Newsmoviesbollywood ‘He Wrote About Abba In A Quiver Full Of Arrows’: Soha Ali Khan Remembers Jeffrey Archer
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Soha Ali Khan paid tribute to Jeffrey Archer following his death, remembering the late author’s friendship with her father Mansoor Ali Khan Pataudi from their Oxford days.
Jeffrey Archer Passes Away: Soha Ali Khan Recalls His Friendship With Her Father Mansoor Ali Khan Pataudi
British author and politician Jeffrey Archer passed away on October 5, 2026, aged 86. Following his death, tributes poured in from across the world, with people from different walks of life remembering the celebrated author. Bollywood actress Soha Ali Khan also paid tribute to Jeffrey Archer while remembering his longstanding connection with her family. Taking to social media, Soha recalled that Archer had been a friend of her father, former Indian cricket captain Mansoor Ali Khan Pataudi, since their days at Oxford.
Soha Ali Khan Pays Tribute To Jeffrey Archer
“Jeffrey Archer was a friend of my father’s from their Oxford days,” Soha wrote in her Instagram stories.
She also recalled how Archer wrote about her father, Mansoor Ali Khan Pataudi, in his 1980 book ‘A Quiver Full of Arrows’, which is a collection of 12 short stories. She further remembered the author’s tribute to Pataudi following his death.
Soha Ali Khan’s Instagram story
“He wrote about Abba in A Quiver Full of Arrows, wrote so beautifully about him after he passed,” she wrote.
Mansoor Ali Khan Pataudi, fondly known as Tiger Pataudi, died in 2011 at the age of 70.
Jeffrey Archer’s Connection With The Pataudi Family
Soha Ali Khan also recalled another occasion when Jeffrey Archer honoured her father’s memory. Years after Tiger Pataudi’s death, the author took on the role of auctioneer at an evening hosted by Soha and her family in memory of the former cricketer.
“And years later held the auctioneer’s hammer at an evening we hosted in Abba’s memory,” Soha wrote. Remembering the author and their family’s connection with him, Soha concluded her tribute with a simple message: “May he rest in peace.”
Soha also shared a lovely throwback picture showing her family posing with Jeffrey Archer. The photo included Soha, Archer, Saif Ali Khan, Kareena Kapoor Khan, Sharmila Tagore and Saba Pataudi.
Jeffrey Archer’s Death
The British novelist and former Conservative politician died “suddenly and peacefully” at his home on October 5, 2026, aged 86, according to his publisher HarperCollins. His death came just a day before the global release of Adam & Eve, the 31st and final novel of a career that saw him sell more than 300 million books worldwide.
Over a career spanning several decades, he wrote numerous bestselling novels.
Some of his most famous books include Kane and Abel, Not a Penny More, Not a Penny Less, A Matter of Honour, The Prodigal Daughter, As the Crow Flies and The Clifton Chronicles series.
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British author and former Conservative politician Jeffrey Archer passed away suddenly and peacefully at his home on October 5, 2026, at the age of 86.
Soha Ali Khan paid tribute to Jeffrey Archer by recalling his longstanding friendship with her father, Mansoor Ali Khan Pataudi, from their Oxford days, noting that Archer wrote about him in her 1980 book ‘A Quiver Full of Arrows’ and even served as an auctioneer at an event held in her father’s memory.
Jeffrey Archer passed away just one day before the global release of ‘Adam & Eve’, which is the 31st and final novel of a career spanning several decades in which he sold more than 300 million books worldwide.
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South African singer Elaine has sparked debate on social media following her appearance at Kota Festival, held at the johannesburg Expo Career in Nasrec on Saturday, 3 October 2026, with her outfit drawing mixed reactions from fans and critics.
The singer’s very short mini skirt became a talking point on X, where some users questioned her fashion choice while others expressed disappointment with the look.
One user suggested that the outfit did not match the image they associated with the singer, writing: “Afowethu, not Elaine. Her music has aura.”
The user added: “The total opposite of what is depicted here.”
Expressing mixed feelings about the look, the user continued: “I’m also disappointed with how she is dressed but at the same time, if she decided to rock up in a bikini it wouldn’t be as bizarre as it is. Did she have to wear the mini skirt though?”
Another user, KHxdi_Supa, was more critical, suggesting that revealing outfits could be used to attract attention when music fails to sell.
“If music doesn’t sell, sex will. You know this very well wena Londie,” the user wrote.
Elsewhere, another user, posting under the name An African Proverb, reacted with humour, writing: “Me and my friend are on 2 different versions of Twitter. He’s saying South Africa is dead and I’m saying look at Elaine wtf is going on? Uthi Home Affairs did something and I’m laughing because look at Elaine.”
A further reaction came from a user identified as Chaotic, who questioned the singer’s musical direction, writing: “Wagcina uphelelaphi wena nomculo?”
The comments reflect the range of reactions to Elaine’s outfit, with some users criticising the look and others expressing disbelief at the singer’s styling.
The debate also highlights how female musicians’ clothing choices can become a major talking point, sometimes competing with discussions about their music and performances.
While opinions remain divided, the conversation surrounding Elaine’s Kota Fest appearance shows how quickly a celebrity’s fashion choice can capture attention online.
“We know that there is a large audience of readers who are looking to experience comics digitally, and there is no richer library than Marvel Comics,” said David Abdo, General Manager, Marvel Comics and Franchise. “We’re excited to partner with WEBTOON, industry leaders in the space, to create a new app that can continue to grow and evolve with the way readers discover and experience comics.”
Fans can explore what catches their eye through a dynamic cover-scroll interface that makes thousands of comics browsable at a glance or turn to personalized recommendations tailored to their reading history and interests. Character and creator pages let fans follow journeys across arcs and storylines, and Pull List surfaces new issues from followed series, characters, and creators the moment they’re available. Fans can also browse Upcoming Releases to see what’s coming soon and add titles to their Pull List ahead of release, and enjoy updated smart panels for a better reading experience.
“The Marvel Comics app represents a new chapter in helping fans connect with the stories they love,” said Yongsoo Kim, President of WEBTOON Entertainment. “By combining WEBTOON’s expertise in building digital comics platforms with Marvel’s unparalleled storytelling legacy, we’re making it easier for longtime fans and new readers alike to explore Marvel’s universe and discover their next favorite story.”
The Marvel Comics app will offer two subscription tiers. The Base tier is $9.99/month (plus tax) or $69.99/year (plus tax) and provides access to the full Marvel Comics digital library, with the latest issues available as soon as 3 months after their print release. For fans who want the latest issues sooner, the Ultimate tier gives access to new comics as soon as 30 days after their print release in addition to the full library. Ultimate will be available for $12.49/month (plus tax) or $99.99/year (plus tax).
Fans can pre-register now at marvel.webtoon.com and claim a limited-time founding member price of $59.99 (plus tax) for their first year of Ultimate Annual.
Pre-order: $59.99 + tax for year one, charged today. Subscription starts when you redeem your code after service launch, then auto-renews at $99.99 + tax/year until canceled. 18+. Subject to the Founders Offer Terms of Use.
Subscribe for a limited-time Founding Member price available online now and at the Marvel Comics App Booth at New York Comic Con!
The Marvel Comics App at New York Comic Con
The new Marvel Comics app will make its New York Comic Con debut October 8–11 at the Marvel Comics app booth (#2435), where fans can get an early look at the beta version of the app, learn more about the upcoming service, and pre-register ahead of the app’s launch November 16.
NYCC attendees will also have the opportunity to claim the limited-time founding member price on-site. The first 2,000 fans to claim the offer will receive a limited-edition Marvel Comics print ID card, available exclusively at NYCC.
MemberID Card available at booth #2435 while supplies last; limit one per person. Card designs are subject to availability and may vary.
FAQ: The Marvel Comics App and Marvel Unlimited
What’s happening to Marvel Unlimited?
Marvel Unlimited will sunset as of 12/7/2026. Marvel’s licensee WEBTOON is operating a brand-new Marvel digital comics app called “Marvel Comics powered by WEBTOON.”
When the Marvel Comics app launches on 11/16/2026, Marvel Unlimited members will be able to import their existing Marvel Unlimited library and reading history to the Marvel Comics app. More details on this process will be shared as launch approaches.
Will I be able to access my digital comic collection and reading history via the Marvel Comics app?
Yes! Your existing Marvel Unlimited library, reading progress, redeemed comics and saved issues can all be transferred over to the Marvel Comics app. To ensure your digital comic collection is accessible via the Marvel Comics app, you will need to create an account with WEBTOON. Please import your Marvel Unlimited library with the Marvel Comics app prior to 12/7/2026 to be able to validate it migrated successfully from the Marvel Unlimited app.
Will I be refunded for the remainder of my Marvel Unlimited subscription?
Yes – all active Marvel Unlimited subscriptions will be eligible for an automated, prorated refund for the remainder of their unused subscription term on or around 11/16/2026. Please allow 3-5 business days from this date for your subscription refund to be reflected on your chosen payment method.
Need assistance regarding your refund? For subscriptions made through Marvel.com, please contact Marvel Customer Support at help.marvel.com or by phone at 1-844-362-7835 by 12/31/2026. (Hours of Operation: Monday-Friday 8:30 a.m. to 5:30 p.m. CT).
For subscriptions purchased directly through Google or Apple, please contact your respective app store for further assistance.
Note: Marvel cannot assist with billing inquiries where you have signed up through a third party and Marvel is not responsible to you for any charges you incur where you have not cancelled them in accordance with those third-party processes.
When is the last day I can access Marvel Unlimited?
As of 10/5/2026, we will no longer be accepting new sign-ups.
As of 12/7/2026, the Marvel Unlimited app will stop having new content added and you will no longer be able to read comics via the app. Members will still be able to browse their library until 12/21/2026 to ensure importing to the Marvel Comics app has been completed successfully.
The Marvel Unlimited app will be removed and sunset as of 12/28/2026.
Existing members as of 10/5 will have their library access continue for Marvel Unlimited – free of charge – until 12/7/2026, with opportunity for Marvel Unlimited subscribers to import their libraries to the Marvel Comics app following the launch on 11/16.
For more information on the sunset timeline and how this impacts your Marvel Unlimited membership, please check out the rest of our FAQs and commonly asked questions: marvel.com/unlimited-sunset.
Lanterns just dropped its season one finale, and we believe it largely stuck the landing. The series, which was a grounded take on the Green Lantern comics mythology, won over critics and audiences alike. In fact, the series has averaged around 19 million viewers per episode, which is huge. Now, series co-creator Damon Lindelof, known for Watchmen, The Leftovers, and Lost, has revealed to Collider (via IGN) that there are “writers who are working on ideating on Season 2.” It seems, however, that neither Lindelof nor Tom King will have any involvement with a potential season 2.
I can only tell you that everybody in the Season 1 room, inclusive of the writers who are working on ideating on Season 2, felt like even though we knew that it was going to be emotionally devastating and/or disappointing and maybe even frustrating, that the worst possible schmuck-baity thing that we could do is show you a pilot where Hal Jordan was definitively dead, and then try to walk it back and say, ‘Oh, he was a clone’ or ‘He’s only mostly dead’ in the Princess Bride vernacular.
HBO Max/DC Studios
Having said all that, Lindelof is keenly aware that in the comics, Hal Jordan has been dead before. Lindelof said, “I do not know anything about the creative (for season 2). And I wouldn’t want to hamstring those writers in any way for what future storytelling mechanisms they could indulge in. Knowing what the comics have done with Parallax — and Hal, I think, has died at least three or four times over the course of the canon, and celebrating everything that Kyle did in his performance to get the audience to fall in love with Hal.”
Nerdist’s Take: Even if Hal Jordan Remains Dead, Lanterns Season 2 Needs to Figure Out How to Utilize Kyle Chandler
Even if Hal is DEAD dead, we think Kyle Chandler is such a huge part of the appeal for the series, it would be criminal not to utilize him somehow. We definitely think there’s a way to bring the Halogram back, despite whatever Sinestro said in the season one finale. And, after all, this show is called Lanterns, plural. Unless this is about to be a John Stewart/Guy Gardner team-up show, Hal will need to be a part of it. Or they may introduce another Green Lantern to co-star with Aaron Pierre. We’ll have to wait and see, but we certainly hope HBO Max doesn’t drag its feet in greenlighting season 2. What deserves a greenlight more than the show about dudes whose power is green light? Come on, HBO, it’s a sign.
Modern Warfare 4 is bringing DMZ back with more ways to choose how each deployment plays out. GameSpot’s overview says players can pick mission types with different risk levels, connecting those choices to a broader progression loop rather than making extraction the only goal.
That shift gives squads a clearer decision before they infil: take on a more demanding objective for a potentially greater payoff, or choose a lower-risk route and focus on getting out. The available overview confirms the return, a map, and expanded progression systems, but does not spell out exact rewards or mission-specific risk values.
A more deliberate DMZ loop
DMZ is presented as an evolution of Call of Duty’s extraction mode, with player choice doing more work across a run. Mission selection and progression are linked: deployments can serve a purpose beyond collecting loot and surviving long enough to extract, giving players another reason to weigh the objective against the danger.
The available GameSpot summary does not name the mission types or give a progression cap, so those specifics should not be assumed. What it does establish is the broad change: players get a variety of mission options with different levels of risk, alongside more substantial progression and choice.
That structure should feel familiar to anyone who enjoys planning a run around more than the gear they might bring home. It also puts the long-term loop in sharper focus: choosing what to attempt becomes part of how players shape their progress, rather than a decision made only after landing on the map.
Mission choices and deployment options
Activision’s official DMZ guide, published on the PlayStation Blog, adds detail on the deployment choices. It describes three options for heading into Hajin, each offering a different way to approach the map:
Deployment option
What it offers
Story Missions
Narrative objectives that can be selected and replayed for rewards.
Dynamic Operations
Operations that award DMZ Cash and XP, with a Supply Drop for the squad on completion.
Free Roam
A mission-free deployment for exploring Hajin.
The options give squads room to pursue structured objectives or take a less directed run. That flexibility supports the central promise of the return: deployments can be shaped around the kind of risk and activity a team wants, rather than funneling every match into the same extraction routine.
The FOB ties progression to preparation
The PlayStation Blog guide also describes the Forward Operating Base as DMZ’s command center for progression, gear, and deployment planning. It says the FOB can grow to include more than a dozen Stations as players complete Operations in Hajin, making the base part of the progression loop rather than just a menu between matches.
Preparation and deployment therefore feed into each other: players head into Hajin to complete objectives and collect resources, then return to a base that can expand alongside their progress. The guide also notes that Hajin has area-based Threat Levels, with noisy play bringing a stronger enemy response in some areas. That gives squads another reason to think about how they approach an objective before committing.
Modern Warfare 4 is scheduled to launch on October 23, according to the official PlayStation Blog guide. For DMZ, the meaningful change is the broader set of choices around each run: mission selection, risk, and progression are being framed as connected parts of the experience.
Next Generation Collective has teamed with The Kids Mental Health Foundation on an initiative to help young people in entertainment, music and the creator economy navigate growing up in the public eye. The initiative was launched Tuesday at Hollywood & Mind’s inaugural summit at iHeartMedia in New York City.
Designed for young people, families and the professionals who support them, Next Generation Collective brings together clinical mental health expertise, entertainment industry leadership and lived experience to provide practical, expert-informed guidance on mental health, boundaries, pressure and the realities of working on set, performing, creating content and building a public profile at a young age. It will also serve as an additional resource for studios, productions, agencies, managers and platforms supporting young talent.
