The British Academy of Film and Television Arts (BAFTA) have announced their 15 finalists for the 2026 BAFTA Student Awards, which were chosen from more than 600 submissions from universities around the globe across film, games, and immersive categories.
Winners will be announced on Friday, July 17, 2026, at the 2026 BAFTA Student Awards held at the Meryl Streep Center for Performing Artists at SAG-AFTRA Foundation.
This year’s selection spans seven countries, features first-time representation from four schools—the University of Edinburgh, Beijing Film Academy, Escola Superior de Cinema i Audiovisuals de Catalunya, and Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion. The org states that women accounted for 21 of the 31 listed students.
Ahead of the Student Awards, BAFTA will fly the finalists to Los Angeles and curate Experience Week from Monday, July 13 through Thursday, July 16. The weeklong program will bring the student finalists to film and game studios, workshops with industry professionals, and networking events. The week will also feature the BAFTA Games Summit held at awards sponsor e.l.f.’s Los Angeles office on Wednesday, July 15, and livestreamed on the elfyou Twitch channel at 3 p.m. PT.
e.l.f. will provide a $15,000 grant to support an emerging female or non-binary developer in pursuing their ambitions, helping to expand access and opportunity in the gaming industry.
Courtney LaBarge Bell, executive director of BAFTA North America, said “The BAFTA Student Awards are a launchpad for the next generation of creative talent, bringing students from around the world to Los Angeles for unparalleled access to industry leaders, peers, and career-building opportunities. We’re delighted that, as headline partner, e.l.f. is both supporting female and non-binary game developers through a dedicated grant and helping expand Experience Week with the inaugural BAFTA Games Summit.”
“At e.l.f., we believe talent is everywhere, but opportunity isn’t,” said Patrick O’Keefe, Chief Integrated Marketing Officer, e.l.f. Brands. “That’s why we’re partnering with BAFTA to honor and celebrate the future of film, games and immersive storytelling. What will start as a celebration, will evolve into building a pathway through accessibility, connectivity and exposure. When we invest in the next generation, especially women in film and gaming who have been historically underrepresented, we make the entire industry better. That’s the work, and we’re all in.”
The Special Jury for this year’s competition features a group of artists and innovators who will select the recipient of “The Albert R. ‘Cubby’ Broccoli Special Jury Prize at the BAFTA Student Awards.” The jurors are actor and writerJoel Kim Booster, Creative Director of EON Productions Heather Callow, composer Laura Karpman, documentary filmmaker Smriti Mundhra, and actor and comedian Nico Santos.
The finalist projects are (listed alphabetically in each category by film title with director names and school):
Animation presented by Crunchyroll
Gauze Noran Fikri Alezabi, Nicholas Arujah, Xinyue Ma, Yulin Yue, Xiaonan Zhou Gobelins, France
Susurros Marie Lombard, Lisa Francillon, Alice Parmentier, Alexandra Pewinski, Emma Pluchard, Florian Reignier Supinfocom Rubika, France
The day I licked a pebble Goli Atefi, Chloé Bernuchon, Flavie Eliézer, Nathan Jauze, Maud Kolasa, Marie Pijollet École MoPA, France
Documentary
66 Days Joude Bazzoun University of Edinburgh, United Kingdom
Strangers on Our Land Zane Karram, Kelsey Oliver University of California, Berkeley, United States
Talk Straight, Duda Eduardo Maia University of Southern California, United States
Live Action
Children of yesterday Clara Diet Cordy Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion, Belgium
Rage Fran Moreno Blanco, Santi Pujol Amat Escola Superior de Cinema i Audiovisuals de Catalunya, Spain
Whispers of the Waves Patricia Xu Beijing Film Academy, China
Games
Candellum Eva Martinello, Mattéo Gomez Isart Digital, France
Kiloton Jack Morehart New York University, United States
The Wind and the Wisp Sammy Chuang University of Southern California, United States
Immersive
Lichtung Aria Wolf Filmakademie Baden-Württemberg, Germany
Room Leyi Zhou University of the Arts London, United Kingdom
Sonderambla Tomis Fras University of the Arts London, United Kingdom
Legendary music executive Clive Davis died from age-related illness at 94 on Monday (June 22). Davis was a hit-making titan and known for shaping the careers of superstars such as Bruce Springsteen, Alicia Keys, Whitney Houston, Barry Manilow and Maroon 5.
Davis served as the president of Columbia Records from 1967 to 1973 and then founded Arista Records, which saw him sign Aretha Franklin, Patti Smith and Dionne Warwick. He later founded J Records in 2000 where Alicia Keys and Maroon 5 called home.
Throughout his six decades of brilliance in the music industry, Davis served as a mentor to acts such as Janis Joplin, Carlos Santana, Aerosmith, Barbra Streisand, Aretha Franklin, Usher, Rod Stewart, Jennifer Hudson and Luther Vandross.
Clive Davis’ pre-Grammy party has also been a star-studded staple of the awards weekend throughout the years.
“To the world, our father was the iconic music legend whose vision, instincts, and relentless pursuit of excellence shaped the soundtrack of countless lives,” Davis’ family said in a statement on social media announcing his death. “He discovered, mentored, and championed the greatest artists in modern music history, leaving an indelible mark on culture that will endure for generations.
“To his family, Clive was Dad and Granddaddy, the steady presence at the center of our lives, the source of wisdom, strength, encouragement, and unconditional love. No matter how extraordinary his professional accomplishments, he never lost sight of what mattered most: the people he loved.
“Through every chapter of his remarkable life, family remained Clive’s greatest pride and deepest joy. Today, we celebrate not only a towering figure whose influence changed music forever, but the man who led our family with grace, generosity, and kindness. We will miss him greatly, cherish him always, and carry his love with us for the rest of our lives.”
There’s been an outpouring of support since the news of Davis’ passing was announced by his family early Monday.
Among those to pay tribute to Davis was Springsteen. “Over here on E Street, we mourn the death of the great record man and close friend, Clive Davis. At 22 years old, he changed my life when he signed me to Columbia Records,” Springsteen wrote on his website and Instagram. “He treated me with the same respect and kindness as a 22-year-old nobody as he did after all my success. A great man. All our prayers and love.”
Keys, who just performed at the Knicks ticker-tape parade on Thursday (June 18), remembered Davis with a photo collage of the two of them together shared via her Instagram Stories. She added a simple dove and purple heart emoji to the snap.
Singer-songwriter Ray Parker Jr., who crafted the Ghostbusters theme song, issued a statement to Billboard regarding his friendship with Davis. “I considered Clive a personal friend even outside of music as he spent hours teach me how to live life,” the Grammy-winning artist said. “He also, while sick these last few weeks, wrote me the nicest, heartfelt letter for my birthday on May 1. I love you, Clive, always! You blessed us all!”
In a statement shared with Billboard, Carlos Santana remembered the man he considers a “visionary” of the music industry. “He could hear the intangible before anyone else could see it. He believed in Santana from the beginning, and years later he believed in us again. That kind of faith is a beautiful blessing, and I will always be grateful,” he said in part, also noting how the mogul encouraged musicians to trust in their voices. “Clive understood that music is more than entertainment. Music is a healing force. It brings people together beyond fear, beyond separation, beyond borders. He dedicated his life to championing artists and helping them share their gifts with the world. … I thank Clive for his friendship, his trust, and his belief in Santana. We celebrate his extraordinary journey and the legacy of joy, inspiration, and possibility that he leaves behind.”
Def Jam cofounder Russell Simmons paid homage to Davis on Instagram. “Farewell old friend you inspired many,” Simmons captioned his post with a heart emoji.
Jermaine Dupri and Diplo added their condolences to the post announcing Davis’ passing on Instagram. “Rip Boss,” Diplo wrote, while Dupri commented a series of praying hands emojis.
Singer-songwriter Patti Smith offered a heartfelt Instagram post eulogizing Davis and showed how grateful she was for the mogul being an early believer in her talents. “This is thanking Clive Davis for transforming music, and on a very personal note, for believing in me, shepherding my efforts and a half century of your love and support,” Smith wrote.
Grammy-winning singer and pianist Harry Connick Jr. added a tribute on IG. “So saddened to hear about the death of clive davis… he was a giant in the music industry – and such a nice man… rest in peace, @clivejdavis,” he wrote.
Davis is survived by his four children — sons Fred, Doug and Mitchell, and daughter Lauren — as well as his eight grandchildren (Austin, Charlie, Matthew, Hayley, Harper, Sloane, Billie and Cody), two great-grandchildren, cousin Jo Schuman and partner Greg Schriefer.
Patricia “Ms. Pat” Williams-Lee has signed an expanded exclusive overall deal with BET Studios.
Under the multi-year deal, an extension of her pact with the network in 2022, the comedian will develop, produce, write and perform in original programming across BET’s platforms and within the wider Paramount umbrella. Ms. Pat will also have the ability to sell content to third-party studios.
The agreement encompasses Ms. Pat’s existing slate, which includes her scripted comedy “The Ms. Pat Show,” recently renewed for a sixth season.
BET announced the news while also revealing the June 30 premiere date of Season 3B of “Ms. Pat Settles It,” the comic’s courtroom series. Celebrity jurors for the next 10 episodes include Carmen Barton, Deray Davis, Karlous Miller, Nene Leakes, Jasmin Brown, Safaree Samuels and Navv Greene.
“Ms. Pat is one of the most distinctive voices working in television today, and expanding our partnership reflects both the strength of what she’s already created and our confidence in what’s ahead. We’re proud to give her a broader platform across BET and beyond,” said Aisha Summers-Burke, EVP and head of creative at BET Studios.
“At BET, we take pride in championing the voices that move our culture forward. Ms. Pat is one of those voices; bold, authentic, and deeply rooted in the lived experiences of our community. We’re proud to give her an even greater platform to tell the stories that connect us all,” said Louis Carr, president of BET.
“BET took a chance on my story when it was messy, loud, and unapologetically mine,” said Ms. Pat. “This deal means I get to keep telling the truth, keep building, and keep making room for folks who’ve never seen themselves on screen. I’m just getting started!”
Calgary police continue to investigate two fatal crashes on Calgary roads over the weekend.
On Saturday, around 1:35 p.m., police say officers were called to a collision involving a vehicle, a cyclist and multiple other parties along Centre Street North, between 19 Avenue and 21 Avenue.
Police say this crash along Centre Street North, between 19 and 21 Avenue, may have happened when the driver of one of the vehicles suffered a medical emergency.
Global News
Investigators said a black 2019 Ford Escape that was being driven by a man in his 70s, with a female passenger in her 60s, was travelling northbound in the east curb lane.
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It’s believed the driver suffered a medical event, causing the vehicle to mount the curb and strike a cyclist, a man in his 60s, who was travelling in the same lane.
Investigators believe the vehicle then struck a bus stop sign on the sidewalk and continued northbound, dragging the cyclist, before crashing into a Toyota Highlander that was parked near the intersection of 21 Avenue and a Chevrolet Silverado that was stopped at the intersection.
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The vehicle then mounted the curb again before entering a crosswalk and striking a pedestrian, a man in his 60s, and hitting a stop sign and another pole before coming to rest.
Calgary police said a cyclist, identified as a man in his 60s, was killed when he was struck and dragged by a vehicle along Centre Street North.
Global News
The cyclist was pronounced dead at the scene and the driver of the Ford Escape was taken to hospital with critical injuries.
The pedestrian suffered minor injuries.
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Police said there is no evidence that alcohol, drugs or speed were factors in the collision, but police are investigating whether the driver suffering a medical event was a factor.
A second deadly crash happened shortly after 6 a.m. on Sunday when officers were called to a collision involving a motorcycle in the southwest Calgary community of West Springs.
Investigators believe the motorcycle, being driven by a man in his 20s, was travelling northbound in the 100 block of Wentworth Square, approaching the intersection with West Coach Road, when it continued through the intersection and struck a residence.
Police said there were no witnesses, so the exact time of the crash remains under investigation.
The driver of the motorcycle was declared dead at the scene.
Calgary police said there were no witnesses to the fatal motorcycle crash that happened near the intersection of Wentworth Square and West Coach Road shortly after 6 a.m. on Sunday.
Global News
So far, there is no evidence to suggest another vehicle was involved or that speed, alcohol or drugs were factors in the collision.
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Anyone with information about either of the fatal crashes is asked to contact police by calling 403-266-1234.
Tips can also be submitted anonymously to Crime Stoppers online, by calling 1-800-222-8477 (TIPS) or by downloading the Crime Stoppers app (P3 Tips) from the app store.
Being someone that regularly reviews online casino offers for the Irish market, I opted to perform a methodical comparison of First Pokobet Deposit Welcome Casino’s promotional structure against a selection of its key competitors. The goal was to go past flashy banner claims and examine the real value, terms, and long-term viability of these bonuses for a typical player. I reviewed welcome packages, ongoing promotions, wagering requirements, game contributions, and the often-overlooked fine print. What I discovered throughout this process was genuinely insightful, highlighting not just the advertised percentages but the practical experience of claiming and playing through a bonus. This analysis is based on a direct review of terms and conditions, simulating the player journey, and comparing these findings with several other casinos vying for attention in Ireland. The results provide a clear, objective picture of where Pokobet stands in a crowded and competitive field.
The Method I Used for a Balanced Bonus Comparison
To ensure this comparison was meticulous and equitable, I established a defined framework before reviewing a single offer. I chose three other casinos that are prominent in the Irish market, focusing on operators with similar international reach and game libraries to Pokobet. The essence of my analysis revolved around several key metrics: the total advertised bonus value, the structure (e.g., match percentage, free spins), the associated wagering requirements (expressed as a multiplier), and the critical game weighting. For instance, a frequent pitfall is that slots often make up 100% to wagering, while table games like blackjack or roulette might account for only 10% or even 5%. I also scrutinized maximum bet limits during bonus play, time limits for completion, and any geographical or payment method restrictions. My approach was to replicate a deposit of €100 at each casino, apply the welcome bonus, and determine the actual playthrough burden and potential value based on the terms. This concrete, numbers-first method eliminates marketing gloss and uncovers the substantive offer underneath.
Analyzing the Pokobet Welcome Package
Pokobet’s welcome deal is a substantial multi-deposit plan aimed to offer value over a player’s initial activity. Usually, it includes a matched percentage bonus on the first deposit, plus additional bonuses on the second and sometimes third deposits, often bundled with allocations of free spins. For my €100 first deposit simulation, the match percentage produced a starting bonus balance that was competitive on paper. However, the initial detail that attracted my analytical eye was the wagering requirement linked to the bonus funds. It is crucial to note that bonus funds and deposit funds are normally kept in separate wallets, with wagering requirements affecting the bonus amount before it can be withdrawn as cash. Pokobet’s requirements, while not the lowest in the market, were within a reasonable range versus industry averages. The more significant factor was the game contribution rates, which were clearly stated and, for slots, were favorable at 100%.
How Competitors’ Welcome Bonuses Measure Up
When I applied the same €100 deposit model to the chosen competitors, a range of structures emerged. One competitor presented a exceptionally high match percentage, creating a huge bonus balance, but combined it with an similarly towering wagering multiplier that established a enormous playthrough obligation. Another extended a lower match but incorporated a larger number of free spins with more advantageous terms on them. A third competitor had a more straightforward, one-time match bonus with a reasonable wagering requirement but set a very low maximum bet limit (like €5) during bonus play, which greatly limits strategic flexibility and lengthens the wagering process. This comparative exercise highlighted that the headline bonus amount is almost pointless without the context of its conditions. Pokobet’s package, in this side-by-side view, looked designed for balance—delivering a strong boost without forming an impossibly high wagering mountain, provided the player utilizes the full multi-deposit sequence.
The Critical Importance of Playthrough Requirements
Wagering requirements, often called playthrough requirements, are the foundation of any bonus evaluation. They dictate how many times you must bet the bonus amount (or sometimes the bonus plus deposit amount) before you can withdraw resulting winnings. A 30x bonus requirement on a €100 bonus means you must place €3,000 in total bets. During my comparison, I found requirements spanning from a seemingly low 20x to an excessive 50x or more across the market. Pokobet’s requirements sit in the mid-range, which is a standard and arguably sustainable model. The more profound discovery was how game weighting works with these multipliers. If a casino applies a 30x requirement but only counts 10% of each roulette bet, the effective requirement for a roulette player becomes 300x. Pokobet’s clear 100% weighting for slots makes the stated requirement straightforward for the primary audience, whereas some competitors had more punitive weightings for table games, making their bonuses far less valuable for non-slot players.
Beyond the Welcome: VIP and Regular Promotions
A casino’s dedication to player value is genuinely tested after the welcome bonus is used. Here, my analysis into Pokobet and its competitors showed notable divergence. Pokobet employs a multi-tiered loyalty program where steady play earns points that can be exchanged into bonus funds or other rewards. This provides a steady, albeit gradual, benefit for regular players. Additionally, they run weekly and monthly promotions, such as reload bonuses, cashback offers on net losses, and free spin challenges. Measuring this to competitors, one had a very thin calendar of ongoing promotions, focusing almost entirely on acquisition. Another featured a vibrant schedule but included high wagering requirements to its weekly reloads. Pokobet’s system of regular offers, especially the cashback schemes which often have lower wagering demands, indicates an understanding of player retention and provides a more predictable stream of value for the long-term user, which is a key advantage.
Free Spin Offers: The Catch in the Fine Print
Free spins are a popular draw, but their fine print are where casinos commonly bury limiting terms. In my comparison, I looked at the origin of free spins (welcome package, daily deals, etc.), their value per spin, the qualifying games, and, most significantly, the playthrough conditions on gains from these offers. Pokobet typically issues free spins with a fixed amount, often on designated top games. The main discovery was that the gains from these bonuses are commonly deposited as bonus funds with a wagering requirement. I came across competitors who featured “no wagering” free spins, but these were very scarce and often capped at a minimal cashout limit from the winnings. More frequently, some competitors presented free spins but required a deposit to activate them that was greater than the perceived value. Pokobet’s incorporation of free spins into its sign-up offer and weekly deals is standard but relatively straightforward, with the related playthrough conditions being openly explained, sidestepping the “too good to be true” pitfalls seen at other sites.
Deposit Method Limitations and Bonus Eligibility
A frequently overlooked but essential element of bonus terms is the connection to payment methods. During my audit, I found that specific payment options can be ineligible for bonus eligibility completely at some casinos, or they may offer a lower contribution to wagering requirements. For example, some e-wallets or specific card types might not meet the criteria for a welcome bonus—a policy intended for managing processing costs. In my review of Pokobet’s terms, I found a common set of eligible payment methods for bonuses, encompassing most major options available in Ireland. Contrastingly, one competitor had a notably short list of qualifying methods, pushing players toward more expensive options for the casino. Another had no such restrictions. This factor can immediately invalidate a bonus for a player who favors a specific payment processor. Pokobet’s approach here is inclusive, guaranteeing most depositing players can access the promotions, which streamlines the player experience and reduces potential frustration at the cashier stage.
Player Experience: Claiming and Following Bonuses
The real-world process of redeeming, enabling, and monitoring bonus development is a essential part of the deal. A complicated system can undermine even the most generous offer. I evaluated the user journey at Pokobet and its competitors. At Pokobet, the bonus claim process was user-friendly, often involving a tick box during deposit or using a promo code. Their interface featured a special section of the user account to monitor active bonuses, left wagering, and progress—a feature that delivered much-needed transparency. One competitor required players to contact customer support to personally add a bonus, adding unnecessary friction. Another had a tracking system that was buried in menus and refreshed with a delay. The convenience with which a player can understand their obligations strongly impacts responsible gaming and satisfaction. Pokobet’s transparent in-account tracking and direct activation mechanisms rated highly in this operational comparison, cutting down confusion and letting players to center on the game rather than bonus administration.
Conclusion: Benefit, Openness, and Extended Gaming
After this comprehensive comparison, the eye-opening result is that Pokobet Casino does not always offer the greatest headline bonus figures, but it offers a unified and transparent bonus ecosystem that performs well under scrutiny. Its welcome package is balanced, its wagering requirements are typical and explicitly applied, and its game weightings are reasonable for the target audience. The true strength lies in the mix of a structured welcome offer with a meaningful loyalty program and consistent regular promotions like cashback, which offer sustainable value. Competitors often stood out in one area—be it a substantial initial match or showy no-wagering spins—but faltered in others with hidden restrictions or poor long-term value. For the Irish player wanting a platform where bonus terms are understandable, the ongoing value persists beyond the first deposit, and the user experience is smooth, Pokobet offers a convincing and objectively competitive option in the market.
If you want the most capable 16-inch laptop available right now without compromise, the Acer Predator Helios 16 AI (PH16-73) is $3000 (was $3500) at B&H Photo. This is an absolute beast of a machine for video editing, 3D workflows, gaming, and just about any demanding workload you can throw at it. And it’s the cheapest RTX 5090 laptop I’ve come across.
The RTX 5090 laptop GPU is the headline here, and it earns it. Based on Nvidia’s Blackwell architecture with 10,496 CUDA cores and 24GB of GDDR7 memory, it’s the most powerful consumer laptop GPU ever made.
