Quiz: Match The Obscure Disney Songs To Their Movies
Quiz: Match The Obscure Disney Songs To
Quiz: Match The Obscure Disney Songs To
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Oink Oink Oink Slot probeert spelers te pakken met een mix van eenvoudigheid en complexiteit. Het thema oogt speels en fris, maar is niet infantiel. Dat geeft meteen voor een nieuwe look. De levendige graphics, de opgewekte varkensanimaties en de heldere interface functioneren samen om een uitnodigende sfeer te scheppen. Die spreekt zowel nieuwelingen als doorgewinterde spelers aan. Onder die aantrekkelijke oppervlakte zit een solide spelmechanisme dat is ontworpen om je betrokken te krijgen. De evenwicht tussen simpel en complex is prima gevonden. De basisregels begrijp je na een minuut, maar de finesses van de bonusfuncties en iconen behouden je focus vast. Die dubbele laag garandeert ervoor dat de game niet verveelt na een paar spins. Integendeel, de aantrekkingskracht wordt groter juist als je meer van de subtiele verschillen doorziet.
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De extase wordt in Oink Oink Oink Slot flink versterkt door een weloverwogen audiovisuele presentatie. Visueel is er een duidelijke rangorde in feedback. Kleine winsten ontvangen een subtiele highlight, terwijl grote gebeurtenissen worden gehuldigd met schermvullende animaties. Stel je voor dansende varkens of een regen van munten. Deze visuele stijl is onmiddellijk en voor eenieder duidelijk. Qua geluid genereert de game een uitgebreid soundscape. De muzikale achtergrond is levendig maar niet overheersend, gemaakt om een goede gemoedstoestand te bevorderen zonder vermoeiend te worden. De belangrijke geluidseffecten zijn helder omschreven. Het rolgeluid geluid van de rollen, het typerende ‘pling’ bij een winst, en de feestelijke fanfare voor een bonusactivering. Deze geluidseffecten beïnvloeden de speler op een gunstige manier en worden snelle triggers voor opwinding. Samen zijn ze een meervoudig zintuiglijk geheel dat de emotionele impact van een winst vergroot.
Euforie wordt intenser als je die deelt met anderen. De ondervinding met Oink Oink Oink Slot speelt zich af vaak buitenom het persoonlijke scherm, in de wijdere community van spelers. Online forums, sociale media-groepen en reviewplatforms staan vol met ervaringen. Spelers delen hun grote winsten, ongelooflijke bonusronde-uitkomsten of amusante near-miss momenten. Deze gedeelde verhalen scheppen een gezamenlijk inzicht van de hoogtepunten van de game. Het nalezen over iemand anders die de jackpotbonus lanceert, kan je eigen voorpret aanwakkeren. Bovendien bieden deze communities vaak nuttige adviezen. Welke inzetmethodes lijken effectief? Welke symbolencombinaties komen extra vaak voor? Deze interactieve dimensie verandert het spelen van een individuele activiteit naar een onderdeel van een gedeelde passie. De euforie van één speler wordt zo voelbaar gevoeld door vele anderen.
Wild- en scatter-symbolen zijn de stille helden van talrijke extatische momenten in Oink Oink Oink Slot. De wild-symbolen, meestal een zeer opgewekt varkentje, doen niet alleen dienst als joker voor andere tekens. In sommige scenario’s kunnen ze ” ” ” om gehele rollen te bedekken, of ” ” ” tijdens bonusrondes, waardoor ze een permanente bron van kans op winst worden. Het moment waarop een wild op de goede plek valt en een verliezende combinatie verandert in een renderende, geeft een directe, pure kick. Scatters zijn daarentegen de sleutel tot grotere, intensere blijdschap. Aangezien ze niet op een specifieke winstlijn hoeven te liggen, kan hun verschijning, verdeeld over de reels, op ieder ogenblik een verrassing zijn. Drie of meer van deze tekens verzamelen, vaak met een oplopend geluidseffect, is al op zich een ogenblik van triomf. Het voorspelt tenslotte de bonusronden die nog komen.
Extase in een slotmachine komt zomaar uit de lucht vallen. In de meeste gevallen is het het climax van een nauwkeurig opgebouwde spanning. In Oink Oink Oink Slot stuurt de spelmechanica deze opbouw. Het vangt aan bij de anticipatie van elke draai, wanneer de rollen even lijken te haken voordat ze tot stilstand komen. Het gebruik van ‘near-miss’ momenten, waarbij winsymbolen net naast een winstlijn vallen, kan je hartritme doen stijgen. Het bewerkstelligt dat je sneller nog een keer wilt spinnen. Ook de sound zijn essentieel. Het tempo van de muziek, het geratel van de rollen en de rust voor een grote winst werken op een nagenoeg onbewust niveau. Deze georkestreerde opbouw garandeert dat een overweldigend moment, als het komt, maximaal aankomt en intens wordt ervaren.
Naast de snelle kicks geeft Oink Oink Oink Slot ook progressieve elementen. Die creëren een gevoel van blijvende vreugde en anticipatie. Het kan inhouden een verzamelbare meter die langzaam vult met speciale symbolen. Elke volle meter biedt toegang tot een speciale bonusronde of een grotere winstcategorie. Het perspectief van een naderende beloning voegt een tactische laag toe aan elke draai. Het is geen alleen een losstaande handeling, maar een fase in een langere reis. Deze progressie biedt de speler een indruk van invloed en vooruitgang, wat op zichzelf al bevredigend is. Het tijdstip waarop de meter tenslotte vol is en de beloning wordt gegeven, verenigt de bevrediging van een afgeronde taak met de spanning van een wisselvallige uitkomst. Dat levert een unieke, genuanceerde euforie op die verder gaat dan een verrassingswinst.
De intense golf van blijdschap na een flinke winst of een langdurige bonusronde in Oink Oink Oink Slot heeft fundamentele psychologische wortels. Het is een klassiek voorbeeld van variabele beloning, het sterkste conditioning-principe volgens gedragsdeskundigen. Omdat de forse uitbetalingen onvoorspelbaar en met tussenperiodes komen, houden ze de focus en betrokkenheid maximaal vast. Op het tijdstip van de ‘big win’ zelf komt er een cascade van neurotransmitters vrij in de hersenen, vooral dopamine. Die wordt geassocieerd met plezier, motivatie en leren. Deze neurale beloning maakt de ervaring onvergetelijk en spoort aan voor komend spel. Het concept van de game maximaliseert deze reactie door de uitbetaling zichtbaar en geluidsmatig te bekrachtigen. Hierdoor wordt de psychologische invloed verlengt en vergroot. Het is een doordacht ontworpen sensatie die aansluit bij essentiële menselijke behoeften.
De gaming euphorie in Oink Oink Oink Slot bereikt vaak een piek tijdens de iconische bonusrondes. Deze functies zijn meer dan een kans op extra winst. Het zijn minispellen die je meenemen in een nieuw verhaal. Al het activeren is vaak een moment van vreugde op zich, met een uitbarsting van geluid en effecten. Eenmaal in de bonusronde verandert de dynamiek. De regels kunnen tijdelijk anders zijn, wat nieuwe strategische mogelijkheden opent. Het opstapelen van multipliers, het onthullen van verborgen symbolen of het verdienen van gratis spins binnen de bonus creëren een gelaagde ervaring van succes op succes. De impact is niet alleen financieel, maar vooral psychologisch. Het geeft de speler een gevoel van bekwaamheid en geluk, een sterke combinatie die lang blijft hangen.
Een van de meest geliefde bonusfuncties is zonder twijfel de Vrije Spins Carrousel. Deze activeer je met een specifieke combinatie van scatter-symbolen, wat op zichzelf al spannend is. Eenmaal gestart, krijg je een reeks gratis spins. Die gaan vaak gepaard met een unieke set verbeterde voorwaarden.
De kracht van deze carrousel zit in de variatie. Sessies kunnen verschillen in het aantal toegekende spins, de aanwezigheid van een vaste multiplier op alle winsten, of het ‘vastzetten’ van bepaalde wild-symbolen gedurende de hele bonusronde. Soms kan de bonus zelf ook opnieuw worden geactiveerd, wat de euforie verlengt en het totale winstpotentieel groter maakt. Deze onvoorspelbaarheid binnen een gegarandeerde bonus houdt de adrenaline stromen.
De gaming euphorie in Oink Oink Oink Slot is het resultaat van een evenwichtige samenwerking. Weloverwogen game-design, diepgaande psychologische principes en verleidelijke audiovisuele presentatie gaan samen. Van de opbouwende spanning van elke draai tot de uitbundige viering van een bonusronde, elk element is gericht op het realiseren van gedenkwaardige, positieve momenten voor de speler. Als je deze elementen doorgrondt – de rol van wilds en scatters, de impact van progressieve meters, de kracht van community-ervaringen – verbeter je niet alleen je speelsessie. Het geeft je ook in staat om de kunst achter het amusement volledig te waarderen. Deze titel biedt een reis vol speelse charme en verrassende opwinding. De jacht op die volgende euforische sensatie kan net zo voldoening gevend zijn als de sensatie zelf.
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As the noise-rap-electro act Jane Remover shrieked and pleaded through a 90-minute marathon set at the Fonda on Thursday night, one very young couple dressed right out of a conservative‘s nightmare — gender-ambiguous, purple hair, facial piercings — tapped me on the shoulder. They politely asked if I could mind their newly bought vinyl for a bit as they thrashed in the heaving crowd. Of course, this unc obliged them.
Anyone who laments that L.A. crowds don’t dance should go to one of the last sets of Jane Remover’s three-night stand at the Fonda this weekend. It had the most genuinely raucous pit I’ve seen in 2026, made all the more feral for how sweet and earnest it was. After a hotly tipped Coachella set, this Live Exhibit tour affirmed that the subculture Jane Remover built may or may not have wider pop potential, but it’s getting big enough to count for stardom in the fractured music world of today.
Jane Remover is a trans polymath producer and singer-songwriter with influences across rave, shoegaze, trap and beyond. They’ve built up a ferocious elaboration on the hyperpop of predecessors like Sophie, who similarly packed so many good ideas into songs they became talismanic to fans, a tonic to reinvent yourself (new Charli XCX opener Underscores is another fellow traveler).
The music itself sounds like reverse-engineering the moment in the 2000s when metalcore kids discovered EDM. Only now it’s Discord-disaffected youth ramping up hardstyle techno, autotuned girlypop ballads and rage-rap to an explosive fusion point. “Census Designated,” Jane’s brash and dramatic 2023 coming-out LP, tipped them as a force beyond the underground. But they soon eclipsed it with 2025’s “Revengeseekerz,” a deliriously overheated mix of romantic yearning, internet score-settling and virtuosic production prowess.
Backed by just a DJ (Dazedgxd, who opened the set) and a retina-scorching light rig up front, Jane acknowledged on Thursday that the stakes were getting much higher. They joked that they’d played the El Rey like three times before this tour, and to judge by the wild-eyed passions out in the audience, the Fonda will probably be the smallest venue they’ll play for some time. “It gets so cold this high up,” Jane sang on “Turn Up or Die.” “Can’t go to hell but I can drop you off.”
The sentiments driving the music are ultramodern: self-aware, vicious and desperately vulnerable. The hilariously zesty “Angels in Camo” (home to the all-time banger of a line: “Jesus never had it with a freak b—”) wrapped up with a bloodletting plea that “I can’t let you b— win.” Jane wields that word like the flaming sword on the “Revengeseekerz” album cover, with all the casual lustiness of Future but also the wrath of a reclaimed slur.
On “Professional Vengeance,” they grappled with the weird lures of celebrity and intimacy, where no one really knows anyone but desire still courses; “Experimental Skin” found them craving and fighting off God and nihilism and technology and addiction all at once.
The tension in these tracks are the binding agent for Jane’s fan base — the music is full of contradictions and incompatibilities smashing together that just feel like being young right now. Other than a quick affirmation that fans of all identities and backgrounds will always be welcome at their shows, they let the contorting, violent music speak for itself about the way queer fans are feeling about life under siege in the United States.
If the set was a bit too long for the limited setup onstage, it was because Jane simply had that much music to let out — that caliber of emotion to unburden, that much want to acknowledge. It seemed like the set was closing with “In the Dark,” an aching ballad from their Venturing side project, plainly declaring “I still dream of us” through a fog of effects. But instead they ramped it back up for one last cathartic blast to close, sending their faithful out onto Hollywood Boulevard, sweaty and filthy and fundamentally known.
As the noise-rap-electro act Jane Remover
Tom Holland has revealed how Spider-Man: Brand New Day managed to keep its rating in check despite featuring one of the MCU’s most mature characters. With the press tour now underway, Holland is already sharing new details about his fourth solo installment as Peter Parker. Jon Bernthal’s Punisher makes his big-screen debut in the film, but his trademark brutality and foul language posed an obvious challenge for a Spider-Man movie, one that has a simple, clever solution.
Holland spoke about the dynamic during a new Fandango cast interview, joined by Sadie Sink, Zendaya (MJ), and Jacob Batalon (Ned Leeds). Opening up about his long personal history with Bernthal, Holland described the pairing as an “awesome full circle moment:”
“I’m so excited for people to see Jon Bernthal in this film. There’s no secret that I absolutely adore him as a person. I’ve known him since I was a kid. I know his family really well. I knew his kids when they were, you know, really, really little. We did each other’s audition tapes to get Spider-Man and The Punisher back when I was 17, I think. So for us to get to share the set and to portray these characters on the biggest stage is such an awesome full circle moment for the pair of us.”
