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Mark Harmon is returning to NCIS: Origins for a season-long arc.

Harmon, who previously starred as Leroy Jethro Gibbs for 18 seasons on NCIS, will appear in all episodes of Season 3 as part of a present-day mystery tied to his ‘90s Camp Pendleton days. This marks his third appearance on the spinoff series, though it’ll be the first time his character is part of the entire story.

The story seemingly kicked off when he appeared in Season 2 for a Veterans Day crossover between NCIS and Origins featuring the younger Gibbs (Austin Stowell) and his team investigating the small-town death of a naval officer in the ‘90s on Origins – a case that was unexpectedly reopened in the present day on NCIS.

Harmon, who serves as executive producer on the series, also narrates each episode of Origins. He also previously reprised his role in the series premiere.

NCIS: Origins follows a young Leroy Jethro Gibbs (Stowell) in the early ‘90s, years prior to the events of the flagship series. The series also stars Kyle Schmid, Mariel Molino, Tyla Abercrumbie, Diany Rodriguez and Caleb Foote.

Origins Season 3 executive producers are David J. North, Mark Harmon, Sean Harmon, Michele Greco and Eric Christian Olsen. The series is produced by CBS Studios.

Season 3 of NCIS: Origins will air Tuesdays at 10 p.m. ET/PT in the fall on CBS.

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Mark Harmon is returning to NCIS: Origins

SPOILER ALERT: This article contains spoilers for Night School Studio’s new horror game “Unhinged,” now available on Netflix.

David Fincher, “Weapons” filmmaker Zach Cregger and Night School Studios founder and studio director Sean Krankel want you to die while playing the new Netflix horror video game, “Unhinged.”

“At least once,” according to Krankel.

In “Unhinged,” players take on the role of Ava (voiced by Zoë Kravitz), a woman who wakes up during an intense storm that has knocked out her power. The game, which can be played on Netflix via subscribers’ TVs or computers, has you use your real-life phone as your controller, which acts as your flashlight and way to call and text your best friend Claire (Sadie Sink) and building super Ben (Troy Baker), while also being the way you move around and make choices. And those choices become increasingly important as you discover a killer is afoot and coming for you and the other remaining building residents.

Developed by the Netflix-owned Night School Studios in secret collaboration with Fincher and Cregger (the two directors got a “Special Thanks” acknowledgement in the game’s credits when it was released Tuesday, but Netflix has not commented on their inclusion in the process beyond confirming their creative involvement to Variety), “Unhinged” is a survival game that includes “about 10 times” the player could die throughout the story, which will take you roughly more than 30 minutes to play.

At the very first point offered, Krankel said the team made the countdown timer to take an action to save yourself “intentionally kind of short” in hopes of killing the player off and giving them a taste for the game they were playing. And this is done without the user losing all their progress, as they will start up again in that same place after first listening to the cops discuss their gruesome murder at the hands of the killer.

“Every time you do die, the cops comment on the specifics of that crime scene,” Krankel told Variety. “If you die during that Noah scene, he’ll talk about both of you and them figuring that out. So there’s actually a bunch of little storytelling that happens just between the dumb-cop banter for each of those.”

Krankel and the team at Night School Studios (best known for “Oxenfree” and “Oxenfree II”) spent a lot of time figuring out how much agency the player should have in the game, which was put into development following Netflix’s acquisition of the game studio in 2021.

“When you start a project like this, sometimes there is a muscle memory that tells you we should have five different endings, 10 different endings,” Krankel said. “Or, ‘Hey, this studio, specifically, has spent the last 10 years making branchy games’ — so there was a lot of debate early on about how branchy should it be, especially the dialogue piece. And when we started with dialogue and realized that every time you were making a dialogue choice in a story like this, that is as propulsive as it is, it was not going well. It felt weird and labored and just wasn’t right. And we felt like the magic trick between the two talking, and the act of being able to make a call or turn on your phone or not, or hang up on somebody, that was the choice that felt more interesting. So there is branching happening under the hood a lot, but it is not big branchy outcomes for the story. Rather, it is branchiness for how you interact with Ben and Claire and make your way through it.”

For example, Krankel says he’s noticed “a lot of people who play and are super annoyed with Claire and don’t trust her from the beginning, and then when she gets to the door, they’re like, ‘Do not open that damn door! She’s going to kill you!’ I love that.”

Minus all the different ways (and whens) to die, your choices will ultimately lead you to one “happy” ending, which sees Ava survive the night — and receive a final message from super-turned-killer Ben the next day that lets the player know he’s still around, too.

“The decision behind that was to make sure that it really was a singular piece that people could talk about, like a great movie with great twists and if you want to play it again, it’s not because it’s to see a bunch of different outcomes. It’s because you’re like, ‘I need my friend to see this crazy ass game,’” Krankel said.

That ending was not necessarily intended to set up another game — though Krankel says he’s not opposed to an “Unhinged 2” — but a particularly horrific choice made by Krankel, Fincher, Cregger and the “Unhinged” team.

“[The call] did happen after you loaded him up full of nails. Before the police got there, he got away. And he is still out in the wild and we don’t really know where,” Krankel said. “It’s not done specifically for a sequel, because I would even have a hard time today telling you what a worthwhile follow up to that would be with those characters. It was more to feel very creepy and to really just lean into that.”

But even in that final moment, the game lets you decide how you want to experience the horror: “You could have just not answered it, and then you just go off and the credits roll,” Krankel said.

Fincher and Cregger weren’t the only big names that Krankel and Night School worked with for the title, which stars Kravitz, Sink and prolific video game voice actor Baker (“The Last of Us,” “Indiana Jones and the Great Circle”). Krankel says they had access to that high-caliber because “the casting team for this game is the team that works on film and TV and everything else” at Netflix.

“This was the thing that helped with making something so weird and not just a game, because we did really treat it as like a playable, interactive thriller,” Krankel said. “And I hate having these terms that are squishy — ‘it’s a transmedia this’ and ‘it’s a transmedia that’ — but we were like, let’s do right by this concept, which is a playable ride, essentially, that has a story. I truly believe it wouldn’t work without a great story under the hood. Otherwise, it would be a tech demo with a few gory beats. So we really prioritize the story first and even if it happens fast, like the Ava and Claire relationship, and the two of them having this ‘Rear Window’-esque kind of thing, where she can see and be a lifeline at times, that was foundation number one, not, let’s watch somebody’s entrails get pulled out. It was, how do we have these two best friends who are both equally capable get through this crazy situation?”

Whatever you want to call it, “Unhinged” is a playable piece of media, so Night School still approached it as a game — but had to think through what that really means at its core when there’s no traditional controller involved in the game mechanics.

“It seemed like a monumental challenge in the beginning, because we were like, how do we replicate the types of inputs that we are familiar with from other games?” Krankel said. “And we had to just break our brains apart, and it took a long time for folks on the team, myself included, to not go, ‘It’s not a game if you don’t X.’ Like, ‘It’s not a game if I can’t literally choose exactly where I go.’ The flip side of that is like, it’s also not a good game if I am playing a first-person game and I’m walking into a wall, looking at my shoes or at a plant when a dude’s trying to kill me. Or when I’m trying to look around, I don’t need to circle strafe him and snipe him and stuff like that. So I love for our team to come from a place of player fantasy, and that player fantasy sometimes can just be expressed through passive moments. Sometimes that player fantasy can be expressed through a simple toy that just feels good, briefly. Now, for the narrative team, which is my whole area of focus is, I think we have the benefit of going well, the player’s fantasy is embodying a character and that could play out in a cut scene, or that could play out in just the bespoke nail gun sequence. But that doesn’t mean we need to make a great nail gun game that you get better at and upgrade and all that stuff.”