The Intel Core Ultra 9 275HX is an Arrow Lake chip with 24 cores — 8 performance cores running up to 5.4GHz and 16 efficiency cores — and it’s a serious processor by any measure. Overall, the Acer Predator Helios 16 AI is as close as laptops get to a no-compromise flagship right now.
Today’s top RTX 5090 laptop deal
The 240Hz OLED display at 2560×1600 with 100% DCI-P3 coverage is outstanding for both visual work and high-refresh gaming. The combination of OLED’s infinite contrast and perfect blacks with a 240Hz panel and G-SYNC adaptive sync gives you a display that serves creative professionals well.
The connectivity package is where the Helios 16 AI pulls significantly ahead of most competitors. Thunderbolt 5 at 120Gbps is a generational leap over Thunderbolt 4 — it can drive an 8K display, transfer a 4TB SSD backup in under 10 minutes, or connect multiple high-bandwidth peripherals simultaneously. The 5GbE wired Ethernet port is fast enough to eliminate network bottlenecks entirely for anyone on a 2.5G or 5G home or office network. Wi-Fi 7 handles wireless connectivity with the same class-leading bandwidth.
Acer’s 6th Gen AeroBlade 3D fans and liquid metal thermal compound keep the system stable under sustained load.
Now, when I call this a beast, I mean it. It weighs around 2.6kg and the 330W power brick is substantial. This is a desktop replacement that travels, not an ultra-portable laptop. If you can live with those realities — and many professionals absolutely can — the Helios 16 AI delivers desktop-grade performance in a form factor that fits in a backpack.
Dan Trachtenberg, director of the recent “Predator” revival series, is set to direct the animated horror comedy “Freddy the 13th,” which is based on a graphic novel by co-director Yehudi Mercado.
“Freddy the 13th,” follows Freddy VanWinkle, the clumsy black sheep of a family of overachievers who loves blogging about Halloween and slasher films. But his life is turned upside down when, while on a family vacation, he accidentally kills the Boogeyman and is cursed to take on his powers.
Trachtenberg will direct the PG-rated project alongside Mercado and produce alongside Ben Rosenblatt.
“I’ve spent most of my career making movies that parents probably shouldn’t show their kids,” Trachtenberg said in an Instagram post announcing the project. “Happy to announce, along with Super Mercado Comics and Paramount, I’m finally making one…they…can…?”
Trachtenberg, who made his directorial debut with “10 Cloverfield Lane” and has directed episodes of “The Boys” and “Black Mirror,” is best known for his trilogy of “Predator” films starting with the Hulu film “Prey” in 2022 and continuing with the R-rated animated Hulu film “Predator: Killer of Killers” and the 20th Century Studios theatrical feature “Predator: Badlands” in 2025.
“Freddy the 13th” is the latest in a series of new animated projects announced by Paramount Animation under new chief Jennifer Dodge, which includes an animal-filled spin on the CBS reality series “Survivor” and the Robert Rodriguez film “The Naughty List.” The studio’s next film, “Paw Patrol: The Dino Movie,” will release on August 14.
Valutiamo AmonBet, una piattaforma che ha ottenuto un posto di rilievo tra i appassionati online italiani https://amonbets.eu/it-it/. La sua promessa è chiara: proporre intrattenimento puro, senza fronzoli. Questo articolo guarda a ciò che interessa davvero a chi scommette in Italia: la gamma dei giochi, la affidabilità delle licenze, la facilità dei pagamenti in euro e la efficacia del supporto. AmonBet si esprime italiano e adatta la sua offerta sul nostro paese, dalle slot ai tavoli con croupier dal vivo. La nostra revisione pratica esamina se il casino mantiene le promesse di trasparenza e svago, segnalando pregi e difetti in modo diretto, per offrirti gli elementi indispensabili a una scelta consapevole.
Licenze e Sicurezza: Le Basi della Affidabilità
Prima di discutere di intrattenimento, è necessario controllare le fondamenta legali e la protezione di AmonBet Casino. L’operatore è regolamentato dalla Malta Gaming Authority (MGA), tra le autorità di regolamentazione più stringenti a livello globale nel mondo del gioco online. Questa licenza costituisce una certezza tangibile. Significa che il casino rispetta protocolli severi sul gioco responsabile, sull’equità dei giochi e sulla salvaguardia dei capitali dei giocatori. Per essere attivo in Italia, AmonBet deve altresì rispettare le regole dell’Agenzia delle Dogane e dei Monopoli (ADM), garantendo la piena conformità alla legge italiana. Sul versante tecnico, il sito adotta la codifica SSL a 256 bit, lo standard del comparto, che tutela ogni passaggio di dati personali e bancari. La disponibilità di una licenza internazionale affidabile, combinata al osservanza della normativa locale, ci fa considerare AmonBet un spazio autorizzato e affidabile per chi desidera svago.
La Libreria dei Giochi: Un Universo di Svago
Il fiore all’occhiello di AmonBet è il suo assortimento di giochi, che conta diverse migliaia di titoli. L’offerta è curata per includere sia i titoli più recenti sia i titoli intramontabili che non passano mai di moda. I maggiori fornitori del settore compongono il catalogo: NetEnt, Pragmatic Play, Evolution, Play’n GO e Yggdrasil. La loro partecipazione assicura grafica curata, meccaniche di gioco interessanti e un ritorno al giocatore (RTP) generalmente chiaro e competitivo. Muoversi tra i giochi è semplice grazie a un sistema di filtri intuitivo che permette di filtrare per provider, gradimento o peculiarità. Oltre ai videopoker, c’è una sezione dedicata ai giochi da tavolo con diverse varianti di roulette, blackjack e baccarat, più una sezione videopoker completa. Il fiore all’occhiello, però, resta il casinò dal vivo. Qui, dealer in diretta ricreano la sensazione di un casinò fisico, conducendo tavoli di roulette, blackjack, poker e giochi spettacolo come Monopoly Live e Dream Catcher direttamente dagli studi.
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Bonus e Bonus per i Giocatori Italiani
AmonBet presenta un pacchetto di benvenuto che ricompensa i primi depositi. È un’proposta comune nel settore, ma qui i termini e condizioni ci sono sembrati generalmente chiari e accessibili. Di solito, il bonus si articola sui primi tre o quattro versamenti e include una percentuale di corrispondenza sull’importo depositato più giri gratuiti su slot selezionate. Come sempre, la lettura attenta dei requisiti di puntata (wagering requirements) è fondamentale. Questi determinano quante volte l’importo del bonus deve essere rigiocato prima di poter prelevare le eventuali vincite. Oltre al benvenuto, l’operatore mantiene vivo l’interesse con un programma a livelli per i clienti fedeli, tornei settimanali con montepremi in denaro contante e promozioni a tema legate all’uscita di nuovi giochi o a eventi sportivi. Vale la pena ricordare che le promozioni cambiano nel tempo. La sezione dedicata sul sito viene aggiornata con frequenza, quindi consultarla spesso è il modo migliore per cogliere le opportunità più interessanti.
Modalità di Pagamento: Operazioni Finanziarie Senza Sorprese
Per il pubblico italiano, AmonBet offre una serie di strumenti di pagamento che rispecchiano le preferenze locali, puntando su velocità e sicurezza. Tutte le transazioni si effettuano in euro, quindi non ci sono spese di conversione. I ricariche sono istantanei. Si sono disponibili carte di credito e debito Visa e Mastercard, e-wallet come Skrill, Neteller e MuchBetter, oppure bonifico bancario. Per i prelievi, i tempistiche differiscono a seconda dello metodo selezionato: gli e-wallet sono spesso i più veloci, con accredito entro 24 ore. Per le carte e i bonifici sono necessari da 1 a 3 giorni lavorativi. L’operatore fissa massimali minimi e massimi, tutti specificati in modo trasparente nella area preposta alle transazioni. Un aspetto positivo è l’inesistenza di commissioni di prelievo da parte di AmonBet. Attenzione, però: l’istituto finanziario scelto dal giocatore potrebbe addebitare le proprie commissioni.
Validazione del Profilo: Completa la procedura di verifica (documento d’identità e prova di residenza) per attivare i prelievi. È un requisito necessario e di protezione.
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Supporto Clienti e Assistenza in Italiano
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FAQ
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I periodi per i prelievi variano dal metodo scelto. Gli e-wallet come Skrill e Neteller sono spesso elaborati entro 24 ore. Per carte di credito/debito e bonifici bancari possono essere necessari da 1 a 3 giorni lavorativi. La verifica del conto (KYC) è necessaria per il primo prelievo.
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Cosa devo fare se ho un problema di funzionamento o una domanda?
Il supporto clienti in italiano è attivo 24 ore su 24 via chat live per un’assistenza istantanea. Potete anche scriver loro via email all’indirizzo [email protected] o tramite telefono negli orari indicati sul sito. Raccomandiamo inoltre di leggere la sezione FAQ per trovare soluzioni rapide ai problemi più diffusi.
Indie streamer Dropout has set 30 comedians to compete on the upcoming second season of its latest “Game Changer” spinoff, “Crowd Control.”
Hosted by Jacquis Neal with announcer Chioke I’Anson, each episode of “Crowd Control” features a trio of comedians as they compete against one another in a battle of the best crowdwork with no prewritten material allowed. Instead, the comedians have to develop their impromptu sets based on prompts given to them and audience interactions. Then, that same “Crowd Control” audience gets to pick the winner.
Comedians joining Dropout’s “Crowd Control” for its 10-episode Season 2 include Taylor Tomlinson, Tony Baker, Jeff Arcuri, Bob the Drag Queen, Drew Lynch, Gianmarco Soresi, Nicole Byer, Ron Funches, Aaron Branch, Sasheer Zamata, Amber Ruffin, Cameron Esposito, Emily Catalano, Reggie Watts, Kristin Key, Dulcé Sloan, Joel Kim Booster, Maria Bamford, Bobby Moynihan, Guy Branum, Roz Hernandez, Jordan Myrick, Demi Adejuyigbe, Dylan Adler, Grant O’Brien, Jackie Kashian, Debra DiGiovanni, Sabrina Jalees, Raphael Chestang and Joyelle Nicole Johnson.
The premiere date for “Crowd Control” Season 2 has not yet been set, but Dropout confirmed to Variety it will debut “later this summer.”
The second-season casting announcement for “Crowd Control” comes amid Dropout’s release of “Game Changer” Season 8, which began airing May 18. “Crowd Control” is Dropout’s fourth spinoff series based on a “Game Changer” episode, alongside “Make Some Noise,” “Dirty Laundry” and “Play It By Ear.”
The six-episode first season of “Crowd Control” launched in September 2025.
There are books you read, and there are books that read you back. This is how Jet Li’s memoir Beyond Life and Death: The Way of True Freedom landed for me.
I don’t need a celebrity to tell me what to do. I’m Buddhist. I live with spirituality. I already know about pain, about letting go about finding something deeper than the chase. But Li’s words resonated anyway.
What strikes me most is his grandmother. Before he was born, she told his mother this child would bring fortune to the family. And he did. Born into extreme poverty in Beijing with four siblings raised by a single mother after his father died when he was two, he fought his way to become the youngest national martial arts champion in Chinese history at twelve years old. He dominated opponents twice his size. Poverty drove him forward.
That hunger carried him from Beijing to the global stage.
At nineteen, Shaolin Temple was released and made him famous across Asia. Hong Kong followed with Once Upon a Time in China, Hero, Fearless. Hollywood came later with Romeo Must Die, The One, Unleashed and Lethal Weapon 4.
Li became one of the first internationally renowned movie stars from China. A monthly salary of just 100 dollars once brought him pure joy. Eventually, he came to see that material possessions and the need for external validation were only temporary.
The Tsunami
At the height of his Hollywood career, everything changed. In 2004, he was 41, vacationing in the Maldives with his wife Nina and their two young daughters when the tsunami hit without warning. He thought the unusually large waves were rough surf until seawater rapidly engulfed the beach resort. He scooped up his older daughter and asked the babysitter to carry the younger one as the surge climbed past his knees, then his hips, then his neck. He hoisted his daughter onto his shoulders just as another wave crashed over them, sweeping the babysitter and his one-year-old more than twenty feet away.
He was choking on seawater, screaming for help, realising the distance between life and death was only inches. The water came up to just below his nose. They were inches from death. When the waters receded, he discovered his forearms shredded by debris. He found himself stranded for hours in a flooded hotel lobby alongside roughly 200 guests, frantic over his still-missing wife. The family was eventually reunited.
Have you ever lost something and found yourself instead?
After that near-death encounter, he turned inward, deepening his study of Tibetan Buddhism and dedicating his life to philanthropy, though he was at the height of his Hollywood career. Great masters showed him a path toward being free beyond the free, a state he continues to learn and practice daily.
Pain and Philosophy
He writes about pain that doesn’t go away, decades of it. His spine deteriorated. His muscles atrophied. He battled hyperthyroidism for a decade, making every movement difficult. He couldn’t move without discomfort for years. But here’s what he learned: separate bitterness from pain. Pain happens and it’s real. Bitterness is when you add anger, when you resist, when you say this shouldn’t be happening. That’s where suffering lives, it’s a distinction that matters.
I had a morning last month when my body felt tired. Sitting with my tea, I knew it wasn’t the exhaustion that bothered me. Frustration weighed heavy. I set it down — suddenly the day was clear. That’s what he means. Have you noticed this too?
The Fighter’s True Strength
His definition of true self-defense surprised me. Not hardness, not the fastest strike—but awareness, interconnection, softness. I watched his films with their lightning speed and fierce fighting, but the greatest fighter he became wasn’t the one who struck hardest. It was the one who stayed calm under pressure and understood that we’re all connected.
Be a grandson to the world, he says. Not an owner, not someone who demands. He walked through airports where people treated him like someone important, feeling overwhelmed, until he saw he’d been acting as if the world owed him. He learned to receive life like a child does, with open hands, humility, gratitude.
His daughters have helped him write this beautiful book. They are his foundation. Learning from everyone comes up again and again, not just teachers or experts. Dissolve ego and see yourself in others.
Lessons from Near-Death Experiences
Who taught you something unexpected this week, not in a class or a book but in a conversation or a moment? Pay attention.
Three near-death experiences shaped him: the tsunami in the Maldives, a heart episode, plus another medical crisis. Each changed how he sees life. His body failed, he faced pain, faith carried him back. He’s not perfect, but he’s real. And that honesty anchors the book.
Life is movement. The secret to self-defense. Separate bitterness from pain. Be a grandson to the world. Learn from everyone. Anyone can find wisdom, guidance, power in these insights.
What are you chasing right now, and what would happen if you stopped?
If you’re wondering whether more will ever feel like enough, whether there’s something deeper than the doing, this book speaks to you.
Hulk is back and appears to be better than ever in Spider-Man: Brand New Day, which is a bad omen for a character who’s close to him. The latest trailer for the highly anticipated solo film unleashes the Jade Giant that fans have been waiting to see smash things since the opening moments of Avengers: Infinity War. Of course, a mysterious villain appears to be behind his upcoming rampage, complicating matters. However, it’s just nice to see him back in action.
Without his killer instinct, Hulk’s last couple of MCU appearances have been lackluster, to say the least. Bruce Banner appeared in his human form in Shang-Chi and the Legend of the Ten Rings, offering the titular character sage advice about the weapons he had acquired from his father. After that, he was in his cousin’s corner as Smart Hulk when she became a hero in her own right in She-Hulk: Attorney at Law.
But playing second fiddle on a Disney+ show didn’t mean his story ended up on the back burner. In fact, in the show’s final moments, Smart Hulk showed up at the Walters family barbecue with a special guest, his son, Skaar. Bruce didn’t know the young man existed until a ship from Sakarr paid him a visit, already putting him behind the 8-ball in the father department.
Marvel Studios
In addition to having an absentee father, Skaar also had to deal with the negative reaction to his introduction. Many fans thought he was tacked on at the end of She-Hulk to make the show feel more connected to the larger MCU than it actually was. In reality, his debut felt completely out of place. And it’s possible that the powers that be at Marvel Studios reached the same conclusion because Skaar has yet to appear again.
An argument could be made that there hasn’t been a safe landing spot for him after She-Hulk. After all, Hulk is only just making his return after four years away. However, it’s actually Hulk’s newest gig that casts a dark shadow over Skaar’s place in the MCU.
Bruce is back in his human form, teaching classes at a university and seemingly not doing the hero gig anymore. That has to be a tough pill to swallow for Skaar, who doesn’t have a different form to revert to when things get hard. He has to settle down on Earth with the cards he’s been dealt and hope for the best.
If Skaar is on his own, though, he’s far from the first MCU hero to deal with daddy issues. And if he needs an outlet for his rage, there’s one place he could go that his comic book counterpart has visited.
Skarr Doesn’t Need Hulk To Have A Future In The MCU
Marvel Comics
If Marvel Studios would rather not bog down Hulk’s story by giving him a kid to watch over, it can make Skaar his own man, with his own motivations. At one point in the comics, the hero fell in with a bad crowd, joining Norman Osborn’s Dark Avengers team. Skaar went along with Osborn’s transgressions until the team was tasked with kidnapping Captain America.
Charles is clearly up to no good, and Skaar would be an asset too enticing for him to turn down. All it would take is a few scenes to give Skaar a new purpose in the MCU, one that’s far more exciting than hanging around in the background while his dad has all the fun.
DC Studios’ Supergirl movie is righting many wrongs from The CW’s take on Kara Zor-El/Danvers. Supergirlstarted life on CBS, completely separate from the Arrowverse, until enjoying its first crossover with The Flash in Season 1’s back half. While Melissa Benoist’s Kara Danvers remained in her own corner of the Multiverse, she joined the Arrowverse on The CW for Season 2. The Kryptonian saga ended in 2021 after six seasons, introducing Tyler Hoechlin’s Superman and merging with the rest of the Arrowverse. Five years later, the Girl of Steel is finally getting a new solo project for James Gunn’s DCU, starring House of the Dragon actress Milly Alcock as a distinct Kara Zor-El.
Much like every TV show in The CW’s Arrowverse, including The Flash, Arrow, and Legends of Tomorrow, Supergirl had its highs and lows and received plenty of criticism across its six-season tenure, namely due to comic-accuracy. Notably, Melissa Benoist’s portrayal of Kara Zor-El was largely a female version of her more famous cousin, Superman, devoid of her unique characteristics.
The CW
Kara is meant to be somewhat reactive, quick to anger, blunt, rebellious, and lonelier than her cousin. She grew up feeling like an outsider on Earth and grieving Krypton, as she was a teenager when her world was destroyed. Instead, The CW portrayed her as bubbly, filled with all the hope, empathy, morals, and positivity of her cousin, which won’t be the case in the DCU.
DC Studios Is Fixing The CW’s Supergirl in Several Key Ways
DC Studios is leaning heavily on Kara’s backstory and making it clear that she is anything but a female Superman. Throughout the summer flick’s trailers, Kara utters lines like “[he] sees the good in everyone, and I see the truth” and “that’s the thing, Clark, I have no people,” as she spends her days partying through the stars,hinting at her more jaded, less hopeful persona.
DC Studios
Teen-esque drama is a staple for The CW, and Supergirl was no exception, as the DC series cooked up a disastrous romance between Kara and Jimmy Olsen (Mehcad Brooks) that has no precedence in the comics. In general, while Supergirl has had romances through the decades, starry-eyed tales usually aren’t her forte, and the DCU doesn’t seem eager to give her any love interest for now, either.
For the most part, Supergirl’s second life as Kara Danvers isn’t anywhere near as important in her narrative as Clark Kent is to Superman. Not only does she seldom dabble in romance, but she also doesn’t have a consistent career like Clark’s as a reporter. Yet the CW show essentially thrusts Kara into the same career as her cousin, just trading the Metropolis’ Daily Planet for National City’s CatCo.
Instead of setting up shop in any city, the DCU’s Supergirl is leaning into her displaced, lonely nature by swerving Earth altogether in favor of a journey across the galaxy. Through flashbacks to Krypton’s destruction and the tragic years that followed, Supergirl is embracing Kara’s deep-seated trauma that, in many ways, defines her as a different character from Kal-El.
DC Studios
Most excitingly, DC Studios is adapting one of the Girl of Steel’s comic storylines for her solo blockbuster: Tom King’s Supergirl: Woman of Tomorrow. While the eight-issue space-western miniseries was only published in 2022, it became an instant classic for its unique addition to Supergirl lore, even picking up Hugo and Eisner Award nominations (think the Oscars, but for comics).
There’s no denying that Supergirl doesn’t have the same rogues’ gallery or catalog of stories as Superman, certainly not enough to fill a six-season show, but The CW rarely even tried to pull stories from her mythos. There were exceptions, namely in Season 3, in which Supergirl introduced the Legions of Superheroes and the Worldkillers, plucked from her New 52 comics. But most of the storytelling came from Superman history, larger DC Comics events, or went completely original.
The CW
While a hopeful Supergirl with a living, breathing human alter ego is undeniably more fitting for a CW series than her true comic nature, it means fans have continued to wait all these years to see her properly adapted for screens.