Ironically, this is only part of their full circle, with Christopher Nolan’s The Odyssey releasing two weeks before Spider-Man, the two also star in that film together.
Holland also credited director Destin Daniel Cretton for turning what started as a “kernel of an idea” into something much bigger:
“And one of the things I love about Destin [Daniel Cretton], our director, is that he is so open to improvising, collaborating, taking big risks and stuff like that. And he really allowed Jon and I to just kind of run with it. And what was on the page was the kernel of an idea that turned into this awesome big brother, little brother bickering relationship.”
The now 30-year-old Spider-Man actor has talked openly about Brand New Day being the first of his MCU Spidey films that he was able to be part of the creative process before writing even began. So it’s safe to say this was his most collaborative journey making a new Spider-Man film.

He went on to tease the “banter” between Spider-Man and the Punisher, and explained how he approached the challenge of fitting an “R-rated character” into this less harsh version of New York City:
“The banter between the two of us is really, really awesome, and he’s so great, and I love trying to figure out how you take a very R-rated character and fit him into our world without changing him.”
Holland then revealed how there are a lot of “fun little Spider-Man quips” in the movie, including that every time Frank swears, he “[he] just web[s] his mouth:”
“And there’s loads of fun little Spider-Man quips that we use to kind of get around. Like every time he goes to swear, we just web his mouth… But I think people are going to love Jon in this film. I think he when he’s on screen, he sets such a great tone.”
That moment was already teased in Brand New Day‘s first trailer. During the opening tank sequence, Spider-Man webs Frank Castle’s mouth shut just as he begins to yell, “Mother fu-!” Cretton confirmed that the action scene revolved around the tank is during the opening of the movie, so fans won’t have to wait long to see this dynamic on screen.
The recently released second trailer has since given fans a better look at Bernthal’s role in the film. In it, Spider-Man brings MJ to the Punisher’s hideout for safekeeping. When Spidey heads back out into danger, MJ is shown later pressing Frank to step up and go help him.
Brand New Day is a notable shift from Bernthal’s most recent MCU appearance, The Punisher: One Last Kill, a TV-MA Disney+ special presentation that featured his usual level of foul language and graphic violence.
The Punisher isn’t the only connection this new film has to the old Netflix Defenders era, as The Hand has been shown a lot throughout the marketing thus far, confirming they also make the jump from TV to big screen.
Tickets are now on sale for Spider-Man: Brand New Day, with new premium format screen options, ahead of its July 31 global launch, expected to be one of the biggest movies of 2026.

Brand New Day will be rated PG-13, and at the end of the day, it is still an MCU Spider-Man movie. But the trailers have made clear this one is willing to go to darker places than the Home trilogy.
The Punisher’s violent tendencies will likely also be dialed back (on top of the Spider-censoring), but his presence does add a harder edge to the film.
Beyond that, the trailers have shown alcohol at Ned and MJ’s party scene, and a body-horror-style DNA mutation affecting Peter Parker himself, one that gives him all-black eyes and hints at a dangerous, uncontrollable side to the character.
The Hulk is also back, and not in a friendly or smart way. Bruce Banner (Mark Ruffalo) transforms back into a savage version of the character with Spider-Man in his sights, as confirmed by the second trailer. It’s the first time this type of Hulk has appeared on screen since Avengers: Infinity War.
Then there is the film’s mind-control villain, widely assumed to be Sink playing Jean Grey, who brings a genuinely spooky presence to the story. It’s emblematic of Scarlet Witch’s powers that were on display in Avengers: Age of Ultron, before she became a hero.
Brand New Day is pushing the limits of what a Spider-Man film can be, but there’s also little doubt that it will land well across a wide range of ages.
If you’re a fan of supernatural stories, evil cults, unsettling and quirky characters, and sick guitar solos, you’re doing yourself a disservice if you haven’t played Sally Face.
Sally Face is a single-player, supernatural adventure/horror game. The game was originally an idea for an animated show in 2007, before the team of animators disbanded. The first chapter of the game finally came out in 2016. Steve Gabry, a.k.a. Portable Moose, was the sole developer, handling the artwork, story, and music.
It’s been nearly six years since Gabry released the fifth and final part of his first Sally Face game. Now, Sally Face 2 is in production, and fans are thrilled. Gabry posted a first look at an image from the game on June 3.
Sally Face is an unsettling adventure game following a boy with a prosthetic face. Sal uses his handheld video game system to speak with the dead and learn their stories. After a string of mysterious murders, Sal and his three friends discover something truly sinister casting shadows over their small town.
I absolutely loved the weird, sketchy art style of the first game. The plot was enthralling and terrifying at times. The jumps through time drove the story forward. There were riddles to be solved and mysteries to be uncovered. As a fan for many years now, I am very excited to see Gabry’s art style and incredible storytelling skills on another project.
Spoilers for the first game starting now. Episode Five: Memories and Dreams left off on a seemingly definitive note: Sal died for his crimes, he had merged minds with Ashley and taken over the left side of her body to help her fight the cult, and Travis turned on his father, the cult’s masked leader.
So what—and who—do we hope to see in the upcoming game?
Sal himself was the driving force and the playable main character of the first game. It was his story that all five episodes closely followed, up until Memories and Dreams. When the game ended, Sal was dead.

Being that the first image Gabry released from the game was a close-up shot of Ashley, it seems likely that she will serve as the playable character for the second game, but there are a variety of possibilities. She still shows the physical signs of the final fight—her blind eye and grey hair appeared after Sal melded minds with her. This means it is plausible that Sal still exists within Ashley.
I could see it either being a playable Ashley with the ability to communicate with Sal, or they both are playable, but Sal exists within a different dimension, similar to how it worked in Memories and Dreams. Regardless, I doubt they would drop the titular character completely, especially now that we have seen that just about anything is possible in the world of this game.
The first game closed by telling us that 33% of the world’s population was destroyed by the plague of shadows, unleashed by the Nockfell cultists. Onscreen, it shows the Earth from space covered in the dark tendrils that had corrupted most of the Addison Apartments’ residents in Memories and Dreams.

Sally Face took place in a creepy but generally normal world, so, assuming the town of Nockfell is at the epicenter of the plague, the world of the second game will probably look very different.
Larry, Sal’s best friend and a widely-beloved character, did not survive the first game. Though, he did come back as a ghost to help Ashley in the final fight, which opens the door for the possibility that he may return again.
The Larry we saw in Memories and Dreams had aged visibly since the last time we had seen him in ghost form. He told Sal he had spent a long time lost in the void after the cult burned down his treehouse, untethering him from his death place.

It is uncertain in what capacity he would appear in the second game, after becoming only briefly playable for the final fight. After how large a role he played in the first game, it would be a shame to lose him entirely.
While not shown on screen, when Larry does return, he says that something called the “Mother Tree” had helped him find his way out of the void. He describes it as a “weird tree” with “cosmicy” roots. Sal says he had seen or felt it before. Larry replied by saying everybody is connected to it.

This is one of many open ends Gabry leaves from the first game. This interconnectedness concept could be something they draw on in the next game, as almost a “The Force” concept to help the characters fight whatever evil they will undoubtedly encounter.
Travis did the dirty work killing his father, the Nockfell cult’s leader (and himself in the process). However, the cult had survived for hundreds of years, according to information Sal uncovered during his time in the void.
The cult served as a primary antagonist in the first game, with their actions bringing about a global disaster. It is unlikely that it disbanded completely, and it is almost certain that it will continue to try to bring about the uprising of the Endless One. That is, unless Gabry decides to do a complete rebrand which is always possible.
Maybe this is just me, but for nostalgia’s sake I would love for there to be some use for Sal’s Super Gear Boy—the in-game version of a Game Boy. It was definitely one of the cooler tools used throughout the first game, and it really put the ’90s emphasis on the whole experience that Gabry was hoping to convey.

Unfortunately, a lot of characters died in the final chapter. The plague of shadows corrupted multiple main characters and most of the beloved, quirky side characters. Todd pulled through, but he was one of very few. My only hope is that Gabry has new, interesting personas in the works to add color to the upcoming game.
After nearly ten years since the first chapter of Sally Face was released, it has expanded from a solo passion project to a game with over 200,000 fans. During that time, Gabry also brought on three new members of what is now a development team.
Gabry’s comment sections make it clear that fans have high hopes for the upcoming games. His most recent project was a Sally Face board game, Strange Nightmares. A Kickstarter campaign supported the board game’s expansion, Corruptions, and fans funded it fully in less than 13 minutes. Needless to say, six years later, fans are still deeply interested in Sal’s world. Gabry has not confirmed a release date for Sally Face 2, but sneak-peek content has started appearing on his socials, so we are hopeful it will arrive in the near future.
⚡ Quick Take Steve Gabry, creator of indie horror
The Grand Theft Auto series began in 1997, and every game in the series lets you commit the titular crime–sometimes stealing a parked vehicle, but often carjacking a driver in the middle of the street. But with the recent reveal of the Grand Theft Auto VI cover art, we realized something pretty remarkable: Only one game in the series actually features a grand theft auto on the cover.
As you can see, Grand Theft Auto 2 appears to show a carjacking in progress, with someone rushing into a taxi while people scatter nearby. It’s an excellent cover just from a vibes perspective, but it also gives a bird’s-eye view of the action, just like the original GTA and GTA 2 do in-game.
In contrast, the GTA games released in the decades since this have been collages of characters you can meet (or play as) and activities you can do. GTA VI’s cover, for instance, includes a shot of a speedboat, a motorcycle, a helicopter, a supercar, and a crocodile, along with several characters. But it doesn’t feature a grand theft auto! GTA: San Andreas features a drive-by shooting–a crime committed from a car–but also doesn’t show the titular crime. Grand Theft Auto IV, meanwhile, features a cop car pulling a driver over, possibly for a grand theft auto, but it’s also possible he was just going 55 in a school zone.
Judging by how long GTA 6 took to develop, it’s very likely we’re going to be waiting a decade or more for GTA 7. When that time comes, however, I would very much like Rockstar to put a grand theft auto on the cover. Hell, there could be seven of them.
The Grand Theft Auto series began in
SPOILER ALERT: This post contains spoilers from the seventh episode of “Dutton Ranch,” “Den of Sin,” which is now streaming on Paramount+.
Yee-haw! Welcome to another week of “Dutton Ranch,” where after last week’s festivities we’re all dressed up for a fancy party at the 10 Petal. Beulah (Annette Bening) has spared no expense, but can everyone get along without fighting? Of course not! Without further ado, let’s jump into this week’s episode, which begins with a decades-old flashback.
Until next week, brawlers and boozehounds.
SPOILER ALERT: This post contains spoilers from the
Justin Cary, the longtime bassist of the alt-rock band Sixpence None the Richer, died on June 11 of a stroke. He was 50 years old.
Cary’s death was confirmed via an Instagram post from the band’s lead singer, Leigh Nash.
“Our brother of 30 years (and bassist), Justin had a stroke Thursday night,” she wrote. “His wonderful wife Linda has kept us updated everyday and night too. She is lovely, delicate and unfathomably heartbroken. We love our brother so so much. Words don’t cover it. I know so many out there love him too. Saw his brilliance, second to NONE professionalism, class, humor (oh my lord the humor) wit, tough as an old boot as they say. Many more adjectives to describe him. Please pray for Justin and Linda.”
Sixpence None the Richer hails from New Braunfels, Texas, and is best known for late ‘90s hits like “Kiss Me” and “There She Goes.” The band was nominated for two Grammy awards, first in 1999 for rock or rap gospel album and then in 2000 for best performance by a duo or group with vocals. Outside of Sixpence, Cary also performed with bands like Counting Crows and Blue Country.
In light of Cary’s health complications, a GoFundMe was set up four days ago. It’s raised $39,975 of the $45,000 goal.
“As a member of Sixpence None the Richer, I have been fortunate to ride a wave of experience that taught me a lot about the music industry,” Cary wrote of his experience with the band on his website. “Sometimes easily, and sometimes the hard way! Along the way, a Grammy Nomination and hit singles kick-started my career as a bassist. I’m proud of the work I’ve done with Sixpence and continue to work with the band on new recordings and occasional performances.”
Justin Cary, the longtime bassist of the
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Thirty years after “The Brothers McMullen,” the writer, director, and actor Edward Burns looks preserved in amber — his hair and beard have some silver, but at 58 he’s still lean and handsome in that prince-of-the-working-class Irish-American way. And it’s not just Burns who’s more or less unchanged; so is his filmmaking style. “Finnegan’s Foursome” is his 16th feature, and he’s still doing that shaggy-likable, spiky-quaint, semi-low-budget Edward Burns dramedy thing — the script that’s talky and kind of funny, though in a way that often sounds like a script; the camerawork that never strays too far from the functional; the acting that hovers between lively and broad. The style Burns works in is now closer to television than movies, and given that “Finnegan’s Foursome” is getting a streaming release (starting today), you could say it’s a minor indie movie that has found its rightful home.
It’s a sports comedy, about golf and Ireland and family conundrums (it would be overstating it to call them demons), and a key thing that might put you in the audience demo for it is if you happen to be a serious golfer. It’s a movie spun out of the love of the game. Burns, who first shows up in a samurai man-bun, plays Freddy Finnegan, a wealthy clothing entrepreneur who seems to have a happy and settled life, except that he’s got anger-management issues, all stemming from his rivalrous relationship with his irascible Irish father, Jack (Ian McElhinney).