Krankel says what matters to him is “how do we use the phone in a way that the best version — and I know we’re not always going to hit it — is you go, this wouldn’t have been as good on any other thing.”

“And I believe that’s where we landed on this one,” he said. “You probably could use a controller that has a speaker on it to do some of it — but you wouldn’t have a phone that you’re looking at, and frustrating texts that you’re trying to swipe away, and turning your flashlight on and off. So it means there’s gonna be a lot of bespoke new stuff game after game, but I also think that’s the most exciting stuff.”

Before players enter the world of “Unhinged,” they will see an 18-and-up content rating that warns of the gore to come. But exactly how bloody did Fincher, Cregger and Night School want to make it and how much did they end up leaving to the imagination?

“There are some extremely grotesque moments, but we didn’t want to go there to make it like ‘Saw’ level, front to back, that level of stuff,” Krankel said. “But we did want you to feel really uncomfortable at times.”

At the climax of the horror game, Ava pulls her nailed-down hands up off a table and uses the nails to reload her nail gun and (almost) fatally shoot the killer landlord Ben. Krankel says “if it didn’t end also in her reusing those nails and loading them up, then we wouldn’t have done that. But the fact that that gruesomeness got a fast follow of equal gruesomeness just felt right for us.”

“We have to remind ourselves a lot that there’s so much great horror storytelling,” Krankel said. “Obviously, horror is having a total renaissance right now with ‘Backrooms, ‘Obsession,’ ‘Weapons,’ and all these titles in the last two years. We didn’t have awareness of all of them, but it’s more to say, other creators are going hard, and we’re like, ‘Let’s just go hard on this, let’s not shy away from it.’”

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SPOILER ALERT: This article contains spoilers for Night

EXCLUSIVE: Red Sage Studios, the YA-focused production company founded by former Amazon MGM Studios International head James Farrell, and Sun Distribution (Telefilms Group) have set Domingo González to direct an adaptation of She’s With Me, the bestselling YA novel by Jessica Cunsolo, which is the first in a series of five.

Pokeepsie Films, the production company behind the series, has also joined the project as a producer alongside Red Sage Studios, Sun Distribution, and Webtoon Productions. The film reunites González with Farrell and Pokeepsie Films following their work on Culpa Mía, a hit Spanish YA romance trilogy, which earlier this year surpassed 100 million viewers worldwide on Amazon.

Like Culpa Mía, She’s With Me originated on the digital storytelling platform Wattpad, where the series has amassed more than 215 million reads.

The story follows Amelia Collins, who is in witness protection, trying to fly under the radar as the new girl at her high school. Her plan unravels when she collides with Aiden Parker, the school’s most notorious bad boy — putting her squarely in the social spotlight and thus, in danger.

Based on the Culpables books by Mercedes Ron, Culpa Mía follows the passionate, turbulent romance between two step-siblings, Noah and Nick, across their teen years and into young adulthood. González made his feature directorial with the first film, released in 2023, which he also adapted for the screen. Subsequently, he returned as writer-director of sequels Culpa Tuya (Your Fault, 2024), and Culpa Nuestra (Our Fault, 2025).

“One of my favorite film trilogies at Amazon, and certainly our most successful, was CULPA MÍA,” Red Sage’s Farrell said. “Produced by Pokeepsie Films and written and directed by Domingo González, those films connected with audiences around the world. I’m thrilled to be reuniting with the team for She’s With Me.”

Carolina Bang of Pokeepsie Films told us, “We’ve worked with James for many years and are thrilled to partner with him on this new venture. The five books in the SHE’S WITH ME saga are incredibly compelling, and we’re excited to begin bringing them to the screen with Domingo at the helm.”

Added González: “We’ve been talking about stepping into the SHE’S WITH ME universe for quite some time. What I love about this story is that it has everything: romance, suspense, drama, and humor.”

Farrell announced the launch of Red Sage Studios, a company focused on premium young adult feature storytelling, earlier this year. The company operates in partnership with Sun Distribution Group, with Farrell serving as CEO, and has targeted IP with passionate, built-in fanbases across both traditional publishing and prominent digital platforms like Wattpad and Webtoon.

Amid the expansion of the company’s slate, they’ve announced the hiring of Nick Lafferty as Chief Operating Officer following 11 years at CAA, where he most recently served as Co-Head of Global Television, working with leading writers, actors, and directors across Latin America, Europe, and Asia.

Farrell explained of the move, “The slate is getting bigger by the day, and it was important that we add someone with an unparalleled network in talent communities around the world and a deep understanding of the business. I’ve been fortunate to know Nick for more than a decade, and there was never anyone else who I thought would be a better fit for what we’re building.”

Lafferty said, “It’s been an incredible 11 years at CAA, and I am grateful to my colleagues for their collaboration and support. When James first told me about the opportunity with Red Sage, I immediately knew it was something I wanted to do.”

Previously announced projects on Red Sage’s feature slate include The Bridge Kingdom, based on the first installment in a six-part, New York Times bestselling romantasy series from Danielle L. Jensen, and Let’s Play, based on the Eisner-nominated and Ringo Award-winning romance webcomic by Leeanne M. Krecic.

Pokeepsie Films and Red Sage Studios are represented by CAA.

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EXCLUSIVE: Red Sage Studios, the YA-focused production company

The Golden Ticket. Season 1 of The Golden Ticket. Cr. Courtesy of Netflix © 2026

A brand-new unscripted series celebrating the 55th anniversary of the 1971 film Willy Wonka and the Chocolate Factory is coming to Netflix on September 23, 2026. The brand new series will see 12 Golden Ticket Winners step into the world of Wonka’s Chocolate Factory, where they will compete in various challenges to earn a life-changing prize.

Wonka’s The Golden Ticket is a brand new Netflix Original unscripted competition series that will premiere on the streaming service on September 23, 2026. There will be a total of 9 episodes, with the first 7 dropping upon release, and then a two-part finale on September 30, 2026. Each episode will have a runtime of 50 minutes. 

The series will also bring back the beloved voice of Gene Wilder, the original Willy Wonka from the classic 1971 film. It has been confirmed that the Wilder estate has given consent for Gene Wilder’s voice to be recreated, and Karen B. Wilder, Gene’s wife, shared a statement on behalf of the estate:

“More than five decades after Gene brought Willy Wonka to life, people of all ages and backgrounds around the world continue to find joy, laughter and inspiration in his performance. Gene had a remarkable ability to bring humor, wonder and heart into people’s lives, and that connection has endured for generations. We are delighted that Wonka’s The Golden Ticket celebrates the warmth and imagination that he brought to the role, introducing that magic to a new generation while honoring the fans who have cherished it for decades.”