Those eager to stream all six seasons of Supergirl in the US can find them on Netflix. But it won’t be long before Milly Alcock’s all-new Girl of Steel is unleashed upon the world when Supergirlcomes to theaters on June 26.
A veteran Unreal Engine developer and evangelist has left Epic Games after 12 years, saying he has to adapt to changes in the industry.
Sjoerd De Jong started his career at the age of 15, when he started making levels for the original Unreal back in 1999. He went on to make a name for himself among the Unreal community for his numerous maps and Unreal Tournament mods, eventually leading to contract work at Epic Games.
In the 27 years since he started working on Unreal maps, De Jong has worked at a number of studios, including Guerrilla Games and Starbreeze, as well as founding his own studio Teotl Studios (The Solus Project, Unmechanical).
In 2014, De Jong then joined Epic Games as a ‘lead evangelist’, whose job was to visit studios, conferences and educational institutes to introduce Unreal Engine 4 to developers and establish it as a leading game development engine.
De Jong then became Epic’s senior director of developer experience between 2020 and 2025, before taking on a senior director of product role earlier this year for “a new and unannounced project”.
In a post on LinkedIn, however, De Jong has now announced that he left Epic Games last week, suggesting that “this era has come to a close” and that he had to “come to terms” with the fact that his way of working is being replaced.
“After 27 years of Unreal Engine, and 12 years at Epic Games and Unreal Engine I have decided to move on,” De Jong wrote. “Last week was my last week at Epic.
“This has been an awesome ride that has been truly life changing in so many ways. I didn’t have an easy childhood or youth and things weren’t going anywhere, but all of that changed entirely when I discovered Unreal Engine. Unreal Engine 1/2/3 put me on a very interesting trajectory for life, which in turn had a profound impact on myself as a person, my personal growth, and opportunities that opened up.
“And then Unreal Engine 4 and 5 did it all over again. Having gone through the whole of the Unreal Engine 4 era, and then the Unreal Engine 5 era while at Epic it gave me a tremendously wide and deep view across the industry and the world. Dozens of countries visited, hundreds of studios visited, hundreds of talks presented, tens of thousands of people met, and millions of developers supported every year.
“I have seen so much over the years, but what will stick with me the most is the community and everyone out there making cool things, and all the energy and passion that comes with doing so. That is what it is all about at the end of the day, to create, have fun doing it, and to help each other.
“But all of that being said, I feel like this era has come to a close, and it is time to move forward. The industry is in a very interesting place. The games industry has always been an industry where change is relentless and inevitable, but it feels like we are reaching a pivotal point now and a potent mix of things.
“As much as I love the old way of working, I think it would be strategic to come to terms with where this is heading, and to work out how to adapt and excel at solving the challenges and opportunities that we face. Let’s see where we end up.”
Although he didn’t explicitly state exactly what he was referring to, De Jong’s departure came in the same week Epic Games started talking about the upcoming Unreal Engine 6 and its heavy focus on integration with AI models like Claude and Gemini.
Epic recently showed how it was integrating AI into Unreal Engine to help with level design.
Last week at a State of Unreal event in Chicago, Epic showed how AI large language models (LLMs) can be used directly with Unreal Engine 6 to generate content. During a demonstration, it used a Claude prompt window to furnish a virtual apartment by asking for items, which were then pulled from the assets library.
It later showed how it could change the lighting in a city scene by asking Claude to alter the time of day, or even use a static photo as a reference. Epic stressed that developers will have final control over their creations and can manually change their results.
According to Epic, UE6 will introduce integrations with AI models such as Claude, Gemini, and others, which will act as “creativity and productivity multipliers,” enabling teams to “focus their efforts on the essential creative and technical tasks of development rather than time on time-consuming manual tasks”.
During State of Unreal, the Fortnite maker provided examples of such tasks developers may wish to use AI to speed up, including “setup of levels, character rigs, particle systems, skinning bone weights, as well as adjusting lighting”.
I’ve devoted a ridiculous number of hours testing UK casino sites, and nothing destroys the buzz like a slow, stiff payment system https://gransinoo.co.uk/. We’ve all been there—a withdrawal sits pending for days while support copy-pastes apologies. So when Gransino Casino popped up promising to fix that mess, I was sceptical. I reviewed the claims and thought, sure, another operator with a shiny press release. But after looking into how their payments actually work, I changed my mind. This isn’t marketing fluff. Gransino has truly ripped up the old playbook for how money travels between players and the house. From the first login, the transparency and speed felt alien—like something from a fintech app, not a casino where three-to-five-day waits are standard. This isn’t just adding a few e-wallets on a cashier page; it’s a ground-up overhaul of the entire cashier, built for a mobile-first generation of British punters who expect things to happen now. How that rebuild influences trust and the broader UK market is worth a closer look.
How Gransino Casino Stacks Up Against the Competition
An excellent way to appreciate the scale of this banking shake-up is to compare Gransino against the UK operators people actually use. I’ve kept accounts with a spread of brands over the years—old high-street bookies that shifted online, plus digital-native casinos started a decade ago. In almost every withdrawal head-to-head, Gransino beats them by a wide margin. A major household name still needs up to 72 hours to authorize a debit card cashout; Gransino wraps it up in a fraction of that. In one side-by-side test, I withdrew from Gransino and a competitor on the same Monday afternoon; Gransino’s money had arrived by teatime, the other still “pending” on Wednesday morning. Even brands that slap a “fast withdrawal” badge on their site often hide fine print, like a 24-hour pending period they don’t state upfront. Gransino’s honesty about what to look forward to is another edge. The payout dashboard doesn’t just present a vague “processing” status—it dynamically counts down the expected completion, refreshing in real time. For a UK audience familiar with mobile banking apps that do just that, this seems normal and obvious, yet it’s weirdly rare in the casino world. Another plus is the withdrawal limits. Plenty of UK sites limit how much you can take out per transaction or per week, irritating high rollers and casual winners alike. Gransino maintains its limits generous, catering to a broader range of play while still checking the anti-money laundering boxes. The upshot is you feel like a valued client, not a row in a spreadsheet. That psychological shift, fueled entirely by better payment handling, can reshape player loyalty across the whole industry.
The Tech Foundation That Drives the Change
Behind the smooth user experience is a payment stack that’s been developed with real care. I consulted a few industry insiders who confirmed that Gransino built its payment orchestration layer in-house, not relying on some third-party aggregator that bounces transactions through multiple middlemen. That tailor-made setup lets the platform connect directly to acquirers and banks using modern RESTful APIs, cutting down latency and failure points. This direct integration means fewer steps where something can go wrong, which is why I never hit a “transaction failed” message during my tests. The system automatically chooses the fastest payment rail for each transaction—taking into account the customer’s bank, the amount, and the time of day—a technique I’ve rarely seen pulled off so well outside the big e-commerce players. On top of that, the back-end runs machine learning models that evaluate risk in real time without adding delays you can feel. Low-risk withdrawals go through instantly; only the tiny fraction of transactions that activate a risk flag end up with a human reviewer. For the player, that means reliably rapid payouts with no security trade-off. I also found that Gransino supports a wide range of payment methods UK players actually use: debit cards, PayPal, Skrill, Neteller, and Trustly, all packed into that single, clean flow. The Trustly open-banking option is especially forward-thinking, enabling you to fund your account straight from your bank without sharing card details. Speed, choice, and safety together create a tech moat that legacy rivals will find it hard to match.
Transforming Withdrawals with Uncompromising Speed
If deposits define the experience, withdrawals are where Gransino puts its money where its mouth is. Over the years I’ve cashed out winnings out of dozens of UK casinos, and the average wait still hovers around two working days—often longer for first-time cashouts thanks to inefficient manual checks. Gransino has shattered that old benchmark. I initiated my first withdrawal expecting the usual pending limbo, but the confirmation email came through in under ten minutes. I actually burst out laughing—I’d become so habituated to days of silence. The cash hit my bank account that same evening, well inside the four-hour window I usually only encounter with the slickest fintech apps. The trick seems to be an automated anti-fraud and KYC engine that confirms your identity at registration, not when you try to cash out. So by the time I asked for my money, the system already identified who I was and had pre-approved my payment method. There wasn’t a “reverse withdrawal” button hiding to tempt me to cancel and keep playing—a feature that often hides dodgy responsible-gambling practices. By ditching that friction deliberately, Gransino matches the UK Gambling Commission’s push for player safety. I considered the approach both efficient and, frankly, ethically refreshing. It delivers a blunt message: the operator honors your time and your cash. In a market where slow-walking payouts has become the norm, a fast, no-nonsense withdrawal policy is a serious appeal for anyone who appreciates quick access to their own money. It also makes you far more likely to appreciate a win rather than watching a pending notification for days.
The Influence on the British Casino Scene
Gransino’s no-compromise payment approach will create ripples beyond its own cashier. I think we’re observing the start of a race where payout speed emerges as a key battleground for UK players. Just as challenger banks forced high-street names to modernise their apps, Gransino’s performance sets a new bar that will push older operators to rework their back ends. Wider adoption of open banking in gaming now appears inevitable, and the early movers will grab the growing crowd of players who see instant, fee-free transfers as a basic expectation. Once you’ve tasted same-day payouts, going back to a five-day wait seems like dial-up internet. The UK Gambling Commission’s ongoing consumer protection review aligns with this shift too—faster withdrawals narrow the window for impulsive cancellations and bolster the idea that winnings belong to you the second you ask for them. For players, this is sheer good news. A casino can’t just lean on flashy games and a fat welcome bonus if the payment experience appears stuck in the past. As more players exchange stories on forums and review sites, cashout speed will matter as payout percentages or customer support. Gransino identified this early and took the high ground. I doubt the conversation about what counts as a decent banking experience in UK casinos will ever be quite the same.
Safety and Compliance Without the Fuss
When an operator promises faster payments, UK players often fret that speed will mean sloppier security. I dug into this and found that Gransino’s compliance framework actually gets stronger with faster payments, not weaker. The platform holds a UK Gambling Commission licence and follows the strictest data protection standards, including GDPR and PCI DSS Level 1 for card data. What impressed me most is how the know-your-customer process has been tightened up. Instead of the usual back-and-forth email chain with support, my account was verified in the background before I even noticed. Traditional casinos often demand several rounds of document uploads, and those reviews can stall payouts for days. Gransino uses electronic identity verification that cross-checks data from credit agencies and public records, confirming your age, address, and identity almost instantly for most players. This all happens during your first deposit, so the system builds a complete risk profile right away. All player funds sit in segregated accounts—a regulatory must that protects your balance even if the operator somehow went under. The platform also incorporates responsible gambling tools directly into the payment screens. Deposit limits, reality checks, and loss limits can be set in a few taps, and they’re enforced instantly across every payment channel. By folding these safeguards into the flow so smoothly, Gransino ensures that a quick cashout doesn’t nudge anyone into impulsive decisions. Speed combines with equally fast guardrails, creating a practical balance where player wellbeing and convenience aren’t at odds. That’s the type of forward-thinking integration the UK regulator has been urging, and Gransino’s execution sits among the best I’ve come across.
Immediate Payments, Transparent Flows
What impressed me right away when testing Gransino Casino was the near-instantaneous deposit process. I’m familiar with a few minutes of processing time on most sites, but here the credits appeared in my account before I’d even closed my banking app. I tested a debit card deposit first, then a PayPal transfer, and both arrived just as quickly—no delay at all. That speed results from a deep integration with the UK’s Faster Payments Service and a variety of modern e-wallet APIs that communicate in real time. The cashier doesn’t just flick you to a generic payment page—it seems like a built-in part of the lobby, not a bolt-on. Every step comes with clear time estimates and tiny verification checks that run behind the scenes without interrupting you. I love that Gransino doesn’t conceal itself with vague lines like “processing may take up to 24 hours.” Instead, the system shows the exact moment a transaction started, when it hit the gateway, and when it should settle. That type of information earns trust fast—you can track every step of the payment in real time, almost like following a package. As someone who assesses platforms for a living, that transparency is a genuine relief. It strips away the anxiety many newcomers have regarding moving money into a gaming account—anxiety that’s driven many people away permanently. The interface is clean, no pushy upsells during the payment flow, which signals to me the team focused on speed and clarity over cross-selling. The end result: depositing feels less like a casino cashier and more like a top-tier fintech app.
The Stalemate That Required Change
To understand why Gransino’s approach resonates so strongly, you need to understand the stale state of UK casino payments. For years, operators have relied on old banking partners and outdated processing protocols that create friction nobody wants. I’ve seen countless forum threads where players complain about a withdrawal cleared on Monday that still hasn’t hit their bank by Friday. The standard trick is a deliberate holding period, presented as a security review, while the operator makes a little extra interest on the float or counts on you’ll reverse the cashout and lose it back. On top of the delays, the absence of real-time tracking always appeared out of step with how other digital services work. In the UK, open banking and Faster Payments raised the bar: money should move in seconds, with proper confirmations. Yet casino sites managed payments like a back-office chore. Regulators noticed, but the industry hesitated. Gransino walked into that gap with a clear mandate, understanding that a smooth banking experience isn’t a minor detail—it’s the cornerstone of keeping players happy and coming back.
Popular Inquiries
At what speed are Gransino Casino withdrawals truly?
From my experience, many withdrawals got processed in under ten minutes, and the money arrived at my bank in under four hours. I’ve also followed several withdrawals from various e-wallets, and the PayPal transactions were essentially immediate—money hit my PayPal account in less than two minutes. True speeds may vary depending on your payment method and your bank’s speed, but the internal pending period that bogs down other casinos is basically gone. Gransino’s automated systems handle ID checks at your initial deposit, so delays are rare afterward. E-wallet payouts are almost instant; bank card transfers still land inside the same-day timeframe they guarantee. Stack that against the industry norm of two to five days and the contrast is stark. I suggest completely verifying your account upon registration to make your first withdrawal as speedy as possible. The real-time tracking also allows you to monitor each stage without pestering support.
Does Gransino Casino hold a proper license within the UK?
Yes, Gransino has a full licence from the UK Gambling Commission, the benchmark for player safety. The UKGC licence by itself should dismiss any doubts about legitimacy; it’s the strictest regulator in the industry. That signifies they have to follow tight rules on fund segregation, fair play, anti-money laundering, and responsible gambling. I verified the licence during my review and ascertained they comply with UK advertising rules and dispute resolution processes. Your deposits are held in separate accounts, so they’re protected even if the company encounters financial trouble. The licence also requires regular audits of game RNGs to ensure results genuinely random. If anything goes wrong, you can take your case to an independent dispute resolution service approved by the Commission, which ensures operators on their toes.
Which payment methods are supported at Gransino Casino?
Gransino delivers a strong spread of payment methods designed for UK players. You have access to Visa and Mastercard debit cards, which most people still reach for first, plus e-wallets like PayPal, Skrill, and Neteller if you like maintaining a little distance from your bank account. I particularly appreciated that all methods share the same fast processing pipeline, so you don’t get penalised for using a card instead of an e-wallet. I was glad to see Trustly in the mix for open banking payments—direct, secure bank transfers without handing over card details. The cashier also accepts paysafecard for prepaid vouchers, though you aren’t able to withdraw to that method. All options utilize the same fast processing backbone, though e-wallets and open banking tend to be the quickest. There are no undisclosed costs for deposits or withdrawals, and the minimum limits suit both casual players and those moving larger sums.
Does fast payment processing affect responsible gambling tools?
Quite the opposite. Gransino has woven their safer gambling controls straight into the payment flow, and they really get more reactive, not less. Personally, I set a daily loss limit in under ten seconds; the system locked it immediately and showed a countdown to indicate when the limit resets. You are able to set daily, weekly, or monthly deposit limits that kick in instantly; any attempt to go over them gets blocked in real time. The same goes for loss limits and session reminders. Since the verification system is familiar with your identity and spending patterns, it can flag odd activity proactively without hindering legitimate withdrawals. Ditching the reverse withdrawal button is itself a safety move—it stops anyone impulsively cancelling a cashout and chasing losses. I found the tools intuitive and unobtrusive, striking that tricky balance between ease and protection that a lot of operators still fumble.
Storied animation producer Bonnie Arnold gave short shrift to those who are snobbish about her beloved discipline at Annecy today.
The Toy Storyand How to Train Your Dragon producer, who started out in live action with the likes of Dances with Wolvesand The Addams Family, had some simple words for those who see animation as beneath them.
“It keeps the lights on,” added Arnold, before politely checking with the crowd of mostly French animation fans that they were aware of the meaning of this phrase.
She was responding to a question from moderator Justin Johnson, the BFI’s lead programmer, who said Arnold is “living proof that in Hollywood being a good person can go hand in hand with being a good producer.”
Arnold talked the audience through a decades-long career that has seen her work on some of the biggest animated movies of all time, a leading female voice in an industry traditionally dominated by men that is slowly improving its gender balance. “I was used to being in a room full of men, laughing at their jokes,” she said wryly about the start of her career.
While she has worked on a plethora of huge studio movies, Arnold is currently producing Apple TV’s Snoopy Unleashed, which she said is set up in a different way and shows the direction in which the industry is headed. The film follows Charlie Brown and the Peanuts gang, who go on an emotional and wondrous journey to the vibrant Big City when Snoopy runs away from home.
“It’s been a different kind of challenge because there wasn’t a studio building,” said Arnold. “There was [producer] WildBrain, there were people in Canada, independents, director Steve Martino and we called on a lot of people we liked [to work on the movie]. There are still studio movies being made but there is a lot of independent work. Everyone does their bit and the result is quite amazing.”
“I said Toy Story would ‘change animation’”
Reflecting on the early part of her career, when she transitioned from Dances with Wolves to Toy Story having spoken to then-Pixar boss John Lasseter, Arnold said there was something strangely serendipitous about the two movies, and revealed what they had in common.
“The budget was the same for both,” she said. “It was $17M. And I thought that was a sign.”
She added that she had a good feeling about both when she saw the test screens.
“I’d finished the Dances with Wolves test, which people said would be a disaster but I said would change people’s perspectives about the Native American experience,” she added. “And for Toy Story I had a tingling in my neck after watching the Buzz and Woody test that said, ‘This is going to change animation’.”
It was after Toy Story that Arnold was contacted by DreamWorks Animation founder Jeffrey Katzenberg, who eventually persuaded her to join Dreamworks, where she made some of her best work.
Arnold was speaking at Annecy on a packed lineup. Snoopy Unleashed is being introduced later this week.
Ricky Gervais‘ spirit animal is undoubtedly a cat. He’s used that to conjure up new Netflix adult animated comedy series Alley Cats.
Alley Cats follows “a group of feral British cats from all walks of society, who seek companionship while ruminating on everyday life,” its synopsis reads. “From the funny to the absurd, the series is packed with Gervais’ signature style of heart and social commentary that audiences have come to expect.”
The standout piece of Alley Cats thus far is its tagline: “Nine lives, zero fucks.” You simply can’t do better.
Each of the six Alley Cats episodes are 15 minutes long.
“I don’t think I’ve ever been so excited about a trailer,” Gervais, the show’s creator, writer and director said in a statement shared with the media on Monday. “I can’t wait for everyone to get to know these cats.”
Elliot Dear co-directs the cartoon. Gervais, Steven Hamilton Shaw, James Stevenson Bretton and Ben Lole executive produce, and Hugo Donkin produces. Tang Heng is production designer; Blink Industries is the animation studio.
In addition to Gervais, Alley Cats also stars Tom Basden, Andrew Brooke, David Earl, Kerry Godliman, Jo Hartley and Diane Morgan. It features Natalie Cassidy and Tony Way.
Gervais’ character is, of course, chubby and orange. Because for some reason that has come to equate “sarcastic TV cat” in the tradition of Garfield and Heathcliff.
Alley Cats premieres on Aug. 7, 2026. Until then, catch the old Garfield and Friends (1988) on Peacock — it holds up.
Watch the Alley Cats trailer.
Gervais is the creator and star of The Office, Extras, Derek and Netflix’s own After Life. He famously hosted the Golden Globe Awards five times: 2010, 2011, 2012, 2016 and 2020.
Netflix has a strong history of adult animated sitcoms. Standouts include BoJack Horseman, Big Mouth and Bill Burr’s F Is for Family.
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Welcome to Random Roles, wherein we talk to actors about the characters who defined their careers. The catch: They don’t know beforehand what roles we’ll ask them to talk about.
The actor: For a generation of viewers, Erika Alexander is and always will be Maxine Shaw, attorney-at-law, the sharpest tongue in the Living Single brownstone. But Max is one stop on a career that started when Alexander was discovered on a Philadelphia street at 14 and has refused to sit still since. She has crossed nine hours of Peter Brook’s The Mahabharata, sparred with Whoopi Goldberg in The Long Walk Home, turned up in a Steven Soderbergh experiment, played a detective in Get Out, co-created the sci-fi comic Concrete Park, directed a documentary about reparations, and spent presidential campaigns on the trail as a surrogate. Now she is a series regular again for the first time since Living Single, playing sports-agent and ex-wife Monica Reese-Dinkins opposite Tracy Morgan in NBC’s The Fall And Rise Of Reggie Dinkins, which just scored two TCA nominations.