At first, we think the movie is going to be about these two facing off. Jack, at his home in South Carolina (he came over from the old country in 1959), is hosting the latest edition of the Finnegan’s Cup — an annual golfing competition in which four members of the family face off against one another, mostly as an excuse for Jack, a retired golf instructor, to tell his old jokes and stories and reminisce about the days when he was good enough to rub shoulders with the Big 3 (Arnold Palmer, Jack Nicklaus, and Gary Player).
He’s a blustery egomaniac, though he strikes us as a warm-hearted one. And Freddy, of course, resents the hell out of him. But what we think are going to be the fireworks between these two come to a halt when one of the players hits a hole in one and Jack keels over in shock, dead of a heart attack.
The family now has to scatter Jack’s ashes in the four locations he has chosen in Ireland (two of them are golf courses). And that’s an excuse for Freddy, who resents his da even in death; his more benign older brother, Teddy (Brian d’Arcy James), a novelist who has been suffering from writer’s block; Freddy’s musician son, Frankie (Brian Muller), whom he treats nearly as cavalierly as his father treated him; and Teddy’s adult daughter, Marie (Erica Hernandez), to take a week’s vacation in Ireland, where they’ll play out the Finnegan’s Cup at a handful of fabled golf courses, smacking around some home truths along with the ball.
There’s plenty of on-the-nose dialogue (“His dying wish was to get us all back here to Ireland”), as well as cornball boasting (“It’s not about the clubs, little brother, it’s about the man who’s swingin’ ’em”) and generic braggadocio (“I believe that is what you call an eagle!”). Freddy and Teddy never stop making side bets and busting each other’s chops, mostly about who has the better golf game, this being the locker-room form of brotherly love. If the family tension simmers, it’s mostly because Freddy and Teddy have opposite feelings about their father. Listening to their back-and-forth taunts, Marie says, “I’m sorry, so this entire trip is nothing but constant ball-busting?” Swap in “movie” for “trip,” and you’ve got an idea of “Finnegan’s Foursome,” though you should also toss in Frankie doing his cringe mock-sports-announcer banter.
“Finnegan’s Foursome” is structured as a sports movie, and Burns, working with the cinematographer Jeff Muhlstock, connects you to the geometric majesty of the links. But when you watch a film like “Tin Cup,” part of the thrill is that you want to see the Kevin Costner hero win; that’s the dramatic Zen of a sports film. Watching “Finnegan’s Foursome,” we’re not overly invested in whether Edward Burns’ entitled a-hole gets a winning golf score over his novelist brother.
There’s a touching scene where three of the characters sing “The Parting Glass” at a pub. But here’s how “Finnegan’s Foursome” is a bit soft. The movie is about Freddy coming around to see that his da really did love him, and that he wasn’t such a bad guy (he gave him the love of golf, after all). But the reason we readily buy this is that it’s so apparent from the outset. Jack’s big crime? Being away “at the office” (i.e., the golf course) too much. As ultimate sins of parents go, it’s kind of a dated sin. You want to say to Freddy, “Stop whining.” Especially because the Jack we see, in his competitive Irish way, had a lot of spirit; he was no ogre. Of course, he also tried to “get into Freddy’s head” on the golf course, but that’s kind of a privileged problem. It’s Freddy who needs to dismantle the ogre of resentment in himself, and that’s not quite a movie — that’s therapy.
The blithe and likable “The Brothers McMullen” won the Grand Jury Prize at the 1995 Sundance Film Festival and went on to have a healthy theatrical life, launching Burns’ career as a homespun auteur — at the time, he almost seemed like the shoestring Irish-American answer to Woody Allen. I was a fan of the early Burns films (especially “She’s the One,” his 1996 crossover movie, costarring Jennifer Aniston and Cameron Diaz), but his moment in the spotlight didn’t last long. After crossing over, he kind of crossed back, retreating into the not-fully-on-the-radar indie wilderness. That’s where he has remained, and watching “Finnegan’s Foursome” you see why: He’s trying to stay true to his world (all the Irish chop-busting and piss-taking), but he hasn’t grown as a filmmaker. Then again, maybe that’s not so important. He doesn’t hit long drives, but by the end of “Finnegan’s Foursome” the ball is in the cup.
Thirty years after “The Brothers McMullen,” the
Imagina que estamos en España, needforslots casino online, con muchas ganas de probar un nuevo casino de slots online, y de repente nos enteramos de un cupón promocional que incrementa nuestros giros y posibles ganancias. Suena genial, pero enseguida nos damos cuenta de que hay más de lo que parece: requisitos de apuesta, limitaciones de juego y términos estrictas que rigen el funcionamiento de estos incentivos. Entender estos detalles es fundamental, o corremos el riesgo de perdernos todo el potencial que ofrecen estas atractivas promociones.
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Los requisitos de apuesta son un criterio clave en el mundo de las tragamonedas y los casinos en línea. Para comprender el impacto de los bonos, primero necesitamos definiciones exactas de los requisitos de apuesta. En pocas palabras, estos requisitos determinan https://pitchbook.com/profiles/company/454616-38 cuántas veces debemos apostar el bono antes de poder sacar las ganancias. Al comprender estas garantías, entendemos lo que realmente está en juego.
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Como hemos visto, los códigos promocionales de los casinos de tragamonedas en España brindan mucho más que giros gratis: permiten apostar de forma más astuta y gozar aún más. Si leemos atentamente los términos y condiciones de los promociones y comprendemos las normas de juego, podemos descubrir grandes premios sin caer en los errores habituales. Aprovechemos estas posibilidades con sabiduría, convirtiendo cada apuesta en una ocasión para brillar, sin olvidar la emoción y la prudencia en el juego. Juntos, podemos aprovechar al máximo a cada código promocional.
Imagina que estamos en España, needforslots
Featuring a martial arts legend on the reels merges nostalgia, adrenaline, and serious betting potential. The Jean Claude Van Damme slot lands in the United Kingdom as a heavily branded game that leans on decades of action‑film fame. For operators, choosing to offer this title isn’t just about introducing novelty; it calls for a hard-nosed financial look. This analysis examines return on investment from a UK casino’s perspective, whether land‑based, online, or both. It delves into the game’s mathematical design, acquisition costs, projected revenue per player, and the strategic upside of placing a celebrity‑driven machine into a mature, tightly regulated market. Every estimate is based on actual player behaviour, Gambling Commission rules, and performance data from similar licensed titles that have already been featured on British gaming floors.
A slot’s long‑term revenue generation for the house depends first on its payout percentage and volatility. Early documentation for the Jean Claude Van Damme game suggests a adjustable RTP model, with UK operators likely getting a default setting between 96.0% and 96.4%. That puts it on the higher side of the industry average while leaving a gross theoretical hold around 3.6% to 4.0%. The volatility sits at the upper end. Wins don’t come often, but when they do, they can hit substantial multiples of the stake. For the casino, high volatility paired with a decent RTP means extended sessions per player. Bankrolls swing wildly, and that keeps them coming back to chase the signature bonus rounds. From a pure house‑edge viewpoint, the math holds up against other premium branded slots that draw mid‑ to high‑stakes play in the UK.
How long a game stays on the floor hinges on how well its features hold attention jean-claudevan-damme.com. A central free‑spins round, reportedly styled after fight‑scene choreography, uses sticky wilds and multiplier progressions as intermittent reinforcement hooks. That kind of mechanic prolongs the average session, which directly increases total coins bet per cabinet or online stream. A pick‑and‑click bonus round themed around the actor’s training montages adds a layer of perceived skill. That illusion has a track record of reducing player fatigue. When these features fire often enough during a session, the slot achieves what data analysts call a high “time on device” coefficient. That metric correlates strongly with daily win per unit in land‑based venues and with gross gaming revenue per active user online. The math here is built not just for novelty but for sustained, measurable hold over a deployment cycle that runs for months.
Any profitability calculation in the UK has to begin with the regulations. For land‑based machines, the Gambling Commission limits B2 and B3 category stakes at £2 a spin. Online slots must include reality checks, deposit limits, and increasingly strict affordability triggers. The Jean Claude Van Damme slot comes with responsible‑gaming overlays that interrupt the game at set intervals and display clear session‑spend summaries. These are certainly not optional extras; they’re mandatory for UK licence holders. Not managing to meet them could be disastrous, but this game launches pre‑certified for the jurisdiction, cutting down the operator’s compliance workload. On top of that, it steers clear of mechanics that cloud the line between gaming and gambling, like artificial near‑miss celebrations that have garnered regulator attention. That sophistication lowers legal risk and helps shield the revenue stream from sudden intervention.
The slot captures a demographic wedge that’s unusually valuable for UK casinos: men aged 35 to 55 who engage with 1990s action cinema. This group often has more disposable income and favours medium‑ to high‑stakes play, especially when a theme stirs personal nostalgia. Data from similar celebrity‑fronted machines indicate these players are less put off by a £2 maximum spin than the general population. They also are likely to move between online and retail venues, generating cross‑channel revenue that’s difficult to obtain with generic fruit machines. Early surveys and soft‑launch analytics, assessed by industry analysts, indicate the Van Damme brand boosts both new player sign‑ups and the reactivation of dormant accounts. By rooting the game in a proven fan identity, operators get a marketing story that goes beyond the slot cabinet itself. That story drives social media content and loyalty‑programme promotions, which multiply the game’s lifetime value.
The UK market has witnessed a steady flow of celebrity slots over the past five years, from music-icon titles to reels featuring TV personalities. Combined data from several UK operator groups indicate that slots featuring globally recognised film stars beat music‑focused titles by about 9% in weekly net win per cabinet over the initial year. The Jean Claude Van Damme slot leverages a intergenerational martial arts fan base wider than the dedicated fanbase of a one band or reality show. The action-oriented theme also warrants higher bet acceptance, even inside the £2 cap, because players perceive rapid, high-risk action as a better fit for risk‑taking. Comparative data also reveals that film‑based branded slots retain a bigger portion of their launch‑window audience after twelve months, lowering the drop‑off rate that hurts short‑lifetime novelty games.
Stacked against anonymous high‑volatility slots with similar RTP and feature density, the branded title costs more to acquire but provides a bigger player lifetime value. Non‑branded machines rely purely on mathematical reward loops. The Van Damme licence provides an emotional anchor. That emotional tie increases the switching cost for players; they’re less likely to quit the game for a competitor’s similar‑volatility product because the theme itself has no alternative. UK casino operators who have tested branded and unbranded high‑volatility slots side by side state that branded titles produce 15% to 20% more spins per active player session. When the goal is not just short‑term yield but creating a loyal player base that comes back every week, brand‑driven stickiness becomes a tangible strategic benefit that warrants the higher licensing fees.
Získání automatu Jean Claude Van Damme zahrnuje vícevrstevný profil nákladů, který přesahuje jednoduchý měsíční pronájem. Licence na duševní vlastnictví, sjednaná s pozůstalostí herce a herním studiem, obvykle zahrnuje procentuální podíl z výnosů plus pevnou zálohu. Z toho plyne, že marginální náklady stoupají s objemem, ale fixní část je možné rozložit do plánovaného období vysoké hratelnosti. Integrační náklady rovněž ovlivňují prvotní investici. Online provozovatelé musí financovat nasazení na serveru, testování kvality napříč zařízeními a sladění s nástroji odpovědného hraní na své platformě. Fyzická kasina řeší výdaje za nákup hardwaru, označení kabinetů a poplatky za pozici na hrací ploše. Následuje přehled hlavních nákladových položek, které by si měl operátor ve Spojeném království nasimulovat:
When you add these up, the all‑in first‑year cost for a mid‑sized UK casino typically falls between £45,000 and £70,000 per deployment point, depending on integration complexity and the operator group’s negotiating power. Zásadně platí, že model licenčních poplatků váže průběžné platby na výnosy, čímž vyhlazuje ziskovost během pomalejších měsíců. Operators who negotiate tiered royalty rates based on volume thresholds can significantly improve medium‑term ROI, turning the slot into a calculated asset deployment rather than a speculative gamble.
ARPU (Average Revenue Per User) for a themed slot in the UK pivots on player frequency, stake size, and the game’s ability to keep interest across multiple sessions. Under conservative assumptions, the Jean Claude Van Damme title sits in the upper quartile of new launches because its celebrity appeal cuts the typical discovery phase. In retail locations, a single cabinet in a high‑traffic spot can generate £1,200 to £1,800 in net win per week during the first six months, then stabilize at a steady £900 to £1,200 as the novelty fades. Online, active daily players per instance run higher, and the lifetime value of an acquired player, factoring in cross‑selling to other games, extends the ROI horizon further. A mixed ARPU calculation across retail and digital channels produces an annual gross win of about £55,000 per average installation, against which direct costs need to be subtracted.
The following factors are the main levers that can push ARPU above or below those baseline estimates:
Operators who diligently control these levers report ARPU improvements of 12% to 18% over those who treat the slot as a basic addition. Because the game’s volatility can produce sharp win‑and‑loss swings, session‑based ARPU must globalnews.ca be measured over at least three months to strip out variance noise. Quarterly reviews consistently show tighter confidence intervals, letting finance teams model the slot as a consistent performer after the launch quarter.
Optimizing the Jean Claude Van Damme slot requires strategic positioning, not random assignment. In land‑based casinos, the machine should sit in clusters near sports‑themed games or close to entrances that draw the over‑35 male crowd, ideally with views to bar areas where people assemble during televised sports. Online operators should assign the title a prime position in the “new and trending” carousel and connect it to action‑genre category pages. Co‑branded tournament weekends, scheduled around the actor’s film anniversaries or martial‑arts events, can increase play volume by 25% to 30% for short periods. The slot’s high‑volatility nature also positions it as a strong candidate for low‑cost free‑spin promotions that don’t eat into high‑value deposit play. When these operational tactics are combined with a solid data‑analytics framework that measures session RTP and player lifetime value, the slot evolves from a short‑term attraction to a core yield generator.
