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This story originally ran in the newsletter “Sketch to Screen.” Subscribe here to receive it in your inbox.

I was unable to spend this week in Southeast France for the Annecy International Animation Film Festival, the premier film festival celebrating the medium of animation. Instead, I experienced the festival as most observers do: as a sudden influx of new animated project announcements flooding my X feed.   

Annecy, which was established as a bi-annual event in 1960 and shifted to a yearly event in 1998, hosts a main competition every year, with roughly 10 or so animated films of all types — from 2D to 3D to stop-motion — competing for the Cristal for Best Feature Film. But that, plus the Contrechamp competition, short film categories, and other screenings, are just part of the festival’s programming. It also functions, in its own way, as a trade show, where companies take the opportunity to preview upcoming animated films or TV shows, and announce projects that are on the way.

Ergo, late June, when the festival takes place, is often the time when you can expect some exciting news in the animation world to come out. This year was no different, with companies like Amazon, Netflix, and Warner Bros. all having showcases throughout the week, plus panels for returning shows like “Common Side Effects” or “King of the Hill,” and premieres of upcoming films like “Forgotten Island” and “Minions & Monsters.” We even got some big animation news that wasn’t directly tied to the festival, with a “Shrek” spinoff prequel about Donkey titled…”Donkey,” that feels more and more like a fake film from a 2013 parody YouTube trailer the longer I think about it.  

With the festival wrapping up tomorrow and most of the announcements from the festival largely unveiled, what news from Annecy stood out, for good or for bad? Amazon — a company that has not exactly been in the best graces of animation fans recently — had the announcement that most intrigued me personally, the unveiling of a “Conan the Barbarian” animated series at Prime Video from Genndy Tartakovsky, creator of “Dexter’s Laboratory” and “Samurai Jack.” Anyone who has seen his Adult Swim action series “Primal” knows that the sword-and-sandal pulp hero is an absurdly perfect fit for the animator’s sensibilities. It’s a project that’s not likely to come out for years, but one that I’m going to spend every day impatiently waiting for. 

The prize for most new projects announced is Warner Bros. Animation, which had multiple panels, including one for their DC Studios slate. At the DC panel, four new shows were announced, most intriguingly an anime about the Joker called “Last Laugh” directed by Yasuhiro Aoki, who made the underseen gem “ChaO” earlier this year. Then there’s a “Krypto” series for kids from the creator of “Chowder,” which mostly reminds me of the “Krypto” cartoon I personally grew up with and the theme song I could never get out of my head.

The most marquee of these announcements was “Absolute Batman,” an adaptation of an alternate universe comic reimagining Bruce Wayne as a blue-collar worker rather than the scion of billionaires. I’m not a huge fan of the original comic it’s based on, but it’s wildly successful — selling about 3 million copies since its 2024 launch — and it’s exciting that the original writer Scott Snyder is executive producing the project; the same goes for the previously announced “Mister Miracle” show from writer Tom King, which showcased footage during the presentation. 

Outside of DC Studios, Warner Bros. also announced an HBO Max spinoff of “Adventure Time” focusing on Marceline and Princess Bubblegum, as well as plenty of features, most notably the feature debut of “Hazbin Hotel” creator Vivienne Medrano, “Prehistoria.” Its most attention grabbing news, though, was confirmed development of a “Powerpuff Girls” feature film. To be frank, although I loved that cartoon growing up, I’m personally skeptical of bringing it back. Its 2016 reboot was poorly received, and the live-action attempt received so much backlash it was canned before it ever aired. This is not a franchise that seems capable of really recapturing the magic of the circumstances that birthed it; some good things are best left untouched and alone.

In decidedly less IP-based news, one of the more intriguing acquisitions to come out of Annecy was Crunchyroll’s distribution deal to take “The Wolf,” a French animated movie based on a graphic novel by the original creator of “Snowpiercer” and made by the directing team behind the great “I Lost My Body.” Crunchyroll is basically synonymous with anime distribution and streaming, but the company has handled both live-action releases and movies and TV shows hailing from outside Japan before, and “The Wolf” represents one of their biggest gets on the latter front. With other companies investing in anime more heavily — Netflix had an entire showcase for their anime titles, including a reveal of footage from their “One Piece” reboot “The One Piece” and a new series “Fool Night,” while Amazon announced Science Saru’s new “Ghost in the Shell” reboot is coming to streaming next month — its interesting to see Crunchyroll diversify their output in some strategic ways. 

There are way too many other titles to mention — including Selena Gomez and Timothee Chalamet in an Illumination movie “Not Alone,” the strangest possible avenue for a reunion of the cast of “A Rainy Day in New York” — including things like “Batman: Knightfall,” or Aardman Animation’s “Pokémon” stop-motion series that weren’t newly announced but received premieres or previews. But that’s what most caught my attention this week, and has me chomping on the bit for when they come out. 

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This story originally ran in the newsletter

Future is ready to pull back the curtain — at least a little bit. The Atlanta rap titan has announced that his 10th solo studio album, The Real Me, will arrive July 10 via Freebandz/Epic, and he’s offering a first glimpse of its mood and mindset with the new single and video “Radio.” Click here to pre-order.

Despite its title, “Radio” is explicitly not for mass consumption — at least according to Future himself. “This not for the radio,” he repeats throughout the track’s hypnotic chorus, floating over a ghostly, melodic production courtesy of Wheezy, Taurus and Dez Wright.

In the clip, Future spends his time surrounded by luxury and beautiful women, projecting the kind of effortless confidence that has become his trademark over more than a decade atop rap’s hierarchy.