Founded by Lilah Kojoori, a longtime children’s entertainment communications executive, the Collective draws on her more than 20 years working with young performers and their families to provide additional guidance, trusted resources and a stronger community of support.
Next Generation Collective’s Founding Advisory Board includes talent and family members who bring firsthand experience of life in the public eye: Angel Carter Conrad (children’s mental health advocate), Logan Henderson (actor and singer), Isabela Merced (actress and singer), Kel Mitchell (actor), Soleil Moon Frye (actress and filmmaker), Carmela Wallace (mother of Juice WRLD and founder of Live Free 999), Hudson Yang (actor) Breanna Yde (actress and singer) and Artists for Artists. Additional members will be announced.
“Young people in entertainment often grow up in the public eye, and they deserve real support along the way,” said Kojoori. “With The Kids Mental Health Foundation’s clinical expertise, Hollywood & Mind’s reach across the industry and an advisory board that has lived this life firsthand, our hope is to give young talent and their families guidance and resources to navigate the industry while prioritizing their wellbeing.”
The Kids Mental Health Foundation will provide clinical guidance and insights to align the Collective’s work with evidence-informed mental health educational resources.
“We are excited that the Collective is beginning their work by first learning from the community they want to support” notes Dr Ariana Hoet, Executive Clinical Director of The Kids Mental Health Foundation and a pediatric psychologist at Nationwide Children’s Hospital. “There are so many directions this important work can take shape and it’s wonderful that it’s being launched in such a thoughtful way.”
Hollywood & Mind, founded by veteran entertainment journalist Cathy Applefeld Olson, will connect the Collective with talent, executives, advocates and wellness professionals, partner on programming and uplift the work of the Collective at its events.
“Supporting the wellbeing of those who work in entertainment is at the heart of Hollywood & Mind’s mission. We’re thrilled to be a founding partner of Next Generation Collective, where we can provide young people and their support teams with the resources and community they need to thrive both personally and professionally,” said Cathy Applefeld Olson, founder and CEO of Hollywood & Mind.
Beginning in 2027, Next Generation Collective will work with its Founding Advisory Board and partners to develop expert-informed resources, education and support for young people, their families and the studios, productions, agencies, managers and platforms that shape their professional environments. Additional programming and partnership opportunities will be announced in the coming months.
The best Prime Day handbag deals are officially here, with the two-day sale kicking off today, October 6. It’s a great time to shop some of fall’s biggest bag trends for less, with discounts on designer labels like Tory Burch, Coach, and Marc Jacobs, along with more affordable finds from celeb-favorite JW Pei, Madewell, and Kate Spade. We’re seeing deals on slouchy suede work purses, chic sculptural bags that are wedding-guest-ready, and under-$100 finds that look far more expensive. Below, take a look at the handbag deals (and clothing sales) worth shopping today, and check back through tomorrow, October 7, as we’ll be updating this story with new Amazon Prime Day discounts as they drop.
Our top picks for Prime Day handbag deals, at a glance
To coincide with ADWEEK’s latest cover story on Starbucks’ CEO Brian Niccol—plus additional features on the coffee chain’s merchandise lines, exclusive interviews with its chief brand officer, and a clear-eyed look at the burgeoning caffeine competitive set—we’ve gathered our recent Starbucks coverage in one handy place.
Cast your mind back to Niccol’s appointment in 2024, the latest CMO-CEO success story (or dig deeper into the archives to Niccol’s tenure at Taco Bell in 2015). Fast-forward to this year, and refresh yourself on how Starbucks approached the Super Bowl without buying an in-game spot. And, apologies, but any sweet cravings will be exacerbated by our story on the coffee chain’s revival of the iconic Unicorn Frappuccino this August.
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Muita saatavilla olevia bonuksia
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Bonusten vertailutaulukko
Bonus
Kierrätys
Maksimi
Voimassaoloaika
Tervetuliaisbonus 1
30x
200 €
7 päivää
Tervetuliaisbonus 2
30x
100 €
7 päivää
Ilmaiskierrokset (viikoittain)
35x
10 € per kierros
3 päivää
Kanta‑asiakasbonus
20x
150 €
30 päivää
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Hyvä ja huono kunkin maksutavan osalta
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Toinen talletus: 50 % bonus
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Ninja Casino tukee useita suosittuja talletus- ja nostometodeja, jotka on valittu suomalaisten käyttäjien mukavuuden perusteella. Suosituimpia maksutapoja ovat verkkopankit, Trustly, Skrill ja Neteller. Useimmat talletukset kirjautuvat automaattisesti tilille välittömästi, kun taas nostojen käsittelyaika riippuu valitusta menetelmästä.
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Maksimin talletus
Maksimin nosto
Käsittelyaika
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2 000 €
5–10 minuuttia
Skrill
3 000 €
1 500 €
30–60 minuuttia
Neteller
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1 500 €
30–60 minuuttia
Luottokortti (Visa/Mastercard)
2 500 €
1 000 €
1–2 työpäivää
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Maksutapa
Käsittelyaika
Mahdolliset maksut
Verkkopankki (Trustly)
Välittömästi
0 €
Visa / Mastercard
Välittömästi
0 €
Skrill
Välittömästi
0,5 €
Neteller
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0,5 €
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Ninja Casino on täysin optimoitu mobiilikäyttöön, eikä erillistä sovellusta ole välttämätöntä – selainpohjainen versio toimii sujuvasti Android- ja iOS-laitteilla. Kaikki pelit, mukaan lukien live‑kasino ja vedonlyönti, skaalautuvat pienemmille näytöille ilman laadun heikkenemistä. Jos pidät pelata liikkeellä, suosittelemme käyttämään mobiilikirjautumista, sillä se tallentaa automaattisesti kirjaamasi tiedot.
Sovelluksen puuttuminen on kuitenkin kompensoitava se, että mobiilisivusto lataa nopeasti ja tukee “one‑click” talletuksia. Lisäksi push-ilmoitukset voivat pitää sinut ajan tasalla uusista bonuksista ja turnauksista, mikä on kätevä ominaisuus aktiivisille pelaajille.
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Asiakastuki on suomenkielinen, 24/7‑aikainen ja tavoitettavissa live‑chatin, sähköpostin sekä puhelimen kautta. Tukitiimi on koulutettu vastaamaan kysymyksiin liittyen rekisteröitymiseen, bonuksiin, maksuihin ja vastuulliseen pelaamiseen. Usein kysyttyjä kysymyksiä (UKK) löytyy myös sivuston alasivulta, mikä nopeuttaa ongelmien ratkaisemista ilman odotusaikaa.
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Usein pelaajat arvostavat sitä, että bonuksia voidaan peruuttaa, jos ne johtavat riskialttiiseen pelaamiseen, eikä kasino painosta pelaajaa jatkamaan. Tämä lähestymistapa luo luottamuksellisen ilmapiirin, jossa pelaaja voi nauttia pelistä omassa tahdissaan ilman liiallista painostusta.
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Jos olet valmis aloittamaan, siirry Ninja Casinon rekisteröintisivulle, täytä lomake ja vahvista tilisi. Kun tili on aktivoitu, tee ensimmäinen talletus, aktivoi bonus ja lähde tutkimaan laajaa pelivalikoimaa, mukaan lukien live‑kasino ja urheiluvedonlyönti. Tervetuloa nauttimaan Ninja Casinon maailmasta – onnea matkaan!
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Mikä tekee Ninja Casino -sivustosta ainutlaatuisen Suomessa?
Ninja Casino on suunniteltu vastaamaan erityisesti suomalaisen pelaajan tarpeita. Sivusto on lisensoitu Maltan peliviranomaisen toimesta, mutta se on optimoitu suomalaisten maksutapojen ja lainsäädännön mukaan, mikä takaa sujuvan ja turvallisen pelikokemuksen.
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Lisää bonus saldoon – ei kierrätystä.
Pelistä saadut voitot mennään bonukselle ja kierrätetään.
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Ninja Casino tukee laajaa valikoimaa suomalaisia maksutapoja, kuten Visa, Mastercard, Trustly, Skrill ja Neteller. Kaikki maksut eivät ainoastaan ole turvallisia, vaan myös nopeita – useimmat talletukset käsitellään välittömästi, kun taas nostot kestävät 1‑48 tuntia riippuen valitusta menetelmästä.
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Prosessointi
Nostojen nopeus
Visa / Mastercard
10 €
5 000 €
Välittömästi
1‑24 h
Trustly
20 €
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Within 1 h
Skrill
10 €
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Within 24 h
Neteller
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Within 24 h
Nopeimmat nostot ja maksutapojen vertailu
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Suosittelemme ylläpitämään vähintään yhden “nopean” maksutavan, jotta voit hallita tilannetta, jos yksi kanava on tilapäisesti poissa käytöstä.
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Sovellus on optimoitu pieniin näyttöihin, ja se tukee samat maksutavat sekä bonukset kuin desktop-versio. Jos mieluummin pelaisit suuremmalla näytöllä, selainversio tarjoaa täyden ominaisuuksien kirjon ilman latenssia.
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Sovellus: nopea käynnistys, push-ilmoitukset bonuksista, offline‑tiloissa ei pelikokemusta.
Selaimen versio: joustavuus eri laitteilla, ei tarvita tilausta, mutta hieman hitaampi.
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Asiakaspalvelu & tuki – mitä odottaa?
Kun tarvitset apua, Ninja Casinolta saat 24/7‑tuen sekä live‑chatin että sähköpostin kautta. Tukitiimi puhuu suomea, ruotsia ja englantia, joten voit kysyä kysymyksiä maksutavoista, bonuksista tai vastuullisesta pelaamisesta helposti.
Usein kysytyt kysymykset (UKK) -osio kattaa yleisimpiä aiheita, ja siellä on hakukenttä, jonka avulla löydät heti oikean artikkelin. Jos jokin asia jää epäselväksi, live‑chat on nopein tapa saada vastaus ilman pitkää odotusaikaa.
Tuki-aukset ja aikataulut
Vaikka tuki on 24/7, live‑chatin suurin kuormitus on ilta- ja viikonloppuaikaan. Jos odotat kauemmin, suosittelemme tarkistamaan UKK‑osio ensin – saatat löytää vastauksen jo sieltä.
Ninja Casino panostaa voimakkaasti vastuulliseen pelaamiseen. Sivusto tarjoaa itseasetusrajoja talletukselle, peliajalle ja tappioille. Näitä rajoja voi asettaa omaan profiiliin, ja ne otetaan käyttöön automaattisesti.
Jos koet, että pelaaminen alkaa hallita elämääsi, voit käynnistää “itsesulkemisen” – tilin sulkemisen väliaikaisesti tai pysyvästi. Lisäksi sivulta löytyy linkkejä Suomessa toimiviin ongelmapelaamisen tukikeskuksiin.
Työkalut ja resurssit
Taloudellinen limitointi – aseta viikoittainen talletusraja.
Itsetarkkailu – tarkastele pelihistoriaa ja -ajankohtaa.
Apua tarvittaessa – linkit Peluuri, Peluuri‑hankkeeseen.
Status: Returning Series”Love Village” is a TV show produced by En Network. The show was originally broadcast on Netflix and premiered on May 2nd 2023. So far there have been 3 seasons (comprising of 46 episodes) of “Love Village”. The most recent episode aired on December 3rd 2024 and more seasons are expected in the future.
Slayyyter wants you to know that, per her private alt account @WRSTGRLINAMRICA, “today is important.” Now we know why: After a poster campaign teasing a sequel to Wor$t Girl in America, the pop provocateur has officially announced Wor$t Man in America. It’s out December 4 on Records/Columbia.
In recent months, Slayyyter has fed the rumor mill regarding her next chapter by conjuring a pair of reinterpretations from her own catalog. The first, “Brand New Chanel$,” riffed on her late-entry electroclash classic “Beat Up Chanel$,” before last month’s “Crank 2” gave a similar treatment to her breakout song “Crank.” Both tracks appear on the upcoming record.
Wor$t Man in America 01 Brand New Chanel$ 02 Crank 2 03 $$$ 04 Nekromantik! 05 I Think He’s Got a Girl 06 Hey Boyyy 07 Parking Lot 08 Perfect Woman 09 *Hymn*
Moviegoers will be thrilled to hear that the 2026 fall movie season brings with it a fantastic sequel to “The Social Network.” But I’m not talking about “The Social Reckoning” — Aaron Sorkin’s follow-up to “The Social Network” (out this Friday), which continues the saga of Facebook founder Mark Zuckerberg by hanging the yoke of blame on him for everything that’s wrong with social media. No the real sequel to “The Social Network” is “Artificial,” Luca Guadagnino’s sprawling, enthralling, brain-spinning drama about the creation of artificial intelligence. (It had its world premiere tonight at the New York Film Festival.)
“Artificial” is a brilliant but playful docudrama, meticulously true to history, that focuses on the founders of OpenAI, notably its CEO Sam Altman (Andrew Garfield). But the tale it tells is much larger than that. “Artificial” goes back to the earliest days of AI and shows you how the technology was invented, how it was developed, how it was dreamed. That turns out to be a story unlike any other, because the very nature of artificial intelligence — technology that’s as intelligent and searching as the human mind, or maybe smarter — is that even the people who invented it don’t quite know what it is or what it will do. They have an idea of its potential, but they can’t predict it — they can only let it loose and see what it’s capable of, which will probably be more than anyone bargained for. And by then, it will be impossible to put the genie back in the bottle.
“Artificial” is about how humanity invented a genie, and maybe a very dark one. Like “The Social Network,” the film shows us a digital “aha” moment that takes on an unexpected life of its own, though in this case two things about the technology are clear from the start: It will change the way we live, and it’s therefore worth a trillion zillion dollars. So this is a dawn-of-a-new-world story, as well as a backstabbing corporate business story, and also a horror movie, in which AI emerges from the lab as a sinister serpent, and the dramatic question is: Who’s going to control it, and how? Most of all, “Artificial” is a human story that shows us what it looks like when people are suddenly in charge of a force they devised that may be much more powerful than they are.
It’s been a long time since I saw a film that attained this next-level feeling of topical charge. A lot of people will go into “Artificial,” as I did, not knowing all that much about AI and feeling as if it’s a frosty and abstract frontier. Yet as you watch the film, AI comes alive as a subject. It becomes real — you touch what it is, what it means, what the stakes are. The result is a movie that’s at once inspiring and deeply chilling, and when it’s over you’re in a different place. And that is what a ripped-from-the-headlines movie should do. It shouldn’t merely be a dramatization of what we already know but, rather, a future-shock referendum on our lives and our values and maybe our souls. “Artificial” does that thing.
The screenplay, by Simon Rich, is pitched at a high-wire level of tech-geek patter, to the point that you may not follow every line. Yet that’s part of the film’s exhilaration — it keeps you on the edge of your brain — and it’s also what gives it the ring of authenticity. This is exactly how these dudes think, and how they talk. (Most of them are dudes, though not all.) The film opens in Toronto in 2003, where Ilya Sutskever (Yura Borisov), a 17-year-old graduate of the University of Toronto, walks into the classroom of Prof. Geoffrey Hinton (Mark Rylance), a British-Canadian computer scientist who’s been trying to work up a model of artificial intelligence. Ilya is looking for work as an assistant, and the professor, with his dandyish nerd arrogance, tells him to look at a paper he’s written and come back in a few days. Minutes later, Ilya returns, having looked deeper into the material than the professor has, and he’s scrawling an equation on the blackboard that Hinton says “took him five years to learn.”