Based on the cost structure, revenue drivers, and comparative market data, we present the recommendations for UK casino operators evaluating this title:
When operators implement these steps, the slot can realistically pay back its investment in under fourteen months, with positive cumulative cash flow lasting well into its third year. The long‑term strategic value transcends direct revenue. The game acts as a gateway asset, attracting a loyal, nostalgia‑driven demographic into the broader casino ecosystem and enhancing cross‑product returns that rarely show up in a single‑game P&L.
With the UK‑approved configuration, operators can anticipate a return‑to‑player rate roughly 96.0% to 96.4%. That maintains the title on par with other premium branded slots and gives the house a theoretical hold of about 3.6% to 4.0%. The exact figure might shift a little based on the casino group’s commercial deal with the platform provider, but it will invariably stay within the UK Gambling Commission’s guidelines.
Yes. The title was developed for omnichannel rollout. The calculations, volatility profile, and responsible‑gambling tools work the same way across retail cabinets and digital interfaces. Land‑based operators enjoy the physical draw of branded hardware, while online casinos secure the advantage of flexible promotional targeting. In either settings, the game meets UK technical standards, positioning it a versatile choice for operators that span multiple channels.
Driven by modelled ARPU forecasts and average cost structures, most medium UK casinos should hit full payback in thirteen–fifteen months. That timeline presumes grade‑A floor positioning and active marketing support during launch. Venues that focus on royalty tiers and weave in loyalty‑programme integration may get that down to under twelve months, after which the machine moves into a sustained profit phase.
It stands out through the combination of martial‑arts theming, high‑volatility math, and a cross‑generational fan base that extends far beyond typical movie‑franchise audiences. Unlike music‑personality slots that depend on a narrow cultural moment, the action‑film nostalgia tied to Jean‑Claude Van Damme has proved remarkably durable. That durability leads to above‑average player retention and a stickiness that generic celebrity titles often struggle to match in the UK.
The game was built with UK compliance as a priority. It incorporates mandatory reality checks, session‑timer overlays, and transparent win‑and‑loss displays. It avoids controversial mechanics like simulated skill elements that could violate the Gambling Act. While you can never remove regulatory risk entirely, the title’s pre‑certification and alignment with current UK guidance render it a low‑exposure option from a compliance standpoint.
Bringing a celebrity action brand onto the casino floor is never a minor financial choice, but the numbers indicate the Jean Claude Van Damme slot offers a compelling mix of solid math, demographic pull, and long‑term retention. When operators align the game’s deployment with disciplined cost management, smart positioning, and data‑driven marketing, the return profile moves from speculative to reliably attractive inside the UK’s tightly regulated environment.
Featuring a martial arts legend on the
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Hoppers‘ director feared Meryl Streep would reject a wild joke in his movie. The hit animated film was released earlier this year and featured Streep in a brief cameo.
Hollywood star Meryl Streep played the Insect Queen in Pixar’s Hoppers. But her character doesn’t last as she gets unceremoniously squished very early by the main character, Mabel.
Director Daniel Chong initially assumed that the Oscar winner would not join the movie. To his surprise, Streep not only accepted his cameo role pitch but also laughed at his joke about the Insect Queen.
In an exclusive interview with ComingSoon, Chong revealed, “The funny thing is that I would use Meryl as a reference, not thinking we’d get her, but trying to help people understand how powerful the character is. It’s like Meryl Streep, but never thinking we’d actually be able to cast her.”
At the time of casting, he wasn’t sure that Streep would agree to the role. But he simply thought, “Maybe we just ask and see what happens.” He pitched her the story over a Zoom call and could tell immediately that she was already sold on it.
But he was also worried about another issue. “I thought the deal breaker was going to be telling her, ‘Meryl, I just have to tell you, you’re not going to survive past your first scene.’ I was willing to let that be the deal breaker because she’s not in it very long.”
To his shock, “she got the joke. She understood that what’s funny is not just that the insect queen gets squished. Meryl Streep gets squished. It makes you feel something because you think she’s going to be in the movie longer.” He added, “Meryl was down for the joke, and she’s playful.”
Besides Streep, Hoppers’ ensemble voice cast also includes Piper Curda as Mabel Tanaka and Bobby Moynihan as King George. Jon Hamm, Kathy Najimy, Dave Franco, Eduardo Franco, and Sam Richardson also play crucial roles.
Hoppers arrived on Disney+ earlier this month. While a sequel has yet to be confirmed, director Chong has expressed his interest in making Hoppers 2.
Hoppers‘ director feared Meryl Streep would reject
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Think your fan conversations about Apple TV’s “Pluribus” are heated? Try being on the actual series set. “We have healthy, sometimes tongue-in-cheek debates about different questions that the show brings up, whether it’s your personal take on what you would do or what you think your character would do,” star Rhea Seehorn tells the Variety Awards Circuit Podcast.
Of course, this isn’t new for Seehorn on a Vince Gilligan show. She remembers having spirited debates with “Better Call Saul” co-star Bob Odenkirk back in the day. “He would be like, ‘well, obviously Kim thinks blah blah blah,’ and I was like, ‘yeah, well, I don’t think so.’ He’s like, ‘yes, she does,’ and I was like, ‘you can’t make me say she thinks that!’ It’s good to have like different perspectives on the same scene.”
Seehorn credits Gilligan for leaving his stories and characters open to interpretation. “There are times where people are telling me their interpretation of what they think Carol is doing, thinking, or is feeling, that it’s interesting to take in,” Seehorn says. “It’s just a facet that I’m like, ‘oh, that could be interesting for me to explore,’ or sometimes they are saying something that I already was thinking about exploring. And then there’s other things, that I’m like, ‘I’m just gonna let that be your interpretation.’”
That includes the viewers that are hoping Carol and Zosia (Karolina Wyndra) might get back together. A problem with that theory: Carol has snapped out of her infatuation, as she’s reminded that Zosia is really a part of the hive mind that wants to also erase her humanity.
See, complex stuff! As Emmy Phase 1 voting comes to an end on Monday, Seehorn drops by Variety‘s Awards Circuit Podcast to talk about “Pluribus” theories, how her co-stars are nothing like their characters, her anticipation for Season 2 and more. She also looks back at her first time in Variety and takes the 10 Questions quiz. Listen below!
Given the tremendous success Seehorn had playing Kim Wexler on Gilligan’s “Better Call Saul,” she admits it was daunting starting a new collaboration — knowing that the anticipation and expectations would be tremendous.
“This was not only leaving that world but entirely different character, and sci-fi, although his ‘X-Files’ fans were thrilled that he was going back to sci-fi,” she says. “And a female lead, maybe they aren’t going to want that. A lot of factors. And then probably the thing that kept me up more at night in the beginning was not wanting to disappoint Vince. He wrote this for me, and Apple took a gamble on me being the lead of it. A lot, of factors that kept me up, but at the end of the day, I was pretty good at putting that away and realizing the best I could do to service any of those worries was to put my head down and do the work.”
So, does she have any details on Season 2 yet?
“I’ve stopped by the writer’s office to have lunch or say hi, but I haven’t stopped to snoop, and I haven’t called and asked any of them for details,” she says. “It’s not because I don’t care, because I care deeply. There’s an immense amount of trust that their abilities far exceed whatever I was gonna show up and offer, but I also don’t want to put them in a position where they are worried about what to reveal to me and what not to reveal to me. One of the reasons that we get our scripts one at a time is not to manipulate the actors. Because there are things that just aren’t cemented. Vince Gilligan and Peter Gould, on ‘Saul,’ would tell me that they didn’t want to be in a position where they said, ‘oh my god, this huge thing comes up in Episode 6 for you,’ and then it changes, and it’s not there.”
Seehorn first appeared in Variety on Aprul 26, 1996, via a production chart listing for the independent film “Floating.” “I hadn’t moved out here yet,” Seehorn recalls. “That is a for real, legit indie. Tiny budget, self-funded. I remember that I shot it in Washington, D.C.”
Back then, she was doing theater in the D.C. area, and every once in a while indie films or productions would do through the area. “I remember ‘Nixon’ was shooting there and Barry Levinson would shoot something in Baltimore, and we’d all hustle over there,” she says. “I think ‘Homicide’ was still being shot in Baltimore at the time. I think that was my first full episode of a television series. And then, as I’ve spoken about in the press before, another way that people would get on-camera experience in the theater community there was doing industrials, in-house training videos. Because there’s so many, not just government buildings, but flagship headquarters for different companies, so you would do training videos, which was kind of fun.”
10 QUESTIONS WITH RHEA SEEHORN:
1. Childhood nickname: “‘Britches.’ I had a habit, I’ve been told, as a toddler, running away from the house and just running to other neighbors and playing with their dog, or going in their backyard, joining other people’s barbecues. People would call my parents and let them know where I was, but they would run after me, calling me ‘Britches,’ because when I would go on my teetering escape, could not keep my pants up to save my life, apparently.”
2. Something you loved as a kid but can’t believe you were into it now: “Eating Campbell’s cream of potato soup in its condensed cold form straight out of the can.”
3. Go-to Karaoke or sing-in-the-shower song: “I’m not a karaoke person, but when I am dragged or somebody has a birthday and they really, really want me to do it, it’s Wham’s ‘Careless Whisper.’”
4. Give me an alternate title for your show: “Oh, dude, that’s so hard. I can’t believe they were even able to come up with a log line. I give them all so much credit. It’s an impossible show to explain!”
5. What’s your secret talent?: “Tedious, methodical following of instructions, like everything from a Lego set to like building an Ikea piece of furniture, or somebody saying we can’t figure out how the VCR works, learning to caulk a bathtub. I will sit and patiently and start over when I mess up again and again and again.”
6. Favorite ice cream flavor: “Peanut Butter and Chocolate, together.”
7. The one item you couldn’t live without: “My family and my pets. I have two cats, Auggie and Milo. They have their own Instagram account.”
8. What TV show in all of history do you wish you were a cast member of?: “‘Six Feet Under.’ Or ‘Pen15.’”
9. Fictional character you most admire: “Sarah Lancashire’s character in ‘Happy Valley.’”
10. Your favorite piece of advice: “I think one that I come back to all the time is, and I’ve gotten it in various different phrasings from various different parts of my life, but it’s ‘Keep your side of the street clean.’ If something goes poorly, you can still examine, what was my side in this, is there anything I could do differently. The things that you can’t change, at least make sure your side of the street was clean.”
Also on this episode of the Awards Circuit Podcast: “Matlock” star Kathy Bates.

Bates’ first appearance in Variety was on March 10, 1976, for the play “Vanities.” Says Bates: “That was the first really cool role I had to play. A friend of mine from school wrote it. We were one of the longest-running plays off-Broadway for awhile — five, six years.”
But then, when the show moved to the Mark Taper in Los Angeles, established stars were cast in the play. “Sandy Duncan played my part, and so we got to be the ‘B team’ that went in at the
10 QUESTIONS WITH KATHY BATES:
1. Childhood nickname: “Well, my grandmother called me Dosha when I was bad and Kitty when I was good.
2. Something you loved as a kid but can’t believe you were into it now: “Canoeing. It was my favorite thing. I went to the YMCA camp, and in a beautiful place in Hardy, Arkansas, and I learned how to canoe, and I was really, really good at it. I was about 11 or 12. I loved it.”
3. Go-to Karaoke or sing-in-the-shower song: “I’ll Be Seeing You.”
4. Give me an alternate title for your show: “Mrs. Opioid”
5. What’s your secret talent?: “I can whistle.”
6. Favorite ice cream flavor: “Depends, there’s a restaurant in New York called Balthazar, and they have profiterol with vanilla and this wonderful hot fudge sauce, but my favorite flavor would probably be Salt and Straw, the one that they have with salted caramel. Oh no, you know what my favorite one is? Mint chocolate chip.”
7. The one item you couldn’t live without: “It would probably be a pillow of some kind.”
8. What TV show in all of history do you wish you were a cast member of?: “The first one that came to mind was ‘The Twilight Zone.’ The other first one was ‘Ponderosa.’”
9. Fictional character you most admire: “I was going to say Scout in ‘To Kill a Mockingbird.’ There was another one, my favorite, but she was a real.. she wasn’t fictional. She was a real woman. She was part of the English underground during World War II, and she had one leg because she had one foot was blown off and she did all of these amazing things there.”
10. Your favorite piece of advice: “Somebody said to me about this business, ‘you have to have a head like a bullet and a heart like a baby.’ I think that’s probably a good advice for life..”
Variety’s “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, “Awards Circuit” features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts.
Think your fan conversations about Apple TV’s
When Enongo Lumumba-Kasongo was a little girl, she became obsessed with the 1986 Nintendo game Metroid. She was thrilled to learn that the game’s protagonist, Samus Aran, was a woman. This revelation was a turning point, proving to her that women could inhabit spaces she had initially thought were reserved for men. This empowering moment inspired her stage name, Sammus. As a rapper, producer, and Ph.D. candidate, Enongo’s story and art serve as an inspiration for people from all walks of life.
Director and writer Kevin Schreck weaves together a unique documentary experience to tell Enongo’s story. Through a blend of animation and live-action, Schreck invites us into her life, from childhood to her current influence in rap and geek culture.

