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Jill Schlesinger isn’t afraid to tell you how to really handle your dollars and cents.

The former head of an investment advisory firm, Schlesinger has served as a business analyst for CBS News since 2013, helping to translate complex financial issues for everyday viewers and listeners. Now she’s going to take her blunt advice to a new podcast, part of an effort by the Paramount Skydance news operation to build properties that aren’t necessarily tied to its flagship TV programs.

“Money Moves With Jill Schlesinger” will drop every Tuesday and Thursday, starting June 30, and feature the business-savvy advisor having deeper conversations with listeners, spending part of the program providing direct answers to members of her audience.

In some cases, she can be very direct. “There are so many people out there spouting bulls—- that it is shocking to me,” she says during one “Money Moves” episode.

If the provocative language seems unexpected from a CBS News property, the surprise is part of the point.

Schlesinger represents the latest effort by Bari Weiss, CBS News’ editor in chief, to create new CBS News programming that spotlights experts and provocative voices. Such work “means treating YouTube and social media as mediums unto themselves, not afterthoughts…and it means investing in our talent by building brands around them — and more deeply engaging the audiences that already love them,” Weiss said during a town hall meeting with CBS News staffers earlier this year.

More traditional news outlets are growing comfortable with less formal presentations and personalities, part of a gradual coming together of stories news brands and new, digital upstarts who are winning significant slices of attention through newsletters, podcasts and subscription media products.

Schlesinger, a certified financial planner, says she’s not afraid to steer her audience away from some traditional sources of money counsel. “Part of the show will be dedicated to calling out the operators trying to sell you things you don’t need (hello, ‘finfluencers’),” she says in a statement provided via email. “It will also call out some of the elders (a.k.a. my cohort) who give advice that is outdated or doesn’t recognize that the financial and economic landscape has changed dramatically since they were starting their journeys.”

Schlesinger will continue to host a separate podcast, “Jill on Money,” in addition to “Money Moves.” She will be joined in the latter by Mark Talerico, a certified financial planner who is also her executive producer.

CBS News operates podcasts including “48 Hours: Case by Case.”

The new program, says Schlesinger, “is for people who want to take control of their financial lives, but also have fun along the way.”

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Jill Schlesinger isn’t afraid to tell you

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Team Canada is looking to punch its ticket to the next round of the FIFA World Cup with a win over Switzerland in a high-stakes match on Wednesday.

The faceoff is a key part in the Canadian men’s quest to advance further in the tournament.

“To go into the Switzerland game in a position to win the group, I think we’ve always expected that,” Canadian striker Cyle Larin said ahead of training on Monday.

“I think the group, we’ve always expected to be where we are, just from the quality we have in the group, the talent we have. I think we’ve always expected to be in this position.”

Before squashing Qatar 6-0 in Vancouver on June 18, the Canadian men had never won a World Cup game. Switzerland, currently 19th in FIFA’s official ranking, has made it to the tournament’s knockout round five times.

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Canada and Switzerland have only ever faced each other once, with the Canadians taking the 3-1 win in the Swiss city of St. Gallen in May 2002.


Click to play video: 'Vancouver caught up in World Cup fever'


Vancouver caught up in World Cup fever


Canadian head coach Jesse Marsch will have to make at least one change to the starting 11 players he deployed against Qatar after central midfielder Ismaël Koné suffered a broken leg early in the second half. Nathan Saliba came on in relief in his World Cup debut, scoring off a free kick in the 64th minute of the match.

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

“Between Nathan, Mathieu Choiniere, Jonathan Osario, Niko Sigur, we’re going to have to figure out how to use all of our players to get the best out of each game and help fill in the void of what Ismaël has meant to the team, which has been many, many things,” Marsch said to reporters Friday afternoon.

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“Koné’s been an incredible player, maybe our best player in the tournament so far. And he’s also a big personality in the group. So we’ll manage it, but it won’t be easy.”

The Swiss drew 1-1 against Qatar on June 13 and beat Bosnia and Herzegovina 4-1 on June 18, scoring the last two goals in the final 20 minutes of play. Switzerland also went undefeated in European qualifying to get to the World Cup.

Kickoff is set for 3 p.m. eastern, noon Pacific.


Click to play video: 'Croatia to take on Panama in Toronto FIFA World Cup match'


Croatia to take on Panama in Toronto FIFA World Cup match


What is at stake for Canada?


Due to the higher number of competing teams, this is the first time a Round of 32 — the round Canada is looking to qualify for — has been played at the FIFA World Cup. It is set to run from June 28 to July 3 with 16 total matches.

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Currently, Canada owns a goal differential of plus-six and is tied with Switzerland for first in Group B with four points. But placement remains key for the Canadians.

With a win or draw against Switzerland, Canada will finish first in Group B.

Capturing first place allows the team to get more than a week off to rest before playing on July 2 in Vancouver against a third-place finisher from Group E, F, G, I or J, which also involves the Canadians not having to travel to the pitch.

In addition, a win in the Round of 32 would allow Canada to stay put in Vancouver for the Round of 16.

The extra rest would also provide time to evaluate Canadian star Alphonso Davies’ status and whether he is in the starting lineup in the Round of 32.

A loss would likely drop Canada to second in the group, unless Bosnia and Herzegovina beats Qatar by a wide enough number to catch up from their current minus-three placement.


Click to play video: 'Canadians celebrate historic FIFA win, injured Koné thanks fans'


Canadians celebrate historic FIFA win, injured Koné thanks fans


Finishing in second place would insert Canada on the opposite end of the schedule, setting it up to play on the first day of knockout play, which is currently set for Sunday at 3 p.m. eastern in Los Angeles against the second-place finisher in Group A.

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In a scenario where Bosnia and Herzegovina runs the scoreboard against Qatar, leaving Canada to drop to third place, Canada will play a group winner from Group D or E in either Boston or San Francisco.

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

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Team Canada is looking to punch its

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If your ideal outfit is something you can throw on in the morning and still wear at midnight, Tatiana Dieteman gets it.

The West Channel Rd. founder built her brand around that exact energy, filled with knitwear that looks chic without asking you to try too hard.

Dieteman, a former model, launched the line in 2022 after teaching herself to crochet in 2020, initially creating pieces for herself before word (and demand) spread.

Tatiana Dieteman/Instagram

“Knitting started as something very personal for me. It felt meditative, tactile, and grounding,” she tells ET. “I began making pieces for myself, and quickly friends and family started asking for them as well.”

After years in front of the camera, Dieteman developed a sharp instinct for how clothes should fit and she brought that into her own designs.

“Modeling expanded my understanding of personal style in a very hands-on way. I was constantly stepping into different designers’ worlds, learning how clothing can shift depending on how it’s worn, styled, and carried,” she explains.

Tatiana Dieteman/Instagram

“It made me deeply aware that how something feels on your body is just as important as how it looks. You can tell when a piece has integrity and when it moves with you and feels considered.”

The result? One-of-a-kind wardrobe staples you’ll want to live in.

“I learned to play, experiment, and embrace contrast,” she says. “The shapes, textures, and even the imperfections all feel intentional. Every decision has a reason behind it.”

Tatiana Dieteman/Instagram

To keep things extra special, Dieteman releases her collections in limited runs, so everything is a little more personal, and a lot less everywhere.

“When something isn’t mass produced, it holds a different kind of value, not just materially, but emotionally. People tend to hold onto those pieces longer and wear them more intentionally.”

Her references are just as thoughtful: “I find inspiration in art, architecture, nature, and vintage objects. I’m especially drawn to old films and directors like Sofia Coppola and Wes Anderson. Artists like Josef Albers and Georgia O’Keefe have also shaped how I think about form and color.”

Tatiana Dieteman/Instagram

True to her brand’s philosophy, the California native favors effortless styling, choosing pieces that move with you all day long.

“Day-to-day, I like to keep things very undone, with a knit thrown over bare skin, worn with something simple like trousers or denim,” she shares. “For a more dressed up moment, I’ll keep the softness of the knit, but pair it with something sharper or more structured.”

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For comic book fans of a certain age, “Knightfall” is one of the biggest Batman story arcs ever published by DC Comics. The arc is infamous for having the Caped Crusader’s back broken by the super steroid-enhanced genius Bane. It served as a major source of inspiration for Christopher Nolan’s “The Dark Knight Rises,” and has been adapted as episodes of several animated shows. It’s a big storyline that hasn’t been given its due, until now.

When Peter Girardi, executive VP Warner Bros. Animation, took the stage at the 2026 Annecy Animation Festival to introduce the film, he recognized the magnitude of the source material.

“You all know this is a very important story in the Batman mythology,” Girardi told an enthusiastic festival crowd. “It is so big and it was so consequential to the Batman story that it takes place over three films. So this is a trilogy of films. All animated.” 

The first of the trilogy, titled “Part 1: Knightfall,” premiered at Annecy to thunderous applause, with audiences responding to the humor, the gnarly action and the prominent role of the third Robin, Tim Drake. 

“It’s a story that we’ve held on to for many years because we really wanted to get it right. We needed the right team together,” Girardi added. 

The film stars Anson Mount (“Star Trek: Strange New Worlds”) as Batman, Michael Mando (“Spider-Man: Brand New Day”) as Bane, and Pablo Schreiber (“Halo”) as Jean-Paul Valley, aka Azrael. 

The film is animated by South Korean Studio Mir Co. which previously worked on “The Legend of Korra.” The studio is no stranger to superheroes, having helmed “X-Men ‘97,” “My Adventures With Superman,” “Young Justice: Outsiders” and more. Jeff Wamester directs the film from a script by Jeremy Adams. 

First thing’s first. This is a violent movie. DC is no stranger to adult animated adaptations. Ever since 2016’s “The Killing Joke,” Warner Bros. Animation has released several R-rated movies based on DC Comics, like “The Long Halloween,” and the adaptation of the “Injustice” video game. Some of these focus on the violence, others on the cursing or sexual content. “Knightfall” makes it clear it’s going to use its rating to show a violent, dangerous side of Gotham City. The movie begins with a gruesome scene where Azrael makes quick work of a group of human traffickers. With the help of flaming swords, he melts off the face of one of the gang members, before cutting another one’s hands off in a fiery blaze. Limbs and blood flow everywhere, setting the stage for a movie all about Gotham descending into hell. 

The first part in the trilogy is all about showing Bane preparing to put Gotham through the ringer in order to break Batman. His reasoning being that the Caped Crusader has allowed the city to grow weak, too dependent on him to save them and unable to save themselves. This is not the Bane of Nolan’s trilogy, nor the funny Bane of the “Harley Quinn” show. This is the scariest the villain has been, a terrifyingly and freakishly hulking monster that looks like Younger Toguro from “Yu Yu Hakusho.” Not only is Bane huge and hugely strong, he’s also a dangerously smart guy, with his masterplan unraveling throughout the runtime of the film in clever ways, allowing Batman (well, Robin) to do some stellar detective work.

Bane’s plan relies on the World’s Greatest Detective being stretched too thin, and Batman has definitely seen better days. This version of the Dark Knight is stretched too thin, stressed out of his mind, tired beyond belief. After losing the second Robin, Jason Todd, Batman has taken it upon himself to fix Gotham without help, afraid to risk the life of those he cares about. Everyone around him is so concerned for him that Alfred forces Bruce to go to therapy. The character of Shondra Kinsolving from the comics is reimagined as a therapist, one who tries to get Bruce Wayne to open up about his need for help and refusal to ask for it. Her initial diagnosis of Wayne as “a rich prick with a messianic complex” got big laughs from the Annecy crowd, as this tired and erratic version of Batman showed a different side of the DC hero. 

Arguably the scene-stealer of the movie is Tim Drake, the third Robin who has not got much love in past DC movies and shows. He’s witty and a rather good detective who also understands the pain Bruce has gone through recently with the death of Jason, and wants nothing but to help his idol. His witty remarks got big reactions from the festival crowd, while his brutal fight with Bane earned several gasps from the audience.

“We’ve done a lot of DC animated films based on the published material,” Girardi told the Annecy crowd before the start of the film. “This is one of the best.” This is but the first part of a trilogy, but if the crowd reactions are anything to go by, DC may have a winner on their hands. 

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For comic book fans of a certain

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Explorarea lumii cazinourilor online din România relevă o comoară de oferte de bonusuri de bun venit care ne pot îmbogăți semnificativ experiența de joc. Aceste bonusuri sunt oferite adesea cu condiții specifice de bun venit, pe care trebuie să le respectăm pentru a ne crește beneficiile. Prin înțelegerea termenilor și condițiilor, putem beneficia de cu ușurință rotiri gratuite sau depuneri echivalente care ne asigură un boost semnificativ fondului nostru.

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    “The Daily Show” called out Donald Trump for “escalating” the Reflecting Pool controversy after the president claimed vandals were causing the headline-making issues.

    Host Josh Johnson dove straight into the drama surrounding the Lincoln Memorial Reflecting Pool, which has been plagued with algae and pieces of paint floating in it since the Trump administration renovated it for an estimated $16 million.

    “Ever since the Lincoln Memorial Reflecting Pool turned bright green, which is a thing I just said like it’s totally normal, it’s become the first breakout hit of the summer,” Johnson noted before playing news footage of tourists visiting the scum-filled landmark. “Remember you wanted to go to Disneyland? Instead, we’re going to go see the world’s largest kombucha.”

    He continued: “You know, everybody’s complaining about the pool, but they’re coming out to see it. I’m not saying it’s better this way. I’m just saying it seems to be pretty popular. This is how far America has fallen. The last time we collected this many people around the Reflecting Pool was for civil rights. People were like, ‘We must come out to support Dr. King.’ 60 years later, we’re like, ‘A slimy pool? This, I gotta see.’”

    Johnson then defended that this was “a completely natural and expected development,” given the reflecting pool was given a darker bottom, which increased the water temperature and caused the algae. However, as the comedian highlighted, this didn’t stop the president from blaming foul play for the muck and other issues.

    Specifically, Trump claimed that vandals had cut a “300-foot slit right through it,” which Johnson highlighted was something the president said would never happen back in May.

    In the news footage, Trump is seen saying, “If you had a knife — I don’t want to give anybody ideas. If you had a knife, you can’t even cut it.”

    “I’ve never seen someone have a line of logic so stupid, they reverse ‘Inception’ themselves,” Johnson said. “Me from before had the idea to never. I told myself it couldn’t be done. And then I forgot. That’s why it happened.”

    While Johnson admitted that he was one of Trump’s biggest critics, he went out of his way to give the president some advice on the drama: “Donnie, let me help you out. You have got to chill. People are not shanking the pool at night.”

    He then recommended that the president send Secretary of Health and Human Services Robert F. Kennedy Jr. to the pool to fix the situation, adding, “He’ll be like, ‘Mm, looks like soup. Broccoli cheddar.’”

    Johnson added that Trump shouldn’t be “escalating” the situation, before playing footage of increased police patrolling at the landmark.

    “Dang. You’re treating the reflecting pool like Epstein drowned in it,” Johnson quipped. “Just imagine what Iran must be thinking right now. They turn on the TV like, ‘Where are the Americans plotting to send their forces? Damn. Are they even thinking about us?’”