Gene Wilder Willy Wonka NetflixGene Wilder Willy Wonka Netflix

Picture: Gene Wilder as Willy Wonka in 1971’s Willy Wonka and the Chocolate Factory

Also confirmed for the series is Rusty Goffe, who will reprise his role as an Oompa Loompa.

Rusty Goffe Wilder Willy Wonka NetflixRusty Goffe Wilder Willy Wonka Netflix

Picture: Rusty Goffe was one of the original Oompa Loompa’s in the 1971 film Willy Wonka and the Chocolate Factory

Producing the series is Eureka Productions, with Chris Culvenor, Paul Franklin, Rikkie Proost, David Tibballs, Alison Holloway, and Emer Harkin as executive producers. Production took place on the Gold Coast, Australia.

Netflix has released a synopsis for the series:

“Twelve lucky Golden Ticket winners, each with a partner of their choosing, will step through the gates of Wonka’s Chocolate Factory and into a world of pure imagination, delicious mischief, and unexpected challenges. Once inside, contestants must navigate a series of Wonka’s games, tests, and temptations designed to challenge them physically, mentally, and morally. In this high-stakes social experiment, players will journey through the factory’s wondrous and unpredictable landscape, adapting, strategizing, and withstanding the unknown while proving they have the instincts, resilience, and character to thrive in chaos. In the end, only one contestant will have what it takes to earn Wonka’s life-changing prize.”

A teaser trailer for the series has also been released by Netflix.

 


Are you looking forward to watching Wonka: The Golden Ticket on Netflix? Let us know in the comments below!

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The Golden Ticket. Season 1 of The

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It’s an AI-fueled return to the Chocolate Factory. Netflix has partnered with the AI audio firm ElevenLabs to recreate the voice of actor Gene Wilder, who originated the character’s live-action look in 1971’s “Willy Wonka and the Chocolate Factory” and who died in 2016, for its new unscripted reality show “Wonka’s The Golden Ticket.” 

The show, which premieres on Sept. 23 and is produced by Eureka Productions, will see 12 “Golden Ticket” winners and their selected partners enter a version of Wonka‘s Chocolate Factory to compete in a series of games over nine episodes inspired by the film and Roald Dahl’s “Charlie & the Chocolate Factory.” Netflix promises the show’s one winner will leave with “Wonka’s life-changing prize.” (No word on a lifetime supply of chocolate.)

The AI recreation of Wilder’s voice was done in collaboration with Wilder’s estate, mirroring ElevenLabs’ recreations of contemporaries including Judy Garland and Burt Reynolds. The announcement came on the 55th anniversary of the 1971 feature’s premiere, the latest synergistic effort by ElevenLabs. Last week, it released an “Odyssey” audiobook featuring an AI-recreated Michael Caine ahead of Christopher Nolan’s feature adaptation, and it debuted a version of “The Wonderful Wizard of Oz” read by an AI Garland ahead of “Wicked: For Good” last year.

“More than five decades after Gene brought Willy Wonka to life, people of all ages and backgrounds around the world continue to find joy, laughter and inspiration in his performance,” Karen B. Wilder, Wilder’s wife, said in a statement on behalf of the Gene Wilder Estate. “Gene had a remarkable ability to bring humor, wonder and heart into people’s lives, and that connection has endured for generations. We are delighted that ‘Wonka’s The Golden Ticket’ celebrates the warmth and imagination that he brought to the role, introducing that magic to a new generation while honoring the fans who have cherished it for decades.”

The show will also see Rusty Goffe, who portrayed an Oompa Loompa in the 1971 feature, reprise the role during the challenges. It marks Netflix’s latest Roald Dahl adaptation since it acquired the Roald Dahl Story Company in 2021. “Wonka’s The Golden Ticket” was filmed in Australia, and its executive producers include Chris Culvenor, Paul Franklin, Rikkie Proost, David Tibballs, Alison Holloway and Emer Harkin.

Watch the trailer below:

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It’s an AI-fueled return to the Chocolate

Clive Davis, the record executive who signed some of the 20th century’s most influential and enduring pop musicians, has died. His death was confirmed to The Hollywood Reporter, which confirmed that he died in his home in New York. He was 94 years old. 

Starting his career at Columbia Records and eventually founding Arista Records, Davis put together a murderer’s row of talent on the imprints he worked on throughout his life. At Columbia, he signed Janis Joplin, Santana, Bruce Springsteen, Billy Joel, and Aerosmith, to name just a select few. At Arista, Davis signed Ace Of Base and Alicia Keys (among many more). Davis teamed with L.A. Reid and Babyface to create LaFace Records, which found talents Usher, TLC, and Outkast, and founded Bad Boy Records with Sean “Diddy” (“Puffy,” at the time) Combs. As a producer, Davis won four Grammy Awards, and was inducted into the Rock And Roll Hall Of Fame as a non-performer in 2000. 

Born in Brooklyn in 1932, Davis attended New York University before moving on to Harvard Law. When Davis was 28, he was hired as an assistant counsel for Columbia Records—actually the highest-selling classical label at the time. Fairly quickly, he was promoted to administrative vice president and general manager, and by 1967, Davis was appointed president of the record label, turning its eye toward rock music that it had been previously less interested in. One of his first outings as president was to the famed Monterey International Pop Festival, where he witnessed Janis Joplin perform. “I really had to go into some deep thinking, because I couldn’t read music, I couldn’t play music. I was head of the third-largest label of the day, okay, but never did I dream that I would ever sign an artist,” he recalled on a MUBUTV podcast in 2024. “That was a moment of truth for me… she was the first artist that I ever signed.” 

It wasn’t just rock that Davis put a spotlight on, but R&B and progressive acts, too. This sometimes led to clashes between artists and the label, but Davis’ recollection of events usually focused on how he was able to overcome these hiccups. His signing of Blood, Sweat and Tears and Chicago had earned the ire of Miles Davis, who resented Davis signing “long-haired white kids and they’re stealing from me and they’re selling millions,” according to People. In return, Clive Davis offered the jazz musician a role “as a special guest star for some of my signings,” where Miles would watch college students listen to music and tell them what was resonating. “He agreed, and the album that came out of that experience was Bitches Brew,” the exec recalled. “And it really did great. He called me up and said, ‘You delivered. You’re a great man.’”  

After seven years at Columbia Records, Davis was offered deals from all corners of the music industry before taking a deal with Columbia Pictures (then a completely separate company) to create the Arista imprint. Applying the lessons he learned at Columbia, Davis was able to build a robust, eclectic slate of artists, including Barry Manilow, Aretha Franklin, and Patti Smith. In a 2013 interview, Davis recalled how he began focusing more on the “repertoire” side of A&R, becoming more determined to produce hits for artists. This was not always popular with artists. “Barry didn’t wanna record or write the songs,” Davis recalled in conversation with the Recording Academy. “You go into surviving occasional differences and benefitting from it. When I saw him on Broadway 37 years later… every song is now a standard. Not just a hit.” 