“Enongo’s journey is yet another human story about the power to persevere and make your dreams come true.”
The animation deserves special attention; the various art styles are implemented with such precision that they keep the film’s flow smooth and engaging. This film is a landmark achievement, as it is the first feature-length project to feature an animation team composed entirely of Black women. These segments, which make up approximately 10% of the film, serve as distinct chapters in Enongo’s life, enriched with poetic visual flair. Serving as a mentor and consultant for the project is legendary Disney animator Dan Haskett, who worked on Beauty and the Beast and The Little Mermaid. Haskett even provided initial character sketches for the project, which is the perfect finishing touch.
The magic of a documentary like Enongo is that it allows us to step into another person’s life—to learn about their family, their inspirations, and their heartbreaks. Throughout the film, Enongo’s artistry is on full display, but so is her humanity. As we learn more about the real-life struggles she has overcome, her art resonates even more deeply.
Enongo is an enjoyable journey, even for those who may not be familiar with her music. The unique hybrid approach is engaging and well-executed. Everyone has moments in which they feel lost and alone; Enongo’s journey is a powerful, human story about the strength to persevere and the courage to make your dreams come true.
When Enongo Lumumba-Kasongo was a little girl,
HAMILTON – Bo Levi Mitchell tied his career high with five TD passes to lead the Hamilton Tiger-Cats past the B.C. Lions 41-27 on Friday night.
The contest featured the finalists for last year’s CFL outstanding player award, which was won by B.C.’s Nathan Rourke. But on this night Mitchell excelled, completing 15-of-18 passes for 285 yards as the Ticats (2-1) earned their first win in four home games versus the Lions before an announced Hamilton Stadium gathering of 20,402.
Rourke, also the CFL’s top Canadian last season, was 24-of-35 passing for 291 yards with a TD and interception while being sacked three times. However, the Lions’ offence was severely short-handed as veteran receiver Keon Hatcher Sr. (thigh) was a late scratch.
On Thursday, B.C. declared receivers Stanley Berryhill III (thigh) and Seven McGee (foot) and Canadian Jevon Cottoy (thigh) were all out. Hatcher, Cottoy and Berryhill combined for 11 catches and 161 yards in B.C.’s season-opening 31-27 loss to the Saskatchewan Roughriders as Rourke threw for 330 yards in the contest.
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B.C. (0-2) started rookie receivers Jaden Williams and Canadian Nick Cenacle. This marks the first time since ’19 the Lions have started a season with two straight losses.
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Mitchell’s fifth TD pass — the fourth time he’s done that over his 14-year CFL career — came 21 seconds into the fourth, a 24-yard strike to Kurleigh Gittens Jr. that put Hamilton ahead 41-12. B.C.’s Carl Meyer had a 46-yard single at 4:03.
Rourke found Cenacle on a 14-yard TD pass at 11:19. Then Cenacle caught an 18-yard touchdown toss at 14:17 from backup Chase Brice, who was six-of-seven passing for 87 yards and the score.
Max Mang, with two, Kiondre Smith, Jake Dolegala and Kenny Lawler had Hamilton’s other touchdowns. Marc Liegghio added five converts.
B.C.’s Sean Whyte had four field goals and two converts.
Whyte connected from 43 yards out at 11:22 of the third to cut Hamilton’s lead to 34-12.
Mitchell ended an 11-play, 88-yard drive with an eight-yard touchdown pass to Mang at 8:27,giving Hamilton a commanding 34-9 lead.
Mitchell’s 49-yard TD pass to Lawler at 12:16 of the second staked Hamilton to its 27-9 halftime advantage. It followed Stavros Katsantonis’s interception.
Mitchell had three first-half touchdowns, completing nine-of-10 passes for 218 yards. Hamilton scored four touchdowns on its six first-half possessions.
Liegghio missed a 45-yard field goal to cap another while failing to make the convert following Lawler’s TD. Punter Mitch McCarthy came on late in the half.
B.C. scored on its first three possessions, but each time settled for Whyte field goals to fall behind 21-9 before Katsantonis’s interception. Rourke was 11-of-19 passing for 159 yards.
Whyte’s 16-yard field goal at 6:16 cut Hamilton’s lead to 21-9, capping a 10-play, 68-yard B.C. drive.
Mitchell hit Mang on a seven-yard TD strike 21 seconds into the second, putting Hamilton up 21-6.
Whyte’s 14-yard field goal at 13:58 of the first pulled B.C. to within 14-6. It was a disappointing end to a solid 10-play, 76-yard march.
Whyte pulled B.C. to within 7-3 with a 40-yard field goal at 5:41. But Dolegala’s one-run run at 7:43 gave Hamilton a 14-3 lead, capping a four-play, 70-yard march that included a 56-yard completion to Myron Mitchell.
Smith opened the scoring just a minute into the contest with a 56-yard TD grab.
This report by The Canadian Press was first published June 19, 2026.
© 2026 The Canadian Press
HAMILTON – Bo Levi Mitchell tied his
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Bryson Bryant, the son of Real Housewives of Atlanta alum NeNe Leakes, has been arrested after reportedly violating his probation.
According to jail records obtained by TMZ on Friday, June 19, Bryant has been held in a Georgia jail since May 1 after being booked for allegedly failing to meet the terms of his probation and failing to pay child support. The outlet reported his bail is set at $27,000.
TMZ reported the probation violation is in relation to his July 2023 arrest, when he was found with fentanyl in his possession.
According to documents obtained by Us Weekly at the time, Bryant was booked on multiple charges in Lawrenceville, Georgia, including violating probation, possession of a schedule II controlled substance, loitering/prowling and giving a false name to a law enforcement officer after he allegedly told police he was his younger half-brother, Brentt Leakes.
Bryant’s drug charge was dismissed as part of a plea agreement. However, he was sentenced to 12 months of probation and ordered to pay a $500 fine, complete 40 hours of community service and submit to random drug testing.
According to court documents obtained by TMZ, Bryant failed to fulfill any of the conditions of his probation.
Us Weekly has reached out to Leakes’ representative for comment.
Leakes previously spoke about her son’s legal troubles during a July 2023 episode of podcast, “Reality With the King.”
In the episode, Leakes, 58, told podcast host Carlos King that Bryant “needs rehabilitation” and “a lot of counseling,”
“He has an addiction. He’s been struggling with it for years,” she explained, adding that her son has been to rehab and relapsed multiple times. “As a mom, just to watch it is — my hands are tied. You know, he’s 31 years old, he’s an adult. He has three children, three beautiful children who I adore. He has a wife. [There’s] not much that I can do.”
Leakes also stressed that recovery ultimately comes down to the individual struggling with addiction, noting that no family member or loved one can make that decision for them.
“I have spent so much money to get Bryson where he needs to be, but every time I sent him off, I said, ‘You are giving your ass up and we are sending you off.’ But I learned through counseling myself that he has to say, ‘I am ready to go,’ not me making him go,” she continued. “So until Bryson is ready to make a change, there’s nothing I can do.”
Bryson Bryant, the son of Real Housewives
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Catherine Corcoran, the actress known for her genre work, has been tapped as the first horror ambassador of Raindance Film Festival, a role that comes in partnership with her production company FareStream Pictures and coincides with the launch of the festival’s dedicated horror programming slate.
Corcoran’s horror credits include Terrifier, Terrifier 2, Return to Nuke ‘Em High Volume 1 and Volume 2, Long Lost, Faceless After Dark, If It Bleeds and Big Baby, among others. She also made headlines last year after filing a lawsuit related to the Terrifier franchise.
“Independent horror has always thrived by creating community first,” Corcoran said in a statement. “Raindance has spent decades championing fearless filmmakers and queer artists and I’m honored to help expand a platform that celebrates voices redefining the genre.”
As Corcoran noted, horror is having a moment — particularly original horror. Obsession, from 26-year-old writer-director Curry Barker, has crossed $300 million at the global box office after being produced independently for $750,000, becoming Focus Features’ highest-grossing film of all time. Two weeks later, A24’s Backrooms from 20-year-old director Kane Parsons became the studio’s highest-grossing film ever, with $265 million globally.
Founded in London in 1993, Raindance is the U.K.’s largest independent film festival. Corcoran’s appointment comes as the festival expands its horror presence, introducing the Roger Corman Award for Best Horror Feature and showcasing an international lineup of genre films.
The festival’s Icon Awards will be presented to Miriam Margolyes, Brian Cox and Lloyd Kaufman. Connor Storrie, Kit Harington, Jane Fonda and Robert Englund are also among the names featured in the lineup for the festival’s 34th edition.
In November, Corcoran launched her film and television production company, FareStream Pictures, which focuses on telling bold and emotionally charged stories through women and underrepresented voices.
With Corcoran and FareStream Pictures joining the initiative, Raindance’s new horror programming seeks to foster strong collaboration between filmmakers, fans and the global independent horror community while advocating for the next generation of voices.
The festival runs through June 26 in central London.
Catherine Corcoran, the actress known for her
Fox News was dragged online after suggesting critics of the renovated reflecting pool, which has been plagued by pond scum, were suffering from “Algae Derangement Syndrome.”
During a Friday segment for “The Ingraham Angle,” which was labeled “Algae Derangement Syndrome” and documented left-leaning media’s coverage of the polluted pool, guest host Lisa Boothe pondered why people were “so obsessed with this.”
“It must’ve been a slow news day in Washington, D.C.,” her guest chimed in, “because you had so many – as you just saw – reporters heading to the reflecting pool. I think that they are obsessed with it because they want to embarrass President Trump.”
He continued: “Now, president Trump is not the first … there have been presidents dating back years who’ve tried to fix the reflecting pool. Barack Obama, by the way, spent about $34 million, $20 million more than Donald Trump did. And yet, they didn’t cover that at all.”
Boothe’s guest then blamed Trump Derangement Syndrome – which, for the record, is not a medically recognized psychological condition – for the outcry. Watch the moment below.
Of course, the fiery rhetoric inspired a big reaction online, with the segment getting clipped and shared on X Friday evening. It didn’t take long for Trump’s critics to sound off in the comments, with one X user even writing, “The bottom line is the whole damn pool is polluted with algae and blue paint. It will cost another $20 million to fix up Trump’s $14 million f–k up.”
Another chimed in with, “Trump doesn’t need our help embarrassing himself.” A third wrote, “We are obsessed with it? MAGA spent two months doing nothing but posting pictures of one algae bloom from 2012. MAGA is a joke.”
“Fox had no problem with people talking about the reflecting pool everyday when the work was been done,” a fourth critic sounded off. “Now that it has turned out to be a complete failure they want everyone to stop talking about it.”
A representative for Fox News did not immediately respond to TheWrap’s request for comment.
However, there does seem to be a growing fascination with the algae-riddled reflecting pool. Not only did Jimmy Kimmel roast it on his show earlier this week, but tourists have started to peel off pieces to take as souvenirs.
CNN correspondent Tom Foreman reported on Friday witnessing this very thing at the famed Lincoln Memorial Reflecting Pool, noting on-air, “There have been tourists coming along, tearing off pieces to take as souvenirs … Now, did they cause this problem? I don’t know, maybe. Did they exacerbate it? Maybe. And we don’t have proof, exactly that that is the sealant we’re talking about. But it sure looks like it.”
Fox News was dragged online after suggesting
The New York Knicks festivities aren’t over just yet.
Just one day after an estimated two million people flooded the streets of Lower Manhattan to catch a glimpse of the team’s ticker-tape parade celebrating the Knicks’ first NBA title in 53 years, stars (and long-time pals) Jalen Brunson and Josh Hart, along with co-host Matt Hillman, recorded a special live edition of their popular podcast “The Roommates Show” at the Infosys Theater at Madison Square Garden.
All proceeds to the sell-out show, which was simulcast on ESPN, benefited the Garden of Dreams Foundation, the MSG non-profit supporting children in need. And the Friday night crowd was a rowdy one, to say the least.
Brunson and Hart kicked things off by bringing the Larry O’Brien Championship Trophy onstage to raucous applause and chants of “M-V-P!” for Brunson. The night also saw a number of special guests join the podcasting trio, including Knicks teammates Karl-Anthony Towns and Miles “Deuce” McBride; Knicks legend Carmelo Anthony; and the co-hosts’ wives — Ali Brunson, Shannon Hart and Samara Hillman. They were all met with loud cheers on this Juneteenth evening.
Stephen A. Smith, on the other hand, was not.
The boisterous ESPN personality was greeted by a loud chorus of boos and heckling throughout his “secret guest” spot.
“Are they saying ‘Deuce?’” joked Hart as Smith came out to the boo-birds.
“They don’t know that boos are cheers,” added Smith, trying to save face. “Boos are cheers.”
The crowd had good reason to boo Smith, who infamously said that “Villanova doesn’t have a real NBA prospect on this squad” after the team won the 2016 NCAA Men’s National Championship (the team had future NBA difference-makers Brunson, Hart, Mikal Bridges and Donte DiVincenzo, to name a few).
And later, when the Knicks signed Brunson in 2022, Smith bashed the decision, exclaiming, “I’m tired y’all… JALEN BRUNSON ISN’T THE ANSWER. You creating this cap space to get Jalen Brunson? Is he KD? Is he Kawhi Leonard?… You’re selling New York on Jalen Brunson?”
And so, on Friday night, Brunson and Hart confronted Smith about his 2016 comments.
“We are now sitting here with this golden trophy there to your right,” Hart said to Smith. “Can you sit here and admit you were wrong?”
