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All across Canada, there’s that common moment of breath-holding, the second a spin could connect someone to a jackpot https://spinsgrany.com. That connection is the heart of progressive jackpot networks. For players at Spingranny Casino, it’s a direct connection to collective prize pools that swell with every bet placed anywhere on the network. This article looks at how these networks actually work, what makes them so magnetic, and how Canadian players can approach them intelligently. We’ll break down the inner workings that link players to those enormous prizes and offer some grounded advice for this exciting part of online play.

How Spingranny Casino Integrates into the Network

Spingranny Casino functions as a gateway. Through deals with software providers, the casino connects its platform into games that are part of larger progressive systems. For the player, this link is invisible. When you pick a famous progressive slot, you’re moving into a digital arena populated with players from other regions where the game is legal. The tech enabling this happen is sophisticated. It manages real-time updates to the prize pool and coordinates the secure, instant payout process for the winner, wherever they are.

Protection and fairness are vital here. The networked jackpot totals are usually handled and audited by the game’s software creator, not by the casino itself. This adds a layer of transparency. The prize data is often displayed publicly on every connected site. For players in Canada, this means the massive jackpot figure on their Spingranny Casino screen is genuine. It also means the random number generator selecting the win is independently checked. The system functions on verified tech to give every dreamer a fair chance.

A Canadian Jackpot Winner’s Story

When a Canadian player eventually wins a major networked progressive through Spingranny Casino, a clear process starts. The win is verified right away by the game’s backend. The casino’s support team usually reaches out to congratulate the winner and initiate the validation steps. These include identity and security checks to meet regulatory requirements. Payouts for these huge wins are often processed directly by the game provider. They often give the winner a choice: a lump sum or an annuity paid over years. Each option has various financial consequences.

Tax Implications and Financial Planning

Every Canadian jackpot hopeful needs to consider taxes. The Canada Revenue Agency (CRA) generally treats lottery and gambling winnings as tax-free windfalls, since they aren’t deemed income. This covers jackpots from licensed sites. But this isn’t personal tax advice. Anyone who wins should talk to a qualified Canadian financial advisor or accountant. Sudden wealth brings complicated choices about investing, estate planning, and lifestyle changes. Professional guidance is priceless here.

Enjoying the Win Responsibly

The story of a big win is a common fantasy, but living it demands thoughtful steps. Beyond the finances, winners should pause before making any major life changes. Think carefully about who you tell, as public attention can bring pressure. Many jackpot recipients choose anonymity where it’s an option. Let the initial wave of excitement fade. Secure the money. Then plan your next moves with a steady head. This methodical approach helps ensure the jackpot dream stays a positive force, one that genuinely improves the winner’s life.

FAQ

Is progressive jackpot winnings at Spingranny Casino subject to tax in Canada?

Generally not. The Canada Revenue Agency (CRA) typically treats gambling winnings from licensed operators as windfalls, which are not taxable income. An exception could exist if the CRA considered your gambling a business. We suggest speaking with a Canadian tax professional for advice customized to you. This information is not official tax guidance.

Must I to bet the maximum to win the progressive jackpot?

That depends on the game. Many well-known progressive slots do require a maximum bet to be eligible for the top jackpot. Always check the “Paytable” or “Game Rules” section before you play. Spingranny Casino supplies this information clearly inside each game.

By what means are progressive jackpot networks so big?

The enormous size arises from pooling a small fraction of every bet placed on every linked game across the whole network, which can include online casinos around the world. This cumulative model enables the prize grow fast, often hitting millions before a random trigger awards it. Think of it as a community-funded pool.

Are my chance of winning better on a smaller progressive jackpot?

The odds of triggering a specific progressive jackpot are generally similar regardless of its current size, because the core game mechanics don’t change. But smaller, in-house progressives hit more often. The reason is simple: there are more of them, and the prize threshold to trigger a win might be lower.

What occurs if I win a mega jackpot while playing from Canada?

First, take a moment to enjoy it. The win is logged immediately. Spingranny Casino and the game provider will contact you to verify your identity and account details. Once security checks are done, they’ll guide you through the payout choices, which often include a lump sum or scheduled payments. The process is secure and meant to help you.

Can play progressive jackpot games on my mobile device at Spingranny Casino?

Certainly. Spingranny Casino’s platform and most progressive jackpot slots are fully built for mobile play. You can go after the dream on your smartphone or tablet with all the same features and the same access to the networked prize pools as on a desktop.

An Overview to Progressive Jackpot Games across Canada

Getting around through the progressives at Spingranny Casino means knowing the distinct tiers. You’ll mainly find standalone, in-house, and wide-area network progressives. Standalone machines are connected only to others in that particular casino. In-house networks connect games within the similar casino brand. The real giants are the wide-area network jackpots. These link games across many casinos and often across various countries. They’re the ones that smash records. For Canadian players, understanding which type you’re playing aids set realistic expectations for the magnitude the prize might get and how often it could hit.

Famous Games and Their Functionality

Some games are well-known for transformative payouts. Names like Mega Moolah, Mega Fortune, and Hall of Gods are icons for their multi-million-dollar awards. These slots often feature a bonus round that initiates the jackpot chance, frequently a spinning wheel or a pick-and-click game. Checking the rules first is essential. Many progressives require a maximum bet to be eligible for the top prize. Others have a fixed bet rule. Our advice is straightforward: know the conditions before you play, so there are zero surprises later.

Strategic Play Versus Casual Play

Here’s the truth: no strategy ensures a progressive jackpot win. The result is always determined by a Random Number Generator. What you can control is your bankroll. These games are likely to have high volatility, so establishing a solid entertainment budget is the smart move. Think of your session as acquiring some excitement and a ticket to the dream, not as forming an investment. Continuously play on a licensed, regulated platform like Spingranny Casino that provides responsible gaming tools. Use deposit limits and session reminders to maintain the experience in check.

The Allure of the Expanding Prize

The draw of a progressive jackpot is simple: the prize continues to climb. It is always in motion. With each wager on a linked game, a tiny slice feeds the central pot. That total can balloon into the millions before someone finally hits it. In Canada, where the fantasy of a huge windfall is a well-known one, this forms a strong story. Watching the ticker climb on a screen, whether you’re in Vancouver or Halifax, establishes a shared thread of possibility. It’s a collective “what if” that holds a unique kind of power in gaming.

Regional Inputs, Global Rewards

A Canadian player spinning the reels on a networked progressive at Spingranny Casino does two things at once. They fuel their own shot at winning, and they chip into a prize pool that often stretches across borders. This structure creates jackpots that overshadow what any single casino could offer on its own. The community feel is virtual, but it’s tangible. Every player becomes part of the engine driving the number higher. It turns a solo activity into a piece of a much bigger tale, where any participant might get to write the final, lucrative chapter.

The Mindset of the Chase

Let’s be frank, the chase is a big part of the appeal. A rising prize builds a tension that fixed jackpots are unable to. Every spin carries the faint echo of the entire pool’s potential, which makes even small bets seem significant. This hook is grounded in a variable reward system, which is highly engaging. But this requires the right frame: it’s entertainment, not a career plan. The odds of landing a mega-jackpot are incredibly slim. The main joy should come from the game itself, with the jackpot waiting as a spectacular, distant maybe.

Mindful Play in the Pursuit of Large Prizes

The mesmerizing numbers on a progressive jackpot can mesmerize. That makes a commitment to responsible gaming crucial. In Canada, licensed operators like Spingranny Casino must offer resources and tools to encourage healthy habits. Use these features from day one. Set your deposit limits before you start. Use the session timer to monitor the clock. Never forget that the chance of hitting the multi-million top prize is minuscule. Enjoy the games for their entertainment value first. The jackpot is a remote, thrilling possibility, not a likely outcome.

A moderate approach assists, too. Chasing a progressive is thrilling, but mixing in sessions on lower-volatility games can offer more consistent fun and stretch your playtime. This balance helps sidestep the frustration that comes with the long dry spells typical of high-jackpot games. Also, get to know the self-exclusion programs in your province, like Ontario’s PlaySmart, as a safety net. Keeping the pursuit entertaining and within your personal financial limits is what makes it sustainable.

All across Canada, there's that common moment

Als expert heb ik de moeite genomen om de technische weerbaarheid van Megabet Casino te bestuderen. Grootschalige tests in Nederland hebben de technische basis van dit casino getoetst aan extreme belasting. Dit artikel bespreekt de uitkomsten van die stress tests, die zich focusten op de snelheid op de drukste momenten. Ik kijk naar wat dit impliceert voor de beleving, de betrouwbaarheid van het platform en hoe Megabet tegemoetkomt aan de wensen van een gebruiker die geen begrip heeft voor vertragingen. Mijn beoordeling steunt op kwantitatieve gegevens, zodat we een helder beeld krijgen van wat er gebeurt als tienduizenden mensen simultaan inloggen en spelen.

Geldzaken en Geldelijke Operaties Bij Druk

Een der meest kritieke componenten van een stress test is het optreden van het betalingssysteem. Spelers verwachten dat stortingen en opnames voortdurend en direct plaatsvinden, hoe druk het ook is. De tests gaven aan dat de aansluiting van Megabet Casino met betalingsproviders goed in elkaar zit. Het succespercentage van transacties bleek zeer hoog, ook het drukste moment. Dit suggereert dat de financiële API’s en verwerkingssystemen voldoende bandbreedte en fouttolerantie bezitten. Het gegeven dat het geldverkeer door bleef lopen is een sterk punt.

Wel was was er een vertraging zichtbaar in de weergave. De transactiehistorie en het saldo hadden bij de meest intensieve testmomenten een paar seconden extra vereisen om te updaten. Het geld werd wel correct bijgeschreven of afgeschreven, maar dat was niet direct zichtbaar in de interface. Alhoewel dit geen geldverlies teweegbrengt, kan het wel voor verwarring zorgen bij spelers. Het beklemtoont hoe belangrijk het is om binnen de casino-omgeving helder te communiceren over de status van een transactie. De back-end is solide, de synchronisatie met de voorkant kan beter.

UX en Interface Responsiviteit

Voor de typische speler vertaalt technische prestatie zich direct naar de ervaring. Tijdens de nagebootste piek constateerde een virtuele gebruiker nadrukkelijk dat het platform het zwaar had. Navigeren tussen uiteenlopende secties vergde meer tijd, en animaties in het menu verliepen minder soepel. Het is belangrijk om te benadrukken dat de site werkbaar bleef; er waren geen hangs of crashes aan de voorkant. De ervaring deed denken aan het bezoeken van een populair nieuwsportal tijdens een groot nieuwsbericht.

De mobiele ervaring, essentieel voor veel spelers, liet zien grotendeels hetzelfde patroon. De geoptimaliseerde interface voor smartphones hield stand, maar op oudere toestellen of bij een mindere netwerkverbinding was de impact van de serverbelasting sterker voelbaar. Dit bevestigt dat optimalisatie voor mobiel een doorlopend proces is, waarbij de serverprestaties minstens zo belangrijk zijn als de front-end code. De volgende onderdelen waren het kwetsbaarst voor vertraging:

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Vergelijkingsstudie met Sectornormen

Om de prestaties van Megabet Casino in verband te plaatsen, vergelijk ik ze met de algemene richtlijnen in de iGaming-industrie. De aangetoonde consistentie positioneert het platform duidelijk boven bescheidener, minder gevestigde casino’s die vaak al bij kleinere gebruikersaantallen moeilijkheden ervaren. Het handhaaft gelijke tred met de grote, gevestigde merken wat betreft fundamentele betrouwbaarheid en integriteit van transacties. Het situeert zich in de bovenste middenmoot.

Op het punt waar het nog een inhaalmanoeuvre kan maken, is in het halen van de absolute topklasse. Die wordt beheerst door de technologische grootmachten in de branche. Die topcasino’s investeren buitengewoon veel in zelfontwikkelde serverinfrastructuur en eigen systemen om ook tijdens de hoogste drukte geen merkbare lag te vertonen. De test toont dat Megabet Casino de goede grondslagen heeft om die richting op te ontwikkelen. De moeilijkheid ligt in het blijven investeren en optimaliseren, zodat de beleving niet alleen voldoende is, maar doorlopend top, onder elke condities. De afstand is niet substantieel, maar het overbruggen ervan vraagt aanhoudende technische aandacht.

Essentiële Bevindingen: Betrouwbaarheid en Prestaties

De algemene conclusie is evident: Megabet Casino blijkt een robuust platform. Ook onder zware belasting waren essentiële functies zoals toegang tot accounts en het verkennen van het spelaanbod normaal bereikbaar. Er vonden plaats geen volledige uitvalmomenten. Dat wijst op een degelijke serverarchitectuur met back-upsystemen op de achterliggende laag. Dit is een basisvoorwaarde voor elk casino dat betrouwbaar wil zijn, en Megabet slaagt daarin. Deze basisveerkracht is het beginpunt voor alles.

De prestaties op snelheid waren gemengd. Onder normale omstandigheden openden speelautomaten en pagina’s vlotjes en vergelijkbaar met de markt. Tijdens de maximale piekbelasting vertoonden sommige responstijden echter duidelijk stijgen. Dit was met name te merken bij ingewikkelde spellen met veeleisende graphics en, in een beetje geringere mate, bij de interface van het live casino. Het platform werd nimmer onwerkbaar traag, maar de snelheid nam af wel. Dat is een punt van aandacht voor de toekomst, als het casino verder ontwikkelt. Het contrast tussen ‘het werkt’ en ‘het presteert goed’ werd hier zichtbaar.

Gedetailleerd overzicht van Prestatie per Casino Categorie

Het verkeer had niet op alle plekken hetzelfde gevolg. De slots en casinospellen aan tafels van RNG-leveranciers bleven prima stand, met zeer geringe vertraging in het ronddraaien of delen. De live dealer studio’s, die vertrouwen op videostreams en real-time data, waren vatbaarder. Hier trad vertraging in de videofeed voorkomen, en de omgang met de dealer functioneerde soms wat traag. Wedden op sport, met hun variabele odds, bleken werken, maar actualisaties waren in staat om af en toe een vertraging hebben. Deze verschillen in prestaties zijn belangrijk om te begrijpen waar de technologische knelpunten precies liggen.

Reactie van de server en Vertraging Metrics

De meetgegevens liet concrete patronen zien. Onder normale omstandigheden lag de latency onder de 200 milliseconden, een prima waarde. Tijdens de piekbelasting steeg dit op specifieke endpoints tijdelijk omhoog naar 800-1200 milliseconden. Opvallend was dat die vertragingen onevenredig verdeeld werden; sommige servers in het cluster verwerkten een disproportioneel groot van de last te verzorgen. Dit suggereert op een load balancer opstelling die nog geoptimaliseerd kan. De data tonen aan dat de vertraging vooral in de afhandeling zit, en niet in de netwerkverbinding van de gebruiker zelf.

Technische Aanbevelingen en Toekomstvisie

Op basis van mijn onderzoek van de testdata constateer ik een aantal evidente verbeterpunten voor Megabet Casino. De focus zou zich richten op het nog verder optimaliseren van de responstijden tijdens de zwaarste belasting, vooral voor de meeste veeleisende onderdelen. Een specifiek actieplan kan de volgende technische stappen bevatten:

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De toekomstvisie voor een platform als dit dient zich richten op schaalbaarheid zonder dat er concessies. De groeiende populariteit van cryptovaluta en de behoefte naar virtual reality casino-ervaringen gaan de technische eisen verder verhogen. Investeren in een infrastructuur die deze toekomst aankan is geen luxe meer meer, maar een must om mondiaal mee te kunnen spelen. De grondslagen zijn goed. De daaropvolgende stap is het realiseren van een gebouw die tegen iedere storm weerstand kan bieden.

De Aanpak Achter de Stress Test

De proef was een gecontroleerde, nagebootste aanval op de servers en het netwerk van Megabet Casino. Het doel was niet om het platform te laten crashen, maar om de grenzen van de capaciteit feitelijk vast te stellen. Testers pasten specifieke software om duizenden simultane gebruikers na te bootsen. Deze digitale spelers logden in, beheerden hun account, speelden live dealer spellen en deden transacties uit. De piekbelastingen waren nauwkeurig getimed om realistische scenario’s te simuleren, zoals de release van een nieuwe gokkast of een belangrijke voetbalwedstrijd. De testomgeving volgde de volledige reis van een speler.

De metingen focusten op een paar vitale punten. Ten eerste de responstijd van de website en de spellen. Ten tweede de stabiliteit van de verbinding tijdens een sessie. En tot slot het slagingspercentage van financiële transacties onder druk. Deze data vormen de basis van mijn analyse. Ze gaan verder dan subjectief bewijs en laten zien wat de technische kern van het casino kan hebben. De parameters waren strikt, ontworpen om zwakke plekken te vinden die bij normaal gebruik verborgen blijven.

Gevolgen voor Spelers en Platform Betrouwbaarheid

Wat houden in deze technische resultaten nu voor jou als speler? Ten eerste verschaft de algemene stabiliteit rust https://mega-bet.co.nl/. Je moet niet te vrezen dat het casino onverwacht offline raakt net op het moment dat je een uitbetaling wilt aanvragen of een weddenschap wilt plaatsen. De bereikbaarheid is goed verzorgd. Ten tweede biedt de test inzicht in wat je kunt verwachten tijdens de absolute topdrukte. Je kunt erop staten dat de basis functioneert, maar dat de algehele prestatie tijdelijk slechter kan zijn.