    Before wrapping up, Johnson joked that Trump “jinxed” the Reflecting Pool renovation with all his hype, noting, “Now I want to let him build the ballroom, just to see how bad it turns out.  I bet it disintegrates at the first ‘Cha Cha Slide.’”

    Watch Johnson’s full monologue above.

    “The Daily Show” airs weeknights at 11 p.m. ET on Comedy Central.

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    “The Daily Show” called out Donald Trump

    Love Island USA‘s KC Chandler overshared about his “vanilla” preferences in bed.

    During a conversation with Sydney Eugene on the Tuesday, June 23, episode of the Peacock series, KC was asked if he is dominant in bed, to which he replied, “I am very free for all. I am laid-back.”

    KC made it clear that he preferred a simple experience.

    “When it comes to bedroom s*** and sex, I like to control the tempo, music and the ambiance,” he noted. “I could do it to no music. I could put Family Guy on.”

    He continued: “I don’t need that extra stuff. I am very vanilla. I don’t do all that s***. … I have done whipped cream. I love whipped cream. It is cold, sweet and something different. But that is the most I have done.”

    Love Island USA follows a group of singles who have to pair off in order to stay in a luxury villa in Fiji. The contestants — referred to as Islanders — live in isolation under constant video surveillance.

    Hosted by Vanderpump Rules alum Ariana Madix, Love Island USA requires the group to be coupled up in order to have a chance at receiving the $100,000 prize. While the Islanders are filming nonstop for weeks, viewers are watching daily episodes — and even get to cast votes that affect couples and the fate of the contestants who are facing temptation as sexy new singles make their debut.

    Peacock

    The popular dating show returned in June with contestants Aniya Harvey, Beatriz Hatz, Bryce Alakai Dettloff, KC Chandler, Kenzie, Melanie Moreno, Sincere Rhea, Sean Reifel, Trinity Tatum and Zach.

    As each couple faced obstacles in Sunday’s episode, production sprung the Casa Amor reveal on the villa.

    Love Island Couples


    Related: ‘Love Island USA’ Season 8 Couples: Who Is Still Together? Who Broke Up?

    Love Island USA is all about coupling up — so which Islanders are currently together and which have already called it quits in the villa? Peacock’s popular dating show returned in June 2026 with contestants Aniya Harvey, Beatriz Hatz, Bryce Alakai Dettloff, KC Chandler, Mackenzie “Kenzie” Annis, Melanie Moreno, Sincere Rhea, Sean Reifel, Trinity Tatum […]

    Casa Amor will divide the couples into two different villas — one for the men and one for the women. During their separation, the Islanders are encouraged to test the stability and longevity of their connections with the arrival of a group of brand new bombshells.

    The villa test will end with everyone deciding whether they want to recouple with a bombshell or remain in their existing couple.

    New episodes of Love Island USA are released six days a week — except for Wednesdays — on Peacock.

    Join Us Weekly and Bracketology.tv in our first-ever Love Island USA fantasy league! This is your chance to predict who you think will win Season 8 and rank the Islanders weekly based on how confident you are that they will survive the next elimination. You will be playing against our editors, get access to exclusive content and have the chance to win fun prizes. Sign up for free today!

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    “The Sound of Music,” among the best-known and most-loved of American musicals, will return to Broadway next spring, nearly seven decades after its first staging.

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    DeBessonet, beginning her second season as the artistic director of Lincoln Center Theater, said that the nonprofit organization this fall would also stage a Broadway revival of “A Few Good Men,” the military drama that propelled Aaron Sorkin’s career as one of the nation’s most influential screenwriters.

    Both shows are best known from their film adaptations. “The Sound of Music,” with songs by Rodgers and Hammerstein, first ran on Broadway in 1959; the film, in 1965, is an American classic starring Julie Andrews and Christopher Plummer. “A Few Good Men,” written by Sorkin, first ran on Broadway in 1989; the film, also written by Sorkin and featuring an all-star cast including Tom Cruise and Jack Nicholson, was released in 1992.

    “The Sound of Music” revival, with previews beginning on March 23 and an opening on April 15, will star Jasmine Amy Rogers as Maria, the singing governess whose arrival transforms a motherless family in Nazi-era Austria. Rogers burst onto Broadway in last year’s “Boop! The Musical,” and has been much in-demand since, starring in an Off Broadway production of “The 25th Annual Putnam County Spelling Bee” and an Encores! production of “The Wild Party” and booking a role in this fall’s Broadway revival of “School Girls; or, The African Mean Girls Play.”

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    Both shows will be staged at Lincoln Center’s Vivian Beaumont Theater, which is one of the six Broadway houses run by nonprofits. “Ragtime,” which began performances at the Beaumont last September, is scheduled to conclude its run there on Aug. 16.

    DeBessonet, in an interview, described “A Few Good Men” as “about state-sanctioned violence,” but praised the play for its nuance, saying, “I actually found the questions that the show is asking very complicated in a really dynamic, interesting way.” She said Sorkin would be making small changes to the script, which she called “finessing of dialogue.”

    As for “The Sound of Music,” deBessonet said she had first seen the film when she was a 3-year-old in Baton Rouge, La., and had wanted to direct it since she was 5. She described the stage version as darker and more political than the film; the show was last staged on Broadway in 1998.

    “It’s a story that is about an authoritarian regime encroaching, and it is a story in which we are holding both the epic and the personal,” deBessonet said. “It has the story of a family that is dealing with grief and brokenness and needs to heal set against a very specific historical backdrop and the experience of feeling that encroachment coming and the questions of what do you choose to believe and how much do you activate.”

    DeBessonet said Lincoln Center Theater this season plans a full complement of shows, on and off Broadway. Among its Off Broadway productions will be this summer’s production of “The Whoopi Monologues,” directed by Whitney White and featuring Kerry Washington, Kara Young, Dominique Fishback, Kecia Lewis and Danielle Pinnock; a fall revival of August Wilson’s “Seven Guitars,” directed by Ruben Santiago-Hudson; and, next spring, a new play by Kimberly Belflower, “Born in the Dirt,” directed by Danya Taymor. (Belflower and Taymor collaborated last year on the Broadway play “John Proctor Is the Villain.”)

    The theater also plans to present Matthew Rhys in a one-man show, “Playing Burton,” that he previously performed in Wales; the piece, about the actor Richard Burton, was written by Mark Jenkins and this production will be directed by Bartlett Sher. The timing has not yet been announced.

    As part of its LCT3 program, Lincoln Center Theater plans two plays: “Creation Stories and All the Important Importants,” written by Mfoniso Udofia and directed by Tamilla Woodard, and “Pretend It’s Pretend,” written by Emma Watkins and directed by Annie Tippe.

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    flatmeva - Blog

    Zanurzenie się w świat przemyślanych technik obstawiania otwiera przed nami krainę szans, które mogą wzbogacić Twoje doświadczenia przy grach stołowych. Zawsze uważałem, że poznanie różnych systemów obstawiania – takich jak Martingale czy Fibonacci – może być czynnikiem zmieniającym. Strategie te nie tylko dodają czynnik emocji, ale także dają poczucie kontroli nad rozgrywką. To ciekawiące, jak dopasowywanie zakładów do wygranych i przegranych może przesunąć szalę zwycięstwa na Twoją korzyść. Dodatkowo, analizowanie interakcji przy stole i innych graczy umożliwia mi używać schematy, tworząc możliwości do zysku. Dzięki opanowaniu i zrozumieniu, kiedy przerwać, wypracowałem zadowalające doświadczenie, pełne zarówno pasjonujących momentów, jak i taktycznych wyborów przy stole.

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    • Bakarat – Gra przepełniona stylu i prostoty, doskonała zarówno dla debiutantów, jak i zawodowców.
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    Five years ago, Marvel Studios showed off much of what will be seen in 2026’s DC Studios’ Lanterns. DC Studios is about to deliver its first live-action Green Lantern project in well over a decade, featuring both John Stewart and Hal Jordan as part of the Lantern Corps. However, considering how many comic book projects have been released across the entertainment industry in the last few years, it is no surprise that it bears some similarities to material fans have already seen.

    DC Studios is nearly ready to release its third streaming series, Lanterns, on HBO Max, starting on August 16. Ahead of its release, the new DC show seems to have a few similarities to Marvel Television’s The Falcon and the Winter Soldier, the MCU’s second Disney+ show released in 2021.

    6 Similarities Between DC’s Lanterns & Marvel’s The Falcon and the Winter Soldier

    Mystery/Thriller Genre & Conspiracy Plot

    Marvel Television, DC Studios

    Lanterns‘ main plot centers around a mystery in a small Nebraska town, in which multiple murders are uncovered while John Stewart trains with Hal Jordan to become a Green Lantern. The first two trailers tease plenty of mystery while also embracing the thriller genre within the overarching superhero story.

    This is similar to what happened in The Falcon and the Winter Soldier, which brought its own unique mystery feel to the MCU. The two titular leads learn about the recreation of the Super Soldier serum while investigating the Flag Smashers. This leads them to the Power Broker, whom the audience eventually learns is Sharon Carter.

    Buddy Cop Dynamic Between Two Leading Heroes

    Anthony Mackie as Sam Wilson and Sebastian Stan as Bucky Barnes in 'The Falcon and the Winter Soldier,' Aaron Pierre as John Stewart sitting next to Kyle Chandler as Hal Jordan in 'Lanterns.'
    Marvel Television, DC Studios

    Buddy cop stories are no small part of the Hollywood landscape, with Lanterns embracing that same theme behind John Stewart and Hal Jordan. The show will at least start with Jordan training Stewart in the ways of the Green Lantern, though their relationship is not easy for either of them to manage.

    This same dynamic is also highly prominent in The Falcon and the Winter Soldier, which brings Anthony Mackie’s Sam Wilson and Sebastian Stan’s Bucky Barnes together for the fifth time in the MCU. Described as inspired by Lethal Weapon before the show debuted, Sam and Bucky had to put aside plenty of differences in how they operated to work together, eventually coming to respect one another and forming a close bond.

    Passing-of-the-Torch Narrative

    Anthony Mackie as Captain America/Sam Wilson in 'The Falcon and the Winter Soldier,' Aaron Pierre as John Stewart with his hands clasped in 'Lanterns.'
    Marvel Television, DC Studios

    While Lanterns will show Hal Jordan training John Stewart, the new DC Studios series is also expected to be something of a “passing-of-the-torch” story for the two leads. Chandler’s long-term future as Hal Jordan in the DCU is still unknown, but with Aaron Pierre already set to return in 2027’s Man of Tomorrow, this show is sure to track John Stewart’s development into the hero he is expected to become.

    This same transition happened in The Falcon and the Winter Soldier, which took place after Steve Rogers passed the Captain America mantle to Sam Wilson. After struggling with the change and even passing the title off to Wyatt Russell’s John Walker, who took over as Cap, he eventually heeded Bucky’s pleas to take on the responsibility of carrying the shield.

    Story Told on a Massive Scale

    Madripoor in 'The Falcon and the Winter Soldier,' desert and sun in 'Lanterns.'
    Marvel Television, DC Studios

    Lanterns will be the first DC Universe project to feature intergalactic elements, given that the Lantern Corps is a classically non-Earthly entity. Although it will take place exclusively on the franchise’s main planet, fans expect to get a glimpse into how the Corps operates outside of Earth’s atmosphere and see some of the team’s classic extraterrestrial villains as well, including Sinestro.

    While The Falcon and the Winter Soldier does not have any intergalactic elements, it takes Sam and Bucky all over the world on their mission to take down the Flag Smashers. Using multiple United States cities for the story, along with the newly introduced Madrioor in Southeast Asia, this story became a global affair that featured characters from multiple major nations.

    Third Party Character Contending for Leading Hero’s Mantle

    Wyatt Russell as John Walker/Captain America in 'The Falcon and the Winter Soldier,' Nathan Fillion as Guy Gardner in 'Lanterns.'
    Marvel Television, DC Studios

    Along with Hal Jordan and John Stewart, Lanterns will bring Nathan Fillion back for a third DCU appearance as Guy Gardner (this one giving him more than a few F-bombs). While Gardner is not usually regarded as the main Green Lantern in the DCU, he could challenge for the mantle, considering Earth is usually not supposed to have a representative in the Green Lantern Corps.

    Fillion’s role in this show could be similar to Wyatt Russell’s in The Falcon and the Winter Soldier, where he made his MCU debut as John Walker. Walker took over the Captain America mantle after Sam Wilson put the shield to rest, putting him in almost direct competition with the titular lead of the show for the superhero role.

    Villain With Conflicting Allegiances

    Daniel Brühl as Helmut Zemo in 'The Falcon and the Winter Soldier,' Kyle Chandler as Hal Jordan in a cell in front of Ulrich Thomsen's Sinestro in 'Lanterns.'
    Marvel Television, DC Studios

    Ulrich Thomsen will make his DCU debut in Lanterns as Thaal Sinestro, classically known as one of the main villains of the Green Lantern Corps in DC Comics. However, like many Lantern stories, he will be depicted as the Lantern who trained Hal Jordan, giving them a close relationship before he eventually becomes more of an antagonist.

    The Falcon and the Winter Soldier used a character who has similarly toed the line between hero and villain: Daniel Brühl’s Helmut Zemo. Originally used as the main villain in Captain America: Civil War, Zemo assisted Sam and Bucky on their quest to take down the Flag Smashers and the Power Broker; he even returned to the Raft at the end of the series.

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    We’ve said it before, but Thunderbolts star Wyatt Russell is one of the best things in Monarch: Legacy of Monsters. Although in Monarch, he has to share screen time with an older version of his character, played by his real-life dad, Kurt Russell. Well, very soon, Wyatt Russell will get to lead a Monsterverse series all his own, with an upcoming spin-off for Apple TV+, set during the 1980s. And according to a report in Deadline, Millie Brady (The Last Kingdom) and Pilou Asbaek (Foundation) have joined the as-yet untitled series. Also announced as directing the pilot episode is J.D. Dillard, director of the sci-fi film Sleight.

    Alex Cameron/Christian Staehr

    According to series showrunner Joby Harold, the new addition to the Monsterverse franchise will follow the story of Colonel Lee Shaw (Russell), during his time as an American operative in 1984. During this era, he went on a secret mission behind enemy lines. This is an attempt to stop the Soviets from unleashing a new Titan big enough to destroy the U.S. One that can even turn the tide of the Cold War. Based on what we know from the existing Monsterverse projects, the big American vs. Russian kaiju battle didn’t happen. Or at least, didn’t happen in a way the public at large ever found out about. Maybe it was like Rocky IV, only with giant monsters, and no cameras.

    Godzilla as seen in Monarch: Legacy of Monsters.
    Legendary/Apple TV

    According to the original report, showrunner Joby Harold is developing several different series set within the existing Monsterverse. These new projects will showcase old Titans, presumably Kong and Godzilla. But it will showcase several new monsters created just for this series as well. So what will this series be called? We’re not sure, but we imagine the word “Monarch” will be in the title somewhere. We expect production to get underway for this new Monsterverse series sometime within the next year.

    This post has affiliate links, which means we may earn advertising money if you buy something. This doesn’t cost you anything extra, we just have to give you the heads up for legal reasons. Click away!