After pretending he couldn’t hear the question, Smith replied, “I’m a grown-ass man. I was beyond wrong. I’m apologizing to this brother on national television; I’m apologizing to you; I’m apologizing to the entire Knicks organization. Let me be very, very clear: I have never been more happy to be wrong in my life.”
Smith, 58, claimed that he “came out of the womb a Knicks fan” to more jeers from the crowd before rattling off a series of infamous moves by the Knicks’ organization in the 2000s and 2010s while owner James Dolan was calling the shots, and before he handed the reins to Leon Rose (and got distracted by erecting his Sphere in Las Vegas).
“So, I apologize for being wrong,” Smith continued. “But let me be very clear: if it means another championship, I would do it again.”
The New York Knicks festivities aren’t over
At the often volatile crossroads of art and politics in Russia, Alexander Sokurov stands out. A renowned filmmaker and art house favorite in the West, he has a habit of publicly questioning President Vladimir V. Putin about a range of contentious issues, including government repression.
Nonetheless, this year’s Venice Biennale dropped him as a speaker following protests by a group of exiled Russian artists who said he exemplified officially approved dissent, circulating unimpeded in Russia while real critics were imprisoned or forced to flee.
“In many ways his fate is the fate of a talented loner,” said Anton Dolin, a prominent Russian film critic living in exile. “That explains both the cult around him and the hostility toward him.”
“On the one hand, his films are banned in Russia,” he added. “On the other hand, he remains highly respected and continues to participate in state councils and institutions.”
The December gathering of the Presidential Council for Civil Society and Human Rights most recently put a spotlight on Mr. Sokurov, 75. Mr. Putin appointed the director to the council in 2018, and Mr. Sokurov used the group’s annual meeting with the president to criticize oppressive government policies. It was a remarkable departure for a 50-member advisory organization that has been stacked with pro-war figures and other Kremlin cheerleaders.
At the meeting, Mr. Sokurov called stringent censorship of the arts worse in present times than in the Soviet Union; described the ritual of ostracizing government critics as “foreign agents” as humiliating; and questioned favoring the children of veterans from the war in Ukraine for the already limited number of free spots at prestigious state-run universities.
It was not the first such encounter. At a similar meeting in 2021, for example, Mr. Putin, visibly angry, rejected his suggestion that minority republics be allowed to freely leave the Russian Federation.
In an interview, Mr. Sokurov — a heavyset, avuncular man with a shock of white hair who walks with a cane — acknowledged that most people could not get away with such remarks. But he has interacted with the president for decades, since Mr. Putin was a city official in St. Petersburg and the filmmaker petitioned him to save its Soviet-era film studio from oblivion.
This time, Mr. Putin largely avoided answering before suggesting that they discuss the issues in person — a meeting that has yet to happen.
Mr. Sokurov said he felt a special responsibility to make public comments, especially to ensure that young Russians inherited a livable country.
“Sometimes people tell me that I am a fool, that I shouldn’t say these things, that it’s crazy, that it’s pointless,” he said, speaking on the sidelines of a Russian film festival last March in Paris. He presented works by his students as well as his latest film, “Director’s Diary,” a five-hour documentary weaving together historical newsreels with entries from his diaries from 1957 to 1990.
“My interest is purely public, purely about life,” he said. “I am surrounded by real people, not some government or elite circle. I’m just a working-class filmmaker.”
His critiques often go unheeded, Mr. Sokurov said. He prepares such reproofs carefully, he said, writing out the script as he would a movie scene to ensure that he does not forget any points.
“For me, it’s very stressful: to speak out publicly, to invite a backlash, to worsen my own situation,” he said. Still, he can’t hold back, he said.
Mr. Sokurov was born on June 14, 1951, in a village near Lake Baikal, in Siberia, to a father whose military posts led to an itinerant childhood for him and his older sister.
He described his father, a decorated World War II infantryman, as “sharp-tempered and strong-willed.” His mother knew Russian and Italian opera by heart, although his parents did not consider the arts a profession.
He credits radio, especially the wealth of Soviet programs featuring classical music and dramatic performances, with opening his eyes to the world beyond the military backwaters where he grew up. “It was my teacher and my mentor,” he said.
His lifelong contrarian impulses emerged from his university experience, he said. He proposed writing a history thesis about Czar Nicholas II, but was told the subject was taboo. In protest he picked an obscure topic, the economic relations between the Soviet Union and Chile. He wanted to test his ability to see a protest through to the end, he said.
A haphazard college job producing both plays and live sporting events for a local television station eventually led him into film. As a young adult, he recognized that Soviet movies were “a serious, vast and highly motivated body of creative work,” he said, but he was not drawn to the profession. “I never liked movies, and I’m not a movie fan now, either,” he said. “I’m a reader.”
His independent nature brought trouble. The director of the Lenfilm, the center for film production in Leningrad, now St. Petersburg, denounced him to the authorities for his “anti-Soviet” attitude. He was interrogated and put under surveillance. His career was doomed, he said. But then the Soviet leader, Mikhail Gorbachev, suddenly introduced the concept of openness to society. Soon after, the U.S.S.R. collapsed.
In 2002, Mr. Sokurov directed “Russian Ark,” a surreal romp through 300 years of Russian history, which attracted a global audience.
In the film, an anonymous narrator wanders the labyrinthine halls of the Hermitage Museum in St. Petersburg, encountering famous figures like Catherine the Great. Filming the entire 95 minutes in one uninterrupted take was widely hailed as unprecedented.
The dialogue included some criticism of Russia. For example, the narrator, admiring copies of works by Raphael, said: “Russians are so talented at copying. Why? Because you don’t have ideas of your own. Your authorities do not want you to have them.”
Mr. Sokurov’s films vary widely and do not fall easily into categories like drama or comedy. They are often experimental and their plots, if they exist, are rarely linear.
“He is a guru of auteur cinema — highly independent, deeply original and widely respected,” said Mr. Dolin, the critic. “In Russia, he is admired more as a moral authority and revered for his work than he is actually watched.”
In 2011, his film “Faust” won the top prize at the Venice Film Festival. The movie formed part of a tetralogy that examined in turn the legacy of Lenin, Hitler and Emperor Hirohito.
To explore the life of Lenin, he drew on the expertise of the dissident Soviet writer Alexander Solzhenitsyn.
“The first impression Sokurov made on me was a rare combination of masculinity and tenderness,” said Mr. Solzhenitsyn’s widow, Natalia D. Solzhenitsyna, in response to emailed questions. That impression, she said, endured.
“I deeply respect his willingness to speak openly with the authorities about the shortcomings in our lives, though I grieve that it takes so much strength from him,” she said.
After failing to secure public or private funding for “Faust,” he sought Mr. Putin’s aid. The president, a former secret agent in Germany, was intrigued and helped raise the 10 million euros needed. The filmmaker remains impressed with Mr. Putin’s attention to detail.
Some of his movies have been banned in Russia, including a recent, black-and-white film, “Fairytale,” in which he used archival footage to generate animations of Stalin, Mussolini, Hitler and Churchill together in the afterlife.
In Soviet times the authorities at least explained why a film was banned, he said. The letter rejecting a license for “Fairytale” cited “federal law” as the reason without specifying which one.
Earlier this year, the Moscow International Film Festival informed him that he would receive a prestigious lifetime achievement award, he said. The notice came after his latest public exchange with Mr. Putin. But, he said, the award was abruptly canceled on the eve of the ceremony. A retrospective of his work to mark his 75th birthday was also rejected by numerous St. Petersburg theaters.
In May, at the Venice Biennale, Mr. Sokurov was due to be a featured speaker at a seminar about dissent. Then a group of Italian cultural figures and prominent exiled Russian artists published an open letter criticizing him as an example of “safe dissent” that operated under Kremlin approval.
The festival unexpectedly announced that Mr. Sokurov was unavailable. He denied withdrawing.
Ultimately, Mr. Sokurov said, fear stops most people from speaking out. But he feels compelled to try to force the government to listen to dissent. Even if at times he regrets the fallout, he said, the powerful Russian state should hear different views.
For that reason, he said, he will never choose exile.
“I am sitting in this boat, and if it starts to sink, I will go down with it,” he said.
At the often volatile crossroads of art
A group of rising stars from “Obsession,” “The Pitt,” “Euphoria” and more gathered Thursday to talk about the Gen Z effect on entertainment and navigating careers in Hollywood as part of the SAG-AFTRA Foundation‘s inaugural First Act: Summer Soiree event.
The participants — Patrick Ball (“The Pitt”), Megan Lawless (“Obsession”), Tonatiuh (“Kiss of the Spider Woman”), Caitlin Reilly (“Hacks”), Darrell Britt-Gibson (“Euphoria”) and Courtney Taylor (“Ballard”) — shared their career stories and advice with a crowd of fellow young performers at the SAG-AFTRA Foundation’s Meryl Streep Center for Performing Artists at the union’s headquarters in Los Angeles.
The panel discussion comes on the heels of box officer sleeper hits such as Curry Barker’s “Obsession” igniting the zeitgeist and growing appetite among Gen Z, who are the most active moviegoing demographic.
Araya Doheny/Getty Images for SAG-AFTRA Foundation
“We are in this state where it feels kind of exciting because I think we’re starting to see a lot of original stories again, which I think we are so starved for,” Taylor said during the panel moderated by Rochelle Rose, SAG-AFTRA Foundation’s national director of performers programs. “Stuff like ‘I Love Boosters,’ ‘Backrooms,’ ‘Obsession,’ we are so hungry for something new. We’re starting to see that and I think the opportunity that we have there is to lean on that and lean on every story.”
Lawless, who plays Sarah in “Obsession,” explained that she has been waiting for this moment since she was 13. “This is just my dream come true. For me, I finally met the moment where I feel like people want to work with me and are choosing me, and there is a new thing — I have choice now,” she said. “I’ve been very involved with my team, I talk to them constantly. Most everything, if I can make it, like press-related, I say yes to. This moment’s not going to last forever.”
Britt-Gibson, who has also been afforded choice in his career after landing a recurring role on Season 4 of HBO’s acclaimed drama series “The Wire,” is intentional about everything.
“I have sacrificed a lot of money in this industry in terms of projects that I’ve said no to,” he said. “I always think about, ‘Will I be able to sit my future children down and show them something and say I’m proud of it, not that it made this amount of money, not that this many people saw it?’”
Ball, who won an Actor Award as part of the ensemble of HBO Max’s hit medical drama “The Pitt,” has a unique story. He did theater for 15 years before landing the role of Dr. Frank Langdon, while many of the other panelists worked their way up more traditionally through various films and shows.
“What you’re seeing when you see Season 1 of ‘The Pitt’ is you’re watching an educational process for me. You’re figuring out how cameras work, how a set works,” Ball said. “You just got to do, there’s no way to prepare for it. And I’m honestly not the best at it.”
At the end of the panel, Rose brought up AI, which has quickly become one of the industry’s most controversial and hot-button issues.
Reilly encouraged her fellow actors to be “very against” AI: “Everyone keeps telling us that AI is coming for us, it’s happening whether we like it or not. The truth of the matter is that’s a lie. These corporations and billionaires are trying to shove it into our lives, and if we band together and say no, then we can push back. You don’t need to engage with it, you have autonomy. There is community here.”
On the topic of AI, Tonatiuh concluded by giving some practical advice to the room.
“You need to learn how to read a contract, quickly, and get a good lawyer, quickly,” he said when it comes to actors signing away their likeness. “It’s really important that you’re not just an artist, you are running a business. And you cannot sign away by accidentally reading it . Your agent is not going to watch your back, your manager is not going to watch your back. They are looking at the dollar because they want the percent. You need to watch your back.”
(Pictured top: Megan Lawless, Darrell Britt-Gibson, Caitlin Reilly and Tonatiuh at SAG-AFTRA Foundation’s First Act: Summer Soiree event on June 18)
A group of rising stars from “Obsession,”
The second Spider-Man: Brand New Day trailer confirms that Spider-Man holds a major advantage over Jean Grey, the kind that could be pivotal in their deeply psychological battle. Tom Holland’s Peter Parker returns this summer as a hero the world no longer remembers, working alone after the memory wipe that ended Spider-Man: No Way Home. His body keeps changing in ways he cannot control, and his powers grow stronger by the day. A dangerous new force is moving through New York, and the city has almost no way to stop it.
The second trailer reveals that Spider-Man is the only person in New York who can resist the new threat’s power, and the only one who can even sense it. William Metzger, the director of the Department of Damage Control, breaks the news to Spidey himself, describing an enemy the government cannot handle, admitting, “It appears we’re faced with a threat we can’t control, one we can’t even see.”
Later in the footage, Metzger can be heard in the background telling Peter, “You’re the only one who is immune to it. You’re the only one who can sense it.”
This immunity traces back to Peter’s mutating DNA, the same change he keeps trying to suppress. The mutation has made Peter stronger, and his Spider-sense even more potent, making it difficult to penetrate his mind. Against a telepath who can freeze a crowd and seize their minds, this single advantage could be Peter’s saving grace come July 31.
The threat itself stays hooded for most of the trailer. Sadie Sink’s character never shows her face, though her telekinetic blasts freeze bystanders in place and let her leap from one body to the next. Marvel and Sony have not confirmed who she plays, but she’s been widely reported to be portraying Jean Grey.

The muted green-and-yellow coat she wears in the trailers is one of the clearest pieces of evidence that she’s playing the famous X-Men telepath, since that’s the character’s trademark colors.
