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Near the end of a 90-minute press conference in which Donald Trump explained, among other things, why he thinks the current Tehran regime will behave differently, the president indicated what he would do if the deal to end the war ultimately fizzles.

Already, as word of the details of the memorandum have leaked out, Trump has faced skepticism and criticism on the right, including from figures like Erick Erickson, that the deal is essentially a U.S. retreat, falling far short of the original aims of the war that started in February.

Fox News’ Peter Doocy asked Trump, “There’s some element to this where, if you send the vice president [to sign the deal], great, you’ll look like a genius for sending him. And if it doesn’t work out, it’s the vice president.”

Trump responded, “I like that idea. This way, if it works out I am going to take the credit. If it doesn’t work out, I’m blaming JD. You better be careful JD.”

Vance, in the midst of a book tour, has been defending the deal and is tasked with signing it, in a ceremony scheduled for Friday.

Trump’s comment may have been a joke, but it reflected some of the heat the administration has taken in recent days.

At the press conference, Trump tried to take a victory lap, repeatedly referring to his order to take out influential General Qasem Soleimani in 2020 as part of a lengthy effort to take on the Iranian regime. He again bashed Barack Obama’s Iran deal reached in 2015, in which Tehran agreed to curb its nuclear program, coupled with some unfreezing of assets.

Unsurprisingly, Trump also criticized news coverage of the war and the agreement, bashing ABC, NBC, CBS and CNN as well as The New York Times.

But skepticism is hardly just coming from mainstream media commentators. “This is an American surrender,” Erickson posted on Wednesday afternoon.

Trump’s agreement — a memorandum of understanding before more complex talks begin on Iran’s nuclear program — has been criticized for the notion that the current regime will be rewarded.

Trump said that the U.S. would not be sending Iranians cash, but he offered a defense of the notion of unfreezing of Iranian assets, of the country needing access to funds to rebuild, and even to the idea of the Tehran regime maintaining some missiles. “They have to have some, because other people have some,” Trump said.

“Missiles aren’t the problem. Missiles, they hurt a little location, but they don’t blow up the planet,” he added.

At another part of the press conference, Doocy told Trump, “A wise man once said in January of 2020, Iran never won a war but never lost a negotiation.”

“Who said that?” Trump asked.

Doocy responded, “Donald Trump.”

“Oh, that is what I thought you were going to say.”

Then, Trump expressed his frustration. “If [the Iranians] raise the white flag of surrender, and if they say, ‘Praise be to Allah. Donald Trump is the greatest president ever. We totally concede. We totally give up. This war is over. We have failed.’ The New York Times and CNN and a couple of others … they would say, ‘Iran had a great victory.’”

Trump made it pretty clear his motivation for entering into the agreement: the economy. As the closure of the Strait of Hormuz created an energy shock that sent gas prices soaring, Trump’s polls numbers took a beating.

Without a conclusion to the war, Trump said, would have perhaps meant a global depression. He also name checked one of his predecessors, Herbert Hoover. “He was always the one I didn’t want to be,” he said.

The MOU calls for a reopening of the strait and an end to the U.S. blockade, but much is unresolved. Trump said that the deal would prevent Iran from ever obtaining a nuclear weapon; the MOU language, obtained by Axios and other outlets, “reaffirms that it shall not procure or develop nuclear weapons.” Remaining details are to be worked out.

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Near the end of a 90-minute press

Between streaming and cable, viewers have a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that are airing or streaming this week, June 15-21. Details and times are subject to change.

Cue AC/DC’s “Thunderstruck” and find your favorite vest and the smallest pair of shorts you own because “America’s Sweethearts: Dallas Cowboys Cheerleaders” is back for a third season. The documentary series follows the 2025-26 cheerleading squad as they go through the audition process, training camp and the games themselves. Viewers have gotten to know the senior director Kelli Finglass and the head choreographer Judy Trammell over the last two years, and they are back in their command posts. All seven episodes will air together. Begins streaming Tuesday on Netflix.

Did you think that after the three-part reunion of “Summer House” the Scamanda drama would be behind us? If you did, it turns out that you were wrong. “Summer House: The Aftermath” is set to feature three conversations between the show’s castmates (Lindsay Hubbard and Amanda Batula; Kyle Cooke and West Wilson; Ciara Miller and Meija Moreno) as they try to further dissect the situation. Tuesday at 8 p.m. on Bravo.

Bowen Yang and Matt Rogers are back with their “Las Culturistas Culture Awards” to hand out critical titles like “eternal lesbian of the pop culture mind,” “the god must have spent a little more time on you award for divinity” and “y’all know I am Canada down award for y’all know it’s Canada down.” The show was filmed at the end of May with audience members including Paige DeSorbo, Jeff Goldblum and François Arnaud. Airing Wednesday on Bravo and Peacock at 9 p.m.

The new series “I Will Find You,” based on Harlan Coben’s 2023 novel of the same name, is not the first adaptation of his work. In fact, there are already nine others, including “Missing You,” “Fool Me Once” and “Run Away.” (He also has another in the works, “The Woods.”) “I Will Find You” one follows a father (Sam Worthington) who is serving prison time for murdering his son. But he didn’t do it. And when he finds out that his son may still be alive, he breaks out of prison to try to uncover the truth, reunite with his son and clear his name. Britt Lower, Milo Ventimiglia and Logan Browning round out the cast. Begins streaming Thursday on Netflix.

In the first season of “The Agency,” a show about a C.I.A. agent who returns to normal life in London after being undercover, Brandon Colby (Michael Fassbender) made some disloyal choices, and in the second season he has to face the consequences. Now that character dynamics have been established, things are just going to get trickier. The season’s 10 episodes air together. Begins streaming Sunday on Paramount+.

How does an old-Hollywood drama with intergenerational secrets and illustrious scandals sound to you? In the second season of “Sugar,” the private investigator John Sugar (Colin Farrell) is hired by the Siegel family to find Olivia (Sydney Chandler), the granddaughter of a Hollywood producer. Of course, as Sugar looks into the disappearance, he also stumbles upon other tangled webs of information about the family while trying to keep his own cards close to the vest. Begins streaming Friday on Apple TV.

The “Game of Thrones” spinoff “House of the Dragon” is back for its third and penultimate season, covering the events in George R.R. Martin’s book “Fire & Blood.” At a SXSW London event, the showrunner and co-creator Ryan Condal promised viewers that the tensions in Season 2 would boil over in a very satisfying way in Season 3, noting that Battle of the Gullet sequence, which will set the tone for the rest of this season, “is unlike anything that’s ever been done in television before.” Emma D’Arcy, Matt Smith, Olivia Cooke and Tom Glynn-Carney are returning as the main cast. Each of the season’s eight episodes will air weekly. Sunday at 9 p.m. on HBO.

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Between streaming and cable, viewers have a

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The box office story of the year is undoubtedly the juggernaut that is “Obsession,” the directorial debut of YouTuber Curry Barker that on a $750,000 budget is approaching $300 million at the box office. Barker’s meteoric rise is being held up as a test case for how the next generation of filmmakers aren’t just YouTubers, but entrepreneurial spirits who would’ve made their movie and found an audience regardless of if they had distribution or funding.

Barker, Markiplier, or Kane Parsons all have a built-in audience of millions of subscribers on YouTube who helped to get them discovered and fueled their ambitions. It’s easy to assume that their success isn’t necessarily repeatable. But a new online guide for indie creators argues there is a framework to get your film made, even if you don’t have an army of followers.

The online field guide, which IndieWire can share here, is called “Start the Engine,” and it’s described as “a manifesto for creators navigating a world where storytelling, entrepreneurship, audience-building, and community have become increasingly intertwined.” The guide was written by filmmaker and author Selina Ringel, who previously wrote another book called “Be the Train” and co-wrote and starred in a comedy IndieWire has profiled previously called “You, Me & Her.”

Ringel will be the first to admit she doesn’t have the social reach of someone like Barker. But she and her husband and partner Dan Levy Dagerman have been able to release three features, a series, and numerous shorts and establish a career through her own hustle and entrepreneurial drive. She says both the new guide and “Be the Train” are not about becoming an influencer but “to build a sustainable creative life.”

“Creators today have more access to audiences, tools, and opportunities than ever before, but they’re also navigating more complexity than ever before,” Ringel said in a statement. “The goal of ‘Start The Engine’ is to help creators stop waiting for permission and start building momentum around the work that matters to them.”

Some of the highlights from the field guide discuss experimenting publicly and learning as you go, and doing so helps create direct audience interaction and a community of people around your work. When we first picked up with Ringel around the release of “You, Me & Her,” the film was the guinea pig for The Fithian Company’s model to distribute movies directly to theaters as part of a targeted release strategy, not just releasing a movie in as many screens as possible and hoping people show up but tapping into a core audience where the film can best perform.