The Real Me is said to be one of Future’s most personal efforts to date following three full-length projects in 2024 — the Metro Boomin collaborations We Don’t Trust You and We Still Don’t Trust You, alongside the solo effort Mixtape Pluto, which debuted at No. 1 on the Billboard 200 and eventually earned platinum certification.

Perhaps of even greater cultural significance, his collaboration with Metro Boomin on 2024’s “Like That” helped ignite a consequential rap feud, as Kendrick Lamar launched his opening salvo against Drake over the track. More recently, Future reunited with Drake on the latter’s Iceman song “Ran To Atlanta,” collaborated with artists including LISA, Young Thug and the Weeknd and appeared on J. Cole’s long-awaited The Fall-Off.

Earlier this month, Future performed “Game Time” alongside Tyla during the Los Angeles-based opening ceremony of the FIFA World Cup.

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Sean Brock might be just as consumed with vintage Southern-flavored vinyl as he is with interpreting the original flavors of the American South. In his one-year-old West Hollywood restaurant Darling, a large listening bar is centered in the middle of the airy room, the plywood shelves filled with rarities from Dolly Parton to Merle Haggard…and sometimes a touch of Madonna.

The James Beard-award winning chef has been featured on Netflix’s “Chef’s Table” and was a host on PBS’ “Mind of a Chef,” and became known for reviving heritage varieties of quintessential Southern products like corn, rice and pork and incorporating them in deeply-considered dishes at his Charleston restaurant Husk.

In Los Angeles, he’s been exploring the lush offerings of local farmer’s markets while introducing robust Southern specialties — paired with a suitable backdrop of vintage country sounds.

“My curiosity has kind of drifted from trying to understand how food ends up on a plate and place to why music sounds the way it sounds in a place,” says Brock, who is splitting his time between L.A. and Nashville, where he currently has Sho Pizza Bar and several locations of Joyland.

Anson Mills cornbread, left, with French butter and Ojai pixie tangerines, and the dry-aged steak burger.

By popular demand, Brock has added the kind of soulful plates he made his name with to Darling’s menu. “You can’t come out here and not cook grits. It’s been almost like a rebirth for me, with a new audience of eager listeners, people who finally get to taste the cornbread, finally get to taste the iconic country ham from a barn in Kentucky, and fish and grits, and succotash,” he says.

The celebrated chef has created a spot where music-loving celebrities can indulge their inner DJ, from Bill Murray spinning discs one night to hosting a party for Mumford and Sons or Dan Auerbach of the Black Keys coming by to check out the premium sound system.

“When I went to Japan for the very first time, I stumbled across this listening bar concept, and it became my favorite thing to do at the end of the day there. I’ve always dreamt about how can I weave my love of music and my curiosity about music into the restaurant experience,” says Brock.

“The way that I gather and seek old varieties of corn or rice, I’m doing the same thing with old seven-inch 45-rpm records from from the South,” he says.

“I grew up in bluegrass country not too far from the Carter family fold. I grew up around fiddle players and mandolin players, so that’s the natural rhythm of the place that I’m from, and being able to bring some of that music here is really exciting to me,” Brock explains. His quest for original copies and first vinyl pressings may be a little obsessive, but it’s the same kind of intense focus that led him to become a pioneer in sourcing the most flavorful varieties of country ham or heirloom corn for his elevated Southern approach.

On a recent night at Darling, Brock played Dolly Parton’s entire catalog starting with her first 1967 record up to 1987. “It was like a study,” he says, “I heard country music change for 20 years, I heard the guitar tones change, I heard the rhythms change, I heard the introduction of synthesizers and drum machines. It was really neat to feel timeline of traditional country music.”

Brock’s musical fixations include Jennings, Merle Haggard and anything with a pedal steel guitar, he says. “I have thousands of rare honky tonk 45s, and I’ve got a whole collection of music just dedicated to the pedal steel, on top of the incredible soul and funk and jazz that was also made in the South in the ’60s and ’70s.”

The chef may have a deep love for Dolly Parton’s music, but earlier in his career one of his dishes nearly injured the beloved singer. It was during his Ferran Adria liquid nitrogen experimental era, when he created a dessert with milk sorbet and fruit flash frozen with liquid nitrogen. The server left a metal spoon in the dish touching the liquid nitrogen, which will instantly freeze anything that it comes in contact with — such as a banjo-playing icon’s fingers. Brock rushed out of the kitchen and mananged to grab the dish just before she reached for it. “That would have frozen her mouth together, and who knows what would have happened,” he recalls with some horror.

With Darling’s choices like the famous limited-edition dry-aged steak burger, bbq pork chops and the smoky, luscious succotash, it’s hard to settle on a signature dish. But Brock says, “I think the corn bread tells the best story. Cornbread made by a die-hard southerner…made by somebody who’s obsessed with what is the perfect skillet of cornbread.” He pairs the cast-iron plate of crusty bread with French butter, with Ojai pixie tangerine jam adding a ray of California sun. Then there’s the compelling 5-fat fried chicken served with house hot sauce — cooked in a diabolical mixture of smoked butter, chicken fat, country ham, smoked bacon and lard.

“When you go to somebody’s house and you see a coffee can on the back of the stove full of drippings, that started to really inspire me. I wanted to see how far I could go with flavor and uniqueness,” he explains.

From housemade pickles with the fried chicken to country ham with melon and sorrel, the menu spotlights the best California produce, layered with Southern traditions. “I’ve finally gotten through a full year of the market, and so I have a much better understanding now,” he explains. 

“The stories of Southern food run so deep,” Brock says. “There’s so much to share with L.A. I just get giddy about it every time I think about it.”