But perhaps the most famous discovery of Davis’ career was of Whitney Houston, who the exec first saw perform as a backup singer for her mother, Cissy Houston. During the set, Whitney sang two solo songs, one of which was “The Greatest Love Of All,” a song originally written for the Muhammad Ali biopic The Greatest and would go on to become a number-one song for Houston in the 1980s. “From the beginning of that song, she was finding more meaning in that song than even the composers… could have thought,” Davis recalled during an interview with Jimmy Fallon. Davis won his first Grammy for his work on The Bodyguard soundtrack, which spawned Houston’s cover of “I Will Always Love You,” one of the best-selling singles of all time. The two remained close throughout the rest of Houston’s life. 

In the new millennium, Davis continued on, even as mergers and acquisitions shook up the industry. Arista was eventually dissolved and folded under RCA records, while Davis moved up the ladder of the parent company, Sony. As of early 2025, Davis was still actively working as chief creative officer at Sony Music. He also spent much of his final years promoting the legacies of the artists he worked with, serving as a producer on the 2022 Whitney Houston biopic I Wanna Dance With Somebody and appearing in the film as a character played by Stanley Tucci. “What I’m most proud of is the long-lasting nature of so many of the artists that I’ve been at the discovery of,” Davis told Billboard in 2009. “There is a tremendous feeling of pride that my artists, some of them become family.”  

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Clive Davis, the record executive who signed

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Josh Wakely’s Grace Games has signed with CAA for representation across all areas.

The newly launched interactive label from Wakely’s production banner, Grace: A Storytelling Company, is focused on “building premium titles rooted in globally recognized artists and cultural icons.”

The New York-based Grace Games is currently in development on an initial slate of several 8-to-15 hour, single-player titles for console and PC.

Grace Games is led by Josh Wakely, Sprinklr vet Matt Tedder, who serves as chief operating officer, and Daniel Lehrich (Netflix Gaming, Activision, Disney) as chief product officer.

In partnership with CAA, Grace Games plans to operate as an “IP steward, story architect, and production company, the company generates and refines original concepts internally before partnering with top-tier game studios for execution.” The company says it aims to “exploit the intersection of iconic entertainment brands and prestige narrative-driven gaming.”

“CAA understands the kind of boundary-pushing, artist-centered storytelling we’ve built at GRACE and the scale of what Grace Games can become,” Wakely said. “Their ability to create one-of-a-kind opportunities across current and evolving platforms makes them the ideal partner as we introduce beloved artists and iconic cultural narratives to an entirely new interactive audience.”

“Grace has built a unique platform at the intersection of music, storytelling, and culture, and their vision for bringing iconic artists and narratives into gaming is incredibly compelling,” CAA head of games Derek Douglas said. “As audiences increasingly engage with entertainment across platforms, Grace Games is creating experiences that honor beloved IP while meeting gamers where they are. We’re excited to partner with the entire Grace team as they expand their reach and build a new category of prestige interactive entertainment.”

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Josh Wakely’s Grace Games has signed with

A divided U.S. Supreme Court on Tuesday upheld a broad conception of birthright citizenship, rejecting President Donald Trump’s executive order declaring that children born to people who are in the United States illegally or temporarily are not American citizens.

The justices relied on a long-settled understanding of the 14th Amendment, adopted after the Civil War, and more recent federal laws in ruling that anyone born in the country, with very limited exceptions, is a citizen.

“Citizenship, then and now, was the right to have rights—to freely participate in our political community. The Framers of the Fourteenth Amendment extended that promise to ‘every free-born person in this land,’” Chief Justice John Roberts wrote for the court, citing congressional debate over the amendment. “We keep that promise today.”

Three conservative justices would have allowed the restrictions to take effect.

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“The Court today takes the extraordinary step of holding facially unconstitutional the President’s Order excluding from citizenship the children of foreign temporary visitors and illegal aliens,” Justice Clarence Thomas wrote in a 91-page dissent, more than three times as long as Roberts’ opinion. “In doing so, the Court adds to the sad history of the Fourteenth Amendment, which was designed and understood to secure equal rights for the freed blacks but has instead been repurposed for political projects that the Reconstruction Congress did not support.”

The Republican president’s restrictions had been blocked by several lower courts and had not taken effect anywhere in the U.S.
During arguments in April, both conservative and liberal justices questioned the order’s legality in a momentous case that was magnified by Trump’s unprecedented attendance in the courtroom.

The case framed another test of Trump’s assertions of executive power that defy long-standing precedent for a court with a conservative majority and a robust view of presidential power that has largely ruled in his favor. In the notable exceptions when the court has not, Trump has responded with starkly personal criticisms of the justices.


Click to play video: 'U.S. Supreme Court limits judges’ ability to stop Trump'


U.S. Supreme Court limits judges’ ability to stop Trump


The justices ruled on Trump’s appeal of a lower-court ruling from New Hampshire that struck down the citizenship restrictions.
The birthright citizenship order, which Trump signed on the first day of his second term, is part of his administration’s broad immigration crackdown.

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Birthright citizenship was the first Trump immigration-related policy to reach the court for a final ruling. The justices previously struck down global tariffs Trump had imposed under an emergency powers law that had never been used that way.

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Trump reacted furiously to the late February tariffs decision, saying he was ashamed of the justices who ruled against him and calling them unpatriotic.

He also seemed to recognize the court was likely to rule against him on birthright citizenship, too, using his Truth Social platform to criticize “dumb judges and justices” and wealthy pregnant women from China and elsewhere who come to the U.S. to give birth so their newborns will have American citizenship.

Trump’s order would have upended widely held views that the 14th Amendment confers citizenship on everyone born in the U.S., excluding only the children of foreign diplomats and those born to a foreign occupying force.

The amendment was intended to ensure that Black people, including former slaves, had citizenship, though the Citizenship Clause is written more broadly. “All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the State wherein they reside,” it reads.


In a series of decisions, lower courts have struck down Trump’s executive order as illegal. The decisions have invoked the high court’s 1898 ruling in Wong Kim Ark, which held that the U.S.-born child of Chinese nationals was a citizen.

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Roberts, joined by Justice Amy Coney Barrett and the three liberal justices, said the amendment’s language, the historical context and the 1898 case make clear that children born to parents illegally or temporarily in the U.S. “are citizens at birth.”

But there was only a bare majority of five justices on the constitutional question.


Click to play video: 'Trump’s birthright citizenship order temporarily blocked by federal judge'


Trump’s birthright citizenship order temporarily blocked by federal judge


Justice Brett Kavanaugh sided with the majority, but only because of a federal law that makes those children citizens.

Kavanaugh joined the dissenters in finding that Trump’s order does not violate the Constitution. His view would enable a future Congress to change the law to restrict birthright citizenship.

The Trump administration had argued that the common view of citizenship is wrong, asserting that children of noncitizens are not “subject to the jurisdiction” of the United States and therefore are not entitled to citizenship.

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More than one-quarter of a million babies born in the U.S. each year would have been affected by the executive order, according to research by the Migration Policy Institute and Pennsylvania State University’s Population Research Institute.

While Trump has largely focused on illegal immigration in his rhetoric and actions, the birthright citizenship restrictions also would have applied to people who are legally in the United States, including students and applicants for green cards, or permanent resident status.

&copy 2026 The Canadian Press

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A divided U.S. Supreme Court on Tuesday

The cat-and-mouse game of Nemesis will continue for another season.

