you are with the directors. All those people that I’ve worked with multiple times, they all offered every one of those roles to him first. Right? I had one of those people actually tell me that. So, thank you, Leo, because literally, he gets to choose everything he does. And good for him, he’s phenomenal.”

Bale was also asked if he feels some type of way about DiCaprio being offered all these roles before anyone else, and he insisted it doesn’t bother him. “Do you know how grateful I am to get any damn thing? I mean, I can’t do what he does. I wouldn’t want the exposure that he has either. And he does it magnificently,” he said, adding, “I would suspect that almost everybody of a similar age to him in Hollywood owes their careers to him passing on whatever project it is.”

Now the two will finally share a stage. Who will get the Oscar? And the winner is… well… umm… Stephen Graham… for Best Supporting Actor.

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Leonardo DiCaprio has only ever starred in

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We reviewed Crazytower Casino with the kind of wary careful approach that only years of reviewing online gaming platforms can foster. The iGaming landscape is overflowing with operators making lavish promises, and our default stance has always been to question every claim until we see concrete proof. Crazytower, with its daring branding and an assortment of features that seemed practically too perfect to be true, immediately activated our internal alarms. We had seen sleek interfaces mask thin game libraries before, and enticing welcome offers often came tied to confusing terms. Our mission was clear: sign up, deposit real funds, play across multiple categories, and execute a withdrawal. We wanted to evaluate not just the entertainment value but the operational integrity of the platform. What began as a routine check evolved into something far more compelling. Over several weeks of thorough testing, we found ourselves slowly discarding layers of doubt, overtaken by a growing admiration for a platform that appeared to authentically prioritize player experience. This is the story of how we shifted from outright skepticism to becoming real believers, documenting every high, every minor issue, and the pivotal moments that altered our perspective on Crazytower Casino.

Bonuses and Promotional Mechanics

Our analytical nature pushes us to dissect bonus offers with surgical care, as this is the area where many operators bury unfavorable conditions. crazytower reload Casino’s welcome package was structured as a multilevel deposit match paired with free spins on chosen slots. The primary figures were attractive but not excessively inflated, which we took as a positive signal. We examined the full terms and conditions document, which was available directly from the promotion page via a visibly labeled link. The text used was plain and free of the legalese that often obscures critical details. We computed the effective value of the deal by considering the wagering requirement, game contribution percentages, and maximum bet restrictions during bonus play. The wagering multiplier was set at a level that aligns with industry averages, and significantly, it applied to both the deposit and bonus amount. We also examined the ongoing promotional calendar, which included reload bonuses, cashback offers, and a multi-level loyalty program. The loyalty scheme granted points for real-money wagers that could be exchanged for bonus credits, with higher tiers granting faster withdrawals and personalized account management. This structure incentivized consistent play without creating a harmful loop, a harmony that few platforms accomplish.

Betting Requirements Under the Microscope

We allocated significant work to evaluating the wagering requirement structure by replicating bonus redemption across different game types. The terms clearly indicated that slot wagers applied one hundred percent toward the requirement, while table games and live casino counted a lower percentage, typically between five and twenty percent. This is typical practice, but we verified that the system precisely tracked contributions in real time, which it did without discrepancies. We also verified that certain high-RTP slots were not arbitrarily excluded from bonus play, a tactic some casinos use to prevent advantage play. The bonus funds were kept separate from the cash balance until the wagering was completed, and the interface displayed a progress bar that updated after each spin or hand. We assessed the forfeiture mechanism by deliberately failing to meet the requirement within the thirty-day validity period, and the remaining bonus funds were removed cleanly without affecting our real-money balance. This transparency in bonus mechanics is a pillar of player trust, and it represented a major milestone in our journey from skeptic to believer.

Transparency of Terms

Bypassing the playthrough numbers, we scrutinized the overall promotional terms for undisclosed traps such as maximum withdrawal limits on bonus winnings or forced conversion constraints. We were pleased to find that while a maximum bet rule of five currency units per spin was enforced during bonus play, it was plainly stated and proactively prevented by the system rather than applied retroactively. The payout limit on bonus-derived winnings was substantial and varied with the deposit amount, enabling for considerable upside. We also inspected the stipulations around the loyalty program, ensuring that points did not vanish abruptly and that tier status was maintained based on a rolling evaluation period. The information was thorough, and when we reached support with a hypothetical scenario concerning bonus stacking, the agent provided a consistent answer that corresponded to the written terms. This alignment between policy and practice is a trademark of a reliable operator, and it further dispelled our initial skepticism. We have walked away from many casinos due to unclear terms, but Crazytower’s clarity was genuinely uplifting.