Ilya, you see, is a stone-cold genius. He’s like the Einstein of AI, with an ability to see models of it rotating in his head. He’s also a Russian émigré who speaks in an accent as thick as borscht and gazes out at the world with a stunted glower of beetle-browed sincerity that makes it look like it’s never occurred to him in this life to tell a joke or even to laugh. This is a personality of complete tech-geek maximalism. Yet playing this driven, earnest, possibly on-the-spectrum visionary of the computer age, Yora Borisov, the bald co-star of “Anora” (he sports short dark hair here, gathered in unkempt tufts and clumps), gives what may be the performance of the year. His Ilya can seem hard to warm up to at first, but he’s an authentic human being, who we begin to form an attachment to, especially when he starts to warn about the dangers of AI. What draws us to him is that he’s the key inventor of the brave new world, and also the only one who completely gets it. Borisov shades that with grace notes of tragedy.
By 2012, Ilya and Hinton have comes up with an AI model that’s developed enough to place in an auction. Within five seconds, there’s a bid on the table for $20 million, and the two decide to sell their knowledge to Google. They will set up a lab there, working independently, and have their research funded. This works for a while, but John (Chris O’Dowd), the Google executive in charge, doesn’t really get where they’re going with AI. He’s not onboard with the vision of it. Sam Altman, a rising star of Silicon Valley, is.
Gaudagnino’s last stab at zeitgeist topicality, “After the Hunt,” turned out to be a mixed bag, but in “Artificial” he’s at the top of his game, working with the impish human factor that was there in “Challengers,” his slyly exhilarating tennis-triangle movie. Guadagnino stages the film as an eclectic jamboree of brainstorming sessions and office showdowns and bro parties, and he gives it all a dramatic hotfoot with the scenes that include Elon Musk, played by Ike Barinholtz in an irresistible showbiz turn that lands just this side of caricature. His Elon is the god of the geeks and knows it. Dressed in black, holding his body at skewed “rock star” angles, his mouth turned down into a grimace of power, he’s the one who can make things happen. Guadagnino stages a group dinner, in which Ilya gets to know Altman and his pals (this is where it’s first revealed that Altman is gay), and Musk crashes in like the lord of the frat house. His bluster is easy to mock, but he’s quicker than anyone in the room, and he goes in with Altman on backing OpenAI.
As it turns out, Elon is too quick for his own good. He wants the AI models advanced, faster and faster, so that they can kill the competition. But with AI it’s not going to work like that. That’s why he opts out, and Altman takes over as sole CEO. There’s a way that the film catches the audience up in the booster spirit of early AI, when everyone is convinced that it’s going to be a powerful force for good. It will solve world hunger and teach the immune system how to beat cancer cells. The technology will achieve critical mass when it becomes AGI (artificial general intelligence), which means that it’s now teaching itself how to think. This first happens when AI plays — and wins — a video game with one of the OpenAI geeks, and the super-slow-motion beer-spraying party celebration that follows is bravura filmmaking, expressing how the lust for computers to take over our world has become nearly sexual. The film’s musical score, by Damon Albarn of Blur, has a haunting Bowie-like party-on-the-abyss shimmer.
At OpenAI, the bro slogan, led by Ilya, is “Feel the AGI,” which is a kind of Peter Pan mantra. It means: The technology will come to life — literally — if you believe in it. But the moment where Ilya learns that AI has become so smart that it can tell a joke, and lie…at that point, you feel the world shift. The documentary “The AI Doc: Or How I Became an Apocaloptimist” captured many of the same issues, but to see the monster actually rise up before your eyes, to the point that its creators are terrified, gives “Artificial” an ominous power.
The movie takes us deep into the tech world and its ultimate paradox: the way our tech reality, which can seem so coldly factual, is actually shaped by personality. The performances sizzle, from Cooper Hoffman’s Adam Sandler-on-Adderall turn as the OpenAI super-geek Greg Brockman to Monica Barbaro as the ambiguously tranquil Mira Murati, who becomes the company’s chief technology officer, to Rylance’s delectably refined professor to Jason Schwartzman as an ex-academic screw-loose hippie who has foreseen all the dangers of AI. The conversation he has on a San Francisco bench with Ilya is the film’s equivalent of Donald Sutherland’s great scene in “JFK,” and it leaves a chill hanging in the air.
And then there is Sam Altman. Garfield plays him as a corporate seducer, and he does it by seducing the audience, making Altman winsome in his enthusiasm, a softly charismatic player who believes in the right things. And he really does…until he doesn’t. The central conflict in “Artificial” is this: The development of technology moves so quickly that for your company to succeed, to thrive, or simply to survive, you’ve got to win. You’ve got to be first. And that puts the emphasis on speed. But Ilya, cognizant of the profound dangers of AI, says that the new technology must be developed in tandem with an appreciation for how threatening it is. The trick is that it has to be developed through interaction with humanity…because it literally evolves by doing that. So…easy does it. Test it all out.
But that doesn’t chime with the business plan. As the film goes on, Garfield’s performance grows more layered and duplicitous in a nearly subliminal way, as we start to pick up on the priorities lurking just beneath Sam’s silky manners. He wants to advance the tech — which is what tech bros are supposed to do. But AI isn’t like other tech. Throwing safety to the winds could be throwing civilization into the trash.
Is that what’s happening now? The power of “Artificial” is that it so ominously captures the ambiguous place we’re now in with AI — on the cusp of a revolution, with warnings in place, yet no one is there to regulate it. (Obviously, that should be the U.S. government, but under the current leader we barely have one.) Garfield’s Altman becomes the seducer-as-betrayer, but the film is about something much bigger than his being the “bad guy.” In “Artificial,” everyone goes along with Altman, even after he’s fired from OpenAI, because he convinces them that if they don’t go along, the only other options are worse. The film is about the victory of greed, but also about something as sinister as “Invasion of the Body Snatchers.” What’s been snatched away is our desire to guide our own destiny, and maybe even be who we are. At the end of “Artificial,” we’ve handed that away all too eagerly, ceding our power to the ghost in the machine.
The Curator independently decides what topics and products we feature. When you purchase an item through our links, we may earn a commission. Promotions and products are subject to availability and retailer terms.
Sure, it’s nice to pick up something jazzy on a sale day, but have you noticed that the things worth buying during a big sale are almost never the fun ones, but the items you’ve been meaning to replace or upgrade because they’re usually on a fantastic sale? Amazon Prime Big Deal Days runs October 6 and 7. From the Dyson V15 Detect Plus Cordless Vacuum and Sunbeam King Sized Heating Pad to the Philips Sonicare Cordless Power Flosser 3000, these are the deals to shop now before time runs out.
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Check out our Amazon Storefront for even more deals on products worth buying throughout Prime Big Deal Days.
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I hear this from my audience all the time: I need a new vacuum. And then nobody buys one, because a good one costs four figures and you’re always waiting for it to go on sale. And I get that!
I have this vacuum, and it is amazing. I’d put it first on any deals list because it’s a purchase that will entirely change the vacuuming game for you and you’ll be excited about vacuuming even if you’re not ‘that person’. The laser head lights up the floor in front of you and shows you just how dirty the floor you thought was clean really is. It’s got up to 60 minutes of runtime on a charge, plus interchangeable tools for the spaces you normally skip.
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Both Philips Sonicare pieces are on sale. The DiamondClean 9000 is a great investment, and Philips rates it at up to 1000% more plaque removal and 100% more stain removal.
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The home office upgrade that’ll lower your blood pressure
Very little raises your blood pressure like a printer that won’t print. You need it urgently, and the only time anyone needs a printer, there’s no doubt it’ll be out of ink, offline, or showing an error message you have no clue how to resolve.
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It’s the boring kind of thrill we all need: a printer that actually prints, scans, copies, and prints both sides without you flipping anything, and is compact enough that it isn’t hogging the entire desk. It ships with four starter ink cartridges, and it’s eligible for a free six-month extended warranty. At half price, it‘s a pretty great find for this sale day.
Pair it with the Brother P-touch PT-N10 label maker. I’ve said this before, and I’ll say it again: a label maker is a seriously helpful tool to have at home and has made a big difference in keeping my space more organized and functional.
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Car care products that go the distance
The automotive aisle is confusing for most people, and that’s fair. But knowing which few things to buy makes a huge difference in how fast a car cleans up and how good it looks when you’re done.
These two live in my own cleaning kit. Chemical Guys V.R.P. is for vinyl, rubber, and plastic. What’s great is that it brings the finish back to everything that’s gone chalky and grey, and it dries to the touch instead of leaving a greasy film.
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The quickest way to warm up this fall or soothe sore muscles
It’s October. The house is cold, the annual thermostat argument has started, and everybody has a different idea of what’s seasonally appropriate. This leads to stolen blankets, and somebody’s feet are always freezing. Add to that sore muscles from workouts, shoveling, or a first day back on the ski hill (coming soon!), and the case makes itself.
12 by 24 inches and super plush and cozy–the large size means it’s big enough to cover a major muscle group without repositioning it every five minutes. You can also place it in a bed to warm the sheets before you climb in, or wrap it around your feet during a movie.
Taylor Swift and her husband, Travis Kelce, stepped out in New York City to celebrate the NFL star’s 37th birthday.
On Monday, October 5, photos published by People showed the birthday boy and his bride, 36, getting out of an SUV on Mulberry Street in SoHo to dine at trendy Italian restaurant Torrisi. Swift wore a chic leather bomber jacket over a black dress with lace trim while Kelce opted for a dark cardigan sweater paired with charcoal-colored pants and leather shoes in honor of his big day.
The newlyweds picked the perfect spot for a romantic meal as acclaimed chef Mario Carbone‘s eatery prides itself on delivering “the highest levels of execution and the most spectacular ingredients with inspired creativity and a deep respect for New York City’s culinary history.” The restaurant received a prestigious Michelin Star in 2023.
Kelce is currently on a break from the Kansas City Chiefs’ jam-packed NFL schedule as his team has a bye this week. The Chiefs will return to the gridiron against the Los Angeles Chargers on Sunday, October 18, at Arrowhead Stadium.
New York City holds a very special place in Swift and Kelce’s romantic history as they tied the knot at the famed Madison Square Garden in front of a star-studded guest list on July 3. The newlyweds even announced that they were “JUST&T MARRIED” on digital billboards surrounding the “World’s Most Famous Arena” during the ceremony.
Kelce broke his silence about the nuptials while chatting to reporters at the Kansas City Chiefs’ training camp on August 12, joking that he had “a fun offseason.”
“Wedding was the best night of my life. I appreciate everybody who came out and celebrated and had fun with us,” he said during a press conference. “That’s about all I really got from that night. It was a crazy night. It was full of a lot of celebration.”
At that same press briefing, Chiefs quarterback specifically opened up about the honor of getting married at Madison Square Garden.
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“MSG, man, I always told myself I’d go for a playoff game when the [New York] Knicks were rocking, and my wife went when I was stuck in minicamp,” Kelce said. “I didn’t get the opportunity to go then, so it’s kind of cool to get to live out my childhood dream of being in that venue, the mecca of all sports venues, being able to get married in there.”
Travis Kelce is all in on Taylor Swift‘s new song “Cleveland!” — and apparently, so is the entire city. “Cleveland is rocking right now,” Kelce, 36, said during the Wednesday, September 30, episode of “New Heights” while discussing the Cleveland Guardians’ path to the MLB playoffs. “Shout-out to Tay Tay for making that song.” Jason […]
Last weekend, Swift seemingly skipped the Chiefs’ road game against the Las Vegas Raiders on Sunday, October 4, at Allegiant Stadium in Paradise, Nevada. (The Chiefs prevailed in a squeaker win over the Raiders, 30 to 27.)
While Swift has easy access to a private plane, a cross-country trek seemed unlikely since she made a cameo alongside her friend Dakota Johnson on Saturday Night Live in New York City the previous night. The “Cleveland” singer popped up during Johnson’s monologue and later surprised her with a birthday cake during the “goodnights” segment to celebrate the Verity actress turning 37 on Sunday.
On Sunday night, John Oliver dedicated the majority of his Emmy-winning show “Last Week Tonight” to the Secret Service’s failings in recent years while declining to address the major media news of the week: David Ellison’s newly-formed Skydance Corp. swallowing up Warner Bros. Discovery — which controls Oliver’s network HBO — and merging it with Paramount Skydance to form a mega-company.
So, would his late-night compatriot Jon Stewart give his two cents on the merger during Mondays’ episode of “The Daily Show,” since it’s also a part of Skydance Corp.?
Apparently not.
Stewart dedicated the show entirely to AI, first ripping apart AI leaders’ empty promises of job creation, economic prosperity and its ability to cure cancer while admitting that there’s a 10-25% chance it will kill us all. Currently, however, AI is primarily being used for ICE and other surveillance, drone warfare targeting and potential dynamic pricing at places like McDonald’s.
“What are we getting in exchange for this 10-25% chance at extinction?” asked Stewart, adding, “Right now it’s mostly murder, surveillance and surge pricing for the McRib? What a trade! I’m getting the sense that you guys might be full of shit.”
The comedian also pushed back at President Trump allowing these AI companies to self-regulate after his recent fawning AI summit, since the Zuckerberg’s and Musk’s of the world don’t exactly have a sterling track record when it comes to playing it safe. There’s also the matter of how many jobs AI will eliminate. Though AI leaders keep repeating over and over that the technology will lead to newer, different jobs and an economic windfall for everybody, they can’t say what jobs it would create or how it will economically benefit everyday people.
“The view of our self-policing geniuses is that the new world that we are building must continue without regulation or financial limitation because it’s important work carried out by important people,” offered Stewart. “And my guess is: They’ll still have jobs when this is done… Stop lying to us! Claims of universal high income and incredible hobbies isn’t going to paper over how frightening this future can sound.”
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Picked among 50 submissions from Eurimages member states, the 10 selected series will vie for the coveted €50,000 ($56,000) Council of Europe Series Co-Production Development Award.
TV Beats co-heads Roosa Toivonen and Petri Kemppinen
Credit: TV Beats
“Never before have we welcomed that many big names and companies,” said Petri Kemppinen, co-head of TV Beats, alongside Roosa Toivonen.
This year’s crop hails from Belgium, Czechia, Estonia, Finland, Iceland, Ireland, Lithuania, Poland, Spain, and co-production partner Canada. As underscored by Toivonen, the geographical spread mirrors TV Beats’ core which is “to act as a bridge between the Baltics, Central Eastern Europe, and the Nordics. Three territories – Czechia, Finland, and Estonia – topped the list of applications.
“Estonia is very dynamic in TV drama, and we did receive more applications than from Lithuania and Latvia,” said Toivonen who mentioned the catchy story of “Stormbird,” about a young female fugitive, under Soviet-occupied Estonia in 1949. Also from Estonia is the fast-paced YA drama “Breaking the Ice,” produced by Jevgeni Supin, who was distinguished last year with an Honorary TV Beats Producer Award.
TV Beats co-heads also pointed at the larger number of projects in early development compared to previous years, set to make their very first pitch in Tallinn. “Obviously the hefty €50,000 development award from the Council of Europe is a major draw in today’s touch times for indie producers who struggle to gather development money when commissioners and public funders are cutting back. They need co-production partners to lift their projects,” Kemppinen said.
Theme-wise, in an age of distrust and as the Baltics and CEE feel the heat from Russian threats, espionage is the beating heart of three shows (“Tanner,” “Fortel,” “The Woman Who Roared”), while oppressive regimes, systems or leaders -even disguised as devils-feature in the remaining slate, next to the ever-popular crime bets.