Darling restaurant, 631 N. Robertson, West Hollywood

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Sean Brock might be just as consumed

Peel Regional Police have released new images of a man wanted on a Canada-wide arrest warrant in connection with the suspected murders of his parents.

Police say the images of Jordan Sangwin, 46, were taken on June 21, three days after the deaths of his parents.

On the evening of June 18, police were called to a home near Hurontario Street and Lakeshore Road East in Mississauga for reports of an assault. Officers found two people – a 70-year-old and a 71-year-old – with life-threatening injuries. Both were later pronounced dead.

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Police said they do not believe Sangwin lived in the home with his parents.


Peel Regional Police have released new images of Jordan Sangwin.

Peel Regional Police


He was last seen near High Park in Toronto at 11 p.m. on June 22, police said on social media. He is also known to frequent the Lakeshore Road area of Mississauga.

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Sangwin is wanted on two counts of first-degree murder

He is described as having a medium build with short, salt and pepper hair and is clean-shaven. He was last seen wearing a grey long-sleeve shirt and dark shorts and carrying a black duffel bag.

Police are warning members of the public not to approach Sangwin if he is spotted and to call 911 immediately.

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

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L’inclusion de langues comme le mandarin, le cantonais et le pendjabi est en phase avec une réalité démographique canadienne majeure. Ces communautés sont conséquentes et très actives dans le divertissement en ligne. En proposant notre interface et notre support dans ces langues, nous supprimons un obstacle important et favorisons une immersion bien plus grande. Pour de nombreux joueurs, cela change tout : ils peuvent enfin saisir les subtilités d’un jeu de table, les règles d’un slot complexe ou les détails d’un tournoi sans avoir à utiliser en permanence des outils de traduction externes, souvent approximatifs.

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L’effet le plus immédiat et le plus tangible de cette extension se situe au niveau de l’UX. Un site web accessible dans la langue du joueur réduit énormément la friction. La navigation devient fluide, la découverte des jeux plus aisée, la compréhension des promotions immédiate. L’expérience se transforme en une séance de loisir fluide, où le focus est consacrée au jeu et non au décodage. La confiance du membre augmente : il sait qu’il peut interagir avec toutes les options en toute transparence, ce qui est capital pour la satisfaction et la protection. L’accessibilité s’en trouve considérablement renforcée, positionnant Slota Casino sur les références internationaux en matière d’relation client.

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Nos joueurs en retirent des avantages concrets et variés. Le premier avantage, et le plus important, est l’amélioration de la sécurité et de la lisibilité. Les jeux d’argent en ligne impliquent des transactions financières et des conditions légales qui doivent être saisies sans la moindre ambiguïté. En proposant tous les contrats, conditions générales, politiques de retrait et informations sur le jeu responsable dans la langue du joueur, nous garantissons un consentement pleinement éclairé. Le joueur connaît exactement à quoi il s’engage, quelles sont les règles du bonus qu’il sollicite, et comment valider son compte. Cette transparence totale est le socle de la confiance.

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Puis, cette confiance est renforcée. Quand une entreprise investit pour communiquer avec vous dans votre langue, elle transmet un message clair : vous importez, votre confort et votre compréhension sont importants. Cela crée un lien positif et accroît la fidélité. Finalement, l’expérience de jeu elle-même devient plus plaisante et immersive. Pouvoir lire l’histoire d’un slot, appréhender les règles spéciales d’un jeu de table en direct, ou intervenir à un chat avec un croupier dans sa propre langue, enrichit le divertissement. Le joueur n’est plus un simple témoin. Il devient un intervenant à part entière de l’univers du jeu. Ces avantages combinés font de Slota Casino un espace de jeu plus sûr, plus transparent et, au final, plus agréable pour tous les Canadiens.

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Notre dévouement le plus ferme est celui envers le jeu responsable. Et cet engagement se doit d’être accessible à tous, sans exception linguistique. L’expansion linguistique nous permet de diffuser des messages primordiaux de prévention et de soutien à un public bien plus large. Tous nos outils de contrôle (limites de dépôt, de mise et de temps, options d’auto-exclusion) sont maintenant disponibles et expliqués en détail dans chaque langue supportée. Les informations sur les organismes d’aide comme Gambling Therapy ou la ligne d’association nationale sont adaptées. Un joueur qui aurait besoin d’aide peut ainsi trouver vite des ressources dans sa langue.

Nous sommes convaincus que la protection des joueurs n’est véritable que si les informations sont parfaitement comprises. Un message sur les risques, un rappel pour faire une pause, ou une explication sur la consultation de son historique de jeu, doivent être d’emblée clairs. En intégrant le jeu responsable au cœur de notre stratégie multilingue, nous assurons que chaque membre de notre communauté, quelle que soit sa langue, dispose des moyens de jouer de manière responsable et encadrée. Cet aspect est incontournable pour nous. Il représente la dimension la plus importante de notre expansion : utiliser la langue comme un pont vers des pratiques de jeu plus saines, et non comme une barrière qui les rendrait obscures.

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Cette extension linguistique n’est qu’un début mais le début d’un nouvelle étape pour Slota Casino au Canada. Notre objectif est de devenir la plateforme de jeux en ligne la plus ouverte et la plus adaptée du pays. Cela veut dire que nous persévérerons à observer l’évolution démographique et à prendre en compte les retours de nos joueurs pour proposer de nouvelles langues. Les communautés pratiquant l’italien, l’allemand, le portugais ou le vietnamien pourraient voir leur langue proposée à l’avenir. En parallèle, nous voulons améliorer la personnalisation. En analysant les préférences de jeu par région et par communauté linguistique, nous parviendrons à affiner nos recommandations et promotions pour qu’elles correspondent encore mieux aux goûts de chacun.