Voor de serieuze speler die steunt van split-second timing – denk aan live sportweddenschappen of bepaalde live casino spellen – is dit een nuttig gegeven. Het laat zien dat Megabet Casino een solide platform levert, maar dat er voor de absolute top van prestatie nog ruimte aan de winkel is. De ervaring tijdens extreme pieken kan nog beter worden. De geloofwaardigheid is aanwezig, de gelijkmatigheid op de allerzwaarste momenten kan nog verhoogd worden.

Als expert heb ik de moeite genomen

Good morning everyone.

When I was invited to speak today, I was asked a deceptively simple question:

“How are you creative?”

The longer I thought about it, the more I realised I’d been asking the wrong question for most of my life.

People often think creativity is something you have.
I think creativity is something you do.
It isn’t a personality trait. It isn’t talent. It isn’t inspiration.

It’s a habit.
And habits can be learned.

I wasn’t born into a creative environment. I grew up in a conservative Mennonite community in rural Canada where movies were forbidden. We didn’t have television. We didn’t go to cinemas. Storytelling happened around the dinner table, in church, through music and through work.

Ironically, that limitation became my greatest creative advantage.

Because when you don’t have entertainment handed to you, you have to invent your own.

I learned early that imagination begins where certainty ends.

That lesson has stayed with me for more than seventy years.

I’ve started companies, launched film festivals, published books, taught thousands of filmmakers and watched technologies come and go. Every few years someone announces that creativity is dead.

First television. Then video. Then the internet. Then smartphones.
Now AI.

They’re all wrong.

Technology changes. Creativity doesn’t.

Because creativity has never been about the tools.
It’s about the person using them.

People often ask me where ideas come from.
I honestly don’t know.
But I do know how to make them arrive.

I’ve learned there are seven habits that keep me creative.

The first is curiosity.

Children ask hundreds of questions every day.
Adults stop asking because they’re afraid of looking foolish.

The moment you think you know everything is the moment creativity leaves the room.

  • I collect questions.
  • I read outside my field.
  • I talk to taxi drivers, students, street sweepers, scientists, artists and entrepreneurs.

Every conversation contains an idea if you’re listening carefully enough.

The second habit is showing up.

Inspiration is unreliable.
Routine isn’t.

People imagine writers waiting for lightning to strike.

Most professionals simply sit down and begin.

  • Some days are brilliant.
  • Some days are awful.
  • But the work gets done.

Creativity rewards consistency far more than genius.

The third habit is making connections.

Nothing is completely original.
Every new idea is an unexpected connection between two old ideas.

That’s why filmmakers can learn from

  • Blues musicians.
  • Entrepreneurs can learn from painters.
  • Architects can learn from chefs.

The wider your influences, the more original your work becomes.

Steve Jobs famously said creativity is just connecting things.
I think he was right.

The fourth habit is embracing failure.

Raindance has discovered many successful filmmakers over the past three decades. What people don’t see are the thousands of films that didn’t quite work.
Mine included.

Failure isn’t the opposite of creativity.
Failure is creativity’s tuition fee.

Every mistake tells you something the successful version never could.

The fifth habit is building communities.

The myth of the lone genius is exactly that: a myth.
Every breakthrough I’ve ever had came through conversations.

Creative people need other creative people.
Not because they have the answers.
Because they ask better questions.

Communities create collisions.
And collisions create ideas.

The sixth habit is protecting attention.

We live in an economy where every company wants your attention.

  • Notifications.
  • Algorithms.
  • Infinite scrolling.

Your attention has become someone else’s business model.

If creativity requires deep thought, then protecting your attention isn’t selfish.
It’s essential.

Sometimes the most creative thing you can do is switch everything off.

  • Go for a walk.
  • Read a book.
  • Sit in silence.

The seventh habit is finishing.

Ideas are cheap. Execution is rare.

Everyone has

  • A screenplay in their drawer.
  • A business idea on a napkin.
  • A novel they’ll write one day.

The world doesn’t change because of unfinished ideas.
It changes because somebody finishes.

Creativity isn’t measured by how many ideas you have.
It’s measured by how many you bring into the world.

After thirty years running the Raindance Film Festival, I’ve noticed something interesting.

  • The filmmakers who succeed aren’t necessarily the most talented.
  • They’re the ones who keep making films.
  • The entrepreneurs who succeed aren’t always the smartest.

They’re the ones who keep building.

The artists who endure aren’t the ones waiting for permission.
They’re the ones who create anyway.

Which brings me back to the original question.

How am I creative?

I’m creative because I choose to be.

Every day.

  • Not because I wake up inspired.
  • But because I stay curious.
  • I show up.
  • I connect ideas.
  • I fail.
  • I build communities.
  • I protect my attention.

And, most importantly…

I finish.

I’d like to leave you with one final thought.

The future doesn’t belong to people with the best ideas.
It belongs to the people willing to act on imperfect ones.

In a world where artificial intelligence can generate almost anything, the truly human skill is no longer creating content.

It’s choosing what is worth creating.

Your taste. Your judgment. Your courage. Your humanity.

No machine can live your life.

No algorithm can tell your story.
No one else has your experiences, your failures, your perspective or your voice.

That’s your competitive advantage.

So don’t wait for permission.
Don’t wait until you’re ready.
Don’t wait until someone tells you you’re creative.

Create first.

The confidence comes afterwards.

Thank you.

It doesn’t matter where you are in your career, I think there are relevant touch points for everyone from beginner to professional.

£xplore the Festival

Join the Ecosystem

Film training starts here

Watch shorts and features on our brand new online platform.

Coming soon

Enable others

RAINDANCE SEVEN FILM TIPS

Yesterday I read an excellent essay by Stephanie Tyler in Bad Girl Media called Taste Is the New Intelligence. Her argument stopped me in my tracks because it articulated something I’ve been sensing for years, both as a filmmaker and as someone who has spent more than three decades discovering films at Raindance.

RAINDANCE SEVEN FILM TIPS

How Film Festivals Became Temporary Museums Instead of Career Engines

How Film Festivals Became Temporary Museums Instead of Career Engines

Film festivals were once dangerous places.

 

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Good morning everyone. When I was invited to

Two teenagers have been charged with second-degree murder after a 16-year-old boy was found dead in a Winnipeg parking lot, police say.

Officers responded to a wellbeing check at a parking lot in the 1700 block of Wellington Avenue shortly after 8 a.m. on June 25, according to a news release.

When officers arrived, they found a teenaged boy dead with significant injuries.

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The victim has been identified as 16-year-old Bruno Delmar Young, a member of Bloodvein River First Nation who had been living in Winnipeg.

The Winnipeg Police Service’s homicide unit took over the investigation.

Police say investigators later arrested two youths at a business in the 600 block of King Edward Street.


A 17-year-old boy and a 17-year-old girl have both been charged with second-degree murder.

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Both were detained in custody. The charged teens cannot be named due to provisions under the Youth Criminal Justice Act.

Police have not released additional details about the circumstances surrounding the homicide or the relationship between the accused and the victim.

The investigation remains ongoing.

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

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The Young and the Restless head writer Josh Griffith is leaving the CBS daytime drama, Deadline has confirmed.

The cast and crew of the soap were informed yesterday of Griffith’s decision to leave the show and his position as head writer. He remains in the position but is expected to leave in the near future. Y&R is on hiatus until Monday, July 6.

No word yet on a successor.

Griffith is a longtime vet of the soap world, with writing jobs, since the late 1980s, including gigs at As the World Turns, Days of Our Lives, General Hospital, One Life to Live, Santa Barbara and Sunset Beach.

He joined The Young and the Restless as a breakdown writer in 2006, and has since held such titles as creative consultant, co-executive producer, supervising producer and his current titles of head writer and executive producer.

His work at Y&R has earned him four Daytime Emmy Awards, and he won three others for Santa Barbara and One Life to Live.

TV Insider was first to report the news.

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The Young and the Restless head writer

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247Bet Casino also imposes limits on shifting money in and out of your account. These are implemented to adhere to UK Gambling Commission rules and to promote responsible gambling. You can often establish your own deposit limits through your account settings, selecting a maximum for a day, week, or month. The casino itself has system-wide limits too, like a typical minimum deposit of £10.

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Knowing the betting and wagering limits is

San Francisco holds a special place in Colman Domingo’s heart. He called it home from 1991 to 2001 and it’s where “I became of age as an artist,” he says. It’s only fitting that Variety, in partnership with the Frameline Film Festival, honors Domingo with our Creative Conscience Award June 27 at the Castro Theatre.

Domingo is no stranger to the film festival. “I would go to Frameline every single year, in particular to see the shorts program,” he says.

Shorts, specifically, were important to him as an artist, calling the films “ambitious and giving slices of life.” He adds that the films gave “you a reflection of who you are, who you aspire to be — whether it’s about love, trials and tribulations, or joy. I looked at it as part of my pilgrimage every single year, so the idea of coming home and going back to the Castro Theatre is extraordinary to me.”

Domingo credits Frameline for helping him find his way as an artist, saying, “I owe a lot of that to Frameline.”

The actor is having an extraordinary year: He’s in the hit Michael Jackson biopic “Michael,” Steven Spielberg’s “Disclosure Day” and has wrapped up his role as Ali on HBO’s “Euphoria.” He also appears in and directed an episode of Netflix’s “The Four Seasons.”

“It’s a matter of taste,” Domingo states when asked what makes him choose a project. “I’m very incisive when it comes to distilling what I think is useful to me.

At a certain time, I think that I am someone who has never lost sight of my Bay Area roots.”

He recalls that as a young actor he would often turn the tables on directors and producers. “I want to know the rooms that I’m going to be in. I want to know the collaborators. What is this experience going to be like? How is it going to fuel me? How am I going to fuel it? Do I have anything to give?” he says.

Both Spielberg and “Michael” director Antoine Fuqua wanted to know if he felt that he had something to offer the role and the experience when he met with them about their respective films. “What a great question to be asked as an artist!” he says. “It forces you to think: Do I have something to give? What can I offer — not only as an actor and artist but as a human being? How are we going to create the sets and treat each other? I’m very clear about that.”

He offers, “I think that’s why my career looks the way it does, and maybe that’s why I’ve had such beautiful successes.”

Domingo has a philosophy that serves as a North Star to help guide his choices: “To pursue great work, foster a good atmosphere, and achieve meaningful success. I’ve been following that directive for a long time — never just doing something for the money or the opportunity.” Sometime, he’s had to let roles go “because they may not feel right for me at the moment, and I have to trust that there’s more. “You’re dealing with someone who always feels there’s plenty for me out there. So it’s OK to let things go and navigate with that North Star, because it will lead me to great moments and great collaborations.”

And Domingo’s star continues to shine as he adds to his great moments. Later this year, he will start work on the Nat “King” Cole biopic “Unforgettable” — where he’ll multitask as director, producer and star.

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San Francisco holds a special place in

“Supergirl” is here, and when James Gunn is involved, you know it’s going to have a killer soundtrack.

The second film out of Gunn and Peter Safran’s new DC Films is directed by Craig Gillespie (“I, Tonya”) from a screenplay by Ana Nogueira and stars Milly Alcock as Kal-El’s cousin, who finds herself on a mission to track down a villain named Krem (Matthias Schoenaerts) to retrieve an antidote before her beloved dog Krypto succumbs to poison.

Alcock stars alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa.

The “Supergirl” soundtrack skews pretty modern, with bands like Wet Leg, Wolf Alice and Modest Mouse showing up, but there are a couple of older classics sprinkled in.

If you saw the movie and are trying to remember all the songs, or merely trying to identify something you’ve heard, we’ve got you covered.

Here are all the songs in “Supergirl.”

  • “This Summer” by Sleigh Bells
  • “Digital Tattoo” by Werner Neidermeier
  • “Le Temps De L’Amour” by Françoise Hardy
  • “Catch These Fists” by Wet Leg
  • “Silver Lining” by Rilo Kiley
  • “Satin In A Coffin” by Modest Mouse
  • “Smile” by Wolf Alice
  • “(I’ve Got) Trouble In Mind” by The Limiñanas
  • “Girl From Ipanema” by Antônio Carlos Jobim
  • “Cheek to Cheek” by Ella Fitzgerald
  • “Safeword” by Halsey
  • “Care” by Hana Vu
  • “Don’t Speak (I Came To Make A Bang!)” by Eagles Of Death Metal
  • “The Middle” (Jimmy Eat World cover) by Kelty Greye and KidMotel

Next up for DC is “Clayface,” a smaller-scale body horror movie that opens in theaters in October from director James Watkins. Will it have a similarly packed soundtrack or will it hinge on score? We’ll find out later this year, but you can rest assured that the Gunn-directed “Superman” sequel “Man of Tomorrow” — which hits theaters in 2027 — will be packed with jukebox hits.

“Supergirl” is executive produced by Nigel Gostelow, Chantal Nong Vo and Lars P. Winther.  Behind the camera, Gillespie is joined by director of photography Rob Hardy, production designer Neil Lamont, editor Tatiana S. Riegel, costume designer Anna B. Sheppard, Visual Effects Supervisor Geoffrey Baumann and composer Ramin Djawadi. 

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“Supergirl” is here, and when James Gunn

“Ice Ice Baby” rapper, one of the last music artists standing at the ill-fated Great American State Fair, has gig canceled Friday after inclement weather hits Washington, D.C.

Vanilla Ice’s performance at the ill-fated Freedom 250 concert was canceled Friday due to “inclement weather” in the Washington, D.C. area.

The “Ice Ice Baby” rapper was among the last artists standing at the Trump-backed “Great American State Fair” after the majority of the lineup — including Morris Day, Martina McBride, Young MC, Bret Michaels, and more — all dropped out.

Vanilla Ice defended his decision to remain a part of the Freedom 250, saying, “I’m here to party with America, man… I don’t think it should be about any political thing or anything like that. I don’t even vote, so I don’t even care.” The rapper added, “I’ll go play for Putin and I’ll play in Iran if you want. It don’t matter. There’s fans everywhere. Music is not political, man. It’s universal.”

Alas, Vanilla Ice played for no one Friday after weather scrapped his Freedom 250 concert just two hours before his performance.

“Due to inclement weather in the area, the Freedom 250 Great American State Fair and FIFA World Cup 2026 Fan Zone will be closed for the rest of the day — Friday, June 26, 2026,” organizers said on social media.

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“The safety of our guests, staff, and partners remains our top priority. We are actively monitoring conditions and will provide updates as they become available.”

While the Great American State Fair reopened Saturday, Vanilla Ice’s performance was not rescheduled, as the U.S. Army jazz band ensemble will take the main stage instead.

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"Ice Ice Baby" rapper, one of the

That the “Jackass” franchise is perhaps the most successful documentary series of all time is indisputable. Its best-known star, Johnny Knoxville, has the concussions to prove it. Twenty-five years in, as “Jackass: Best and Last” hits theaters, it’s still a little tricky to pin down what exactly the franchise documents.

It’s easy to describe what the films literally show — unless you’re holding your hands over your eyes, which would be totally natural. The cameras (operated by long-suffering, iron-stomached crew members) capture a bunch of dudes and one woman doing the stupidest, grossest stunts they can think of, often in various states of undress, and somehow surviving to tell the tale.

If you’re inclined to think documentaries need to be unplanned, then you might still protest that these don’t count, because the stunts are contrived. But an interview is set up, too, and besides, there’s a genuine quality to “Jackass” that rarely exists in today’s tightly controlled documentary environment. Each bone-headed caper provokes moans and gleeful hollers from the guys who are, say, getting knocked in the crotch for the millionth time, and also from their best buddies standing around watching, possibly wearing a hula skirt and some bunny ears.

Yet when I say “Jackass” is a documentary, none of this is really what I mean. What the “Jackass” series reveals was almost certainly not the creators’ intention, and it’s much bigger than some clowns banging themselves over the head with giant hammers and reminding you not to do that at home. Like some other terrific documentary series — the classic “Up” series, for instance, or Robb Moss’s “river films” — the “Jackass” movies track a group of people across young adulthood into middle age, over 25 years. And that can’t help but have meaning.

They’ve been at this delightful nonsense since 2000, when Knoxville, Jeff Tremaine (who directed all the films) and Spike Jonze created a series for MTV. It ran for three seasons, much to the chagrin of many parents and some members of Congress, then entered movie theaters with “Jackass: The Movie” in 2002. (“I assume no responsibility for what happens if you see this film, especially if you have a good time,” A.O. Scott wrote in his review for The Times.) The movie’s success spawned sequels and spinoffs and video games and, no doubt, more than a few trips to the emergency room for viewers.

Since that original TV series, the style hasn’t changed all that much: It’s basically a series of clips of the guys doing dumb stuff with comical titles (“The Bungee Wedgie,” “Human Pretzel,” “Poo Cocktail Supreme”). Men stick toy cars up their butts or give themselves paper cuts in horrible places or prank their friends with snakes or strap themselves to rockets. Every scene fades out to the whole group, including whoever had to endure the pain, collapsing in peals of laughter.

The “Jackass” style is heavily influenced by lo-fi underground skate videos from the 1980s and ’90s, in which skaters in a crew showed off their tricks to music. Here, the crew is Knoxville and a recurring cast of chuckleheads with a high pain tolerance, including Bam Margera, Steve-O, Ryan Dunn, Jason Acuña, Chris Pontius, Preston Lacy, Dave England, Ehren McGhehey and a lot more, especially as time wore on. Instead of kickflips and nosegrinds, they invented ways to torture their bodies with pyrotechnics or sharp objects. If genitals or bodily fluids or fishhooks or bulls were involved, awesome! Bring it on.

I avoided it all until an editor sent me to a “Jackass” marathon in 2022. I’d always assumed these were films about misogynists being mean — frat boys doing fratty things frattily. There’s a little of that in the early “Jackass” years, when the guys are in their 20s, though far less than you’d expect.