Metzger brings his own interesting history into the story. Tramell Tillman, fresh off Severance, plays the Damage Control director, and in the comics, William Metzger led an anti-mutant militia before Magneto killed him. His presence hints that the government’s hunt for this telepath is part of a wider campaign against mutants, the kind of conflict that could set up Marvel’s upcoming X-Men reboot.

Many fans might be surprised that Spidey has this advantage, but Spider-Man’s resistance to telepathy is not a Brand New Day invention. In the comics, his spider-sense works like a constant alarm, and that buzzing static makes his mind hard to read and harder to seize. He threw off the Hypno-Hustler, who once hijacked an entire nightclub, and powered through Psycho-Man’s emotional control after it broke the rest of Avengers Academy.
Because Peter fights on instinct, acting before he thinks, telepaths struggle to predict his next move, let alone steer it. The MCU takes that idea and runs with it, turning his out-of-control mutation into the very reason a psychic enemy cannot reach him, which makes logical sense since his Spider-sense is extremely heightened now.

The bigger question is why a young Jean Grey would terrorize New York at all? The trailers paint her as the villain, but that might not be the full picture. It’s completely plausible that Metzger is not as innocent as the trailer portrays.
He runs an anti-mutant arm of the government, and his comic counterpart spent his career hunting people like Grey. A frightened mutant lashing out at the agency trying to cage her looks far more like Jean’s story than a plain villain turn.
Interestingly, Spider-Man is not the only one who seems to slip the telepath’s grip. When her wave of force rolls through a crowd and freezes everyone, Frank Castle keeps moving, untouched. This might not necessarily be because Frank is immune as well, just Grey leaving Frank be because she may need his help.
In some shots from the first trailer, we see her restrained to a chair, an indication that she’s being hunted. She and Spidey likely clash at first because she’s retaliating against the DODC’s oppression, and he’s been hired to help them. Whatever her motivations are, a battle with Spidey is certain, and his brand-new powers might just come in handy.
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The Girl of Steel is the next DC Universe hero to get the spotlight.
The DCU’s Chapter 1: “Gods and Monsters” slate is finally resuming this year, with several major projects on its way. After making her debut in 2025’s Superman, Milly Alcock is bringing Krypton’s last daughter back to the big screen in her own film.
As Supergirl opens in theaters this month, several critics have been able to screen the film in advance. Check out the first round of reactions for the DC Studios film below:
ScreenRant’s own Ash Crossan shared how “I really dug #Supergirl. Milly is excellent and I too am a hot mess who locks in for work.”
The Mary Sue’s Rachel Leishman commented how the film “is everything I wanted it to be. Girls can be messy and that rules! Kara isn’t her cousin and I really loved how this movie makes that clear. She’s a different kind of hero and perfect in every way.”
Den of Geek’s David Crow stated that the DCU installment is “the superhero movie I’ve missed: a straightforward, poignant story with lots of emotion, especially when we see Kara through little Ruthye’s eyes. Luckily that’s every action scene. Milly Alcock absolutely owns the role and will change our idea of Supergirl forever.”
Multiverse of Color’s Breeze Riley celebrated Milly Alcock’s solo adventure as “a fun and surprisingly emotional journey that will make you fall in love with Milly Alcock’s version of the hero. The film successfully establishes Kara’s identity independent of her cousin while still creating continuity and expanding the DCU.”
ComicBook’s Chris Killian revealed in his thoughts, “If you threw GOTG, True Grit, and Mad Max into a DC blender, you’d get #Supergirl – a grimy, funny, yet surprisingly somber space adventure. Milly shines, especially when we get into Kara’s tragic backstory, but Jason Momoa is having the fraggin’ time of his life as Lobo. I also want to highlight the practical effects. The design, makeup, and puppetry are all Oscar-level good. Krypton looks incredible. And my goodness does this movie solidify what peak casting David Corenswet is as Supes. Every time he’s on screen, you can’t help but smile. “
Junior Felix stated that Kara’s 2026 story absolutely “SOARS! Milly Alcock is the perfect Kara. This film is filled with gorgeous set pieces and dazzling action sequences. Momoa IS LOBO, but I wanted more of him. The scenes with Clark are priceless. Third act is F’N fun. The future is bright with this Supergirl.”
Mama’s Geeky’s Tessa Smith was mixed on the latest DCU project, as she explained, “Unfortunately Supergirl is a mixed bag for me. As a fan of the comic, I was (perhaps) overly excited for the film adaptation. While Jason Momoa’s Lobo & Milly Alcock shine, some adaptation choices and a bland villain keep it from greatness. It’s, simply put, just fine.”
Calling it “a bold, fresh and lively film that lets this iconic character shine,” DCU Brief praised Alcock as “the highlight.” They also added that “she’s jaded and brash, yet optimistic and so damn cool. Craig Gillespie’s vibrant direction has stylish needledrops and hyperfast action. Pace is short and sweet. Some interesting changes from the comic, including villain being simpler, and scale being smaller but sharper.”
While additional reactions to the Supergirl movie will emerge next week, the DCU is just getting started with Kara. Alcock is officially set to reprise her role in James Gunn’s Man of Tomorrow, which is filming right now.
Following Gillespie’s sci-fi release, DC Studios will shift the focus back to the small screen with HBO’s Lanterns TV show, premiering on August 16. The next theatrical release for the DCU will be Clayface on October 23, starring Tom Rhys Harries as the famous Batman foe.
Supergirl flies into theaters on June 26.
June 26, 2026
108 minutes
Craig Gillespie
Matthias Schoenaerts
Krem
The Girl of Steel is the next
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Sega has announced that Shinobi: Art of Vengeance will be coming to Switch 2 in a few months.
The Switch 2 version of the critically acclaimed action platformer will be released on September 24 in both physical and digital editions.
The Digital Standard Edition will cost £24.99 / $29.99, while the Digital Deluxe Edition will cost £34.99 / $39.99.
As well as the base game, the Digital Deluxe Edition includes the Sega Villains Stage DLC, where protagonist Joe Musashi faces off against a number of bosses from other Sega titles.
It also includes a digital artbook and digital soundtrack, as well as a Medic Lite Amulet, Ghost Outfit and 2000 Gold.
It doesn’t appear that owners of the Switch version of Shinobi: Art of Vengeance will be able to upgrade to the Switch 2 version for free (or for a reduced price), meaning they’ll need to buy it a second time.
This isn’t uncommon for Sega games, but the publisher has made exceptions in the past. The Switch version of Sonic Racing: CrossWorlds can be upgraded to the Switch 2 version (which was released later) for £10 / $10.
VGC’s 5-star Shinobi: Art of Vengeance review calls the game “superb” and praises its action, its detailed hand-drawn visuals and its soundtrack, which was composed by Shinobi veteran Yuzo Koshiro (Streets of Rage) and Tee Lopes (Sonic Mania).
“It’s been too long since we had a new Shinobi game, but Art of Vengeance has been more than worth the wait,” we wrote. “With tremendous visuals, an exceptional soundtrack and a compelling combat system that makes each fight a delight, this elevates Sega’s action platformer to new heights in the same way Lizardcube previously did with Streets of Rage 4. Exceptional.”
Sega has announced that Shinobi: Art of
In this episode of the No Film School Podcast, GG Hawkins speaks with Kanopy’s Erin Spears and Matt Lewis about curation, film discovery, and how independent films find audiences in a streaming landscape shaped by algorithms.
The conversation covers Kanopy’s library- and university-based model, the importance of human-led programming, how poster art and social media influence discovery, and why theatrical and festival experiences still matter for the long-term life of a film.
In this episode, we discuss:
Guests:
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Get your question answered on the podcast by emailing podcast@nofilmschool.com
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In this episode of the No Film
The Saudi film production landscape is bigger than ever, this year courting Rise Of The Planet Of The Apes‘ Rupert Wyatt to wrangle a starry blockbuster epic rooted in the country’s history. If Desert Warrior is an attempt at a Hollywood tentpole, Unidentified is a Lifetime original—a broad, morbid, hokey episode of Law & Order: Riyadh focused on the lives that women subtly mold around conservative custom and tradition in Saudi Arabia. It makes sense for Haifaa al-Mansour (Mary Shelley), the country’s first and still most notable female director, to tackle this kind of story, but any insight she may have into the secrecy imposed upon women by her nation’s culture, or the kind of underestimation that such a male-dominated world can lead to, is mired in stiff drama and undercooked mystery.
The premise promises something larger than a simple murder case, as Nawal Al Saffan (Mila Al Zahrani, reuniting with al-Mansour after The Perfect Candidate)—a secretary constantly listening to a “true crime makeup” influencer while digitizing files at the police station—seems to boast something the hapless masculine officers around her lack. Her association with this phenomenon, the overt feminizing of grisly killings by juxtaposing them with beauty tutorials, initially seems to offer some subversive backstory and plenty of detailed potential for this serious take on Only Murders In The Building. Her knowledge of press-on nails, for example, offers something of a lead for a case. But al-Mansour and her co-writer husband Brad Niemann don’t inform Nawal’s character with anything especially specific, no special attention to macabre detail or unnaturally strong stomach that’s been conditioned by her media habits. We’re told she’s recently divorced, and that she’s also just lost her young child, but that’s how much of the film unfolds—told directly to the audience. The plot just happens to Nawal, starting when she’s tapped by her boss (Shafi al-Harthi) to look at the newly discovered body of a teen Jane Doe, found in the desert.
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It’s a well-known TV phenomenon, especially as television shows move into their advancing years: You’ll be watching an episode of something, see the credits scroll by, and then go “Huh, they let David Duchovny direct this one.” Not to single out Duchovny—who directed three episodes of The X-Files, and six of Californication, during his long runs on both shows—since, again, it’s a pretty common way to keep an actor happy once their feet start getting itchy with a role. (Steve Carell on The Office, Ellen Pompeo on Grey’s Anatomy, Bryan Cranston on Breaking Bad—name a show that lasted long enough, and with a prominent enough star, and it’ll probably crop up.) It’s a win-win for both parties, usually, allowing producers to keep their stars happy (and their egos stroked) while the performers in question bulk up their resumés for whatever come next.
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This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.
For the visionary steel-string guitarist, pianist, composer and singer Robbie Basho, making music was more than a vocation; it was a way to assuage a lifetime of psychological and physical distress — pain that only ended with his death, at age 45.
Beginning in the early 1960s, Basho expanded the steel-string guitar’s vocabulary using alternative tunings and experimental forms to create trance-like compositions.
He forged a distinctive style that drew an array of traditional world music from India, Japan, France, Germany, Persia, China and Native America. An early example is “Harakiri, Kali Style,” which incorporates the flavor of North Indian classical raga, using an open harmonic structure, droning strings and improvisation to enter into a deeply personal state — an immovable, hypnotic track that bends time.
“Basho’s music is not made for casual listening,” Steven Rings, an author and music theorist at the University of Chicago, said in an interview.
“It requires patience and attention, like a meditation, where you have to sit through a lot of discomfort to get there,” he added.
Basho began exploring music from other cultures after he discovered the recordings of the renowned Indian composer and sitar player Ravi Shankar in 1962. He later included more vocals to his music. In songs like “Blue Crystal Fire” and “The Song of Leila,” his keening, dramatic voice booms over tense instrumental landscapes — cantorial in flavor and devoid of irony.
“It’s the most unstylish singing you can think of,” Rings said.
Basho earned a cult following as one of the great mystics of the American guitar. Yet in music, as in life, he existed outside the mainstream. He lived in isolation and, as a student of the California-based ascetic spiritual movement Sufism Reoriented, made a commitment to celibacy outside of marriage. He remained single all his life, though he longed for a partner — a feeling expressed in songs like “Tears of Teresa,” with the lyrics:
The crown of love is circled with thorns
From this day on, from the day I was born
And still I reach for you,
Oh my crown of love, I reach for you
But the thorns of thought are in the way.
He also struggled with mental illness and flashbacks that he attributed to his experimentations with LSD before joining Sufism Reoriented. He held conversations with unseen presences in private as well as onstage, and friends and colleagues said he rarely seemed at ease.
The chronic back pain that Basho suffered resulted from either a car or climbing accident (or both; stories vary). He treated it with acupuncture, massage, herbs, Chinese medicine and spinal adjustments. During a routine chiropractic appointment, an artery in his neck ruptured, causing a stroke that left him in a coma.
He died two days later, on Feb. 18, 1986.
Basho was born on Aug. 31, 1940, and was adopted; his birth certificate and adoption papers are sealed until 2040, leaving details of his early life unknown. His parents, Daniel Robert Robinson, a surgeon from Baltimore, and Eilene Webb, a clinical pathologist, named him Daniel Robert Robinson Jr.
Basho’s mother was “standoffish, cold, not a loving person,” Basho’s niece, Valerie Cantrell, said in an interview. He and his stepsister, Penelope Hurley, were primarily raised by a housekeeper, and Basho grew up introverted and socially awkward. He was sent to a psychiatrist, which was rare for children at the time.
Basho attended Mount Washington School and Loyola High School in Baltimore. He studied trumpet and then euphonium, a relative of the tuba, but it wasn’t until he was 20 and enrolled as a pre-med student at the University of Maryland that he took up the acoustic guitar — an interest he shared with his roommate, the musician Max Ochs.
Even in college, Basho was awkward, Ochs said in an interview: “Robbie was always reading, always sweating, anxious, and always trying, unsuccessfully, to get a girl.” Basho was also a large man and a weight lifter; he once worked as a bouncer at a bar in Ocean City, Md.