Ringel and Levy Dagerman personally wrangled roughly 20 marketing promotions designed at engaging local audiences to come out, and the film managed to open on over 250 screens as a result.

In “Start the Engine,” Ringel writes that the experience on “You, Me & Her” proved that the film’s release was as much a part of the conversation around it as the film itself. The conversation and the engagement with your audience should start during development, not after it has hit theaters, and the most successful online creators understand that.

“The creatives thriving in this era understand that storytelling no longer ends when the film is finished. The conversation is part of the art now,” the field guide reads. “That realization can feel uncomfortable for traditional filmmakers because many were taught that protecting the mystery of the work was part of the craft. Don’t share too much. Don’t post unfinished work. Don’t let the audience into the process. But creators discovered something powerful: People connect to process. To vulnerability. To experimentation. To growth. To honesty. To the messy reality of making things.”

The field guide also includes other anecdotes about Ringel’s time working as a line producer on an Issa Rae pilot, as well as Levy Dagerman’s time working with producer Ted Hope. They argue that artists like Rae to many appeared to come out of nowhere with “Insecure,” but she had already begun establishing a core audience with the web series “Awkward Black Girl” prior to that. Too many filmmakers, the guide argues, feel like they need to wait for permission to make something or wait to be discovered out of a film festival, but that the best approach is to start building momentum now even before the work is perfect.

“We’ve learned that creators don’t just need information,” Ringel said. “They need structure. They need community. They need accountability. And most importantly, they need momentum.”

Ringel and Levy Dagerman have rallied some support from Film Freeway, Ted Hope, Slamdance head Peter Baxter, and from IFTA president Jackie Brenneman, who previously worked with them on the theatrical rollout of “You, Me & Her.”

“Dan and Selina have consistently pushed the boundaries of independent filmmaking, audience building and creator entrepreneurship with a healthy dose of hustle,” Brenneman said in a statement. “Their willingness to experiment publicly while sharing what they learn is exactly the kind of innovation our industry needs.”

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The box office story of the year

Chamber music requires an almost telepathic connection between its players, which most groups build over years of intense rehearsal. The members of the Hagen Quartet, the great Austrian string quartet that ends its 45-year career this summer, have seemed as if they were reading one another’s minds since they were children.

In 1975, the four Hagen siblings, Angelika, Lukas, Veronika and Clemens, made their unofficial quartet debut at a youth music competition. Angelika, the oldest and a violinist, was 15; Clemens, the youngest and the group’s cellist, was 9. The group went on to become one of the world’s most sensitive chamber music ensembles.

As a child, “I wasn’t thinking about a career path at all,” Veronika Hagen, the group’s violist, recalled in an interview this month before a concert in Dresden, Germany, as part of a farewell tour. “We were just playing quartets, and it developed from there.”

It certainly did. The Hagen Quartet, which officially began its career as a professional ensemble in 1981, has played at the world’s most important concert halls and made around 50 records. It has an unmistakable style, with a warm and transparent color, an impeccable instinct for balancing details with a bigger picture, and the ability to make even the simplest phrases interesting. Onstage, its members seem to communicate via music alone, barely glancing at one another to coordinate their playing.

The farewell tour, which ends July 7 in Tokyo, passed on Tuesday through Salzburg, Austria, where the Hagen siblings were raised and where the quartet’s members have long taught at Mozarteum University. In a season of lasts, the Salzburg concert was “definitely emotional,” Veronika Hagen said.

The group’s musical education began there, practically in the cradle. Their father, Oskar, was the principal violist of the Mozarteum Orchestra and their first teacher. But he was no harsh disciplinarian. He prioritized good practicing habits, like singing to hone the ear, over hours of drills.

“At the beginning, the children practiced 10 minutes a day,” he told the newspaper Süddeutsche Zeitung before his death in 2021. “Then we slowly increased to 20 minutes, 30 minutes, and, at some point, an hour.”

Many prodigious musical talents spent much of their childhoods in solitude; the Hagen siblings were together almost all the time. “We are all very connected, on many levels,” Angelika Hagen said in a phone interview, “and especially this unconscious musical level.”

Angelika was the only sibling to leave the quartet. Though she loved making music with the group, she said, as a young adult she was drawn to a different world. A tour to Japan with another ensemble inspired her to study anthropology. She left the Hagen Quartet in 1981 and stopped playing violin, though in 2004 she began again and formed an improvisation duo.

In May, Angelika was in the audience for the Hagen Quartet’s farewell concert in Vienna, where the cellist Julia Hagen, Clemens’s daughter, joined the players in Schubert’s String Quintet in C major. That convinced Angelika that the Hagen family would continue to make its musical mark after the quartet retired, she said.

“It was completely clear,” she added, “that the sound would go on.”

Angelika was replaced first by Annette Bik and then, in 1987, by the German violinist Rainer Schmidt, who has remained with the group since and become part of the musical family. The four players intuitively “find a flexibility without it getting out of rhythm,” Schmidt said. “That’s always hard: that four people play together without it becoming metronomic.”

Julia Hagen also joined the quartet for the farewell concerts in Berlin and Dresden in performances that showed the rare subtlety of the Hagen sound. In the Schubert quintet, each phrase sounded different and alive, while the overall form of the movements remained clear. The musicians revealed important details: In the middle of the second movement, Julia and Clemens highlighted a lusty cello phrase, giving the entire section the feel of a dance in an inn. And they played the final measure, which can sound brusque, with a generous, unforced sound. It felt like a casual goodbye.

At the group’s farewell concert in Salzburg on Tuesday, the quartet played alone, performing Schubert’s late String Quartets in D minor, D. 810, and in G major, D. 887. Its interpretation of the first, the “Death and the Maiden” quartet, had grace and abandon, with an ending that broke free of all constraints except the most important one — that they played together.

The performance of the other Schubert quartet had extreme rhythmic precision, even in the most delicate moments. In the final movement, the players brought out the music’s dizzying shifts between stormy and innocent, at times creating two completely different characters from moment to moment. The fleetness and confidence that come from a lifetime of work were on full display.

The hall was crowded with admiring students from Mozarteum University on whom the Hagen Quartet was a decisive influence. One of them, Lea Hausmann, a violinist, recalled a lesson with Lukas Hagen when she was 4. He tried to get her to phrase more elegantly as she sawed away at her instrument, she said.

In that way, too, the Hagen sound will go on.

Now that their onstage careers were almost behind them, the Hagen Quartet’s members said they were looking forward to a phase with less time on the road and fewer hours in the practice room. “I loved practicing with a passion,” Veronika Hagen said, “but the body has gotten tired.”

She said she felt gratitude mixed with melancholy — a combination of emotions few composers summoned better than Schubert in his final pieces.

“Now, during our last season, there are more and more works that we are playing for the last time,” she said. “It’s a continuous exercise in saying goodbye.”

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Chamber music requires an almost telepathic connection

Walter Parazaider, a co-founding member of Chicago who was with the band from its start in 1967 through his retirement in 2017, died Wednesday, family members announced. He had been suffering from Alzheimer’s disease for six years.

Parazaider played reed instruments in the band for that 50-year run, and may be most easily recognized for his flute solo in “Colour My World,” though he was more often found on the saxophone. In the band’s earliest conception, he was the only horn player, and he is often credited as the one whose idea it was to bring an entire horn section in as full members of a rock band, a radical idea when Chicago Transit Authority was being founded in ’67, and still a rare concept to this day.

His daughter, Felicia Parazaider, reported the death in a Facebook post in the early morning hours Wednesday. “I didn’t get back in time. My father, my hero, is gone. He went peacefully about 20 minutes ago,” wrote the daughter, a minister and “radical sacred activist.” “There’s no more pain. No more struggle. I psychically knew I wasn’t going to make it back in time. And I knew that it would be just my mom and him. It’s how it was in the beginning. Just the two of them. And so it should’ve been in the end. Thank you for loving my father, even if you didn’t personally know him. I know that many of you loved him. I’m in shock and disbelief and yet not at all. This was the worst six years. The hardest season of my life. And I’m so grateful that my dad is not suffering anymore. I love you poppy, my Pal. You coloured our world. God bless you, you dear soul. I love you beyond thoughts and words.”

Parazaider had retired from the band in 2017, not long after the group celebrated its induction into the Rock and Roll Hall of Fame in 2016. At the time, he was said to be dealing with heart issues.