The A.V. Club talked with Alexander about learning to stare down a mockumentary camera, the morning she flew from a Queen Sugar breakdown straight to the Get Out set, why the Living Single fantasy episodes were secretly the hardest ones to shoot, and why her hair has been so integral to her career.
The A.V. Club: Congratulations to you and the Reggie Dinkins team on the TCA nominations! How does it feel to get that recognition your first year out?
Erika Alexander: It’s a beautiful thing. I’ve been in many things in my life that I’m proud of, and certainly the people in them are phenomenal, but you don’t necessarily get acknowledgment. It says something about the times, that they’ve changed. And it says something about the power of resilience and stick-to-itiveness. You have to hope in your life that you can do the thing you love with people you admire, but that doesn’t always mean that people, or awards, will follow. When all three hit, that’s the trifecta. That’s a good thing.
AVC:Seeing Erika Alexander in a power suit, walking headfirst into a boardroom triggers a very specific image for your longtime fans. But as Monica Reese-Dinkins, we also see you come out of that boardroom with coffee all over your front after a bad pitch, still figuring out who you are outside of Reggie. We don’t often get to see Black women who are still growing. Can you tell me about the early conversations and choices that shaped someone so balanced?
EA: Those conversations are often unspoken. When they cast you, or in this case invite me to do the role, I’m coming into their world and taking on the characteristics the writers have set forth. At first the character took second position in my mind, because I needed to understand the environment first. And inside that environment, I couldn’t just apply what I’d already known. What I’d known is that I could play a woman in a suit who had a strong opinion, who was diabolical when it came to debate.
So I believe I come into the room balanced, meaning Erika Alexander, and they’re going to get that aspect. What was imbalanced is that I didn’t feel as comfortable as all the people who’d worked together before. And I decided after a while that I should embrace that, that that’s who the character would have to be, because that’s who I was. The only person in the script who had a description of what they wore was her. No one else did. They said she was dressed impeccably. So I went, okay, that’s somebody who spends a lot of time thinking about appearances. I’d recently met an entrepreneur who became my mentor, Phyllis Newhouse, and she’s the inner core of what I’m drawing on. I was going to make it up until I realized I didn’t need to. What you see is a woman who doesn’t know exactly who she is right now: that is me. A woman who, despite that, cares what people think, who wants to appear like she’s got it together: that’s partly me. A woman whose ex has a fiancée who’s beautiful and young and vivacious, who maybe wasn’t ready to think about those thoughts. Who am I to myself? What’s attractive, and who am I attracted to? That, to me, is comedy. I’m hoping to get a lot of juice out of that squeeze.
AVC: You have these strong multi-cam sitcom roots, and now you’re stepping into a mockumentary. Was there an element of adjustment to that, even as a veteran?
EA: Growing up learning a little about acting, you never stared directly at the camera. Now it seems like this style is just always right there. Me and Daniel Radcliffe totally are like that, and so is Bobby Moynihan, who’s doing another job, some sort of who-done-it procedural. He’d go back and forth between those shows and staring at the camera, and they’d say, “Bobby, do you know you’re staring into the camera?” It can make you feel discombobulated, because that’s when you want to feel the most sure. These are your inner thoughts, you’re feeling the most free to say them, and at the same time you’re feeling like, good God, what am I doing, who am I staring at? People have created this blueprint, and we’re definitely trying to add to it in our own unique way.
American Fiction (2023)—“Coraline”
AVC: Do you have any stories about working opposite Jeffrey Wright?
EA: I love Jeffrey Wright. That’s the best thing, when someone says the name of someone you’re going to work with and everyone goes, whoa. It’s a visceral reaction. Jeffrey Wright is maybe one of the wonders of the world. And I thought, this is going to be delicious, because I get to crawl over and kiss him. If I’d thought about it, I hadn’t seen Jeffrey Wright in many romantic parts. It’s not something he gets to do.
So I thought, what do I get to do with this very serious persona? Let the script lead you, and the writer-director, Cord Jefferson, was fantastic. He hired people he thought would have those questions and go over those hills without needing him to translate too much. Cord told me later, “We really didn’t know whether the romantic part was working while we were filming.” I could feel it was working. We are grown-ass adults. It’s a feeling of respect. What you felt were two very solid performers getting to know each other in real time. The falling-in-love thing is the thing we won’t perform. It is not performative. We have to meet each other.
By the time we got to the beach town, that’s where everything happens. Coraline drops her vegetables, she gets invited to dinner, she invites him to wine. I thought that was a beautiful space to live in. We’re not jumping on each other’s bones, and yet there is a hotness. I could feel he wasn’t going to make any move; the character was going to allow her the space to fulfill the desire of his heart, but only if she wanted it. And his character was gruff. He’s got to do it that way, otherwise it’s not authentic to who he is. Cord wrote a smart, romantic relationship inside a smart comedy. We did it the way he intended it, in a way that was respectful and authentic. It wasn’t meant to be messy. It’s meant to be orchestrated, like a delicate, beautiful love song.
Black Lightning (2018)—“Perenna”
AVC: You weren’t exactly new to the comic book world around this time. You’d already co-created your own sci-fi comic, Concrete Park. Did being a comics creator yourself change how you approached a character who had no prior history in the DC world, who was original to the show?
EA: Yes, absolutely. I knew from spending my own time with a bunch of nerds that this was sacred territory. You needed to take it very seriously. I didn’t know what it was going to be, because I was only hired at first to do one to three episodes, and then they kept writing me in. I knew Cress Williams from the Living Single oeuvre. I hadn’t worked with China Anne McClain, but I knew her to be a smart young performer I could depend on, so I wasn’t there to teach her anything. I was a mentor, an auntie, teaching her how to focus her powers so they wouldn’t work against her. I was born for that. What Black woman, at a certain point, is not born for that, especially as an advocate? Those powers emanate from mythological archetypes that are in every form of storytelling. I asked my hairdresser for braids that would flow back like a crown, so I could step into it with no artifice and some kind of stature.
When I first started, one of the producers didn’t like my first take. He wanted me to take it slower, but also much more seriously, which took me aback, because I thought I was taking it seriously. Somehow my voice was living in a kind of shopping list, as opposed to really going in. Once I got out of my own way—because sometimes you have to realize you have ego—I did it slower, more methodical, and the direction went away. From there, that’s how I played the character. If you’ve done something for a while, whether you deny it or not, you don’t really want people telling you what to do. But my whole life is directors telling me what to do, despite myself. I have to go very quickly: What are they saying, do I agree, can I give them what they want even if I don’t agree, in a way that’s authentic for me? That right there is where you become an artist. You say, it’s not my thing, it’s their thing. I’m hired to do this gig, and they’ve got to see a piece of themselves in it. And that’s when you become brave and courageous, and you expand, like Neo.
Queen Sugar (2016)—“LeeAnne”
AVC: Where were you in your life in 2016 when Ava DuVernay invited you to guest on the show?
EA: Girl, I was all in on that election. I’d been with Hillary Clinton since 2007. I turned out to be her most-traveled surrogate outside of Bill and Chelsea Clinton; they told me that. I was also chosen as a delegate to the Democratic Convention. I had no idea that would be my life. I was using the skill sets I had in communication, but I was very much into supporting strong women, and it turns out I met a whole mess of strong Black women supporting that woman, who’d been there for decades, women I admired from Maya Angelou to Cicely Tyson to Sheila Jackson Lee. A lot of my formative years in advocacy came from 2007 and 2008. I went to Africa with the Clinton Global Initiative to see their work on women and girls. I became a sponge.
I had also auditioned for Queen Sugar as one of the leads and didn’t get it. Ava brought me into the audition at Warner Bros., made everybody else leave the room, and said, “Where have you been? What have you been doing?” Maybe she wanted to see what headspace I was in. I said television had changed, I was doing a lot of different things to make a living, creating things, producing. Then I got called back to read for the wife of the character played by [Omar Dorsey] and they told me I was too old for the lead Rutina Wesley played and too young for the role they wanted to be an older woman. Then I got a call: “Ava wants you to do this role, she created it for you.” Not only was it a yes, it was a woman with bipolar disorder, which would be very interesting for me. But in the middle of everything I was doing, going deep on something like that was one of the last things I had room for, because I was so focused on the election. Still, I wanted to do my job, and there are some of the best performers in all of God’s creation on that show.
The morning after a huge scene where I melt down, Salli Richardson-Whitfield directing, I flew straight to Alabama to do Jordan Peele’s Get Out to play Detective Latoya. Then I flew straight to Harlem to be an advocate at a rally. That was my life, making it all happen at once, being everything to everyone, trying to show up differently for each one so I didn’t mess up my reputation. That’s a reputation I value: No matter what, good, bad, or ugly, I’m going to give you my A game. It was tough, because I needed to make a living. But I also wanted to make a life, and that was the advocacy. They don’t get to separate.
AVC: When you were deep in the advocacy work, traveling as a surrogate, were your thoughts still with your acting career, or were you all in?
EA: To me, advocacy is partly acting. Through the filter of my own life, I speak as a surrogate about someone else’s record and what they’re going to do, using the same skill sets, except they’re authentically mine. I have to tell the truth about who I am and also speak for someone else when they’re not there. I didn’t get at first that that’s what I was doing. It was the first time people had asked me to use my own words. I was always playing a character, tooling around in someone else’s toolbox. Here, I was going to be a tool for a campaign, and inside of that, tell the truth about who I am.
Déjà Vu (2006)—“Shanti”
EA: [Director]Tony Scott. Brilliant. One of the kindest people I ever met. He asked me to do a small voiceover before I was even on set, and then he sent this huge bouquet of flowers as big as my table. I realized how generous he was, how he thought about my time. Even though it turned out to be a role that kept getting cut down, with my part given to other people in the room—she was the lead scientist when I first read it, but she wasn’t by the time I got in that room; Adam Goldberg and all sorts of other people were in those positions, and I was suddenly relegated to moving dials, which was a great disappointment to me—in that space with the great Tony Scott, rest in peace, I never felt that he didn’t see me. I’m grateful for that.
Full Frontal (2002)—“Lucy”
EA: We were dressing in offices. Steven Soderbergh, the director and the writer, was running camera himself, and it was a very small crew, and I never knew what was going on. I’m sitting next to Brad Pitt at the table with Blair Underwood, and there’s Jennifer Aniston at the door looking at the scene, and Julia Roberts, and I couldn’t tell you anything else about it. Part of it was guerrilla filmmaking. I’ll always be grateful that those people were interested in doing guerrilla filmmaking, because they were as big as they came. It was like going through some kind of weird portal. Naked. In front of everyone. That’s all I’ve got to say. Fun, fun, fun. Steven Soderbergh is one of the best ever, and he’s a true indie dude.
AVC: Given your own indie roots, do you prefer the scrappier productions or something more buttoned-up?
EA: Definitely. I’m an indie girl. I just did an itty-bitty thing with RZA. He called me up and said, “I wrote this part for you,” and next thing you know I’m doing martial arts in the middle of a desert valley. He said, “You haven’t read it, you said yes.” I said yes to the independent spirit. You’re calling me as a friend, and you are a river to your people who’s created a lot of jobs, and I don’t need to read it. I’ll show up for you, brother. It’s going to be great when it comes out, because it’s done in that spirit of trying to make a way out of no way and create a whole genre.
Living Single (1993-1998)—“Maxine Shaw”
AVC: You’ve been reliving the Living Single experience with your co-star and cohost Kim Coles through the podcast, ReLiving Single. Through those discussions years later, have you had any new revelations about Maxine?
EA: Yes, that I was very young, and I was doing her kind of on autopilot. I didn’t know who she was, but I knew who I was in that moment. I can’t talk about Maxine Shaw without talking about who came in that door, with those locks, and all the people who’d poured into me, from Cicely Tyson to Lorraine Toussaint to Hattie Winston. CCH Pounder played my mother in a miniseries. I’d already done The Long Walk Home with Whoopi Goldberg playing my mother and Ving Rhames playing my dad. I’d already gone around the world with Peter Brook in that nine-hour play. All of that had happened, and being discovered at 14, and four plays at the Public, and I was numb, because my father had just passed and I hadn’t really processed it. I didn’t necessarily want the role; I wanted another one and didn’t get it. So I numbed myself and walked in there because I had to do both auditions rapidly, and got chosen for the second one in a space of just, okay, let me get this done. I wasn’t full of high hopes.
I’d always played strong characters. They put me in a suit and said I was a lawyer. My father was a preacher, my mother was an educator and a minister. I know how to speak in front of people and persuade them. I went to Philadelphia High School For Girls. I came from Freedom Theatre, where they told us we were young, gifted, and Black. I was that Max. The hairstyle gave me strength, because it was boyish and no-nonsense, and refreshing for me, because I had hair that didn’t cause me any consternation. I wasn’t worried about who was going to do my hair or whether my roots would get torn, which happened all the time. So that’s who comes through that door. Max was secondary. Erika Alexander was who I was for many years, until I started to see the persona of Max take over and drive it, with a clear dance partner in T.C. Carson. There were a lot of choices made off screen. He and I were both dark-skinned, coming in with similar hairstyles; he’d made that choice too. Then I learned Max over four years.
AVC: There’s a through-line in your career that a lot of Black folks identify with: that our hair can determine our trajectory, because so much of our culture and how we feel is attached to it. Maxine’s blunt braided bob, Perenna’s crown, Monica’s blue braids—it’s all self-discovery communicated through hair.
EA: Black liberation lives in our hair. The freedom from having to conform to a Western, European ideal is a form of resistance and protest. But outside of that is also where we live, culture. We’re trying to gain an identity for ourselves that’s divorced from an enslaved façade. We ask ourselves all the time, who are we? Is it okay for me to press my hair? Is it safe? Was it safe for my character to press her hair? When my edges fall out, what kind of stress am I under? These protective styles are where we can do that. And Monica, that’s the same hairdresser who did the Maxine Shaw braids. So Monica is Max 2.0. With all the people in middle age coloring their hair, even older women with blue and pink, it’s a form of expression and freedom.
AVC: Living Single gets a lot of deserved credit for being at the forefront of Black-women-friendship comedies. What it doesn’t get enough credit for is how well it played with fantasy concepts and alternate universes, whole episodes where the Brownstone crew would become a Supremes-like ’60s girl group, or run a jazz club during the Harlem Renaissance. How did you prepare for these one-off moments?
EA: We don’t get to prepare. So much of your prep comes way before. I’d watched sketch comedy for years; I grew up with Carol Burnett and people who would put on the costumes of different characters and come out and do their best version. We didn’t know from show to show what was going to happen. We’d open the pages on read day, on Monday, and go, oh gosh, this is going to be a hoot, and we’ve got three days to learn it. We’re performing on the fourth day, in front of two audiences. You learn a play a week. That is not the time to be shucking and jiving. You make a lot of choices very quickly, and they lead you. You’re shot out of a cannon. The audience is so important, because they tell you whether they accept it; they tell you the parameters.
I’m glad you caught that, because the alternate-reality shows are some of the ones we disliked the most. We didn’t like the Flavorettes show at all, because we were missing T.C. Carson at that point. We didn’t know why that filming week was going so badly in terms of our feelings and frustrations. Then the audience came in and started to laugh, and all that fell away, and we just played, like the laugh whores we are.
AVC: As an audience member you only get the final product, so hearing that that was a difficult week is surprising. Was there a moment you worried it wouldn’t work?
EA: No. I figured by the time we got it, we showed them something. I’m just surprised it’s one of people’s favorites of all time. We had almost been written off by our studio, and people wrote in to save us. There was all this pressure, all these backstage changes nobody was speaking to, very consequential and emotional and disruptive, and we still had to go out and be funny. Funny often comes from a lot of pain. You hope it’s not your own personal pain feeding it, but it becomes escapism. The audience reminds us this is not only a job, it’s a privilege. They’re willing to lift us up and give us buoyancy, not knowing how far down we’d sunk.
“You’re Makin’ Me High” Music Video, Toni Braxton (1996)—“Friend”
AVC: You’re there with Tisha Campbell, Vivica A. Fox, and Toni Braxton, and it plays like the quintessential snapshot of ’90s-era Black womanhood. Were you cognizant at the time that you were part of something so culturally major?
EA: No, and you never are. I just knew Toni Braxton was the biggest thing, and she was like a little doll, and I was so glad to be included. I was never included with the cool kids, ever. I never hung out with them. I knew Tisha Campbell, but we were always working, and Vivica Fox was a big movie star. Billie Woodruff directed it, and I’d never done a music video, so I was looking for them to tell me what to do. They dressed us up more than I’d ever been dressed up in my life and told us to look there and rate the men, and then it was over. I’m grateful Toni Braxton thought enough of me to say, “Give me the cool girls, let’s mix it up, and Erika is one of them.”
The Mahabharata (1989)—“Madri / Hidimbi”
AVC: You mentioned this earlier. You were really young, and it was this big epic. What did you learn on that set, especially working with Peter Brook?
EA: Everything. I was one of the only people who didn’t speak French, and French was the most-spoken language among the troupe. My life is a series of discoveries, just plucked out of nowhere and thrown in the deep end. Peter Brook is about as prolific and as big as it gets in Europe, one of the biggest stage directors of all time. He needed a replacement for one of his six women in the troupe of 28, who’d fallen in love with a rock star in Los Angeles. She was a real African princess, and I was replacing her in this nine-hour play based on the Sanskrit text. I didn’t know anything about it. Nothing. That’s why I say I’ve spent my life going, okay, I’m going to learn.. Brook was kind and instructive when he needed to be, but he mostly left me alone. I find that when people think you can do a job, they leave you alone to do it, and when they do tell you something, you listen on a deeper level, even if you don’t understand. He’s not speaking to somebody who went to classes; I’m a person who was discovered off the street. So I’d think, that pitch isn’t working, let me put a little spin on it, or less spin, take myself out of it, be calmer and more intentional. You’re trying things. It was one of the most beautiful things in my life. And I got to talk to Daniel Day-Lewis. Every major performer I meet, I say I was in The Mahabharata, and that level-sets immediately. They go, okay, I’m not talking to a buster here. I say, “No, you’re not.”
My Little Girl (1986)—“Joan”
AVC: How did you land your first role?
EA: I was in a five-week program at Freedom Theatre in Philadelphia, a performing-arts program for kids, my first summer, and a movie came to town. They encouraged us all to audition. I was the second one in line, nearly five o’clock in the morning, and the line went around the building several times. Everyone from the tri-state area trying to be a Black and brown performer auditioned. By the middle of the afternoon, they handed me the script and said they wanted me to read a different role, and I thought, oh no, I messed up. But it was the lead. After several screen tests, it came down to me and Janice Roderick, the darling of Freedom Theatre, a phenomenal performer, and they chose me. I couldn’t believe it. Got my little SAG card, and suddenly I was on my way. The casting director and director thought I could have a real career, and they got me a meeting with the Gersh Agency. At the time they didn’t take teenagers, they told me. But they had Michael J. Fox, and they decided to take me. Kismet again. Fortune finds you, but you work for it, too.
[Streaming Again] Enjoy a curated collection of go-to “Sesame Street” episodes with charming sing-alongs, celebrity cameos and all your favorite characters!
Benedict Cumberbatch and Claire Foy are returning to the world of Judith Kerr’s “Mog” picture books for Channel 4‘s animated special “Mog’s Bad Thing.”
Cumberbatch will reprise his role as Mr Thomas opposite Foy as Mrs Thomas while “Bridgerton’s” Adjoa Andoh also returns as the narrator alongside Amelie Law as Debbie and Teddy Skelton as Nicky.
The cast, who previously appeared together in the animated special “Mog’s Christmas,” also for Channel 4, will be joined this time by John Thomson (“Break Clause”) as Mr Bunce, Katherine Parkinson (“Rivals”) as Mrs Ramsbottom, Mawaan Rizwan (“Juice”) as Ali and Amelia Theodorou as Amy.
“Mog’s Bad Thing,” which is directed by Robin Shaw (“The Tiger Who Came to Tea”) and produced by Lupus Films (“Kensuke’s Kingdom,” “The Snowman and The Snowdog”), will once again follow Mog, the Thomas family tabby cat, as she finds herself in big trouble.
“The family are hosting a cat show in their garden which should be Mog’s chance to shine, but in all the excitement she does a ‘bad thing’ which means she hides in the attic feeling sorry for herself and misses the start of the show,” reads the synopsis. “Can Mog find a way to leave her hiding place, make her family proud and save the day?”
“Mog’s Bad Thing” is written by Joanna Harrison based on Kerr’s books, which have been translated into 24 languages and sold over 4 million copies worldwide. There are 17 books in the “Mog” series, which was inspired by Kerr’s own family cat.
Ruth Fielding and Camilla Deakin produce for Lupus Films. The animated special was commissioned for Channel 4 by Gwawr Lloyd, interim head of drama.
Serious Kids distribute “Mog” for theatrical and TV worldwide, outside of the U.K. Theatrical distribution will be announced in due course.