Sur le plan technologique, nous explorons des améliorations continues, comme un support chat et téléphonique encore plus efficace dans toutes nos langues, ou des assistants virtuels capables de traiter des demandes complexes en plusieurs langues. L’objectif final est de créer un écosystème où tout Canadien, où qu’il soit et quelle que soit sa langue maternelle, se sente non seulement accepté, mais activement attendu et choyé. Nous développons un Slota Casino qui représente vraiment la mosaïque canadienne, où la diversité n’est pas un défi à relever, mais notre plus grande force et la source de notre innovation constante. L’avenir est à une expérience de jeu sans frontières linguistiques, et nous y nous employons dès maintenant.

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Basculer de langue sur Slota Casino est un processus réalisé pour être très aisé. Dès votre venue sur la page d’accueil slotacasinoo.ca/fr-ca, trouvez le sélecteur de langue. Il est généralement bien apparent en haut à droite de l’écran, souvent représenté par une icône de globe ou par le drapeau de la langue active. Un clic sur ce sélecteur affiche un menu déroulant énumérant toutes les langues disponibles : Français, English, 中文 (Mandarin), 廣東話 (Cantonais), ਪੰਜਾਬੀ (Pendjabi), Español, العربية (Arabe), et Tagalog. Il vous suffit de sélectionner l’option que vous préférez.

Dès que la langue est définie, l’ensemble de l’interface se met à jour immédiatement. Tous les textes, des menus principaux aux boutons d’action, en passant par les descriptions des jeux et les pages d’informations, se présentent dans la nouvelle langue. Votre choix est généralement enregistrée dans un cookie sur votre appareil. Ainsi, lors de vos prochaines visites, le site se présentera automatiquement dans la langue que vous avez sélectionnée. Si vous exploitez l’application mobile Slota Casino, le processus est identique. Le sélecteur de langue se trouve dans le menu principal ou dans les paramètres du compte. Nous vous recommandons de parcourir le site après le changement pour vous habituer avec l’interface dans votre langue. Vous verrez ainsi comment toutes nos fonctionnalités, y compris le service client et les outils de jeu responsable, sont désormais disponibles dans un format parfaitement compréhensible pour vous.

L’expansion linguistique de Slota Casino représente bien plus qu’une mise à jour technique. C’est un investissement fondamental envers l’inclusion, la clarté et le service pour tous les joueurs canadiens. En parlant désormais votre langue, que ce soit le français, l’anglais, le mandarin, le pendjabi, l’espagnol, l’arabe ou le tagalog, nous supprimons les barrières de communication pour fournir une expérience plus sûre, plus claire et plus captivante. Cette initiative renforce notre promesse de jeu responsable et met le joueur au centre de notre stratégie, en valorisant et en fêtant la riche diversité linguistique du Canada. Slota Casino s’efforce ainsi de devenir votre plateforme de jeu de confiance, où que vous soyez et quelle que soit votre langue.

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A grim, personal real-life case inspired Tõnis Pill’s directorial debut, “Fränk.” When the director was a young boy living in a small Estonian town, a person with an intellectual disability died after tragically falling under a train. A rumor quickly spread that a gang of boys, used to bullying the man, was responsible for pushing him onto the rails. “That gruesome detail was my main motivation to tell his story,” Pill tells Variety after screening the film at the Raindance Film Festival. 

A moving coming-of-age, “Fränk” is inspired by Rob Reiner’s “Stand by Me,” Jonah Hill’s “Mid 90s” and Ali Abbasi’s “Border,” and follows 13-year-old Paul, who arrives in an unfamiliar town after a serious domestic violence incident. Struggling to fit in and wrestling with a rebellious streak, the teen makes one bad decision after another, with his downward trajectory changed by the titular disabled man, played by Oskar Seeman.

Pill came up in the industry as an assistant director, with his second-ever feature film credit being as an AD on Christopher Nolan’s Estonia-shot “Tenet.” Asked about what he learned on those major sets that he could then apply to his own, the director says that “major big-budget sets usually carry a lot of financial burden, which usually translates into quite aggressive and unfriendly sets.” 

“Working on these big sets, I mostly learned about how you should always be kind, regardless of the film set hierarchy,” he adds. In the end, we are working as a team, and nobody should feel bad for just doing their work.”

Kindness and patience were extra important in “Fränk,” given that the director was dealing with a cast largely comprising children and young teens. Pill underwent a two-month casting process, going through over 500 candidates. “It was a really enlightening process,” he recalls. “There was also a six-month gap between the short film and acquiring the final funding, and we were very afraid we might lose some kids to puberty, but the movie gods were with us, and all the kids we had still fit the final movie.”

Asked about tackling disability on screen, the director says they have tried to approach it with two things in mind: “First of all, respect for the actual person the character is based on and secondly, we tried not to emphasize too much on the fact that we have an outcast character with a disability, but rather that we have this super empathetic, joy-filling and all around inspiring person who we want to show to the world and hopefully inspire someone.” 

“Fränk,” courtesy of Raindance Film Festival

Part of this process was working closely with Seeman to develop the character. “We had extensive chats and, after that, we started to figure out the physical and vocal side by putting him in costume, roaming the streets and letting him stay in character. It was actually quite a tense experience, since we discovered that a large amount of our society is actually afraid of people like Fränk and we actually got into several minor conflicts which needed de-escalating.”