Parazaider had revealed his most debilitating condition in a statement on the group’s website 2021. “Five months ago, I was diagnosed with Alzheimer’s disease,” he wrote then. “Needless to say, my wife, daughters and myself were shocked and devastated. It has taken a while to process this news and the fact is, we still are. The good news is we have a wonderful medical facility here and I have a very good doctor. I am working hard and not going to give up. With new treatments and therapy, along with my family’s love and support, I feel very positive about the future. Thank you for your thoughts and prayers. I wish you and your families all the best in 2021 and always.”

He was a college student at Chicago’s DePaul University, earning his bachelor’s degree in classical clarinet performance, when he formed a band, the Missing Links, with guitarist/vocalist Terry Kath and drummer Danny Seraphine, and hooked up with their future producer, Jimmy Guercio. Then, under the name the Big Thing, Parazaider, Kath, Seraphine, trumpet player Lee Loughnane, trombonist James Pankow and keyboard player/vocalist Robert Lamm — set out to combine a core rock ‘n’ roll combo with a prominent horn section in a way that hadn’t been done before, with the arguable exception of Blood, Sweat & Tears, which came up in the same era.

“I think for some guys in the group, it was harder to cope with the success than others,” Parazaider said. “I don’t think there were any of us that sat down around my kitchen table that day in February of ’67 and said, ‘Hey, our goal is to be famous.’” He was referring to a meeting at his parents’ house on Feb 15, 1967 in which they formally conceptualized the band.

“We sat around my kitchen table and said: ‘Let’s make a band that’s the best in the world.’ My idea was to make horns an integral part of a rock band,” he told Classic Rock. “In that sense, we blazed the trail. We had lofty ideas and hopes. We were young and ignorant.

In 1968, they were joined by Peter Cetera, changed their name to Chicago Transit Authority and signed with Columbia Records. Their debut album, a two-LP set, came out the following year. The group’s moniker had been shorted to just Chicago by the time they released a sophomore album.

Founding member Kath accidentally shot himself in 1978,, not long after “Chicago XI” came out in 1977, and his loss has often been cited as one of the reasons the band subsequently pursued a more balladic direction. Their work with producer David Foster put the spotlight more squarely on songs sung and written by Cetera in the early 1980s, before the singer went solo in 1985. Jason Scheff, son of Elvis Presley’s bassist Jerry Scheff, replaced Cetera as bassist/singer until 2016.

“Terry and I were teenage friends and it was devastating for me,” he said of his partner’s 1977 death. “When I heard the news on the phone, I almost went to my knees. It was like being hit with a sledgehammer. We thought, ‘Maybe this is the way the band should end.’ We had fan mail saying: ‘Please, don’t stop the band now.’ That really helped us. But I have to be honest – there are some things you never get over.”

Lamm and Pankow have retired from the band. Loughnane is now the final original member still on board.

The group’s commercial success in later years eclipsed the band’s experimental origins. “I don’t think we get the respect we should,” he admitted. “Maybe that’s the mother hen in me. But when I think about it, what do I want? Selling over a hundred million records is amazing.”

When her father’s time appeared to be at hand a few days ago, Felicia Parazaider imagined him being reunited with Terry Kath in the afterlife soon. “My dad is making the journey home,” she wrote. “It looks like 1-3 days of his beautiful being blessing us in this earthly plane. And then he’s probably going to play some music, laugh that great big laugh, don that magnificent smile, free of pain and suffering finally, in the next place. Maybe with Terry, my Uncle, his folks, all his relations. Mitakuye Oyasin. This is it. The moment I feel I have been readying myself for these last 6 years. Maybe my whole life. So if you love my father, do something for me, play some music. Anything. And play it loud. He loved doing that. Let’s bless him up y’all.”

His wife, JacLynn, told TMZ that “we were married for 59 years and we had 59 wonderful years.”

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Walter Parazaider, a co-founding member of Chicago

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Ας δούμε μερικές από τις ερωτήσεις που ακούμε συχνά από πελάτες σχετικά με αυτό το χαρακτηριστικό.

Υπάρχει τρόπος να απενεργοποιήσω αυτή την ειδοποίηση;

Δεν διατίθεται αυτή η δυνατότητα. Η ειδοποίηση αποσύνδεσης είναι ενεργοποιημένη για κάθε παίκτη στο CrownPlay Casino και δεν είναι εφικτό να απενεργοποιηθεί. Η απόφαση αυτή ελήφθη για ζητήματα ασφαλείας. Θεωρούμε ότι είναι ένα βασικό βαθμίδα φύλαξης που χρειάζεται να έχει ο καθένας, χωρίς εξαιρέσεις. Επιδίωξη είναι να αποφευχθεί οποιοδήποτε τυχαίο παραπάτημα που θα μπορούσε να σας κοστίσει διάρκεια, εξέλιξη ή και χρήματα. Γι’ αυτό είναι δεσμευτική.

Ποια είναι η διαδικασία αν το πλαίσιο επιβεβαίωσης δεν φανούν;

Αν πατήσετε αποσύνδεση λογαριασμού και δεν εμφανιστεί το γνωστό πλαίσιο, κάποιο πρόβλημα δεν λειτούργησε σωστά. Αρχικά, δοκιμάστε να ανανεώσετε απλά τη σελίδα. Αν δεν αποδώσει, χρησιμοποιήστε ένα άλλο πρόγραμμα περιήγησης, όπως Chrome, Firefox ή Edge. Ελέγξτε ότι το browser σας είναι αναβαθμισμένο. Εάν το θέμα συνεχίζεται, μην αφήνετε τον λογαριασμό σας σας σε αυτή την αβέβαιη θέση. Κλείστε αμέσως την σελίδα και έρθετε σε επαφή με την ομάδα υποστήριξης μας. Θα σας καθοδηγήσουν για το επόμενο βήμα.

Το συγκεκριμένο σύστημα ισχύει και από αποσύνδεση από την εφαρμογή για κινητά;

Βεβαίως. Η αρχή είναι η ακριβώς ίδια σε όλα τα πλατφόρμες. Ανεξάρτητα αν κάνετε χρήση την εφαρμογή CrownPlay Casino στο smartphone σας, ή τον browser κινητού για να συνδεθείτε στον ιστότοπο, το μηχανισμός ειδοποίησης θα υπάρχει. Πάνω σε οθόνες αφής των smartphones και των tablet, η αναγκαιότητα είναι ακόμα μεγαλύτερη. Τα άκρα γλιστρούν, τα σύμβολα είναι μικροσκοπικά και τα αθέλητα αγγίγματα είναι συχνά. Το παράθυρο διαλόγου ειδοποίησης παρέχει ένα αναγκαίο περιθώριο χρόνου προστασίας ακριβώς εκεί που χρειάζεται πιο πολύ.

Στα online καζίνο, η προστασία δεν είναι

The Alberta Law Enforcement Response Team’s Internet Child Exploitation Unit (ICE) has charged two Edmonton students with using artificial intelligence to make child sexual exploitation images of several classmates.

The two boys, both 14 years of age, are accused of taking photos of girls without their consent, as well as taking photos from their social media accounts and sexualizing them using AI software.

Several students from an Edmonton junior high school have been identified as victims.

Investigators said a teacher at the school first brought the allegations to the attention of police in late March 2026, acting on complaints from the students.

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Members of ALERT, the Edmonton Police Service Child Protection Section and the youth and advocacy organization, Zebra Centre, have been working on the investigation.

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The non-profit Saffron Centre, which provides counselling, education and advocacy against sexual violence, has also been providing support to the victims.

On June 1, the two boys were charged with making and possessing child sexual exploitation materials as well as voyeurism.

This is the second school-related incident ICE has investigated involving the use of AI and child sexual exploitation materials.

In December 2025, a Calgary high school student was charged with sexualizing photos of numerous young girls who attended high schools in the Calgary area.

ALERT said the investigation is ongoing and anyone with information about the case is being asked to contact local police or Crime Stoppers at 1-800-222-8477 (TIPS).


Click to play video: 'Calgary student accused of using AI to create child exploitation images'


Calgary student accused of using AI to create child exploitation images


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

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Jamie Lee Curtis gave Brooklyn-based illustrator Karl Stevens a public shoutout on Instagram this week, tagging his account with the four-word caption “Some like it PEPPERY.”

The line is a direct play on “Some Like It Hot.” The 1959 Billy Wilder comedy starred her father, Tony Curtis, opposite Jack Lemmon and Marilyn Monroe. That film is widely regarded as one of the great Hollywood comedies. The American Film Institute ranked it the funniest American film ever made. It earned six Academy Award nominations, including Best Director and Best Screenplay.