Netflix has renewed the drama, created by Courtney A. Kemp (Power) and Tani Marole, for a second season. The pickup comes about six weeks after Nemesis premiered; the show spent its first five weeks in the streamer’s worldwide top 10 for English-language series.

“I feel blessed to get a season two. We thank the fans. It’s because of them — there’s no other reason,” said Kemp, who is the showrunner on Nemesis. “It’s them showing up, them talking about it and their huge social media response. We are grateful to Netflix for recognizing the power of our audience and bringing us back for the fans.”

Added Marole, “Season two, we’re very grateful to have it. We’re going to make sure those questions get answered — and even more questions are available for you to answer. Make no mistakes, season two is going to be bigger and better.”

Nemesis stars Y’Lan Noel as a master thief and Matthew Law as an LAPD detective obsessed with bringing him to justice. Cleopatra Coleman, Tre Hale, Domenick Lombardozzi, Jonnie Park, Ariana Guerra, Gabrielle Dennis, Michael Potts, Sophina Brown, Cedric Joe and Jeff Pierre also star in season one.

Kemp told The Hollywood Reporter that “Netflix asked us to wrap it in a place where you wouldn’t need a second season, and I was like, ‘Bet, we’re not doing that.’” The season ended with Noel’s Coltrane Wilder going on the run after Law’s Isaiah Stiles let him go in order to save his son (Joe). Kemp declined, however, to elaborate too much on her season two plans to THR, saying “I think we have made it pretty clear that there are some more consequences coming for Stiles. And I think we have definitely ended the season where Coltrane’s gonna have to go find his wife. And that’s pretty much all I can say.”

“Courtney and Tani have built something truly special with Nemesis — a show that captivated audiences and never let go,” said Nne Ebong, Netflix’s vp studio scripted series for the U.S. and Canada. “Watching the global response has been extraordinary; this series resonated with fans in a way that was electric and far-reaching. Their vision, craft, and passion are unmatched, and we couldn’t be more thrilled to continue this journey with them into season two.”

Kemp — who signed an overall deal with Apple TV shortly after Nemesis premiered — executive produces Nemesis via her End of Episode company. She executive produces with Marole, Chris Selak for End of Episode and Philipp Barnett.

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The cat-and-mouse game of Nemesis will continue

“The Super Mario Galaxy Movie” will be available to stream in July.

The animated sequel to 2023’s smash hit “The Super Mario Bros. Movie” will be streaming exclusively on Peacock on July 30, the streamer announced on Tuesday.

In addition to “The Super Mario Galaxy Movie,” the first “Mario” movie and hours of bonus content will also be streaming on Peacock at the same time, including a making-of documentary.

The Illumination Entertainment and Universal Pictures sequel hit theaters in April and quickly became a monster hit, going on to gross over $1 billion at the box office.

The story finds Mario (Chris Pratt), Luigi (Charlie Day) and Princess Peach (Anya Taylor-Joy) on a mission across the galaxy that brings them into contact with Bowser Jr. (Benny Safdie) and Peach’s sister Rosalina (Brie Larson). There’s also Donald Glover as Yoshi and Glen Powell as Star Fox.

The streaming release date comes as Illumination’s next monster hit, “Minions & Monsters,” hits theaters over the July 4th holiday.

So mark your calendars for July 30 to stream “Super Mario Galaxy Movie” to your heart’s content, and see the full list of streaming bonus features below.

  • Next Level: Making The Super Mario Galaxy Movie
    Go behind the scenes of this epic journey across the cosmos as the visionary creators at Nintendo, the acclaimed filmmakers and artists of Illumination, and the extraordinary cast who redefined these iconic characters reveal the artistry behind every meticulously crafted moment.
  • Cast of Characters
    Explore how this impeccable cast masterfully embodied the iconic Mario Bros. characters, honoring their legacy while captivating audiences across generations worldwide.
  • Exploring the Galaxy
    Guided by the filmmakers and cast, audiences embark on a journey through the film’s most iconic settings, revealing the thoughtful layers of nostalgia embedded in each one.
  • Galactic Thematics
    The emotional core of any Super Mario Bros. film lies in its relationships. This piece delves into the bonds between characters, examining the alliances that are tested, the connections that are broken, and those that endure and evolve forever.
  • Cosmic Tunes
    Some sounds are unmistakably Super Mario Bros. Composer Brian Tyler invites audiences inside his creative process, reimagining the franchise’s iconic game music as a powerful cinematic score that drives the action and elevates this epic adventure.
  • Power-Ups
    There is no greater tool in the galaxy than a perfectly timed power-up. Take a closer look at the many power-ups featured in the film, explore how the filmmakers selected which to include, and hear from the cast as they share their personal favorites.
  • Secrets of the Galaxy
    Brimming with cleverly hidden Easter eggs, the film invites fans to return again and again to catch them all. In this feature, the filmmakers and cast offer insider guidance on where to look, what to watch for, and the surprises waiting to be discovered.
  • Seen on the Screen Podcast Episode: Brie Larson
    Academy Award–winner Brie Larson sits down with Jacqueline Coley to discuss her lifelong love of gaming, share behind-the-scenes stories, and reflect on bringing Rosalina to life in The Super Mario Galaxy Movie.

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“The Super Mario Galaxy Movie” will be

Josh Peck revealed on the “Financial Tea with Mrs. Dow Jones” podcast that he and his “Drake and Josh” castmates earned far less from the Nickelodeon series than fans might assume, with take-home pay landing around $125,000 a year over the show’s four-year run.

Peck told the podcast’s host that the cast started out making $3,000 an episode on “The Amanda Show” before moving to “Drake and Josh,” which ran 60 episodes total. By the time the show wrapped, the average per-episode rate had climbed to about $15,000.

“So over four years, we wound up making about $900,000, but I think we probably, between agent, manager, and taxes, we cleared half of that,” Peck said.

With four years of steady work factored in, Peck put the annual take-home figure at roughly $125,000. He noted that the show generated no residuals, a structure he said was standard for kids’ television at the time.

Peck said the cast had little leverage in negotiations because Nickelodeon represented essentially the only outlet for young performers working at that level. The host raised the example of the “Friends” cast negotiating collectively, contrasting it with the “Gilmore Girls” cast, who she said did not negotiate together and were paid less as a result.

“It was a different time and I think it was… there was only one sort of place to do it, right?” Peck said. He added that he and his peers accepted the arrangement because there was no alternative network, streaming platform or other avenue to take the work elsewhere instead.

Peck, who grew up with a single mother and described his family as moving between lower-middle-class and broke, said becoming the household’s primary earner as a teenager shaped a lasting financial anxiety. He said the experience left him fixated on small expenses even after his income grew substantially.

He credited his mother, his accountant and his Big Brothers Big Sisters mentor, Dan, with helping him build long-term financial habits centered on low-cost index fund investing rather than high-risk swings. Peck said he did not purchase a home until his mid-30s, opting instead to maintain a financial cushion in case work became inconsistent.