“Fränk” is also a film about male friendship and the mental health of young boys, a topic currently massively popular due to misogynistic movements such as the Manosphere and the Red Pill movement. “I’m happy these sensitive topics are recently getting more and more attention,” says the director. “A thing I missed as a kid was a good male mentor, and this is even more relevant now. With all this recent [Andrew] Tate worshipping, I believe we need to show better and positive examples of men. We have to introduce positive mentors, and we also need to show how these misled children or adult men could still change for the better.”

As for the recent growth in his home country’s film industry, Pill says getting more and more major productions into Estonia is “very helpful” to the industry and crews, but there are still significant financial barriers keeping the Baltic country’s cinema from flourishing. “We have a decaying pool of talented directors who are financially struggling because we don’t actually have that much money to make Estonian movies,” he says. “In a country with a population of 1.3 million, we can only make four or five fiction features a year with the general budget we have, with many directors starving until they finally get the chance to make their movie. I truly hope it gets better soon, because otherwise we are going to lose a lot of stories.”

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A grim, personal real-life case inspired Tõnis

A24 explained its research partnership with Google‘s DeepMind unit as a bid to have “a seat at the table“ in Hollywood’s reckoning with AI after fans pelted the independent studio with criticism for embracing the technology.

“This is a research partnership,” A24 communications rep Sophia Shin said about the deal in a statement first reported by Wired. “We’re working side-by-side with DeepMind’s researchers to learn, iterate, and build, having an active hand in shaping new tools and workflows.”

“Our relationship with our audience is something we don’t take for granted,” the statement continued. “This partnership exists because we want to dictate what tools get built for artists, and so they have a voice in shaping them rather than having tools handed to them. We’d rather have a seat at the table than on the sidelines.”

The partnership, which the studio and Google unveiled on Monday, will give A24 and its tech arm, A24 Labs, access to DeepMind’s research and infrastructure, while the unit’s researchers will work with the studio to build out new workflows and figure out what tools filmmakers may want. The deal does not give Google access to A24’s content library or its data, and there is no mandate for filmmakers to use the tools. A24 fans were not pleased on social media and took to the studio’s Instagram and X posts to leave comments that accused A24 of betraying the audience it serves.

“What the hell is up with the AI collaboration? Do you know your fanbase?” one Instagram comment read on a post advertising the upcoming A24 film “The Debut,” while another X user wrote that the deal exhibited “rancid” behavior.

The controversial deal represents the latest marriage between a Hollywood studio and AI in an era where companies have tried to figure out how to engage with the ever-present technology while protecting their copyrights and intellectual property. Disney’s short-lived deal with OpenAI to license its suite of characters came as it sued AI companies such as MiniMax and Midjourney for copyright infringement, while Lionsgate this month expanded its partnership with the AI firm Runway to develop new franchises and produce AI-generated shows drawing from its existing IP. Netflix also purchased Ben Affleck’s AI startup InterPositive, aimed at building tools for filmmakers, earlier this year.

Demis Hassabis, DeepMind’s CEO and co-founder, said in a blog post this week the company believes “the best way to develop tools that empower artists is to work directly with them.”

“By collaborating with filmmakers and industry leaders like A24 from the beginning, we can build new AI features to support artists in authentic, meaningful storytelling that helps enable their creative vision,” he wrote.

Some of A24’s legion of filmmakers have been outspoken in condemning AI’s incorporation into the filmmaking process.

“Backrooms” director Kane Parsons called generative AI “a symptom of broader cultural and economic rot” in an interview with the Australian earlier this month and said that, while there may be use cases in VFX-related work, “it’s difficult to discuss objectively because there’s so much at stake and so many genuinely harmful consequences already happening.”

“I think I’m in the same boat as most well-adjusted people,” he told the paper. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”

“Heretic” directors Scott Beck and Bryan Woods included a disclaimer in the credits of their A24-distributed film that “no generative AI was used in the making of this film,” one Beck said the studio was fine leaving in there.

“We are in a time where I feel like creatively we’re in one of the big ethical battles, and the race is already ahead of us,” Beck told Variety at the time. “The importance is to have these conversations before they force things in, just because it makes sense from a corporate structure. It’s incredibly dangerous. If there’s not people to throttle it, we’re going to find ourselves in five to ten years in a very dangerous situation.”

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A24 explained its research partnership with Google‘s

“Morning Joe” host Joe Scarborough could not contain his anger and bafflement Friday over Vice President JD Vance‘s “ahistoric” and “stupid” comments recently defending former U.S. President Richard Nixon.

At a recent speaking event, Vance said that Nixon’s Watergate scandal would be a “12-hour news story” if it happened today and the thought of it taking down a presidency is “crazy.” The vice president went on to draw a parallel between how “the deep state took down Richard Nixon” and how Donald Trump has been treated by governmental institutions.

Scarborough took issue with all of those remarks.

“What he’s saying is ahistoric. What he’s saying is stupid,” Scarborough said. “That is defining deviancy down. That’s trying to say, ‘Listen, what we’re doing now, it’s not bad, just like Nixon and Watergate!’ Let’s just be really clear here: The Vice President of the United States just said that the deep state went after Nixon. No. Richard Nixon used the deep state to go after political enemies, just like, well, your administration, Mr. Vice President.”

“They not only broke into the DNC, they broke into doctors’ offices, into psychiatrists’ offices, trying to get people’s most private, intimate records. They had an enemies list. They tapped lines,” Scarborough noted of Nixon’s administration, adding, “This is what JD Vance says is normal.”

“That deep state comment? So stupid. Where did you go to school, man?” Scarborough eventually asked. “Did you really get a degree from Yale?”

You can watch the full “Morning Joe” segment yourself in the video below.