Filming was famously fraught. Monroe’s behavior tested the patience of everyone on set, including Tony Curtis. He later described working with her in unflattering terms. The remark followed him in interviews for years. Despite all that, the finished film was a triumph, and it remains central to Tony Curtis’s legacy.

Karl Stevens is an illustrator and cartoonist based in Brooklyn. His editorial work appears regularly in The New Yorker. His contributions there include cartoons and illustrations known for a dry, precise wit. The post doesn’t make their personal connection clear. She didn’t explain the tag. But “peppery” suits his work as a descriptor, implying something with edge rather than sweetness.

The celebrity-to-artist shoutout is a small but meaningful corner of social media. A tag from someone with Curtis’s platform can introduce a working illustrator to a much wider audience. That kind of visibility is hard to buy.

For Curtis, invoking her father’s filmography even in jest carries some weight. She’s spoken at length in interviews about her father’s complex legacy and her complicated feelings about his memory. Tony Curtis died in 2010. He was 85. Curtis has addressed those feelings over the years with unusual candor for someone at her level of public life.

She turned 67 last November. Her screen career runs more than four decades. She’s played Laurie Strode in the Halloween franchise since 1978. The role made her a genre icon early in her career. She returned to the character most recently in Halloween Ends in 2022.

Everything Everywhere All at Once opened a different chapter. She took a supporting role in the 2022 film, and it became the most celebrated work of her career. The film won Best Picture at the 95th Academy Awards in March 2023. Curtis won Best Supporting Actress, her first Oscar after more than four decades in film.

She’s also written children’s books, and she’s been consistently public about her recovery from addiction, returning to the subject in interviews with directness rather than deflection.

Stevens hasn’t commented on the tag publicly. Curtis didn’t add context beyond the caption. The post is brief. The pun lands. The effect is simple: a nod to a working illustrator, wrapped in a little family history.

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Το Casinoly Casino ξεχώρισε γρήγορα στους Έλληνες παίκτες και ο λόγος είναι απλός: κάθε εβδομάδα φέρνει φρέσκιες προσφορές που συντηρούν το ενδιαφέρον ζωντανό. Δευτέρα με Δευτέρα, το πρόγραμμα ενημερώνεται με δωρεάν περιστροφές, γερά cashback, τουρνουά με σοβαρά χρηματικά έπαθλα και μπόνους που έχουν νόημα. Δεν έχει σημασία αν παίζετε χρόνια ή αν άνοιξες λογαριασμό χθες — οι ευκαιρίες για έξτρα κέρδη ρέουν συνέχεια. Οι παίκτες από την Ελλάδα συναντούν εδώ ένα περιβάλλον κομμένο και ραμμένο στα μέτρα τους: υποστήριξη στα ελληνικά, πληρωμές που γίνονται γρήγορα και μπόνους κατασκευασμένα για τα γούστα τους. Φρουτάκια, live casino, κλασικά επιτραπέζια — ό,τι κι αν επιλέγει κανείς, οι εβδομαδιαίες δράσεις του Casinoly ενισχύουν αδρεναλίνη και αξία σε κάθε γύρο.

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Για αυτούς που απολαμβάνουν τον συναγωνισμό, το Casinoly πραγματοποιεί εβδομαδιαία τουρνουά και προκλήσεις που αυξάνουν την αδρεναλίνη. Τα τουρνουά κατά κανόνα εστιάζονται σε συγκεκριμένους κουλοχέρηδες ή είδη παιχνιδιών. Οι διαγωνιζόμενοι βαθμολογούνται με γνώμονα το μέγεθος των στοιχημάτων, τον αριθμό των περιστροφών ή τα συνολικά κέρδη — αναλόγως με τους προϋποθέσεις της αντίστοιχης διοργάνωσης. Τα χρηματικά έπαθλα κατανέμονται στους κορυφαίους της κατάταξης, ενώ δεν απουσιάζουν και βραβεία για τυχερούς που τερματίζουν σε συγκεκριμένες θέσεις. Οι προκλήσεις, από την αντίθετη πλευρά, δρουν πιο ατομικά: κάθε παίκτης αναδέχεται ατομικές αποστολές — για παράδειγμα, να μαζέψει καθορισμένο αριθμό πόντων σε ένα slot μέσα σε συγκεκριμένο χρόνο. Η ολοκλήρωση της αποστολής χαρίζει δωρεάν περιστροφές, μπόνους χρημάτων ή και δώρα. Όλες μαζί οι δράσεις πλαισιώνονται από λεπτομερείς πίνακες κατάταξης σε πραγματικό χρόνο, ενδυναμώνοντας τη σαφήνεια και κρατώντας τον ενθουσιασμό στα ύψη.

Το Πρόγραμμα VIP και οι Εβδομαδιαίες Προσφορές

Το Casinoly ανταμείβει την αφοσίωση μέσω ένα πολυδιάστατο πρόγραμμα VIP, άμεσα συνδυασμένο με τις εβδομαδιαίες προσφορές. Ανάλογα με το ανεβαίνεις επίπεδο, τόσο καλύτερες παρουσιάζονται οι ανταμοιβές: υψηλότερα ποσοστά cashback, αποκλειστικά μπόνους που δεν βλέπει το ευρύ κοινό, γρηγορότερες αναλήψεις και προσωπικός account manager. Ανά εβδομάδα, τα μέλη του VIP club αποκτούν προσαρμοσμένες προσφορές που ταιριάζουν στις δικές τους προτιμήσεις — ας πούμε, ένα πακέτο δωρεάν περιστροφών στο προτιμώμενο τους slot ή κάλεσμα σε ιδιωτικό τουρνουά. Η πρόοδος στο πρόγραμμα επιβράβευσης εξαρτάται στη συχνότητα και το ύψος του παιχνιδιού, και οι πόντοι που συγκεντρώνονται έχουν τη δυνατότητα να ανταλλαχθούν σε πραγματικά χρήματα. Αυτή η συνεχής αναγνώριση μετατρέπει κάθε εβδομάδα σε ευκαιρία για άνοδο και επιπλέον προνόμια.

Ειδικές Προσφορές για Ζωντανό Καζίνο

Οι θαυμαστές του live casino κατέχουν κι αυτοί τη θέση τους στο εβδομαδιαίο πρόγραμμα. Το Casinoly συμπεριλαμβάνει ξεχωριστές προσφορές για παρτίδες με πραγματικούς ντίλερ: ανταπόδοση χρημάτων σε χασούρες από ρουλέτα ή μπλακτζάκ, μπόνους κατάθεσης αποκλειστικά για τραπέζια της Evolution Gaming, ακόμα και τουρνουά live blackjack με έπαθλα που φτάνουν σε τετραψήφια ποσά. Οι προνομιακές συμφωνίες αυτές συνταιριάζουν την κλίμα ενός παραδοσιακού καζίνο με την απόλαυση του online, δημιουργώντας την εμπειρία πιο ρεαλιστική και συναναστροφική. Οι Έλληνες παίκτες μπορούν να παρίστανται σε τραπέζια με ελληνόφωνους ντίλερ, κι αυτό κάνει την αλληλεπίδραση πιο οικεία και στιγμιαία. Οι συνθήκες είναι εναρμονισμένοι στη φύση των live παιχνιδιών — συνήθως με μικρότερες προδιαγραφές στοιχηματισμού — πράγμα που δίνει αληθινή αίσθημα αξίας.

Πώς Ενεργούν οι Εβδομαδιαίες Προσφορές του Casinoly

Ο τρόπος των εβδομαδιαίων προσφορών στο Casinoly είναι στημένος για να τον αντιλαμβάνεσαι με την πρώτη ματιά, ακόμα κι αν μόλις έκανες εγγραφή. Κάθε Δευτέρα, η ενότητα «Προσφορές» μέσα στον λογαριασμό σου ανανεώνεται και εκεί φαίνονται όλες οι καμπάνιες που τρέχουν εκείνη την εβδομάδα. Βλέπεις αμέσως τι χρειάζεται για να συμμετέχεις — ελάχιστο ποσό κατάθεσης, ποια παιχνίδια μετράνε, πότε λήγει η κάθε προσφορά. Οι δράσεις χωρίζονται σε μπόνους κατάθεσης, δωρεάν περιστροφές, τουρνουά και επιστροφή χρημάτων. Το ωραίο είναι ότι πολλές από αυτές επαναλαμβάνονται. Αυτό δημιουργεί μια σταθερή ρουτίνα και βοηθάει τον παίκτη να προγραμματίζει το παιχνίδι του. Για παράδειγμα, κάθε Τετάρτη ενεργοποιείται ένα συγκεκριμένο πακέτο δωρεάν περιστροφών, ενώ το Σαββατοκύριακο είναι αφιερωμένο στο cashback. Η ενεργοποίηση γίνεται είτε αυτόματα με την κατάθεση είτε με έναν κωδικό μπόνους που αναγράφεται στη σελίδα της καμπάνιας. Το Casinoly στέλνει και εβδομαδιαία email, συν ειδοποιήσεις push, για να μην ξεφεύγει τίποτα.