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    ⚡ Quick Take Actors Millie Brady and Pilou Asbaek

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    The second season of Marathon is only a few weeks old, but Bungie is already providing players with the early word about next month’s mid-season update. One of the changes coming to the game is Vault Breaker, a new experimental PvE mode.

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    The mid-season update is brings the first new iteration on the Cradle Evolution system, which allows players to upgrade their characters with improvements that persist between runs. Players will be able to reset their Cradle back to zero after maxing it out in order to earn another maximum Energy point and other “unique cosmetics.” Bungie notes that the cosmetics will be available later in the season, but can be earned ahead of their in-game debut. The Cradle’s progression speed is also set to increase with this update.

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    The second season of Marathon is only

    Tribeca alum Josh Alexander directs this intimate look at a musical icon as she reunites with her closest collaborators to record a new album, transforming her grief into music and exploring the joy and pain of healing along the way.

    Production spent six days shooting Bareilles’ studio sessions, coming away with emotionally raw footage that Editor Armando Croda took on in the edit bay. He spent days digesting the footage with Alexander as they dialed in the narrative beats of the film. Ultimately, capturing the film’s full emotional register meant letting the music lead. Croda did exactly that, using Bareilles’ tracks as emotional devices that move the audience forward in time.


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    Croda walked us through the ins and outs of editing Sara Bareilles: Good Grief. Read more of the conversation below.

    Tell us about Good Grief. What is it about, and what made you want to get involved?

    Armando Croda: Good Grief is a documentary film about singer/songwriter Sara Bareilles, who hasn’t been back to the recording studio in seven years. After going through a very rough grieving process and struggles with anxiety and depression, she finally decides to go back into the studio, and she does it by her own rules. She calls in people she trusts because she needs a safe space where everyone can be vulnerable and honest, and open to grieve along with her. This experiment quickly turns into a life-changing experience for all the musicians, the filming crew, and me, the editor.

    This is a unique and delicate six-day journey that takes us through our own grief, invites us to be present to listen, and speak with profound honesty. This film changed my life—like all the films I edit for Josh Alexander, a very close collaborator with whom I have edited 6 films. It was an easy decision for me to get involved because I know I will learn something deep and meaningful in the process, as I do anytime I edit a project with Josh.

    How did you set up your timeline for this project? What steps do you normally take to begin a workflow?

    AC: With Josh Alexander’s films, I usually do Camera B in the production, which helps us start the editing conversation and define the style, tone, and narrative devices early on. However, this one was different because I had an accident and went through surgery, so I wasn’t able to join the production. Luckily, Jenna Rosher was brought on to DoP this film—I have great admiration for her work on Jesus Camp and Billie Eilish: The World is a Little Blurry—and I decided to step back and wait for the surprise.

    I usually work with assistant editors, but given that the production shoot lasted only six days, I decided to set up the project files myself. While not my typical workflow, this helped me get familiar with the footage, especially because I had 19 audio tracks from Nikola Chapelle (my favorite sound mixer). He gave us pure gold, and I wanted to be very careful with how I organized and set up the files and timelines to deeply understand what happened in those six days.

    What conversations did you have with your director to align on the creative vision for the project? What did collaboration look like throughout production and post?

    AC: Josh and I work very closely; he is the only director I work with 100% of the time in the edit. We need each other to talk about the scope of the scenes, the narrative devices, the story beats, etc., and we like to be in-person because we can work on making necessary shifts and larger changes to the project.

    We start by watching the footage together in full, both making notes, and by the end of each day, we share them, and almost every time we agree on what story beats in the footage and what we can do with it. This is the most important and precious time of the whole process (while being the longest and slowest), but once we do this properly, the rest of the editing is the easy part.

    After this, we play around with narrative devices to set up the style, tone, rhythm… so we edit a verité scene, maybe a montage, an opening, and so on. Then we work on the structure with our story beats. Usually, for this process, Josh takes a week off to get distance from the footage and think through how to script the film, while I reorganize the footage and project files. We then come back and tackle the structure with index cards on a wall. Finally, I am ready to fully edit.

    Tell us about your favorite scene or moment from Good Grief.

    AC: One of my favorite scenes is the first one I edited for our narrative device tests, and it is exactly in the midpoint of the film. It is a scene about a very touching song called “Ladies in a Line,” in which we decided to do an ellipsis from a verité scene into the next day, using the music as an emotional device that moves the audience in time. I had just been experimenting, but it turned out to be a very successful and emotional sequence for this moment in the film. I never re-edited, and it remained intact from my very first pass, which was a happy surprise.

    What Adobe tools did you use on this project, and why did you choose them?

    AC: I am a streamlined editor, so I used Adobe Premiere on this project, but not many of the integrated tools. I deal with a lot of footage when editing documentaries, and Premiere has done an incredible job understanding this by making the Production groups, nesting files, synchronizations, transcriptions, time code recognitions, audio waveforms, key frames, audio dissolves, etc.

    What’s your favorite Premiere shortcut or hack, and why?

    AC: One that I have been using a lot lately is in the audio, and it makes a wonderful effect that I love. First, you separate audio from video, then you pick a moment in the scene where you want to have a profound and deep seamless change of mood, and you use the razor to chop the audio in/out in the desired section. Then you go to effects and choose the Matrix Audio effect and drop it in. Immediately, you get a deep tunnel effect that gets you ready for experimentation.

    Who is your creative inspiration?

    AC: Lately, it is Walter Murch. His new book, “Suddenly Something Clicked,” was a true inspiration for everything I edit, because his work with sound is very inspiring. His Skip Cut techniques are very similar to some of the work I’ve done, and it’s cool to watch the story move forward with this technique.

    Additionally, Latin American cinema in general is always very refreshing, deeply unique, and inspiring to me and my work, including all the films from Kleber Mendoza, Pedro Gonzalez Rubio, Nelson Carlos, Laura Amelia Gúzman, and Israel Cárdenas.

    What advice do you have for aspiring filmmakers or content creators?

    AC: Be as free as possible when you approach a film and its challenges. Feeling free and unafraid will take you to a place of discovery that will surprise you and the directors you work with. Editing films is always about how you tell the story; you need to connect on many levels and be present in the film space.

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    Tribeca alum Josh Alexander directs this intimate

    Alexis Wilkins, the conservative country singer who is the longtime girlfriend of FBI director Kash Patel, is responding to critics after announcing that she has been booked to perform at a Freedom 250 event on the National Mall in Washington, D.C. Wednesday. She was invited to sing because of her standing as a popular performer, “on my own accord,” she insisted, slamming “sham accusations” suggesting otherwise.

    The outspoken artist tweeted about her appearance on Tuesday afternoon, writing on X, “What a great honor to be a part of the 250th birthday of this great nation!,” with an image of the Washington Monument behind her. Evidently she was checking her replies, because within two hours of the initial tweet, the outspoken artist responded angrily to a freelance journalist who wrote, “Does having the FBI director’s girlfriend getting paid by the taxpayers to perform violate federal ethics laws?”

    Wilkins quote-tweeted that reply and defended herself with a message that said: “1. I have been a country music artist for years now. I have had a successful career in both music and commentary/strategy. People don’t get to negate that for clicks or headlines. I was invited to sing this anthem on my own accord, as I have been many other places throughout my career.”

    She continued, “2. I am not accepting payment for this great honor.” For her third point, Wilkins said, “3. The Freedom250 entire celebration is on a fundraising arm; neither UFC nor any National Mall celebrations are ‘taxpayer funded’ (you would think, as a journalist, this would be something she would know or at least look into). I’m no longer accepting false narratives and total sham accusations that diminish my hard work and earned accomplishments, so please expect this kind of response to continue.”

    Wilkins has, indeed, become arguably one of the nation’s most talked-about country artists, due in part to controversies that have surrounded her relationship with Patel, including the issue of whether he has used any taxpayer money on trips to see her perform,, and whether having her escorted by SWAT teams is an appropriate use of that arm of law enforcement.

    The headlines have helped make her a cause celebre among some conservatives, but whether it has translated to actual consumption of her music is another matter: On Spotify, she is currently listed as having 5,863 monthly listeners.

    As a slew of performers dropped out of a concert series planned by Freedom 250 for the National Lawn — including Martina McBride, Bret Michaels, Morris Day and Young MC — there was speculation, some of it joking and some of it serious, that President Donald J. Trump would replace the exiting artists with Lee Greenwood and Wilkins. Now both parts of that prophecy have come to pass, with Trump already having announced that he had secured Greenwood to sing his 1980s-era signature song “God Bless the USA.”

    Currently, Wilkins has only one concert date listed on her website, an an appearance at Chicago’s Windy City Smokeout on July 11. But her X feed shows that she did perform this past Saturday at the Barefoot Country Fest in Wildwood, New Jersey, as the sixth on a seven-artist bill that included Post Malone, Tucker Wetmore, the Fray, Dasha and Ashley Kutcher.

    The vast majority of Wilkins’ X feed is devoted to taking MAGA positions, and not to promoting her musical endeavors, as an activist taking stands for the NRA and other organizations.

    “Juneteenth is great because it’s a day we can all take a moment and remember that republicans marched in and forced democrats to stop enslaving people,” she wrote on the day honoring Black emancipation. When plans for Trump to visit China were announced in May, she wrote, “President Trump is making history and furthering our interests overseas, while the haters spin like a top making up a new fake news thing to complain about. Cry more. What a fantastic and humbling time to be alive. So proud to be an American under this administration.”

    FBI Director Kash Patel stands with singer Alexis Wilkins at the conclusion of the “UFC Freedom 250” mixed martial arts event on the South Lawn of the White House in Washington, DC, in the early morning hours of June 15, 2026. (Photo by Kent NISHIMURA / AFP via Getty Images)

    AFP via Getty Images

    Wilkins often speaks out against the mainstream media. On June 1, she sued MS Now, saying she was defamed in a report published in December that claimed Patel ordered Wilkins’ security detail to escort one of her friends home after a night of drinking in Nashville. “This was hogwash and they knew it,” the lawsuit said. “Journalists cannot avoid accountability by hiding behind fabricated ‘anonymous’ sources. This lawsuit seeks to bring accountability for Defendants’ egregious lies.”

    The suit continued, “As a country singer, author, and political advocate, known for her Christian, patriotic, America-First, and pro-law enforcement values, her brand and ability to work in her profession would be significantly damaged if her employers, her publishers, her listeners, or her readers believed that she was abusing the public trust and using her relationship with Director Patel to misappropriate FBI resources.”

    In March, the New York Times ran a story about Wilkins being escorted by a SWAT team, calling her “one of the best-protected country music singers in the U.S. … Patel’s demand that rotating SWAT teams provide his girlfriend with security for singing appearances, personal engagements and errands is unprecedented in the FBI, former agents said.” The newspaper continued, “Patel’s personal use of government jets and FBI agents for himself and Wilkins has led to growing questions — even inside the Trump administration.”

    Last week, Wilkins was named as being a performer at a Freedom 250 event to be held in Belgium June 28, opening for the Zac Brown Band.

    Her Spotify discography does not include any full albums as of yet, but does show a six-song EP and three singles released in 2020 through 2023.

    Wednesday night’s event in D.C., sponsored by the officially “nonpartisan” Freedom 250 organization founded by Trump, is billed as “America Is Back: A Kick-Off Celebration For The Great American State Fair.” The org’s website says the evening will feature “military flyovers, ceremonial presentations, performances by ‘The President’s Own’ United States Marine Band, the U.S. Army Band ‘Pershing’s Own,’ Armed Forces choirs, and special musical performances by Lee Greenwood and Christopher Macchio. President Donald J. Trump will headline the celebration with remarks officially launching the Great American State Fair and kicking off a nationwide tribute to the people, traditions, history, and spirit that make America the greatest nation on Earth.” As of Tuesday night, Wilkins’ name had not yet been added to the official online materials.

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    Alexis Wilkins, the conservative country singer who

    In the digital landscape of online gaming, security and session management are not just features but essential pillars of user trust. Action Casino, a platform available to New Zealand players, implements an auto logout function as a core component of its security framework. This mechanism, designed to terminate inactive sessions automatically, has a dual purpose: safeguarding account security and encouraging responsible play habits. While usually overshadowed by game reviews or bonus analyses, the auto logout function’s implementation has a direct impact on the daily user experience. This article offers a comprehensive, analytical look of this feature, analyzing its operational parameters, user-facing effects, and overall effectiveness through the eyes of a typical user using the platform’s security features and everyday usability. The analysis is based on extended, real-world testing on various devices and gaming situations to offer a complete picture beyond surface-level observation.

    Comprehending the Purpose of Auto Logout

    The principal logic behind an automatic logout timer is security. In an era where personal devices are shared and public Wi-Fi networks are commonplace, an unattended but logged-in casino account presents a significant risk. Action Casino’s system mitigates this by closing the session after a period of inactivity, effectively locking the account and requiring re-authentication. This blocks unauthorized access should a player step away from their computer or mobile device without manually logging out. Beyond security, the feature supports responsible gambling by creating a deliberate pause in play. It interrupts potentially extended, mindless sessions, forcing a moment of reconsideration before the player actively chooses to log back in. This aligns with broader industry standards and regulatory expectations for player protection, forming a non-negotiable baseline for licensed operators. The psychological ‘circuit breaker’ it provides, though sometimes inconvenient, is a recognized harm-minimization tool that helps players avoid chasing losses during extended, fatigued play.

    Technical Specifications and Inactivity Settings

    Action Casino’s auto logout function functions on a well-defined, though not always modifiable, timer. Based on user experience, the platform usually applies a timeout period that lies within the typical industry range of 10 to 20 minutes of total inactivity. Inactivity is precisely defined as no mouse movement, keyboard input, or touchscreen interaction with the casino interface. It is essential to note that simply having a game running in demo mode or sitting at a table does not qualify as activity; the system demands a purposeful user action. The timer is uniform across both desktop and mobile platforms, providing a uniform security policy. Significantly, the countdown is a silent process—no visible visual countdown clock is displayed on the main screen, which is different from some other platforms that provide overt warnings. This operational rigidity means actions like reading lengthy game rules, comparing bonus terms, or even watching a live dealer stream without placing a bet will all trigger the countdown in the same way, a detail users must actively manage.

    User Interface: The Good

    The implementation of the automatic logout at Action Casino offers several positive user experience aspects. First, it provides reassurance, especially for users who visit public terminals or share common living rooms. Understanding the site will secure itself allows users to center on the entertainment without the nagging worry of neglecting to log out. Second, the process upon logout is seamless and safe. Users are redirected to the login page, and any confidential session data is erased from the web browser. Upon logging back in, the system dependably brings users to their last location, like the lobby of a particular game provider or the primary gaming area, lessening interruption. Such seamless post-logout browsing reflects thoughtful backend design that prioritizes both safety and convenience. Moreover, for gamblers with various online profiles, this mandatory logout functions as a regular reminder to maintain sound digital practices, a habit that protects their broader online footprint beyond just their gambling actions.

    Player Experience: The Hurdles

    Despite its security benefits, the auto logout function can create friction. The most common complaint revolves around unsaved game state. Players participating in lengthy bonus rounds on slots or mid-hand in live dealer games can lose their position if the timeout expires, as these states are rarely preserved post-logout. This can lead to frustration and a sense of lost value, particularly if real money was wagered. Furthermore, the lack of a prominent, configurable warning is a point of contention. While some users prefer a discreet system, others desire an on-screen alert—a simple pop-up or audio cue—two or three minutes before termination to let them to extend their session if desired. This absence can appear punitive rather than protective. Another subtle challenge is the cognitive load it places on players engaged in slow-paced games like poker or blackjack, where strategic thinking periods are long; they must recall to periodically click the screen, which hurts immersion and strategic focus.