But it was a bit of a revelation. I saw men having fun in ways that were — well, you couldn’t exactly call them “healthy” or “nondestructive,” but you might call them wholesome. What mattered wasn’t the stunts, which were uniformly harrowing. (So much poop.) What mattered was what happened between the participants. They were always laughing with each other. They were always helping each other off the ground. They were always hugging.

And while they were doing things that were undeniably stereotypically masculine — many, many of them involve a juvenile fascination with male genitalia — I realized somewhere into “Jackass Number Two” (2006) that they had little in common with the gender-obsessed manosphere. They didn’t talk about women disrespectfully (or much at all, frankly). They weren’t constantly flexing to see who was the manliest man of them all. People were getting slammed in the face, but never for reasons even slightly resembling looksmaxxing. They were just there, after giving very enthusiastic consent, to have a painfully good time.

Over the years, the “Jackass” crew has gone through some offscreen trials. Steve-O has spoken openly about his struggles with addiction and his journey toward sobriety, which started after a 2008 intervention from his “Jackass” castmates. In 2011, along with a crew member, Zachary Hartwell, Dunn died in a car crash while driving under the influence of alcohol. Margera has had a long string of substance abuse problems that spiraled into relationship issues with the “Jackass” cast and in his personal life; he was fired from “Jackass Forever” for breaching a “wellness agreement” related to his substance abuse.

This history only adds to what’s happening onscreen and starts to build out the series arc. As Knoxville has pointed out in interviews, many of the cast come from difficult backgrounds; in one another they’ve found something approximating a chosen family. We’ve watched Steve-O as he’s maintained sobriety and become a vocal animal-rights activist. We’ve observed the group mourn Dunn together. For “Jackass: Best and Last,” billed as the series finale, Margera doesn’t return, but the cast talks about him fondly, and Margera gave permission for archival footage of stunts to be used in the film. We’ve heard them express affection to one another countless times at this point.

Now, those reckless boys from 2000 are in their 50s — their age an inspiration for a few particularly gross stunts in “Best and Last” — and starting to look it, too. Knoxville’s salt-and-pepper hair has lost most of its pepper. Once-tight bodies are getting a little droopy. While it has sometimes seemed as if “Jackass” is a documentary about guys who have seemingly managed to cheat death, “Jackass: Best and Last” reminds us they’re mortal. And when Knoxville is asked if this is really, truly the last installment, he starts to get emotional. “As much as I hate to say it, it is,” he answers, right before he gets zapped in a huge electric chair.

Yet here they all are, still together, and if they’re not still making movies in 20 years, they’ll certainly still be hanging out, doing stupid tricks. That’s because “Jackass” is a documentary about an endangered species: enduring, weirdly healthy, bizarrely supportive male friendships in the 21st century. Somehow this merry band of knuckleheads did something many people never manage to pull off and wish they could.

As if to underline the point, at the end of “Best and Last,” there’s an archival clip, grainy and blurry, with two of the guys post-prank. “I need help,” one says, lying on the floor, a little worse for wear. “Yup,” says the other, and holds out his hand.

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That the “Jackass” franchise is perhaps the

South African multidisciplinary creative Kay Kay Ribane continues to expand his artistic vision, this time through a collector’s photography book that celebrates African storytelling, elegance, and identity.

While the project was created in collaboration with Stella Artois, Ribane says its heart lies in something far more personal: his ongoing exploration of what he calls “African opulence”.

For the creative director, photographer, and fashion storyteller, the collaboration presented an opportunity to merge his own artistic language with themes of heritage, craftsmanship and excellence.

“The beauty about this collaboration is really what it sounds like,” Ribane said.

“It was a collaboration where like-minded journeys came together. My desire to explore African opulence met this idea of striving for the perfect serve. It’s really a celebration of the pursuit of perfection rather than perfection itself.”

Throughout his career, Ribane has become known for producing visually rich work that blends fashion, photography and cultural storytelling. His latest project continues that mission by placing African identity at the centre of refined, aspirational imagery.

Asked what African opulence means to him, Ribane explained that it is rooted in generations of African royalty and cultural traditions while creating space for a new generation to define elegance on its own terms.

“I find a long generation of royalty that permeates African culture, African tradition and music,” he said.

“This journey is about investigating what that looks like today. How do we see ourselves in pristine spaces? How do our stories live longer so that when the next generation reflects, they understand that we saw ourselves through a lens of elegance?”

Fashion remains a key part of that visual language.

Ribane said every collaboration is informed by the values of the Ribane Collective, describing it as the creative “head office” from which every idea is born.

Whether working across sport, fashion, or photography, he believes clothing becomes another storytelling tool.

“Fashion is a way of human modification where you can define yourself in a new format,” he explained.

At the launch, Ribane wore a white suit by South African designer Musawenkosi Nkosi, a nod to the traditional all-white dress code associated with Wimbledon while simultaneously celebrating local design talent.

The collector’s book itself extends beyond a series of portraits, and the publication documents Ribane’s creative journey as he immersed himself in the world of tennis to better understand the symbolism behind the “perfect serve”.

“There is a photography book of me on a quest of finding what the perfect serve is,” he said.

“I had to learn more by watching tennis games and really embody myself within that world. How do we translate that artistically? These portraits celebrate the sport while exploring the collaboration between art and movement.”

For Ribane, the project is ultimately another chapter in his larger creative mission: ensuring African stories are documented with intention, beauty and longevity.

“We’re creating work that allows people, especially the next generation, to look back and see themselves represented in prestigious, elegant ways,” he said.

The launch drew an influential guest list spanning music, fashion, art and culture, including Langa Mavuso, Thapelo Mokoena, Manana, JR Bogopa, Lloyiso, Bucie, Thebe Magugu, Kuhle Adams, Sindiso Nyoni, Trevor Stuurman and JR Ecko, further reinforcing the event as a celebration of South Africa’s creative excellence.

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South African multidisciplinary creative Kay Kay Ribane

Marvel Studios confirmed its own Days of Future Past remake is releasing in 2026, and the story it takes inspiration from goes back 45 years. Days of Future Past started as a two-issue comic in 1981 and grew into one of the most retold tales in X-Men history, a time-travel saga that gave fans a ruined future and a desperate push to change it. Fox already brought it to the big screen once, and the 1990s X-Men cartoon told its own version years before that. Now the animated revival that picked up where that cartoon left off plans to revisit the concept on its own terms.

X-Men ’97 returns for Season 2 on July 1, and the premiere episode wears its inspiration in plain sight. The first episode is titled Days of Past Future, a straight flip of the classic story’s name. Its official synopsis sets up the season’s central problem, with Forge and Bishop launching a plan to rescue the X-Men after the team gets scattered across time.

Marvel Animation

Season 1 ended with the X-Men flung apart in time, and Season 2 opens by checking in on the group stranded in the far future of 3960 A.D. Cyclops, Jean Grey, Storm, Wolverine, and Morph all turn up there, with Forge arriving to bring them home. The episode also reunites Cyclops and Jean with a young Nathan Summers, the boy who grows up to become Cable, giving the pair a rare chance to act as parents before the job of stopping Apocalypse falls on him.

Cyclopse and Jean Grey in X-Men 97 alongside live-action Wolverine.
Marvel Animation/20th Century Studios

That storyline takes inspiration from The Adventures of Cyclops and Phoenix, a mid-90s miniseries about the couple raising Nathan in a far-off future. That is only one slice of a much bigger picture. A second group of X-Men, including Professor X, Magneto, Rogue, Nightcrawler, and Beast, ends up in Ancient Egypt in 3000 B.C., where they meet the mutant who later becomes Apocalypse. Back in the 1990s, the heroes left behind deal with fresh enemies and a rising wave of anti-mutant hate.

How X-Men ’97 Flips Days Of Future Past On Its Head

The title swap is the first clue that this season adapts the original idea in reverse. In both the comic and the movie, the X-Men send a single mind backward to stop one event and erase a dark future before it forms. Season 2 does the opposite. The team is already scattered, the damage already done, and the mission becomes bringing everyone home to the 1990s instead of rewriting a moment in the past.

X-Men members Magneto, Beast, Rogue and other mutants alongside live action counterparts.
Marvel Animation/20th Century Studios

In the 1981 comic by Chris Claremont and John Byrne, Rachel Summers sends an older Kitty Pryde’s mind back into her younger self so she can warn the present-day team. The 2014 film, directed by Bryan Singer, ran the same play with Wolverine, whose healing factor allowed his mind to survive a trip to 1973. X-Men ’97 skips the mind-swap completely. Forge creates a time-travel device, and he and Bishop use it to reach their scattered teammates one era at a time. 

The villains in the X-Men ’97 Season 2 storyline are also different from the ones in the comic and film. Days of Future Past hung its dread on the Sentinels, the mutant-hunting machines that wiped out most of the X-Men. The film pinned that future on Bolivar Trask, the scientist whose death at Mystique’s hands, and her capture soon after, gave the government both the reason and the means to produce unstoppable Sentinels. 

Apocalypse in X-Men '97 and the Sentinels in Days of Future Past.
Marvel Animation/20th Century Studios

The comic also centered on Mystique’s Brotherhood of Evil Mutants and their plot to kill Senator Robert Kelly. Season 2 trades all of that for Apocalypse, and it positions him at two points in his long life, as the young En Sabah Nur in Ancient Egypt and as the immortal ruler of his future empire.

Storm, Wolverine, Forge, Cable and other X-Men mebers.
Marvel Animation/20th Century Studios

The scope is wider in X-Men ’97 Season 2. The original comic and the 2014 film each bounced between just two timelines, a grim near-future and a single point in the past. In contrast, Season 2 splits its cast across three distinct eras, tracking separate teams in Ancient Egypt, the 1990s present, and the year 3960 A.D.

Many of the same characters appear across all of these adaptations, since Wolverine, Professor X, Magneto, Storm, and Bishop are vital to both the older versions and this new series. However, the animated revival brings along a much larger roster, giving significant screen time to Cyclops, Jean Grey, Nightcrawler, Beast, Rogue, and Jubilee.

The Original X-Men Animated Series Makes This a Full-Circle Moment

There is an extra layer here that longtime fans will appreciate. X-Men ’97 continues X-Men: The Animated Series, the 1990s show that already adapted Days of Future Past as a two-part story. That version made one big change of its own. Rather than Kitty Pryde, it gave the time-travel role to Bishop, and he traveled the whole way back in body instead of sending only his mind.

That history turns Season 2 into a neat callback. The same Bishop now leads the charge of a brand-new rescue through time, and the premiere borrows the old story’s name only to turn it inside out. The original show’s take followed a hunt for a traitor whose actions doomed the future, and it eventually revealed Mystique posing as Gambit to frame the team for killing Senator Kelly. Season 2 keeps that time-jumping spirit while pointing it at a completely different problem.

Season 2’s story is obviously the bigger swing here, and the direction it’s taking makes it a lot more intriguing. Instead of a tight race to undo one assassination, the revival uses its scattered timeline to tell several stories at once and to dig into Apocalypse as a person rather than just a big bad who wants to cause destruction.

Watching Xavier and Magneto stand beside a young En Sabah Nur, fully aware of what he becomes, is a scenario that is going to test the moral compass of the X-Men. Marvel Studios is developing its own adaptation of Days of Future Past, and it looks beautiful. Instead of repeating the familiar comic and film storylines, the studio is taking a more sprawling, epic approach that centers on one of Marvel’s greatest villains.

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Het live casino van SkyHills biedt de opwinding van de casinovloer naar je toe. Via scherpe HD-streams speel je mee aan tafels met vakbekwame dealers. Dit gedeelte is in trek bij spelers die waarderen sociale interactie en een oprecht gevoel.

Je ontdekt er alle klassieke spellen: live roulette, blackjack, baccarat en verschillende pokerspellen. Ook spellen met een Vlaams tintje, zoals ‘Point 7’, zijn geregeld te vinden. De dealers spreken meerdere talen, wat het voor Vlaamse en Franstalige spelers allemaal makkelijker maakt.

Betalingsopties voor Vlaamse Spelers

SkyHills Casino gebruikt betaalmethoden die in België gebruikelijk en vertrouwd zijn. Zo zijn stortingen en opnames over het algemeen simpel en snel geregeld. De verwerkingsduur kan per methode variëren, maar het casino handelt alles zo vlot mogelijk af.

  • Bancontact / Payconiq: De Belgische standaard voor directe online betalingen.
  • Creditcards: Veilig betalen met Visa of Mastercard.
  • Bankoverschrijving: Een vertrouwde optie, vooral voor grotere bedragen.
  • E-wallets: Razendsnelle alternatieven zoals Skrill of Neteller.

Introductiebonus en Actuele Promoties

Verse spelers uit België krijgen bij SkyHills Casino een interessant welkomstpakket. Gewoonlijk wordt dit uitgesmeerd over je eerste paar stortingen, zodat je je startbudget flink kunt verhogen. Bekijk de voorwaarden altijd goed door, zodat je alles uit de bonus krijgt.

Types Aanbiedingen

Het houdt niet bij de welkomstbonus. SkyHills houdt de spelers scherp met terugkerende acties. Bijvoorbeeld stortingsbonussen, gratis spins voor bepaalde slots en cashback-aanbiedingen. Voor wie vaker speelt, leveren deze promoties extra speelplezier en mogelijkheden.

VIP-programma

Wie trouw trouw speelt, wordt gewaardeerd via het loyaliteitsprogramma. Met elke inzet spaar je punten. Die punten ruil je in voor bonusgeld, gratis spins of andere extra’s. Hoe hoger je niveau in het programma, hoe beter de extra’s en de specifieke aandacht worden.

Helpdesk en Support

Een degelijke klantenservice is absoluut onmisbaar. SkyHills heeft uiteenlopende manieren om te contacteren: live chat, e-mail en telefoon. Het livechatkanaal springt eruit, doordat je daar meestal onmiddellijk iemand spreekt. Nuttig voor dringende zaken.

Het personeel weten veel over het aanbod en de regelgeving in België. Verder staat op de website een gedetailleerde FAQ-sectie met vlotte antwoorden op frequente vragen over jouw account, stortingen en bonussen.

Spellencollectie: Gokkasten, Tafelspellen en Extra

De spellencollectie is het centrum van een casino, en SkyHills scoort hier goed. Er is een ruime keuze aan honderden video slots, van simpele fruitautomaten tot complexe thema-slots met bonusrondes. Spellen van toonaangevende ontwikkelaars zijn in overvloed beschikbaar.

Voor spelers die van tactiek houden, zijn er talrijke varianten van blackjack, roulette en poker. Het assortiment tafelspellen wordt steeds ververst met recente versies. Zo is er voor de casual speler en de doorgewinterde strateeg altijd wat wils.

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SkyHills Casino neemt zijn verantwoordelijkheid in verantwoord spelen ernstig op. Het platform geeft spelers een aantal tools om zelf grip te houden. Deze tools vloeien voort uit de licentieverplichtingen in België.

Zelfhulpopties

Je kunt zelf limieten bepalen op je stortingen, verliezen of tijd. Ook kun je vragen om een onderbreking of een uitgebreidere periode van zelfuitsluiting. Deze maatregelen helpen om het spelen leuk te houden.

Afstemming met Organisaties

SkyHills werkt samen met officiële instanties zoals het CAD. Op de website treft u directe links naar deze ondersteunende organisaties. Dat laat zien dat het casino het welzijn van spelers hoog in het vaandel draagt.

Zekerheid en Licentie in België

SkyHills Casino beschikt over een erkenning van de Belgische Kansspelcommissie (KSC). Dat impliceert dat het casino moet volgen aan strikte regels voor eerlijk spel, waarborg van spelers en verantwoord gokken. Je rechten als speler zijn daardoor gewaarborgd.

De website is beschermd met geavanceerde SSL-encryptie. Alle betalingen en privé informatie worden zo beveiligd tegen onbevoegden. Deze beveiliging is een vereiste voor elk degelijk online casino.

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Het niveau van de spellen wordt bepaald met de spelontwikkelaars. SkyHills Casino werkt enkel met bekende partijen uit de branche. Deze makers garanderen betrouwbare willekeurige getallengeneratoren en een soepele, aantrekkelijke spelervaring.

Je kunt spellen verwachten van partijen als NetEnt, Play’n GO, Evolution Gaming en Pragmatic Play. Vanwege zoveel verschillende leveranciers te partneren, verschijnt er regelmatig verse titels bij en blijft de gameplay gevarieerd.

Registratieproces en Beheer van je account

Een profiel aanmaken bij SkyHills Casino is een kwestie van slechts een paar minuten. Nieuwe leden geven enkele basisgegevens op voor validatie, zoals de Belgische wet bepaalt. Deze stap is van groot belang voor je eigen beveiliging.

Eenmaal binnen geeft het accountdashboard je een helder overzicht. Je past er eenvoudig je betalingen en persoonlijke instellingen aan, bekijkt je transactiegeschiedenis, laadt op documenten en bepaalt je speellimieten op.

  1. Selecteer de registratieknop en vul het formulier met je gegevens.
  2. Bevestig je account via de link in de bevestigingsmail.
  3. Kies voor een betaalmethode en doe je eerste storting.
  4. Je kan nu alle spellen spelen en je welkomstbonus vrijspelen.

Voor Belgische spelers die een volwaardige en

First teased in 2022 as a Breaking Bad animated parody, the official trailer for Brendan Fraser‘s upcoming series has now dropped, and it delivers on its promise — this is defintely a not-safe-for-work dark comedy. A mashup of familiar mob dramas and family sitcoms, the show satirizes deeper social issues like extreme environmentalism, eco-terrorism, and corporate greed. It also features an all-star ensemble led by two beloved ’90s actors.