First Impressions and Interface Design

Visiting the Crazytower Casino homepage for the first time, we were met with a design aesthetic that strikes a balance modern minimalism and vibrant feel. The color palette uses dark, sophisticated tones punctuated by vibrant accents, avoiding the sensory overload that affects many rival sites. Navigation felt natural from the outset; the main menu was logically structured, and key sections like the game lobby, promotions page, and support center were never more than a single click away. We tested the platform across several devices, such as a standard laptop, a tablet, and two different smartphone operating systems. The responsive design performed admirably, with no broken elements or awkward scaling issues. Load times for the homepage and each game thumbnails were consistently under two seconds on a stable broadband connection, which speaks to well-optimized server infrastructure. The registration process itself was streamlined, requiring a sensible amount of personal information without feeling invasive. We liked the absence of forced pop-ups during the sign-up flow, a small but telling sign that the user journey had been meticulously planned. From a purely aesthetic and functional standpoint, Crazytower Casino right away scored higher than our skeptical baseline had anticipated.

Exploring the Game Lobby

Once inside the member area, the game lobby became our primary testing ground. The default view offered a curated selection of featured titles, but we quickly found a robust set of filtering tools that made genre-hopping simple. Categories included slots, live casino, table games, jackpots, and a dedicated new releases section. Each category loaded quickly, and the thumbnails were sharp, with hover effects revealing a quick-play option or a link to the game’s information page. We noted that the search bar was predictive, returning results as we typed partial game names, which is a feature many larger platforms still fail to implement correctly. The lobby also showed real-time jackpot counters for progressive titles, a small touch that adds a layer of excitement without being intrusive. For players who value organization, the ability to favorite games and create a personalized shortcut list was a great addition. We devoted considerable time toggling between the lobby views on mobile, and the touch targets remained comfortably sized, preventing the frustration of misclicks. This level of polish in the lobby architecture showed that Crazytower had invested in user experience research rather than simply deploying a template solution.

Search and Filter Functionality

Delving deeper into the search and filter mechanics, we stress-tested the system with obscure game titles and partial keywords. The engine regularly delivered accurate results in under a second, even when we deliberately misspelled a popular provider name. Filters could be combined, allowing us to narrow the library by provider, volatility, and feature type simultaneously. For instance, we filtered for high-volatility slots from Pragmatic Play that included a bonus buy mechanic, and the lobby immediately displayed the correct subset. This level of granularity is rare and suggests a thoughtful backend taxonomy. The provider filter alone listed over fifty names, each with a clickable checkbox, and the page did not lag when applying multiple constraints. We also appreciated that the filtering preferences persisted when moving between categories, reducing repetitive adjustments. For analytical reviewers like us, this functionality transformed the browsing experience from a passive scroll into an active, efficient search for exactly the content we wanted to evaluate. It is a feature that both casual players and dedicated enthusiasts will find immensely valuable, and it contributed significantly to our shifting perception of the platform’s technical competence.

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Choice of Games and Game Developers

A casino lives and dies by the range and caliber of its game collection, and this was the area where our suspicion ran deepest. We have come up against too many platforms that swell their numbers with numerous near-identical titles from unknown studios. Crazytower Casino, however, showcased a portfolio that felt select rather than mass-acquired. The slot section by itself contained over two thousand titles, ranging across classic three-reelers, cinematic video slots, and the latest Megaways releases. We spotted games from tier-one providers like NetEnt, Play’n GO, and Red Tiger as well as innovative studios such as Nolimit City and Push Gaming. The live casino division was supplied primarily by Evolution Gaming and Pragmatic Play Live, providing a comprehensive selection of blackjack, roulette, baccarat, and game show variants. Table game purists were not overlooked, with multiple RNG-powered versions of poker, craps, and specialty games. We dedicated several sessions to evaluating game performance, paying close attention to load times, graphical fidelity, and the fluidity of in-game animations. Across the board, titles launched directly in the browser without requiring additional plugins, and the streaming clarity in the live dealer rooms remained steady even during peak evening hours. This robust aggregation of premium content commenced to chip away at our initial misgivings about the casino’s trustworthiness.