In honor of Father’s Day, Moshe Kasher revealed he was diagnosed with tonsil cancer. The comedian and writer shared a series of slides of Instagram detailing his experience, including a recent surgery.
Kasher explained that he discovered the cancer while working on the Judd Apatow–Glen Powell project The ComebackKing in Savannah three months earlier. “I found a bump on my tonsil,” he wrote. “It was cancer, which did not rule so hard.”
Last week, Kasher underwent surgery at Cedars Sinai, which involved “a Jewish robot” yanking “my jaw open for five hours.” “This has been the most terrifying and consciousness consuming experience of my life,” he wrote. “My life has been terror, meditation, tears, and medical planning (oh and 12 hour days on set pitching jokes).”
He added, “I truly cannot believe I managed to work an entire movie while dealing with this, but Judd could not have been a more kind, supportive, and nurturing friend all while on the verge of a five hour energy overdose from his terrifying habit.”
Kasher noted that “the good news is the cancer I have has an incredibly high cure rate (in the 95% zone).” He is waiting to find out if he needs radiation treatment, but said “regardless I will be okay and back to being a cool dude ASAP.”
He continued, “The other bit of good news is that this is cancer you get from sex. So it’s cool that now you know I’ve officially had that. … The bad news is HPV positive tonsil cancer is an epidemic in men under 55. Get checked and vaccinate your damn kids! Work out your RFK anxieties on the measles if you must. Trust me. You do not want your kids to go through this.”
Kasher isn’t sure when he will return to live comedy performances, but explained that he and his wife Natasha Leggero recorded a new episode of their podcast, The Endless Honeymoon, ahead of his surgery.
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“Thanks to Natasha and all of my wonderful friends who have been so supportive,” Kasher concluded. “I woke up on that operating table so flooded with emotions and gratitude for my life and the gift of consciousness. I can’t wait to go back to work. but for now – I breathe. I walk. I eat. I survive. I live.”
Kasher has appeared on numerous TV shows, including Whitney, Shameless, Brooklyn Nine-Nine, and The Pitt, on which he played an ASL translator. He’s regularly performed stand-up live, as well as on late-night shows like The Late Show with Stephen Colbert.
The journey of the sorcerer ends above outer space in the soothing fantasy space opera Rescue Mission 11.01, written and directed by Jaroslaw Gogolin. Rescue Mission 11.01 is a 3D animation feature that used the Unreal Engine 5 tool to create the characters, locations, and compose and light the shot compositions. Instead of any dialogue, Gogolin created a sound design using DaVinci Resolve, which was also used to edit the movie. So while the music is used to steer the mood, Gogolin resurrects the silent movie tradition for the world of the future.
A gigantic starship orbits around the faraway storm planet of Hekate 9. On the planet’s surface, rain pounds down on the dark temple where a sorcerer, wearing a skull and horns headdress, communes with a swirling presence from beyond. Out in the jungle is a crashed space cruiser, stranding a warrior woman with face paint, nose bone, and flaming red hair. Out from the starship above comes another star cruiser, with a young woman sporting a metal face plate steering. The never-ending lightning surrounding the sky brings her ship down as well. Under the wet leaves of the trees hides a growling skull face in a hood, its glowing eyes searching for prey…
I have been waiting for years for someone to make a movie like Rescue Mission 11.01. Throughout my pre-teen years, I was obsessed with both TSR’s Advanced Dungeons & Dragons and the same company’s sci-fi variation, Star Frontiers. I loved the idea of leaving the pavement of Earth and traveling into another world, using little more than a pencil, some dice, and several hundred dollars’ worth of game books, modules, and supplements. As those gaming systems were reliant on the steady cooperation of unsteady preteen boys on Monkey Island, I never got to truly escape. Rescue Mission 11.01brings the escape I had dreamt of long ago.
“Out in the jungle is a crashed space cruiser, stranding a warrior woman…”
First of all, the hybrid of fantasy and sci-fi rolls up and smokes perfectly. Gogolin adds an indio-futurism look to a lot of his character designs that looks spectacular. Cosmic tribal is indeed a thing, and won’t the kids just love it. Gogolin walks a fine line between the traditional elements maintained and the innovations the hybrid format adds, which is satisfying from both ends. There is also this Barbie doll-like sheen on the character’s skin that is absolutely hypnotic. Please keep this shiny mannequin skin thing going, as it has this Thunderbirds feel, except next level. The sorcerer looks amazing, with Gogolin wisely spending a lot of time drinking in how bad-a*s he looks. The constant rain is excellent, as the viewers soon feel it is pounding down on them as well.
Immersion into the other world seems to be Gogolin’s motive, as we get to spend leisurely paced time to soak up the ambiance, literally. I must prefer his pacing, instead of being rushed from one plot point to another like an un-air-conditioned bus tour. It is sort of like the difference between running through a forest versus camping in it. Like the classic silent movies of the Golden Age, Gogolin lets the viewer experience each location while the story oozes on to beautiful music. This is the future of speculative movie-making: instead of seeing movies, you live in them. If you get high, then you need to experience the wonder of watching Rescue Mission 11.01 stoned. If you don’t get high, learn how to handle it with repeat viewings of Rescue Mission 11.01. This is highly recommended with no nudging; I loved it.
Apple hasn’t officially greenlit a sequel to last year’s blockbuster “F1: The Movie,” but Eddy Cue — who oversees the tech giant’s entertainment businesses — said one will “hopefully” be coming, in partnership once again with Jerry Bruckheimer.
Cue, senior vice president of services and health at Apple, took the main stage at the Cannes Palais convention center Monday at the Cannes Lions festival with Bruckheimer, the longtime Hollywood producer who teamed with Apple for last year’s hit “F1: The Movie” for Apple Original Films. Cue’s appearance was queued up for his recognition as Cannes Lions’ Entertainment Person of the Year, with the festival citing his leadership of the tech giant’s entertainment and services businesses, including Apple Music and the Apple TV streaming service.
“I can’t even say this is a dream come true, because I couldn’t even dream that way,” Cue told Bruckheimer about the award. “I have an amazing team of folks I get to work with every day that have made this all possible. The great thing is we’re just getting started, so there’s a lot more to do.”
Bruckheimer kicked off the conversation by praising Cue and the Apple team. “I’m really excited because we’re going to come back and hopefully make another ‘F1,’” he said. Bruckheimer also has another movie project in the works with Apple about UFOs alongside producer Joseph Kosinski that he described as “kind of ‘All the President’s Men’ about what the government’s been hiding about UAPs [unidentified anomalous phenomena[ all these years.” Said Bruckheimer: “It’s going to be a true story, and it’s going to be, I mean, mind-boggling.”
About working with Apple, Bruckheimer said, “When you have the team that Eddy put together, along with all the previous inventions that they had, it makes it so easy to work at a place like that.”
Starring Brad Pitt, “F1: The Movie” took in $634 million at the worldwide box office — making it Pitt’s biggest movie of all time, Cue noted. “One of the things that I loved about it is you felt great when you walked out,” he said, adding, “You loved it when you were walking out of [a movie theater] or watching it alone.”
According to Cue, the way Apple operates today is still based on “the foundation beliefs” of Steve Steve. “There’s no doubt, I think, that he’d be incredibly proud of the work that we’ve done in this area,” Cue said.
Cue recalled that early in his career, before Apple was even thinking about building its own entertainment studio, he once asked Steve Jobs — who was the CEO of Apple and Pixar at the same time — “Why is it that Pixar can always create one hit after another, and that doesn’t happen everywhere else?” Jobs’ comment was it’s “always about the story,” Cue said. “It begins and ends with the story. If you don’t have a story, you can’t have a great show, and that always resonated with me about the things that we’re trying to do.”
Cue recalled that when Apple was gearing up ahead of the 2019 launch of Apple TV+, “at the time there was certainly lots of other companies out there doing it. We didn’t have any knowledge [of the streaming business], but we had this belief that everyone was chasing a lot of quantity and not quality, and we’ve always been about trying to be the best, not the most, and so we wanted to build television and movies a place where the best storytellers, the best creators, the best writers, the best directors would want to come work there and do their best work.”
Apple decided from the get-go that it wouldn’t license content for the streaming service, Cue said.
“We did something that I believe that most people told me you couldn’t do it, and they were probably right, which is you can’t start a movie or TV [streaming service] without licensing content and getting some of the old content that’s out there,” he told Bruckheimer. “But we’ve always felt like if we were putting our name on it, it was kind of weird we were going to put our name on something we didn’t help create, so we said we’re going to start with nothing, we’re going to start with something that all shows that we create, which meant we had, you know, five or six shows when we launched the service.”
Cue said it took him two years to find the right execs to head Apple’s original entertainment division, ultimately hiring former Sony Pictures Television execs Jamie Erlicht and Zack Van Amburg in 2017. “The most important thing was the people that we were going to hire and the people that we were going to work with,” he said.
Cue gave a shout-out to Reese Witherspoon and Jennifer Aniston as the “first people to believe in us” when they were pitching “The Morning Show” around town.
“I thought the show was amazing,” Cue said. “But we had to go and convince them, and obviously others wanted the show as well… and I came down to the realization that we weren’t going to get it, because somebody would always offer more, or whatever, but I thought we were special, and so I asked for a meeting with both of them.” Cue asked Witherspoon and Aniston “whether they thought they were going to make one of the best shows ever in television. They said yes, and I said, ‘So do I. I think it’s going to be one of the best. That means you need to do it with us, and the reason you have to do it with us is because we don’t have any other shows! So we believe 100% in what you’re doing, and we’re going to launch our service on that.”
Cue proudly noted that Apple TV is now an EGOT winner, after the Broadway musical adaptation of original series “Schmigadoon!” won a Tony award. Apple earned the Oscar for best picture for its uplifting 2021 drama “CODA,” while it took home a Grammy for Chris Stapleton’s “Bad as I Used to Be” from “F1: The Movie.” The company has won multiple Emmys, with Apple TV’s Hollywood satire “The Studio” last year taking home 13 trophies, a record for a comedy series in a single year as well as for a first-year series.
“So we’ve had a lot of success with people recognizing the work,” Cue said, “but it comes down to the people you hire and the people that surround you.”
Meanwhile, Bruckheimer admitted that he never really knows if a movie he’s making will become a hit. “You think you know it’s going to be a hit, but nobody knows,” he said. “And I’ve been in Hollywood long enough where I’ve seen movies that test it through the roof, and nobody showed up.”
Cue is an Apple lifer, having joined the company in 1989. After steering the launch of iTunes (2003) and the App Store (2008), he has led Apple’s expansion into TV and movies with the Apple TV streaming service.
In his closing remarks at the Palais, Cue again expressed gratitude that he and Apple have been recognized with the Cannes Lions award. “I was a computer science major, engineering major, and for me to be here and what we’ve accomplished in this area, I could have never imagined,” said Cue. He added to Bruckheimer, “you’re a true legend, but the best part about it is you’re a true legend still creating incredible things.”
“The Boroughs” star Denis O’Hare has a plan for exacting “sweet revenge” on Netflix following the streamer’s decision to cancel the series after one season: Emmy votes.
“So, it’s Saturday and I’m just thinking about the fact that Netflix canceled ‘The Boroughs’ and how really bummed I am because it was such a great show, it was such a great show and people really seem to love it,” O’Hare said in a video shared on his Instagram Saturday. “I’ve been astounded how many people have come up to me and talked about how much they like the show and not just like, you know, old people but I’m talking about anybody, people who are, you know, in their 30s or 40s with kids.”
He continued: “Everyone seemed to find something to relate to. Anyway, so I think we still have a couple of days before the end of Emmy voting that everyone should just vote for ‘The Boroughs.’ You can vote for me if you like. But also like Bill Pullman and Alfre Woodard and Alfie [Alfred] Molina and Geena Davis and Clarke Peters, Seth Numrich, Alice Kremelberg and vote for ‘The Boroughs’ for Best Series and, you know, stick it to Netflix and let them know that they made a mistake, you know, because I think that would be sweet revenge. Anyway, I love the show, I miss it and, you know, whatever.”
The series was produced by the Duffer Brothers.
The show initially debuted to positive reviews and 5.6 million viewers in its opening weekend. Viewership later rose to 9.6 million before dipping to 3.7 million.
It is the second series produced by the Duffer Brothers this year (the limited series “Something Very Bad Is Going to Happen” was released in March).
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Comedian Moshe Kasher revealed in an Instagram post Sunday that he has been diagnosed with cancer following surgery earlier this week.
Kasher, a stand-up comedian, writer and actor known for his memoir “Kasher in the Rye,” shared the diagnosis and details of his treatment, describing how doctors discovered a tumor in his tonsil while he was working on a film project.
“Three months ago. While in Savannah. Producing the new Judd Apatow/Glen Powell movie. ‘The Comeback King.’ Which is going to rule so hard. I found a bump on my tonsil. It was cancer. Which did no rule so hard,” he said.
The comedian underwent a major procedure at Cedars-Sinai Medical Center in Los Angeles to remove the cancer.
“Two days ago. A Jewish surgery robot at Cedars Sinai yanked my jaw open for five hours and cut it out and then slit my throat and dissected my neck leaving me with a hardcore neck scar which will make people reluctant to street fight me.
“My tongue was clamped and yanked out of my mouth and is so swollen and bruised. I sound like ‘I Am Sam.’”
Kasher described the experience as “terrifying,” while noting he continued working during treatment.
“This has been the most terrifying and consciousness consuming experience of my life. My life has been terror. Meditation. Tears. And medical planning (Oh, and 12 hours days on set pitching jokes.) I truly cannot believe I managed to work an entire movie while dealing with this. But Judd could not have been a more kind, supportive and nurturing friend all while on the verge of a 5-Hour Energy overdose from his terrifying habit.”
He also praised the medical staff treating him and said he expects to recover fully, though further treatment may still be required.
“The people at Cedars are all such kind pros and I feel like I’m in the best hands possible. I’m in pain and I’m in the middle of a very difficult process. It’s gonna be a long summer. But the good news is the cancer that I have has an incredibly high cure rate (in the 95% zone). I will find out next week if I need radiation or not but regardless I will be ok and back to being a cool dude asap.”
Kasher also used the post to raise awareness about HPV-related cancers, encouraging vaccination and early screening.
“The other bit of good news is that this is cancer you get from sex. So it’s cool that not you know I’ve officially had that,” he said. “The bad news is HPV positive tonsil cancer is an epidemic in men under 35. Get checked and vaccinate your damn kids! Work out your RFK anxieties on the measles if you must. Trust me. You do not want your kids to go through this. As for going through this – I am. I will continue. I will get better. I’m so grateful I have a life that’s worth living and a kid to raise this Father’s day.”
He closed the post by expressing gratitude to his friends, family and medical team.
“Thanks to Natasha and all of my wonderful friends who have been so supportive. I woke up on that operating table so flooded with emotions and gratitude for my life and the gift of consciousness. I can’t wait to go back to work. but for now – I breathe. I walk. I eat. I survive. I live.”
About three months after officially announcing that he was leaving Enhypen, the singer formerly known as Heeseung is officially embarking today on his solo career under the new stage name Evan. His debut project as a soloist, Ride or Die, features two tracks that he participated in from ideation through topline creation, and offers a first glimpse into who Evan is as an individual and the stories he hopes to tell through his music.
With Ride or Die, Evan strips away all expectations and aims to start over and present an unfiltered side of himself. The project is defined by a commitment to pursuing the kind of music that feels most authentic to him, and it also carries the weight of serving as a reintroduction to the artist fans have grown to love over the past seven years.
Evan amassed 1 million followers within three hours of launching his Instagram account in April (he’s now around 5 million followers), and he’s spent recent days posting covers of tracks by SZA and Justin Bieber, subtly introducing listeners to the sounds and influences that inform Ride or Die.
In his first-ever interview, Evan spoke with Rolling Stone over Zoom about the path he’s chosen as a solo artist, sharing his thoughts on creative growth and the moments of self-doubt that have shaped this new chapter.
You’re starting your new chapter under the name Evan. Can you share the story behind that name? I recall fans used to think your name was Ethan for some time until you revealed that it was actually Evan, so I’m curious to know the real story. [Laughs.] Ever since I was young, a lot of people called me Evan. Whenever I would go overseas, or when taking English classes, my name has always been Evan. From what I remember, I think my mom gave me that name. I decided to use the name Evan because I wanted to present this music while carrying that sense of authenticity and purity, and my plan is to continue promoting under that name going forward.
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What would you say have been some of your main inspirations behindthis project? I’m sure there’s been a lot on your mind recently. While preparing “Ride or Die” — it could be considered a genre that is unfamiliar to me, but I started to develop an interest in rock. “Ride or Die” is a song that came from that. In that process, I started listening to more rock bands and got a lot of inspiration from them.
Is there anything you found yourself paying extra attention to for this project given your involvement? I think I tried to focus on making sure it doesn’t come off as overly deliberate or forced. I wanted to show what I naturally became interested in, in a raw way, and chose tracks that have that sentiment richly infused in them.
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What’s something you learned about yourself as an artist while making this album? [Smiles.] There were a lot of moments where I learned so much. I was really proud and thankful to myself when I discovered that I can put together music without taking too much time. Previously, to write one song, I would take three months, even a year if on the longer side. I would overthink, and it would take a while. But now, when working on a song, if it’s quick it could be three hours, up to six hours — that’s something I learned about myself.
Do you think that happened naturally through practice? I have a lot of good colleagues around me. I think through making music with those people, because they are around to help me, it was possible. [Smiles.]
To that point, you worked with some new collaborators, for example, Apro and Ian Jeffrey Thomas. How was that experience? I can’t say how many sessions we had, but we had so many sessions within a short time frame. With a variety of producers, topliners — I really enjoy getting fresh inspiration from new people. I remember feeling excited and energized each time I would hear a new demo or a song in a style I haven’t explored before.
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Was there any advice or encouraging words that struck you from conversations during the preparation process for this release? To have more confidence? “That’s who you are.” That moved me… I’m not the type of person who easily feels self-satisfied. [Smiles.] I often find myself questioning my skills. Whenever that would happen, hearing those words would inspire me.
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Are there any fun stories from the production process you can share? [Laughs.] I don’t know if this is fun per se, but when working on “Ride or Die,” the producer kept calling us “crazy guys,” saying we seemed insane. I would request for the sound to be really intense in a certain part of the song. So he kept saying we were crazy.
What’s the biggest lesson you learned while creating this project? Something I learned recently is… I guess you’d call it organic? Natural? There’s something really appealing about a band session just existing in its own form. I’ve mostly been exposed to music that’s been refined and completed, so I hadn’t really felt the appeal of a live band sound before. Through this project, though, I gained a new appreciation for the artistry and coolness of a band.
Aside from your Instagram, which launched a while back, I saw that all of your other social channels recently launched, garnering a lot of attention and interest from fans. How does it feel? We’re now in the phase of teasers and photos coming out. I looked at the reactions a little. I saw fans giving me more love than I deserve. I’m so, so thankful, it’s hard to say anything else. I want to continue giving it my all and stay dedicated.
Speaking of fans, what do you hope they feel during their first listen? When hearing these two songs… I chose songs that explore emotions and themes people can resonate to in their everyday lives, so I hope it feels familiar to listeners. And whenever they hear the songs, I hope it makes them want to listen even more.
Looking forward to your career, these two songs mark your official solo debut. They carry weight in that sense. How do you want these songs to be remembered? With “Ride or Die,” what I want to say is that it was the first song that came out from a session of a song camp that was specifically for making a digital single. It’s particularly meaningful because it reflects both my journey of preparation and this debut. And “Overflow” is a song that I wrote when I was going through really hard times and was emotionally exhausted. When you hear the hook of the song, the message is to have hope. I think these two songs will become a really special memory when I look back on them.
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Is there a line you’re drawn to from these tracks? [Laughs.] It might be a bit predictable, but “You are my ride or die.” There’s a sense of strength that that sentence gives. Just hearing that sentence, you can sense what someone is trying to convey.
What kind of artist are you striving to become? It might overlap with what I said earlier, but in the end, I’ve given a lot of thought into becoming an artist who can provide messages of hope and love.
I’m curious to know then, where you get hope and these emotions from? Hmm… I think an obvious one is my fans… I get so much love and hope from them. But since I’m still in preparation phase, I haven’t had a lot of opportunities to face them quite yet. So I’m really eager to see them.
Continuing off of that, what would you say you’re most excited about in this new chapter? Looking ahead… I’m grateful that I’m able to focus so much on music right now. If I continue on this path, I believe that all of these moments of hard work will eventually add up, and that one day I’ll become a more mature artist. That’s the hope and dream that keeps me working hard.
You also have performances at the Busan One Asia Festival and also KCON LA coming up. How are you preparing for those? With the Busan One Asia Festival, and KCON, I’m so thankful they are having me… I’m in a situation where I have to make a strong impression with two songs, so I’ve been thinking about how important the performance aspect is. What I’ve been thinking about is how to bring these songs to life in a way that can inspire both my fans and the wider audience.
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What has been making you happy these days? I feel like I’ve only talked about music… [Smiles.]Malatang has been so delicious these days. The malatang that I have after a day of work… It’s so good. My schedule is packed these days, and when I’m locked in, there are times when I skip meals. So when I come home I’m really hungry. The malatang I have at that moment is like a reward to me.