Η Υποδοχή της Εβδομάδας: Bonus Πρώτης Κατάθεσης

Η εβδομάδα ξεκινά με ορμή με το bonus εισαγωγικής κατάθεσης. Ισχύει νέους παίκτες αλλά και εκείνους επιστρέφουν ύστερα από καιρό αδράνειας. Συνήθως το bonus αυξάνει την κατάθεση — 100% αντιστοιχία μέχρι ένα μέγιστο όριο — και πολλές φορές το πακέτο συμπεριλαμβάνει και δωρεάν περιστροφές σε γνωστά slots. Οι όροι στοιχηματισμού κινούνται σε λογικά επίπεδα, κάτι που εκτιμούν πολύ οι Έλληνες παίκτες: κυνηγάς ουσιαστικά κέρδη δίχως να εγκλωβίζεσαι σε παράλογες απαιτήσεις. Έπειτα την κατάθεση, το μπόνους προστίθεται κατευθείαν. Οι δωρεάν περιστροφές είναι διαθέσιμες για ένα συγκεκριμένο χρονικό παράθυρο — τις περισσότερες φορές μία εβδομάδα. Το Casinoly γράφει ευκρινώς ποια παιχνίδια βοηθούν στις απαιτήσεις στοιχηματισμού, άρα δεν προκύπτουν δυσάρεστες εκπλήξεις. Αποτελεί εκείνο που απαιτείται για να μπαίνεις στη νέα εβδομάδα με ενισχυμένο bankroll και περισσότερες ευκαιρίες για ένα μεγάλο win.

Δωρεάν Περιστροφές Κάθε Τετάρτη

Η Τετάρτη στο Casinoly έχει τη δική της ξεχωριστή θέση: είναι η μέρα των δωρεάν spins casinolys.com.gr. Οι παίκτες από την Ελλάδα έχουν τη δυνατότητα να λαμβάνουν ένα καθορισμένο προσφορά spins κάθε βδομάδα, με μόνη απαίτηση μια μικρή κατάθεση — το ποσό προσδιορίζεται από την τρέχουσα προσφορά. Τα παιχνίδια στα οποία εφαρμόζονται οι περιστροφές μεταβάλλονται τακτικά, κι έτσι δοκιμάζεις διαρκώς καινούριους τίτλους από δυνατούς παρόχους: NetEnt, Play’n GO, Pragmatic Play και άλλους. Ορισμένες φορές η προσφορά συνοδεύεται κι από ένα μικρό μπόνους κατάθεσης, παρέχοντας ακόμα μεγαλύτερη ώθηση στο παιχνίδι. Οι δωρεάν περιστροφές πιστώνονται αμέσως και τα κέρδη από αυτές εισέρχονται στο υπόλοιπο μπόνους — με συγκεκριμένες απαιτήσεις στοιχηματισμού, φυσικά. Το Casinoly δημιούργησε αυτή την προσφορά σαν ένα mid-week boost, για να κρατάει τη διάθεση ψηλά μέχρι το τέλος της εβδομάδας.

Επιστροφή χρημάτων Σαββατοκύριακου: Λάβετε Επιστροφή Ό,τι Απωλέσατε

Το Σαββατοκύριακο στο Casinoly προσφέρει έξτρα αξία χάρη στο cashback, μια εκ τις πιο αγαπητές προσφορές των Ελλήνων παικτών. Η λογική είναι σαφής: ένα ποσοστό των καθαρών απωλειών που προκύπτουν από το παιχνίδι το Σαββατοκύριακο επιστρέφεται στον λογαριασμό σου. Μερικές φορές ως πραγματικό χρήμα, άλλοτε ως μπόνους με ευνοϊκούς όρους. Το ποσοστό εξαρτάται από την ενεργή καμπάνια, αλλά κινείται συνήθως από 5% έως 15% — μια ουσιαστική ασπίδα προστασίας για το bankroll σου. Το cashback υπολογίζεται αυτόματα και πιστώνεται κάθε Δευτέρα. Αυτό από μόνο του αποτελεί ισχυρό κίνητρο για να συνεχίσεις το παιχνίδι τη νέα εβδομάδα. Δεν χρειάζεται κωδικός: η προσφορά ενεργοποιείται για όλους τους ενεργούς παίκτες που πληρούν τις προϋποθέσεις. Είναι μια διαφανής και δίκαιη πρακτική, που δείχνει έμπρακτα ότι το καζίνο ενδιαφέρεται για την εμπειρία και την ικανοποίηση των χρηστών του.

Κανόνες και Προϋποθέσεις που Οφείλετε να Μάθετε

Οι εβδομαδιαίες προσφορές του Casinoly είναι πλουσιοπάροχες, όμως οι πελάτες πρέπει να μελετούν προσεκτικά τους προϋποθέσεις που τις συνοδεύουν. Κάθε προσφορά έχει τις δικές του όρους στοιχηματισμού — πόσες φορές πρέπει να χρησιμοποιηθεί το χρηματικό ποσό πριν καταστεί εξαργυρώσιμο. Ισχύουν επίσης περιορισμοί στα επιτρεπόμενα τυχερά παιχνίδια, στο ανώτατο στοίχημα κατά τη περίοδο του στοιχηματισμού και στη προθεσμιακή περίοδο ισχύος της προσφοράς. Οι δωρεάν περιστροφές συχνά συνοδεύονται από ανώτατο όριο κερδών που μπορεί να αποσυρθεί, ενώ το cashback μπορεί να πιστωθεί ως μπόνους με δικούς του όρους. Το θετικό είναι ότι το Casinoly τα παρουσιάζει όλα αυτά στα ελληνικά, χωρίς ψιλά γράμματα που σε αιφνιδιάζουν. Ορίστε μερικά σημεία που αξίζει να τσεκάρετε πάντα:

  • Όροι στοιχηματισμού (wagering requirements) και η συνεισφορά κάθε παιχνιδιού.
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Αν ακολουθείτε αυτούς τους κανόνες, η εμπειρία κυλάει ομαλά και αποφεύγονται οι παρεξηγήσεις. Η ομάδα υποστήριξης του καζίνο είναι διαθέσιμη στα ελληνικά για κάθε απορία, ενισχύοντας το αίσθημα ασφάλειας και εμπιστοσύνης που αποπνέει το Casinoly.

Συχνές Απορίες

Με ποιο τρόπο μπορώ δω τις τρέχουσες εβδομαδιαίες προσφορές στο Casinoly;

Συνδέεστε στον λογαριασμό σας και μεταβαίνετε στην ενότητα «Προσφορές» — εκεί παρουσιάζονται όλες οι ενεργές καμπάνιες. Μπορείτε ακόμα να ελέγξετε τα εβδομαδιαία email που στέλνει το καζίνο ή να επισκεφθείτε την επίσημη ιστοσελίδα του Casinoly, όπου οι τρέχουσες προσφορές παρουσιάζονται λεπτομερώς. Καλό είναι να ενεργοποιείτε και τις ειδοποιήσεις push για άμεση ενημέρωση.

Είναι απαραίτητο να χρησιμοποιήσω κωδικό μπόνους για το cashback του Σαββατοκύριακου;

Στις περισσότερες περιπτώσεις, όχι. Το cashback του Σαββατοκύριακου ενεργοποιείται αυτόματα για όλους τους ενεργούς παίκτες που στοιχηματίζουν μέσα στο καθορισμένο περίοδο. Κάποιες ειδικές εκδόσεις μπορεί να ζητούν κωδικό, οπότε ελέγχετε πάντα τη σελίδα της προσφοράς ή τα σχετικά email.

Ποια παιχνίδια συμμετέχουν στις δωρεάν περιστροφές της Τετάρτης;

Αλλάζουν ανά εβδομάδα, κι αυτό είναι που κάνει την προσφορά ενδιαφέρουσα. Τις περισσότερες φορές πρόκειται για δημοφιλή slots όπως το Book of Dead, το Starburst ή φρέσκες κυκλοφορίες από παρόχους όπως η Pragmatic Play. Οι ακριβείς τίτλοι αναγράφονται στους όρους της προσφοράς, και μπορείτε να δείτε ποια παιχνίδια είναι επιλέξιμα πριν ενεργοποιήσετε το μπόνους.