Basho never graduated from college. He and Ochs fell in with a Washington, D.C., crowd that included John Fahey, a fellow pioneer of what is now referred to as the American Primitive movement, and the producer Ed Denson. Basho moved there for a time to study flamenco guitar, then followed Fahey to explore the thriving music scene in Berkeley, Calif. It was there, Fahey said, that he adopted the name Basho, after a 17th-century Japanese haiku poet whom he claimed to have been in a past life.
Exposure to Shankar’s recordings soon followed and proved transformative. “After that,” Basho said in a 1974 radio interview, “nothing was the same.” He began studying with the renowned sarod player Ali Akbar Khan, whose teachings informed Basho’s creation of new guitar techniques, as heard on his first records for Takoma, the label founded by Fahey and Denson.
Basho was admired for his intricate guitar work, but the international sounds he pursued, combined with his emotionally volatile, naked aesthetic, proved to be kryptonite to mainstream success. He would wail and chant, as he did on tracks like “Orphan’s Lament,” and he cried openly during performances. On album covers, he dressed in brightly colored robes; onstage he wore more conventional clothes, looking decidedly out of place in what was mostly a hippie club scene.
The guitarist Leo Kottke sneaked into clubs when he was a teenager to see Basho perform. “I was astounded by this guy,” Kottke said in an interview. “There wasn’t much in the way of instrumentalism on the scene in those days, so what he was doing was really unusual.”
Basho had synesthesia, a condition that combines the senses, allowing a person to see images in sound, and it led him to create a chart titled “The Esoteric Doctrine of Color and Mood” to articulate the colors associated with his compositions. Describing his music in a 1981 interview with Frets magazine, Basho said, “My gift is texture.”
He insisted his work wasn’t “far out” but “far in,” his lyrics evoking the natural world and drawing on legends and archetypes to populate the private universe his music inhabited. “Ride the Buffalo,” for instance, uses a forceful, idiosyncratic strumming style and unexpected chord changes to evoke the wide, open spaces of the American West.
In the liner notes for his 1971 album “Song of the Stallion,” Basho wrote: “My philosophy is quite simple: soul first, technique later, or ‘Better to drink wine from the hands than water from a pretty cup.’”
Basho relied on financial support from his father for basic necessities. He was on the road for long stretches between the West Coast, Canada and the Northeast, performing in small venues and getting rides when he could (he did not have a driver’s license). Sometimes, he slept in public parks.
He began performing on larger stages after signing with Vanguard in 1972, opening for acts like Mahavishnu Orchestra. The success was short-lived. Two albums he recorded for Windham Hill — a label created by William Ackerman, in part, in response to Basho’s music — failed to generate widespread attention and, by the mid-1980s, all 14 of his LPs were out of print.
He started producing and distributing his music himself, on cassette; his final recording was “Twilight Peaks” (1984). Maurizio Angeletti, who toured with him in Italy in 1982, wrote in a remembrance, “It was clear that he lived in a dimension of near-poverty, struggling to stay alive financially and physically, but also struggling to get understood.”
There has been renewed interest in Basho’s music in recent years, thanks largely to the 2015 documentary “Voice of the Eagle: The Enigma of Robbie Basho” and to two box sets of unearthed recordings from his personal archive released by Tompkins Square Records in 2020 and 2024.
“He was not of this world and was not equipped to be part of this world,” Ackerman said in “Voice of the Eagle.” “I’m not surprised he left this world early. It must have been very tiring for him to try to be in it.”
Howard Fishman is a musician and composer and the author of “To Anyone Who Ever Asks: The Life, Music, and Mystery of Connie Converse.”
This article is part of Overlooked, a
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“I had been fully prepared for a seven-year journey.” Writer/Director David Fortune was ready for the long haul when making his award-winning debut feature Color Book. “I’d heard how Charlotte Wells developed Aftersunover seven years and was ready to commit to that kind of long road with Color Book.” Things didn’t exactly turn out that way.
Color Book follows Lucky (William Catlett) who just lost his wife, and now learns how to be a single parent for his son Mason (Jeremiah Alexander Daniels), who has Down syndrome. The action takes place mostly over a single day as the pair journey across Atlanta to see Mason’s first baseball game.
Fortune had worked as a camp counselor for teenagers with Down syndrome while in college and saw the unique relationships between the parents and children there. He had wanted to write a father and son story, and his time at the camp found their way into the story. “I drew from those experiences — from the conversations I’d had with parents, from hearing both their wounds and their joys. I made sure to write from that place.”
He applied to the Film Independent Amplifier Fellowship, sponsored by Netflix, while writing the script, and was accepted in 2023. “What I truly appreciated was how the program helped me nurture the film both from a screenplay perspective and a visual one,” Fortune said. “We worked through the script and the lookbook together to make sure the film was coherent in its vision.”
The Fellowship also came with a grant that Fortune used part of the grant to create a pitch video that got him into the AT&T Untold Stories competition, where he won $1 Million to make the film.
“The timeline was remarkably fast. I finished the screenplay in January, got into the fellowship in February, was accepted to pitch at the competition that February or March, pitched in June, won the million dollars, made the film over the rest of that year.”
The films power lies with its observational eye. Fortune said the aesthetic was inspired by the documentary photography of the likes of Gordon Parks, Carrie Mae Weems, and Saul Leiter, and how they investigated and showed the beauty in everyday human behavior. Because of that the film lets moments play out and is shot in wides. According to Fortune, “the goal wasn’t to make you fall in love with these characters, but to see them in their most human form.”

That observational style only works when you have captivating performances, and Fortune found them in William Catlett and Jeremiah Alexander Daniels’s work. He brought both actors in for a chemistry read and felt the connection immediately. Catlett felt it too. “That’s my son,” he told Fortune afterwards. “You can cast whoever you want — you’re the director — but that’s how I truly feel.”
Audiences felt that connection too. The film premiered at Tribeca in 2024, won the Audience Choice Award for Best US Feature at the Chicago Film Festival, garnered a Variety “10 Directors to Watch” nod for Fortune in 2025, and was picked up by Netflix, the co-sponsor of the Amplifier Fellowship.
“David Fortune fully embraced every opportunity within the Film Independent Amplifier Fellowship funded by Netflix, which provides grants and creative support that empower artists and their projects to thrive,” said Angela C. Lee, Director of Artist Development for Film Independent. “We are immensely proud to have supported David and this unforgettable film, and we’re thrilled that this journey has culminated with the release of the film on Netflix.”
Color Book premieres on Netflix and select theaters in New York City, Los Angeles, and Atlanta on June 19.
Featured image courtesy of Netflix.
Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To support our work with a donation, please click here. Become a Member of Film Independent here.
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A Manitoba judge is being appointed to a newly created first-of-its kind associate justice role for reconciliation, with the aim of helping heal and foster relationships between the courts and Indigenous communities.
Judge Jerilee Ryle will serve as the province’s first associate chief judge of reconciliation, Minister of Justice Matt Wiebe announced Friday.
Ryle will aid in reconciliation efforts, as well as performing the standard duties expected of associate justices in the courts. Those activities include supporting the chief justice to manage the courts, educating the public on the court system and developing policy, according to a news release from the province.
“I got into law to help Indigenous people. So being able to have these opportunities to work alongside and empower Indigenous peoples and communities, with a goal of healing Indigenous communities and peoples is certainly very impactful for me,” Ryle, who is from Lake St. Martin First Nation, told reporters at her appointment to associate justice.
“I’m very humbled and grateful to have this opportunity.”
She said she is feeling “eager to get started” and expects to hit the ground running next week.
“In terms of the first year, I see a lot of engagement with the Indigenous communities,” Manitoba’s newest associate justice said.
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Ryle will serve a seven-year term, which officially begins on July 2.
“I’m confident that Judge Ryle will provide strong leadership, deepening the connections between Manitoba’s justice system and the Indigenous nations throughout this province,” Wiebe told reporters at Winnipeg’s Grand Law Library.
“The justice system, as we know it, has not always been fair to Indigenous people, and we’ve seen the legacy of colonialism in the overrepresentation of Indigenous people within our justice system.”
In a statement to Global News, National Centre for Truth and Reconciliation (NCTR) Executive Director Stephanie Scott applauded Ryle’s appointment.
She said the position is an ode to the work of the late former Manitoba senator, Murray Sinclair.
“By creating a judicial leadership role focused on reconciliation within Manitoba’s provincial court, the position will transform how the court system engages with Indigenous nations and will help to create a system that reflects and respects Indigenous traditions, beliefs and lived experiences,” Scott’s statement reads.
“We hope to see this serve as a model across the country, proving that systemic change is possible. We remind all that there can be no reconciliation without truth.”
Chief Judge Ryan Rolston said reconciliation efforts within Manitoba’s courts work won’t end here.
“The delivery of justice, which is the responsibility of the court, must evolve to serve the people,” he told reporters at Friday’s news conference.
Rolston said additional reconciliation efforts, including attempts to shift the court’s focus towards restorative justice for some cases, will continue.
© 2026 Global News, a division of Corus Entertainment Inc.
A Manitoba judge is being appointed to
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Meghan Trainor debuted her new “mom bob” on Instagram and wrote, “I love it so much!”
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The team shuffles onto the bus outside their senior living community in Tulsa, Okla., wearing game-day jerseys that feature an American flag with white pins and a red bowling ball. They are the U.V. Okies, a local sensation.
Just a half-mile down the road await the underdogs, the Burgundy Place Strikers, who are angling to dash the team’s 8-0 streak.
In this Tulsa-wide league for seniors, the athletes have traded hardwood floors and smooth gutters for the digital lanes of Nintendo Wii Sports bowling.
The Okies — residents of the University Village senior living community — have finished five seasons with a clean sweep and are on yet another winning streak. Would they win this away game against the Strikers, then their final match the following week, to complete a six-peat?
On this recent Thursday in June, their hopes are pinned on Phyllis Wimer, known as Phyllis Killer or Phyllis the GOAT for the many strikes she bowls; Charlene “the Grasshopper” Giles, whose hop gives her some extra oomph as she releases the ball; “Marvelous” Marcia Ness, who describes herself as a “tough old broad,” ready to bowl after recovering from a broken wrist and back; and “Rollin’” Ron Demaree, who grips the lower-left handlebar on his motorized wheelchair to propel himself upward and forward for more power in his roll.
If the Okies are nervous about a possible upset, they aren’t showing it.
“We’re going to go in there and smoke ’em,” “Dandy” Don Alcorn, 73, another teammate, says.
Senior citizens and video games may seem as natural a pairing as Gen Z and paper phone books. But in introducing Wii bowling to their residents nearly 20 years ago, staff members at senior communities in Tulsa saw an opportunity to create a league that would bring people together.
When the Okies first joined the city league more than a decade ago, they didn’t win a single match, said Cecelia Basarich, 83, a former University Village resident and player. They began studying the techniques of more successful teams and practiced on dusty Wii consoles resurrected from some of their children’s garages. Residents organized an in-house league that competed for 100 Grand candy bars.
Now, the team has 40 players some seasons, who compete internally for eight spots for each week’s league game.
And while the Okies have become fierce competitors, they play for other reasons, too.
“There are some things I do where I feel ageless,” Ms. Giles, 75, said. She added: “It’s like I could just as well be 13 standing up there. It’s fun to have those things.”
Wii bowling helps them socialize and form friendships, navigate the aches and pains and grief and loss of aging, and encourages them to try new things. “This is the way older people survive,” Pat Winkle, known as “Nana Pat,” 87, said.
Some players also said their bowling triumphs made their children and grandchildren proud.
At Burgundy Place for the second-to-last league game, the home team wore gray team T-shirts, and posters declaring “Love Love Bowling” were plastered on the doors and walls of a recreational room that would serve as the game’s electronic alley.
Mr. Alcorn lined up his shot in the Okies’ virtual lane. His teammates waved blue and red pompoms and shouted, “Show them where you’re from!”
He held out his right arm, his hand wrapped around a Wii Remote, and he leaned slightly to the right. He swung his right arm backward, then forward, his left arm soaring skyward with it.
The synthesized clattering of bowling pins against wood filled the room, and the word “Strike” flashed across the television screen.
When he first started playing, Mr. Alcorn had to unlearn the techniques and stances he knew from real-life bowling.
“That won’t work,” he said. “You’ve got to go up and out to get the strike.”
In front of a second television screen, Ms. Wimer let the ball rip. Eight pins scattered across the digital lane, leaving two standing side-by-side in the corner.
“I knew as soon as I let go of the ball that it wasn’t going to do what I wanted to do,” Ms. Wimer, 95, said before crushing the last two pins for her only spare of the game.
Though they may be dominant on the screen, the Okies are also good sports. Throughout the game, they offered advice to their Burgundy Place rivals and each team cheered for the other’s strikes.
Still, the Okies were ahead, and they needed to maintain their lead over the game’s final round to remain undefeated.
In one lane, Ron Pogue, 82, lifted the remote with both hands out in front of him to steady his shot. He took a deep breath before bending his knees and swinging his right arm back, driving it forward with force.
“Good ball!” his teammates cheered as he hit a strike.
The Okies had secured another victory.
The players congratulated one another, and then Phyllis Killer and Charlene the Grasshopper and Marvelous Marcia and Rollin’ Ron and the rest of the Okies boarded the bus back to University Village.
On Thursday afternoon, the Okies won their final game of the season, ending with a 10-0 record.
Next year, the aging Wii consoles will be retired and the league will switch to another video game system. For now, the U.V. Okies will soak in the glory and pride of another season as the unbeatable senior Wii bowlers of Tulsa.
The team shuffles onto the bus outside

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