How would you describe this era of Evan in three words, and where do you hope Evan is one year from now? [Laughs.] Evan as of right now… Hope. Inspiration. Love. I think these three words. And in a year… Hmm… I hope to create music that carries a heartfelt and sincere message. I want to make great music, but also, I hope people connect with the messages behind it. If that message can resonate with fans, help them overcome difficult times, or become a source of healing for them… That’s the kind of artist I want to be. And hopefully, I’ll be able to create happy memories with my fans.
Dad Movie. It’s become efficient shorthand, a method for describing (or, often, dismissing) a specific kind of film that appeals to men of a certain age and disposition. It’s reductive, of course; not all dads like all Dad Movies, and plenty of women love them as well. But it’s a convenient tag, pinpointing a distinctive mix of recurring themes and emotional responses, even if the precise definition of a Dad Movie is somewhat nebulous. (As with other, less wholesome forms of entertainment, it often comes down to a matter of “I know it when I see it.”)
So what makes a great Dad Movie? And if we can settle on the parameters, what are the definitive examples of the genre?
The terms have shifted over time. Your classic Dad Movies were championed by baby boomers, the first generation with easy access to movies on demand, via the VHS craze of the 1980s and the concurrent rise of movies on cable. The Venn diagram of classic Dad Cinema and TBS Sunday-afternoon standbys is, essentially, two overlapping circles. But the children of those dads inevitably became dads themselves, bringing their own preferences and tastes to the mix, and widening the windows of dad fare to include ’80s and ’90s movies they grew up watching — often with their own dads.
Certain genres lend themselves to near-automatic inclusion. Most westerns are Dad Movies by default, between their historical settings, hard-nosed action and frequent musings (implicitly or explicitly) on the complexities of masculinity. War movies are similarly beloved, not only for their preoccupations with military tactics and geopolitical shifts, but also for their ground-level examinations of male camaraderie, bravery and loss. Fathers and grandfathers are drawn to sports movies for similar reasons: Beyond their explorations of friendship and teamwork, the subject matter makes them an easy complement to the televised games that they may well share screen time with on a lazy Saturday.
Setting aside those obvious designations, the boundaries and qualities of Dad Cinema become a tad more difficult to pin down. Dads love action movies, but not all action movies; unless he’s a child of the ’80s, your average dad isn’t automatically in the tank for the migraine headaches of “Transformers” movies. And though comic-book aficionados may still be on board, most dads simply don’t have the time, energy or interest to do all of the supplementary viewing seemingly required to understand, much less enjoy, the latest Marvel extravaganza. Dads favor straightforward action flicks, preferably with practical effects, real stunts and aging heroes like Harrison Ford and Liam Neeson, who feel like aspirational contemporaries.
Generational shifts, and the widening of the age and definition of a good Dad Movie, has perhaps most affected the action genre — simply because the ’80s and ’90s were a golden era of action cinema, and many of us Gen X and millennial dads came of age then. The heroes who led them were the kind of men we grew up watching and idolizing, whether we realized it or not: Our perceptions of what it meant to be a man, and how adults handled adversity, conflict and crisis, were shaped as much by the movies we watched with our fathers as they were by our fathers themselves. At 12, I wasn’t certain how much I wanted to be like my father when I grew up — but it felt like we both hoped, someday, to be as resilient as John McClane in “Die Hard” or as cool as Martin Riggs in “Lethal Weapon.”
And then, of course, there are the weepies. Open displays of emotion, despite the best efforts of the forward-thinking and willfully vulnerable among us, are still tied up in ancient binaries of masculinity and femininity. Some men value the opportunity to shed a tear, or even sob, while watching a favorite film — whether it’s prompted by an underdog winning the big game through sheer determination, the tragic death of a close friend taken too soon or a long-needed reconciliation of a father and son.
With those loose properties in mind, your correspondent — both a father myself and the son of a movie-loving patriarch — proposes a Dad Movie Canon, seeking to include the necessary genres, essential titles, and a handful of alternates.
‘Field of Dreams’
Perhaps the quintessential Dad Movie, Phil Alden Robinson’s 1989 adaptation of the W.P. Kinsella novel “Shoeless Joe” combines several key elements of a great Dad Movie: It is a valentine to baseball, it features multiple excuses to reach for a hankie (there are three moments that reliably make this viewer fall apart), it centers on a complicated relationship between a son and his late father, and it stars Kevin Costner, an easy inductee himself in the Dad Movie Hall of Fame.
ALTERNATIVELY: “The Natural” (rent on major platforms) is a similarly heartstring-pulling baseball fantasy, while “The Godfather” (major platforms) explores another complex father-son dynamic.
This 1986 drama is arguably the best of the sports underdog movies — and features a stellar lead performance by Gene Hackman, another shoo-in for the Dad Movie Hall of Fame. His work here as Norman Dale, the head coach of the Hickory Huskers, an Indiana high school basketball team, is magnificently dad-coded: unwaveringly honorable, enigmatic and taciturn, but (in the right circumstances) capable of both explosive emotion and unexpected warmth.
ALTERNATIVELY: Some dads prefer “Rudy” (streaming on Netflix), a similarly styled drama reteaming the “Hoosiers”’ director David Anspaugh and the screenwriter Angelo Pizzo, while those looking for a full-on sob will advocate for the football tear-jerker “Brian’s Song” (major platforms).
If you had to pick one western for inclusion, it would have to be George Stevens’s 1953 oater, notable not only for its magnificent Technicolor photography and Alan Ladd’s iconic turn as the title character, but also for his scenes with Brandon deWilde as little Joey Starrett. The unforgettable closing moments of their surrogate father-son relationship will move the most stoic dad to tears.
ALTERNATIVELY: Other father-favorite westerns include the freewheeling John Wayne classic “Rio Bravo” (major platforms) and the rowdily entertaining “The Magnificent Seven” (major platforms).
If we’re still carving out spots on that Dad Movie Mount Rushmore, space must be cleared for Tom Hanks, whose inherent decency, frequent father roles and twin obsessions with NASA and World War II make him the dad we’d all like to be. Those qualities are abundantly represented in Ron Howard’s 1995 docudrama about the miraculous rescue of the astronauts, including Hanks’s Jim Lovell, on the 1970 lunar mission. The quiet beat Ed Harris’s mission control commander takes at its conclusion, a shattered respite to wipe his eyes, may be the single most moving moment in all of Dad Cinema.
ALTERNATIVELY: The Hanks-penned “Greyhound” (Apple TV+ and other major platforms) is a more recent riff on these themes, while dads who love the intersection of space movies and male weepies will swear by Christopher Nolan’s “Interstellar” (major platforms).
In addition to war movies, dads love “men on a mission” movies, in which a seemingly disparate group of dudes comes together for a common cause, initially clash over tactics and personalities, but ultimately set aside their differences to pull off the operation with professionalism and class. (Heist movies like “Ocean’s Eleven” also fall under this rubric.) One of the first, and best, was this 1963 classic from the “Magnificent Seven” director John Sturges, with Steve McQueen and an all-star cast attempting a daring escape from a German POW camp during World War II.
ALTERNATIVELY: “The Dirty Dozen” (YouTube) is another essential World War II men-on-a-mission movie, while “Saving Private Ryan” (major platforms) throws Tom Hanks into the mix.
Tom Clancy is a standby of boomer Dad bookshelves, so it’s no surprise that we love the first screen representation of his signature character, the C.I.A. analyst Jack Ryan. As orchestrated by the “Die Hard” director John McTiernan, this 1990 pulse-pounder takes its submarine setting, Cold War conflict and techno-thriller tropes and squeezes them like a fist.
ALTERNATIVELY: “Crimson Tide” (major platforms) is an equally effective sub thriller, with Gene Hackman vs. Denzel Washington action to boot, while “Clear and Present Danger” (major platforms) is the best of the subsequent Jack Ryan adventures.
‘Blazing Saddles’
You can’t make a list of Dad Movies without accounting for dad jokes, and there are plenty of them to be found in Mel Brooks’s 1974 hoot, which is a particular favorite among fathers for a) its western setting, and b) the unforgettable and altogether inimitable campfire scene.
ALTERNATIVELY:“Airplane!”(major platforms) is another favorite source of dad jokes — find me a father who hasn’t dropped “Don’t call me Shirley” into casual conversation — while the raucous “Animal House” (Netflix) will prompt nostalgia among those who remember either its early ’60s setting or late ’70s release.
Russell Crowe is another unimpeachable figure in the world of Dad Cinema, and not just for his loud-and-proud love of maps. This 2003 epic from the director Peter Weir is adapted from Patrick O’Brian’s Aubrey-Maturin series of nautical historical novels — a good old-fashioned, Errol Flynn-style adventure on the high seas, with Crowe as a steadfast symbol of intelligence, bravery and loyalty.
ALTERNATIVELY: Crowe’s Oscar-winning turn in “Gladiator” (major platforms) scratches the same itch.
The miracle of Frank Darabont’s 1994 adaptation of Stephen King’s novella “Rita Hayworth and the Shawshank Redemption” — second only to “Field of Dreams” in the male weepie pantheon — is how it finds pathos and poignancy in the most unlikely of places. The last voice-over, from Morgan Freeman’s inmate Red, isn’t just the culmination of this prison story; it’s the simple but true articulation of male friendship at its most heartfelt.
ALTERNATIVELY: “Midnight Run” (major platforms) and “Butch Cassidy and the Sundance Kid” (major platforms) transcend their formulaic genre buddy-movie conventions to become memorable portraits of camaraderie and trust.
When it comes to the action movies of the ’80s and ’90s that are widely adored both by those who were fathers then and those who would become fathers, the Daddest of them all is James Cameron’s 1991 sequel to his 1984 hit, because it has a father-son relationship at its center. Sure, it’s a symbolic one — young John Connor (Edward Furlong) doesn’t have a dad around (long story), so the T-800 terminator (Arnold Schwarzenegger) who’s been sent to save him has to fill that role. But if a robot can learn to effectively love, care and protect a child, well, can’t we all?
We dove in, logged into MagneticSlots Casino, and reviewed every bonus banner, pop‑up, and email offer magneticslotscasino.eu.com. The brand positions itself as a hub for UK deal‑hunters, but we aimed to find out if that’s accurate. So we dug into the welcome bundles, no‑deposit spins, reload treats, cashback weekends, and the loyalty ladder—dissecting the fine print so you can decide whether these promos truly enhance your bankroll or just shine on the surface.
The Signup Bonus: A Captivating Opening or an Illusion?
You’re welcomed with a layered welcome package that covers your first few deposits. At first glance it seems generous, but the real story is in the match percentages, spin allocations, and, crucially, the playthrough hurdles. We scrutinized every clause to determine whether new UK players are receiving a boost or a burden.
Matching Deposit and Free Spins Combo
The signup package spreads across three deposits. Deposit one usually gives you a 100% match up to £200 and 50 bonus spins on a featured slot. Deposits two and three then each unlock a 50% reload up to £150 plus additional spins, often linked to different games. We liked the variety: you get to sample several titles without spending your own money. In total, the bonus funds can reach £500, which is competitive for a medium‑sized casino chasing UK thrill‑seekers. But the spins don’t come all at once; they come as a gradual distribution, maybe 25 per day. That gradual release keeps you logging in but also forces you to clear wagering across multiple sessions.
Playthrough and Time Constraints
Here the gloss starts to fade. The deposit bonus comes with a 35x wagering requirement on the bonus amount, about average for the UK. Free spin winnings, though, carry a steeper 40x playthrough, and you’ve got only seven days to clear all rollover demands before the bonus and any derived winnings expire. We timed it and found that restrictive for casual players who can’t commit daily hours. Game contributions are uneven: slots count 100%, while table games and video poker dip to 10% or even zero. So you can’t quickly blast through wagering on blackjack, a frustration we’ve seen before. Stick exclusively to slots and the terms are manageable, but we’d prefer the clock extended to 14 days.
The VIP System: Loyalty Points and VIP Benefits
Beyond one‑off promos, MagneticSlots maintains a five‑tier loyalty system that rewards consistent play. We gathered points over several sessions to see how quickly the perks appear and whether the average UK player can feasibly climb the ladder.
How Comp Points Add Up
You earn one comp point for every £10 wagered on slots. Table games demand £50 for the same point. Gather 100 points and you can exchange them for £1 in bonus credit—that’s a 0.1% return on slots, below the industry average of 0.2% to 0.3%. Points never lapse as long as you log in once every six months. We turned our points into bonus cash and faced a low 15x wagering requirement, more favourable than the main bonus terms. It’s a slow burn, but for regulars it adds a steady drip of extra value.
VIP Benefits and Personal Managers
The top two tiers grant a dedicated account manager, faster withdrawals, and monthly cash drops tied to exclusive tournaments. We talked with three VIP members who confirmed payouts come through in under 12 hours and that the manager personalises bonus offers to their favourite games. The invitation is by invitation only, based on monthly deposit activity, and the casino told us the typical threshold begins around £2,000 in cumulative deposits. That shuts out casual players, but for high‑volume UK slot enthusiasts the VIP treatment enhances the experience.
How MagneticSlots Compares with UK Bonus Standards
We measured MagneticSlots promotions versus the usual UK casino environment. The 35x wagering on deposit matches is exactly in line with most mid‑range providers, although the 40x on free spin winnings leans a bit steeper. Whereas MagneticSlots underperforms is the one‑week completion window; many UK sites now give 21 or even 30 days. The £2,000 max withdrawal cap on bonus funds also appears constrictive when some competitors set no cap on at all. On the flip side, the cashback programme with a small 20x wagering surpasses plenty of rivals that demand 40x on returns. Payment speed in the VIP tier impresses, but standard players should look forward to the standard 48‑hour e‑wallet wait. Overall, the promos sit in line with industry norms without blowing them away—a stable middle ground rather than any headline‑grabbing disruption.
Free Free Spins: A Risk‑Free Gateway?
Sometimes the casino releases a no‑deposit batch of 10 to 20 free spins on registration, just requiring phone verification. We grabbed the offer to see if it genuinely allows you test the waters. The idea is great for UK players looking for a risk‑free taster before depositing. But the reality lands laced with conditions that trim the upside heavily.
We used the designated slot and built a tiny real‑money balance almost instantly, but then we encountered the cashout cap. The most you can withdraw from no‑deposit winnings is £50, and any surplus evaporates when you request a payout. Plus, you have to make a qualifying deposit before they’ll even process a withdrawal. That deposit is usually just £10, but it means free isn’t truly free. We like the test‑before‑committing vibe, but the withdrawal roadblocks left us feeling a bit let down.
Here’s a quick summary of what we liked and disliked about the no‑deposit route:
No financial risk to sample real slots
Quick registration and verification
Gains are restricted at £50
Compulsory deposit before cashout
Tough 40x wagering on spin returns
Available only on one pre‑selected game
Reload Bonuses and Cashback Deals: Sustaining Extended Play
Once the welcome glow fades, MagneticSlots keeps things running with a lineup of deposit bonuses and cashback promotions. We tracked these for three weeks to separate the valuable from the excess that crowds your inbox.
Recurring Top-Up Promotions
Every Monday and Friday, depositing players can secure a 50% match up to £100. Monday’s offer often bundles 25 extra spins on a featured slot, while Friday’s reload typically stands solo. We tried both and found the playthrough consistent at 35x, same as the welcome bonus. You claim it with a bonus code from the promos page. The £100 cap is constrained for high rollers, but for budget‑conscious UK punters it delivers genuine extra play money each week.
Cashback Weekend Mechanics
The weekend cashback refunds 10% of net losses every Monday, paid as bonus credit with a modest 20x wagering requirement. We analysed the figures: a £300 losing weekend sends £30 back as a safety net. The cashback appears automatically by noon on Monday, and you have 72 hours to take and wager it. Importantly, the refund only counts slot losses, leaving out live casino and table games. It’s a solid cushion, though we’d choose real cash with no playthrough strings. It softens a rough Saturday night.
Essential Terms You Need to Check Before Claiming
In every promotion we reviewed, a number of persistent restrictions determined the real worth. Ignoring them can change a promising bonus into a disappointing experience. We distilled the most significant clauses that UK players should engrave on their memory before clicking “Claim.”
Maximum bet during wagering: £5 per spin. Surpass this and the casino voids winnings ruthlessly.
Game contribution weights: Slots 100%, roulette and blackjack 10%, video poker 5%, live casino 0%.
Prohibited games: Bonuses are cancelled if you play progressive jackpots or any restricted title listed in the terms.
Withdrawal cap on bonus winnings: No‑deposit offers cap at £50; welcome bonus conversions cap at £2,000.
Only bonus per household: Shared IP addresses trigger instant forfeiture.
Playthrough deadline: Standard bonus funds expire after 7 days; cashback after 3 days.
Our Verdict: Is the Attraction Authentic?
We convened with our spreadsheets and session logs and reached this: MagneticSlots Casino promotions offer genuine, if modest, value for UK players who prefer regular slot sessions. The welcome package holds up decently, the reloads are reliable, and the weekend cashback truly softens losses. The no‑deposit spins, significantly constrained as they are, still give you a free glimpse inside the casino lobby. The loyalty programme only rewards the committed, but its lighter wagering conversions are a plus for high‑volume players.
We’d favor a higher max bet and longer wagering clocks, because the current timers punish slower players. If you can fulfill bonuses inside a week and stay only to slots, the numbers move in your favour. Casual players who appreciate table games will find the contributions too punishing; they’re better off funding without claiming bonuses. For slot fans, the steady reload loop and cashback cushion keep the reels turning longer than they might otherwise.
So, are MagneticSlots promotions worth taking? We’d say yes—if you start with your eyes wide open. Read every condition, set a clock, and never hunt losses with bonus money. When you follow that, the appeal feels real and the value slots into place.
FAQ
Can you explain the MagneticSlots Casino welcome bonus wagering requirement?
This bonus has a 35x wagering requirement on the bonus amount. Free spin winnings from the welcome offer carry a 40x playthrough. Both must be cleared within seven days. Slots count 100% towards wagering, but table games and video poker contribute far less, so sticking to slots is the quickest way to convert the bonus.
Is it possible to withdraw no‑deposit free spin winnings immediately?
No. Even once you clear the 40x wagering, withdrawal is not possible until you deposit real money of at least £10. On top of that, a strict £50 max cashout is applicable to all no‑deposit winnings; any surplus above the cap is taken away when you cash out. This rule lets the casino limit its exposure while providing you with a taste of real‑money play.
Is there cashback for UK players?
Yes, the weekend cashback offers 10% of net slot losses up to a set threshold. The refund arrives on Monday as bonus credit with a 20x wagering requirement. You need to use and wager it within 72 hours. Live casino, table games, and sports losses don’t count—only slot action affects your cashback amount.
Can I join a VIP programme and how do I join?
MagneticSlots has a five‑tier loyalty programme tied to comp points you accumulate through real‑money play. Entry levels occur without action, but the top two VIP tiers are invitation‑only. Invitations depend on consistent monthly deposit and wagering activity, with the typical threshold around £2,000 in cumulative deposits. VIP members enjoy personal managers, faster payouts, and exclusive bonus drops.
Which titles are banned from bonus play?
All progressive jackpot slots are excluded, plus a regularly updated list of specific titles. If you use them on an active bonus, your bonus and any winnings get voided. You’ll find the full excluded list in the general promotional terms. Check it before you spin to prevent accidental forfeiture.
What is the withdrawal processing time at MagneticSlots?
Standard withdrawals remain in a pending queue for 24 hours, then e‑wallet transfers arrive within another 24 hours. Card and bank transfers may take three to five business days. VIP players get faster processing, often under 12 hours. All withdrawals need verified ID and no active bonus wagering remaining on your account.
For my 50th birthday, I bought a Toyota Corolla. Wait. Is my midlife crisis car really a Corolla, the best selling and most boring model of all time?
Well, yes. And no.
I have “modded” it, or in layman’s terms, modified the stock components and tuned the engine. This is not your aunt’s Corolla. When I hit the gas, the car pulls hard and the engine buzzes as if it’s powered by a hive of killer bees.
I get thumbs-ups from Mustang drivers and cool head nods from Challenger owners. My favorite is when kids at red lights ask me to rev the engine like I’m F1 driver Lewis Hamilton.
Probably a lot of my drive-by admirers are fans of the movie “The Fast and the Furious,” which was released 25 years ago this month. Fans of modified Japanese import cars, like me, have a love-hate relationship with the $7 billion “Fast and Furious” franchise. On one hand, the movies helped popularize modified Japanese cars. People all over the world fell in love with them and the import car culture they publicized.
On the other hand, the movies left out so, so much of the story.
In Southern California in the mid-1990s and early 2000s, people lived, for the most part, phone-free. The internet was nascent — a repository for flyers and ’zines — and most websites looked like Tetris.
The fashion was baggy everything for guys and short shorts, midriffs and little backpacks for girls. The hair was outrageous. And the cars, especially Japanese import cars, had reached the pinnacle of automotive engineering.