Next to the TV Beats Co-Financing Market slate, more than 20 other top-tier series looking for additional financing, distribution and sales, will bow at ‘TV Beats Screenings’ and ‘TV Beats Coming Soon’, to be unveiled at a later date.
The TV Beats Forum is part of the Tallinn Black Nights Film Festival’s industry platform Industry Tallinn & Baltic Event, running over Nov 9-20.
Full rundown of TV Beats Co-Financing Market lineup:
“Breaking the Ice” (“Päike mis sulatab jääd,” 6X45’, Estonia) Young adult drama from Estonian powerhouse Zolba Productions (“Von Fock”, “My Dear Mother,” “A Girl From Tallinn”), co-penned and co-created by the seasoned Leana Jalukse (“Mother”, “Von Fock”) and German screenwriting expert Joachim Friedmann.
Beneath the polished surface of Estonia’s elite ice rinks, a Russian hockey prodigy ruled by his violent father and an Estonian figure skater groomed by a manipulative coach fall in love across a national divide. “Breaking the Ice” is not another fast-paced feel-good love story on skates,” says producer Jevgeni Supin. “Our series looks beneath the polished surface of youth sport, where abuse by parents and coaches is often disguised as pursuit for excellence. At its heart, it’s is a story about two young people who find the courage, through love, to break this cycle.”
“Fortel” (8X45’, Poland)
Credit: Apple Film Production
Legendary Polish film mogul and director Dariusz Jabłoński (“The Pleasure Principle,” “The Cop-A New Chapter”), serves as creator and showrunner of this spy thriller penned by US screenwriter Marc Grey, episodic writer of Apple TV’s International Emmy-winning show “Tehran.”
Jabłoński’s own pedigreed banner Apple Film Production is producing for commercial giant Polsat. The core of the action is the little-known Polish town of Rzeszów close to the Ukraine border which has turned into a spy nest and arms dealing platform. The story tracks a CIA officer who sets a trap for Russian saboteurs, targeting confidential Western arms shipments while secretly searching for his missing brother, who may hold the key to the leak, says the logline.
“Fortel” is about the history we’re living through right now, in real time, two hours from my home,” Jabłoński tells Variety. “Rzeszów is a city that woke up one morning to find itself at the center of the war, with no instruction manual and no way out. I want to make a thriller that feels the way the war feels – chaotic, morally unresolved and shot through with unexpected moments of humanity, with a cast drawn from several of the countries involved. A Polish-based story that the whole world needs to see right now,” he claims.
“Happy New Year!” (“Laimingų Naujų!” 10X21’, Lithuania)
Credit: Big Drama
Created and helmed by rising talent Montis Norvaisis for his outfit Big Drama, setup with producer Lineta Lasiauskaitė. The drama turns on a young woman, victim of spike drinking at a lavish New Year’s Eve party in a remote manor. When the guests refuse to confront the crime, her best friend seeks justice herself. Norvaisis will draw from his own experience to portray a raw and authentic portrait of New Year’s Eve youth parties.
“Kalmann” (6X45’, Iceland, Finland, Estonia) TV adaptation of Icelandic-Swiss crime author Joachim B. Schmidt’s “Kalmann” book series, penned by María Heba Þorkelsdóttir and Kristófer Dignus who directs.
Produced by Kontent’s Guðný Guðjónsdóttir and Sara Djeddou Baldursdóttir, who have attached Iceland’s main streamer Síminn and co-pro partners Snapper Films from Finland and Cuba Films from Estonia. Headlining the show is the eccentric sheriff Kalmann, who uses unique instincts to solve murders.
“’Kalmann’ sits within the internationally established Nordic crime space, but brings warmth, humor, melancholy and humanity to the genre alongside a compelling murder investigation,” says Baldursdóttir, who plans to use TV Beats to test the show’s concept, tone and international potential. Production is set to start in the fall 2027.
“Intimacy on Prescription” (“Intimita na předpis, 8X60’, Czechia) “Can good sex save every marriage,” says the logline about the tragicomedy set in 1970s Czechoslovakia, and inspired by the real story of Stanislav Kratochvíl, a pioneer of couples sex therapy. The show, helmed by established theater and film director Jiří Havelka (“Owners”), is set in a psychiatric clinic, where couples are invited to say out loud what society, marriage and shame have taught them to hide.
“For us, ‘Intimacy’ is not only about sex, but about the courage to speak honestly about desire, fear, shame, power and the need to be seen by the person closest to you,” says producer Karolina Zalabáková, who looks forward to pitching in Tallinn this story “strongly rooted in Czech and Czechoslovak history” with “emotional themes that are universal and highly exportable.” The screenplay from head-writer Kristina Májová, co-written with Matěj Randár and Jan Smutný, is based on an original idea by Kateřina Kořínková.
“Stormbird” (“Tormilind,” 5X42’, Estonia)
Credit: Meteoriit
Historical thriller from acclaimed filmmaker Kadri Kõusaar, credited for the Cannes Un Certain Regard’s “Magnus” and Estonia’s Oscar pick “Mother.” Set in 1949, under Soviet occupied Estonia. After killing soldiers who attack her family, Lee (18), known as ‘Stormbird’, becomes a fugitive and joins the Forest Brothers band led by “Geronimo” to rescue her imprisoned brother, Uku. Hunted by the Red Army, she fights to survive, while her childhood friend Reinhardt becomes her enemy. producer Aet Laigu says “Stormbird” “is first and foremost a story about people trying to survive and forced to make impossible choices under occupation.” It’s also a unique take of a “rarely seen part of European history”, depicted through a young woman’s eyes, turning on topical themes such as freedom, resistance and identity.
“Tanner” (6X50’, Ireland, Canada) Produced by Fíbín Films’ Bernie Hoban and Darach Ó Tuairisg, co-produced by Fraser Ash and Kevin Krikst for Canadian power-player Rhombus Media, attached to HBO’s Emmy nominated “The Sympathizer.”
The story created and penned by Keith Hodder, with Damian McCann and Sarah Gordon turns on a former Irish intelligence officer who returns home to investigate a missing teenager and uncovers a tech-powered conspiracy reaching from elite schools to the highest levels of government. Hoban says “Tanner” stands out thanks to its unique world “rarely seen before, the Irish intelligence services operating in a country whose prosperity is increasingly intertwined with some of the world’s most powerful multinational corporations, creating fascinating tensions between democracy, sovereignty and corporate influence.”” Through a uniquely Irish lens, “Tanner” tackles themes that resonate across the world while anchoring them in the journey of an unforgettable protagonist – a deeply flawed investigator whose greatest gift may also be his undoing,” she adds.
“The Inheritance” (“De Erfenis,” 6X45’, Belgium) From fast-expanding powerhouse Panenka behind the New8 hit show “This is Not a Murder Mystery” and Series Mania 2025 Special Mention winner “Putain.” Commissioned by leading Flemish broadcaster VTM. Created and penned by Alexandra Jans with Jan Van Dyck for producers Kato Maes, Kristoffel Mertens and Karlijn Van de Cruys. Psychological thriller set against the world of animal welfare and hunting. When Hanne, a staff member of a struggling animal rescue, unexpectedly becomes executor of a wealthy hunting family’s estate, a bitter battle over the inheritance erupts. Van de Cruys says the show will draw from its breathtaking location-Belgium’s largest national park of Limburg’s Hoge Kempen, and the personal take from Jans who has crafted the story out of her own personal experience.
“The Woman Who Roared” (4X45’, Finland)
Credit: Olga Dimenshtein/Sons of Lumière
From box-office hit habitué, actor and filmmaker Pamela Tola (“Ladies of Steel,” “Bad Apples”). Dramedy in which the recently widowed Leena (65) discovers that the Helsinki Zoo is actually an arena where international spies gather. She believes the place is linked to a top-secret nuclear weapon her late husband had hidden.
“The Woman Who Roared” offers a fresh take on the spy genre – thrilling, funny, and full of heart,” says producer Mete Sasioglu of Sons of Lumière, who will be looking for co-producers, especially from France, Eastern Europe and the Nordics in Tallinn.
“When Devils Rule” (“Los demones mandan,” 6X35’, Spain) Darkly humorous political thriller with supernatural elements from the team behind Movistar Plus’ anticipated “Patagonia.” Atlantika Films’ Nano Arrieta-creator and producer with Claudia Ruíz — shares the writing room with Popy Blasco, Ibai Ariztegi and Bárbara Zemelman. In a world fractured by power, fear and political extremism, a group of women uncovers a demonic force operating at the highest level of society-and realizes the chaos around them may be part of a much darker design.
More than a year after the death of his wife, Jenisa Garland, “Grey’s Anatomy” star Isaiah Washington announced the news of her passing.
The actor posted the news on Instagram over the weekend, writing, “Yes … the rumors are true. My dear wife of 29 years collapsed suddenly on May 31, 2025 and passed away on June 9, 2025.”
Washington said his wife’s death “came as a huge shock to me and our entire family.”
“She succumbed to a massive hemorrhagic stroke and never recovered,” he continued, before adding some cautionary advice to his fans. “Listen, y’all … some headaches are not just headaches or migraines, they can be much worse and a warning sign. Get a brain scan if you can and take those headaches seriously.”
A hemorrhagic stroke is less common than an ischemic stroke, but it is more fatal and occurs when a blood vessel leaks or ruptures in the brain, according to the Mayo Clinic. Causes may include uncontrolled high blood pressure, trauma from a fall or accident, or overtreatment of blood thinners. Signs of a stroke include a sudden intense headache, confusion, trouble speaking, loss of balance, face drooping, sudden blurred vision and more.
“She has been gone 16 months now, but she left 3 incredibly amazing children behind to continue her legacy. I don’t know if this is an appropriate post, because Jenisa Washington was extremely private, but I guess I just have to be reprimanded from her on the other side.”
On Monday, Washington posted a tribute to comedian Reggie McFadden, crediting the “In Living Color” actor with introducing him to his wife more than 30 years ago. “RIP Reggie McFadden,” he wrote on Instagram. “Say hello to Jenisa Washington, because it was you who introduced me to her in 1995.”
Washington played Dr. Preston Burke on “Grey’s Anatomy” in 2005 but was nixed from the medical drama in 2007 after an on-set spat with co-star Patrick Dempsey, a.k.a. Dr. McDreamy, during which Washington reportedly referred to (then-closeted) castmate T.R. Knight, who played George O’Malley, using a homophobic slur. After reports of the behind-the-scenes beef, Knight came out as gay publicly.
Later that year, at the Golden Globes, Washington denied the incident but repeated the word in the process. He ultimately apologized and returned to “Grey’s” in 2014 for a guest spot.
Disney+ subscribers have one last Marvel project to dig into before the MCU closes out 2026 with its one-two punch. It’s no secret that VisionQuest debuts on Disney+ on October 14, followed by Avengers: Doomsday in theaters on December 18, and there’s been a lot of buildup for both. On the VisionQuest side, the series serves as the closing chapter of the WandaVision trilogy, which began in 2021. As for Avengers: Doomsday, it’s not only the fifth Avengers film but also the beginning of the end for the Multiverse Saga, setting up 2027’s Avengers: Secret Wars.
New episodes of ongoing series like Spidey and His Amazing Friends are still on the way in October, but the Disney Jr. crossover officially has become Marvel’s final brand-new project ahead of the MCU projects VisionQuest and Avengers: Doomsday.
Disney Jr.
Most MCU fans’ eyes are now shifting towards Paul Bettany’s VisionQuest, especially considering it’s not been two months since the release of Spider-Man: Brand New Day. The eight-episode series kicks off with a two-episode premiere, then rolls out new episodes every Wednesday through its November 25 finale.
That will mean MCU fans are getting fed well this fall and winter season, with roughly a three-week break from the TV series to Doomsday’s opening.
Led by showrunner Terry Matalas, the series picks up with White Vision after the events of WandaVision. In the spirit of this corner of the MCU, fans need to prepare to open their imaginations, as viewers will embark on a journey into Vision’s mindscape, which will see the return of James Spader’s Ultron.
Meanwhile, the road to Doomsday is taking up most of Marvel Studios’ efforts, and has been since San Diego Comic-Con. Avengers: Endgame Encore hit theaters on September 25 with a new ending and multiple post-credits scenes, connecting the 2019 film to the next iteration in Marvel’s biggest film franchise.
While it’s obvious how much VisionQuest is based on past Disney+ projects, that in no way excludes Doomsday, with one series clearly being on the required reading list.
Reinterpreting Heroes Previously Established on Disney+
Marvel Studios
The MCU has gone full comic book, where death is just a small part of life. Two key MCU heroes (both with complicated pasts) are back to end 2026, but neither is their original version, not even close.
WandaVision ended with White Vision flying off after the Vision Wanda Maximoff (Elizabeth Olsen) created in the Hex gave him his memories. VisionQuest will explore this new take on the character, his third true MCU iteration, and explore his relationship with his “dad” Ultron and “son” Tommy.
Doomsday has a similar situation with Loki (Tom Hiddleston), who ended his Disney+ run holding the Multiverse’s timelines together at the End of Time. A long way from attacking Earth during the events of 2012’s The Avengers.
Endgame Encore‘s new ending showed him knocking on the door of Steve Rogers (Chris Evans) and Peggy Carter (Hayley Atwell) in his TVA uniform, offering to help. Doomsday‘s first trailer even showed him holding a TVA business card previously, putting Hiddleston firmly back into the mix with the Avengers.
Additionally, in the Encore’s TVA post-credits scene, Disney+ star Mobius (Owen Wilson) arrives at work to find an “Employee of All Time” placard honoring Loki. Miss Minutes (Tara Strong) explains the TVA’s job of keeping the Multiverse “tidy and safe.”
Then Casey (Eugene Cordero) and O.B. (Ke Huy Quan) flag an Incursion between Earth-10005 (the Fox X-Men universe) and Earth-1127. Thousands more soon light up, with O.B. warning before the screen cuts to black: “The Multiverse is collapsing.”
Speaking with Empire about Encore‘s new scenes, Anthony Russo confirmed the reintereptation, stating “the God of Mischief proves to be the God of Mischief,” teasing “a new incarnation” of the character in Doomsday:
“I mean, look, the God of Mischief proves to be the God of Mischief. Loki’s one of the most fascinating characters, and he’s had so many incarnations. One of the delights of ‘Doomsday’ is, you’re going to get a new incarnation of that character.”
Setting Up the Young Avengers
Marvel Studios
The next generation is getting some love, too, as VisionQuest and Doomsday each feature a potential future Young Avengers member. On the VisionQuest side, that’s Tommy Maximoff (Ruaridh Mollica), Vision and Wanda’s speedster son. His arrival comes after Agatha All Along, in which his twin brother, Billy Maximoff (Joe Locke), sets out to find him alongside (now a ghost) Agatha (Kathryn Hahn).
Over in Doomsday, Cassie Lang (Kathryn Newton) is back in the fold, with Newton confirming her return in April by unboxing a tiny director’s chair. Cassie has been on the Young Avengers radar ever since The Marvels‘ set-up scene with Kamala Khan (Iman Vellani) and Kate Bishop (Hailee Steinfeld). Both of those heroes got their start on Disney+, in Ms. Marvel and Hawkeye, respectively.
It’s not confirmed if Vellani or Steinfeld will appear in Doomsday, but Jimmy Fallon just asked the Sinners star about it, to which she replied, “I have no idea, time will tell.”