Slot Variety and Exclusive Features

Across the extensive slot collection, we noted a conscious attempt to appeal to every conceivable player preference. Low-variance games with frequent small wins were placed easily alongside high-risk, high-reward titles featuring maximum payouts in the tens of thousands of times the stake. The inclusion of in-house or exclusive titles would have been a significant differentiator, but we found that Crazytower instead concentrates on obtaining the latest global releases faster than many competitors. During our testing period, several newly launched slots showed up on the platform within days of their official worldwide release, which suggests strong relationships with software aggregators. We also observed the inclusion of a dedicated jackpot tab that distinguished fixed, daily, and progressive network jackpots, keeping it easy to pursue life-changing sums. The platform supports demo play for the vast majority of slots, a element we view essential for informed decision-making. This enabled us to examine mechanics and bonus frequencies without financial risk, and we saw that the demo versions loaded with the same speed and quality as their real-money counterparts. The slot vertical alone displayed a maturity that defied our preconceived ideas about newer casino brands.

Live Casino Immersion

Our live casino review involved prolonged sessions across different times of the day to evaluate dealer professionalism, stream reliability, and table availability. We were regularly impressed by the high-definition streams that responded gracefully to fluctuating internet speeds. The Evolution Gaming tables offered the full suite of captivating options, including multi-camera angles for roulette and the interactive chat features that promote a social environment. We sampled the “Crazy Time” and “Monopoly Live” game shows, which performed flawlessly with no perceptible latency. A welcome surprise was the presence of native-language tables for particular European and Asian markets, suggesting that Crazytower Casino is building a genuinely international offering. The betting limits were plainly displayed before entering each table, ranging from micro-stakes suitable for beginners to VIP tiers that cater to high rollers. We also valued the fluid transition between the main casino lobby and the live dealer interface, with no abrupt visual breaks. This unified experience bolstered the sense that the platform was built as a unified ecosystem rather than a collection of third-party integrations.

Payment Methods, Safety, and Customer Support

No review is complete without a detailed examination of the financial system that forms the basis of the player interaction. We tested deposits using a credit card, an online wallet, and an electronic transfer, all of which were completed instantly or within minutes. The cashier system was incorporated seamlessly, supporting multiple currencies and showing any applicable fees before you confirm. We were happy to observe that Crazytower Casino does not impose fees on deposits or withdrawals, a rule that should become industry standard but is often overlooked. On the safety front, the platform employs TLS encryption with a certified certificate, and we confirmed that the connection stayed secure throughout our visits. The privacy policy was thorough and adhering with international data protection norms, outlining exactly how user data is handled and stored. Two-factor authentication was present and, in our view, should be turned on by every gambler. The responsible gaming toolkit featured deposit limits, loss limits, time reminders, and cool-off options, all of which were functional and user-friendly. This comprehensive safety infrastructure offered the basis of trust that our skeptic minds demanded before we could fully commit to the casino.

Payout Duration and Verification

The payout procedure serves as the true litmus test for any online casino, and we handled it with our most critical eye. We submitted a withdrawal request for a moderate sum after building up winnings from a mix of slot and live casino play. The platform required identity verification, which we carried out by uploading standard documents through a secure portal. The verification team assessed our submission within six hours, a turnaround time that outperforms many established competitors. Once approved, the withdrawal was executed through our chosen e-wallet and arrived in under twenty-four hours. We duplicated the test with a bank transfer, which took three business days, well within the stated timeframe. Throughout the process, we obtained automated email updates at each stage, and the cashier dashboard presented a clear transaction history. There were no unexpected reversals or requests for additional documentation beyond the initial KYC check. This seamless payout experience was the single most influential factor in turning our skepticism into genuine belief. When a casino pays promptly and without drama, it gains a level of respect that marketing campaigns cannot buy.

The Timeline of Our Test Withdrawal

To offer a concrete reference, we noted the exact timeline of our primary withdrawal test. On a Monday morning, we started the payout request at 9:30 AM. The automated confirmation email arrived promptly. We submitted our verification documents at 9:45 AM. By 3:15 PM the same day, we obtained notification that our account had been fully verified. The withdrawal status updated to “processed” at 5:00 PM, and the funds showed up in our e-wallet at 8:45 AM the following Tuesday. The total elapsed time from request to receipt was less than twenty-four hours. This speed was not a one-off; a subsequent smaller withdrawal mirrored a nearly identical timeline. We also tested the cancellation feature, which allowed us to undo a pending withdrawal and return the funds to our gaming balance immediately, a useful option for players who change their minds. The transparency and speed of this process demonstrated operational maturity and a genuine respect for player funds, which is the cornerstone of any lasting player-casino relationship.