While “Morning Joe” co-host Mika Brzezinski tried to shift the focus of the segment, Scarborough quickly pivoted back to Vance’s comments.

“I’m not ready to let this go,” Scarborough said. “I grew up in a family of Nixon supporters. My father was a big Nixon supporter up until the very end. He thought the media and the East Coast establishment was after him, up until the very end when he turned on Nixon because he understood just how horrible everything he had done was.”

Former George W. Bush administration official Richard Haass joined the conversation, explaining one key difference he sees between the Trump and Nixon administrations.

“I think the difference between Nixon and Trump is actually important. Richard Nixon, however flawed he was, was basically a conservative,” Haass said. “The contrast today? We don’t have a conservative in the White House. We have a radical. We have a populist. We have someone who puts himself, in most instances, before the country, and that is a fundamental difference.”

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“Morning Joe” host Joe Scarborough could not

Stream it on Mubi.

For those seeking filmic appetizers to go with their World Cup viewing, Mubi currently has an entire program of international movies devoted to soccer, including renowned gems like Bill Forsyth’s “Gregory’s Girl” (1980), Corneliu Porumboiu’s “Infinite Football” (2018) and Alexandre Koberidze’s “What Do We See When We Look at the Sky?” (2021). Don’t miss one of the recent entrants into this canon: “Saipan,” about an infamous 2002 dispute between the star Irish player Roy Keane and the then-manager of the Irish team, Mick McCarthy. While the team was making a brief stopover on the island of Saipan on their way to Japan for the World Cup finals, Keane, known for his short temper and brash rants, got into an explosive argument with McCarthy over dissatisfactory training arrangements. The manager sent him home — causing a media furor and essentially aborting the Irish team’s chances of winning the tournament.

In this restaging of those few high-strung days in the middle of the Pacific Ocean, the directors, Lisa Barros D’Sa and Glenn Leyburn, capture the tragic absurdity and pressure-cooker atmosphere of the scandal by cutting between faces, places and archival and fictional footage at a pulsating rhythm. Even viewers who may know all the details of the incident might find themselves holding their breath as Keane (Eanna Hardwicke, walking a tightrope between obnoxiousness and admirable conviction) gets increasingly combative, pushing McCarthy (Steve Coogan) to the end of his patience. The film demonstrates why soccer is such a cinematic game: The egos, the plays, the dramas off the pitch are as absorbing as those on the field.

This Croatian drama opens with the young, curly-haired Marko (Lav Novosel) engaging in a series of physical feats: riding his bike furiously, lifting his girlfriend in his strong arms, winning a pull-up contest with his soccer mates (and then indulging in crude locker room talk about girls). He is the perfect jock, showing no signs that he was once in love with another boy, Slaven (Andrija Zunac), triggering a scandal that ended with Slaven leaving town. But then Slaven’s father dies and he returns for the funeral. Like the local river, whose dangerous rise is constantly on the news, repressed desires start to surface.

The director Cejen Cernic Canak builds a slow burn of a film with two fantastic, sensitive actors, who say more with their eyes than their words. A few stray arguments and fights aside, the film’s portrayal of toxic patriarchy is never on-the-nose; it permeates the village like a fog, manifesting in everyday gestures and speech, and in the obsession with contests of strength, their homoerotic undercurrents notwithstanding. Canak’s depiction of queer desire, too, is similarly felt rather than stated aloud, a powerful and undeniable force in the face of prejudice.

Following a gay teenager in São Paulo who takes up sex work after being abandoned by his family, Marcelo Caetano’s “Baby” is a surprisingly tender movie. The film depicts harsh realities — particularly the ways in which homophobia pushes young queer people into dangerous games of survival — but with genuine admiration for chosen families and the grit of those who defend their identities even when pushed to the margins.

We meet the 18-year-old Wellington (João Pedro Mariano) just as he is released from a juvenile detention center after a two-year stint. He comes home to realize that his parents have skipped town and left him no means of getting in touch. As he survives by sleeping on the streets and going out with his friends to cruising spots, he meets Ronaldo (Ricardo Teodoro), an older sex worker who takes Wellington under his wing, teaching him the ways of the trade.

Wellington and Ronaldo form a poignant bond, but love is hard when precarity and persecution encircle one’s relationship. Yet Caetano balances these hard truths with glowing scenes of dancing, sensuality and friendship; these characters may have to conduct their business in the dark, but they wear their queerness proudly, without shame, even in the bright light of day.

Johanna Runevad’s comedy, about a Swedish woman who finds a new lease on life as an au pair in France, is full of surprises. If the broad contours of the story feel quite familiar, treading the well-worn beats of movies about midlife crises and older women rediscovering themselves, the details are idiosyncratic and delightful. Agneta (Eva Melander), a Francophile in Sweden who has spent 25 years working at the local transport office and going through the motions with her condescending husband, is laid off. In a lost, drunken stupor, she applies to a job she finds in the classifieds, seeking a Swedish au pair for a ward in Provence.

When she gets the gig, she packs her bags and arrives in town (speaking barely any French), confident that if nothing else, she has the skills to take care of a little boy. But there’s a catch: The boy is actually an old, eccentric and irascible Swede, Einar (Claes Mansson), whose oddities include yelling daily in the garden of the house, “How do you do, my libido?” We soon learn that Einar left Sweden — and a wife and child — decades ago to find a place where he could live freely as a gay man; in France, he met a lover, Armand, who drew him into a world of romance, liberation and art. Now, growing old in his strange house full of nude paintings and memories of debauchery, he oscillates between pride at having created the life he wanted and grief at all that he had to give up to get there.