Borrowing Disney+ Aesthetics
Marvel Studios
One of the best aspects of Marvel’s Disney+ era over the past five years has been its creative set designs and theming.
In the MCU’s Disney+ inception, WandaVision stood out for its retro art direction, hopping from one TV decade to the next as Wanda’s grief turned Westview into a sitcom. VisionQuest is clearly taking a page from that playbook and running in a new direction with it. Its trailer revealed a white mansion straight out of a ’60s TV show, one that exists entirely inside Vision’s mind.
Reportedly, Vision’s mindspace was built with small, deliberate imperfections, like a banister that doesn’t fully connect to the stairs. The idea is to capture the slightly off feel of AI imagery, without any generative AI involved (*cough*).
Doomsday is pulling a similar move with the TVA, as the agency’s scenes tied to the film carry over the retro-futuristic look Loki made famous. There’s at least one twist, though: the TVA’s official logo got a purple makeover, but the orange features are still present in the clip. Similar to Deadpool & Wolverine, it’s neat to see the TVA on the big screen, making it one of the MCU’s most important locations.
Warning! This post contains SPOILERS for Lanterns episode 8
Lanterns season 1 leaves the DCU’s first major Green Lantern story with plenty of unanswered questions. As such, there is now plenty of room for speculation about what might be next for Aaron Pierre’s John Stewart and what the future may hold.
At the time of writing, Lanterns season 2 has not yet been officially confirmed, despite reports that a writers’ room has been formed to explore future storylines. Regardless, it’s already been confirmed that John Stewart will make an appearance in 2027’s Man of Tomorrow from director and DC Studios head James Gunn. This confirms that there is indeed a planned future for the DCU’s newest Green Lantern.
By the ending of Lanterns episode 8, there are plenty of questions and key mysteries in need of answering. For example, Sinestro is still alive and out of prison, and John’s new status as an independent Green Lantern has just begun. Keeping that in mind, here are some of our biggest and most exciting questions following Lanterns’ season finale on HBO Max.
How Was Sinestro Planning To Resurrect Hal Jordan?
Kyle Chandler as Hal Jordan in the place Sinestro is hiding in LanternsPhotograph by John Johnson/HBO Max
One of the biggest unanswered questions involves Hal Jordan’s fate and whether it can actually be undone. Having been shot and killed by Sheriff Kane after discovering that her son Noah was secretly a second Manhunter, the legacy of Hal Jordan came to an untimely end, leaving John Stewart to eventually inherit his ring and become the DCU’s next Green Lantern (albeit on his own terms).
However, John’s confrontation with Sinestro saw Hal’s former mentor claiming that he could bring Hal back to life. All John had to do was get him off the dead alien world and the island Noah marooned him on after breaking him out of his intergalactic prison to forge him a lantern. That said, Sinestro never explained how he intended to bring Hal back from the dead, leaving us with the fascinating possibility that he could do so in the future, perhaps seeking to bring his protégé back in hopes of a new ally.
Interestingly, there is a major precedent for a Hal Jordan resurrection in the comics, as seen at the start of Geoff John’s beloved Green Lantern run with Green Lantern: Rebirth, which famously brought Hal back to life after his soul was freed from both the fear entity Parallax and the Spectre, allowing it to finally returned to his preserved body. At any rate, an attempt to raise Hal from the dead could lead to some fascinating stakes between John and Sinestro in the hoped-for Lanterns season 2.
What Does John Stewart’s Uniform Look Like?
Aaron Pierre as John Stewart in season 1 of Lanterns
John finally becomes a Green Lantern on his own terms at the end of Lanterns episode 8, charging his newly forged lantern with his own new oath before taking flight for the very first time. However, we don’t actually see him wearing a Green Lantern uniform by the season finale’s end. This feels incredibly intentional, and it’s more than likely that John will debut an official uniform in 2027’s Man of Tomorrow. After all, what better way to cement his new superhero status with a brand-new suit than to debut it in a movie featuring several other heroes like Superman?
In the comics, John’s most well-known uniform has green across the upper torso, shoulders, and arms, with the rest being predominantly black. With any luck, his DCU uniform will follow “suit” (pun very much intended).
Does John Stewart’s New Lantern Have Any Side Effects?
John’s newly forged lantern is far from standard issue, having been created by Sinestro on a world saturated with a lingering fear compound in the air and water. This compound is what accounts for the golden-yellow cracks running across the lantern’s surface. Without a doubt, it’s a very fascinating detail, especially when you consider the comics where power rings originally had a “yellow impurity” issue where they wouldn’t work on anything colored yellow, the result of the fear entity Parallax having been locked within Oa’s Central Power Battery.
As such, the yellow corruption of “fear” on John’s lantern does feel like a visual nod to that original comicbook lore, while also bringing up the question of whether John might experience any side effects by charging his power ring with a lantern that was literally made on a world of fear. Ultimately, it could just be signifying the Halogram’s final words of advice to John: “Don’t be afraid of being afraid.” That said, it would be very interesting if John had to contend with unique challenges using a corrupted lantern, perhaps the cost of being a more independent and unsanctioned Green Lantern in the DCU.
Will Sinestro Build His Own Corps In The DCU?
Sinestro’s undetermined fate might be the biggest setup for a potential Lanterns season 2. After John’s encounter with the former Lantern, Sinestro is left stranded on the dead alien fear world where he forged the lantern. Combined with Sinestro’s belief in Lanterns episode 8 that “Fear, when harnessed correctly, can be the most powerful force in the universe”, there really is no better place for the Sinestro Corps to be born in the DCU.
In the comics, Sinestro eventually creates his own Corps of yellow-ring-wielding soldiers, using the yellow light of fear as the opposing force to the Green Lanterns’ green light of willpower. Having already forged a lantern, one could easily see Sinestro continuing to experiment and lay the foundations for his very own corps. After the Sinestro Corps was teased in the post-credits scene of 2011’s Green Lantern (but never paid off), my fingers are certainly crossed for Lanterns season 2 and Sinestro’s return, hopefully with some new followers and power rings.
Who Was The “Monster” In Gotham?
Lanterns repeatedly referenced the mysterious “monster in Gotham” responsible for killing Sheriff Kerry Kane’s father for ratting on him before sending people after Kerry herself, explaining how Kane first came to Rushville and ending up owing Zoe Macon’s Manhunter (having saved her from the Gotham villain’s men).
Unfortunately, the identity of the figure is never revealed, leaving plenty of room for speculation. Most likely some sort of crime boss, some good guesses might include Penguin, Rupert Thorne (who was featured in Creature Commandos), or Black Mask, all of whom would fit comfortably into the criminal underworld surrounding Gotham. However, Black Mask is particularly interesting seeing how a Janus Cosmetics storefront (Roman Sionis’ failed company in the comics) appeared in the background of the abandoned mall in Lanterns episode 3.
What Will Happen To Noah After Lanterns Episode 8?
By the finale’s end, John seemed confident that Noah Macon can overcome the Manhunter programming trying to influence him, just as John himself overcame the programming and expectations imposed upon him to become a Green Lantern ever since he was a child.
However, Noah did indicate to John that his programming had already influenced his ambitions, giving him ideas not his own, like using his football career as a path toward a political career, giving him exactly the kind of influence and power a Manhunter could use. While it does seem doubtful that a second season of Lanterns would revisit Rushville or Noah Macon, the door is technically open if John ends up being proven wrong about Noah.
Will Guy Gardner Still Be Part Of The Justice Gang?
Nathan Fillion’s Guy Gardner sits in the dark in Lanterns
The new terms set by John Stewart effectively put him as the Green Lantern protecting Earth while Guy will protect the stars and the wider jurisdiction of Sector 2814. It’s an interesting division of labor justifying two active Green Lanterns in the DCU, though it does raise the question about Guy’s established role with the Justice Gang.
If John Stewart is now Earth’s primary Green Lantern, does that mean Guy Gardner is effectively being replaced within the superhero team that first debuted in 2025’s Superman? Without a doubt, we will most likely get our answer in 2027’s Man of Tomorrow with both Guy and John set to appear in the upcoming movie.
Will The Guardians Accept John’s New Green Lantern Status?
Laura Linney in LanternsVia MovieStillsDB
Perhaps the most important question is whether the Guardians of Oa will actually allow John to operate independently like he’s demanded at the end of this new finale. On the one hand, John’s message to Guy indicates that if the Guardians try to stop him, he’ll expose the truth about their role in creating the genocidal Manhunters.
Likewise, the Guardians did want John to be a Lantern in the first place, though Stewart’s chosen new status quo operating as an independent Green Lantern no doubt represents a major act of defiance to their authority. Whether they actually accept John’s terms could be a solid foundation for the next chapter of John’s story (hopefully in Lanterns season 2).
All episodes of Lanterns are now streaming on HBO Max from DC Studios.
Gears of War: E-Day studio The Coalition has revealed how it used the SSD storage on the Xbox Series S as makeshift RAM to get the game running smoothly on Xbox’s lower-spec console.
Because the Xbox Series S has 10 GB of RAM (compared to 16 GB on Xbox Series X and PS5), some studios have had issues getting their games to run smoothly on the console.
Given that Microsoft insists that any game made for Xbox Series X also needs to be able to run on Xbox Series S, some developers have struggled to get their games running well on the comparatively underpowered console.
What’s more, the console doesn’t have access to upscaling tech like Nvidia‘s DLSS or AMD’s FSR, meaning it can’t solve the problem by rendering at a lower resolution and upscaling with that (like Switch 2 can do with DLSS).
In a new interview with Digital Foundry, The Coalition technical director Kate Rayner explained that the studio got around these limitations by tapping into the console’s built-in SSD storage.
The explanation given was data storage usually has a hierachy in games – a CPU cache can only hold a tiny amount of data but is extremely fast, RAM can hold more storage and is relatively fast, and SSDs can hold a large amount of storage but are much slower.
The idea is that if a game’s active data can’t be stored in the CPU then it’ll be held in RAM instead, and if it can’t be held in RAM it’ll go to the SSD, with the understanding that it will take the game longer to access that data with each step down.
The Coalition’s solution is to use the internal SSD in the Xbox Series S to also act as RAM, in order to hold the game’s detailed city data in storage. When the game needs to access certain memory, it’ll be moved from the SSD into the system RAM.
Because the SSD is much slower than RAM, however, the team specifically picked certain parts of memory that wouldn’t slow the game down if it had to be moved from the SSD to system RAM on the fly.
The result is that a couple of gigabytes of DDS storage can add around a gigabyte of usable system memory to the Xbox Series S, resulting in a game that still performs well on the console, with only Lumens-based reflections removed to maintain 60 frames per second.
Rayner told the publication that the technique made sure The Coalition could avoid “really lowering the quality of the game”, and that other game teams are already interested in learning how to replicate it, meaning it could be used again in future Xbox Series S games to improve performance.
VGC’s Gears of War: E-Day review called it “an absolute blast, even if it focuses on commotion over emotion”, adding: “Gears of War E-Day’s campaign offers balls-to-the-wall action and rarely lets up, but that means the story takes more of a back seat than I’d like.
“It’s good that time is given to the backstories of new protagonists Mags and Lucas, but given that the game is literally the playable Marcus and Dom backstory fans have been waiting decades to see, more time could have been spent on their relationship. In terms of pure gunplay, however, very little beats it this year.”
The “Wall Street” actor, who is the son of the late Hollywood legend Kirk Douglas, opened up on a recent episode of the “SmartLess” podcast and said the title “really pisses” him off.
While discussing his success with hosts Sean Hayes, Jason Bateman and Will Arnett, Douglas said, “Well, first of all, you know, Hollywood royalty. I mean… this ‘nepo’ thing really pisses me off.” He continued: “I don’t know a career where a father or mother don’t try to help their son or daughter get into their business and this and that, and why they picked on this because of the well-known aspect of it.”
Beyond the discussion of nepotism, Douglas also noted that the best advice he could give to aspiring actors is to recognize “good material.” “The problem we all have is we don’t play an instrument, or we don’t paint, or we don’t write,” he said. “We’re standing there. But a good piece of material, man, a good piece of material helps things along well.”
His father, Kirk, died in 2020 at 103. He starred in films including “Spartacus,” “Seven Days in May,” “20,000 Leagues Under the Sea,” “Champion,” “The Bad and the Beautiful,” “Lust for Life,” “Paths of Glory” and “Lonely Are the Brave.” He earned three Oscar nominations and was awarded an honorary Oscar in 1996.
Douglas is known for his turns in “Fatal Attraction,” “Behind the Candelabra” and more films. Douglas has won one Oscar for acting and one for producing; he took home the trophy for best actor in a leading role in 1988 for “Wall Street” and best picture in 1976 as a co-producer of “One Flew Over the Cuckoo’s Nest.”
Douglas’ forthcoming memoir, “One Helluva Ride,” comes out Tuesday.
But the Oscar-nominated actor found a way to try to capture the essence of the OpenAI CEO he portrays in Luca Guadagnino‘s Artificial.
An attempt to use prosthetics to better resemble Altman was unsuccessful (“totally ridiculous,” according to Guadagnino), so much so that Garfield laughed as he recalled how badly that experiment went when reminded of it by The Hollywood Reporter on the red carpet ahead of Artificial‘s world premiere at the 2026 New York FIlm Festival.
Instead, ironically for the tech-forward film, Garfield relied on a classic acting technique and human conversations (an analog version of crowdsourcing).
“When you’re first learning about acting, one of the techniques, Stanislavski, is you go through the play and you see what this person says about other characters. You see what other characters say about him,” Garfield told THR. “So I tried to speak to as many people as possible who know Sam or who have experiences and interactions with Sam to glean more of an objective, moral side, looking in point of view. Everyone is an unreliable narrator. I felt like I needed to absorb as much as possible, put it in the cauldron, put it in the pot, put it on simmer and then [use] my own instincts and interpretation and point of view, because any other actor would have played it differently. I know that I needed to play it in the way that I wanted to play it.”
Artificial tells the story about both the origins of OpenAI and the rise of the artificial intelligence phenomenon, including the Silicon Valley figures at the forefront of the technology. Garfield, like his fellow castmembers in the film, looked to interviews and videos of his real-life counterpart, with Anora breakout Yura Borisov, who plays OpenAI co-founder Ilya Sutskever, also taking a surprisingly ethereal approach.
“I hit a wall, and it was a couple of days before we started to shoot,” Borisov explained of his preparations. “We have the same birthdays (Dec. 8), and I imagined, ‘OK maybe we have some spiritual connection because of this, and I can just relax and create my own character inspired by him.’”
Not Suitable for Work alum Will Angus plays former OpenAI researcher turned Anthropic co-founder Dario Amodei and relished playing the exec at a time when he was somewhat under the radar.
“When we were shooting the movie, [Amodei] definitely wasn’t as in the zeitgeist as he is now, so it was very cool to learn about it from the ground floor,” Angus told THR. “We treated him well. … He really had this anxiety to make sure that AI was morally aligned with humanity so I kind of enjoyed being in that role.”
Amodei has pushed for federal safety regulations around the technology and, just last month, called for an industrywide slowdown of AI development to give safety measures time to catch up.
When asked if he believes Amodei’s AI safety concerns, Angus was cautiously optimistic.
“I hope he’s doing the best he can to make sure AI’s aligned with human goals,” he said. “I don’t know. I hope so.”