Breaking Bad meets Yogi Bear in Breaking Bear, “a fur-flying, law-breaking, forest-saving rampage following a dysfunctional family of bears who go full criminal to stop frackers, mobsters, and a psychotic wolf pack from destroying their home.” The trailer is raunchy at the jump, showing Jer Bear (voiced by Fraser, The Whale, The Mummy) lounging on a couch while smoking and watching adult content on TV. Startled when Blair Bear (Sarah Michelle Gellar, Buffy the Vampire Slayer), his wife, and his baby brother Alistair (Josh Gad, Frozen) catch him dirty, Jer accidentally chomps on the cigar, squirting suspicious white fluid on his family.

“It’s the kind of thing that none of us could ever do live action because we would be cancelled in about 10 seconds,” Gellar said in an interview. There’s another scene where Jer mauls and kills a man, eats his intestines, and swallows his genitals whole before saying, “Gives new meaning to the word ‘junk food.'” One YouTube user perfectly summed up Breaking Bear‘s vulgarity — “Tubi Originals: ‘F*** you, it’s Free.'”

Breaking Bear stars Fraser, Gellar, Gad, Annie Murphy (Schitt’s Creek) as Jer’s sister Tawny Bear, and Elizabeth Hurley (The Royals) as the Wolf Queen, one of the main antagonists. She rallies her pack after learning that Jer broke “the sacred law of the forest” by killing a human, which is the opposite of reality. The premise of Breaking Bear is straightforward — three bears come out of hibernation to find out someone is fracking their forest, so they deal drugs to raise money and fight the enemy. “It’s so out there,” Gellar quipped.

Breaking Bear leans on mobster drama tropes like blindside hit jobs, turf wars, and civilian casualties. Just like in Breaking Bad, the Bears also cook their product out of a camper van in the middle of nowhere, but they soon hire other forest animals as they scale operations, which draws the attention of the Russian mafia, a local biker gang, and racist polar bears. And then there are the main villains — the looming Big Pharma, Big Oil, and logging companies, all pillaging the forest’s precious resources.

Breaking Bear is created by Julien Nitzberg (Mike Judge Presents: Tales from the Tour Bus), and executive produced by Blink-182’s Tom DeLonge (Poet Anderson: The Dream Walker), Stan Spry (Creepshow), Jeff Holland (Day of the Dead), and Bradford Bricken (Twelve Forever). Tubi seems hell-bent on expanding its raunchy adult animation library with standouts like The Freak Brothers and Cyanide & Happiness, so Breaking Bear is in perfect company.

Breaking Bear premieres on Tubi on Jul. 24.

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First teased in 2022 as a Breaking

With Valve’s Steam Machine releasing on June 29, you may be confused as to when you’ll be able to actually purchase the not-a-console console. It’s a little perplexing, so let us help you make sense of the email you might’ve just gotten in your inbox.

Valve has begun sending out preorder emails notifying you about the outcome of the randomized drawing you were able to sign up for recently. That email, though, isn’t the actual one that allows you to buy the device. Instead, it’s a notification telling you whether you’ll soon be sent a second email to place an order, or if you’ll have to wait for more supply to become available at some point in the future.

What’s confusing is the terminology the company’s using. If you’re in the “queue,” you can buy the specific model of Steam Machine within three days of your email. If you landed on the “waitlist,” you’ll have to wait until more supply becomes available.

This is the email sent to those in the queue, who can place an order soon: “When your Steam Machine 512GB becomes available, we will send you a separate email with the option to purchase. You’ll then have 3 days to complete the purchase before we cancel your reservation and move on to the next person in the queue. This is the only email you will receive about the results of the randomization. If you ended up with a reservation queue spot for more than one model, you were allocated a reservation for the highest-end model, and were removed from all the others.”

And this is the email sent to those placed on the waitlist: “When we did the one-time randomization of the list, your place in line ended up beyond the number of units we’ll have in this production run. As we work our way through the reservation queue, some customers may cancel their reservations. If that happens, you may be moved into the reservation queue, and you’ll be notified via email that you have a reservation after all. This is the only email you will receive about the results of the randomization. If you ended up with a waitlist spot for one or more models, you’ll be placed on the waitlist for the model that you were closest to the front of.”

Early impressions of the Steam Machine sound promising, as it operates as a living room PC that appears to be a novel way into PC gaming. It runs well, runs quiet, and runs small. It also runs your wallet, with prices as low as $1050 and as high as $1430. I hope you have half of a month’s rent just lying around somewhere.

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With Valve's Steam Machine releasing on June

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Le programme d’U Spin Casino se présente comme un compagnon de jeu pour ses membres en France. Il épouse les saisons, les fêtes traditionnelles et les grands rendez-vous sportifs, instaurant un ligne directrice captivant. Il ne s’agit pas d’offres jetées au hasard, mais d’une série d’occasions préparées pour marquer chaque saison clé, de Noël aux congés estivaux, en passant par la rentrée scolaire.

Cette approche structurée démontre l’engagement d’U Spin Casino pour une expérience de jeu anticipée. Les membres peuvent ainsi prévoir et s’inscrire à des avantages qui coïncident avec leurs périodes de détente. Cela constitue une méthode de gratifier la base de clients réguliers, tout en fêtant les nouveaux membres lors de occasions spéciales.

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La loyauté est une notion clé chez U Spin Casino. Le dispositif pour les clients fréquents se trouve directement associé au plan promotionnel. Les adhérents des niveaux élevés ont droit à des invitations exclusives à des promotions privées, des calendriers de bonus sur mesure et des présents d’anniversaire qui tombent à la date d’inscription. Ces offres sont confidentielles et constituent un remerciement pour leur implication.

Les membres les plus actifs peuvent également jouir d’un accès prioritaire à quelques promotions ou de limites de pari plus intéressantes durant les tournois. Ce niveau exclusif confère une note de prestige. Ce système indique aux clients les plus assidus qu’ils ne sont pas de simples inscrits, mais des membres exceptionnels de la famille U Spin Casino.

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Le calendrier des fêtes français est essentiel pour U Spin Casino. Les jours fériés comme le 14 juillet provoquent des offres promotionnelles uniques, généralement sur des motifs patriotiques. Aussi, les événements culturels majeurs, comme le Festival de Cannes ou la Coupe du Monde de Rugby, donnent lieu à des tournois spéciaux et des bonus événementiels.

Ces campagnes spéciales créent un esprit de groupe. Elles démontrent que la plateforme est attentive des centres de préférences de ses utilisateurs. Participer à une offre pour la Fête de la Musique ou pour Noël confère une aspect récréatif additionnelle, transformant la partie en une célébration partagée.

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Au-delà des grands rendez-vous, U Spin Casino propose un rythme hebdomadaire et quotidien avec des promotions régulières. Jour après jour peut avoir son offre attitrée, comme des tours gratuits le lundi ou un bonus de dépôt amélioré le vendredi. Ces rituels procurent une régularité appréciée et une raison de revenir souvent.

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Pour l’exploiter pleinement, il est conseillé de parcourir fréquemment la page des promotions sur le site d’U Spin Casino. S’inscrire à la newsletter donne la chance de récupérer les annonces directement par email. Il est aussi bénéfique de marquer les dates des tournois majeurs ou des offres limitées dans le temps qui touchent vos jeux favoris.

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Chaque saison apporte une multitude de nouvelles offres chez U Spin Casino. Le printemps se caractérise par des tours offerts sur un thème floral ou des bonus sur dépôt. L’été, souvent associé à la détente, propose des offres de cashback ou des tournois aux récompenses alléchantes. En automne, période de rentrée, propose des offres plus réfléchies.

En hiver est la saison des générosités, avec un calendrier de l’Avent virtuel ou des bonus importants pour les fêtes. Ce découpage saisonnier génère un flux constant de nouvelles offres et combat l’ennui. Elle garantit qu’à tout instant, les joueurs français découvrent une proposition qui correspond à l’atmosphère saisonnière, établissant une relation entre le jeu et le calendrier.

Foire aux questions

Les promotions prévues sont-elles immuables sur l’année ?

Pas du tout, le calendrier communiqué par U Spin Casino est une base prévisionnelle. La plateforme peut ajouter des promotions surprises ou réviser certaines offres selon les avis des joueurs ou des événements inattendus. Soyez donc attentif des communications officielles pour ne pas les perdre.

Les promotions saisonnières sont-elles cumulables avec le bonus de bienvenue ?

En règle générale, non. La plupart des promotions, incluant les offres saisonnières, ne sont activables qu’une fois le bonus de bienvenue intégralement libéré, à savoir une fois ses conditions de mise satisfaites. Vérifiez toujours les termes particuliers de chaque offre, qui précisent explicitement les règles de cumul.

De quelle manière suis-je prévenu d’une nouvelle promotion ?

U Spin Casino utilise plusieurs voies. La page des promotions sur le site web et dans l’application est mise à jour en premier. Les joueurs abonnés à la newsletter reçoivent un email. Des bannières et des fenêtres peuvent aussi survenir lors de la connexion à votre compte pour les annonces principales.

Quel intérêt y a-t-il à s’engager dans chaque promotion ?

Participer à toutes les promotions n’est aucunement requis ni forcément avantageux. Mieux vaut se concentrer sur les offres qui s’alignent avec vos jeux préférés et à votre façon de jouer. Trop participer peut éparpiller votre budget. Sélectionnez avec discernement en fonction des conditions générales qui vous conviennent.

Les tours gratuits offerts se périment-ils rapidement ?

Oui, les tours gratuits obtenus via des promotions ont quasiment systématiquement une durée de validité limitée, souvent entre 3 et 7 jours. Il faut absolument les utiliser avant la date d’expiration mentionnée dans les conditions. Passé ce délai, ils s’évanouiront de votre compte.

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Absolument. Si une promotion ne vous intéresse pas, vous pouvez simplement ne pas l’activer. Pour les offres créditées automatiquement, vous pouvez contacter le service client pour demander leur retrait, à condition de ne pas avoir déjà commencé à remplir les conditions de mise.

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Non, le calendrier promotionnel d’U Spin Casino est adapté par région. Celui pour la France met en avant les fêtes nationales françaises et les événements sportifs populaires ici. Il respecte aussi les règlements spécifiques de l’Autorité Nationale des Jeux (ANJ). Les offres peuvent donc être distinctes de celles d’autres pays.

Pour les amateurs français, gérer son temps

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We have watched the live dealer environment shift dramatically over the past eighteen months, and the pace of change persists to surprise even our most experienced team members https://crownspokies.com/. At Crown Pokies Casino, we have reacted by multiplying our real dealer floor space and launching a wave of new tables that accommodate every playing style. This expansion is not a surface refresh. It constitutes a complete reimagining of how we deliver authentic human interaction through a digital interface that appears immediate and trustworthy.

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When we discuss live tables, we are talking about authentic human interaction streaming in real time from professional casino floors. We hire dealers who know that their personality carries through the camera. A flat, automated experience cannot replicate the moment a https://www.reddit.com/r/AskUK/comments/1iq961j/euromillions_lotto_thunderball_or_scratchcards/ croupier remembers your name or answers a bold side bet with real enthusiasm. Our dealers prepare thoroughly not just on card mechanics but on camera presence, conversational flow, and reading the digital room to keep energy high through long sessions.

Why Authenticity Boosts Retention

Players feel at ease when they have confidence in the environment, and trust builds faster with visible human dealers handling real cards and actual wheels. We have tracked session lengths against purely digital tables, and the difference is pronounced. Live sessions regularly double the engagement time because the social texture erases the friction of playing alone. You hear the shuffle, you see the ball drop, and you feel the collective anticipation from other seated players even through a screen.

The Subtle Expressions That Machines Overlook

A dealer’s slight smile when a long shot hits, the careful pause before revealing a crucial card, and the natural rhythm of their hands all convey signals that software cannot imitate convincingly. Our production team adjusts lighting and camera angles specifically to capture these micro-expressions. We believe these subtle human cues are the invisible architecture of trust. When they are absent, the brain notes something hollow, and playing time decreases accordingly.

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Multiplying tables means nothing if the video pipeline collapses under pressure, so we rebuilt our encoding architecture completely. Backup fiber routes now transport each stream to edge nodes spread across regions, reducing latency by over forty percent compared to our previous setup. The result is a coordination between audio, video, and betting interface that seems immediate even on mobile connections with moderate bandwidth. We regularly test across diverse network environments to detect weak points before you ever face them.

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Standard overhead and side-angle coverage now is complemented by tracking cameras that track the ball in extreme close-up during its closing phase. We committed in advanced cameras capable of producing smooth slow-motion replays of the ball settling in the pocket every time a single number lands. These clips play back in seconds of the result, giving you an immediate replay without disrupting the wagering flow for the next round.

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Demand for live https://www.reddit.com/r/poker/comments/ppeupa/online_poker_for_at_home_poker_game_options/ seats during evening peaks had commenced to outstrip our capacity, producing wait times we considered unacceptable. We have since incorporated three full studio wings dedicated exclusively to blackjack, roulette, and baccarat variants, effectively doubling the number of concurrent streams we can broadcast. This physical expansion means a seven o’clock rush no longer funnels players into overflow queues. We built headroom to handle spikes during major sporting weekends and holiday stretches without compromising stream quality.

Beyond raw numbers, we diversified table limits across these new wings so that casual players and higher-stakes regulars each find dedicated environments without clashing rhythms. A newcomer testing a modest bankroll should never feel rushed by the pace demanded at a premium table, and experienced players should never feel held back. Segregating limit brackets across distinct physical clusters allows our dealers to calibrate their tempo and table talk precisely for the audience seated at that moment.

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Over sixty percent of our live table traffic now originates from mobile devices, a figure that changed how we design every shot. We rebuilt the betting interface to take up a slim bottom strip that leaves the stream viewport uncompromised, ensuring you view the dealer and wheel clearly without your own controls obstructing the action. Pinch-to-zoom functionality allows you to enlarge the table area temporarily to verify card values or chip denominations before returning back to the full frame.

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Baccarat culture differs considerably across our global player base, and uniformizing the format would have distanced key communities. We created dedicated baccarat suites that reflect distinct regional preferences in pace, squeeze rituals, and table commentary style. Our squeeze-focused tables allow longer ceremonial card reveals where the dealer progressively exposes the edges, a detail that many of our players consider essential to the tension that makes baccarat addictive.

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The traditional bead plate and big road displays remain standard, but we incorporated optional derived roads that you can toggle on or off depending on how much analytical depth you want. Cockroach and big eye road overlays appear as semi-transparent panels so they never obstruct the dealer view. We designed these displays to cater to both the player who glances occasionally and the one who keeps careful manual records alongside the on-screen grids.

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Classic seven-seat blackjack has regularly performed well for us, but we noticed a growing segment of players ready for rule variations that bring fresh decision layers. We answered by launching Infinite Blackjack alongside several side-bet enhanced tables that feature Perfect Pairs, 21+3, and a exclusive multiplier mechanic we tuned over months of player feedback. These variants favor pattern recognition beyond basic strategy, giving analytical minds more to consider while keeping the core rhythm accessible.

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We have watched the live dealer environment

“Toy Story 5” held on to Friday’s box office crown, despite new competition from “Supergirl” and “Jackass: Best and Last.”

Disney and Pixar’s “Toy Story 5” made $21 million domestically from 4,425 screens as it entered its second weekend in cinemas. By Sunday, it’s expected to collect $70 million to $80 million, pusing it’s North American haul to just under $300 million. Last weekend, “Toy Story 5” notched the biggest domestic debut of 2026 with $160 million, and pulled in a series best $312 million worldwide.

Waner Bros. and DC’s “Supergirl” did the best of the newcomers on Friday, landing in second place with $18 million domestically from 3,602 theaters. Through the weekend, it should collect about $50 million. For context, James Gunn’s “Superman,” which cost $225 million, debuted to $125 million last summer and ended its run with $618 million. “Supergirl” was a bit cheaper to produce at $170 million, but will still need to stick around in theaters to justify the pricetag.

“Supergirl” follows Milly Alcock as the titular 20-something-year-old Kryptonian, who teams up with a sheepish alien girl on a quest for interplanetary justice. Other cast members include Eve Ridley, Jason Momoa, Matthias Schoenaerts, Diarmaid Murtagh, Ferdinand Kingsley and David Corenswet. “I, Tonya” filmmaker Craig Gillespie directed the film with a script from Ana Nogueira.

“Jackass: Best and Last” landed in the No. 4 slot with $3.8 million from 2,855 North American theaters. It should make about $8.5 million by Sunday. While that ranks as the lowest opening in the franchise, the film only cost $10 million to produce, meaning it will have no problem recouping its budget and then some. 2022’s “Jackass Forever” debuted to $23 million and ended its run with $80 million.

“Jackass: Best and Last,” like the last four official films, follows the antics of Johnny Knoxville, Steve-O and their pals as they participate in outlandish, and usually highly dangerous, stunts and pranks. Jeff Tremaine serves as director.

Rounding out the top five this week were Steven Spielberg’s “Disclosure Day” and Focus Features’ “Obsession.” “Obsession” took fourth with $2.9 million, and the horror thriller is expected to make $9.4 million by Sunday. Through seven weekends of release, Curry Barker’s “Obsession,” which was made for less than $1 million, will hit a North American tally of about $233 million. “Disclosure Day” landed in fifth with $2.3 million on Friday, on its way to an estimated $7.8 million through Sunday. After three weekends of release, “Disclosure Day” should land at a domestic total of $94 million.