Peck launched his career as a child stand-up comedian in New York before moving into acting, debuting in the film “Snow Day” in 2000 and joining the Nickelodeon sketch series “The Amanda Show” that same year, where he first worked alongside Drake Bell. He drew critical notice for the 2004 drama “Mean Creek,” and went on to voice Eddie in the “Ice Age” franchise from 2006 to 2016 and Casey Jones in Nickelodeon’s animated “Teenage Mutant Ninja Turtles” from 2012 to 2017. His other credits include “The Wackness,” “Red Dawn,” the Fox series “Grandfathered” opposite John Stamos, the Disney+ series “Turner & Hooch,” Hulu’s “How I Met Your Father” and a supporting turn in Christopher Nolan’s “Oppenheimer.”

Peck currently hosts “Good Guy’s Podcast” and continues to take on acting and brand deal work, which he said he selectively turns down to remain available for his family.

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Josh Peck revealed on the “Financial Tea

“No, you can’t come to the wedding,” Taylor Swift sang on her 2024 track “But Daddy I Love Him.”

It was, perhaps, an early lyrical hint at what was to come.

The pop star and her professional football player fiancé, Travis Kelce, announced their engagement in a joint Instagram post in August 2025. Since then, in interviews, Swift has joked about her extensive invitation list and Kelce has hinted at their musical preferences, but the pair has otherwise been tight-lipped about any forthcoming nuptials.

Though details have begun to emerge about the celebrations — with a 100-person event and a 1,000-person event planned at Madison Square Garden in early July — the couple has not hinted at how they might share their wedding with the public.

In the 1990s and early 2000s, there was an order of operations for a celebrity wedding reveal. A couple would attempt to evade the prying eyes of paparazzi cameras and then release their official wedding photos in a glossy magazine like People or Vogue. Brad Pitt and Jennifer Aniston, for example, graced the cover of People with an exclusive black-and-white photo from their wedding. In 2007, OK! paid a reported $2 million for photos from the wedding of Eva Longoria, the “Desperate Housewives” star, and the basketball player Tony Parker.

That pattern has changed significantly now that digital and social media have thrust every detail of a celebrity’s life into public view, several wedding industry experts said.

Some celebrities still lean on legacy media interviews, or they might choose to take the reins by using their social media accounts. In some cases, as with the wedding of Selena Gomez and Benny Blanco, posting a smattering of photos might quell the public frenzy for information. Other couples seem to lean in, however, including the Amazon founder Jeff Bezos and his wife, Lauren Sánchez Bezos, who chose Venice as the less-than-secret location for their guests. Still, even as leaks abound, other mega-celebrities have managed to keep events tightly sealed, as with Jay-Z and Beyoncé’s intimate apartment wedding.

“It’s no longer always a negotiated exclusive with a staged magazine shoot and a controlled interview,” said Brittny Drye, 41, founder of the wedding publication Love Inc. “Celebrities are sharing on their own platforms. They’re their own media, essentially.”

Many couples opt for a hybrid model, Jill Fritzo, a celebrity publicist, said. When her client Paris Hilton married the venture capitalist Carter Reum on a Bel Air estate in 2021, the event was broadcast on Hilton’s social media channels, covered in Vogue and even chronicled in a docuseries, “Paris in Love.”

“Her audience is so huge in social media, but at the same time, I still wanted the elegance and that gravitas of the old school,” said Fritzo, who is 56 and based in New York City.

There was no shortage of paparazzi photos or social media posts when the singer Dua Lipa wed Callum Turner earlier this summer, first in a ceremony at a beloved town hall building in London and then, later, in a multiday affair in Sicily. Lipa herself posted ample pictures from both on Instagram, but waited to reveal her Chanel wedding dress.

Just days after her wedding to Blanco, Gomez posted several behind-the-scenes photos from the event on Instagram. She also posted plenty of professional images from the weekend, but it was the more imperfect images that stood out. A dump of grainy smartphone photos — the kind a noncelebrity might post after attending a friend’s wedding — made followers feel as though they were there.

“The couple can enjoy every moment knowing that they’re not being followed,” said Mindy Weiss, the Los Angeles-based planner for Gomez and Blanco’s wedding. She quickly added, “Well, I think they’re still being followed, but not for that picture.”

Weiss, 67, said that “realness” resonated strongly with Gomez’s fans and also “takes that pressure off” in the race among paparazzi to capture the first photo of an A-list wedding.

Those photos are also, in a way, a gift to fans.

“I feel like this is almost the best of both worlds, because it satisfies the public’s immediate curiosity,” Drye, the wedding publication founder, said. “Everyone wants to know: ‘What did you look like?’ And ‘what designer did you wear?’ but the couple is still being able to control what images are being shared and what story is told.”

There are plenty of other ways celebrity couples can reveal their weddings, too. In 2022, Jennifer Lopez shared her and Ben Affleck’s midnight wedding in Las Vegas in a newsletter sent to fans, before a larger event held in Georgia that was mostly kept private. Jay-Z and Beyoncé showed some of the first glimpses of their 2008 wedding six years later, playing footage onscreen during their “On the Run” tour.

Marcy Blum, 72, a wedding planner in New York whose clients have included LeBron James and Billy Joel, said that keeping a celebrity wedding entirely under wraps is a difficult task, often requiring NDAs, tight circles and checking of guests’ cellphones. (Even with extra measures, details sometimes leak.)

Weiss, who planned Gomez and Blanco’s wedding, added that guests occasionally brought two phones in an attempt to circumvent the tech rules and that she and her team were often on high alert.

Meghan Ely, a wedding publicist who lives in Richmond, Va., said that Zendaya and Tom Holland’s wedding — which the couple confirmed only months later with few details — might signal a cultural shift.

“If you don’t want the attention and you have the right team, it can be done this way,” Ely, 45, said.

For Swift and Kelce, keeping details close to the chest was in keeping with how they had shared other news, including their announcement of their engagement on Instagram after the fact.

“I do think that there will be a wedding reveal for her,” Drye said, “but I think it’s going to happen entirely on her own timeline, on her own platform.”

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“No, you can’t come to the wedding,”

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What saved the experience was the absence of a maximum cashout cap on the bonus funds themselves. Many casinos cap winnings from bonus play at a fixed amount, but here I could withdraw my full balance once wagering was done. I double-checked by reading the terms and speaking to support. That one factor transformed the bonus from a promotional trick into a real opportunity to win actual money.

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I reviewed the responsible gambling section to see what controls were available. I discovered deposit limits, session time reminders, and a self-exclusion option that could be enabled immediately from my account dashboard. The cooling-off period was simple to set and didn’t require me to contact support. I additionally spotted a reality check pop-up that I could adjust to appear at intervals of my selection.

While the tools were not as thorough as those enforced by UKGC-licensed sites, they were functional and clearly indicated. I could also access a self-assessment questionnaire and links to external support organisations. For a casino that promotes a “rush,” it’s crucial that it also offers a way to halt that rush. Betfan Casino did enough to show it takes player welfare seriously.

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When it was time to cash out, I filed a withdrawal request via the same e-wallet I used for depositing. The pending period clocked in at under four hours, considerably faster than the 24-48 hour window I’ve seen at many competitors. Once approved, the funds arrived in my Skrill account almost instantly. I checked the withdrawal policy and found that e-wallets consistently get same-day processing, while card and bank transfer payouts take two to five business days.