Neon, which acquired Artificial after Amazon MGM Studios abruptly dropped the nearly completed film in June, plans a Christmas Day release for the movie, which was written by Saturday Night Live alum Simon Rich and also stars Ike Barinholtz as Elon Musk, Monica Barbaro as OpenAI CTO Mira Murati, Cooper Hoffman, Mark Rylance, Will Price, Chris O’Dowd, Billie Lourd, Zosia Mamet, Jason Schwartzman, Cooper Koch, Thaddea Graham, Nicholas Hamilton and Angus Imrie.
The survival thriller, directed by Brian Duffield, hits theaters on Oct. 16.
Austin Abrams as Jay Gardiner in 20th Century Studios’ Whalefall.
Jennifer Clasen/20th Century Studios
The first reactions to Brian Duffield‘s survival thriller feature Whalefall have hit social media, and it appears that lead actor Austin Abrams‘ banner year continues, even though the characters he plays continue to suffer in more elaborate and awful ways.
20th Century Studios held screenings for Whalefall over the last week including a gala screening in London. Full critics reviews for the film are embargoed till Oct. 14, with Whalefall hitting theaters on Oct. 16.
Fresh off getting his s*** getting wrecked in Resident Evil, Abrams plays another everyman having the worst day ever in Whalefall. The synopsis for the film reads: Following the death of his father (Josh Brolin), Jay Gardiner (Austin Abrams) goes diving off the central Coast of California in search of his remains, but is swallowed by a massive sperm whale. While trapped inside its belly with only one hour of oxygen left, Jay comes to realize that the hard-earned lessons his father imparted may be the key to his escape.
As well as Abrams and Brolin, the cast includes, Elisabeth Shue, John Ortiz, Jane Levy and Emily Rudd. Duffield wrote the script with Daniel Kraus, based on Kraus’ 2023 novel of the same name.
Duffield’s previous directorial efforts include the acclaimed 2023 sci-fi horror film No One Will Save You (that was criminally released straight to Hulu) and the 2020 black comedy coming-of-age film Spontaneous. He also wrote Jane Got a Gun (2015), Underwater (2020) and Love and Monsters (2020).
See the early reaction to Whalefall below.
Genuinely didn’t know what to expect from #Whalefall but I had a hell of a time watching this! Austin Abrams trying to escape the gut of a sperm whale was more stressful than I thought it could be.
austin abrams’ back must be ACHING this month. after carrying resident evil (2026) mostly solo, he carries another thriller #Whalefall playing as a guy trapped inside the stomach of a whale
Brian Duffield’s #Whalefall is a blast, and it firmly cements Austin Abrams as one of fall’s most exciting rising stars. This is a film that goes well beyond the gimmick of having a guy stuck inside a whale, as Duffield smartly keeps those moments evolving and escalating in… pic.twitter.com/DAIAynvqQA
WHALEFALL is an intense rollercoaster of a survival thriller, with an incredible performance once again by Austin Abrams. The film is at its best when putting you in claustrophobic, bone crunching scenarios that will have you wincing at the screen. However at times takes itself a… pic.twitter.com/2KKsuvpu2B
Brian Duffield’s #Whalefall is a new claustrophobic classic. Austin Abrams shines in this oceanic estranged family flick.
Coupled with a stellar performance by Josh Brolin, the film boasts a poignant storyline and phenomenal CGI effects. It’s whale of a time! @20thCenturyUKpic.twitter.com/vkZ2u4tIHh
Whalefall: Part sentimental (ridiculously so at times), part cruelly devastating, but the weight and authenticity of its drama and the clarity of its action never quite lives up to its insane survival thriller premise. There’s a whole school of Ad Astra out there. pic.twitter.com/8NMfwbggDt
Austin Abrams, whom I love like my son, gets himself in increasingly horrific situations in the insanely stressful #Whalefall All goes a bit mystic whale at the end but I dug it. Not sure anyone would have bet on Abrams being Hollywood’s next biggest star but he’s magnetic pic.twitter.com/pbroTBh5x2
Like a messed up Inner Space, #Whalefall is guts, slime, and a terrific time. More than just a man-in-a-whale movie though, the entire thing is buoyed by an emotional core that’ll make you blubber. Abrams and Brolin are great, while Duffield shoots the hell out of it. pic.twitter.com/6Zr8Cg9M92
Fell down the majestic gullet of @BrianDuffield ‘s #Whalefall this evening. What an insane ride. I don’t think my knees stopped shaking the entire time. A gigantic, terrifying and emotional spectacle. What movies are made for. Go immerse yourself in it! pic.twitter.com/Hh4n79ssGr
#whalefall Men will literally get eaten by a whale instead of going to therapy. Whenever it’s focused on Austin Abrams going through the horrors, it is a fantastically entertaining film. But the boilerplate father-son trauma plot is a slog, and the ending is absurd (derogatory)
Been a very long time since I attended one of these events, life has gotten in the way! Had an absolute blast watching #whalefall though, wholesome, heartfelt and such a WILD ride. Wow. pic.twitter.com/NDPSqlIz0N
whalefall: mixed overall (whale stuff, terrifying, stressful; father-son stuff, saccharine) – but austin abrams’ ability to convey fear, when his performance should ostensibly be inhibited by goggles and a breathing apparatus, is stunning work
WHALEFALL: the most inexplicably boring movie of 2026? Half dimly lit survival thriller where you can’t distinguish a single fucking action sequence, half tiresome daddy issues drama with flat characterisation/performances, all parts patience testing
October means one thing: cozy evenings, pumpkin spice, and spooky season films and series on Netflix. As we make our way towards Halloween, here’s the best of horror films and series arriving on Netflix this month.
From Stranger Things and Fear Street, to Midnight Mass and Bird Box — Netflix never fails to deliver scares, thrills, and monsters aplenty for Halloween season. Of all the streamers out there, Netflix has arguably the best line-up of horror. For the Halloween season in 2026, the streamer is bringing a big slate of horror, bringing fan-favorite horror movies to its platform along with its own Netflix Original offerings.
Cast: Josh Hartnett, Charlie Heaton, Mackenzie Davis, Ruby Stokes Coming to Netflix: October 8, 2026
There’s something in the water. Below is a suspenseful six-part supernatural thriller set in a remote coastal town in Newfoundland, where the residents are terrorized by a mysterious, otherworldly creature that lurks in the water. The 6-episode series comes from showrunner Jesse McKeown, who previously worked as a writer on The Umbrella Academy at Netflix.
Below is an atmospheric sea-monster horror series, joining other similar sea-monster projects in Netflix’s library, such as the popular Under Paris (which returns for a sequel in 2027).
Haunted Hotel (Season 2)
Cast: Will Forte, Jimmi Simpson, Matt Roller, Eliza Coupe, Skyler Gisondo Coming to Netflix: October 9, 2026
Created by Matt Roller — one of the creatives behind fan-favorite Rick & Morty — animated comedy Haunted Hotel is far from pure horror, but it has more than enough genre hallmarks, from paranormal guests to demons.
Season 1 premiered on Netflix in 2025 to excellent ratings, following single mother Katherine (Coupe), and her two children who inherit the haunted hotel that her deceased brother left behind. However, his ghost remains at the hotel… along with dozens of other ghosts that haunt the halls.
The Trap
Cast: Friederike Becht, Hans Löw, Matthias Brandt, Josephine Thiesen Coming to Netflix: October 13, 2026
Netflix Germany has produced some excellent psychological horror and thrillers in recent years, from fan-favorite Dark to hidden gems like Cassandra. Up next is psychological thriller and mystery The Trap, based on Melanie Raabe’s bestselling novel of the same name. While it’s not a traditional horror, it lends itself to psychological terror, making it perfect for viewers who prefer mystery and suspenseful storytelling over jump-scares and gore.
The Trap follows a reclusive author who leaves her self-imposed isolation for the first time in 10 years to set a trap for her sister’s killer, intentionally using herself as the bait.
Cast: Janine Gutierrez, Charlie Dizon, Agot Isidro, Ronnie Lazaro Coming to Netflix: October 29, 2026
This slow-burn atmospheric Filipino horror-mystery follows a young woman, Sabina Tejeros, who travels to an uncharted island in search of her missing mother and confronts both dark family secrets and the island’s mysterious rituals and folklore. Sabrina realises that her search runs deeper than a missing person case; it explores the idea of who our parents were before we even met them.
Dead-End Job
Distribution: Netflix Original
Cast: Lee Jae Wook, Go Min Si Coming to Netflix: October 30, 2026
In this supernatural K-drama, we follow Hyuk-jun (Lee Jae Wook), a young man who finds what appears to be the dream gig: a part-time job offering 50 times the usual hourly wage through a mysterious employment agency called Spyder Human Resource Center. However, the job quickly becomes a nightmare as he encounters strange and terrifying phenomena. Fending off supernatural entities was clearly hidden away in the small print.
Also involved in the series is Go Min Si, a veteran of Netflix K-dramas, known for his work on Sweet Home, The Frog, Live, and Love Alarm. He plays an investigator determined to uncover the truth behind the unsettling events at Spyder Human Resource Center.
Biggest Horror Movies On Netflix in October
Evil Dead (2013)
Cast: Bruce Campbell, Jane Levy, Jessica Lucas, Shiloh Fernandez, Elizabeth Blackmore Coming to Netflix: October 1, 2026
The Evil Dead franchise began back in the 1980s with Sam Raimi’s cult classic trilogy. Decades later, director Fede Álvarez brought the franchise back with his reboot, offering a significantly more relentless, gory horror. The reboot has exactly the same premise as Raimi’s classic: Five friends spend a weekend in a remote cabin located deep in the forest. There, they discover a mysterious book that unleashes demons in the surrounding woods. If you want pure horror, look no further.
A Haunted House (2013) & A Haunted House 2 (2014)
Cast: Marlon Wayans, Essence Atkins, Alanna Ubach, Affion Crockett Coming to Netflix: October 1, 2026
If you’re someone that likes a lot of comedy infused into horror, the A Haunted House movies are here to deliver equal amounts of laughs and scares. Written and produced by Marlon Wayans — who also stars as the main character Malcolm — A Haunted House is a spoof of the “found footage” horror genre, following a couple whose new dream home is occupied by a demon set out to make their lives hell. The franchise returned in 2014 with another instalment that brilliantly parodied the Paranormal Activity and The Conjuring movies.
Friday the 13th (1980)
Cast: Betsy Palmer, Adrienne King, Kevin Bacon, Harry Crosby, Laurie Bartram Coming to Netflix: October 1, 2026
Directed by Sean S. Cunningham, the original 1980 Friday the 13th is the seminal classic that kickstarted one of horror cinema’s most enduring franchises. Featuring groundbreaking practical effects by Tom Savini and a chilling, memorable performance from Betsy Palmer alongside an early-career Kevin Bacon, it stands as a cornerstone of the ’80s slasher golden age.
A quintessential bloody slasher, the movie follows a group of young camp counselors attempting to reopen the long-abandoned Camp Crystal Lake despite warnings of its tragic past—only to be stalked and brutally picked off one by one by an unseen killer.
Ouija: Origin of Evil (2016)
Cast: Lulu Wilson, Elizabeth Reaser, Annalise Basso, Henry Thomas Coming to Netflix: October 1, 2026
Following the success of horror movie Ouija in 2014, horror filmmaker Mike Flanagan (Midnight Miss, The Haunting of Hill House) helmed the prequel movie set in 1967 Los Angeles, following a widowed mother and her daughters who run a scam seance business — only to unknowingly invite authentic evil into their home. The sequel was better received by critics compared to the original movie, boasting 82% on Rotten Tomatoes compared to the original film’s meagre 6%.
The Menu (2022)
Cast: Anya Taylor-Joy, Ralph Fiennes Coming to Netflix: October 1, 2026
In this dark and satirical horror-comedy, a young couple pay a huge sum to embark on the culinary experience of a lifetime: a trip to a secluded island restaurant where the famed chef presents elaborate (and highly pretentious) tasting menu. It begins strangely and only gets weirder and more disturbing — will anyone actually leave the island alive?
The Boogeyman (2023)
Cast: Sophie Thatcher, Chris Messina, David Dastmalchian, Coming to Netflix: October 5, 2026
Is it really Halloween season without a bit of Stephen King? Netflix is picking up the rights to the 2023 movie The Boogeyman, based on King’s lesser-known 1973 short story of the same name. The film follows high school student Sadie Harper and her younger sister, Sawyer, both still grieving the death of their mother. Meanwhile their therapist father is distant. When a mysterious patient shows up at their front door, they leave behind a supernatural entity they preys on families.
The Boogyman was not the highest-rated Stephen King adaptation, boasting 60% on Rotten Tomatoes. But if you’ve seen all of King’s other films, this offers something new with his signature horror flair.
Mary Shelley’s Frankenstein (1994)
Cast:Kenneth Branagh, Robert De Niro, Helena Bonham Carter Coming to Netflix: October 1, 2026
Kenneth Branagh stars and directs in this faithful adaptation of Mary Shelley’s seminal 1818 novel Frankenstein, also starring Hollywood legends Robert De Niro and Helena Bonham Carter. This movie is considered one of the best-ever and most celebrated adaptations of the gothic horror novel.
Of course, Netflix released its own Frankenstein adaptation back in 2025, directed by Guillermo Del Toro.
Which horror films and series will you be watching on Netflix? Let us know below!
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Nothing fails to roll off the tongue quite like Prime Big Deal Days. Regardless, Prime Day‘s clunkier sibling has a solid list of savings worth snapping up.
The 48-hour shopping holiday, kicking off Oct. 6 at 12:01 a.m. PT, is Amazon‘s second and final Prime member-exclusive savings event of the year — and for those not yet subscribed, the e-tailer offers a 30-day Prime free trial.
Even better, students and young adults ages 18 to 24 can get a six-month free trial to Amazon Prime. The plan will then auto-renew at $7.49 per month, half the price of a regular monthly Prime membership.
Amazon Prime Big Deal Days 2026 Dates
Amazon Prime Big Deal Days kicks off on Tuesday, Oct. 6 at 12:01 a.m. PT and concludes the following day, Wednesday, Oct. 7 at 11:59 p.m. PT. Amazon unveiled an assortment of early deals in the hours leading up to the event’s official start time.
Prime Big Deal Days 2026: What to Buy
As someone who’s been covering Prime Day since 2018, I have found a few key categories that consistently deliver the most significant (and timely) savings. These include:
One of our readers’ most purchased items every Prime Day.
shop early
Amazon Fire TV Stick 4K Max
Newest model.
Prime Big Deal Days 2026: What to Skip
As for the savings worth skipping, it really comes down to what’s going to see even further reductions during Black Friday and Cyber Monday. While it’s never a guarantee, we’d generally say to deprioritize TVs, laptops and other big-ticket electronics (not including Amazon-branded devices) along with major household appliances. In addition to the deeper discounts expected during the months ahead, competitor retailers (like The Home Depot and Best Buy) offer a wider selection of standout brands and models in said categories.
The expectations placed on pop stars have never been equal. Women are routinely expected to deliver the full fantasy: vocals, choreography, fashion, reinvention, and a meticulously constructed visual world for every era. Male artists, meanwhile, can sometimes build an entire career around little more than a tank top and a guitar, often without facing the same scrutiny.
The Melbourne-born singer is positioning himself within a lineage of male performers who treat pop as spectacle. Michael Jackson set the standard for the complete pop showman. Usher and Bruno Mars carried that commitment to movement and musicianship forward, while The Weeknd demonstrated the power of building an immersive visual universe around an album. Kallen draws from that tradition without attempting to recreate it. His goal is to translate the scale and theatricality of those artists for a new generation.