Μπορώ να συνδυάσω πολλαπλές εβδομαδιαίες προσφορές ταυτόχρονα;

Φυσικά, το Casinoly επιτρέπει τη συμμετοχή σας σε πολλαπλές προσφορές ταυτόχρονα, υπό την προϋπόθεση ότι πληροίτε τις όρους της εκάστης ξεχωριστά. Μπορείτε, για παράδειγμα χάριν, να λάβετε το μπόνους εισαγωγικής κατάθεσης και ταυτόχρονα να συμμετάσχετε σε ένα τουρνουά. Οι απαιτήσεις στοιχηματισμού τηρούνται αυτόνομα, γι’ αυτό μελετήστε τους όρους για πιθανούς περιορισμούς.

Προσφέρονται ειδικές προσφορές για παίκτες από την Ελλάδα;

Βεβαίως, το Casinoly διαμορφώνει τακτικά τις εβδομαδιαίες προσφορές του για την ελληνική αγορά. Αυτό σημαίνει ειδικά μπόνους σε συνεργασία με εγχώριους παρόχους πληρωμών, εκστρατείες που δημοσιοποιούνται μέσω της ελληνικής έκδοσης του site ή πρόσθετες δωρεάν περιστροφές σε εποχές ελληνικών εορτών. Η υποστήριξη στα ελληνικά είναι διαθέσιμη για σχετικές ερωτήσεις.

Πόσο γρήγορα δύναμαι να κάνω ανάληψη των κερδών από ένα εβδομαδιαίο μπόνους;

Η ταχύτητα βασίζεται από δύο στοιχεία: το πότε ολοκληρώνετε τις όρους στοιχηματισμού και τη μέθοδο πληρωμής που έχετε επιλέξει. Αμέσως μόλις ικανοποιηθούν οι όροι, το Casinoly επεξεργάζεται τα αιτήματα σε διάστημα 24 ωρών για τα ψηφιακά πορτοφόλια και σε 1-3 εργάσιμες ημέρες για τραπεζικές κάρτες. Το καζίνο διακρίνεται για τις άμεσες πληρωμές του, ειδικά για τους VIP παίκτες.

Το Casinoly Casino ξεχώρισε γρήγορα στους Έλληνες

Let’s get one thing clear: all appearances to the contrary, A Face Only a Mother Could Love was not shot by Charlie Kaufman or Michel Gondry or Wes Anderson. It was not shot by any known filmmaker. In fact it was not shot at all.

The eight-minute short — in which a Parisian man with a facial disfigurement named Marcel dances hopefully in his apartment every night awaiting a non-existent companion — is in fact the brainchild of one Robert Gaudette. Emphasis on the brain. Or, more accurately, the intelligence. Of the artificial kind.

And emphasis on the one.

Gaudette used a series of AI tools — and not a single actor, producer or crew member — to tell his tender story of a man who, for all his travails, hardly wallows in his station. To the contrary: he keeps an irrepressible optimism that we could all use in these days of, well, AI film takeovers. Watching the movie and Marcel’s fragile belief in a world so callous is to feel a surge of possibility for humanity. It is also to feel a much more complicated set of emotions about our AI creative future.

Depending on your point of view, Gaudette is cinema’s great hope in this automated age — no one can look at what he created and call it anything but art. Or he poses its greatest threat. Once you can do that with AI, what point is there to a traditional film set? Or the likelihood an original director goes out and shoots original shots? Gaudette represents the brave, bold, knock-you-on-your-backside future of filmmaking, in which one person with a good idea and some free time can conjure something we used to wait years and comb festivals (or, I guess, YouTube) to find. Or, since so many vision-filled types like him lacked the resources, never found at all. 

Or Gaudette represents the brave, bold, knock-you-on-your-backside future of filmmaking in a much worse way, in which time, money, actors or anything human the process might lubricate or use as lubricant has quietly slipped away. This is what happens when film becomes so radically populist literally anyone can do it without building a set, leaving the house or even picking up the phone.

Gaudette has no formal film training — he taught himself editing, sound engineering and other technical skills on the side — and has never published a story before. But he has been writing scripts, sticking them in drawers, one after the other, the number soon topping 25, 30. All to the utter indifference of a Hollywood that hadn’t even bothered to hear of him.

Robert Gaudette

Robert Gaudette

“No one was going to fund a short film made by me,” Gaudette said in a phone interview with The Hollywood Reporter from his home in Toronto on Tuesday evening, sounding a little like his lugubrious main character. “But with AI I guess they don’t have to.”

A soft-spoken man with a heavy Canadian accent, Gaudette worked in tech early in his career, tried his hand at full-time photography upon amassing a few loonies, then pivoted to nonprofits. When Midjourney and other image-generation tools came along in 2022, he began a side hustle, now his full-time job, of generating shots using AI. Say you’re an agency pitching your commercial idea to a brand and you need to show what your vision will look like. Gaudette will come in and, with almost zero production cost, whip up a vision for you to present. Need a pickup or difficult shot for your TV show and don’t have the budget? Here comes Dr. Bob again, offering the cure for a handful of Canadian TV series. 

Gaudette is one of the first people who can legitimately say he is making a living exclusively doing AI video generation — to AI filmmaking in the 2020’s what Jeffree Star was to social-media influencing in the 2000’s. You can make a living doing that?

And, as of last Thursday, Gaudette has also made perhaps the most touchingly human movie ever generated by AI. Which, admittedly, is a very short list. Then again, just the fact that the words “touchingly human” and “generated by AI” can exist in the same sentence merits some kind of award.

In fact, he won an award — the $50,000 “Grand Prix” at the Runway AI Film Festival in New York last week. The annual gathering — Runway, a video-generation startup with more than $800 million in funding — rented out Alice Tully Hall for the occasion. There was a genuine frisson among the largely AI filmmaker audience when Gaudette’s film screened. Certainly there were other movies of note — a French childhood-summer movie called Costa Verde leaned in to the hallucinations to magical effect, suggesting a serious leveling up in the year since the company last held the gathering. (An L.A. installment plays Thursday.)

But Gaudette operated on another plane. When Runway co-founder Cris Valenzuela called out the winner, the crowd practically erupted, happy for their colleague in this still-small community but also, perhaps, happy for the crossing-the-chasm moment. Whatever happens from here, Gaudette has proved one thing that many in traditional entertainment said could never be proved: an LLM-generated film can make you feel. “I had hoped I could do that,” he said. “But I didn’t know if it could be done.” (You can watch the film and its poignant story — which in addition to Kaufman and Anderson may also give a little Guillermo del Toro, a function of Gaudette’s talent and/or how AI models can synthesize major directors’ work — further down below.)

Until a few months ago, Gaudette hadn’t really tried his hand at filmmaking. But he had been toying with the idea of a lonely man in Paris, and so he began writing. And now here he is, with a nascent aesthetic’s most notable work, all for two weeks of (admittedly seventeen-hour days) of working.

The Paris in his film feels stylized, idealized. There may be a good reason for that: he’s never been to Paris. Instead Gaudette relied, via the AI, on the many scraped directors who had. Perhaps just as well. Showing up to shoot in person would only have ruined the city with its realness.

Generating shots is…not easy. The model can really only handle 5-8 seconds at a time, which means you can’t do very long takes — a oner isn’t happening anytime soon. And, more important, it means you spend a lot of time scrapping what you had and starting again to make sure your new shot matches the old ones.

See, a model mostly doesn’t remember the previous shot — reports of it as an assistant director are greatly exaggerated — so you’re starting from scratch each time, spinning the roulette wheel and hoping your new generation looks like a continuation of the scene from the last one. 

This is what leads so many AI filmmakers to cut their shots and scenes short; an NBA Finals director with an eye on Chalamet has fewer cutaways. But Gaudette did things the hard way, putting together scenes that can last 30 seconds or longer, which means an astonishingly high number of generations until the model gets it right. Or an astonishing number of water gallons. On the other hand, it’s not like there’s a production van rolling around polluting everything.

The entire process feels intense. Also, a crapshoot. “There is a lot of gambling, a pulling of the slot machine,” Gaudette admitted. Then again, if something isn’t working, you haven’t wasted a half-day of shooting. You just hit delete and start again. Plus, he says, “the more you do it the more you figure out the language that will help you get what you want.”

You can watch Face and hold onto thoughts that no piece of art can truly be made with such machine help. Or you can be moved, forget entirely what you’re watching is made by AI, ask yourself who these actors are and what they’ve been in before remembering they don’t exist, and only when the credits roll (/credit rolls) ask yourself all the uncomfortable moral and spiritual questions about what even is a film anymore or what the point of a film set or industry is — as you might, as I did, as a studio executive looking to save a buck definitely will.