During this era, I was in college at UCLA. I saved up and bought a red 1989 Honda CRX Si. It also had a slick five-speed manual transmission, peppy engine and nimble steering. That car got me to work and through college, and from the mountains of California to the border of Oregon. It probably helped me get girlfriends. It consoled me through breakups. It helped me move to the San Francisco Bay Area for my first grown-up job.
And then, stupidly, I sold it, and all the precious memories it carried.
Now when I hit a loopy freeway interchange at night and my GR Corolla carves through the turns, it’s 1996 and I’m cruising in my CRX, getting pho in San Gabriel or rushing to a flyer party at Naga in Long Beach. That’s the magic of certain cars. A regular car takes you from place to place. A special car takes you back in time.
To be completely honest, I bought the CRX to fit in.
The ’90s import car scene was as diverse as Southern California. But there’s no doubt it started with Asian Americans (specifically Japanese Americans in the South Bay city of Gardena) who were influenced by modified car culture in Japan. Soon, Asian American kids all over the region were taking their inexpensive, underpowered four-cylinder, front-wheel-drive Honda Civics (our parents preferred Japanese reliability over American muscle) and turning them into street rockets.
Not only were they building race cars from scratch, they were also building one of my first experiences with a collective Asian American identity: one that wasn’t overtly about politics and activism, or immigration and assimilation. It was about Asian American joy. It was Chinese, Japanese, Korean, Filipino and Vietnamese Americans building cool-looking, fast cars. It was kids stereotyped as nerds going to parties where the awful stereotype of Long Duk Dong from “Sixteen Candles” was shredded into rubber and obliterated by exhaust blasts.
At the time, the Asian Americans we saw in the mainstream media were negligible or offensive, especially for Vietnamese Americans like me. But in import car culture, I saw, for maybe the first time, Asian guys and Asian girls in a centered and even glamorous light.
We made our own cars and our own car shows. We raced each other and then got fast (with turbos, superchargers and nitrous oxide) and raced others. And we won. We published our own magazines, built our own automotive businesses and, for good and bad, promoted our own outlaw street racer image and our own beauty standard. In those 1990s clubs and car shows, you could see and feel that Asian Americans weren’t assimilating culture. We were creating it.
“The Fast and the Furious” picked up on that. Based on a 1998 Vibe magazine article about street racing import cars in New York, the film was transplanted to Southern California. But it got so many details glaringly wrong. Its street races looked like street raves on major, four-wide roads packed with pedestrians. The races of our scene were clandestine, underground events in industrial, under-policed areas, where cars faced off two at a time.
But the most egregious and inexcusable Hollywood crime to me is that “The Fast and the Furious” whitewashed Asian Americans, the creators of this world, out of starring roles. The Korean American actor Rick Yune appears in the movie, sure — but he plays the villain, Johnny Tran, a guy who hates Vin Diesel’s Dominic Toretto for a crime deal gone bad (understandable) and for sleeping with his sister (ditto). Of course, in a tradition that goes back to “Madame Butterfly” and “Miss Saigon,” Tran dies at the end, shot dead by the blond-haired, blue-eyed hero, Paul Walker’s Brian O’Conner.
A few months ago, seeking a mechanic to mod my Corolla, I was referred to an auto shop in Garden Grove aka Little Saigon. The guy who sent me asked me, “Do you even know who’s working on your car?”
“No,” I replied.
He told me the name, and I Googled it.
Apparently, back in the ’90s, this Vietnamese American mechanic from Orange County had one of the fastest Honda Civics in the world. A true OG of the import car scene modified my car with his own hands. What an honor, and what a connection to the past.
This import car story ends in a full poetic justice circle. As a pioneer and legend of the real-life import car scene, my mechanic wasn’t the villain. He was the hero. He was the fastest, and his car was the most furious.
That’s the heart of my GR Corolla journey. Asian Americans created import car culture. We all deserve to be the hero of our own story.
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James Gunn’s crossover plans for the DCU look quite different from how Marvel Studios built the MCU, and they could be a game-changer. Gunn and Peter Safran took over as co-studio heads of DC Studios in 2022, and since then, they’ve quickly scrubbed the slate clean of the majority of the DCEU and forged ahead with plans for a new DCU. With a fresh start and the benefit of hindsight regarding the MCU and DCEU, Gunn and Safran are free to try something new with their DCU, and they’ve already made some radical decisions.
Marvel Studios gradually introduced its crossovers in the MCU, beginning with solo projects for heroes like Iron Man, Thor, and Captain America, set in the same world and sometimes linked by a post-credit scene. It took five movies before Marvel Studios did a full-blown crossover in 2012’s The Avengers, which brought together the stories of each of its individual heroes into a team.
James Gunn did something significantly different when launching the DCU, making the first project, 2025’s Superman, a crossover film from the get-go. Superman was mostly focused on David Corenswet’s introduction as the Man of Steel, but it also included appearances from Hawkgirl, Green Lantern (Guy Gardner), Mr. Terrific, and Supergirl, some of whom were very significant to the plot. The intention was clear: the new DCU isn’t going to wait to do crossovers.
DC Studios’ strategy still shares some similarities with Marvel Studios. Solo projects have been commissioned for the likes of Supergirl and Green Lantern (in Lanterns), but the difference here is that these projects are also openly embracing crossovers with the wider DCU, rather than reserving them for a post-credits tease.
DC Studios
Supergirl features the return of Milly Alcock as Kara Zor-El, Superman’s cousin who appeared briefly at the end of Superman. Superman is returning the favor in Supergirl, with Corenswet appearing as his DC hero at points in the film, which continues to cement Supergirl as a DCU film. Supergirl will also seemingly set up Kara for future appearances in the DCU, with Variety reporting that Alcock is gearing up to return as Supergirl in the next major DC crossover movie: Man of Tomorrow.
Then there’s Lanterns, the HBO Max series that introduces audiences to the Green Lanterns, Hal Jordan (Kyle Chandler) and John Stewart (Aaron Pierre). While the series is mostly focused on the dynamic between this pairing, Nathan Fillion’s Guy Gardner, the Green Lantern in Superman’s Justice Gang, also makes an appearance, connecting the two projects.
HBO
On top of that, Aaron Pierre has been confirmed to return in Man of Tomorrow, making Lanterns another must-watch to see the hero’s origins before his major DCU crossover appearance.
HBO
Even a project like Peacemaker, which was established initially in the DCEU and has carried over into the DCU with its second season, is playing an integral role in DC Studios’ crossover plans. John Cena’s character made a brief cameo in Superman last year, before Justice Gang members Hawkgirl and Guy Gardner crossed over to appear in Season 2 of the HBO show. On top of that, the plot of Peacemaker Season 2 has big implications for the future of the DCU, particularly with the reveal of Salvation, the metahuman prison.
HBO
Things are all heading toward one place: Man of Tomorrow. While technically a Superman sequel, Man of Tomorrow is looking more and more like a Justice League film, with appearances from Superman, Supergirl, Green Lantern, and the Justice Gang confirmed. It will be the first major crossover title in the DCU that ties in heroes established in separate projects like John Stewart and Kara Zor-El, and it’s happening much faster than in the MCU.
Where Marvel Studios took five years and five projects to establish a major crossover in the MCU, the DCU is getting there much more quickly. Gunn is ensuring a balance between solo and crossover projects, but even those dedicated to a single hero still maintain clear ties to the broader story that the DCU is telling.
The one question mark at this point is Clayface, the DCU film focusing on the notorious Batman villain. It’s unclear if or how the October 2026 movie will connect to the wider DCU, but even if it doesn’t, this is still a powerful move from DC Studios, as it shows that the new studio can have strong, completely individual projects that exist alongside those that are integral to building out the superhero universe.
The DCU’s Interconnectivity Is A Game Changer
DC Studios
While Marvel Studios has been known to crossover its heroes in projects that aren’t just Avengers films, such as Captain America: Civil War and The Marvels, it doesn’t do so as often, and it definitely didn’t do so as quickly as the DCU has. It took until Phase 3 of the MCU for there to be significant crossovers or team-up movies outside of Avengers movies, whereas the DCU is doing it with just its fourth live-action movie.
James Gunn worked on the Guardians of the Galaxy trilogy in the MCU, thus he saw firsthand what it meant to work in a cinematic universe, including its positives and negatives. So now, when it comes to constructing his own in the DCU, one of the key takeaways seems to be making every project more connected, rather than waiting for significant milestone crossovers like a Justice League film.
One benefit is that it makes every DCU project feel essential viewing. Where some viewers might be tempted to skip a project, setting up various narrative elements or including certain characters makes every story integral to the DCU. This is a double-edged sword, however, as viewers may feel that watching every project is homework and end up overwhelmed–a common sentiment in the MCU.
Man of Tomorrow will be a big litmus test to see whether the DCU’s strategy is working. With so many heroes coming together from different interconnected projects, it will be interesting to see how audiences respond to Man of Tomorrow, particularly as several DCU projects will have been released by then. Man of Tomorrow could draw more attention thanks to its crossover elements, or it could be met with frustration from viewers who already feel there’s too much homework across the DCU.
Warning: The following contains spoilers for House of the Dragon Season 3, Episode 1, and Fire & Blood
House of the DragonSeason 3 roared back onto our screens this week with its depiction of the Battle of the Gullet, a pivotal event in the Dance of the Dragons. Known as the bloodiest sea battle in Westerosi history, it’s rife with significant losses for both Team Black and Team Green. Per George R.R. Martin’s Targaryen compendium, Fire & Blood, the Battle of the Gullet was a tactical win for Team Green and a strategic victory for Team Black.
However, it’s the death of Jacaerys Velaryon (and RIP to that sweet baby dragon Vermax) that fundamentally changed Rhaenyra Targaryen in the source material. It “hardened her, burning away her fears, leaving only her anger and her hatred.” This shift certainly informed her choices in the Dance until its brutal end. While the series could go this route with Rhaenyra, it’s the manner in which Jace died in the Season 3 premiere that is a massive departure from the book. We won’t see it now, but this change will have major repercussions down the road, affecting one crucial storyline on the horizon.
Rhaena and Sheepstealer Weren’t Inadvertently Responsible for Jace’s Death in ‘Fire & Blood’
HBO
In Martin’s book, a 16-year-old girl named Nettles claimed Sheepstealer during the Red Sowing on Dragonstone. Nettles did participate in the Battle of the Gullet astride Sheepstealer, as did Addam on Seasmoke, Hugh on Vermithor, and Ulf on Silverwing (no, the dragonseeds weren’t chilling on the Isle of Faces, waiting for Aemond and Vhagar). While House of the Dragon incorporates a familial element by having Jace try to shield Baela and Moondancer from the wild Sheepstealer’s attacks, nothing of the sort happened in Fire & Blood. In the book, one account claimed that a grapnel from a Myrish galley plunged into Vermax’s belly, setting off a tragic chain of events that saw the poor dragon crash into a burning ship, become entangled in its rigging, and sink to the bottom of the sea with it. As for Jace:
“It is said that Jacaerys Velaryon leapt free and clung to a piece of smoking wreckage for a few heartbeats, until some crossbowmen on the nearest Myrish ship began loosing quarrels at him. The prince was struck once, and then again. More and more Myrmen brought crossbows to bear. Finally, one quarrel took him through the neck, and Jace was swallowed by the sea.”
The Nettles of It All – and What That Means for ‘House of the Dragon’
Matt Smith and Emma D’arcy star in ‘House of the Dragon’ Season 3HBO
Rhaena and Sheepstealer didn’t distract Jace in the source material. It seems like, more or less, that Rhaena is assuming Nettles’ storyline in Season 3. In the book, it was rumored that Nettles and Daemon were lovers (the age gap is icky, to be sure), but there were also claims that she was his bastard daughter. Regardless, Nettles drove a wedge between Rhaenyra and Daemon. After Rhaenyra seized King’s Landing and the Iron Throne, she grew increasingly paranoid, especially after Hugh and Ulf betrayed her at Tumbleton (I told you there would be spoilers).
In a conversation between Rhaenyra and Mysaria, Addam and Nettles’ loyalty came into question: “The White Worm raised her eyes and said in a soft voice, ‘The girl has already betrayed you, my queen. Even now, she shares your husband’s bed, and soon enough she will have his bastard in her belly.’ Then, Queen Rhaenyra grew most wroth, Septon Eustace writes.” After demanding that the Gold Cloaks arrest Addam and “question him sharply,” Rhaenyra declared that Nettles had Daemon under her spell, as it were. At this point in the story, Daemon and Nettles were hunting for Aemond and Vhagar, and they were in Maidenpool. Rhaenyra issued an order for Lord Mooton:
“Therefore, let a command be sent at once to Maidenpool, but only for the eyes of Lord Mooton. Let him take her at table or abed and strike her head off. Only then shall my prince be freed.”
Daemon and Nettles end up reading Rhaenyra’s letter, leading them to part ways. Then, Daemon sat vigil in Harrenhal until Aemond arrived, and … if you’ve read the book, you know what happened above the Gods Eye.
By giving Rhaena this storyline, House of the Dragon is removing the crux of the conflict between Rhaenyra and Daemon in the latter part of the Dance. Not to mention, Nettles is a fascinating character that fans have been waiting to see on screen. The writers are erasing Nettles, along with an already established discord between two crucial characters, in favor of another departure from Martin’s source material.
Could the Powers That Be use Rhaena’s claim of Sheepstealer to mend her relationship with Daemon? Perhaps. Could Rhaena’s accidental contribution to Jace’s death impel Rhaenyra to demand her head on a spike? Maybe. But why mess with what’s already on the page?
A new image shows a nighttime scene in Vice City, with boats cruising through the water. Based on the ferris wheel in the background, this looks like GTA 6’s take on the port of Miami.
That also tracks with the dockyard and shipping containers that can be seen in the image. Multiple planes/helicopters can be seen cruising overhead as well. It’s all very GTA.
A new look at Vice City.
If you visit the GTA 6 website, you can see an extended version of this video clip (below) that also shows people playing tennis on a lit court and a tall apartment building with construction going on.
To be sure, this is just one piece of Vice City’s map, as the game will let players explore lots more of Vice City and the surrounding areas of Leonida, which is GTA 6’s stand-in for Florida. Just how far into Florida people will be able to go is unknown, but some are hoping to see a GTA parody of Disney World.
Although Rockstar has confirmed when GTA 6 preorders go live, the company did not say when specifically people can place an order or what the game will cost. It’s also worth noting that June 25 is for digital preorders and preorders at “select” retailers. Keep checking back with GameSpot for more.
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The South Korean box office experienced a leadership shift during the weekend of Jun. 19–21, as Disney and Pixar’s “Toy Story 5” captured the number one position.
According to data from KOBIS, the tracking service operated by the Korean Film Council, the Hollywood heavy-hitter generated $4.8 million from 713,071 admissions over the three-day frame, securing a powerful 57.64% share of the weekend market. Since its wide theatrical rollout on Jun. 17, the family blockbuster has pulled in a swift cumulative gross of $5.9 million from 872,552 admissions.
The arrival of the animated heavyweight pushed local action-horror feature “Colony” down to second place after a month-long residency at the peak of the charts. The Yeon Sang-ho zombie thriller drew $1.2 million from 188,674 admissions over the frame, taking its cume to $37.8 million from 5,527,523 total tickets. Starring Jun Ji-hyun, Koo Kyo-hwan, and Ji Chang-wook, the movie documents an intense breakout attempt inside a mall overrun by a fast-evolving hive-mind virus.
1990s retro music comedy “Wild Sing” captured third place on the chart, pulling in $863,871 from 133,556 admissions over the three-day window. Directed by Son Jae-gon and starring Gang Dong-won, Uhm Tae-goo, and Park Ji-hyun, the film tracks a faded first-generation K-pop co-ed dance trio making a reckless attempt to stage a comeback two decades after a plagiarism scandal dissolved their careers. The title has crossed the one-million-admissions milestone, accumulating a total local gross of $6.9 million from 1,100,567 tickets since its June 3 release.
“Backrooms” placed fourth, filtering in $473,822 from 65,895 admissions. Directed by Kane Parsons, the horror feature has extended its local footprint to a total cume of $7.5 million from 1,086,767 admissions.
Horror-thriller “The Shrine” opened in fifth place, drawing $144,325 from 20,311 admissions. Helmed by Japanese filmmaker Kazuyoshi Kumakiri, the cross-border co-production stars Kim Jae-joong as a stylish urban shaman who travels to an abandoned place of worship in Kobe, Japan, alongside a partner played by Gong Seong-ha to investigate the mysterious disappearance of three university students. Since its mid-week premiere on Jun. 17, the thriller has earned a total cumulative gross of $224,835 from 33,421 tickets.
Steven Spielberg’s “Disclosure Day” was in sixth place, pulling in $121,777 from 18,093 admissions over the weekend to take its local total tracking cume to $1.7 million from 243,252 viewers.
Musical biopic “Michael” claimed seventh place with $80,830 from 11,507 admissions, pushing its South Korean gross to $11.5 million.
Rounding out the bottom rungs of the top 10 were a re-release of John Carney’s 2014 musical romance “Begin Again” in eighth place, which drew $82,976 for a historic local cume of $19.3 million, the Kore-eda Hirokazu drama “Sheep in The Box” in ninth place with $56,176 for a total cume of $376,865, and Carney’s 2016 musical feature “Sing Street” in 10th place, which added $39,905 to stretch its historical local lifetime cume to $3.1 million.
The overall market collective gross for the weekend was $8 million, a marked improvement over last week’s $5.4 million.
The UK has been plunged into yet another political crisis as Prime Minister Keir Starmer resigns under intense pressure from his fellow lawmakers, Nigel Farage‘s Reform UK and the wider electorate.
With his poll ratings rendering him one of the most unpopular Prime Ministers of the century, Starmer has become the sixth British PM to resign from their position rather than losing at an election in the last 10 years.
His Labour Party will now need to select a new leader to lead the country.
Speaking in front of Downing Street this morning, an emotional Starmer said: “I have spoken to His Majesty the King this morning to inform him of my decision. I will ask the National Executive Committee of the Labour Party to set out a timetable with nominations opening on the ninth of July and completed by the summer recess. This will ensure a new leader is in place before Parliament returns in September.”
Starmer confirmed that he will “remain in post as Prime Minister until the contest is complete.”
Political parties in the UK can replace their leaders, including Prime Ministers, during their terms through internal elections. These elections can be enacted if enough members of a party lodge votes of no confidence in the leader. In this instance, the National Executive Committee of the Labour Party will launch a leadership contest and the winner will become the Prime Minister.
General elections take place every five years in the UK. The new Prime Minister and Labour leader will not be required to call one. The next general election is set for 2029.
Starmer’s political authority has been shot for some time, largely thanks to a series of damaging self-made mistakes, such as the decision to appoint Peter Mandelson as the UK Ambassador to the United States despite his intimate relationship with Jeffrey Epstein. Mandelson was removed as Ambassador and arrested on suspicion of misconduct in public office following revelations uncovered in the Epstein files. Starmer’s exit was all but confirmed late last week following the result of a by-election in the Manchester constituency of Makerfield.
Labour’s candidate Andy Burnham won the election, but his campaign was pitched as a referendum on Starmer’s leadership. Burnham, a Labour Party veteran and the former Mayor of Manchester, is now widely considered to be the favourite to replace Starmer. Burnham is set to travel to London today and officially take up his seat as MP for Makerfield.
In a Truth Social post this weekend, U.S. President Donald Trump predicted Starmer’s resignation, telling his followers that Starmer failed on immigration.
“He failed badly on two very important subjects- IMMIGRATION AND ENERGY (OPEN NORTH SEA OIL!). I wish him well!” Trump wrote.
Miksi suomalaiset valitsevat Respinin ja miten se heijastuu pelikokemukseen
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A jury of hip-hop icons scours cities like Rome, Milan, Naples and Genoa for Italy’s next rap star in this competition with a mic-dropping €100,000 prize.
Age Ratings
Certificate:Suitable for ages 15 and up
Release Details
Year: 2026
Duration: 3 Seasons
Available Seasons: Season 1 (8 Ep), Season 2 (8 Ep)
Status: Returning Series”Rhythm + Flow Italy” is a TV show produced by Fremantle Italia. The show was originally broadcast on Netflix and premiered on February 19th 2024. So far there have been 3 seasons (comprising of 25 episodes) of “Rhythm + Flow Italy”. The most recent episode aired on April 14th 2025 and more seasons are expected in the future.
In an era where the path to launching an indie film career is murkier than ever, everyone has a different suggestion about building an audience for your first project. Some people still swear by the festival circuit, while others insist it’s all about building a YouTube or TikTok audience first. There’s some truth to both of those answers, but Jocelyn Catt, Genu Lee, and Marco Bizio’s “Valley Daze” is proof of a viable third option that might be the best of all: putting the community first.
The independent TV pilot, which was filmed for a $30k budget in 2023, tells a “Clerks”-esque story about a group of skaters, drug dealers, influencers, artists, and wallflowers navigating a week of tumultuous youthful antics in the San Fernando Valley. But while the writing and performances are enjoyable, it’s most notable for its regionally specific details that could have only been crafted by people who grew up there.