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“Toy Story 5” held on to Friday’s

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    In 2020, Colin Farrell began a six-year back-and-forth between two polar opposite characters, Oz “The Penguin” Cobb and John Sugar.

    That’s not to say that there aren’t some similarities between the Gotham City gangster in The Penguin and Los Angeles private investigator of Sugar. They’re both cinephiles. They both have a knack for anticipating human behavior in order to garner their preferred outcome, and they each have talent for wriggling (or waddling) their way out of jams. 

    However, their core selves are night-and-day different in that Oz will hurt anyone and everyone to get what he wants, even his own flesh and blood. Conversely, Oz is as altruistic as one can be, and he’ll often endure great pain if it means defending the defenseless. Oh, and he happens to be an alien.

    For Farrell, Sugar and his two seasons’ worth of time as the compassionate PI has served as an antidote and “sanity check” to the toxic, unrecognizable Penguin character he’s transformed into via three-hour makeup processes on Matt Reeves’ The Batman and Lauren LeFranc’s The Penguin series. (The Irish actor will soon be reprising Oz Cobb for the third time in Reeves’ The Batman: Part II.)

    “I love playing the Penguin. This is not a bitch, but it’s so dark. The character has such a poison within him,” Farrell tells The Hollywood Reporter in support of Sugar season two. “Sugar, on the other hand, is so gentle, optimistic and so fundamentally decent. It’s a lovely moral palate cleanser.”

    After season one’s show-altering reveal that Sugar is an alien, his fellow alien species is exposed and harmed by the human powers that be, forcing them to retreat to their home planet. Sugar stays behind, though, to hopefully find his missing sister, Djen. But at the top of season two, the trail goes cold, and he assumes the worst case scenario about her fate. Thus, he channels his grief into a new case involving the sudden disappearance of Ji Moon (Raymond Lee), so that his boxer brother, Danny Moon (Jin Ha), doesn’t have to experience the sorrow Sugar feels about his own sibling.

    Following the alien rug-pull, Sugar, which is showrun by Breaking Bad alum Sam Catlin in season two, could’ve easily gone in a more sci-fi direction, but it’s instead become an even more down-to-earth L.A. story. The search for Ji Moon has Sugar encounter many of the real-life issues the city is facing, such as homelessness and the fentanyl crisis. As a producer, Farrell stressed a certain sensitivity so that the show didn’t come off as exploitative or overtly virtuous.

    “I’d be terrified that, in portraying any aspect of the homeless community in this city, you’d be patronizing them, infantilizing them, exoticizing them or using it just for the show to say, ‘Oh look, we’re so caring,’” Farrell says candidly. “I hope we didn’t fall short.”

    Below, during a conversation with THR, Farrell also discusses how season one’s extraterrestrial twist is expanded on in season two, and whether Sugar is a human story or an immigrant story.

    ***

    I last spoke to you for The Penguin while you were on the set of Sugar season two. You’ve gone back and forth between Oz and Sugar the last handful of years. Has Sugar’s inherent decency become something of a moral palate cleanser for Oz’s wicked ways? 

    Yeah, a sanity check. I love playing the Penguin. What a dream for a kid who grew up watching Burgess Meredith in Batman ‘66 and then onto Danny DeVito, my old pal, in Tim Burton’s Batman Returns. To play that part is brilliant, and to work with [prosthetic designer] Mike Marino and do that whole thing with the makeup is amazing. This is not a bitch, but it’s so dark. The character has such a poison within him, and you take it away a little bit.

    Sugar, on the other hand, is so gentle, so optimistic and so fundamentally decent. He sees the best in every single person. He sees through people’s pain and he sees the goodness that lies beneath it. It’s a lovely moral palate cleanser. 

    Colin Farrell as John Sugar in Sugar season two.

    Apple TV+

    Sugar may be an alien, but he’s more human than most humans. As you referenced, it’s really affecting when he comments to himself about how poorly human beings treat those most in pain. Has Sugar’s perspective made you even more aware of how desensitized we’ve become to those who need help?

    I don’t know if I’m more aware of the reality of people’s struggle. You’re assaulted by the reality of the struggle for the most vulnerable amongst us. It’s usually the youngest and the oldest. You have some kind of energetic engine when you’re in your teen years and your twenties and your thirties to at least stand up and fight against something that you don’t believe in. But when you’re a baby or a child or you’re aged or infirm, you’re physically at your most vulnerable, and you don’t have the voice.

    Sometimes, those who love a child or those who love an aged person are able to fight. But even those people who care for their child or for their 84-year-old father are so burdened and so fatigued with care that they don’t have the engine to fight. Does this show reveal more to me how the most vulnerable amongst us are suffering as a result of disinterest, apathy, greed? Not really, unfortunately. It’s everywhere you look.

    Sugar and Oz are both cinephiles as well. How do you compare and contrast their relationships to film?

    Oz learned a lot about human beings from the bullying that he received on playgrounds and from watching his mother and brothers — or from watching Rex Calabrese and his boys on the street corner outside the bodega — but he also learned about human beings from watching films. And Sugar, more than anything, because he had no prior experience with human beings, he really learned a lot about the human condition from observing films. They’re both deeply observant people. But the main difference is that Oz uses his understanding of human behavior to only help himself. Sugar uses it because he wants to help eight billion people on Planet Earth.

    In season two, Sugar’s missing sister haunts him so much that he stops at nothing to reunite a pair of Korean brothers. I bring this up because you produce this show with your sister, Claudine Farrell. Did the two of you originate the sibling storylines on this series? 

    Claudine! She’s next door. (Laughs.) No, we didn’t. Both of us are producers, but Sam Catlin, our showrunner, and his team of writers, as they should have, had the space to think about an arc. He came up with these two Korean immigrants, the Moon Brothers, and I loved the dynamic.

    Los Angeles is a city that is populated by many, many immigrants. I’m an immigrant. Just because I’m an actor in Hollywood and all that shit doesn’t mean I’m not fundamentally an immigrant to this country. So I loved it when Sam articulated where he was going with the season, and Raymond Lee and Jin Ha did such a great job with the Moon Brothers, Ji and Danny. 

    Sam feels that Sugar, at its most basic level, is an immigrant story, but I think it’s more of a human story. I get that Sugar is an immigrant from a distant land, but it’s a story that uses the allegory of this alien creature to explore the human condition more than anything.

    Colin Farrell as John Sugar in Sugar season two.

    Apple TV+

    Sugar is ordered by his fellow aliens to not assimilate during his time on Earth. Do you remember one of the first ways you noticed yourself assimilating into your life as an Angeleno? 

    Honestly, it was the first time I used the word awesome. I also worry about my accent, man. I know it seems superficial. But an accent, for many of us, is a very important anchor and a very important source of identification. It’s an aural tribal call to each other. I just said “other” thicker than I would have if I wasn’t talking about my accent. That’s how deep and how complicated it is in the mind. I’ve yet to have somebody say I sound American at home [in Ireland], but I do know that my accent has greatly lightened up over the years.

    Season one’s twist that Sugar is an alien recontextualized the entire series, and while there’s a couple cool twists in season two, the writers didn’t try to one-up themselves to that degree. Were you glad that Sam and co. didn’t try to force another huge, show-altering reveal just because people responded so well to it in season one? 

    Yeah, I think so. That was a big shadow that hung over the first season. We didn’t know what episode it was going to be revealed, and we didn’t know what Sugar was going to look like when his true self was revealed. So there was a bit of nervousness around that, and it was nice to be done with it in episode six of season one. The way we explore that revelation in the second season is more from a character standpoint. 

    There’s a little bit of backstory with Laura San Giacomo’s character that articulates through their interactions what Sugar was like when he first arrived here. It allows the audience to experience how much he’s changed and evolved in his time amongst human beings. Laura San Giacomo’s character is a very important character because she’s an indicator and a warning sign as to what can potentially befall either Sugar or any of his fellow species if they get too lost in the experience of being human. If they become too assimilated, they can lose themselves to grave consequences.

    Colin Farrell as John Sugar in Sugar.

    Apple TV+

    Now that Sugar’s alien nature is known to the audience, season two could’ve leaned even more into sci-fi, but it mostly deals with real L.A. issues: homelessness, fentanyl, climate and a number of institutional problems. What did you make of that choice to lean into your location even more?

    I loved it because I love Los Angeles. I’ve grown to love Los Angeles through the years. I can’t say I understand it in the way I understand Dublin. I don’t understand everything about Dublin. It’s hard to understand everything about a place that has two million people bumping off each other. But here, I don’t get it. I’ve been in L.A. for 25 years, and I like that it’s still very new to me. It’s got so much texture and so many different pockets of cultures coexisting at the same time. There’s K-Town, which is where a lot of the story takes place this season. There’s Thai town, there’s Salvadorian pockets, and there’s a huge Mexican population, of course. It’s an endlessly fascinating city. 

    So the idea that we had to go any further afield than the issues and the beauties that this city contends with on the daily, it didn’t cut muster. This show is not a sociological treatise on the struggles of a contemporary American city. It’s really not. It’s got a lighter touch than that by design, but at the same time, it really felt of worth to address the fentanyl epidemic here. It really felt of worth to address something that exists across all nations of the world, which is institutionalized corruption, particularly with a political slant and leaning. And through Raymond Lee and Jin Ha’s Ji and Danny, we explore the issue of immigration to a certain extent. It’s not a heavy-handed show, but at the same time, you can’t be glib. 

    You also want to be really careful. I’d be terrified that, in portraying any aspect of the homeless community in this city, you’d be patronizing them, infantilizing them, exoticizing them or using it just for the show to say,  “Oh look, we’re so caring.” When we shot some of those scenes [at the homeless encampment] beneath the underpass, there were a couple of shots and a couple of makeup choices that were made where I was like, “Ahh, we’ve got to be careful here.” I’m not saying we nailed it in a respectful way. I’m not saying we treated that pocket of Los Angelean society with the dignity that every pocket of society deserves to be treated with, but the worry was that we would fall short of that. I hope we didn’t fall short.

    But yeah, this series doesn’t lean into sci-fi as much as it could. If we go to future seasons, I would love to do a little more sci-fi, but never relinquish what the show should be at its core. Before we shot the pilot [four] years ago, we spoke about how this is a show about human beings in Los Angeles, which, to greater and lesser degrees, are like human beings everywhere.

    Are you ready for another sweaty summer under Oz Cobb’s 30-pound bodysuit and two pounds of silicone rubber?

    (Laughs.) Thankfully, [The Batman: Part II] won’t be the whole summer, man. I only have about two or three scenes. So I’ll just be a couple of weeks, but the good thing is that I will get to enjoy more of the film than I would if I was in it more.

    ***
    Sugar season two is currently airing new episodes every Friday until Aug 7.

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    In 2020, Colin Farrell began a six-year

    Dark Shadows may be returning to the small screen. Warner Bros. is developing an adult-animated series based on the 1960s ABC Gothic soap opera.

    The series, created by Dan Curtis, will follow the family of Barnabas Collins. An outlet has not been selected for the series. Warner Bros. revealed the following about the plot of the new Dark Shadows:

    “Adult animated series continuing the saga of the Collins family. Blending gothic, horror, and supernatural genres, this coming adaptation promises all the dark twists and romantic intrigue that defined the transformational series across its 1200-plus episode run.”

    What do you think? Would you watch this adult animated series if it made it to television?

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    by Regina Avalos, June 27, 2026 Dark Shadows

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    Το κλειδί για μια απρόσκοπτη πορεία είναι η ποιότητα των εικόνων ή των σαρώσεων. Μπορείτε να αξιοποιήσετε μια κατάλληλη φωτογραφική μηχανή ή ακόμα και το κινητό σας. Σιγουρευτείτε ότι το έγγραφο είναι σε εστίαση, σωστά φωτισμένο και ότι ούτε μία λεπτομέρεια δεν είναι θολή ή ελλιπής. Ανεβάστε τα αρχεία στα σημεία που προτείνονται. Μην βιαστείτε. Πάρτε μια ήρεμη ανάσα και εξασφαλίστε ότι όλα είναι σωστά. Μόλις τα καταθέσετε, η ομάδα επαλήθευσής μας εκκινεί αμέσως τη διαδικασία της.

    Κανονικά, η διαδικασία δεν χρειάζεται πολύ χρόνο. Στις πολλές περιπτώσεις, ολοκληρώνεται μέσα σε 24 ώρες. Σε εποχές πολύ μεγάλου φόρτου εργασίας, μπορεί να χρειαστούν έως και 72 ώρες. Θα ειδοποιηθείτε μια ειδοποίηση μέσω email ή εντός της πλατφόρμας μόλις τελειώσει. Αν προκύψει κάποιο πρόβλημα, για παράδειγμα αν κάποιο έγγραφο είναι ελλιπές, η ομάδα μας θα έρθει σε επαφή αμέσως μαζί σας με οδηγίες για τη επίλυση του. Είμαστε εδώ για να υποστηρίξουμε.

    Συνήθεις Εμπόδια και Πώς να τις Αντιμετωπίσετε

    Μερικές φορά ενδέχεται να αντιμετωπίσετε μικροσκοπικά κωλύματα, αλλά μην φοβάστε. Ένα από τα πιο κοινά είναι η αξιοποίηση ενός προηγούμενου λογαριασμού ως τεκμηρίου κατοικίας. Να θυμάστε, το χαρτί οφείλει να είναι επίκαιρο, συνήθως μέχρι 3 μηνών. Ένας λογαριασμός από την προηγούμενη χρονιά δεν θα γίνει δεκτός. Η λύση είναι απλή: αξιοποιήστε τον πιο επίκαιρο λογαριασμό σας ή ζητήστε από την τράπεζά σας μια επικυρωμένη βεβαίωση που να είναι μέσα του χρονικού πλαισίου.

    Ένα άλλο κοινό θέμα είναι η καθαρότητα της φωτογραφίας. Σε περίπτωση που το έγγραφο είναι ασαφές, σκιασμένο ή εάν αντανακλά το φλας της κάμερας, ίσως να μην μπορούμε να το επεξεργαστούμε. Η συμβουλή: βγάλτε τη φωτογραφία σε ημερήσιο φως, ακουμπήστε το χαρτί σε σταθερή επιφάνεια και σιγουρευτείτε ότι ούτε μία σημαντική στοιχείο δεν καλύπτεται. Μία ξεκάθαρη σκαναρισμένο αρχείο είναι διαρκώς η καλύτερη εναλλακτική.

    Εν κατακλείδι, βεβαιωθείτε το ονοματεπώνυμο στα δικαιολογητικά ταυτότητας να αντιστοιχεί επακριβώς με εκείνο που καταχωρήσατε κατά την δημιουργία λογαριασμού σας στο Fugu Casino. Αν κάνετε χρήση διαβατήριο που περιλαμβάνει το πατρικό σας ονοματεπώνυμο, ελέγξτε ότι αυτό είναι καταχωρημένο και στο λογαριασμό σας. Εάν έχετε προβλήματα με την αποστολή αρχείων, ελέγξτε τη μορφότυπο και το όγκο τους. Αποδεχόμαστε συνηθισμένες μορφές όπως JPG, PNG και PDF, με μέγεθος έως και 10MB. Αν θελήσετε υποστήριξη, η τμήμα εξυπηρέτησης είναι απλά ένα αίτημα απόσταση.

    Τα Οφέλη μιας Επαληθευμένης Ζωής στο Fugu Casino

    Μόλις ολοκληρώνεται η επαλήθευση, αρκετά νέα πράγματα ξεκλειδώνονται μπροστά σας. Το πιο συγκεκριμένο όφελος είναι η άνεση και η ελευθερία. Θα έχετε τη δυνατότητα να κάνετε αναλήψεις χωρίς καθυστερήσεις, με άμεση πρόσβαση στα κέρδη σας. Η διαδικασία πληρωμής βελτιώνεται σημαντικά, προσφέροντάς σας να απολαύσετε τα χρήματά σας αντί να περιμένετε. Είναι η ανταμοιβή για τη συνεργασία σας στη δημιουργία ενός ασφαλέστερου περιβάλλοντος.

    Επίσης, ένας επαληθευμένος λογαριασμός είναι το εισιτήριό σας για όλα τα αποκλειστικά προνόμια του Fugu Casino. Από ειδικές προσφορές και μπόνους που χρειάζονται επαλήθευση, μέχρι προγράμματα πιστότητας και τουρνουά υψηλών διακρίσεων. Επιπρόσθετα, θωρακίζει τον λογαριασμό σας από οποιαδήποτε μη εξουσιοδοτημένη πρόσβαση, σας δίνοντας μεγαλύτερη ησυχία. Μπορείτε να παίζετε με τη πεποίθηση ότι είστε πλήρως προστατευμένοι.

    Και φυσικά, χτίζει μια άμεση και αξιόπιστη γραμμή επικοινωνίας με την ομάδα μας. Όταν ο λογαριασμός σας είναι επαληθευμένος, μπορούμε να σας παρέχουμε πιο γρήγορη και εξατομικευμένη βοήθεια για οποιοδήποτε θέμα. Είναι το έσχατο βήμα για να γίνετε ένας πλήρως αναγνωρισμένος παίκτης στην ελληνική κοινότητα του Fugu Casino, με όλα τα δικαιώματα και τα προνόμια που αυτό συνεπάγεται. Αξίζει πραγματικά τον κόπο.

    Προστασία Προσωπικών Δεδομένων και Αξιοπιστία

    Στο Fugu Casino, η διαφύλαξη των ιδιωτικών σας δεδομένων είναι ύψιστη προτεραιότητα. Αντιλαμβάνομαι τους φόβους σας όταν αποστέλλετε σημαντικά έγγραφα online. Γι’ αυτό εφαρμόζουμε κρυπτογράφηση τραπεζικού επιπέδου (SSL) για κάθε μεταφορά. Τα έγγραφά σας φυλάσσονται σε ασφαλείς διακομιστές με εξονυχιστικό έλεγχο πρόσβασης, και τα επεξεργάζεται μόνο αρμόδιο προσωπικό για σκοπούς επαλήθευσης.