    Effect on Gameplay and Session Flow

    The auto logout’s impact differs markedly by game type. For casual slot players who spin periodically, the timer is hardly an issue. However, for players involved in narrative-driven slots with long bonus features or for those participating in poker tournaments or live dealer sessions where observation periods are typical, the static timer can be disturbing. It demands a more active interaction style that may not match all forms of play. The feature also subtly influences session flow by creating natural breakpoints. For disciplined players, these enforced pauses can be a valuable tool for session assessment. For others, it can feel like an unnecessary hurdle, especially during research phases where a player might be reading game rules or bonus terms without engaging with the interface. This dynamic successfully splits gameplay into constrained blocks, which can deter the deep, extended engagement that some complex casino games are meant to foster, possibly changing a player’s natural rhythm and enjoyment.

    Evaluation with Alternative Casino Platforms

    When benchmarked against competing international online casinos, Action Casino’s auto logout policy is fairly standard but leans towards the stricter side of the spectrum. Many other platforms offer similar 15-minute timers, but a increasing number are adopting user-customizable settings, permitting players to select between, for example, 5, 15, or 30-minute thresholds depending on their personal risk assessment and environment. Some platforms incorporate a highly visible “session timeout” banner that displays the final minute. Action Casino’s approach is stricter and less transparent in comparison. It focuses on a universal security standard over user customization, a design philosophy that aligns with a “safety-first” mandate but may not serve to users in consistently private, secure environments who want longer sessions. This positions Action Casino in a conservative bracket among operators with strong regulatory oversight, contrasting with more laissez-faire platforms that allow longer or disable-able timers, often at the potential expense of baseline security.

    Mobile App vs. Web Experience

    The conduct of the auto logout function reveals a key difference between the browser version and the specialized mobile application. In the browser, be it on desktop or mobile, the timer is fixed and tied strictly to user input on the casino site. The mobile application, though, can sometimes demonstrate more subtle behavior. According to the device’s operating system and how the app manages state in the background, the logout timer may be paused when the app is minimized, only resuming when the app is brought back to the foreground. This can lead to uneven experiences where a browser session logs out promptly after 15 minutes of inactivity, while an app session remains open for much longer if the phone is locked. Users should proactively test and understand which behavior applies to their particular device setup. This discrepancy creates a security loophole for the mobile app user who assumes the same strict policy applies, conceivably leaving a session active on a lost or unattended device for far longer than expected.

    Security Analysis and Optimal Practices

    From a security analyst’s viewpoint, Action Casino’s fixed-time auto logout is a strong, if simple, safeguard. It efficiently addresses the threat of session hijacking and unauthorized physical access. However, true security is a multi-layered framework. The auto logout should be regarded as one essential layer, reinforced by other practices. For optimal account safety, users should follow the following guidelines in conjunction with the auto logout:

    • Always use a robust, unique password for your casino account, separate from other online services.
    • Activate two-factor authentication (2FA) if Action Casino offers it, adding a critical second verification step at login.
    • Avoid accessing your account on public or shared computers. If necessary, ensure you log out manually and clear the browser cache.
    • Be aware of your physical environment when playing on mobile devices in public spaces.
    • View the auto logout as a fallback, not a primary security measure; manually log out at the end of every session.
    • Regularly check your account statement for any unauthorized transactions, as this is the final check on account security.
    • Verify the device you use has up-to-date antivirus software and operating system patches to prevent keyloggers or other malware from intercepting your login credentials.

    Recommendations for Action Casino

    Based on this thorough user experience analysis, several practical recommendations could improve Action Casino’s auto logout function. Adding a user-configurable timeout setting would be the most notable improvement, allowing users to adjust security to their context without undermining the platform’s default safe setting. Adding a discreet but mandatory warning notification—such as a modal dialog or a persistent header banner—one minute before logout would drastically reduce user frustration from unsaved game states. Furthermore, allocating in technology that can retain the state of certain games (like bonus rounds) during a brief logout window, comparable to how some software saves progress, would constitute a major competitive advantage. Finally, clearer communication within the platform’s help section detailing the exact timeout duration and its triggers would manage user expectations effectively. The platform could also explore a tiered approach where the timer is shorter for unverified accounts or those without 2FA enabled, encouraging users to adopt stronger security measures in exchange for greater convenience.

    Conclusive Verdict on the Auto Logout Feature

    Action Casino’s auto logout function is a essentially sound security feature that carries out its core duty reliably https://casinoaction-nz.com/en-nz. It offers an essential layer of account protection and aligns with responsible gambling principles by instituting forced breaks. The implementation, however, is missing the user-centric flexibility and communication present on some competing platforms. Its rigid timer and silent operation can disrupt certain types of gameplay, contributing to potential frustration and a sense of lost value. For the security-conscious player or the casual user, it is an suitable and reassuring feature. For the dedicated player engaged in long-format games or the user in a exclusively private setting, its inflexibility is a notable drawback. Ultimately, it is a feature that fulfills the platform’s security obligations effectively but has clear room for refinement to better balance mandatory protection with customizable user convenience. In its current state, it is a solid but unexceptional implementation that gets the job done for security while occasionally interrupting the user experience it is meant to safeguard.

    In the digital landscape of online gaming,

    Larry David is celebrating the United States’ 250th birthday with his new HBO show, “Life, Larry and the Pursuit of Unhappiness: An Almost History of America,” but he wasn’t feeling too patriotic when President Donald Trump marked the nation’s milestone anniversary with a UFC fight at the White House.

    “It was a travesty,” David told me Tuesday night at the “Life, Larry and the Pursuit of Unhappiness” premiere in Hollywood. “What else can you say about it? It was embarrassing. I was embarrassed to be an American.”

    Premiering June 26 on HBO, “Life, Larry and the Pursuit of Unhappiness: An Almost History of America” is a sketch show satirizing key points in U.S. history.

    The series features a slew of celebrity guests, including Lin-Manuel Miranda, Bill Hader, Kathryn Hahn, Jon Hamm, Henry Winkler, Sean Hayes, Joe Manganiello, Jane Krakowski, Greg Kinnear, Alan Tudyk, Rita Wilson, Jerry and David Seinfeld. Vince Vaughn also guest stars, as do “Curb Your Enthusiasm” alumni Jeff Garlin, J.B. Smoove and Susie Essman as Susan B. Anthony.

    Barack Obama also acts in one of the skits. His and Michelle Obama’s Higher Ground is producing the series.

    While details of the skit are being kept under wraps, David said Obama had “perfect” comedic timing. “He was really good at ad-libbing,” David said.

    He described having Obama as a scene partner as “really trippy.”

    “It was exciting. We had a great time,” David said, adding he tried not to think about it too much because he didn’t want “to screw it up.”

    Perhaps the former President will earn an acting Emmy for his performance? In typical David behavior, he shrugged, “I wouldn’t go that far.”

    It was Higher Ground who approached David about the project.

    “I know the President a little bit. We played golf together, and I did a Super Bowl ad maybe four or five years ago where I was dressed in costumes and everything. So maybe that was part of their thinking,” David said. “I don’t know. Maybe they just like ‘Curb.’”

    David sure does wear a lot of period costumes and wigs. No surprise, but he wasn’t a fan of spending so much time in hair and makeup. “I don’t know how people walk around with wigs and hairpieces,” he said. “It feels like you’ve got 1,000 insects crawling on your head and beards are even worse. They’re so itchy, you can’t eat.”

    The series is directed by co-creator Jeff Schaffer. Higher Ground’s Ethan Lewis serves as executive producer.

    In order to keep the evening free of spoilers, guest stars who attended the premiere, including Garlin, Essman and Winkler, were not allowed to talk to press. David, Schaffer and Lewis were the only ones giving interviews.

    Lewis told me that the Obamas were looking to celebrate the 250th anniversary, but wanted to do so “in a way that feels unexpected and unique.”

    Schaffer said one of his biggest concerns was what to call Obama while directing him. “I was telling the Higher Ground people, ‘What do I call him when I want to give him a note?’” he recalled. “They were like, ‘Just try sir.’ You’re trying to remember not to just go, ‘Alright, Barack, you’ve got to do this,’ because we move really fast. But he was amazing.”

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    Larry David is celebrating the United States’

    Look, I definitely think that House of the Dragon messed up by changing Sheepstealer’s rider, but I’m here for the ride nonetheless.

    Anything that delivers growth potential for Rhaena Targaryen is welcome, and it’s about damn time!

    She’s spent two seasons moping about the lot she’s been handed, but now she gets a chance to grow emotionally as she deals with the aftermath of the House of the Dragon Season 3 Premiere.

    (Theo Whiteman/HBO)

    Rhaena Needs to Deal With Her Mistake

    There’s no doubt that Rhaena got her cousin killed during House of the Dragon Season 3 Episode 1, and she nearly got her sister killed as well.

    I won’t get into all the flaws in Jacaerys flying low, even though he had already noticed an issue with it earlier in the Battle of the Gullet.

    The simple fact is that he wouldn’t have had to do that if it weren’t for Rhaena flying in on a wild dragon in an attempt to prove herself.

    Now, Rhaena has to deal with the knowledge that she created the circumstances of Jace’s death. 

    House of the DragonHouse of the Dragon
    (Theo Whiteman/HBO)

    Had she just taken some time to work with Sheepstealer and really train with him, Jace’s death could have been avoided.

    Others have had to live through these types of mistakes. 

    We’ve seen Aemond deal with the mistake of getting Lucaerys killed during House of the Dragon Season 1 Episode 10 — and yes, he did initially feel bad for not being able to control Vhagar during that stormy attack.

    On A Knight of the Seven Kingdoms, Maekar has to live with Baelor’s death after hitting him over the head during the Trial of Seven.

    While we haven’t had a chance to see what that means for Maekar, he did share his regret over his involvement.

    House of the DragonHouse of the Dragon
    (HBO)

    It’s moments like these that allow characters to assess the decisions they’ve made and how they could have done things differently, and Jace’s death opens that door for Rhaena.

    After all of this, it’s not like Rhaena can really go to Dragonstone with a dragon she can barely control. Rhaenyra is going to want her head for the death of her son.

    So, Rhaena is on her own, which creates opportunities for her development, as she needs to become a hardened woman to survive.

    There’s a Chance to Bond with Daemon

    As soon as Daemon finds out that his nephew has been killed, he will want answers.

    House of the DragonHouse of the Dragon
    (Theo Whiteman/HBO)

    Only Jace saw that Rhaena was riding Sheepstealer. Baela never saw the person attacking her, so she probably thinks that the Greens have tamed a wild dragon.

    As that message gets passed onto the rest of the Blacks, Daemon is sure to head out in an attempt to avenge the Crown Prince’s death.

    It opens the door for a relationship between a father and a daughter to develop on House of the Dragon Season 3, one that Rhaena has been waiting for all her life.

    Daemon effectively ignored the twin since she wasn’t a dragonrider, and that has stuck with her all her life.

    House of the DragonHouse of the Dragon
    (Ollie Upton/HBO)

    As Daemon learns the identity of Sheepstealer’s rider, he’s going to be torn. He’ll want to avenge Jace’s death, but he’ll also want to protect his daughter.

    On top of that, he’ll want to make sure Rhaena can tame her dragon better, despite knowing that the ability to tame a wild dragon is near impossible.

    Not only can Daemon help with flying, fighting, and training, but he can also help Rhaena deal with the guilt that she’s sure to feel in the aftermath of what transpired. 

    He’s made his own mistakes and poor decisions that have led to injury and time lost, and he’s had to harden himself to the world because of them. 

    (Theo Whiteman/HBO)

    Rhaena can figure out how to shut down the grief and guilt so she can continue to fight for the Blacks and earn some forgiveness.

    This is likely where “Nettles” comes into the story, as Rhaena is likely to adopt a new name and persona to handle this change in her character.

    While I would love to see the real Nettles storyline play out, I’m ready to see where House of the Dragon Season 3 will take us for Rhaena.

    No clickbait. No AI junk. Just fans talking TV.

    If that matters to you, I’d love to chat more with you about House of the Dragon and how you hope Rhaena’s story progresses. Sound off in the comments!

    • House of the Dragon Has Just Given Rhaena the Emotional Growth Arc We Need

      With some major changes to the book storyline, House of the Dragon has opened the potential for Rhaena to finally get some growth.

    • House of the Dragon Season 3 Episode 1 Review: The Battle of the Gullet Was Visually Stunning but Emotionally Hollow

      House of the Dragon Season 3 Episode 1 delivers the long-awaited Battle of the Gullett, and I’m not impressed. Let’s discuss.

    • House of the Dragon Season 3 Review: Big Changes and Delayed Momentum Hold It Back — Until It Finds Its Rhythm

      House of the Dragon Season 3 starts on a slow note, but improves tenfold when we get to what was planned for the season. Let’s discuss.

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    Amazon Prime Day — running from Tuesday, June 23 through Friday, June 26 — is the prime time to save on skin-care staples, namely products from prestige beauty brands that rarely reduce their prices. Exhibit A: EltaMD.

    In April, the dermatologist-backed sunscreen brand launched the first-ever treatment-focused SPF for acne, its most cutting-edge product to date. The innovative new formula joined EltaMD’s suite of best-selling medical-grade SPFs, each with a deep emphasis on sun care as skin care. Now, the brand is opting into the Prime Day festivities with a four-day discount on most of its best-selling SKUs. (Quick housekeeping note: Prime Day deals are largely exclusive to Prime members, and Amazon offers a free 30-day trial for those not yet subscribed.)

    Back to business: EltaMD’s Prime Day standouts include its acne-friendly, blemish-correcting UV Clear Face Sunscreen, in both tinted and non-tinted varieties — 20 percent off retail price through Friday.

    SPF 46

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    Since face sunscreen is EltaMD’s most popular category, the brand offers formulas fit for every skin type, including color-correcting varieties. EltaMD’s green-tinted SPF 50 ($41.60 $52) instantly neutralizes the look of skin redness, with a blendable consistency that quickly absorbs into the skin.

    SPF 50

    The biggest Prime Day price drop goes to EltaMD’s UV Daily Tinted Face Sunscreen in SPF 40, a hydrating everyday sunscreen suited for all skin types.

    SPF 40

    Other EltaMD categories include full body sunscreen, cleansers, moisturizers, post-procedure products and serums, targeting skin concerns like discoloration, dryness, sensitivity, redness and aging. Select products are intended for both face and body, like EltaMD’s UV Stick, well suited for kids and adults.

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    Another full-body SPF is the brand’s UV Sheer Face and Body Sunscreen, water- and sweat-resistant for up to 80 minutes.

    SPF 50+

    And when in doubt, you really can’t go wrong with EltaMD’s award-winning UV Daily Hydration+ SPF 50, an easy everyday choice for dry, combination and normal skin. The 1.7-ounce non-tinted version is 20 percent off through Friday.