Photo Credit: Rony Alwin
At the center of that ambition is a voice built for both pop and R&B. Kallen pairs polished hooks with layered vocal arrangements, soulful phrasing, and an impressive upper register. His music is emotionally direct but never sonically restrained. Every element feels designed to become bigger onstage.
Over the past three years, Kallen has developed an audience of nearly two million followers across social platforms while generating millions of Spotify streams. That growth has allowed fans to witness his evolution in real time, from an emerging vocalist sharing his talent online to an artist developing a distinct sound, image, and performance identity.
Now, he is preparing to make his most definitive statement yet.
Kallen’s next single, “Where Do U Get Off,” arrives October 15 and serves as the introduction to an ambitious new era. While much of what he has planned remains under wraps, the track offers the first indication of its scale. The single was created with producer-songwriters Jayson DeZuzio, whose credits include Imagine Dragons and Eminem, and Yogi, who has worked with Drake and Camila Cabello, alongside three-time JUNO-winning R&B artist Savannah Ré. The result pairs Kallen’s lush, R&B-influenced vocals with the immediacy and attitude of high-energy pop.
Photo Credit: Rony Alwin
The photographs accompanying this story offer the first glimpse of what Kallen has been building: a sharper, bolder visual identity shaped around the kind of pop-star fantasy he intends to bring to his music and live performances.
“Where Do U Get Off” is less an abrupt reinvention than the clearest expression yet of what Kallen has been building toward. The audience is already there. The voice is there. Now, he is ready to put on a show.
SPIN Magazine newsroom and editorial staff were not involved in the creation of this content.
Everybody’s working for the vampire weekend in the strung-out-on-blood found footage horror feature Familiar, written and directed by Bird Rogers. It is shot in Astoria, Queens, with dialogue that seems like it was improvised by the actors. The opening montage shows the rise of The Winecast, a podcast put together by Bird (Bird Rogers), Ellis (Ellis Charles Hoffmeister), and Trench (Justin Mendoza) while they were in college. The three dudes drinking wine and talking about nothing were a campus sensation that spread like wildfire. As the podcast’s popularity grew, so did tensions between the co-hosts, until the whole thing imploded. A little over ten years after the last episode of The Winecast, Bird is married with a cat named Ruby. While his wife (Emma Gryce) is out of town, Bird has invited over Ellis, after not seeing him for years, to possibly reboot what once was.
Bird leans in close to the camera in a dimly lit room in Familiar.
“Bird finds out that Ellis has stolen some blood from a Cuban revolutionary vampire, who he had falsely promised to be the familiar for.”
Ellis looks terrible to the point that Bird suspects he is back on the cocaine train again. During the podcast, they get a call from Heather (Heather Velazquez), who accuses Ellis of stealing something from her. She lets them both know she will be there to take it back once the sun sets. Bird finds out that Ellis has stolen some blood from a Cuban revolutionary vampire, who he had falsely promised to be the familiar for. Ellis takes a powder and disappears for days, leaving Bird holding the jar of blood in the fridge. As Heather keeps showing up at night, baring her fangs and demanding her blood, Bird calls in the other podcast host, Trench, to help. Due to all the bad blood between Trench and Ellis, Trench wasn’t invited to the podcast reunion and is pissed. They find a Cuban vampire slayer, Ted Chaquita (Eduardo Machado), who says he has been waiting 58 years to face Heather. But vampiric Heather has other plans for everyone…
Who likes making movies for free? Chances are the answer is everyone reading this, as Film Threat has always been a bastion for the penniless wonder. The burning belief that a little imagination triumphs over a big budget is what guides us to the street-level side of the screen. Familiar immediately would wear its poverty on its sleeve, if the funds had been there for a sleeve in the first place. Even the vampire fangs look like they came out of a Dollar Tree. The whole thing is shot in the same room, pivoting to the outside deck occasionally. It is reminiscent of the homemade horror films made during the camcorder on weekends with your buddies, except this looks like it was done in one weekend. And you know what? It all works, resulting in a good movie out of thin air.
Through two-plus games of hockey this season, Winnipeg Jets forwards had combined to score zero five-on-five goals.
That changed in a big way Monday night in Pittsburgh as the Jets got three such goals in the third period of a 3-2 win over the Penguins, improving to 2-0-1 on the young season.
The Jets managed to come on top after a back-and-forth final frame that saw the two teams score four times in just over a four-minute span.
New Jets goalie Clay Stevenson stopped 30 of 32 shots to win in his Jets debut.
“Obviously he made some big, big stops,” said Jets head coach Scott Arniel. “And right up to the end of the game there he was real solid, looked confident, looked comfortable and it was great to see.
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“He came as advertised. Really liked how he was poised and played well.”
It was just the sixth career NHL start for Stevenson.
“Honestly, I don’t even have the words,” said Stevenson. “It means a lot, that’s for sure. I really wanted to just be there for the guys in this moment.
“I felt confident. The guys in the room gave me a lot of confidence throughout early on in the game and even in morning skate today.”
Alex Iafallo, Adam Lowry and Cole Perfetti had the markers for the Jets as they picked up at least a point for the third straight game to stay unbeaten in regulation.
After getting shutout in the first two periods, Arniel flip flopped his forward lines in the third period and it paid off almost immediately.
“We really weren’t getting pucks down below the goal line,” said Arniel. “And just blended it up to kinda give everybody kinda a different feel and sometimes it works, sometimes it doesn’t. But at the end of the day, we did a better job in the third of just staying dialed in and staying with our structure. But more than anything we got pucks down deep and then forced them to play in their end of the rink.”
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Perfetti now has five points in the first three games while Mark Scheifele is still pointless.
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The Penguins got the first power play of the night when Viggo Bjorck was called for the first penalty of his young career. The Jets killed it off, allowing the rookie to have a good look to score right out of the box but his shot was denied by Sergei Murashov.
Gabriel Vilardi had multiple chances to get on the board in the opening frame. His first came at the back door after a great pass from Isak Rosen, but Murashov made the save. Vilardi also struck iron from the slot after a turnover by the Penguins in their own end.
When all was said and done, the score remained 0-0 after 20 minutes with Winnipeg outshooting Pittsburgh 12-11, including 8-1 over the final 7:30.
Less than a minute into the second, it was Kyle Connor’s turn to rip one off the post, seconds before setting up Scheifele for a net-front chance that was swiped away by the glove of Murashov, who was making just his fifth NHL start.
Several minutes later, the two combined again for another chance as they got free on a partial two-on-one. Scheifele set up Connor for a one-timer but Murashov denied it with the blocker.
With 10:33 to go in the second, Pittsburgh thought for a moment that they had opened the scoring when Ben Kindel redirected a high, fluttering puck through the legs of Stevenson.
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Officials immediately waved it off, deeming that the puck was steered in by a high stick. But after they reviewed the play for a few minutes, they determined that Kindel’s stick was not above the crossbar when it touched the puck, so Pittsburgh was given the goal.
Winnipeg got their first power play look with 6:55 to go in the period when Blake Lizotte was called for boarding Dylan DeMelo. But after going 4-for-7 in their first two games, they came up empty on the chance, failing to get a shot on goal.
In the final minute of the period, the Jets hit the iron again, with Neal Pionk ripping a shot from the point that clanged off the crossbar and out of play.
Pittsburgh outshot the Jets 11-8 in the period and carried the 1-0 lead into the third.
But it didn’t take too long for Winnipeg to draw level. Iafallo carried the puck over the Pittsburgh blue line and dished it to Rosen on his right. Rosen then fired a shot that was stopped by Murashov but Erik Karlsson pushed the rebound right to the stick of Iafallo at the side of the net for a tap-in with 15:17 to go in the third.
The goal came after Arniel shuffled the bottom three lines to start the third, with Morgan Barron moving up to the second line, Rosen and Iafallo joining Adam Lowry on the third line and Brad Lambert sliding down to the fourth line.
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The third line struck again with 12:52 to go in the third. After DeMelo forced a turnover at the point, Lowry won a battle to free the puck to Iafallo, who drove hard to the net and drew a delayed penalty. Murashov lost track of where the rebound was, allowing Lowry to race to it and poke it home for his first of the season.
Less than two minutes later, the Pens tied things up. A failed clear by Bjorck led to Ville Koivunen grabbing the puck out of the air, putting it on the ice and passing it to the corner for Kindel. He spotted a wide-open Declan Carlile in the slot, who wired a wrister past Stevenson with 11:07 remaining.
The game remained tied for all of nine seconds as the Jets struck right back off the ensuing faceoff.
Pittsburgh actually won the draw but misplayed the puck just outside their own blue line. Josh Morrissey corralled it, skated into the Pens’ zone and sent a cross-ice pass that Perfetti blasted past Murashov to restore Winnipeg’s lead.
The Jets nearly doubled their lead with just under three minutes left when a seeing-eye point shot from Dylan Samberg rang off the post.
Moments later, Pittsburgh pulled their goalie for an extra skater. It took a while for the Pens to get a shot on goal, and with less than 20 seconds to go they got their best look. After Scheifele turned the puck over at the blue line, Evgeni Malkin got a hard shot off from the high slot, but Stevenson turned it aside with his blocker.
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Murashov stopped 30 shots in defeat.
The Jets made two lineup changes with Cole Koepke and Jack St. Ivany seeing their first game action of the season, while Tyrel Bauer and Nino Niederreiter came out.
Winnipeg will now return to the Manitoba capital for a three-game homestand and will host the Colorado Avalanche Wednesday night. Puck drop is just after 6:30 p.m. with an extended pregame show on 680 CJOB beginning at 4 p.m.
Not so basic! CHAM founder Christy Cham is giving everyday staples a serious upgrade with her better-than-basics line of long sleeves, tees, dresses, skirts, pants, cardigans, and more, already worn by Ariana Grande and Khloé Kardashian.
Before launching in 2023, Cham worked as a costume designer on film sets with directors including Martin Scorsese, giving her a behind-the-scenes look at the power of a good outfit.
CHAM/Instagram
“There was a gap in the market for high end basics and something that was giving you more than just a t-shirt, but not a blouse,” she tells ET.
When dreaming up the pieces she wanted in her own closet, Cham turned to Cindy Crawford, Kate Moss, Claudia Schiffer, and other style muses, even naming designs after them.
“Those ’90s icons are the people who inspired me most when I first started CHAM. The simplicity of the ’90s where the most important thing was fit and fabric is what I’ve always loved,” she explains.
CHAM/Instagram
Naturally, those elements became the foundation of the brand, starting with its proprietary fabric made to feel like a second skin.
“Working in costume design taught me that the ultimate goal is to make someone feel confident in what they’re wearing. … I also learned that everything is amplified on camera. A fabric can read differently, colors can appear brighter, and even a small fit issue can suddenly look messy on screen,” she notes.
“I wanted something sheer, but not too sheer; stretchy, but that would still hold you in, and something that looked high-end and not just like workout material.”
CHAM/Instagram
The silhouettes have a few tricks up their sleeves too, with keyhole necklines, slits, off-the-shoulder styles, cutouts, mini lengths, and more, adding a little something extra to everyday staples.
“When fitting actors, everything had to be incredibly precise. We learned all these little strategies with proportion and fit to create the illusion of a longer torso, slimmer arms, or a more flattering shape. It made me a perfectionist about fit, proportion, and fabric, and really taught me how much the right clothing can transform the way someone looks, and more importantly, how they feel.”
That attention to detail also carries over to the color palette, with shades of red, brown, black, cream, navy, orange, and green, all chosen to make getting dressed that much easier.
Hagop Kalaidjian/@hagop
“I choose colors that work well together so they can be easily mixed and matched. I keep the tones softer and focus on flattering undertones, while offering enough variety that everyone can find a color they naturally feel good in,” she says.
And because what’s underneath counts too, the fashion expert took the label one layer deeper by launching undergarments, which she celebrated at Body Shop in West Hollywood, California, on Oct. 3.
“I wanted to create something that was simple, but still sexy that makes a woman feel her best without showing under tight or sheer clothing.”
CHAM/Instagram
For anyone looking to make their basics a little less basic, CHAM also offers a wide variety of charms for a playful, personal touch.
“I’ve always gravitated toward cute accessories that make an outfit feel a little less serious and more fun. It feels very in line with fashion right now and the whole whimsymaxxing idea. I’m constantly clipping charms onto skirts, tops, or bags.”
Arguably M. Night Shyamalan’s best movie, The Sixth Sense—now streaming on Netflix— is a classic for a reason. Yes, there is the famed plot twist that blew audiences’ minds in 1999 and earned Shyamalan his reputation as the plot twist king. But what makes the movie a masterpiece is the deeply human story about the relationship between a troubled young boy (Hayley Joel Osment, the best child actor to ever do it) and his grieving psychologist (Bruce Willis). And despite the PG-13 rating, there are some genuinely horrifying scares that still haunt me to this day.
Newsmoviesweb-series Operation Safed Sagar Review: Siddharth, Jimmy Shergill Keep This Kargil Drama Flying Despite Patchy VFX
Last Updated:
Despite patchy VFX and over-reliance on emotional storytelling, Operation Safed Sagar delivers gripping aerial action, anchored by Siddharth, Jimmy Shergill and a strong ensemble.
A still from Operation Safed Sagar.
Operation Safed SagarU/A
3/5
7 August 2026|Hindi6 Episodes | Action, Drama, Docu-drama, War Epic
Starring: Abhay Verma, Jimmy Shergill, Mihir Ahuja, SiddharthDirector: Oni SenPlatform: Netflix
Operation Safed Sagar series review: Set in 1999, Operation Safed Sagar unfolds against the backdrop of the Kargil War. Even as India and Pakistan engage in peace talks, Pakistan Army chief General Pervez Musharraf puts into motion a covert plan to infiltrate Pakistani troops, disguised as mujahideen, across the Line of Control and occupy strategic peaks in Kargil. The intrusion soon escalates into a full-blown conflict, forcing India to launch a military operation to reclaim the captured territory.
As the Indian Army fights on the ground, the Indian Air Force launches Operation Safed Sagar, its first combat air campaign since the 1971 war. The series follows the Golden Arrows Squadron, led by Wing Commander B.S. ‘Tony’ Dhanoa (Jimmy Shergill), as its fighter pilots undertake dangerous reconnaissance and strike missions in the treacherous mountains of Kargil. At the centre of it all is Squadron Leader Ajay Ahuja (Siddharth), alongside fellow pilots Dhali (Abhay Verma), Baldy (Mihir Ahuja) and Sangy (Taaruk Raina), as they navigate the pressures of war while dealing with personal struggles away from the cockpit.
Operation Safed Sagar isn’t just about the Indian Air Force’s role in the Kargil War. It spends as much time on the men behind the uniforms as it does on the operation itself, fleshing out the lives of the Golden Arrows Squadron through emotional backstories.
That’s also where the series stumbles. Almost every major decision is tied to an emotional conflict, making it feel as though patriotism is driven more by personal baggage than military duty. The show’s attempt to humanise its officers is understandable, but it leans too heavily into emotion and some moments don’t land as naturally as they should.
The series leaves little doubt about who it sees as the mastermind of the Kargil intrusion. Manu Rishi Chadha’s Pervez Musharraf is driven by a single objective and pursues it with little regard for the cost. Vinay Pathak’s Nawaz Sharif, on the other hand, gets a far more layered treatment. Rather than painting him as an outright villain, the series shows him as a civilian leader caught in the shadow of Pakistan’s powerful military establishment, trying to stay in control of a situation that increasingly slips out of his hands. Whether that interpretation mirrors history is still debated, but within the world of the series, it seems like an interesting choice. Because, in doing so, it avoids reducing the political conflict to a simple good-versus-evil narrative and focuses more on the power struggle behind the war.