    Τα δεδομένα σας χρησιμοποιούνται αποκλειστικά για τη διαδικασία επαλήθευσης και τη συμμόρφωση με το νόμο. Δεν τα διαθέτουμε, δεν τα μοιραζόμαστε με τρίτους για μάρκετινγκ και τα διαγράφουμε ασφαλώς σύμφωνα με την πολιτική φύλαξης μας, αμέσως μόλις περάσει το χρονικό διάστημα που καθορίζει ο νόμος. Η σχέση μας με την ελληνική κοινότητα θεμελιώνεται στη διαφάνεια και την εμπιστοσύνη. Τηρούμε τους κανονισμούς της GDPR, κάνοντάς σας να διατηρείτε πλήρη έλεγχο των πληροφοριών σας.

    Είστε σε θέση πάντα να μας συνδεθείτε για να ελέγξετε ποια δεδομένα κρατάμε ή να ζητήσετε τη διαγραφή τους μετά το κλείσιμο του λογαριασμού σας. Η εμπιστοσύνη σας είναι σημαντική για εμάς και τη διατηρούμε με κάθε δυνατό τρόπο. Όταν μοιράζεστε τα έγγραφά σας μαζί μας, είστε σε θέση να είστε πεπεισμένοι ότι τοποθετούνται σε ασφαλισμένο περιβάλλον που λαμβάνει υπόψη τόσο το νόμο όσο και την ιδιωτικότητά σας.

    Συμβουλές για μια Άψογη Διαδικασία Επαλήθευσης

    Για να διεξαχθεί η διαδικασία ακόμα πιο ομαλά, εφαρμόστε αυτές τις χρήσιμες συμβουλές. Αρχικά από όλα, μην το αφήνετε. Καταθέστε τα δικαιολογητικά σας για επαλήθευση ευθύς μόλις ανοίξετε λογαριασμό, ακόμα κι αν δεν σχεδιάζετε να κάνετε ανάληψη αμέσως. Αυτό σας αποτρέπει από μελλοντικές καθυστερήσεις, ειδικά αν συμβεί να κερδίσετε ένα μεγάλο ποσό.

    Έπειτα, οργανώστε έναν ειδικό φάκελο στον υπολογιστή ή το κινητό σας με ψηφιακά αντίγραφα των σημαντικών σας εγγράφων. Έτσι θα τα έχετε πάντα έτοιμα, όχι μόνο για εμάς αλλά και για οποιαδήποτε άλλη online υπηρεσία. Ακόμα, πριν προχωρήσετε, ελέγξτε ξανά τις πληροφορίες στο προφίλ σας στο Fugu Casino για να ταιριάζουν απόλυτα με τα επίσημα σας έγγραφα.

    Κλείνοντας, αν τρέφετε οποιεσδήποτε αμφιβολίες, μιλήστε μαζί μας πριν υποβάλετε. Η ομάδα υποστήριξης πελατών μας μπορεί να σας δώσει σαφείς οδηγίες και να σας βεβαιώσει ότι όλα είναι σωστά από την πρώτη φορά. Η επαλήθευση είναι μια συνεργασία, και εμείς στο Fugu Casino είμαστε εδώ για να σας βοηθήσουμε σε κάθε βήμα. Μαζί θα την μετατρέψουμε απλή και γρήγορη.

    Συχνές Ερωτήσεις

    Πόσο χρόνο διαρκεί η διαδικασία επαλήθευσης στο Fugu Casino;

    Στο Fugu Casino, χειριζόμαστε τα αιτήματα με τη μέγιστη ταχύτητα γίνεται. Κανονικά, η διαδικασία ολοκληρώνεται σε 24 ώρες από τη στιγμή που λάβουμε όλα τα σωστά έγγραφα. Σε κατάσταση εξαιρετικά μεγάλου φόρτου εργασίας, μπορεί να διαρκέσουν έως και 72 ώρες. Θα σας ενημερώσουμε με email μόλις ολοκληρωθεί. Αν περάσουν πάνω από 3 εργάσιμες ημέρες, ελάτε σε επαφή μαζί μας.

    Τι γίνεται αν τα έγγραφά μου ακυρωθούν;

    Μην ανησυχείτε. Αν τα έγγραφά σας απορριφθούν, θα ειδοποιηθείτε ένα email που αναλύει γιατί έγινε αυτό. Μπορεί να είναι λόγω θολής εικόνας, ληγμένου εγγράφου ή ασυμφωνίας στο όνομα. Απλώς επιδιορθώστε το συγκεκριμένο πρόβλημα και υποβάλετε ξανά τα έγγραφα μέσω του προφίλ σας. Η ομάδα μας είναι έτοιμη να σας βοηθήσει να το διορθώσετε γρήγορα.

    Είναι δυνατόν να παίζω χωρίς να επιβεβαιώσω τον λογαριασμό μου;

    Ναι, μπορείτε να δημιουργήσετε λογαριασμό, να πλοηγηθείτε στο καζίνο και να απολαύσετε πολλά παιχνίδια χωρίς άμεση επαλήθευση. Ωστόσο, για να προσθέσετε χρήματα με ορισμένες μεθόδους και, κυρίως, για να κάνετε οποιαδήποτε ανάληψη κερδών, η επαλήθευση είναι αναγκαία. Είναι μια προϋπόθεση που υπάρχει για την προστασία σας και τη τήρηση με το νόμο. Σας συμβουλεύω να το κάνετε νωρίς.

    Είναι ασφαλές να φορτώνω τα προσωπικά μου έγγραφα online;

    Βεβαίως, είναι ασφαλές. Στο Fugu Casino, η ασφάλεια των δεδομένων σας είναι η κύρια μας μέριμνα. Εφαρμόζουμε προηγμένη κρυπτογράφηση SSL για όλες τις μεταδόσεις. Τα έγγραφά σας αποθηκεύονται σε ασφαλείς διακομιστές με αυστηρό έλεγχο πρόσβασης και χρησιμοποιούνται μόνο για νόμιμους σκοπούς επαλήθευσης. Δεν τα διανέμουμε ποτέ με τρίτους. Εναρμονιζόμαστε πλήρως με τους κανονισμούς GDPR για την απόλυτη ησυχία σας.

    Τι γίνεται αν η διεύθυνσή μου στην ταυτότητα διαφέρει από την τρέχουσα;

    Αυτό συμβαίνει συχνά. Απλώς θέλετε μια απόδειξη διεύθυνσης που να δείχνει το τρέχον όνομά σας και την ελληνική σας διεύθυνση. Μπορεί να είναι ένας πρόσφατος λογαριασμός ρεύματος ή τηλεφώνου. Αν η ταυτότητά σας έχει μια παλιά διεύθυνση, δεν υπάρχει πρόβλημα. Το σημείο-κλειδί είναι η τρέχουσα απόδειξη κατοικίας. Εξασφαλίστε ότι το όνομα σε όλα τα έγγραφα ταιριάζει με αυτό της εγγραφής σας.

    Πώς μπορώ να επικοινωνήσω αν έχω προβλήματα με την ανέβαση των εγγράφων;

    Είμαστε εδώ για εσάς. Αν αντιμετωπίζετε τεχνικά προβλήματα με την ανέβαση, ελέγξτε πρώτα τη μορφή και το μέγεθος του αρχείου. Δεχόμαστε αρχεία JPG, PNG και PDF, έως 10MB. Αν το πρόβλημα παραμένει, επικοινωνήστε με την ομάδα υποστήριξης μέσω του ζωντανού chat ή email εντός του καζίνο. Μπορούμε να σας υποδείξουμε και εναλλακτικούς τρόπους υποβολής για να λύσουμε το θέμα άμεσα.

    Καλησπέρα σας, είμαι ο Στέφανος από το

    Luca Guadagnino says it wasn’t surprising Amazon MGM dropped his nearly-finished Sam Altman movie Artificial shortly after Amazon announced a $50 billion investment in OpenAI.

    “I can’t say much because we are right in the middle of this situation,” Guadagnino told Italian television, “[but] these are industrial policies that are certainly not new.”

    Speaking to news show Otto e mezzo on Italian network La7, Guadagnino cited an incident from 2003 when CBS canceled the broadcast of The Regans, a miniseries about President Ronald Regan and his family, starring Josh Brolin and Judy Davis, following a conservative backlash. (The series eventually aired on CBS’s sister network Showtime.)

    The Italian director could have mentioned a more recent example, Ali Abbasi’s 2024 Donald Trump movie The Apprentice, which premiered to acclaim in Cannes but was blackballed by studio and independent distributors, before finally landing with Tom Ortenberg’s indie outfit Briarcliff Entertainment.

    Neither of those, however, is a direct comp to the Artificial situation. Amazon pulled out of Guadagnino’s film shortly after announcing its $50 billion strategic partnership with OpenAI, a deal that will see the two companies jointly build custom AI models for Amazon’s internal engineering teams. When Amazon dropped it, Guadagnino’s $40 million Social Network-esque feature was nearly finished and was expected to premiere at one of the fall film festivals.

    It is now in limbo. CAA Media Finance, which represents Guadagnino, has been screening the movie to potential buyers but many of the usual suspects — Netflix, Focus Features, Warner Bros.’ Clockwork and A24 — have reportedly passed. At this stage, Mubi, which released Guadagnino’s Queer, is considered the most likely buyer.

    While he didn’t speak directly to the Amazon MGM situation, Guadagnino did issue a warning about AI, or rather, the companies that control the technology and its use worldwide.

    “To me, the issue isn’t artificial intelligence itself,” the director said, “What matters most to me are the people. It is completely changing the face — not just of society in terms of consumption and how we relate to these tools, but the very face of the identity of a place like the United States and the entire world — with the rise of this small oligarchy that wields truly radical control.”

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    Luca Guadagnino says it wasn’t surprising Amazon

    When you think of classic outfit combos, jeans with white sneakers should be high on the list. The comfortable duo is elegant in its simplicity, and a safe bet when you hate everything else in your closet. However, many of today’s fashion trends call for pieces that stand out from the crowd. What to do? It turns out there’s a simple solution that’s easy and surprisingly effective: cuffed hems.

    Cuffed jeans aren’t a new concept by any means, but lately they’ve become the go-to choice for those who want to signal that they pay special attention to every detail of their outfit, no matter how small or seemingly benign. With the simple turn of a hem, you give a jeans and white sneakers outfit a whole new meaning.

    Edward Berthelot/Getty Images

    On those days that call for an effortless look, giving your jeans and sneakers outfit a slight upgrade can go such a long way. It’s the small details that make all the difference, and a cuffed hem is the perfect example. This intentional trick draws the eye downward and offers a bit of visual interest without taking away from the overall effect.

    A perfect summer outfit, for example, could be pairing your jeans with a denim shirt—one with short sleeves so you stay cool, of course—and your favorite white sneakers. You’ll still have maximum comfort, but the cuffed hem adds a little edge to make this look stand out. White sneakers and cuffed jeans are so versatile, you can pair them with more dramatic pieces, too, like a cropped top or super-trendy accessories.

    HAMBURG GERMANY  SEPTEMBER 19 Jessica Schöne is seen wearing an oversized crisp white buttonup shirt with a relaxed fit...

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    ROME ITALY  MAY 27 Natalie Portman is seen at Dior Cruise 2025 at Hotel Eden on May 27 2025 in Rome Italy.

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    When you think of classic outfit combos,

    PALM SPRINGS INTERNATIONAL SHORTFEST 2026 REVIEW! These days, it feels like everyone wants the seemingly glamorous job of being an influencer. You have freedom, fame, and a perceived easy job that can earn a lot of money, so what’s not to like? Filmmaker Spencer Zimmerman’s short film Headcase gives a satirical Twilight Zone-like, careful for what you wish for answer to that desire. 

    The film follows Karen (Siobhan Connors), an influencer who loves to talk about her mental health with her audience and everyone else, as she drives and accidentally runs over a man head-on. We later learn that the man is named Brad (Pat Moonie, co-writer of this short), who becomes a talking head à la the Black Knight from Monty Python and the Holy Grail. 

    Karen (Siobhan Connors) sits in a dark diner booth in Headcase.

    “…an influencer who…accidentally runs over a man…”

    Karen dismembers Brad’s body and tries to use it in her videos in order to gain sympathy from her audience, but his words are literally like her conscience telling her what she needs to do. It’s fun and funny to see someone who is so wrapped up in themselves having to deal with the horror of their actions.

    Siobhan Connors is spot-on as a self-absorbed creator, while Pat Moonie has an earnest comedic rapport with her. Spencer Zimmerman’s tale is timely, so I’m looking forward to the feature film that will be based on this short.

    Headcase screened at the 2026 Palm Springs International Shortfest.

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    PALM SPRINGS INTERNATIONAL SHORTFEST 2026 REVIEW! These

    WINNIPEG – The head of the Canadian Museum for Human Rights says it’s unfortunate a trustee resigned over an exhibit about displaced Palestinians but she stands by the decision for it to open to the public Saturday.

    The exhibit, titled “Palestine Uprooted: Nakba Past and Present,” focuses on people affected by the Nakba, Arabic for catastrophe. About 750,000 Palestinians were forcibly displaced in 1948 during fighting over control of what is now Israel.

    The exhibit has been in the works for four years, though Palestinian Canadians have been calling for their stories to be told at the Winnipeg museum since it opened in 2014.

    Jewish groups have raised concerns that the exhibit could fuel antisemitism by not providing more historical context and that it was created without sufficient consultation and transparency.

    Dozens of people rallied outside the museum late Friday afternoon in protest of the exhibit. They carried signs reading “Don’t erase Jewish experience” and “Facts not feelings.”

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    Earlier this week, board member Mark Berlin submitted his resignation, accusing the museum of putting forth ideology instead of an accurate history.

    “It’s unfortunate that (Berlin) chose to resign based on his opinions about this exhibit and what he knew of it,” Isha Khan, the museum’s chief executive officer, said Friday.

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    “Board governance is intended to manage different opinions and make decisions that are from the best interests of this museum and to ensure that we deliver our mandate. I believe that’s what our board has done — supported this museum to do the work to deliver our mandate.”

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    Berlin, who hadn’t seen the exhibit before resigning, said it didn’t acknowledge the estimated 850,000 Jewish people who were forced to flee Arab countries in the years following the establishment of Israel.

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    He said presenting the Palestinian displacement of 1948 without proper historical and political context can deepen the distrust and animosity that exist between Jews and Muslims in Canada.

    Khan said stories of Palestinian Canadians have been underrepresented in the museum’s galleries.

    She said she has heard criticism from people and groups who haven’t yet seen the Nakba exhibit and challenged them to view it with compassion and empathy.

    “Sharing the experiences of one community doesn’t diminish or negate the experience of another.”

    Khan said the museum has committed to telling stories about Jewish displacement in the future. And she encouraged those critical of the exhibit to step into the space first.

    “Then we can have some constructive discussion about what it is and what their concerns might be. To this point, many of those concerns were based on what it could be and fear.”


    The museum invited media to view the exhibit Friday.

    Taking up about 12 metres of an existing gallery, it includes video testimonies, photographs, art and writings. Property deeds, house keys and deep red embroidered clothing are also among featured artifacts.

    A timeline references displacements on both sides: “Before, during and after the war, hundreds of thousands of people became refugees. These included Palestinian Arabs as well as Jews from surrounding countries.”

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    Short videos on a small screen share first-hand accounts of Palestinian Canadians displaced in 1948.

    Isabelle Masson, curator of the exhibit, spoke with about 10 Palestinian Canadians in Winnipeg and Montreal for the project.

    She said their stories helped the team understand the historical impacts of displacement and highlighted the hope of Palestinians.

    “The exhibition holds stories about this intergenerational trauma, about loss and uprooting, but also stories about beauty, cultural practice and art.”

    Fouad Sahyoun was four when his family was displaced from Haifa in what is now known as Israel. He settled in Canada in 1990.

    Portions of an interview with the 82-year-old are featured. He talks about how his grandfather’s properties were seized, along with the family’s cars, bank accounts and furniture.

    In an interview with The Canadian Press, he said he dreams of one day returning to Haifa as a Palestinian citizen.

    “We live under trauma, and that trauma will only end when we’re allowed to go back as decent people, as human people, in our homes and properties.”

    Sahyoun hopes the exhibit educates others to “know our story, know what we went through.”

    This report by The Canadian Press was first published June 26, 2026.

    &copy 2026 The Canadian Press

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    WINNIPEG – The head of the Canadian

    Michael Jackson‘s official account marked his 17th death anniversary on Wednesday with a tribute spanning five of his defining roles: philanthropist, songwriter, producer, vocalist, and dancer.

    The Instagram post called him “the world’s greatest entertainer” and invoked his widely recognized title, the King of Pop. It closed with a question directed at followers: “How will you honor his legacy today?” The post drew more than 833,000 likes.

    Today is the 17th anniversary of Jackson’s death. He died in Los Angeles on June 25, 2009, at age 50. His personal physician, Dr. Conrad Murray, was convicted of involuntary manslaughter. An investigation determined that a lethal dose of the anesthetic propofol caused cardiac arrest. Jackson had been in rehearsals for a planned 50-date London residency called This Is It. He never performed a single show.