    SPF 50

    Related: Prime Day Report 2026: Dr. Barbara Sturm, Aesop and Oura Ring Lead Beauty and Wellness Deals

    About the Author

    Erin Lassner is The Hollywood Reporter‘s E-Commerce Writer, covering shopping content across beauty, fashion and lifestyle. Erin has nearly ten years of experience testing and reviewing the best of skin-care, makeup and wellness.

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    If you purchase an independently reviewed product

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    Finding the perfect online casino in Canada usually seems like a balancing act. You desire excitement, but you also require a platform you can trust. Blaze Spins Casino has been generating a lot of buzz lately, popping up in conversations from Vancouver to Halifax. This isn’t another review that just repeats the sales pitch. Instead, we’re focusing on what actual players from Canada are saying. We’ll go over the features that matter on a practical level: how easy it is to get your money in and out, the quality of the games, and whether the site is a headache or a pleasure to use. The objective is to give you a clear, honest picture to help with your choice.

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    Finding the perfect online casino in Canada

    “Saturday Night Live” alum Leslie Jones recently told “The Sam Sanders Show” that she found it “frustrating” that the writers at “SNL” would often typecast her as angry and aggressive.

    “It was kind of frustrating that they would always make me the girl that was angry and beating up people or in love with a white boy,” Jones said. “They just always would make me angry or I’m fighting somebody.”

    Host Sam Sanders then asked Jones if she was ok with that type of portrayal. Jones explained that she didn’t fight back because “she wanted to be on the show,” and in the moment, “didn’t think that that was happening until it kept happening.”

    “Every time I would get a sketch, I was like, ‘OK, who am I beating up this week?’” she added. “I just started getting frustrated with [the writers]. I was like, ‘Stop writing me like that.’”

    Despite her objections, Jones said the typecasting continued.

    “They’re like, ‘This is successful. When you leave here, you’ll be able to make [a career],’” Jones recalled. “I don’t want to be Chevy Chase. I don’t want to be whoever. I want to be Leslie. I want to do everything. And I wanted to go across the board with everything, you know?”

    When asked if she thought “SNL” was a “healthy place to be a black comic,” Jones replied, “I think that it is the machine that it is. That’s just all I can tell you.”

    Jones joined “Saturday Night Live” during the 39th season, becoming the oldest new recruit in the show’s history at age 47. She was on “SNL” for five seasons until 2019, and earned two Emmy nominations for outstanding supporting actress in a comedy series.

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    “Saturday Night Live” alum Leslie Jones recently

    Nothing kills a post-festival high faster than a “not available in your region” message. You’ve read the glowing review of some microbudget darling out of Cannes or Sundance, tracked down the niche platform hosting the virtual screening, paid for your pass, and then you fly out for a work trip, and the film page turns into a polite digital shrug.

    For indie film fans, geo-blocking is the digital equivalent of arriving at the theater to find the door locked. The internet promised global access, but distribution contracts brought a passport check. And no, this isn’t a conspiracy against cinema lovers. Digital borders in indie cinema are usually just old-school territorial licensing deals wearing shiny modern packaging. But understanding why it happens doesn’t make it any less irritating when the movie exists everywhere except your screen.

    When legitimate streams vanish behind regional walls, fans start asking complicated questions about digital rights, border restrictions, and the technical workarounds that people whisper about on festival forums. I’ve had the same experience logging into a festival platform from abroad and encountering a digital brick wall that forces you to figure out exactly what is and isn’t allowed. Sound familiar?

    This guide is a practical Q&A for independent film fans trying to navigate the system. You’ll find a breakdown of what regional blocking actually means, why festivals are tied up in red tape, and the safest ways to expand your viewing options while traveling. The goal is practical, legally cautious answers without relying on gray-area handwaving or shady internet fixes.

    Why Do Indie Films Get Geo-Blocked in the First Place?

    It’s Usually About Rights, Not Malice

    Geo-blocking is almost exclusively driven by territorial licensing deals, release windows, and distributor exclusivity. When a film gets made, the creators sell the rights to different distributors in different countries to recoup their costs. An independent film might be acquired by A24 in the United States, StudioCanal in the United Kingdom, and Madman Entertainment in Australia. Each of those companies wants exclusive rights to stream, broadcast, or show the movie in theaters within its specific territory.

    If a single global platform streamed the film worldwide immediately, it would breach those regional contracts and undermine the local distributor’s financial return. It’s less evil mastermind, more paperwork apocalypse. Think of it this way: the film already has three or four landlords in different countries, and none of them wants the others subletting their apartments.

    On top of that, virtual festival agreements and music clearances add another layer of complication. A festival programmer might secure the rights to stream a highly anticipated documentary, but the archival footage or soundtrack in the film might be legally cleared only for a North American audience. That forces the platform to restrict access to specific geographic borders just to avoid copyright disputes.

    Why Indie Titles Are Harder to Find Than Studio Movies

    Unlike a massive studio tentpole, such as Project Hail Mary, which suggests a synchronized, global launch, independent films often suffer from fragmented distribution. Indie distribution is a patchwork stitched together by sales agents, temporary festival windows, and territory-by-territory sales. Smaller technical infrastructure and limited budgets mean there are fewer backup access paths than you’d see with major studio releases.

    For anyone who lives on festival buzz and microbudget discoveries, this is the actual pain point. The movie exists, the reviews exist, the trailer exists, and yet legally watching it can still feel like chasing a phantom. A major studio title generally shows up on Disney+ or Max everywhere eventually. But a festival darling? It might play in Berlin, appear on a regional art-house streamer in France, hit premium video-on-demand in Canada, and vanish entirely in the United States while a distributor figures out a release strategy. Not exactly the frictionless global cinema experience anyone signed up for.

    Rights Are Getting More Global, But Not Simpler

    If you need proof that digital borders remain rigidly in place despite technological advances, look at how streaming rights are currently sliced and sold across the entertainment industry. Major festivals and live events are increasingly going global through massive streaming partnerships, but these are tightly controlled. Disney+ and Hulu are taking Bonnaroo, Lollapalooza, and ACL to audiences worldwide through global streaming debuts, underscoring how event streaming rights are becoming more centralized and strategic rather than universally open.

    Even dedicated independent cinema platforms are investing heavily in the technology to handle complex global delivery. MUBI recently executed a major streaming upgrade via Bitmovin to improve scalability across its growing international catalog. But broader technical reach doesn’t automatically equal universal rights. Platforms can deliver 4K video instantly to almost anywhere, yet they still have to selectively block that video depending on who owns the local broadcast rights. The pipes got bigger; the gatekeeping didn’t go away.

    What Does a Streaming Service Actually Use to Tell Where I Am?

    IP Addresses Are Only the Start

    Streaming platforms use a web of data points to infer your physical location. The most obvious tool is your IP address, which acts as a digital return address assigned by your internet service provider. This tells the platform what city or region you’re connecting from. If an American film fan logs in from a cafe in Tokyo, the platform reads the Japanese IP address and updates the available library accordingly.

    Modern platforms look at much more than just the IP, though. They track browser cookies, account billing regions, payment method origins, and mobile GPS signals. Many services also verify your device’s app-store region or check for DNS leaks that might expose your true location. If your IP address shows London but your credit card billing address and GPS data show Chicago, the platform’s security software may flag the mismatch and block access. It’s a layered verification system, and each layer catches something the others might miss.

    What a VPN Can and Can’t Do

    Virtual Private Networks have become a standard tool for users trying to secure their connections, but there’s a lot of misinformation about how they function with streaming platforms. VPNs create an encryption layer for internet traffic and run it through a remote server, masking visible IP addresses in the process. They don’t override every platform check, though. To clarify the practical differences between access methods, here’s a quick comparison:

    Method What It Does Best For Main Limits / Risks
    Standard connection Uses your normal ISP route and visible IP Everyday home streaming Region locks remain; possible ISP throttling
    VPN on public/travel Wi-Fi Encrypts traffic and masks visible IP via another server Privacy while traveling; reducing exposure on hotel/airport Wi-Fi Doesn’t guarantee access; may conflict with service terms
    Downloaded offline viewing before travel Lets you watch already-downloaded eligible titles Flights, trains, temporary poor connectivity Not all services or films allow downloads; licenses can expire
    Free VPN Masks IP with limited servers Rarely ideal for serious streaming Slow speeds, data caps, logging/privacy concerns
    Piracy site / illegal stream Unauthorized access to copyrighted content Nothing legitimate Malware, legal exposure, poor quality, harms filmmakers

    Why “Just Use a VPN” Isn’t a Magic Spell

    People obviously constantly try location-shifting tactics because the demand for international content is well-documented. In fact, 26% of Americans use VPNs to stream and access geo-restricted content, making it one of the most common reasons for VPN use after general security. Globally, VPN usage research reports that 50% of VPN users say they use the technology specifically to access entertainment more easily.

    The existence of a workaround culture doesn’t erase the contractual fine print, though. Some streaming services actively detect and block known VPN server endpoints. If thousands of users connect to Netflix through the exact same IP address, the platform realizes it’s a server farm rather than a residential home and blacklists the address. Plus, the difference between libraries is massive: the UK Netflix library is 13% larger than the US library, representing over 1,000 titles. Separately, 41% of users employ VPNs to access streaming content unavailable in their region, but this often requires a premium service that constantly refreshes its IP addresses to stay ahead of platform blocklists.

    What’s the Safest Way to Watch Geo-Blocked Indie Films Without Sliding Into Piracy?

    Start With the Boring Fixes First

    Before you start digging into complex networking tools, rule out the basic logistical hurdles. Distribution rights change hands frequently, and what’s geo-blocked on one platform might be legally available on another. You’ve probably run into this if you’ve ever searched for a festival title only to discover it quietly popped up on a completely different service two months later. Here’s what to check first:

    1. Confirm whether the title is available on another legal platform in your current country by using aggregate search tools like JustWatch or Reelgood.
    2. Check whether the film festival or independent streaming service offers temporary travel access for paying subscribers (some do, and it’s worth asking directly).
    3. Make sure your account billing region and app settings are up to date, since outdated payment profiles can trigger location errors unrelated to actual geo-blocking.
    4. Download eligible films to your tablet or laptop before departure if the platform permits offline viewing.
    5. Read the platform’s terms of service and your local law before applying any location-changing software.

    Better Alternatives to Illegal Streams

    When a film is locked behind a regional wall, turning to unauthorized streams harms the exact creators you’re trying to support. Independent filmmakers rely heavily on premium video-on-demand rentals and subscriber metrics to secure their next budget. So what should you do instead? Use availability checkers like JustWatch or Reelgood to see if the rights have popped up on a different service. Also check library-connected apps like Kanopy, which often carry large slates of independent and international cinema. Direct filmmaker platforms, distributor newsletters, and virtual encore screenings hosted by art-house theaters are also excellent resources for tracking down elusive titles.

    Piracy is also becoming harder to access safely, which is worth knowing even if you’d never consider it. Governments worldwide are expanding anti-piracy enforcement, including aggressive site blocking and takedowns. The Kenyan government recently ordered the shutdown of 84 piracy websites to protect local filmmakers and the creative economy. And in the UK, the High Court’s pirate-site order gave Hollywood and the MPA the ability to target rotating networks of unbranded domains without having to return to court. Relying on unauthorized streams is a risky, unreliable bet that increasingly leads to malware or dead links.

    Travel Tools That Help You Protect Access

    When I’m traveling, the goal isn’t to play cat-and-mouse with every streaming service on Earth. It’s to protect my connection, reduce friction, and make the most of subscriptions I already pay for. That’s where choosing a reputable VPN for streaming matters. A service like IPVanish can add privacy on hotel or airport Wi-Fi, help limit ISP throttling, and make it easier to manage streaming across devices while on the road. Ask anyone who’s tried to watch a screener link on conference hotel Wi-Fi without any kind of encrypted connection, and they’ll tell you the buffering alone is reason enough to run a VPN.

    For readers trying to figure out which VPN best fits their needs, the real checklist is less “Can it do magic?” and more “Is it fast, stable, transparent about privacy, and easy to use on the devices I actually travel with?” Keep expectations realistic: a VPN can be a useful travel and privacy tool, but it doesn’t override licensing law or a platform’s specific terms of use.

    Is It Legal? The Answer Is Annoyingly Complicated

    Using a VPN Isn’t the Same as Piracy

    The distinction between privacy tools and copyright infringement is vital. VPN use is legal in many jurisdictions, including the United States, Canada, and most of Europe. A virtual private network is fundamentally a security application designed to protect sensitive data from interception on unsecured networks. Piracy, on the other hand, involves unauthorized access, downloading, or distribution of copyrighted material without compensating the rights holder. Masking your location to watch a film you already paid for on a legitimate platform is legally distinct from downloading a stolen file from a torrent site. Those two activities aren’t in the same moral or legal universe, even if they occasionally get lumped together in online debates.

    Terms of Service Still Matter

    While firing up a VPN might not break local laws, it may still violate your contract with the streaming provider. And yes, there’s a catch: almost every major streaming platform and virtual film festival includes language in its terms of use prohibiting the use of location-masking software. If a platform catches you using a known VPN endpoint, it’ll usually just block the video playback and display a proxy error message.

    Providers do generally reserve the right to suspend or permanently ban your account for violating the terms, though, particularly if the behavior results in payment mismatches or repeated device verification failures. In practice, most services just block the stream rather than ban the user, but the risk is there in the fine print if you want to be thorough.

    The Reader-Safe Rule of Thumb

    If you want to maintain access to your favorite indie films without risking your accounts or your cybersecurity, here’s the practical standard to stick to:

    • Prioritize licensed, official sources and legitimate rentals first. This is the foundation.
    • Use VPNs primarily to maintain your digital privacy and security when connected to unfamiliar public networks while traveling.
    • Completely avoid unauthorized streaming portals, which expose you to legal risks and malicious software.
    • Always verify the terms of service and the local laws of the country you’re visiting if you plan to access your home subscriptions while abroad.

    The Real Villain Is Rights Fragmentation

    Geo-blocking isn’t a technical glitch; it’s a feature of a highly complex, deeply entrenched distribution industry. Independent film suffers disproportionately under this system because its rights are fragmented across dozens of smaller companies rather than centralized under a single massive studio banner. While a high-quality VPN serves as an excellent security tool for travelers trying to maintain a stable, private connection, it isn’t a skeleton key that magically wipes away global copyright law.

    So where does that leave you? The best strategy for tracking down restricted cinema requires a mix of legitimate platforms, proactive offline downloads, and realistic expectations about what technology can accomplish. For indie fans, the frustrating part isn’t that the internet failed. It’s that the internet works perfectly well while the rights paperwork still thinks in borders. Until the industry catches up (and don’t hold your breath), a bit of legwork, the right tools, and some patience are still your best friends in the hunt for that festival gem nobody in your country can stream yet.

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    Nothing kills a post-festival high faster than

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    ¿Qué Es Exactamente el Paquete de Bienvenida de Stake?

    El paquete de bienvenida de Stake Casino es una serie de recompensas que te guían en tus primeros pasos en la plataforma. No es un único bono enorme, sino varios incentivos repartidos. Lo más importante es su transparencia: recibes bonos en efectivo que se incorporan directamente a tu saldo, no a una cuenta aparte llena de restricciones. Esto implica que puedes usar ese dinero en el juego que prefieras, desde las slots más populares hasta la ruleta en vivo, sin estar atado a una sección concreta. Para los jugadores en México, esta flexibilidad es una gran ventaja, porque se ajusta a distintas formas de jugar. El paquete se activa paso a paso, lo que te deja explorar la interfaz y los juegos sin la presión de cumplir condiciones exageradas de golpe.