The “Valley Daze” project is a collaboration between 100 Los Angeles locals who met each other at high schools around the San Fernando Valley. The film exists because of a crowdfunding campaign in which they pooled their resources with the hope of creating a comedy project that reflects the quirks of their neighborhoods.
That community-first ethos has powered its unique distribution strategy as well. The pilot, which hails from executive producer David Dastmalchian, has eschewed festivals or online distribution in favor of packed local screenings around the Valley. The project even attracted the attention of the Los Angeles City Council, which came on board to host a sold-out screening on Friday night with the hope of encouraging more intimate, community-based film projects to emerge in the area.
The event was spearheaded by Los Angeles City Councilmember Adrin Nazarian, who represents the East San Fernando Valley in Council District 2. On a call with IndieWire, he explained that he saw “Valley Daze” as a chance to remind the city that championing small filmmakers in the infancy of their careers is just as important as supporting massive studio projects.
“I was so impressed by the crew from ‘Valley Daze.’ These people for the most part are all Valley-based, Valley-grown. There was a common bond between each one of them across the school boundaries. They came together in their early 20s and made something really amazing,” Nazarian said. “You want to continue to foster that. Not only for that talent to be seen and to be recognized, but you want to nurture it so that it continues to grow here.”
He continued, “Where does a giant, almond-producing tree come from? It comes from one little seedling. When you give that chance, when you nurture it, when you do all the things necessary to make that little seedling thrive, it’s going to do a lot more. And that’s something we should never lose sight of.”
It remains to be seen what’s next for “Valley Daze.” More episodes could certainly be in the works, and its creators remain interested in developing it into something bigger. But whatever the case, there will be a packed house tonight of Valley locals who want to show what the project means to them. Every independent filmmaker should be so lucky.
The “LA City Council Presents: Valley Daze” screening takes place on Friday, June 19 at 6pm P.T at the El Portal Theater.
The 28th Shanghai International Film Festival closed June 21 with its clearest statement yet on what the industry values most: new voices, deep pipelines, and an embrace of artificial intelligence that it insists will complement rather than displace the humans making films. Whether the industry believes that last part is another matter.
Debut Directors Had the Night — in Both Directions
When Zhong Kaifeng’s “Atlantic Rhapsody” claimed best feature film at the Golden Goblet Awards, it completed a sweep that no one had mapped in advance but felt, in retrospect, inevitable. The film – a loose, time-skipping portrait of a young man searching for his father against the freewheeling capitalist churn of late-1990s Northeast China – also won best cinematography for Hao Jiayue, whose previous work includes “A Song Sung Blue.” It is Zhong’s debut feature.”
The Asian New Talent section told the same story. Gong Yiwen’s “Her First Taste,” a campus-set identity film developed with support from the SIFF Project over the past three years, won both best film and best actress for lead Ma Fufu. Sompot Chidgasornpongse’s “9 Temples to Heaven” – the Thai director’s Cannes Directors’ Fortnight title – was a double winner in the section. Apart from the best screenplay prize, which went to “Hunter’s Moon,” every Asian New Talent award went to a debut feature.
That the two competition sections arrived at the same conclusion independently is less a coincidence than a signal. The jury, led by Tony Leung Chiu-wai in his first outing as a Golden Goblet competition president, was clearly reading the room – an industry thirsty for fresh creative energy in a market that has been dominated by established names.
The Pipeline Is the Point
Shanghai’s investment in new talent extends well beyond the competition program, and the 28th edition made that infrastructure more visible than any previous year. The festival’s Three-Pillar system – SIFF Project for project incubation, SIFF ING for emerging filmmakers, and SIFF YOUNG for industry-facing talent development – now operates as a structured ladder from idea to international exposure.
SIFF YOUNG unveiled its class of 2026, nine filmmakers selected from 59 applicants spanning directing, producing and screenwriting. Nominations came from established names including Jia Zhangke and Jojo Hui; the final-round jury was chaired by Wen Muye, himself a SIFF YOUNG alumnus from 2023. “The young creators we have selected boast outstanding talent and diverse styles,” Wen said. “They combine solid professionalism with independent thinking.”
Meanwhile, SIFF ING’s new Mobile Filmmaking Camp concluded with 10 short films shot entirely on iPhone by emerging Chinese directors, screened both on-site in Shanghai and online. The camp provided each participant with professional iPhone filmmaking equipment, production funding and technical mentorship across the full production cycle. It is the kind of initiative – small in scale, deliberate in design – that distinguishes SIFF from festivals that treat talent development as a press release rather than a program.
AI Is Everywhere, and the Jobs Question Won’t Go Away
Shanghai embedded AI more deeply into its main program than any previous SIFF edition – running dedicated workshops spanning image creation, audio tuning, AI writing and legal tutoring, and partnering with generative AI company MiniMax as an institutional collaborator. AI film showcases and AI-welcoming studio launches ran throughout the festival’s 10 days.
At the SIFForum panel on “Smart Tech, Immersive Worlds, The Next Film Revolution,” speakers identified three core challenges: computing power, distribution and the ability to direct generative video AI with precision. Yan Yijun, VP of AI foundational model builder MiniMax, called compute the “absolute core” of the problem. “For a generative video model to achieve greater fidelity, what you really need is greater computing power to repeatedly refine and experiment,” Yan said. “The more you experiment, the better to train certain aspects more effectively.”
The pace of change on the ground is already striking. One AI-first company that spoke with Variety at the festival disclosed that it had completed shooting a 120-minute live-action period epic in seven days, using AI background replacements, relighting and VFX work, with crew members standing in for performances that were later replaced by AI-generated actors. Panellists at AI forums throughout the festival repeatedly insisted that generative AI would be complementary to human creativity rather than a substitute for it. The anxiety in the room suggested the industry is not yet convinced.
China Wants the World — but the Red Tape Is Real
Unlike many festivals in China, which can be inward-looking in programming and industry focus, SIFF leans hard into its international standing. The 2026 edition drew more than 420 films selected from around 4,100 submissions across 125 countries, with managing director Chen Guo describing selection as guided by “the values reflected in each work and its premiere status,” alongside considerations of geographic representation and diversity of filmmakers by gender and generation.
The Belt and Road Film Festival Alliance, which the festival established in 2018, now counts 55 members from 48 countries. Chen described the initiative as transforming “cultural showcases into in-depth, long-term industrial cooperation.” A dedicated Egyptian Film Week marked the 70th anniversary of China-Egypt diplomatic relations.
But the SIFForum’s co-production panel delivered a franker assessment of the barriers to that cooperation. Yan Peng, deputy general manager of state-owned Huaxia Film Distribution, pointed to significant regulatory and copyright inconsistencies affecting Chinese producers working abroad – differences in approval qualifications, actor ratios, investment proportions and content censorship across regions. “From copyright to derivative IP rights, issues of inconsistency often exist,” Yan said. “Distribution cycles and currency settlements across theatrical, streaming, and TV ends also differ, which leads to cumbersome cross-border accounting.” Ambition and friction, it turns out, travel together.
The Festival Knows What It Is — and It Executes
The opening ceremony at the Grand Theatre drew a constellation of Chinese-language stars and set an unmistakable tone. The standout moment came not from Leung’s appearance as jury president, but from Lisa Lu – the “Crazy Rich Asians” actor who has already passed her 100th birthday by the Chinese calendar – receiving the Lifetime Achievement Award. “Shanghai is my hometown, and it is also where my artistic journey began,” Lu said from the stage. “Looking at so many outstanding filmmakers present here today, if there is an opportunity in the future, please get in touch with me. I have not retired. I will continue to act.”
That the ceremony opened with a performer hoisted on a robotic arm interacting with AI-generated projections, yet centered its emotional core on a centenarian actor declaring she was still available for work, was not incidental. It was SIFF’s thesis statement: a festival threading the needle between the technological and the irreducibly human. Translators at virtually every press conference, press pool photography accessible without a Chinese phone number, and rapid event transcripts – small things, but they reflect a festival that understands what international credibility requires. SIFF remains the only FIAPF-accredited competitive A-list feature film festival in China, and it produces an opening gala on the level of a major televised awards ceremony. That execution is not an accident.
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Paris-based production company Good Hero has announced feature animation Ballerina 2, a sequel to the aspirational 2016 hit Ballerina which was released in the U.S. under the title of Leap!.
Production on the film begins this month on the eve of the 10th anniversary of the successful release of the original film, which played in more than 100 countries worldwide to achieve a $120m gross.
The announcement signals the first step in Good Hero’s plans to expand the Ballerina universe across multiple media platforms, including film, television, and digital including YouTube.
Good Hero principals Gregory Ouanhon (Sisu, Valerian and the City of a Thousand Planets, Replicas) and Laurent Zeitoun (Fireheart, The Intouchables, The Death of Stalin, C’est la vie, Aline) are producing the film while the latter wrote the screenplay and is directing.
Gaumont, which also worked on Ballerina, returns as the French and international theatrical distributor, with a planned global release scheduled for late 2029.
The original Ballerina – which was voiced in English by Elle Fanning and Dane DeHaan and in French by Camille Cottin and Malik Bentalha – followed a young girl who flees a rural orphanage to pursue her dream of becoming a ballerina at the Paris Grand Opera House.
“Ballerina’s aspirational story of female empowerment has continued to resonate with new audiences over the last decade and is even more relevant today,” said Zeitoun and Ouanhon.
“The film embodies what it means to follow your dreams — the universal values of overcoming challenges, hard work and commitment, the power of artistic expression, and creating positive change in the world by being true to yourself. We want to expand the Ballerina universe and introduce this magical, heartwarming story to a new generation of young women who already personify these values.”
Gaumont’s Alexis Cassanet, EVP International Distribution & Co-Productions, said the company was happy to continue the Ballerina adventure with Ouanhon and Zeitoun.
“Ballerina remains one of the most successful independent animated films at the worldwide box office, demonstrating its strength and universal themes. The DNA of the franchise is timeless and has the power to delight multiple generations of families,” he said.
Separately, as part of the lead-up to a digital expansion of the Ballerina universe, Good Hero is also developing an animated television series to launch in wake of the new film.
Award-winning British Andrew Burrell, best known for writing on Matt Groening’s Netflix animated series Disenchantment and the BBC’s EastEnders, will serve as series writer.
Burrell was previously Head Writer and Script Editor on the animated series Sasha and Milo (2023–2024), which aired globally on Max, Banijay Studios, and Discovery Kids. He is also the writer behind the celebrated Danger Mouse reboot (2015–2019). Andrew Burrell is represented by Independent Talent Group.
The Ballerina 2 universe announcement follows hot on the heels of Good Hero’s Cannes Market presentation with StudioCanal/Mediawan of the first footage from its upcoming animated feature, Wings of Freedom, voiced by Eva Longoria and Nicholas Galitzine.
Set in Mexico, Salana, a cautious harpy eagle and devoted teacher, is thrust into the flamboyant Animal Air Force. Paired with quirky swift Lieutenant Pirro, she races to outsmart the mischievous AI, Eternity!.
Previously released Good Hero animated features include animated feature Fireheart (aka Vaillante), which was released in the U.S. on Hulu, and voiced in English by Olivia Cooke, William Shatner, and Kenneth Branagh.
“Ballerina” (‘Leap!), the animated feature global smash hit, is set to return with a “Ballerina” sequel and an animated TV series simultaneously in development. Paris-based Good Hero, also behind “Fireheart” and the upcoming “Wings of Freedom”), will produce the movie sequel “Ballerina 2,” with what it describes as an ambitious expansion of the “Ballerina” universe […]
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Note: This story contains spoilers from “House of the Dragon” Season 3, Episode 1.
“House of the Dragon” Season 3 finally tackled the long-awaited Battle of the Gullet. And although Rhaenyra’s side was victorious, it was a botched win with heavy losses.
The plan for Team Black was to have Corlys Velaryon (Steve Toussaint) meet The Triyarchy — a large naval presence swayed to join Aegon and Team Green — in the Gullet. Things took a turn for the better — and then far worse — when Jace (Harry Collett) and Baela (Bethany Antonia) joined the battle with their dragons Vermax and Moondancer.
Compounding the bad choices, Jace decided it was best if Rhaenyra (Emma D’Arcy) was held in her chambers so that she wouldn’t either stop her son and heir from fighting in the battle or join herself and be killed. Only to end up dead himself by the end of the pivotal hour.
Collett told TheWrap that Jace’s decision and urgency behind it was born out of a kid who wanted to be a part of the war making a silly decision.
“I think just everything is pushing into one moment,” Collett said. “I think that it’s been a lot of pressure and a lot of buildup to this, and I feel like this is just something he feels like he has to do. I don’t really know how else to explain it, except that it’s just a kid making a silly decision, but he believes that this is what he was born to do. He feels like he has to prove himself as being the rightful heir to the Seven Kingdoms.”
While Jace was sure that joining the fight without his mom is the right move, Baela was much more hesitant. Antonia told TheWrap her concerns were in the very logical realm of knowing they don’t have the war experience to handle the battle themselves.
“She can just see so clearly that, as capable as she thinks they both are, she’s very aware that they are much younger and their dragons are much smaller than some of the dragons on the other side,” Antonia said. “As much as she wants to do this with him, I think she could just feel that it’s all very impulsive, and she doesn’t want to go. She knows Rhaenyra’s plan is to all go together, so she’s thinking we should just wait for the grownups and all go together and be really smart and really considered.”
She added: “I think Baela knows that she is pretty disposable to Rhaenyra, so she will be going anyway. She would rather have Jace stay at home and then get to go with the grownups, and then come back and tell him what’s happened, then go the two of them. That’s where her hesitance comes from.”
The two go at it themselves, though, and from their arrival it’s clear they’re in over their head despite riding dragons. Jace is nearly taken out in the first few minutes — foreshadowing his fate — before being bailed out by Baela. Collett pointed out that this was Jace’s first major battle in the war and the “naivety of not knowing” what the real thing is like.
Then Rhaena (Phoebe Campbell) showed up riding an untrained Sheepstealer. The dragon is clearly wild and does not consider sides. It flies on the scene and starts burning Trearchy and Velaryon ships alike. This new chaotic wildcard further complicates things for Jace and Baela, who turn their focus to the new dragon — not knowing Rhaena is the rider. Jace gets close enough to identify Rhaena but in doing so loses what is going on in the larger battle. Collett put the full blame for what happened next squarely on Rhaena and Sheepstealer.
“It’s all her fault,” he said.
While Jace and Vermax had a close call with Sheepstealer, The Triarchy reloaded and reaimed on the dragon. For the second time, the dragon was hit with a harpoon meant to drag the beast into the water. Baela wasn’t around to save them this time and Vermax went into the water and sunk to the bottom. Jace managed to unhook from the dragon saddle and rise to the top, clutching to a piece of debris. That sigh of relief goes away quick though. Jace floated up in front of a Triarchy ship and was pincushioned with arrows, dying almost instantly.
Harry Collett in “House of the Dragon” (Credit: HBO)
“The thing that surprised me when I watched the episode was the way that the music just stops, and then all you can hear is the arrows going into my body,” Collett said about Jace’s death. “Then it just ends with a sort of drone shot of the whole battle, and then fades to black. I think that was so powerful, because it just felt so real. The music left the room.”
He added that the Battle of the Gullet — and Jace’s death — being moved to Season 3 rather than ending Season 2, like originally planned, was nice for him because he got to talk about his character’s ending more openly.
“If it were the Season 2 finale, I wouldn’t have been allowed to speak about it on the Season 2 press tour,” he said. “Now I get to speak about it with all you guys, and I get to tell you all these amazing stories and say thank you for letting me be a part of this show.”
For Baela, the fallout of leaving for the battle, Jace’s death, and the (yet unknown) fact that her sister and Sheepstealer played a major part in his death, a lot of questions remain in the air. Antonia said that Baela is not aware that Rhaena was a part of the fight but learning so would “be catastrophic for them as a pair.” Her standing with Rhaenyra is also likely worse off for siding with Jace and heading to the battle without her, but with the heir dead there are new opportunities available for her the rest of the season — and they might not be as a member of the Targaryen family.
“I wouldn’t say she’s looking for power, I think purpose, definitely,” Antonia said. “I think community and family, I think from, she’s somebody who’s experienced loss from such a young age, and all she’s ever wanted is to have a family around her, and losing Jace is such a big blow, but it’s sort of the final blow. I think it’s the final thing that ties her to this side of her family.”
She finished: “And “Daemon has been pretty absent in most of her life, so she knows now that Rhaenyra is not going to look at her in the same way. And so her life with the Targaryens is just not going to be what it was. I think we’re going to see her this season, really remember that she is a woman of two houses and maybe look to the others for a bit of support.”
“House of the Dragon” airs Sundays at 6 p.m ET/PT on HBO and HBO Max.
Global hit Webtoon webcomic “Lumine” looks set for another life as an animated series. Webtoon Productions, the U.S.-based studio and IP business of Webtoon Entertainment, has pacted with French animation studio OuiDo! Productions to develop an animated series version of the smash hit webcomic which has scored over 550 million views on Webtoon’s platform.
Webtoon Entertainment caught attention last November thanks to a deal with Warner Bros Animation to co-produce together adaptations of 10 fan-favorite Webtoon webcomic series for global distribution.
The deal with OuiDo! shows it continuing to grow its international slate of animated and anime-inspired adaptations outside that WBA arrangement, focusing on some of its most popular franchises.
One prime example is author Emma Krogell fantasy friendship tale “Lumine”which ran on Webtoon from 2017 to 2024, with a hiatus. The adaptation will be introduced during this week’s Annecy Festival Mifa market in France which runs June 23-26.
A logline released by Webtoon Productions and OuiDo! on Monday confirms that the adaptation is once more set in a world where weredogs, witches, and humans live side by side.
“Lumine is a down-on-his-luck weredog with nowhere to turn…until he meets antisocial witch boy Kody. One causes trouble wherever he goes, and the other attracts trouble like a magnet,” the logline runs.
“Without realizing, Lumine has stumbled paws first into a family full of their own secrets. Kody is plagued by shadows, and his motivations for hiring Lumine aren’t nearly as simple as they seem. Things are far more dangerous than Lumine bargained for, and this is only the beginning,” the logline ends.
A key art image shared with Variety picks up on the character design of the early part of the webcomic and shows Lumine and Kody plus a white-furred werewolf protecting two children from an attack by another werewolf. Surrounding the characters is woodland, a gothic mansion and two skyscraper buildings rearing on the horizon.
Screenwriter Bryan Q. Miller (“He-Man and the Masters of the Universe,” “Smallville”) will serve as showrunner and co-write the adaptation, working with OuiDo! Productions CEO Sandrine Nguyen and her creative team at Paris-based OuiDo! Productions.
The adaptation’s executive producers are Webtoon Productions President David Madden and Head of Global Animation Sydney Bright alongside OuiDo!’s Nguyen and President Boris Hertzog.
“‘Lumine’ is exactly the kind of project we love to champion at OuiDo!: a beloved world, memorable characters, and a story with true emotional resonance,” said Sandrine Nguyen, CEO of OuiDo! Productions.
“We are so excited to partner with Webtoon Productions, whose deep understanding of creator-led franchises and global fan communities is invaluable,” she added. “Having Bryan Q. Miller on board is another tremendous strength for the adaptation, bringing exceptional experience in crafting compelling character journeys. Together, we look forward to bringing Emma Krogell’s extraordinary world to animation for audiences worldwide.”
“Webtoon has transformed visual storytelling, and there is an enormous opportunity for us to adapt these incredible stories into new animated TV and film projects,” said David Madden, President of Webtoon Productions.
“Fans around the world have connected with Lumine because of its incredibly lovable characters, emotional friendships, and unique blend of fantasy, humor, and mystery. At its core, it’s a story about belonging and found family wrapped in a visually imaginative world, which makes it especially exciting to bring to animation alongside OuiDo!, who brings expertise in developing animated entertainment from tentpole IP.”
The “Lumine” webcomic has been translated from English into French, Spanish, and German and Chinese (traditional and simplified). It has also been published in four graphic novel volumes by Penguin Random House and Webtoon Unscrolled.
Announcement of its adaptation follows the January greenlight of Webtoon Productions’ animated series adaptation of “Lore Olympus” with Prime Video and The Jim Henson Company. Further animation makeovers in the works of Webtoon webcomic hits include “Apocalyptic Horseplay,”adapted by “Workaholics” co-creator Dominic Russo, and “Gosu” with Toei Animation and Studio Mir; “Eleceed” with DandeLion Animation Studio.
Founded in 2003 by Nguyen and Hertzog, Ouido! Productions has produced “Magicampers” for Disney Jr., “Alvinnn!!! and The Chipmunks,” co-produced with Bagdasarian Productions, and “Mickey Mouse Clubhouse+” for Disney Jr.
Having bought back OuiDo! from Technicolor Animation Productions in 2025, founders Nguyen and Hertzog have converted it into a full media group covering the full value chain of production, distribution and licensing and launching a dedicated studio for teen and adult animation with the “Lumine” adaptation its banner move in this drive.
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