    The five-part description in the tribute covers each of his roles. As a recording artist, Jackson released “Thriller” in 1982. It became the best-selling album in history, a status it still holds. At the 1984 Grammy Awards, he won eight trophies in a single night, a record at the time. He followed with “Bad” in 1987, “Dangerous” in 1991, and “HIStory” in 1995. Industry estimates place his total record sales between 350 million and 400 million copies globally.

    As a dancer, Jackson debuted the moonwalk on a Motown 25 television special in May 1983. The move became one of the most replicated gestures in pop culture. His Thriller short film, directed by John Landis in 1983, is still widely cited as a landmark in music video production.

    The philanthropist label reflects documented activity. Jackson founded the Heal the World Foundation in 1992, focused on children’s healthcare and humanitarian aid in multiple countries. He co-wrote “We Are the World” in 1985. The charity single raised funds for African famine relief and featured more than 40 artists.

    Jackson’s estate has kept his presence active commercially. “MJ the Musical” opened on Broadway in 2022 and has since toured internationally. The estate manages his catalog and licensing globally. Several posthumous albums have been released since 2009, including “Michael” in 2010 and “Xscape” in 2014.

    Annual memorial events take place around the world on June 25. Fan groups in Brazil, the UK, and South Korea organize ceremonies each year. Tribute events in his name also run across Europe and parts of Asia.

    His reputation has faced significant scrutiny. The 2019 documentary “Leaving Neverland” revived public debate about long-standing allegations of child sexual abuse. Jackson denied all such allegations during his lifetime, and his estate has disputed the documentary’s claims.

    Today’s post makes no reference to those controversies. It focuses on five roles that shaped his public career. The question of how to honor his legacy is left to his followers to answer.

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    The spirit of Václav Havel and Jiří Bartoška lives on at the Karlovy Vary International Film Festival (KVIFF), and attendees of the 60th edition of the Czech fest will feel a sense of continuity and legacy, a reminder of the long history of the festival, along with innovations and updates that the team always looks to add regularly when it makes sense.

    In fact, Kryštof Mucha, who joined the festival team in 1997, became its executive director in 2004 and has added the role of chairman of the board of the KVIFF Group, says for him and his colleagues, it is all about connecting the past and the future. This mix of looking back into history and paving the way into the future will also be a central theme of this year’s double anniversary edition of KVIFF, given that the fest was launched 80 years ago.

    Indeed, one of the oldest film festivals in the world, Karlovy Vary was part of the so-called “first wave” of post-war European film festivals. Its first edition was held in 1946 as a non-competitive event with 13 features, including international participation, organized by the spa towns of Mariánské Lázně and Karlovy Vary during the first half of August.

    Organizers highlighted earlier this year that this first edition actually took place “before the inaugural editions of the festivals in both Cannes and Locarno.” The event was at first called the Czechoslovak Film Festival, and the first edition was actually held in Mariánské Lázne; then in Mariánské Lázne and Karlovy Vary; and later solely in Karlovy Vary.

    The Venice Film Festival is older, having been founded in 1932 and renewed in 1946, with its first post-war edition following KVIFF’s inaugural edition.

    That long history, with all its ups and downs, is something that Karlovy Vary will highlight in its double anniversary year. Two key figures have long been seen as ambassadors for the fest. They are long-time festival president Bartoška, who died last May after being the public face of KVIFF for more than three decades, and Havel, the author and former dissident-turned-Czech-president, who died in 2011, but was a key force behind the KVIFF scenes.

    “For this year’s anniversaries, we wanted to point to a few moments from the history of the festival, so there will be a big exhibition in the streets, like last year when we had an exhibition of photos of Mr. Bartoška,” shares Mucha. “So we will feature the history of the festival, starting from 1946 until today. Also, 2026 is the Havel year, because he would be 90 this year. So we also want to remind people that Václav Havel was one of our big supporters, so there will be a small presentation of photos of him.”

    About the importance of the politician and the actor-turned-festival-president for KVIFF, Mucha tells THR: “Havel was one of the key people in the new era of the festival, because Mr. Bartoška brought Miloš Forman to the festival, and Havel was a friend of Mr. Bartoška’s. In those days, everybody was interested in meeting with Václav Havel.”

    The story goes like this: Havel would tell people from the film world interested in meeting him that he would be in Karlovy Vary in July, and they should come there if they really wanted to get together with him. “That was the best support we could ever have,” Mucha recalls. “When I went to the United States, I was the one to prepare the invitation letters. And I went to Mr. Havel’s office, and he was using these colored pens, green and red, and he would write: ‘We will see each other in Karlovy Vary.’ So I was using these invitation letters, and that really helped.”

    The two famous names and their close relationship were pivotal when KVIFF fell upon hard times. In 1993, the government of the new Czech Republic withdrew financial support for many cultural events to focus them on becoming financially independent, putting KVIFF at risk. After a backlash, the Ministry of Culture convened a group of influential citizens to figure out a path forward. Bartoška and veteran film journalist Eva Zaoralová worked with the ministry, the city of Karlovy Vary and the historic Grand Hotel Pupp, which later became the inspiration for Wes Anderson’s Grand Budapest Hotel, to establish the Karlovy Vary Film Festival Foundation.

    In 1995, Bartoška became the festival’s president, Zaoralová its program director (a position she held until her death in 2022). Then the International Federation of Producers Associations revoked the fest’s A-category status and transferred it to the new Golden Golem fest in Prague. But Havel came through. He declined to visit the Prague event, instead showing up on the opening night of KVIFF. From there, KVIFF evolved into today’s haven for cinema fans and celebrities.

    But the history of KVIFF also extends well beyond Bartoška and Havel, “we are very proud of being the second-oldest film festival in the world,” Mucha tells THR. “It’s only by a few days, because Locarno and Cannes came out a couple of days after us, but this is very important for us.”

    The fact that this year marks KVIFF’s 60th edition in its 80th year tends to confuse people. The reason was that during the time of the Soviet Union and the Eastern Bloc, the political leadership wanted to have an A-list film festival in Moscow, but also realized that there was already an existing fest in Karlovy Vary. “So they decided it would be biannual events, taking place every second year in Karlovy Vary and in Moscow,” Mucha explains.

    Something interesting happened when Bartoška died last year. “A lot of people came to us and asked if he was the founder of the festival, and we realized that, even in this country, many people don’t know about this incredible history of the festival and that it started in 1946,” shares Mucha. “So we said, okay, we have to remind people of this and that they should be proud of something like that.”

    KVIFF’s lineup announcement this year also name-checked one of the festival’s founders, long-time director of programming A. M. Brousil, who put an early focus on non-European cinema, opening selections beyond the region where the fest takes place. And Karlovy Vary proudly highlighted that its anniversary program features “extraordinary geographical diversity.”

    And that’s exactly where the past and future connect to keep KVIFF and its audiences and attendees energized. Concludes Mucha: “We have a film festival that survived the ugly [decades under Soviet domination 1948-1989] in this country. Our festival has a rich history, and we can and should be proud of it.”

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    The spirit of Václav Havel and Jiří

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    Bill Maher admitted his vote was “in play” ahead of the 2028 presidential election, sharing with Vice President JD Vance what exactly he needed to do to secure it.

    The “Real Time With Bill Maher” host bemoaned the rise of Democratic Socialism within the Democratic Party during Friday’s episode, confessing it was turning him away from the left altogether.

    “Like, if this is where the Democratic Party is going, where this Democratic Socialist, this obsession with Israel, with the Jew hating, with they don’t believe in capitalism, no prisons,” Maher said to Vance. “If this is where they’re going, my vote is in play.”

    After Vance quipped that he “like[s] to hear that,” Maher clarified that his vote has “actually always” been in play, adding, “I don’t make my decision by who was an R or a D.”

    “I actually always came to the conclusion that the Democrat was probably better and voted for them,” he continued. “And Trump can’t run again, and he’d be a little too exciting for me anyway.”

    As he went on, Maher shared his “deal breaker” for the Republican party ahead of midterms and the 2028 election: “Under Trump, you guys have two outcomes that an election can be: Either we win or they cheated. That s–t has to stop.”

    Per Maher, this means either Vance or the other possible Republican contender Marco Rubio has to be the one “to stop” this rhetoric.

    “Can you tell me you will do that? Will you bring us back to the middle, at least on that,” Maher challenged Vance. “Where we concede elections. Where it’s not either one of those two options.”

    However, Vance refused to abandoned this rhetoric, telling the late night host that he’s “probably” going to lose him with his explanation.

    “I don’t think that we should not concede elections, but I don’t think that’s what’s going on,” Vance said. “If you go back to the president’s core argument, he was making an argument about problems that existed in 2020.”

    He added: “The biggest criticism I had at the 2020 election is that you had technology companies that were quite literally censoring negative information about the left and promoting negative information about the right. So, in a fundamental sense, like, if the First Amendment says that we have a free and open debate, and then the American people judge based on that free and open debate, the sense in which I think the election in 2020 was rigged, I’m sorry, is that you had technology companies that were putting their thumb on the scale in a way that completely obliterated the real open exchange of ideas.”

    Maher didn’t appear sold by this response, telling Vance he’ll get “a big pat on the back when you got back to the White House.”

    Sounds like Maher’s vote is still in play. Rubio start working on your answer – STAT.

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    Bill Maher admitted his vote was “in

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    K. Bhagyaraj, the writer-director-actor widely regarded as one of Tamil-language cinema’s defining creative figures, died Saturday in Chennai following a cardiac arrest. He was 73.

    Tamil Nadu Chief Minister, former actor C. Joseph Vijay, announced that Bhagyaraj’s final rites would be conducted with full state honors, describing his passing as an irreparable loss to Tamil cinema. Vijay credited Bhagyaraj’s films with capturing humor, family relationships and everyday emotion while reflecting broader social values.

    Born Krishnaswamy Bhagyaraj on January 7, 1953, in Vellankoil, in what is now Tamil Nadu’s Erode district, he entered the film industry in the mid-1970s as an assistant to Bharathiraja, working on “16 Vayathinile” (1977) and “Kizhakke Pogum Rail” (1978). He also penned dialogues for Bharathiraja’s “Sigappu Rojakkal” during this period.

    Bhagyaraj made his directorial debut with “Suvarilladha Chiththirangal” in 1979, also casting himself in the lead – a template he would return to across a string of hits in the years that followed. 1981 was a particularly prolific year for Bhagyaraj when he wrote, directed and starred in “Mouna Geethangal,”
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    His 1983 film “Mundhanai Mudichu” earned him the Filmfare Award for Best Actor – Tamil and introduced actor Urvashi to Tamil audiences. The film’s success extended beyond the south: Bhagyaraj adapted the screenplay for the Hindi remake “Masterji,” a major box office hit for Rajesh Khanna. He went on to direct “Aakhree Raasta” (1986) with Amitabh Bachchan in the lead, a Hindi remake of “Oru Kaidhiyin Diary” (1985), the Bharathiraja-directed revenge thriller that Bhagyaraj co-wrote.

    Across a career of more than four decades, Bhagyaraj directed over 25 films and appeared as an actor in more than 75, frequently occupying the writer, director and leading-man roles simultaneously. His work was known for its witty dialogue, middle-class characters and emotional accessibility. Beyond filmmaking, he founded his own political party, MGR Makkal Munnetra Kazhagam, in 1989, later aligning with the AIADMK and subsequently the DMK; he edited the Tamil weekly magazine Bhagya and authored several novels.

    Bhagyaraj’s death comes shortly after the passing of Bharathiraja, the filmmaker to whom he had served as an early assistant, deepening the sense of loss for a generation of Tamil cinema.

    He is survived by his wife, actor Poornima Bhagyaraj, and their two children, actor Shanthanu Bhagyaraj and Saranya Bhagyaraj.

    “For 50 years, in the Tamil film world, through his extraordinary talent and creativity, he has given many successful films and earned an indelible place in the hearts of Tamil people – our friend Mr. Bhagyaraj. His sudden passing causes me immense sorrow and shock. My deepest condolences to his family and loved ones. May his soul find peace,” posted superstar Rajinikanth, one of the stars of “16 Vayathinile.”

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    K. Bhagyaraj, the writer-director-actor widely regarded as

    A-Z ’90s Pop Culture Quiz | BuzzFeed

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    A-Z '90s Pop Culture Quiz | BuzzFeed

    Maksutavat ja turvallisuus – mitä huomioidaan alussa

    Toiseksi: rekisteröitymisen ja aloittamisen sujuvuus sekä mobiililaitteiden tuki tekevät kokemuksesta käyttäjäystävällisen. Pelaajat voivat odottaa selkeää navigaatiota, nopeasti avautuvia osioita sekä turvallisen ympäristön pelien äärelle. Tämä kokonaisuus luo perustan, jonka varaan rakentuvat pelien valinta ja voittojen nosto.

    Tervetullut pelaaja huomaa, että Lapland casino korostaa laajaa pelikirjastoa ja sujuvaa käyttökokemusta. Pelejä on tarjolla erilaisiin tilaisuuksiin, ja sivuston rakenne tukee sekä satunnaista että tunnin mittaista pelaamista. Turvallisuusnäkökulmat nousevat esiin: tietojen suojaus ja turvalliset maksuratkaisut ovat osa arkea. Pelaajan vastuullinen pelaaminen on mukana keskusteluissa ja tarjolla on keinoja hallita pelisessioita.

    Laajin pelivalikoima on brändin keskeinen myyntipiste, ja tässä analysoidaan, miten erilaiset pelit löytävät paikkansa sekä miten käyttäjä voi räätälöidä kokemustaan. Yhteinen teema on, että pelaaminen tapahtuu vastuullisesti ja hallittavasti, mikä tukee pitkää ja turvallista pelikokemusta.

    Rekisteröityminen ja tilinavaus Lapland Casinolla

    Selaus ja navigointi ovat mahdollisimman sujuvia: peliaiheet ovat helposti saavutettavissa, ja pelaaja löytää tarvitsemansa suoraan hakun kautta tai kategorioiden avulla.

    Mobiilistrategia huomioi nykypäivän pelaajat, joilla on erilaisia laitteita. Verkkosivu skaalautuu joustavasti, eikä pelaajan tarvitse erikseen ladata sovellusta. Tämä mahdollistaa pelikokemuksen paikkariippumattomuuden, olipa kyseessä kotona tietokoneella tai liikkeellä ollessa.

    Käyttöliittymä avautuu selkeänä ja reagoivana: navigointi on huomioitu sekä tietokoneella että mobiililaitteilla lapland-kasino.fi. Käyttäjä löytää etusivun kautta keskeiset alueet nopeasti ja helposti, ilman monimutkaisia valikkorakenteita.

    Pelikirjon laajuus: tarjonta eri peleihin ja teemoihin

    Pelimaisemassa korostuvat monipuoliset kategorioita sisältävät pelikirjastot, jotka kattavat sekä kolikkopelit että pöytäpelit. Pelaajat löytävät helposti haluamansa genret ja voivat tutustua uusiin peleihin ilman suuria väärinymmärryksiä. Tämä laaja valikoima tukee sekä viihdekeskeistä pelaamista että voiton tavoittelua.

    Ekskluusio-ominaisuudet tuovat uniikkeja mahdollisuuksia, jotka voivat tehdä pelikokemuksesta mieleenpainuvan. Ne voivat tarjota erilaista sisältöä ja uusia näkökulmia pelaamiseen.

    Pelitarjonta kattaa klassiset suosikit sekä moderneimmat vaihtoehdot, tarjoten monipuolisuutta erilaisille pelaajille.

    • Rekisteröityminen on suoraviivaista ja hallittua
    • Talletukset voivat olla useita vaihtoehtoja

    Millaisia turvallisuus- ja maksutoimenpiteet ovat käytössä

    Vastuullinen pelaaminen tarkoittaa asetettujen rajojen käyttämistä sekä pelien hallintaa ja tietoisuutta omista rajoista.

    Vastuullinen pelaaminen kannattaa pitää mielessä: aseta rajat ja seuraa omaa pelisäätöäsi.

    Päätöksen tekeminen kannattaa: lue ehdot, kokeile aluksi pienesti ja varmista että tilisi täyttää tavoitteet.

    Aloita nyt: rekisteröidy, talleta ja nauti kultajahdin eduista vastuullisesti.

    Pelaaminen suositellaan 18 vuotta täyttäneille; käytä kotimaisia ohjeita.

    Maksutavat ja turvallisuus – mitä huomioidaan alussa Toiseksi:

    In 2015, musician Roberto Carlos launched Boleros de Noche, an annual concert series held in Los Angeles that aimed at preserving and showcasing the Latin American bolero music genre.

    This year, the event is celebrating its 10th anniversary with performances at the Ford on Aug. 1 by Puerto Rican singer and former Calle 13 member iLe and L.A.-based bolero trio Voz Bohemia

    On Friday, the city of L.A. honored the series’ decade-long run and legacy of uplifting bolero music by declaring Aug.1 “Día del Bolero.”

    Boleros are ballads noted for their slow tempo and romantic lyrics accompanied by a crooning vocal style. Though the genre originated in Cuba, it quickly gained popularity across Latin America, with each culture putting their own spin on it. In the early 20th century, the evolving sound of boleros was shaped by the Cuban group Trio Matamoros, Mexican composer Agustín Lara, Puerto Rican artist Rafael Hernández and Ecuadorian singer Julio Jaramillo.

    The genre saw a resurgence in popularity in the 1980s and ‘90s when famed Mexican artists Juan Gabriel and Luis Miguel embraced the bolero sound. In recent years, the bolero movement has been modernized and electrified by artists such as Mon Laferte, Romeo Santos, Adrian Quesada and Kali Uchis. In the last five years, Quesada has released two bolero albums, “Boleros Psicodélicos” and “Boleros Psicodélicos II,” that mix the genre’s classic sounds with elements of psychedelic rock.