Siddharth is the heart of the series as Squadron Leader Ajay Ahuja. He keeps his performance understated throughout, whether he’s training his team, flying missions or dealing with the emotional weight of war while his wife and son are at home. He never goes over the top and it’s the restraint that works in the character’s favour. It’s one of the strongest performances in the series.
Abhay Verma is a standout as Flying Officer R.S. Dhaliwal, or Dhali. His character carries guilt and is desperate to prove himself. He gets every beat right. A scene where Dhali comes face-to-face with his guilt before diving into a pool and coming out of with a renewed sense of purpose is among the series’ best.
Mihir Ahuja also leaves a mark as Flying Officer C.H. Bal Reddy, or Baldy. His conflict lies between his duty to the country and the woman he loves (Prajakta Koli), who has left her family and life behind for him. Baldy struggles with self-doubt and Ahuja makes the dilemma believable without overplaying it.
The ensemble casting rarely misses. Jimmy Shergill is as predictably dependable as ever as Wing Commander B.S. Dhanoa. Whether he’s making difficult calls in the middle of a mission, looking out for every member of his squadron like a father figure or carrying the weight of ensuring his men return home safely while completing the mission, Shergill moves between these shades effortlessly. Taaruk Raina and Adil Hussain are equally effective, making the most of the screen time they are given.
The biggest disappointment is the visual effects. For a show built around aerial combat and fighter jets, the CGI is surprisingly inconsistent. Some sequences look underwhelming and even unintentionally comical.
Yet, Operation Safed Sagar somehow manages to overcome that shortcoming. The aerial missions are mounted with enough tension to keep you invested and the action rarely loses its edge. Almost every episode ends on a cliffhanger, making it difficult not to hit ‘Next Episode’. Even when the writing leans too heavily into the characters’ emotional baggage or tries a little too hard to humanise them, the series doesn’t lose its grip. You want to see how the missions unfold, what lies ahead for the Golden Arrows Squadron and whether they make it back home.
Ultimately, Operation Safed Sagar reminds you that the biggest victims of war are neither the politicians nor the generals. It is the soldiers on both sides who are sent to fight, carrying the burden of decisions taken far above them.
Overall, a good watch.
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The series “Operation Safed Sagar” aims for authenticity by revisiting the Indian Air Force’s role in the 1999 Kargil War and using real footage of political leaders and wartime visuals. Many of the main characters are inspired by real IAF fighter pilots, helicopter pilots, and army ground commanders who participated in the 1999 Kargil War, though some names have been changed for security and confidentiality reasons.
Shreyanka Mazumdar is Chief Sub Editor of the entertainment team at News18. With an unbridled passion for all things Bollywood, she loves deep-diving into the glitz and glamour of the entertainment wo…Read More
First Published:
August 07, 2026, 12:35 IST
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Luca Guadagnino’s “Artificial” premiered at the New York Film Festival Monday night, and early reviews have members of the film press championing the Sam Altman-centered movie as a “provocative,” “visceral corporate drama” and the director’s “best film in a decade.”
Next Best Picture editor-in-chief and critic Matt Neglia wrote that “Artificial” is “as entertaining as it is terrifying.” “It’s a brilliantly written human story about power, control, ambition, and greed that might be the most urgently relevant film of our time. Andrew Garfield delivers one of his most unsettling and transformative performances as Sam Altman, equally capturing his disarming charm and unnerving malice.”
He continued: “Yura Borisov is magnificent as the brilliant mind behind OpenAI, wrestling with the moral implications of the creation he has helped unleash upon the world with intelligence and empathy. Damon Albarn’s electronic, atmospheric score perfectly sets the mood for this tech-driven narrative, while Guadagnino’s cinematic flourishes are bountiful, resulting in what may be his funniest and scariest film to date. Provocative, engaging, and downright horrifying, it’s the movie of the moment that we may not even be able to look back on if the vision of the future it presents comes true.”
Editor Eric Kohn called the film a “pitch-perfect dark comedy.” “Andrew Garfield walks a fine line between movie monster, buffoonish mogul, and evil genius. A fun/scary ride that embodies the paradox at its center,” he wrote on X.
“Guadagnino guts Silicon Valley with his obsessive pulse & a powerful farce in which Andrew Garfield completely shines,” wrote film critic Jairo Jiménez. “A feverish, visceral corporate drama that proves what is truly artificial was never in the machines, but in the boardroom. An essential film.”
Variety’s Clayton Davis wrote that “Artificial” is “Guadagnino’s best film in a decade” and “Andrew Garfield and Yura Borisov soar to new heights. Loved.”
Set during the tumultuous time when Altman, OpenAI’s CEO (played by Andrew Garfield), was fired and then rehired by the AI giant in 2023, “Artificial” has faced its own challenges getting to theaters; in June, Neon closed a deal to complete the $40 million film after Amazon MGM Studios dropped the project months earlier after the company signed a major partnership with OpenAI, including a $50 billion investment.
Despite how hot-button some may feel the film is, Guadagnino told Vulture that he wasn’t “afraid” of Altman’s — or anyone depicted in the film’s — response. “I think that people that have a lot of power should be very much aware that you must be responsible for the community.”
And though Altman never met Garfield, the tech CEO admitted in a recent Vanity Fair cover story that the actor “did walk like me” when he ran into production filming near his house. “One morning, I was walking down the street to get coffee and there were all these cameras and there was a guy dressed exactly like me with my same backpack walking so much that I felt I was in some weird glitch of the simulation or something,” Altman told Vanity Fair. “It was very strange.”
“Artificial” reunited Guadagnino with Garfield, who last worked with the director in 2025’s “After the Hunt.” Ike Barinholtz stars as co-founder Elon Musk, Monica Barbaro plays former OpenAI CTO Mira Murati, “Anora” breakout Yura Borisov is former OpenAI chief scientist Ilya Sutskever and Mark Rylance plays Nobel Prize winner Geoffrey Hinton. Jason Schwartzman, Zosia Mamet, Cooper Hoffman, Chris O’Dowd, Cooper Koch and Billie Lourd also appear in the film. “SNL” alum Simon Rich penned the script.
Ahead of the premiere’s conclusion, Variety exclusively reported that Neon’s awards campaign for the film will include Garfield and Rylance competing in the supporting actor category and Borisov campaigning in lead actor. Barbaro will vie for supporting actress.
“Artificial” opens in theaters on Christmas Day from Neon. Check out first reactions in the posts below.
Have another screening to go to so a longer review will come later but I absolutely loved Luca Guadagnino’s #Artificial
It’s an intimate character study but on a huge scale. The cast is amazing. Andrew Garfield fully becomes Sam Altman. Monica Barbaro is excellent as always.…
‘Artificial’ is an intense delivery of Guadagnino’s talents that I truly enjoyed. Haunting yet alarming would be the best way to tease this film. Garfield unfolds into a terrifying role that left me floored. I’ve been anticipating Borisov in this film and he excels. There’s a… pic.twitter.com/bjBZQTAim0
— Nicole’s Film Perspectives (@GoldenWinter_28) October 6, 2026
ARTIFICIAL feels like the proper sequel to THE SOCIAL NETWORK. It’s a human story about the blinding nature of desire. Andrew nailed Sam Altman’s charismatic yet manipulative demeanor. Ike as Elon will be beloved. Yura Borisov is the heart ‘n soul of the whole film.
ARTIFICIAL is a pitch-perfect dark comedy about the absence of responsibility in the face of apocalyptic certainty. Andrew Garfield walks a fine line between movie monster, buffoonish mogul, and evil genius. A fun/scary ride that embodies the paradox at its center. #NYFF
ARTIFICIAL. Guadagnino guts Silicon Valley with his obsessive pulse & a powerful farce in which Andrew Garfield completely shines. A feverish, visceral corporate drama that proves what is truly artificial was never in the machines, but in the boardroom. An essential film. #NYFF64pic.twitter.com/030RZzuERt
ARTIFICIAL is Luca Guadagnino’s telling of the origins of the AI boom and where it may one day lead us. As entertaining as it is terrifying, it’s a brilliantly written human story about power, control, ambition, and greed that might be the most urgently relevant film of our time.… pic.twitter.com/ImHKX94vSq
The countdown to Marvel Studios’ Avengers: Doomsday is on as December 18 approaches!
Itching for an MCU rewatch or tuning in for the very first time? Dive into the Marvel Cinematic Universe on Disney+ with the genre-spanning Countdown to Avengers: Doomsday Watch Guide. Through a curated selection of films and TV series, meet the characters of Doomsday and explore the Multiverse and its many realities.
From the very first-live action X-Men films of the 2000s to Marvel Studios’ ambitious expansion into television with beloved shows like Marvel Studios’ Loki, celebrate the legacy of Marvel’s expansive on-screen history.Get comfortable, grab your remote, and fire up Disney+ – the Multiverse is only a click away.
X-Men
The X-Men, a group of mutants with extraordinary powers, wage a fight against both intolerance, and a fellow band of radical mutants intent on exterminating the human race.
Warning: This article contains spoilers for the Lanterns Season 1 finale, “Dirt and Stars.”
The first season of Lanternshas wrapped up on HBO. Part of the ever-expanding DC Universe, the show introduced us to Hal Jordan (Kyle Chandler), the Green Lantern in charge of policing the section of the universe that includes Earth. We also met his trainee John Stewart (Aaron Pierre), who ended up taking over Hal’s role by the end of the season, working as a sort of “independent contractor” outside the purview of the Green Lantern Corps.
Someone had to; we learned in the pilot episode that Hal Jordan eventually dies. That said, in the superhero genre, characters come back from the dead all the time. In the finale, the supervillain Sinestro (Ulrich Thomsen) even suggests that he’s capable of bringing Hal Jordan back to life. Will we see Hal return in future seasons?
Although he didn’t fully commit to an answer, Lanterns co-creator Damon Lindelof made it sound like Hal Jordan is gone for good while talking to Collider. “And I think that part and parcel of making the hardest decision, which was, we’re going to get a lot of mileage out of a story that its central conflict basically revolves around one ring, two people vying for the ring,” he said. “And, in order to play fair, it felt like one of them definitively had to end up with it, and I don’t think that there was any question amongst Tom [King], Chris [Mundy], and I, and certainly once we brought in the larger room, that Hal’s death had to stick in order for it to be felt.”
And even though, as an audience, as a DC fan, as a writer, the ridiculousness of, “Okay, now you can play with Hal Jordan, you’re going to kill him off in the pilot? What are you, insane?” But also sort of understanding that it didn’t feel like John could take the ring until Hal was gone, and that there was some degree of stewardship under Hal, but also a lot of things that Hal would get wrong. We had the ingredients, but in terms of how to prepare the casserole, the last instruction was Hal has gone for good and sends John on his way. That enables John to accept the ring on his own terms vs. Hal’s terms or the Guardians’ terms, and that ring had to be forged with a little special something in and of itself that could potentially set up future storylines.
“Hal’s death had to stick.” “The last instruction was Hal has gone for good.” It sounds like if Damon Lindelof has his way, Hal Jordan will not come back.
Lindelof went on to describe how it would feel “schmuck-baity” to bring Hal back after so much of the first season revolved around figuring out who killed him. “I can only tell you that everybody in the Season 1 room, inclusive of the writers who are working on ideating on Season 2, felt like, even though we knew that it was going to be emotionally devastating and/or disappointing and maybe even frustrating, that the worst possible schmuck-baity thing that we could do is show you a pilot where Hal Jordan was definitively dead, and then try to walk it back and say, ‘Oh, he was a clone’ or ‘He’s only mostly dead,'” he said.
So I think that honoring the emotional impact and making Season 1 feel felt. The question that you’re asking would be the equivalent of, “Would I want to see a movie called Ghost 2 where Patrick Swayze was alive again?” And the answer is, I would not, because it would degrade the emotional impact of Ghost. But where there’s a will, there’s a way.
However, Lindelof emphasized that he is not involved in planning the second season, so it’s possible that the writers could go in a different direction. “I do not know anything about the creative, and I wouldn’t want to hamstring those writers in any way for what future storytelling mechanisms they could indulge in,” he said. “Knowing what the comics have done with Parallax and Hal, I think, has died at least 3 or 4 times over the course of the canon, and celebrating everything that Kyle did in his performance to get the audience to fall in love with Hal.”
If Lanterns does come back for a second season, there are plenty of conflicts left to explore. John Stewart has essentially declared himself the Green Lantern in charge of protecting Earth. That does not sit well with Guy Gardner (Nathan Fillion), the Green Lantern who currently has this beat under the direction of the watchful Guardians. Also, Sinestro is still alive, albeit tied up on an alien island. How will he survive? “Sinestro is very resourceful,” Lindelof hinted.
All eight episodes of Lanterns Season 1 are streaming now on HBO Max.
Release Date
August 16, 2026
Network
HBO
Showrunner
Chris Mundy
Directors
Alik Sakharov, James Hawes, Stephen Williams, Geeta Patel
Writers
Damon Lindelof, Chris Mundy, Tom King, Vanessa Baden Kelly, Justin Britt-Gibson, Breannah Gibson
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Halloween’s first paid DLC is coming on October 27 in the form of a new skin for the game’s killer, Michael Myers, and it’s pulling from a source you might not expect: Halloween 5: The Revenge of Michael Myers. A free update on the same day will also add a fifth map, The Tower Farm, inspired by a location in the same film.
It may seem odd to jump to the fifth movie for the game’s first DLC, but it’s not the only piece of new content coming that day. There’s also a second skin coming for Big Mike, borrowing from his look in the legacy sequel Halloween (2018). Each skin will run you $10.
Survivor mains also have new things to look forward to, including two new characters, Michelle and Eugene, as well as Civilian Costumes Pack 1, which includes 14 outfits–one for each survivor character–and 42 colorings, or “tints.” The new survivors will also go for $10, though that’s for the pair, not for each of them, while the new styles and colors will be–you guessed it–$10 for the set. This content drop is the first of several coming to the game in its first year, development studio Illfonic said.
With 13 movies in the series, there’s still plenty of ground to cover for Halloween, which makes kicking off its post-launch roadmap with Halloween 5 such an interesting choice. The appropriately autumnal farm map is more open than the game’s earlier maps, making it harder to break line of sight from Haddonfield’s boogeyman. I suppose that moody setting was too picturesque to pass up as an update just days before October 31.
Just days before Halloween, Halloween will look more like, uh, Halloween.
As much as I love the 1978 original, I’m not particularly fond of most of the Halloween sequels, though Halloween H20 is probably dearest to me; I fondly recall seeing it on the big screen as a horror-obsessed nine-year-old, so I look forward to seeing that one reflected in the game down the line.
In any event, I don’t think the sequels’ quality ought to keep the development team from bringing them into the game like this. Illfonic’s game should be a museum to all things Halloween, and watching it become that over the next few years is an exciting prospect. I hope the licensing deal extends to the series’ more oddball entries, like Rob Zombie’s reboot duology and Halloween 3–the one movie in the series that doesn’t involve Michael Myers. If the game follows the roadmap I’ve built in my mind, we’ll see every version of The Shape on the character select screen one day.
In GameSpot’s Halloween review, I wrote that it gives players “a vibes-heavy experience befitting the timeless film, while also offering a unique hook that keeps the game from feeling like a rehash of the many horror multiplayer games that came before it.”
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