The Pivotal Moment: From Cynic to Convert

Our journey with Crazytower Casino was not defined by a single dramatic moment but by an accumulation of consistently positive interactions. The refined site layout, the depth of the game portfolio, and the transparent bonus terms all contributed their share. That said, the real breakthrough came when we realized that we had stopped actively looking for imperfections and had commenced just savoring the experience. We discovered ourselves returning to the live dealer section during our leisure moments, not as reviewers with a scorecard, but as gamblers in search of entertainment. The faith we had built through successful withdrawals and attentive customer service changed our internal dialogue. We started to recommend the site to peers who appreciate evidence-based views, certain that our stamp of approval was backed by rigorous testing. The transition from skeptic to advocate is not something we offer casually; it is attained through proven ability and uprightness. Crazytower Casino succeeded in reaching what many operators with significantly greater advertising resources fail to do: it won us over through results, not assurances. That is the highest compliment we can offer in our analytical capacity.

Critical Elements Which Established Trust

Several specific aspects combined to dismantle our first skepticism. The first was the reliable technical stability of the platform across platforms and high-traffic periods. The second was the speed and transparency of the withdrawal process, which proved that the operator values liquidity and player contentment over needless delays. The third was the clarity of all promotional conditions, which permitted us to make informed decisions without analyzing dense legal language. The fourth was the standard of customer service, which we tested via live chat on three separate occasions, getting knowledgeable and courteous replies within two minutes each time. The fifth factor was the responsible gaming framework, which showed a devotion to player welfare beyond regulatory requirement. We have compiled these elements into a concise summary for quick review:

  • Stable platform performance and fast load times across all devices
  • Validation and withdrawal handling completed in under twenty-four time
  • Open bonus conditions with real-time wagering progress monitoring
  • Quick and knowledgeable customer support accessible around the clock
  • Comprehensive responsible gaming features that are straightforward to enable

These foundations of trust are not revolutionary individually, but their combined existence is rare in an industry where corners are often cut. Crazytower Casino delivered on each front, and this reliability ultimately changed our perspective.

Which Players Should Play at Crazytower Casino?

After our comprehensive assessment, we believe Crazytower Casino is ideally suited for players who value a balanced, no-nonsense gaming atmosphere. Slot enthusiasts will encounter a extensive and frequently updated library, while live casino fans can plunge themselves in top-tier broadcasts with skilled dealers. The site is additionally an outstanding fit for users who prioritize fast withdrawals and clear information, as the payment process performed perfectly in our checks. Beginners will value the user-friendly design and demo play choices, while high whales can reach VIP areas and personalized assistance through the loyalty system. The absence of aggressive promotions and the inclusion of solid responsible gaming features make it a safe environment for those who desire to maintain command over their gaming. We would suggest Crazytower to those who has grown fatigued of flashy gambling sites that exaggerate and underdeliver. It is a site that expresses through its results, and in our experience, those deeds are extremely positive. Our transition from skeptic to believer was not a bound of belief but a gradual rise guided by data, and we are assured that many gamblers will take the similar course.

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PlayStation has told developers that they will still be able to place orders for disc games beyond January 2028 – as long as they’re for titles released before its all-digital cut-off.

The PS5 firm will also offer developers ways to release their games as physical retail products with download codes, according to a report.

Earlier this week, Sony Interactive Entertainment announced to the public that it will stop manufacturing physical game discs from January 2028, meaning that developers will no longer be able to release their own disc games beyond this date.

Sony added the caveat that the transition to digital wouldn’t affect games that had already been released in disc format before January 2028.

Now, a separate message sent to developers and publishers via its private developer portal, seen by Game File, adds some clarification on what the latter part will mean in practice.

For the partner message, Sony made a point to say that publishers “will still be able to place re-orders for existing PlayStation disc games”, meaning that a PS5 game released in 2027 or earlier will still be able to make new copies after January 2028.

PlayStation will still offer some form of retail product for games

Sony told partners that the ordering process for discs will change in some TBA ways, according to Game File.

It also told partners that it will “provide publishers with the opportunity to release new games at retail using digital codes,” with more details to come. Potentially, this could come in the form of download codes in game boxes, like GTA 6’s upcoming physical version.

News that developers will still be able to manufacture older game discs follows a report that Sony’s largest production site is already preparing its staff to move away from manufacturing discs.

According to Dietmar Tanzer, CEO of DADC (which manufactures Sony’s optical media including PlayStation games, Blu-rays and CDs), the plant’s 300 employees were told on Wednesday that it would be undergoing restructuring as a result of Sony’s decision.

Sony has reportedly been anticipating the shift away from discs for some time, and as such, around €30 million has recently been invested in new equipment designed to make optical microlenses instead.

According to Ampere, this week’s disc announcement “telegraphs quite a lot of information” about Sony’s next-generation console, and PS6 is likely to “at a minimum” not include a physical disk drive.