As Einar and Agneta open up to each other, his hard-won freedoms throw her stifling heterosexual life into relief. And it underlines what queerness is really about: never taking society’s expectations as a given, and instead living and loving by one’s own truths.

Two working-class geezers with years of strenuous labor (and even more strenuous boozing) under their belts roam around Venice for a night, in search of that elusive final drink. There is a deceptive simplicity and looseness to the premise of Francesco Sossai’s charming film. At one point, Doriano (Pierpaolo Capovilla) and Carlobianchi (Sergio Romano) crash the graduation party of some college students, and the bookish, lovesick Giuilo (Filippo Scotti), a newly minted architect, joins their merry band. Intergenerational misadventures ensue, including a hilarious episode in which they stumble upon a mansion and pretend to be the surveyors the owner has been waiting for.

We discern from Doriano and Carlobianchi’s aimless conversations a back story involving their years of work at an eyewear factory, a lucrative illicit business in the 1990s, the impact of the 2008 financial crisis, and treasure buried somewhere long forgotten. While Guilio stresses about deadlines, bedtimes and jobs, the older men navigate the world with the devil-may-care attitude of those who understand that striving does not guarantee prosperity, and luck rarely favors the bold. Amid the film’s entertaining high jinks, a subtle commentary emerges on how Italy has changed in the decades past, and how our experience of time has itself been reshaped by ruthless capitalism.

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‘Saipan’Stream it on Mubi.For those seeking filmic

Veteran MS NOW anchor Alex Witt is leaving the news network, which is moving away from live programming on the weekends.

The new weekend programming strategy announced Friday is a cost-saving measure that will give parent company Versant more resources for a new direct-to-consumer streaming offering that makes MS NOW available to consumers without a pay-TV subscription. The company is also looking to expand its live event business.

According to a memo from MS NOW President Rebecca Kutler, “The Weekend: Primetime,” a live discussion program launched last year, will have its final airing Saturday.

One of the program’s co-hosts, Antonia Hylton, will take over Witt’s midday shifts later this year. Hylton’s co-hosts Ayman Mohyeldin, Catherine Rampell, and Elise Jordan, will remain with MS NOW and continue to appear on other programs.

Kutler said job losses from the moves are minimal and encouraged staffers who lose their current roles to apply for 40 current job openings at the company with more on the way. MS NOW has been staffing up its news operation since separating from NBC News last year.

MS NOW changed its name from MSNBC in November. The network, along with other Comcast-owned cable channels, were spun off into Versant in January.

Weekends have long been a ratings weak spot for MS NOW, which while a distant second to Fox News, has seen audience growth in 2026 and remains ahead of CNN. The network has started to rely on podcasts such as “Pod Save America, from Crooked Media to fill some hours. The episodes have performed strongly enough for MS NOW to try similar deals with outside podcast producers.

“Throughout the summer, we will expand our taped strategy and announce new content partnerships,” Kutler said in her memo.

With the changes, MS NOW will still have 20 hours of live programming each weekend and will be staffed to handle breaking news.

Witt joined the network formerly known as MSNBC in 1999, long before it began its strong tilt toward progressive political commentary. Over the years, Witt’s weekend newscast became one of the few programs on the network that delivered straight news without opinion.

Kutler called Witt “a beloved longtime member of our MS NOW family” and “a continued, trusted, and steady presence for our audiences.”

While Witt works through the summer, Hylton will anchor the 11 a.m. weekday time period, which will eventually be handled by former NBC News White House correspondent Peter Alexander.

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Veteran MS NOW anchor Alex Witt

A celestial showed up in a brand-new look at Marvel Studios and Marvel Animation’s X-Men ’97 Season 2. Following a lengthy two-year delay (which should no longer be an issue moving forward), X-Men ’97 is on its way back to Disney+ with its classic team of animated mutants. This will also feature other characters who have played major roles in the MCU outside the mutant story.

Marvel Studios released a new episode of the Legends series ahead of X-Men ’97 Season 2’s three-episode premiere on Disney+ on July 1. This episode centers on the ultra-powerful supervillain Apocalypse, who will be the main antagonist in Season 2. In its almost four-minute runtime, the episode recaps Apocalypse’s core story seen in the original X-Men: The Animated Series before his return under Marvel Studios in the final episode of X-Men ’97 Season 1.

Marvel Animation

In a shot of Apocalypse from the new season, a Celestial can be seen to the left of his head at the 3:41 mark of the episode. While it is unclear how big a role the Celestial will play in the new season, it marks the fourth time in MCU history that this specific version of a Celestial has shown up on screen.

Celestial behind Apocalypse in 'X-Men '97' Season 2.
Marvel Animation

Outside of Benicio del Toro’s Collector and Kurt Russell’s Ego the Living Planet, a Celestial similar to the one seen in X-Men ’97 also played a supporting role in 2021’s Eternals. This was the Prime Celestial Arishem, who created both the Eternals and the Deviants to aid in the birth of a new Celestial, Tiamut, whose birth would have destroyed the Earth had the Eternals not stopped it. 

Tiamut also appears in What If…? Season 3, Episode 2, which centers on Kingo and Agatha Harkness’ partnership in 1930s Hollywood. Here, Agatha attempts to steal Tiamut’s celestial energy to conquer the world, capturing the other Eternals to fuel her spell and absorb Tiamut’s power. She then uses this power to trap and absorb Arishem.

X-Men ’97 will move into its second season as part of the MCU’s Phase 6 slate, coming two years after Season 1 began airing in 2024. This season will start with the X-Men scattered across multiple timelines, each tied to a different point in Apocalypse’s reign of terror. 