The minimum withdrawal amount sat at £20, reasonable for casual players. I didn’t bump into any weekly or monthly caps during my test, but the terms stated a standard upper limit that could be raised for VIP players. I appreciated that the verification process only activated for larger sums; my smaller cashout went through without a document request. This tiered approach achieved security with convenience perfectly.

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I ran a second withdrawal of a slightly larger amount on purpose to see if the process changed. This time I was asked to upload proof of identity and address. The upload portal was straightforward, and my documents were reviewed within six hours. I got an email confirmation, and the funds were released the same day. The experience came across as professional, not like an unnecessary roadblock designed to stall payouts.

I further tested the withdrawal cancellation feature, which enabled me cancel a pending cashout and send the funds to my gaming balance instantly. That’s a double-edged sword for responsible gambling, but it worked as advertised. The transaction history was detailed and exportable, which enabled me manage my bankroll. Overall, the banking system reinforced the “real wins” promise by effectively getting my money to me fast.

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I headed to the table games area next, which was arranged clearly into blackjack, roulette, baccarat, and poker variants. I spotted over forty blackjack tables, including multi-hand and high-limit versions. The rules sat visible before I joined each game, and the virtual felt reacted without delay. I took extra time on the European Roulette single-zero variant, which provided a lower house edge and seemed fair for strategic play.

Video poker fans get a proper seat at the table. I found Jacks or Better, Deuces Wild, and Aces and Faces all available in multi-hand formats. The paytables were simple to pull up, and the auto-hold feature worked without a hitch. I enjoyed that the casino didn’t hide these games in a sub-menu; they featured their own dedicated tab. For someone like me who prioritizes game depth, this section demonstrated Betfan Casino isn’t just a slot warehouse.

Live Dealer Action

A live casino lobby ran on Evolution Gaming and Pragmatic Play Live, a pairing that works. I joined a Lightning Roulette room and a professional dealer greeted me within seconds. The stream came through in HD, and I could switch between multiple camera angles. The chat function was active, and I watched real-time banter between players and the host, which provided a social layer I often miss in digital games.

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Mobile Gaming Experience

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I challenged the mobile platform by running several slots at once in different tabs. Memory usage stayed low, and my phone didn’t warm up the way it does with poorly optimized casino sites. The cashier and support chat were completely working on mobile, and I completed a deposit using Apple Pay without navigating away from the game screen. That level of integration is precisely what I expect when evaluating a modern casino.

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Customer Support: Reaching Out

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E-mail and Help Section

I also sent an email query to gauge the non-urgent support. I received a reply within four hours, a respectable turnaround. The response was thorough and included direct links to the relevant policy sections. I didn’t sense that it was a canned response; the support person referenced my name and the exact details of my issue.

The FAQ section, while not the most extensive I’ve seen, covered the basics well. It responded to common concerns about ID checks, payout schedules, and bonus trigger conditions. I would have liked a searchable knowledge base, but the existing categories were enough to resolve most of my doubts without needing to contact anyone. Overall, the support ecosystem felt reliable and well-staffed.

I landed on Betfan Casino's homepage and

For the past decade, the multicolored, geometric logo of A24 has served as a secular gospel for South African cinephiles.

Stepping into the worn velvet twilight of Cape Town’s Labia Theatre or the intimate creative hub of Johannesburg’s Bioscope, audiences knew they were about to witness something defiantly human, beautifully strange, and resolutely independent of the Hollywood conveyor belt.

From the heartbreaking poetry of Moonlight to the cosmic absurdity of Everything Everywhere All at Once, A24 established itself as the ultimate global sanctuary for pure storytelling.

The newly announced DeepMind partnership represents a fundamental, unsettling shift in who controls the future of human culture. Sophia Shin, who handles communications for A24, quickly sought to clarify the scope of the arrangement.

“This is a research partnership,” Shin stated. “We’re working side-by-side with DeepMind’s researchers to learn, iterate, and build, having an active hand in shaping new tools and workflows.”

A24 executives insist that the partnership is a defensive measure designed to protect artists rather than exploit them.

“This partnership exists because we want to dictate what tools get built for artists, so they have a voice in shaping them rather than having tools handed to them,” Shin stressed.

“We’d rather have a seat at the table than on the sidelines. Our relationship with our audience is something we don’t take for granted.”

In an effort to soothe the anxieties of its audience, A24 confirmed that the partnership will not allow outside users to generate automated films featuring copyrighted studio characters, nor will the studio use its existing catalog of cinematic work to feed Google’s software development.

“Truth is, we don’t necessarily love any of the current, automated outputs on screen in Hollywood,” Shin admitted. “I don’t even know if ultimately we’d create tech on that front. This partnership is about learning and helping pain points in workflows behind the scenes more than anything else.”

However, independent cultural critics remain deeply skeptical. Esther Rosenfield suggests that the tech giant is simply attempting to borrow the cultural currency of the indie studio.

“In the same way Disney sells nostalgia, A24 has sold the feeling of being very hip and cutting-edge for as long as they’ve been around,” Rosenfield observed.

Andrew DeWaard, a media studies professor at UC San Diego and author of Derivative Media: How Wall Street Devours Culture, agrees, arguing that the transaction aligns perfectly with Silicon Valley’s broader strategy.

“They’ve branded their company as edgy, forward-thinking, and appealing to young people. They’ve created a fandom for their company,” DeWaard stated. Believing the tech sector uses these high-profile creative partnerships to make automated software feel entirely inescapable to the public. 

Ultimately, to understand why Google is making this move right now, look at the broader geopolitical landscape, where a massive global tech race is unfolding between America and China for AI dominance.

Google is not just buying into A24 to streamline movie editing; they are buying into A24 to borrow its “cool factor.” By partnering with a deeply respected artistic brand, the tech giant hopes to convince a skeptical public that its technology is friendly to human artists, rather than a threat to their livelihoods.

As Silicon Valley moves into the director’s chair, indie cinema’s ultimate sanctuary may never look the same.

IOL

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For the past decade, the multicolored, geometric

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Spider-Man: Brand New Day is officially honoring Tobey Maguire’s Spider-Man. Marvel Studios has heavily teased Brand New Day‘s “Spider-Puberty” storyline, which will see Tom Holland’s Peter Parker mutate, grow more powerful, and unlock new (but familiar) abilities like organic webbing. Of course, while Holland has used mechanical shooters in his whole career, the notion of organic webbing will be nothing new to him, as he saw Tobey Maguire’s Spider-Man (nicknamed Peter 2) showcasing the same talents in 2021’s No Way Home.

As part of the latest promo released by Marvel Studios for Brand New Day, Tom Holland’s Spider-Man experimented with his new organic webbing and, in turn, namedropped Tobey Maguire’s Peter 2 after their meeting in No Way Home. The reference seemingly came during Holland’s first trial run of his new powers, saying, “Organic webs – Peter 2 had them, he was cool, you’re cool.”

Marvel Studios

No Way Home drew attention to Maguire’s organic webbing as the three Peters worked in the lab to cure their Multiversal foes. It’s safe to say the rest of the webbed heroes and company reacted with some blend of shock, disgust, and confusion in realizing that Peter 2 had no need for mechanical shooters.

While Marvel Studios has a very good reason for excluding Maguire and Andrew Garfield for Brand New Day, it’s encouraging to see that the MCU’s Spider-Man is still thinking about his Multiversal Variants as much as audiences.