    Partes Clave del Paquete

    El paquete tiene dos piezas principales que operan juntas. La primera es la serie de bonos en efectivo para tus primeros cuatro depósitos. La segunda, que va en paralelo, es la oportunidad de reclamar giros gratis asociados a esa misma secuencia de depósitos. Esta estructura de dos partes pretende ofrecerte liquidez inmediata con el dinero en efectivo, y además oportunidades extra de ganar a través de los giros. Es un diseño que tiene en cuenta en distintos jugadores: el que quiere tener control total sobre su presupuesto y el que disfruta la emoción de los giros gratis en tragamonedas específicas. A continuación, explicaré el valor exacto de cada componente.

    Los Giros Gratis Agregados

    Además del efectivo, el paquete incluye giros gratis, algo que la comunidad de jugadores de slots en México siempre recibe con gusto. Estos giros no son aleatorios; están vinculados a la misma secuencia de depósitos que desbloquea los bonos en efectivo. Por lo general te concedan un número concreto de giros gratis tras hacer tu primer o segundo depósito, y a veces también con los siguientes. La clave está en que estos giros normalmente son para una tragamonedas específica, a menudo una de las más nuevas o populares del catálogo de Stake. Los giros gratis son una oportunidad excelente para probar un juego de calidad sin poner en riesgo tu dinero y, con suerte, generar ganancias que luego podrás aprovechar en otros juegos. Eso sí, las ganancias de estos giros también tendrán sus propios requisitos de apuesta, un punto que no se debe pasar por alto.

    Condiciones de Juego (Wagering Requirements) Explicados

    Este resulta el aspecto clave para evaluar cualquier bono, y el de Stake no es una excepción. Los requisitos de apuesta, o rollover, son la suma de veces que necesitas jugar el monto del bono (y a veces también el depósito) antes de retirar las ganancias asociadas. En Stake, estos requisitos afectan tanto al bono en efectivo como a lo que obtengas con los giros gratis. La tasa concreta (por ejemplo, 30x) puede variar, así que es fundamental que leas los Términos y Condiciones vigentes cuando te registres. Un requisito de 30x sobre un bono de $200 MXN supone que debes invertir un total de $6,000 MXN antes de que esos fondos se activen. En mi experiencia, aunque los requisitos están vigentes, la ventaja de Stake es que el bono es en efectivo inmediato. Esto te da más capacidad para completarlos en los juegos que más te interesen, considerando que cada juego contribuye de forma variada al rollover.

    Cómo Afectan los Diferentes Juegos

    No todos los juegos tienen el mismo peso para satisfacer los requisitos de apuesta. Por regla general, las tragamonedas aportan al 100%, mientras que los juegos de mesa y las apuestas deportivas tienen generalmente una contribución mucho inferior, a veces de solo un 5% o 10%. Es una norma extendida en el sector. Para el jugador mexicano, la estrategia más eficiente suele ser emplear los fondos del bono en las slots si el objetivo es activar el dinero con rapidez. Ahora bien, si lo tuyo son los juegos de mesa, has de saber que necesitarás apostar cantidades mucho mayores para finalizar el rollover. Verifica siempre la sección de Términos y Condiciones de Stake para ver el porcentaje preciso de contribución de cada tipo de juego antes de empezar a jugar con dinero de bonificación.

    Estrategias para Maximizar tu Bono Inicial

    Para sacar el mayor provecho a esta oferta, te sugiero una metodología basada en lo que he comprobado. Primero, planifica tu presupuesto pensando en los cuatro depósitos. Si tu presupuesto total para empezar es, por caso práctico, de $4,000 MXN, considera dividirlo para conseguir los montos máximos de bono en cada paso, sobre todo en el cuarto ingreso con el 100%. Además, enfócate al principio en entretenimientos que contribuyan al 100% al juego para desbloquear los recursos de forma más eficiente. Asimismo, emplea los tiradas gratuitas en la slot que corresponda; cualquier ganancia que saques será un plus para tu balance global. Finalmente, mantén un control mental o escrito de cuánto has apostado ya contra el requisito total. Stake brinda utilidades para ver tu evolución, úsalas a tu favor. Por para terminar, nunca abandones la emoción y el juego consciente; un bono es una asistencia, pero la vivencia de juego en sí mismo es lo que realmente vale.

    Método de Reclamación Detallado

    Reclamar el paquete de bienvenida en Stake Casino es un proceso simple, algo que valoro como revisor. Lo primero es registrar tu cuenta en stakecasinoo.net/es-mx/, asegurándote de dar información correcta para simplificar verificaciones y retiros futuros. Una vez dado de alta y con la cuenta confirmada, ve a la caja de depósitos. Al hacer tu primer depósito, el sistema suele detectar automáticamente que puedes acceder al bono. Aun así, en algunos casos puede haber un campo para meter un código promocional. Te recomiendo que verifiques la página de promociones o los Términos de la oferta al registrarte para verificar el proceso exacto. Tras realizar el depósito, el bono en efectivo o los giros gratis se añadirán a tu cuenta, casi siempre al instante. El proceso se reitera para el segundo, tercer y cuarto depósito, culminando así el paquete.

    1. Alta: Rellena el formulario en el sitio oficial para México con tus datos reales.
    2. Verificación: Verifica tu correo electrónico y, si te lo piden, tu identidad para activar todas las funciones.
    3. Primera Recarga: Dirígete a la caja de efectivo, elige tu método de pago preferido (como SPEI o tarjeta) y haz un depósito igual o mayor al mínimo que exija el bono.
    4. Solicitud Automática o con Código de Bono: Confirma de que la opción para recibir el bono esté encendida o escribe el código promocional si se requiere.
    5. Disfruta: Los fondos o giros se añadirán a tu cuenta. Ya puedes empezar a comenzar a jugar.

    Desglose del Bono en Efectivo para los Iniciales Depósitos

    El eje central de la bienvenida es esta serie de bonos en efectivo. Es fundamental que sepas que estos bonos se asignan como dinero real, pero con un condición de juego que explicaré más adelante. La evolución es así: en tu primer depósito, obtienes un 10% extra. Para el segundo depósito, el tanto por ciento sube al 25%. El tercer depósito te da un 50% más, y el cuarto finaliza el ciclo con un amplio 100% de bono. Un detalle crucial: estos porcentajes rigen sobre un monto máximo de depósito. Por ejemplo, si el límite para el bono del 100% es de $1,000 MXN, ingresar esa cantidad te dará $1,000 MXN extra en bono. Mi sugerencia es que organices tus depósitos iniciales para utilizar cada nivel al máximo, siempre dentro de un plan de juego responsable.

    • Primer Depósito: Obtienes un 10% de bono en efectivo. Es un arranque modesto pero práctico para empezar a explorar.
    • Segundo Depósito: Un salto al 25%. Aquí percibes un estímulo de verdad en tu saldo.
    • Tercer Depósito: Un 50% de bono. Es óptimo para alargar tus sesiones o experimentar juegos con apuestas más altas.
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    Six months after reports claimed the Ellisons

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    Telefonische ondersteuning aanbieden is een groot pluspunt voor spelers die liever praten dan typen. Aphrodite Casino heeft een Belgisch telefoonnummer dat bereikbaar is tijdens ruime openingstijden. Dit kanaal is handig voor spelers die minder technisch zijn of voor situaties waarin een gesprek meer duidelijkheid geeft dan geschreven tekst.

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    Tyla may have had thousands of fans singing along during her recent performance at the Mawazine Festival in Rabat, Morocco, but social media has been focused on something else entirely.

    Videos from the show have sparked a fresh debate among her fans, the “Tygers”, with many arguing that the “Push 2 Start” singer’s performances no longer have the same energy and choreography that first helped make her a standout star. 

    While the crowd in Morocco appeared fully engaged as she performed songs including “Truth or Dare”, “Chanel”, “On My Body”, “Jump” and “Is It”, some online viewers were left wanting more.

    Less waist shaking and more choreography.

    That seems to be the message from a growing number of fans who have been discussing Tyla’s recent performances online.

    “Watching the Morocco clips and I think we need new choreo for T. The waist whining will not cut it. Where’s the energy and the choreo and and and?” asked @rkivescortis. 

    Another fan, @incessantyap, felt the singer should interact more with audiences during her shows.

    “Since we’re airing our grievances, I want my girl to do more crowd work, more audience calls and responses, calling for more audience participation so they can engage and transition that into songs – the ‘we wanna party’ chant is a glimpse of that; she just needs to build on it.”

    Some fans even drew comparisons to Zara Larsson, who collaborated with Tyla on “She Did It Again”, a single from her upcoming sophomore album “A*Pop”.

    Larsson was the first to perform the song live despite only being featured on the song. Tyla only recently added the song to her setlist during her Morocco performance, something some fans have also questioned.

    “Zara has been in the industry longer than Tyla, and she still gives it her all when she performs. I’m not sure what’s been going on with Tyla lately; maybe the lack of performances has made her a bit rusty, but we all know she has incredible potential,” wrote @TylaaBanks.

    What some fans appear to be overlooking, however, is that Tyla has previously spoken openly about the back injury that forced her to cancel several major appearances in 2024, including her highly anticipated Coachella debut.

    “For the past year, I’ve been silently suffering from an injury that has tragically worsened. Despite consulting doctors and specialists with high hopes, the pain and severity of the situation have only escalated,” she shared at the time.

    The injury became serious enough that doctors advised her to refrain from continuing with scheduled performances, raising questions about how much physical strain she can realistically place on her body while touring then. 

    She has also expressed wanting to take things easy and not rush the healing process while also seeing the injury as a way to slow down as she enjoys her stardom.

    So while fans are asking for the fire, choreography and energy they fell in love with at the start of her career, perhaps Tyla is still figuring out how to give audiences that experience while also taking care of her body. 

    After all, a back injury isn’t something you simply bounce back from overnight.

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    Tyla may have had thousands of fans

    Spider-Man: Brand New Day‘s latest promo featured Sadie Sink for the first time, and she gave a major tease of what to expect in the upcoming MCU movie. Sadie Sink’s role in Spider-Man: Brand New Day has been shrouded in secrecy, and marketing has yet to officially showcase a full look at her character, leading many fans to speculate on which Marvel hero (or villain) she could be playing. Despite Sink’s prominent third billing in Brand New Day alongside Tom Holland and Zendaya, this calculated secrecy has only intensified the movie’s marketing, ramping up anticipation for her eventual debut in the wider MCU. 

    Sony Pictures released an international promo for Spider-Man: Brand New Day, featuring its lead stars Tom Holland, Zendaya, Jacob Batalon, and Sadie Sink, promoting the movie’s release in China. 

    In the 65-second promo, Sink teased that Spider-Man will “face challenges like never before” in the film while also teasing the existence of “mysterious villains:”

    “Spider-Man faces challenges like never before, like mysterious villains appearing one after another.”

    Spider-Man: Brand New Day has a collection of notable villains, including Scorpion, Tombstone, Tarantula, Boomerang, and The Hand. 

    Sink’s tease of mysterious villains might be alluding to these antagonists, but there is also a chance that she could be hinting at the presence of hidden foes for Marvel’s web-slinger to deal with, such as her character, who may or may not be Jean Grey. 

    Sony Pictures

    Sadie Sink’s rumored role as Jean Grey in Brand New Day has only grown stronger with each new leak heading into the July 31 release date. 

    Recent developments, such as the official description of Sink’s character in the film, have significantly bolstered the theory that she is, in fact, the X-Men hero, and Brand New Day is being used as her launchpad into the MCU’s Mutant Saga. 

    This latest promo leans directly into that mystery. Sink’s delivery of the key tease about mysterious villains not only preserves secrecy but also highlights the vagueness surrounding her character, which could spark major fan discussions online ahead of Brand New Day. 

    Watch the official Spider-Man: Brand New Day international promo below: 

    Spider-Man: Brand New Day is set to release in theaters in the United States on July 31. 

    Why Spider-Man: Brand New Day Is the Perfect Entry Point for Sadie Sink’s Mystery MCU Character 

    Sadie Sink's character restrained in Spider-Man: Brand New Day.
    Sony Pictures

    Spider-Man: Brand New Day is shaping up to be the ideal launchpad for Sadie Sink’s mystery MCU character, and it only gets better when it is finally revealed to be Jean Grey. 

    As one of Marvel’s most powerful mutants, introducing Jean Grey in a street-level story in Spider-Man: Brand New Day keeps things grounded in the web-slinger’s world because it positions her as a “mutant on the run,” a fugitive with uncertain allegiances hunted by the Department of Damage Control, and forced to operate in a morally complex way that may portray her as a villain that needs to be stopped. 

    This approach makes her introduction feel personal and immediate rather than overwhelming. Instead of dropping her into a full X-Men movie in The Mutant Saga, Brand New Day gives her an emotionally charged arc that makes her stand out and allows her to become the fans’ (and Spider-Man’s) entry point for the world of mutants without being forced to do so. 

    Sadie Sink’s Jean Grey acts as the perfect bridge for the MCU, connecting the Multiverse Saga in its latter half toward the much-awaited Mutant Saga. If anything, this is a low-risk, high-reward scenario that generates genuine excitement without stealing focus from the core of Spider-Man’s story of rebirth. 

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    Achievement for a slot game in the UK’s crowded iGaming scene depends on far more than just its reels and symbols. Take Play’n GO’s Book of Dead. Its lasting popularity isn’t an accident. It’s supported by a deliberate network of alliances with casinos, affiliate sites, and tech providers. These relationships aim to make the game easier to find, more rewarding to play, and safer for everyone involved. For British players, this web of partnerships is what keeps an iconic slot fresh and relevant year after year.

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    Backstage, technical partnerships guarantee Book of Dead runs perfectly on each platform and platform. Play’n GO’s games are incorporated into major casino software aggregators like White Hat Gaming, Aspire Global, and Relax Gaming. These aggregators function as middlemen, allowing smaller UK casinos provide a huge game library without requiring negotiate with each individual developer.

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    These technical alliances also power sophisticated back-office analysis. They enable real-time monitoring on how the game is running, player session data, and how bonuses are applied. Sharing this data between Play’n GO, the platform provider, and the operator is key to enhancing the player experience and evaluating what is effective in joint campaigns. It builds a feedback system that turns every partnership smarter.

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    Promotional partnerships are structured to maintain Book of Dead in the spotlight. The classic example is the special free spins promotion. Here, Play’n GO might collectively support a campaign with an partner, supplying branded graphics and the technical arrangement to give spins exclusively on their game. This becomes a effective sign-up mechanism, distinct from a generic casino bonus.

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    Seasonal and event-based campaigns are another domain for teamwork. Around Christmas or during a big football competition, providers might launch a thematic Book of Dead contest with tailored leaderboards and awards. Bringing this off demands strong alignment between marketing groups to match branding, content, and technical implementation. The result is a time-limited activity that generates a surge in player activity.