Gaudette doesn’t hold out much hope any festival — including his native TIFF — would ever play this movie. But he has gotten wind that a festival in Rhode Island has an AI Filmmaking section, and has a bead on another that might too.

He says it would be “amazing” if a traditional Hollywood studio discovered him via this short and brought him on to a conventionally shot project or to develop Face as a feature (there’s a lot of backstory to explore). But oddly, or refreshingly, he has no specific desire to make a transition, and is content to continue making AI films. He’s already developing his next short. He thinks he can get the whole process down to ten days.

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Let’s get one thing clear: all appearances

It has been a satisfying month for those who resent Hollywood’s reliance on the same old, same old. Original titles from two fresh new filmmakers, with an assist from an elder statesman, have defined the marketplace while the return of one of the most hallowed franchises in Hollywood and the attempted revival of an older one made a swift exit.

But as much of a welcome gift as “Obsession” and “Backrooms” have been to movie theaters and to their distributors, the 2026 summer box office wasn’t expected to be a $4 billion-plus season because of those films. Such optimism came from other Hollywood IP that has a much greater foothold than “Masters of the Universe,” like Disney/Pixar’s “Toy Story 5.”

Seven years after “Toy Story 4” grossed $1.07 billion at the global box office, the return of Pixar’s flagship franchise is favored to join its predecessor in the $1 billion-plus club. From there, it’s a question of how well it will thrive alongside the equally highly anticipated Illumination film “Minions & Monsters” in July to determine whether it will join sequels to films like “The Incredibles,” “Inside Out” and “Zootopia” among the biggest U.S. animated hits ever.

Animated sequels have long been key pillars of the box office, especially after the pandemic. But in the past two years, the highest grossing movies of the year worldwide — “Inside Out 2” and “Ne Zha 2” — have come from that category with “Moana 2” and “Zootopia 2” close behind in the top 3 for their respective years.

While “Toy Story 5” might get bumped off the top spot by “The Odyssey” or “Avengers: Doomsday,” it should still climb to a high spot on the year-end charts. It is widely expected to beat the $120 million opening of “Toy Story 4,” with Disney projecting an opening of at least $140 million with independent trackers projecting $150 million.

Theatrical sources who spoke to TheWrap, however, think the movie could do even better, possibly challenging the $182.6 million opening of “The Incredibles 2” in 2018, an opening that stands as the highest 3-day domestic opening ever for an animated film. Helping fuel that are overwhelmingly positive reviews, which stand at a 93% Rotten Tomatoes score at time of writing.

To get that high, “Toy Story 5” will obviously need more than just family turnout. “Incredibles 2” got to $1.24 billion thanks to various factors that worked in its favor. Nostalgic millennials who saw the first “Incredibles” as kids showed up en masse, and its story of Mr. Incredible putting aside his dreams of returning to superhero stardom to be a stay-at-home dad made it resonate not just as a family title but also as a Father’s Day title.

“Toy Story 5” will definitely have the nostalgia play, as its high quality with four films released across a quarter century have allowed the franchise to be embraced by a whole new generation of kids, some of whom weren’t even born when “Toy Story 3” got a Best Picture Oscar nomination. And with Gen Z now around the same age millennials were when “Toy Story 3” was released, we will see how much they will drive general audience turnout for screenings outside the family-friendly matinee times.

While it is possible that “Moana” and “Minions & Monsters” could create competition for “Toy Story 5” that lowers the potential final global totals for all three films, we’ve seen with “Obsession” and “Backrooms” that well-received films with significant core audience overlap can coexist in this current marketplace where moviegoing interest is high. In addition, “Inside Out 2” was able to make $156 million at the domestic box office even after “Despicable Me 4” arrived as competition on Fourth of July weekend in 2024.

In short, this film is going to be a contender for the highest grossing movie of the summer and should help Disney shrug off the dismal theatrical run of “The Mandalorian and Grogu.” Though the struggles of that film have have put the long-term theatrical future of “Star Wars” into question, Disney’s 2026 at the box office has been generally good so far. Pixar’s original film “Hoppers” was a modest success with $372 million worldwide, and “The Devil Wears Prada 2” passed $675 million globally this past weekend.

If “Toy Story 5” and “Moana” pan out, we could be looking at a $3 billion-plus summer for Disney, proving again that even high-profile flops haven’t damaged their status as a box office cornerstone.

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It has been a satisfying month for

For the first time, the New York Comedy Festival (NYCF) will present Variety’s 10 Comics to Watch, bringing the annual industry spotlight on emerging comedic talent into the festival’s official programming. The presentation and showcase will take place on Nov. 12 during the festival, which runs from Friday, Nov. 6, through Sunday, Nov. 15. This year’s honorees will also be featured in Variety’s Nov. 4 issue ahead of the live presentation.

Since 2000, Variety has been selecting standout comedians for their 10 Comics to Watch franchise. Past honorees include comedy titans such as Wanda Sykes, Nate Bargatze, Patton Oswalt, Fred Armisen and Zach Galifianakis as well as more recent breakouts such as Ayo Edebiri, Hannah Einbinder, Caleb Hearon and Julio Torres.

The New York Comedy Festival (NYCF) is the largest and longest-running annual comedy festival in the United States. Over its 21-year history, the NYCF has stayed true to its mission — spotlighting the very best in comedy through a bold and diverse slate of programming. Beyond stand-up, the festival offers an eclectic mix of sketch and improv performances, panel discussions, intimate conversations with comedy legends, talent competitions, star-studded fundraising galas, film screenings, live podcast tapings, interactive partner activations and much more. Founded by comedy legend Caroline Hirsch in 2004, the NYCF has brought together the country’s top comedians including Judd Apatow, Bill Burr, Margaret Cho, Louis C.K., Larry David, Kevin Hart, Jo Koy, Nick Kroll, Bill Maher, Trevor Noah, Conan O’Brien, Amy Schumer, Sarah Silverman, Wanda Sykes, Tracy Morgan and many others to venues throughout the five boroughs of New York City.

Hirsch is also the founder and owner of comedy club Carolines on Broadway, a cornerstone of the comedy world for more than four decades. Originally opened in 1982, the club relocated to Times Square in 1992, where it remained a New York City institution and premier destination for stand-up comedy until its closure in 2022.

“The New York Comedy Festival is a pillar of the comedic world that serves as a vital launch pad for up-and-coming talent, making it a natural fit for our annual 10 Comics to Watch,” said Dea Lawrence, co-president and publisher of Variety. “We’re proud to bring this franchise to the storied festival stages for the first time.”

“The festival has always prioritized spotting emerging comedic talent early and giving them a meaningful platform to grow,” said Hirsch, founder and owner of the NYCF. “That focus on discovery, not just headliners, is what keeps it fresh and has helped launch so many careers, and we’re thrilled to partner with Variety to extend that mission. The 10 to Watch list consistently highlights the industry’s most dynamic new voices. With this partnership, we are celebrating these rising voices and showcasing the future of comedy at this year’s festival.”

The deadline for submissions is Sept. 4. Candidates or their representatives can find more details and submit their relevant qualifications here.

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For the first time, the New York

En el competitivo panorama del juego online en España, las promociones de bienvenida son un factor decisivo para los jugadores. Sin embargo, contadas ofertas generan tanta anticipación y valor inmediato como los bonos sin depósito. En Fugu Casino, comprendemos esta demanda y nos enorgullece presentar una selección destacada de bonificaciones sin depósito, diseñadas particularmente para el público español. Estas promociones no solo suponen una oportunidad sin riesgos para explorar nuestra plataforma, sino que también son un testimonio de nuestro compromiso con ofrecer un comienzo beneficioso. A lo largo de este artículo, explicaré en los detalles de estas ofertas particulares, explicando cómo funcionan, sus beneficios clave y la filosofía que impulsa a Fugu Casino a destacar en un mercado tan competitivo como el de España.

El Atractivo Inigualable del Bono Gratuito

El núcleo del bono sin depósito consiste en su aptitud para proporcionar una experiencia de juego genuina sin exigir una inversión económica inicial por parte del usuario. Para el jugador en España, esto se traduce en una oportunidad de oro para evaluar la oferta de Fugu Casino con completa serenidad. Puede navegar por nuestra amplio catálogo de juegos, experimentar la agilidad de nuestra plataforma adaptada para dispositivos móviles y experimentar la excelencia de nuestro servicio de atención al cliente, todo ello sin comprometer su propio capital. Esta fórmula estimula una relación de confianza desde el primer clic, permitiendo que la decisión de depositar y continuar se base en una vivencia satisfactoria auténtica, no en promesas publicitarias. Es una demostración de transparencia y seguridad que pocos casinos online brindan con tanta generosidad.