Holland previously confirmed that Brand New Day will pay tribute to the legacy Spider-Men as Peter 1 is “trying to be his big brothers,” such as by including details of Maguire and Garfield’s suits on his own updated costume.

The official snippet from Brand New Day‘s newest promo, in which the MCU’s Spider-Man quickly referenced his Multiversal brother, can be seen below:

Tobey Maguire & Tom Holland’s Spider-Man Are Reportedly Reuniting In the MCU

Spider-Man: Brand New Day is officially taking place four years after No Way Home‘s events and Peter Parker’s short-lived encounter with his Variants. Still, his memories with Tobey Maguire’s Spider-Man will be more relevant than ever in Brand New Day as Peter 1 gets to grips with these new, but familiar powers. 

Fans have long wondered why Maguire’s Spider-Man was the only one with organic webbing, and the answer may lie in Brand New Day‘s “Spider-Puberty” storyline, which is causing Peter 1’s mutation. Perhaps Peter 2 simply received his powers at the tail-end of Spider-Puberty for some strange reason. 

The Spider-Man blockbuster might not be the last time fans see organic webbing in action this year, as Maguire will reportedly be back this December in Avengers: Doomsday, although it seems Holland, sadly, won’t be joining him.

That said, both Holland and Maguire have been widely rumored to return for next year’s Avengers: Secret Wars with a “major” role (via Daniel Richtman). There is still no word on whether Andrew Garfield is coming along for the ride to reunite the No Way Home trio and resume the thunderous applause from audiences.

Only time will tell whether Peter 1’s organic webbing comes into conversation if they cross paths again, or if Peter 2 has also taken notes from his “big brothers” by changing up his suit, as fans will see from Holland in Brand New Day.

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Legendary video game designer and storyteller Hideo Kojima has revealed his take on DC Studios’ Supergirl.

Directed by Craig Gillespie, Supergirl stars Milly Alcock, Eve Ridley, Matthias Schoenaerts, Jason Momoa, David Krumholtz, Emily Becham, and David Corenswet. Its story sees Kara Zor-El/Supergirl (Alcock) on a journey to save her dog Krypto, along with Ruthye Marye Knoll. Both of them have a score to settle against Krem of the Yellow Hills (Schoenaerts) due to him poisoning Krypto and killing Ruthye’s family.

As he has with many films and series before, Kojima took to X to share his thoughts on the DCU’s latest: “I watched Supergirl in IMAX. It wasn’t a typical ‘hero movie’ where ‘good’ and ‘evil’ clash and the protagonist saves the Earth through self-sacrifice; rather, it was a “coming-of-age story” about saving oneself (Kara) from trauma. Its structure is less like Mad Max: Fury Road (2015)—a film driven purely by survival instincts, devoid of ‘good’ or ‘evil’—and more akin to The Good, the Bad and the Ugly (1966), featuring a crowded cast of ‘good guys,’ ‘bad guys,’ and ‘scoundrels.’“

Milly Alcock as Kara Zor-El with Krypto in Supergirl
Milly Alcock as Kara Zor-El with Krypto in Supergirl

Supergirl has been compared to Guardians of the Galaxy but with a space western twist. Kojima mentioning True Grit is telling, given that the classic film was cited as one of Tom King’s inspirations for Woman of Tomorrow. During ScreenRant’s visit to the Supergirl set, unit publicist Sophie Scott discussed how the bond between Ruthye and Kara drives the film.

“It’s Supergirl’s movie, but they are travel buddies,” Scott explained. “King’s comic, as some of you may know, was inspired by True Grit, the Western. And I think that model is very evident in our film. The two of them together is really the bulk of the film.” She elaborated that the characters are able to relate to each other due to their tragic histories: “Kara has been through childhood trauma, and Ruthye has obviously just witnessed the death of her family, but it’s not heavy-handed.“

That said, Kojima brings up the essential point that Supergirl is more a coming of age story, wherein Kara finds herself and declares what kind of hero she is. At the start of the film, she is struggling to cope with the trauma of losing her family, but she comes to accept herself through helping Ruthye process her own loss and avoid taking a dark path.

DC Studios’ Supergirl is now showing in theaters worldwide.


supergirl-poster-1.jpg


Supergirl

6/10

Release Date

June 26, 2026

Runtime

108 minutes

Director

Craig Gillespie

Writers

Ana Nogueira



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Legendary video game designer and storyteller Hideo

A US bill designed to stop paid games being terminated and being made unplayable in the future has failed to pass a Senate vote.

The Protect Our Games Act, which was proposed by California Assemblyman Chris Ward, was put to a vote at the California State Assembly last month, where it won with a vote of 43-16.

The next step was to pass the bill to the State Senate, where it was debated and voted on again. Had this vote passed, a final version of the bill would then have been created with House and Senate members before being submitted for final approval.

However, as noted on the Reddit page of Stop Killing Games – a consumer movement seeking to preserve video games after they’re taken offline, to prevent them becoming unplayable as was the case with The Crew – the bill lost the vote at the State Senate, after four Democrats voted yes, three Republicans voted no, and the rest abstained.

“Those abstentions matter,” a campaign volunteer wrote on Reddit. “In a committee vote, an abstention is not neutral. It has the same practical effect as a no, because a bill only advances if it gets a majority of yes votes. Not enough yeses means the bill stops here for this session. That is the loss”.

The volunteer also claimed that the campaign had attempted to pass the bill without any funding or lobbying, stating: “This was our first attempt, in our first year, in the United States, with a US budget of zero dollars. No paid staff in California. No war chest. No in-person lobbying operation. The timeline was so compressed that we could not get funding in place fast enough to put people in the building.”

They also accused the Entertainment Software Association of lobbying senators with “claims that ranged from misleading to flatly false”, including a claim that running a private server similar to those run for games like Minecraft would be illegal.

“We are not stopping,” they added. “Not even close. Next session, we come back with an in-person lobbying presence, the funding to do this properly, and a long list of organizations and developers signed on in support.

“We are not limiting this to California. We intend to introduce versions of this in other state legislatures, and we are seriously looking at the federal level. The ESA is about to learn what it is like to fight on many fronts at once.”

Should a bill like this eventually pass in the future it would prevent situations like Babylon’s Fall, which cost $60 but was shut down within a year.

Had the bill been passed without any modifications, publishers would have been legally required to give the public at least 60 days notice if it planned to shut down a game’s servers and prevent its “ordinary use” (to ensure players don’t buy it right before it’s shut down).

The publisher would then have to tell players the exact date the shutdown will occur, which services will no longer be provided, which game features will stop working as a result, any known security risks that might come as a result of the shutdown, and how the player can continue to either use the game or get a refund.

Publishers would then be legally required to either provide an alternate version of the game that no longer needs to connect to a server, patch or update the existing game so it can be played offline, or refund the player the full cost they originally paid for the game.

An example of how the process should work in the future is MultiVersus, Warner Bros‘ Smash Bros competitor, which was shut down in May 2025.

Although the game is no longer available, players who logged in between February 4 and its shutdown in May 30 saw their save file updated to allow an offline version of the game to continue to be playable, with all earned and purchased content available moving forward.