    We also encounter “roadblock” marketing drives, where a major provider gets short-term sole rights to advertise a new Book of Dead competition. This involves a coordinated push across the partner’s email database, app notifications, and social media accounts to generate a feeling of urgency. These promotions are organized periods in beforehand, with specific leads from both sides making sure everything begins without a hitch.

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    Upcoming Collaborative Horizons and Market Adaptation

    What comes next for Book of Dead partnerships in the UK will be shaped by evolving regulations and new technology. As the UK Gambling Commission updates its rules, especially around bonuses and affordability checks, collaborations will have to adapt. We foresee to see tighter ties with specialist firms that handle identity verification and affordability software, aiming to make player sign-ups both compliant and hassle-free.

    On the tech front, new formats like VR casinos or the addition of skill-based elements could create innovative partnership opportunities. Picture a project where Book of Dead is adapted for a virtual reality platform, needing joint development between Play’n GO and a VR studio. Or, partnerships with gamification experts could introduce story-driven tournaments built around the game’s Egyptian exploration theme.

    The growing role of data analytics will strengthen existing alliances. Operators and developers will share more aggregated, anonymous player insights to customize game suggestions and promotional offers with greater precision. This could lead to dynamic partnerships where in-game offers or bonus buy parameters are subtly adjusted based on shared data, creating a more personal touch for each player.

    Partnerships will likely expand into new media territories. Collaborations with streamers on Twitch and YouTube are already happening, but they may become more formal and sustained. A “Book of Dead Ambassador” programme with top UK streamers is conceivable, involving early access to new features or co-designed charity live streams. This approach uses the authentic reach of influencers to connect with audiences the traditional ads might miss.

    The ongoing story of Book of Dead in the UK proves that a great game needs a great support system. Its position is ensured by a complex web of strategic partnerships. From winning prime spots on trusted casino sites to enabling detailed guide content and powering flawless mobile play, these collaborations create an essential ecosystem. They keep the game accessible, engaging, and responsibly enjoyed, while adapting to market and regulatory changes. That is how a slot maintains its place as a cornerstone of the UK scene.

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    The next Batman trilogy is officially starting in 2026.

    The Dark Knight continues to be brought to life on screen, whether it’s through the many live-action Batman movies that have come in the past or the various adventures that he has in the world of animation. While DC Studios has many iterations of Bruce Wayne in media right now, a new version is about to get his due.

    Batman: Knightfall will serve as the next DC adaptation for the Caped Crusader, as Warner Bros. Home Entertainment has released the first trailer for Batman Knightfall – Part 1: Knightfall, which is arriving this year. Check it out below:

    The first trailer also confirms who is playing each major character, as Anson Mount is confirmed to voice Batman, making it his second time after portraying him in the Injustice animated film. Spider-Man: Brand New Day’s Michael Mando has been tapped as the main villain, Bane, while Halo star Pablo Schreiber is voicing Jean-Paul Valley, a.k.a. Azrael.

    The footage also reveals the official designs for several Batman villains, including Joker, Mister Freeze, Scarecrow, and the Riddler. Warner Bros. Home Entertainment describes the first chapter as follows: “Arkham Asylum has been destroyed, and all its inmates have been unleashed upon Gotham City. As Batman races to round up some of his greatest enemies, he is pushed to his physical and mental limits and into a final confrontation with a new threat: the man called Bane! Based on the iconic DC comic book event, Batman: Knightfall – Part 1: Knightfall tells the story of the breaking of the Bat.”

    It was first revealed in October 2025 that the famous comic book storyline would be adapted in four parts through DC animation. The animated Batman: Knightfall film series is officially set to be R-rated.

    The unforgettable DC storyline, which ran from 1993 to 1994, was penned by Chuck Dixon, Jo Duffy, Alan Grant, Dennis O’Neil, and Doug Moench, where the Gotham City hero had his back broken by Bane. Batman: Knightfall – Part 1: Knightfall was written by DC Comics writer Jeremy Adams, while Jeff Wamester directed it.

















    From the Caped Crusader to The Batman · Eight Questions
    How Well Do You Know Batman?
    “I’m Batman.”

    🦌Bob & BillDetective Comics #27, 1939

    🥘The Camp EraAdam West, 1966

    🎣Burton & SchumacherKeaton to Clooney, 1989–97

    💉The Dark KnightBale & Ledger, 2005–12

    🕵The BatmanPattinson & Reeves, 2022–

    01

    Batman debuted in Detective Comics #27 in May 1939. Cartoonist Bob Kane received sole credit for creating the character for the next 76 years — on every comic, every TV series, every film — despite being only half of the real partnership. His uncredited collaborator wrote much of the original story, designed the cowl and cape, invented the name “Bruce Wayne,” named Gotham City, and helped create the Joker, the Penguin, the Riddler and Catwoman. DC finally added his name to all Batman credits in 2015. Who?




    02

    Batman: The Movie — released in July 1966 between the first and second seasons of the ABC TV series, featuring the “Holy Whatever, Batman!” tone, the four super-villain team-up (Joker, Penguin, Riddler, Catwoman), the shark-repellent Bat-spray, and the Batmobile/Batboat/Batcopter — is generally considered the first theatrical Batman feature film. Two earlier 1940s movie serials don’t qualify as standalone features. Which actor played Batman in this first theatrical feature?




    03

    Batman: The Animated Series (Fox Kids, 1992–1995) — the Bruce Timm/Eric Radomski production with the deco-noir “Dark Deco” backgrounds painted on black paper — is consistently ranked by fans and creators as the definitive screen Batman. Its central performance is so iconic that the actor reprised it across 30 years, every DC Animated Universe series, and a dozen Arkham-series video games. He died on November 10, 2022, and DC essentially treated his passing as the death of Batman’s voice. Name him.




    04

    Jack Nicholson’s Joker in Tim Burton’s Batman (1989) earned him an estimated $60–$90 million from a film for which his actual on-screen salary was a fairly modest $6 million — making it, dollar-for-dollar, one of the most famously lucrative single roles in Hollywood history. He achieved this by negotiating an unusual deal structure that other actors immediately tried (and largely failed) to copy. What was it?




    05

    After Ben Affleck stepped down from his planned solo Batman film, Warner Bros. handed the project to a new director who reconceived it as a noir-detective serial-killer story modelled on Se7en and Zodiac, runs 2h 56min, casts Robert Pattinson as a brooding second-year Bruce Wayne, and gives Paul Dano’s Riddler a Zodiac-style cipher gimmick. The Batman (2022) grossed $772 million worldwide. Who directed it?




    06

    Joel Schumacher’s Batman & Robin (1997) — with Bat-nipples on the suit, Arnold Schwarzenegger’s Mr. Freeze spitting ice puns (“Let’s kick some ice!”), Uma Thurman’s Poison Ivy, Alicia Silverstone’s Batgirl, and an estimated $238 million box-office failure on a $125 million budget — is widely regarded as one of the worst superhero films ever made. It killed the live-action Batman franchise for eight years until Batman Begins (2005). Who played Batman in it?




    07

    Cesar Romero’s Joker on the 1966–1968 ABC Batman series — white grease-paint, green wig, red lipstick, manic giggle — remains one of the most-cited comedic TV villains in American history. Romero, a leading-man matinée idol since the 1930s, agreed to the role on one condition: he refused to do a specific thing for the makeup. You can still see what he refused if you look closely. What did Romero refuse?




    08

    Todd Phillips’s Joker (2019) — the standalone, R-rated, $1.07-billion-grossing Joaquin Phoenix vehicle that exists outside any DC continuity — was nominated for 11 Academy Awards, the most of any comic-book-derived film at the time. It won Best Actor for Phoenix. It also won exactly one other Oscar that night. Which?




    The Bat-Signal Has Faded · Final Scorecard
    Your Gotham Standing

    🦌

    / 8

    World’s Greatest Detective — or a Gotham red herring?

    While an official release date wasn’t revealed, those who are attending the Annecy Film Festival today got to screen Batman: Knightfall – Part 1: Knightfall. It’s possible that Warner Bros. and DC Studios will formally announce when it will drop this year in a future trailer.

    Previous Batman media has tackled the Knightfall saga in various ways, including Christopher Nolan’s The Dark Knight Rises. While not a full adaptation, the 2012 finale to Christian Bale’s trilogy did use elements from the arc, including Bane breaking Bruce’s back.

    Batman: Knightfall – Part 1: Knightfall is releasing later in 2026.

    Batman-Franchise-Image-1

    Created by

    Bob Kane, Bill Finger

    Latest Film

    The Batman

    Upcoming Films

    The Batman Part II


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    The next Batman trilogy is officially starting

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    After years of development and plenty of anticipation, Valve has finally revealed pricing details and reservation information for the Steam Machine. The new hardware launches with four different options, ranging from a standard 512GB model to a premium 2TB bundle that includes additional customization options.

    While many fans were hoping for a more consumer-friendly price point, Valve explained that rising component costs and ongoing supply chain challenges significantly affected the final pricing and launch availability. Here’s how the Steam Machine is priced for each variant or bundle and how to reserve one.

    Steam Machine Pricing and Bundle Options

    Image via Valve

    Players can sign up for a chance to reserve one of the following Steam Machine configurations beginning today:

    Steam Machine 512GB

    • $1,049 USD
    • $1,509 CAD
    • €1,039 EUR
    • £879 GBP

    Steam Machine 512GB + Steam Controller Bundle

    • $1,128 USD
    • $1,628 CAD
    • €1,108 EUR
    • £938 GBP

    Steam Machine 2TB

    • $1,349 USD
    • $1,919 CAD
    • €1,359 EUR
    • £1,149 GBP

    Steam Machine 2TB + Steam Controller Bundle

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    • $2,038 CAD
    • €1,428 EUR
    • £1,208 GBP

    The higher-end 2TB models also come with two additional faceplates: a red fabric design and a solid walnut option, giving owners more ways to customize their systems right out of the box.

    Valve confirmed that all listed prices already include VAT wherever you are.

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    To combat scalpers and improve the overall purchasing experience, Valve is implementing a reservation-based system rather than a traditional first-come, first-served launch.

    Players can sign up for their preferred Steam Machine model or bundle starting immediately. Registration will remain open until Thursday, June 25, at 10 am PT.

    Once registrations close, Valve will conduct a one-time randomization process to determine reservation and waitlist placement.

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    • Placement on a waitlist for future availability.

    Customers who secure a reservation won’t be charged immediately. Instead, Valve will send purchase invitations as inventory becomes available.

    The first round of purchase emails is scheduled to begin on June 29, with additional invitations rolling out as more units are manufactured and shipped.

    Source link

    Mindy Kaling, whose TV shows have been dubbed by fans the Mindy Comedy Universe, loves being behind “the slightly less famous MCU” and sharing an acronym with Marvel.

    Her latest series, Not Suitable For Work, which wraps its first season on Hulu today (Read Deadline’s postmortem interview with Kaling here), was designed as a third in a trilogy. The ensemble comedy, about five work-obsessed twenty-somethings striving for professional success in New York, explores the next stage in young people’s lives after high school, which Kaling chronicled in her hit Netflix comedy Never Have I Ever, and college, the setting of her HBO Max series The Sex Lives of College Girls.

    The three shows and Kaling’s Fox/Hulu comedy The Mindy Project collectively tell stories of girls and young women through their teens, twenties and thirties — from high school to career success. Is Kaling done mirroring her life or are there still blank periods that she can mine for future shows?

    “Are you suggesting that I can retire after this because I’ve hit every age that people go through?,” she asked, tongue-in-cheek, during a Deadline interview about the NSFW finale. “I have talked about the show as being the third in this trilogy; Never Have I Ever was my teenage years, Sex as a College Girls was obviously college, and now this is when you graduate and you move to the city of your dreams. I also like talking about my own work as trilogies, because I think it seems pretentious and smart.”

    Not Suitable For Work is the second series solely created by Kaling after The Mindy Project, which also marked her first time on her own after her breakout run on The Office. Kaling was 25 when she joined The Office and in her early 30s when she launched The Mindy Project.

    “When I look back at my time at The Mindy Project, it was a blur, because I would wake up so early, get into hair and make up at six in the morning and leave at 10pm. But the time in my life from 21 to 24 I remember incredibly vividly, and so I feel like I’ve had enough time that’s passed where I could write about that time,” Kaling said about the period in her life she is chronicling on Not Suitable For Work.

    The Mindy Project is also the only series created by Kaling so far in which she has starred. That may change as Kaling shared what she wants to work on next while juggling her Netflix series Running Point starring Kate Hudson, recently renewed for a third season, and Not Suitable For Work, which Kaling hopes gets renewed for a second. (Here, she shares the story behind NSFW‘s title and addresses the show’s Friends comparisons.)

    “I’m still working on Running Point Season 3, that’s what I’m doing simultaneously now, but I would love to act in something about the experience of being in your 40s, being a single woman in Los Angeles, and finding happiness, potentially romance. That feels interesting to me right now,” Kaling said.

    There are more possibilities ahead for Kaling, who is still in her mid-40s. There are current examples — for instance, Tina Fey is tackling 50-somethings’ lives and relationships in her Netflix comedy series The Four Seasons.

    “I want to do that, and I want to do my version of Golden Girls,” emphasizing that it would be her original take, “not a remake of Golden Girls.” Beyond that, “I’d also like to write a drama,” said Kaling whose work to date has been in comedy.

    “So there’s a lot of stories left in me, but right now, between these two [Running Point and NSFW], I think this is all I have time to think about,” Kaling said.

    Source link

    Mindy Kaling, whose TV shows have been

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    With Women Of Action, Caroline Siede digs into the history of women-driven action movies to explore what these stories say about gender and how depictions of female action heroes have evolved over time.

    There have been plenty of bad superhero movies, but it’s rare that one is so poorly received that it not only staves off more female-led superhero movies for two decades, it also kills off an iconic comic book character for 20 years. Fairly or not, that’s the legacy of 1984’s Supergirl, the first and for a long time only big-screen female superhero in American cinema—at least until Halle Berry’s Catwoman arrived to extend that drought even further. Superman’s cousin Kara Zor-El had been a mainstay in DC Comics since 1959, but her series abruptly ended two months before her film’s release and then she was killed off in 1985’s Crisis On Infinite Earths crossover event, not to be revived until 2004. No matter how Milly Alcock’s new take on the character does this summer, it can’t be worse than that.

    1984’s Supergirl both does and doesn’t deserve its terrible reputation. Released between the third and fourth installments of the Christopher Reeve Superman franchise, it feels like it was made from a script written in a foreign language and translated back and forth into English at least half a dozen times. The saga opens in the weird, cultish world of Argo City, where Peter O’Toole is asked to deliver buckets of dry exposition about transdimensional space and Omegahedrons, ostensibly to explain how the Guggenheim Museum-esque city survived Krypton’s destruction by hiding away in a pocket of “Innerspace,” although you’ve got to be pretty locked-in on comic book lore to understand any of that. From there, the film jumps to Earth where Faye Dunaway is introduced as the glamorous witch Selena, no further explanation given. By the time Kara (Helen Slater) is manifesting clothes and wigs out of nowhere with her Kryptonian powers, it’s clear that you just have to roll with whatever Supergirl is doing. 