Apocalypse’s History With the Celestials

Apocalypse smiling in 'X-Men '97' Season 2.
Marvel Animation

In the comics, En Sabah Nur (who becomes Apocalypse) is intricately connected to the Celestials, as he is chosen to be their caretaker and designed to oversee the evolutionary progression of Earth’s mutants. Due to his deformities, he is abandoned in ancient Egypt, and he eventually fuses his body with Celestial cybernetics after discovering their technology.

This armor makes him nearly invincible, part of what makes him one of the most powerful villains in X-Men history. He also has ties to another notable Marvel villain, Kang the Conqueror (when he is disguised as Pharaoh Rama-Tut), who attempts to have him killed because of his knowledge of what En Sabah Nur becomes in the future.

While details about Season 2’s plot are still under wraps, this could indicate that Marvel will tell Apocalypse’s true origin story as depicted in the comics for this show. From there, he is expected to give the X-Men everything they can handle as the team works to find their way back to the 1990s.

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About a year after DC Studios co-CEOs James Gunn and Peter Safran kicked off their new DC Universe, the studio is returning to action in theaters with the release of Supergirl this weekend. Directed by Craig Gillespie and written by Ana Nogueira, this film gives Milly Alcock her first leading credit as Kara Zor-El after making her DCU debut in a cameo appearance at the end of 2025’s Superman. The movie will be inspired by Tom King’s Woman of Tomorrow storyline from DC Comics, showing Kara on an intergalactic quest for vengeance after celebrating her 23rd birthday.

Early reviews for Supergirl have been wildly mixed ahead of its worldwide premiere, as it kicked off with a 62% Tomatometer score on Rotten Tomatoes in the days leading up to its debut. While Alcock has earned praise for her portrayal of the titular heroine, as has Jason Momoa for his dedication to the role of Lobo, many have complained about the clunky pacing, subpar CGI, and overly dark tone for Kara Zor-El’s solo story. As those issues become more widely spread online and through the fandom, it seems to already be impacting the box office results.

In its opening Thursday night (per Variety), DC Studios’ Supergirl grossed $7.8 million in previews at the domestic box office and $13 million globally. While the new DC movie is expected to gross between $47 million and $40 million over the weekend, it is also expected to fall short of Disney and Pixar’s Toy Story 5, which is going into its second weekend in theaters. The animated sequel is estimated to gross between $80 million and $90 million this weekend, coming after an impressive $312 million global opening ($160 million domestically) one week ago.

Toy Story 5 having a massive opening and second weekend is no surprise, considering the last two movies both grossed $1 billion worldwide in 2010 and 2019. Pixar’s flagship franchise has always been a huge moneymaker for the animation giant, and after Hoppers earned solid numbers earlier this year ($389 million worldwide), this classic franchise was expected to perform even better upon its return to theaters.

The big question moving forward for DC Studios will be whether Supergirl will have enough legs to become another hit for the DCU. The movie reportedly has a budget of close to $170 million, meaning it will likely have to gross between $315 million and $425 million to break even and be deemed a financial success. Considering Superman grossed almost $620 million just last year, there is a chance Supergirl could reach the numbers many are hoping for, but it will all depend on the legs it has over the rest of the summer.

Supergirl is now playing in theaters worldwide.


supergirl-poster-1.jpg


Release Date

June 26, 2026

Runtime

108 minutes

Writers

Ana Nogueira

Producers

James Gunn, Lars P. Winther, Nigel Gostelow, Peter Safran


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About a year after DC Studios co-CEOs

Xbox just had its worst May on record in terms of hardware unit sales, while PlayStation 5 fell to its lowest May since 2000, as consumers feel the impact of increasing prices.

That’s according to Circana’s latest video games sales report, which suggests that PlayStation 5 unit sales declined by 58% compared to last May, while Xbox Series hardware units fell by 12%.

Overall spending on game hardware actually increased by 38% when compared to a year ago ($249M), but this was propped up by Nintendo Switch 2. PS5 spending was down 43%, driven by recent price increases, while Xbox hardware spending actually grew 7% compared to a year ago.

Notably, the average price paid for a new unit of video game hardware reached $502 in May, which is up 14% compared to a year ago ($440). Last month, the average price of a PlayStation 5 console increased by 33% versus a year ago to $672, with Xbox Series up 22%, to $524.

Nintendo Switch 2 was again the best-selling hardware platform in both units and dollars for May and 2026 year-to-date, and reached the end of its first year with a US installed base of 5.9M units.

Nintendo Switch 2 is the 2nd fastest-selling video game hardware in US tracked history, behind only the Game Boy Advance (6.5M).

007 First Light was May’s number one title in full game dollar sales, debuting as the 4th best-seller of 2026 year-to-date. Forza Horizon 6 was the 2nd best-selling game of the month and finished May ranked 5th year-to-date.

In the latest big price increase for gaming hardware, Microsoft announced earlier this week that Xbox consoles will soon cost between $100 and $150 more.

Starting August 1, 2026, the cheapest Series X 1TB model without a disc drive will retail for $749.99, while the cheapest 512GB Xbox Series S model will now cost $499.99. This means that an Xbox Series X disc-drive model now costs $300 more than it did at launch in 2020, while the Series S is 50% more expensive.

In a statement, Xbox blamed the price increases on “the current components crisis” impacting the consumer electronics industry, which has seen all three major console manufacturers raise prices significantly.

“Unfortunately, console storage and memory prices have increased by more than 2.5x, and we expect another doubling by the fall of 2027,” Microsoft said.

Earlier this week, Valve confirmed its Steam Machine would retail for over $1,000 – a price point some analysts later speculated would be “the floor” for next-gen consoles expected to arrive from 2027.