    “Over the past decade, Boleros de Noche has presented numerous concerts featuring both local and international artists, has brought together thousands of people across the city to bask in the lush orchestration of this music,” said City Councilmember Nithya Raman, who presented Carlos with the honor. “For so many in the Latino community and beyond, this isn’t just music, it’s memory, it’s home, and perhaps most importantly, it’s heritage being carried forward.”

    Raised in L.A. County by parents who immigrated from the Mexican state of Oaxaca, Carlos says he first fell in love with live performance and bolero music in his midteens, when he would frequent the now-defunct Teatro los Pinos in South Gate.

    He yearned for that same level of comfort and awe at music and wanted to share that with a larger audience. The first iteration of Boleros de Noche took place in 2015 at an art gallery in Echo Park.

    “Over the years, I have heard countless stories from audience members who tell me how this music reminds them of their parents, grandparents, first loves and family traditions,” Carlos said Friday at City Hall. “Ten years ago, bolero was rarely part of our city’s cultural conversation, and today bolero programming can be found across Los Angeles, and I’m honored that Boleros de Noche has been a driving force behind its growth.”

    Boleros de Noche has sold out shows at the Ford over the last few years and has featured artists such as Gaby Moreno, Marisoul and the legendary trio Los Panchos. In 2025, the event made its debut at Chicago’s historic Symphony Center.

    The bolero genre’s popularity and cultural significance has been spotlighted outside of L.A. in recent years as well.

    On Dec. 5, 2023, UNESCO, the United Nation’s agency aimed at safeguarding social and cultural foundations, recognized the musical genre as an Intangible Cultural Heritage of Humanity.

    As part of Friday’s ceremony, Carlos and his bolero group Los Rebeldes Románticos performed several tunes, including the Mexican bolero classic “Sabor a Mí.”

    Last year, Carlos spoke with The Times about his ambitions for Boleros de Noche and the mentality that drives the event series.

    “At Boleros de Noche, [I want] for us to speak in Spanish, to feel recognized, to do this music as a celebration for all these artists that unfortunately became background music for a lot of like weddings and quinceañeras,” he said. “How about if we celebrate them and give them recognition? How about if, through my events, I can take people back to the 1940s to my experience at Teatro los Pinos?”

    Given recent attacks on Latinos on the local and national levels, Carlos said he hoped his events would create a safe and welcoming gathering place.

    “It’s about bolero music. It’s about community. It’s about people. It’s about the musicians,” he said. “Many of the musicians were undocumented. They brought this music to L.A. through their hometowns.”

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    In 2015, musician Roberto Carlos launched

    Spider-Man: Beyond the Spider-Verse will officially bring back 18 heroes and villains from Sony Pictures Animation’s last two critically-acclaimed hits. Finally, with almost three years of waiting already behind fans, Beyond the Spider-Verse is just over a year from hitting theaters on June 18, 2027. Moviegoers are eagerly anticipating the final chapter of Miles Morales’ trilogy tale that has united him with Spider-Men from across the Multiverse, including Hailee Steinfeld’s Gwen Stacy, Jake Johnson’s Peter B. Parker, Oscar Isaac’s Spider-Man 2099, and more. 

    With Into the Spider-Verse and Across the Spider-Verse already regarded among the best superhero blockbusters ever crafted, the trilogy-capping threequel has the potential to conclude the story as one of Marvel’s greatest. Beyond has numerous loose threads to tie up, from Miles Morales’ looming canon event (his father’s death) to taking down the Multiverse-hopping villain, The Spot.

    Currently, between announcements, interviews, and Spider-Verse 3‘s CinemaCon-exclusive first trailer, fans already know of 18 Marvel characters who will appear. Below is how those characters stack up against each other.

    Ranking Beyond the Spider-Verse’s 18 Confirmed Heroes & Villains by Power 

    18.) Rio Morales

    Sony Pictures Animation

    Luna Lauren Velez’s Rio Morales may be an excellent mother to her superhero son and an all-around loving person, but that isn’t enough to earn her anywhere above the bottom spot on Spider-Verse 3‘s power ranking. As an everyday, human woman, she is Beyond the Spider-Verse‘s least powerful Marvel icon.

    17.) Jefferson Morales

    Jefferson Miles in police uniform in Across the SpiderVerse.
    Sony Pictures Animation

    Miles’ father, Jefferson Morales, ranks one place above his wife in the Spider-Verse 3 power ranking due to his police training and years of experience on the force. Jefferson is in a precarious position in Spider-Verse 3, as Miles’ canon event dictates that his death is looming. Only time will tell if it can be prevented.

    16.) Mayday Parker

    Mayday parker dangling from web in Across the SpiderVerse.
    Sony Pictures Animation

    Mayday Parker, daughter of Peter B. Parker and Mary Jane Watson, has a leg up on Spider-Verse 3‘s normal human characters despite being a baby. Even though she was under a year old in Across the Spider-Verse, Mayday was already exhibiting wall-crawling and an enhanced intellect for her age, and she had a working web-shooter that her father would quickly regret gifting her.

    15.) LYLA

    LYLA hologram in Across the SpiderVerse.
    Sony Pictures Animation

    LYLA (LYrate Lifeform Approximation) is Spider-Man 2099’s AI-powered hologram assistant, who exhibits limitless intellect in managing the Spider-Society’s HQ and events across the Multiverse and helps build advanced technology. However, as LYLA lacks a physical body, her intellect isn’t enough to push her up the rankings.

    14.) Tombstone

    Tombstone at Kingpin event in Into the SpiderVerse.
    Sony Pictures Animation

    Before Tombstone wreaks havoc in the MCU’s next Spider-Man trilogy, the supervillain gangster will return for Beyond the Spider-Verse. This Tombstone undeniably has some superhuman buffs. But as he is merely an enforcer for Kingpin, who was even beaten up by Aunt May, he isn’t much of a threat.

    13.) Aaron Davis

    Aaron Davis in Across the SpiderVerse.
    Sony Pictures Animation

    While Miles Morales’ uncle, Aaron Davis, was killed in Into the Spider-Verse, the late Prowler will reappear in flashbacks, possibly before his villainous days. The primary Aaron Davis influencing Spider-Verse 3‘s story is Miles G. Morales’ uncle on Earth-42. Though it’s hard to imagine him posing a threat, since it is his nephew, not him, who acts as the Prowler in this twisted reality.

    12.) Miles G. Morales

    Miles G Morales Prowler in Across the SpiderVerse.
    Sony Pictures Animation

    Miles G. Morales is the Prowler, who operates with advanced tech and impressive hand-to-hand combat skills, backed by peak human athletic training. On Earth-42, Morales was never bitten by a radioactive spider and thus has no powers, but that won’t stop him from going toe-to-toe with our familiar Miles in Spider-Verse 3.

    11.) Kingpin

    Kingpin pointing gun in Into the SpiderVerse.
    Sony Pictures Animation

    The Spider-Verse saga’s first larger-than-life villain, Wilson Fisk, aka Kingpin, is coming back for round 2 next year. In his debut, Kingpin was strong enough to lift a car and demonstrated immense durability and surprising agility for his size. Though he has presumably lost most of his empire’s influence since Miles Morales defeated him, he is likely now imprisoned.

    10.) Peter B. Parker

    Peter B Parker holding Mayday Parker in Across the SpiderVerse.
    Sony Pictures Animation

    There was once a day when Jake Johnson’s Peter B. Parker was a powerful Spider-Man who dispatched his foes with ease, but by the time the first animated tale begins, his best days are undeniably behind him. Over the years, Peter B. Parker gained a dad bod and lost some of his physical conditioning, putting him on the lower end of Beyond the Spider-Verse‘s web-slinging heroes.

    9.) Spider-Man India

    Spider-Man India in Across the SpiderVerse.
    Sony Pictures Animation

    Compared to the rest of the Spider-Society, Karan Soni’s Pavitr Prabhakar is clearly far younger and less experienced than his allies. Having just had his canon event thwarted by Miles Morales, he has officially left the Spider-Society behind and will spend the threequel using his skills to help the rebelling Spider-Gang.

    8.) Spider-Man Noir

    Spider-Man Noir in Across the SpiderVerse.
    Sony Pictures Animation

    Spider-Man Noir is usually portrayed as one of the weaker webby heroes, especially in the recent Nicolas Cage-led live-action series, but, as far as the Spider-Verse franchise, he sits fairly in the middle of the road. His bog-standard Spider-Man powers make it hard to rate him too highly, although he gets a boost above some due to his strong intellect and detective skills. 

    7.) Spider-Ham

    Spider-Ham in Into the SpiderVerse.
    Sony Pictures Animation

    While Spider-Ham’s superpowers are rather conventional for a web-swinger, he is greatly buffed up by what is often referred to as “toon force.” Peter Porker’s unique trait is that he obeys the laws of cartoon physics, unlike other characters, and carries endless quirky items in his pockets, such as anvils and hammers.

    6.) Spider-Punk

    Spider-Punk with portal in Across the SpiderVerse.
    Sony Pictures Animation

    Daniel Kaluuya’s rebellious Hobie Brown, aka Spider-Punk, has all the talents that one would expect from a spider-person but gets powered up by a frequency-blasting electric guitar. Fans will finally take a trip into Spider-Punk’s homeworld in Beyond, setting the stage for Hobie Brown’s animated spin-off movie.

    5.) Peni Parker

    Peni Parker in SpiderVerse.
    Sony Pictures Animation

    Peni Parker is one of Spider-Verse‘s hardest web-blasting superheroes to rank, as she lacks the traditional superstrength of her colleagues, but is buffed up by her immense intellect and anime-inspired far future mech. However, due to the heightened durability and unique far-future spider tech at her disposal, it’s tough not to rank Peni Parker’s potential above most of her allies.

    4.) Spider-Gwen

    Gwen Stacy Spider-Woman with arms crossed in Spider-Verse.
    Sony Pictures Animation

    Despite possessing the same superpowers as the web-powered comrades, Hailee Steinfeld’s Gwen Stacy regularly proves herself to be among the Spider-Society’s most proficient agents, showcasing fast agility and true mastery of her abilities. That experience will prove necessary in Beyond as she reunites former allies to help Miles Morales one last time before Spider-Women gets her own spin-off.

    3.) Miles Morales

    Miles Morales in Across the SpiderVerse.
    Sony Pictures Animation

    Miles Morales has established himself as one of Beyond the Spider-Verse‘s most powerful heroes, not just through the creative combat style that he has developed through the years, but also his superpowers. The trilogy’s leading boy doesn’t just have all the standard Spider-Man abilities; he is also equipped with his electric venom blasts and the unique power of turning invisible. 

    2.) Miguel O’Hara/Spider-Man 2099

    Spider-Man 2099 in Across the SpiderVerse.
    Sony Pictures Animation

    It’s hard to deny that Oscar Isaac’s Spider-Man 2099 stands above the rest of the Spider-Society as the Multiverse’s strongest web-slinger. Not only does Miguel O’Hara showcase powerhouse strength and combat ability, but he also possesses great intelligence, battle strategy, and influence as the Spider-Society’s leader.

    1.) The Spot

    The Spot with dark purple energy in Across the SpiderVerse ending.
    Sony Pictures Animation

    It should come as no surprise that Jason Schwartzman’s The Spot, with his power to open portals across the Multiverse, is Beyond the Spider-Verse‘s most powerful Marvel character. Formerly known as Dr. Jonathon Ohnn, The Spot will be stronger than ever after absorbing the dark energy from the super collider, setting him up as Spider-Verse 3‘s main villain as he seeks to destroy Miles Morales’ life.

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    It was just announced at the Annecy International Animation Film Festival that Warner Bros. and DC Studios have announced an Absolute Batman animated series is in production, with the creators of the comic book, writer Scott Snyder and artist Nick Dragotta, as executive producers. This is huge news for DC Comics fans, as Absolute Batman has been a massive hit for the publisher. According to many comic book shop retailers, its success has led to sales not seen for DC since the ’90s comics boom. But if successful, we think Absolute Batman should be but the first in a whole new animated universe. One that could be a game-changer if done right.

    DC Comics

    Absolute Batman, in comic book terms, is a truly generational hit. The series has sold around 3 million copies since it debuted in the fall of 2024. That title is by no means a one-off. The entire Absolute line at DC has sold a staggering 8 million copies overall, with Batman leading the charge. Absolute Batman #20, the most recent issue, sold half a million alone. Western superhero comics, in general, haven’t sold like this in a very long time. So it’s incredibly wise for Warner Bros. to look at what’s working so well in publishing, and strike while the iron is hot. It’s no different than how producers back in the ’90s saw that X-Men #1 sold 8 million, and greenlit X-Men: The Animated Series to debut the very next year.

    DC Comics' Absolute Trinity, Wonder Woman, Batman, and Superman.
    DC Comics

    For those unaware, Absolute Batman is the main title in DC Comics’ Absolute Universe. This alternate world showcases the main DC heroes reimagined in an inherently darker world. However, while it may sound very “grimdark” and “edgelord,” it’s actually anything but. In the Absolute Universe, Batman, Superman, and Wonder Woman are not born into privilege. Kal-El was not born to a noble house on Krypton; his parents were miners. He didn’t come to Earth as a baby, but as a teenager who saw his world die. Wonder Woman wasn’t raised a princess in Paradise; she was raised in Hell by a witch. And Bruce Wayne wasn’t a billionaire; he was a working-class kid whose father died in a mass shooting. His mother, Martha, is still alive.

    Bruce Wayne and his childhood friends, and his future villains.
    DC Comics

    Absolute Batman makes several huge changes to established Dark Knight lore. This Bruce grew up in Crime Alley, and most of his famous rogues’ gallery were his childhood friends. Without the resources of a billionaire, he uses his skills as a civil engineer to come up with all the equipment he needs to fight crime. Bruce is a giant hulk of a man, measuring 6’9 and weighing 400 pounds. And those 400 pounds are of pure muscle. And the Joker? He’s an immoral billionaire, flipping the script on the usual Batman/Joker dynamic. In a real world where billionaires are villains, and those who struggle are finding the heroism to fight back, let’s just say, this version of Batman resonates in a big way.

    But none of these circumstances make the DC Trinity into “darker heroes.” Ok, Batman is darker. But he doesn’t become a killer. Batman might chop off a hand or two with his bat-ax, but he’s not the Punisher. He’s not a wanton murderer. And Superman isn’t The Boys’ Homelander. The great thing about the Absolute Universe is that it shows that, despite less ideal upbringings, the inherent goodness and nobility of the DC heroes always shine through. This has been an incredible canvas for DC Comics to reinvent its 90-year-old universe. All while letting the classic version exist alongside it. And it’s captured the imagination of a new generation of comic book readers, mainly those raised on manga. So Warner Bros. is incredibly wise to mine this take on their heroes in mass media.

    DC Comics' Absolute Trinity, Wonder Woman, Batman, and Superman.
    DC Comics

    If Absolute Batman clicks, then we think Warner Bros. Animation should instantly look to Absolute Superman and Wonder Woman next. Make an entire mini-Absolute anime universe. Writer Jason Aaron’s and Kelly Thompson’s takes on Kal-El and Diana, respectively, are equally perfect for animated adaptation. The designs for Superman by Rafa Sandoval, and Wonder Woman by Hayden Sherman, are exaggerated in just the right way for animation. While the classic iterations of these heroes may continue to live on in live-action films, as they should, there’s no reason the Absolute versions can’t thrive in animation. And they can inject new life into the characters for an entirely new audience, maybe ones who always thought of them as their grandparent’s superheroes.

    Absolute Batman ready for battle.
    DC Comics

    All of this can help DC Comics too, in a big way. The pipeline from manga, to anime adaptation, right back to manga, has only helped manga sales go through the roof in North America. This could be the exact kind of synergy that could help Western comics compete with manga in raw sales. No blockbuster superhero movie or TV show has ever helped lift comic book sales significantly, despite the genre’s dominance for the past two decades. But this might be the thing that works. If readers love the Absolute anime series, they’ll run to the comics to see what comes next. And long before the next animated season arrives. It’s a win/win for everyone. Hopefully, the folks in charge see they have a gold mine in the Absolute universe and utilize it.

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    ⚡ Quick Take Warner Bros. and DC Studios’ Absolute

    The true scope of PlayStation’s Bungie layoffs has been revealed, after official records were published by Washington State.

    On Thursday, Sony Interactive Entertainment confirmed “significant” cuts at the studio, which it said would affect “most” of the Destiny team and “some” Marathon team members. The cuts followed the end of support for Destiny 2 earlier this month.

    Now, as spotted by Game File, the scale of the cuts has now been revealed. A WARN notice issued by Sony to Washington State, where Bungie is based, lists the impacted workers at 292, effective next month.

    It’s worth noting that, since the figure is strictly related to Bungie/Sony jobs in Washington, it won’t account for any elsewhere, so the true impact of the layoffs could be higher.

    Sony acquired Bungie in a deal worth $3.7 billion in 2022, during the height of the pandemic acquisition spree. The studio’s flagship shooter, Destiny 2, has been declining in popularity, and it’s not clear how successful its latest game, 2026’s Marathon, has been for PlayStation.

    Destiny 2’s final major content update, Monument of Triumph, was released on June 9, bringing an end to the game’s nine-year run of content.

    A Bloomberg report published last month claimed that Bungie would be focusing on the extraction shooter Marathon in the near term, with some Destiny 2 developers already transferred to the game.

    The publication claimed that Bungie didn’t have a new project lined up for Destiny 2’s development team following its final content update, and didn’t plan to immediately start development on Destiny 3.