    At its best, there’s some camp fun to be had in the story of Kara making her way to her cousin’s homeworld, disguising herself as an orphan named Linda Lee, and joining an extremely queer-coded all-girls boarding school. There’s even a terrific set piece where Kara soaks up the power of the yellow sun and tries out her new flying abilities in balletic fashion. But trying to actually follow the plot or character arcs of this movie feels a bit like what Kara tells O’Toole’s Zaltar when he asks if she knows six-dimensional geometry: “I know the equations. I just can’t see them in my head.”

    The biggest problem with Supergirl is that it transparently doesn’t find a reason to exist other than because someone thought “Superman but for girls” might sell well. Producers Ilya and Alexander Salkind wanted the film to be a fresh start after the poorly received Superman III, but they failed to find a meaningful take on their central heroine. 1978’s Superman wanted to make you believe a man could fly. Supergirl wants to make you believe a girl can go to math class. It seems like director Jeannot Szwarc and screenwriter David Odell made a list of all the stuff they imagine girls like (Witches! Love potions! Softball! Stuffing their bras! Kissing boys!) and put all those ideas into one movie, with little regard for whether or not they made sense together. 

    Ostensibly, Kara hops in a spaceship to Earth because she accidentally sends the all-powerful Omegahedron flying out the window and needs to get it back before Argo City loses power and everyone there dies. But once she actually lands, the movie becomes a fish-out-of-water comedy in which Kara is a wide-eyed babe in the woods à la Splash, which came out the same year. It’s not totally dissimilar from what Patty Jenkins did with her much more successful take on another iconic DC heroine. Only where Wonder Woman balanced its woman-out-of-time comedy with the stakes of World War I constantly whirring in the background, Supergirl straight-up becomes a 1980s teen comedy for a while.

    And that’s not a bad pitch for a young adult superhero story. It’s fun to watch Kara befriend her plucky roommate Lucy Lane (Maureen Teefy), sister of Lois; use her powers to deal with school bullies; and get a crash course on how to be an American teenage girl. It’s just bizarre to enjoy those comedic tangents when the stakes of the movie are that all the people of Argo City (including Kara’s parents!) are going to suffocate to death if she doesn’t get the Omegahedron back. Yet there she is, playing field hockey, crushing on a hot groundskeeper named Ethan (Hart Bochner), and eating fast food with Jimmy Olsen (Marc McClure, the only direct crossover from the Superman films after Reeve withdrew from a planned cameo appearance). 

    If that isn’t weird enough, the villain has nothing to do with either Kara’s Kryptonian origins or the school storyline. Instead, the witch randomly happens to come across the Omegahedron when it falls out of the sky into her picnic. (It doesn’t even come to her because she’s a witch, it’s just pure coincidence!) How or why magic exists in this world is never addressed, and because Supergirl can’t think of anything else for its two female leads to do, it makes them battle over Ethan’s affections: Selena gives the hunky gardener a love potion that’s supposed to make him fall in love with her, but instead winds up making him fall for “Linda.”

    Given that Superman stories have always been steeped in romance, it’s not inherently a bad thing that Kara gets a love interest too. But where Clark Kent’s relationship with Lois Lane adds to the dimensionality of both characters, Kara’s Midsummer Night’s Dream-esque dynamic with Ethan doesn’t do anything for her. If the whole movie had just been a lighthearted teen comedy, the madcap romance might have worked. But as the superhero story bends towards high fantasy, it’s hard for the movie to find a cohesive tone. While Dunaway was dinged in reviews and singled out by the Razzies, the truth is she’s delivering the kind of campy, vampy performance the script asks of her. The problem is that the character just doesn’t make sense in this story. As Roger Ebert put it, “Why even go to the trouble of making a movie that feels like it’s laughing at itself?”

    The mainline Superman movies had their tonal flaws too, of course, but what they had going for them was Reeve’s perfectly honed performance at their center. While 19-year-old Slater is a charming screen presence who gets one genuinely great scene, where Kara has to convince Zaltar to help her escape the Phantom Zone, the movie mostly just asks her to be sweet and doe-eyed, which doesn’t make for a particularly interesting heroine. There’s an early set piece where Kara seems unfamiliar with the concept of sexual harassment or the threat of male violence, which suggests that the movie might do something interesting with her alien perspective on Earth. But after that, her enemies include an enchanted backhoe, a shadow monster, and some haunted amusement park rides, which don’t ever add up to anything cohesive. Around the same time that The Terminator, Aliens, and even Red Sonja defined their female heroes through action, Supergirl struggled to define its female hero at all.

    Maybe the most interesting thing about Supergirl is that it doesn’t make a big deal about being the first female-led superhero movie—largely because the idea of live-action superheroes as a full-fledged genre didn’t really exist yet. Where Jenkins’ Wonder Woman took its glass-ceiling-shattering responsibilities very seriously in the cinematic universe era, Supergirl clearly wasn’t thinking that way in 1984, where it functioned solely as a sweet, lighthearted spin-off of the Reeve films. If Supergirl contains anything ahead of its time, it’s the sheer number of female characters in its story; something that wouldn’t become the norm in female-led action movies for decades. (If it even is now.)

    Still, even Warner Bros. didn’t believe in the messy film in the end. After the Salkinds and Warners disagreed on whether to go for a summer or fall release date, the studio passed on the film entirely and it was picked up by Tri-Star. Released in November, Supergirl opened to middling reviews and a disappointing box office, which was enough for the Salkinds to sell the Superman rights to The Cannon Group, thus paving the way for the somehow even more disastrous Superman IV: The Quest For Peace—and the end of the Reeve franchise. Slater never played Supergirl again, although she did pop up on Smallville as Clark’s Kryptonian mom and The CW’s Supergirl TV show as Kara’s adoptive human one. 

    Though Melissa Benoist’s stellar small-screen work on that latter show now feels like the definitive live-action Supergirl, the 1984 film has its passionate defenders too—particularly among those who saw it when they were young enough that Kara’s childlike sense of wonder hit home. A 48-minute behind-the-scenes special suggests that the film was at least made with a lot of earnestness. The idea of Supergirl as a child of two worlds and someone perpetually living in her cousin’s shadow are thematically potent ideas for a superhero, female or otherwise, but the original Supergirl arrived too early in the history of superhero cinema to truly capitalize on any of that. Instead, it played it safe in a way that was more disastrous than taking a risk. As a new Supergirl approaches the theaters, however, it thankfully (hopefully) no longer feels like any one female-led superhero story holds the fate of all superpowered women in its hands.

    Next time: Tomb Raider made Angelina Jolie an action star—and video game movies a hit.


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    Four episodes in, there’s a pattern developing on Cape Fear. We know what we’re getting from a typical installment: Anna Bowden working on some case for the SJLP in conjunction with Max Cady while Tom and the kids hide secrets and deal with their own personal demons. I always tend to prefer the first of those two storylines; after all, Cape Fear is Max Cady, and Javier Bardem is giving easily the most charismatic, richly ambiguous performance in the cast. The complex moral conundrum percolating on this show centers on Anna and Cady specifically, so it makes sense that their half would feel more essential.

    “Pierced” does make some strides in building out the other characters, and pairing up Tom and Zack for a substantial subplot helps. We learn an interesting piece of Tom lore this week: When he was a teenager, his older brother died by suicide. Tom has spent decades doing his best not to think about that unspeakable tragedy, but the walls he has built up are starting to crumble—especially seeing his son go through depression and resort to self-harm, something that surely reminds him of his brother. He’s still very sensitive to the loss, based on how quickly he fires Dr. Carlisle when she brings it up.

    In a nice turn, though, Tom actually manages to grow a little and open up by the end of the episode. After the student art show where Zack unwisely attempts an in-person apology to the girl whose nudes he shared, Tom finds him facedown in the pool and unthinkingly jumps in to save his son… from a calming exercise Dr. Carlisle taught him. Recognizing the source of his panicked reaction, Tom is finally able to really reconnect with Zack and be honest about his pain.

    Sure, he doesn’t correct Zack’s belief that his brother died in a car accident, but he offers some real insight about how he became the man he is: by consciously imagining this version of himself and pulling himself out of an endless grief spiral.

    It’s not so easy for Zack, who can’t accept Sophia’s refusal to grant him absolution—and who falls back under the influence of AngelX aka Nevaeh aka Amber, who’s secretly pulling the same shit with his sister. I do appreciate the swift-enough reveal that Nevaeh is likely Cady’s daughter, the product of a tryst with a prison nurse, though her methods of preying on the Bowden teens remain a little stale. Convincing Nat to ditch soccer practice and get her nipple pierced is just basic, as far as rebellious-teen activities go. (Breaking into her friend/crush/bully’s house and fucking on her bed is a little more diabolical, though.) I’m more curious about Nevaeh’s ultimate gameplan in isolating the kids from their parents, but it’s starting to come together.

    There are still some frustrating gaps here in the storytelling, especially when it comes to Tom’s strained relationship with his technically-stepdaughter—along with Anna and Tom’s marriage, which has gotten surprisingly little screentime for how important it is to the story. It’s still no surprise that everything Anna and Cady have going on in “Pierced” is the strongest material, even in a standard case-of-the-week storyline.

    While we don’t know all that much about Ruben Ramirez himself, he functions well as a sort of pawn in the larger psychological battle (and tentative renewed friendship) between our leads. After his appeal is denied, Anna tries to secure some new evidence to throw Ruben’s guilt in doubt, confronting a witness with her usual powers of persuasion. He’s a snake enthusiast with the unsettling nickname of Smiley, and he was actually there for the murder Ramirez is in prison for. But he doesn’t react well at all, even stealing Anna’s phone when he catches her discreetly recording him, and she’s forced to make a deal with the devil.

    But is Cady the devil? He forces Smiley to cooperate, retum Anna’s phone, and give the evidence they need to send Ruben home, but we don’t get to see what he actually did. Like in previous episodes, we only occasionally dip into Cady’s private life; we’re mostly experiencing him the way Anna does, and that creates a delicious ambiguity that sets this series apart from any other version of Cape Fear.

    We still don’t know the actual extent of Cady’s crimes—but it seems evident he can be a cruel, vengeful, abusive man, and that his passion for fighting the “criminal injustice system” goes one step beyond righteous fury. We know he made his wife Melissa’s life hell, and the way he savagely kisses Anna in this episode is disturbing. It jarred me a little, honestly, because I hadn’t picked up on a strong element of sexual tension in their relationship, despite Bardem’s suave line readings. By kissing Anna, is Cady flexing his control over her, enjoying the feeling of her depending on him? Is this the first time they’ve kissed, or is their history even more tortured and complex than we knew? Like every other mini-mystery in this show, it leads back to that core question: What the hell happened between these two 17 years ago?

    Stray observations

    • • One mystery solved: Zack was actually handing Cady a picture he drew imagining the present-day version of Adam, Cady’s unborn son.
    • • Cady telling Tom that Zack “really needs a father” seems to influence Tom’s attempts to reconnect this episode, which is interesting.
    • • We also see more of the masked woman played by Juliette Lewis. It seems clear that she’s a longtime stalker in the habit of threatening Cady’s romantic interests: Melissa, Amy Brancato, and now Anna.
    • • “Where’s your toe?” “I ate it again.”
    • • Cady seems to have special plans for the car salesman whose wife he apparently screwed, and I’m scared.
    • • Tom jumping into the pool to save Zack also reminded me of a particularly gutting Sopranos scene. If you know you know.
    • • Zack drawing that fish and flashing back to a fishing trip with his dad is actually extremely sweet, and might be what finally unlocked that dynamic for me.
    • • I enjoyed seeing more of Ray Rawlins this episode. His tense interaction with Cady was a highlight. (That’s The Wire’s Jamie Hector, by the way.)
    • • I will say, I know nothing about criminal law, but it does seem a little ridiculous to me that a ten-second voice memo of Smiley talking under duress would be admissible in court. The show sort of hand-waves this when Anna acknowledges that it’ll take some time to jump through the hoops to get Ruben out, but the clear implication is that he’s going home soon.


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    Étoile is the kind of show that makes you wish you knew ballet. The 2025 dramedy follows the story of two world-renowned ballet companies—one in Paris and one in New York—whose ticket sales have been low. In order to gain more attention, the heads of the companies, Jack (Luke Kirby) and Genevieve (Charlotte Gainsbourg), decide to swap a few of their talent to bring fresh faces to their companies. Genevieve gets up-and-coming choreographer Tobias Bell (Gideon Glick) and hometown star Mishi Duplessis (Taïs Vinolo) while Jack ends up with one of the Paris company’s biggest stars, Cheyenne Toussaint (Lou de Laâge). The show is told in both English and French, and keeps its viewers captivated in the drama of the ballet world.

    Courtesy of Philippe Antonello for Amazon MGM Studios

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    By Sydney Johnson Étoile is the kind of show

    EXCLUSIVE: Taiwan’s PTS Taigi TV station has started production on Gunshot, an eight-part police drama produced with S11 Partners and Third Culture Content.

    The Taiwanese-language series stars Kent Tsai (The Teenage Psychic), Chan Tzu-Hsuan, Cheng Chih-Wei, Golden Horse Award-winning actor Lu Hsiao-Fen and Singaporean Golden Horse winner Mark Lee.

    Set against the intersection of policing, social media and public accountability, the series explores the challenges facing modern law enforcement in an increasingly connected world where social media influence, performance metrics and public opinion increasingly shape law enforcement.

    Partly inspired by real-life experiences shared by police officers, the series is co-directed by acclaimed Taiwanese director Hsiao Li-Hsiu (Wake Up) and creator-director Chang Kai-Chih. Chen Fang-Chi (Hotel Saltwater) and Hsu Shih-Hui (The Abandoned) serve as writers on the project.

    The story follows three police officers with conflicting views of justice trying to navigate a system that rewards visibility over virtue, forcing them to confront what it truly means to be a good cop.

    Tsai plays Hao, a detective whose career is upended after a controversial use-of-force incident thrusts him into the public spotlight. Chan stars as idealistic rookie officer Shih-Ting, while veteran actor Cheng portrays Hou, a pragmatic policeman approaching retirement. 

    Mark Lee takes on the role of Long, a powerful crime boss whose calm demeanor conceals a dangerous and unpredictable nature.

    The series reunites producers Cora Yim, co-founder of S11 Partners, and Janice Chua, co-founder of Third Culture Content, following acclaimed Disney+ TV series Taiwan Crime Stories, which received 12 Golden Bell Award nominations and recognition at the Asia Contents Awards & Global OTT Awards in Busan. 

    Yim and Chua said: “Gunshot reflects the kind of storytelling we want to champion – grounded in local culture, yet ambitious in scope and execution. From the beginning, we saw the series as an opportunity to tell a distinctly Taiwanese story through a contemporary lens. 

    “Partnering with PTS Taigi TV Station on a Taiwanese-language crime drama is an ambitious and meaningful step for all of us. We believe Gunshot contributes to the continued evolution of Taiwanese-language drama by demonstrating that these stories can embrace new genres, contemporary themes, and resonate with audiences far beyond Taiwan.”

    Gunshot originated from EMERGE, the development initiative launched by TAICCA and Imagine Entertainment to support internationally minded creators and stories from Asia, with Imagine Entertainment continuing to support the project as a producer.

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    EXCLUSIVE: Taiwan’s PTS Taigi TV station has