Desde una visión práctica, estas bonificaciones funcionan como un puente perfecto entre el interés primigenio y la transición en un jugador registrado. En Fugu Casino, estimamos la interés del usuario y pretendemos premiarla de forma tangible. Al obtener crédito gratuito o giros libres simplemente por realizar el registro y verificar la cuenta, el jugador accede de forma directa a la acción. Este modelo suprime barreras psicológicas y económicas, especialmente seductor para quienes son novatos en el juego online o son prudentes con las plataformas emergentes. Para el mercado español, habituado a un alto nivel de exigencia y a una regulación estricta, este detalle de Fugu Casino no es solo un atractivo, sino una manifestación de propósitos sobre la seriedad y la inversión por el valor a largo plazo.

Cómo Reclamar tu Bono Sin Depósito de Forma Detallada

El método para reclamar un bono sin depósito en Fugu Casino está creado para ser sencillo y rápido, garantizando que el jugador acceda a su beneficio en pocos minutos. El primer paso, naturalmente, es la creación de una cuenta. Necesitas acceder a la web principal de Fugu Casino, pulsar en el botón de registro y rellenar el formulario de registro con tus datos personales veraces, esenciales para un proceso de verificación posterior sin contratiempos. Es necesario que emplees información auténtica y que cuentes con mayor de 18 años, condición legal fundamental en España. Durante este alta, a veces se te pedirá que ingreses un código de bono determinado; si es el caso, este promocode aparece disponible en la página de la promoción.

Una vez terminado el registro, el paso siguiente fundamental es la verificación de la cuenta. Este proceso, exigido por ley, conlleva la confirmación de tu personalidad y domicilio en España. Normalmente, se te solicitará una imagen de tu DNI, pasaporte o carnet de conducir, y un justificante de domicilio actual. Fugu Casino gestiona estos documentos con la total discreción y agilidad. Tras la validación, el bono sin depósito se asignará de forma automática en tu cuenta o aparecerá como una oportunidad para solicitar en tu perfil. No será preciso aportar fondos; únicamente, al entrar a la sección de juegos disponibles, ya podrás comenzar a usar los giros gratis o el crédito otorgado. Ten en cuenta que, aunque el bono es gratis, está condicionado a condiciones de apuesta que explicaré en detalle más tarde.

Tácticas para Sacar el Máximo Provecho a tu Bono

Para transformar un bono sin depósito en beneficios reales que puedas retirar, una estrategia puede hacer la diferencia. Primero, maneja tu saldo del bono con tranquilidad. En lugar de realizar las jugadas máximas de forma inmediata en una sola sesión, plantea espaciar tu acción de juego. Esto te ayudará a familiarizarte con la mecánica de los juegos, identificar aquellos con los que te sientes más cómodo y, estadísticamente, mejorar tus probabilidades de conseguir rondas de bonificación o características especiales que son fundamentales para conseguir ganancias significativas en las máquinas tragaperras.

En segundo término, centra tu atención en los juegos que contribuyen al 100% al cumplimiento del requisito de apuestas. Jugar en un juego que solo suma un 10% ralentizará significativamente tu progreso. Da prioridad las tragamonedas sugeridas en los cláusulas del bono. Además, mantén un registro mental o físico del avance de tu apuesta; muchas casinos, como Fugu Casino, indican este progreso en la área de bonos de tu cuenta de usuario. Para terminar, y no menos importante, determina topes de tiempo y de pérdidas simuladas incluso cuando participes con saldo promocional. Esto te servirá para a conservar una actitud controlada y a disfrutar de la experiencia sin contratiempos, alistándote para cuando decidas jugar con fondos propios. El meta principal es volver el bono en una ocasión para aprender y divertirse de importancia.

Ofertas Exclusivas para Apostadores Españoles en Fugu Casino

En Fugu Casino, no consideramos en las propuestas generales. Nuestro acercamiento hacia el público español se plasma en ofertas a medida, que consideran las especificidades locales, las preferencias de juego y el contexto legal. Nuestras promociones sin depósito exclusivas para España pueden tomar varias formas, siempre procurando sorprender y sumar valor genuino. Una de las más demandadas es la asignación de spins sin coste en tragamonedas seleccionadas de los proveedores más demandados, posibilitando al usuario experimentar juegos de alta volatilidad o sistemas creativos sin tocar su dinero. Otra opción es el saldo promocional sin coste, una suma determinada de saldo ficticio que se acredita en la cuenta y que puede emplearse en una selección más grande de entretenimientos, sujeto a los requisitos y normas.

La exclusividad también se manifiesta en la temporalidad y los estrenos planificados. Fugu Casino suele ajustar estas recompensas con acontecimientos culturales importantes en España o con el debut de juegos que auguramos serán un triunfo en la comunidad. Esto provoca una sensación de pertenencia y de consideración prioritaria para nuestros usuarios españoles. Es fundamental captar que estas promociones no son fijas; nuestro equipo de marketing las modifica y actualiza constantemente para mantener la novedad y la competitividad. Por ello, siempre sugiero a los jugadores interesados consultar la sección de promociones de fugucasinoo.eu/es-es/ y verificar su bandeja de entrada tras registrarse, pues a menudo las mejores sorpresas se reciben por medios directos y individualizados.

Juegos Accesibles con las Bonificaciones Gratuitas

El utilización del bono sin depósito no se permite normalmente en el conjunto de juegos del catálogo de Fugu Casino. Esta es una práctica habitual en la industria, pensada para equilibrar la amplitud de la oferta con la sostenibilidad del modelo de negocio. Por lo general, estas bonificaciones están dirigidas mayoritariamente a la amplia sección de tragamonedas. Dentro de esta categoría, podrás gozar de una colección escogida que comprende desde los clásicos frutales hasta las video slots más modernas con gráficos 3D y rondas de bonificación complejas. Títulos de proveedores líderes como NetEnt, Play’n GO, Pragmatic Play o Red Tiger suelen ser los elementos centrales de estas promociones.

Es relevante señalar que, en la mayoría de los casos, los juegos de mesa clásicos como la ruleta, el blackjack o el baccarat pueden quedar excluidos del uso del bono sin depósito, o aportar con un porcentaje muy bajo al satisfacción de los requisitos de apuesta. Esto se debe a la ventaja reducida de la casa en estos juegos de habilidad y azar. Antes de ilusionarte con una estrategia de ruleta, te recomiendo a revisar minuciosamente los términos y condiciones asociados a tu bono específico. Allí se indicará el relación total de juegos elegibles y sus porcentajes de contribución. En Fugu Casino, procuramos que esta información sea lo más transparente posible para que tu experiencia sea amenizada y sin confusiones desde el primer momento.

Cláusulas y Términos Importantes que Debes Saber

Los términos y condiciones son el contrato que regula el uso de cualquier bono, y comprenderlos es esencial para una experiencia positiva. El concepto más importante es el requisito de apuesta, también conocido como “wagering requirement”. Este multiplicador indica la cantidad de veces que debes apostar el monto del bono (y a veces la suma del bono más el depósito, en otros casos) antes de que las ganancias procedentes de él se conviertan en dinero real retirable. En Fugu Casino, nos empeñamos por brindar requisitos de apuesta competitivos y justos para el mercado español, pero varían según la promoción. Un requisito de apuesta de 30x o 40x es frecuente en los bonos sin depósito.

Otros términos esenciales incluyen el límite de tiempo para completar con estos requisitos, que puede variar entre unos días y una semana; el límite de ganancias máximas que puedes sacar derivadas del bono sin depósito, una medida de control de riesgo habitual; y las restricciones de apuesta máxima por giro mientras el bono esté activo. Jugar con una apuesta superior a la permitida puede provocar la anulación del bono y de las ganancias asociadas. Además, normalmente solo se permite una cuenta por hogar para acceder a este tipo de bonos, en un esfuerzo por impedir abusos. Mi consejo es siempre, sin excepción, dedicar cinco minutos a leer estos términos en la página de la promoción. En Fugu Casino, la transparencia es una prioridad, y queremos que aproveches de tu bono con todas las reglas claras desde el inicio.

Dudas Comunes sobre los Bonos Gratuitos

Según mi experiencia, los jugadores suelen tener dudas recurrentes sobre este tipo de promociones. He seleccionado las más frecuentes para ofrecerte soluciones directas y sencillas, ayudándote a resolver cualquier interrogante antes de jugar.

¿Es posible retirar el importe del bono sin depósito inmediatamente?

No, directamente no es factible. Las ganancias generadas con el bono sin depósito se consideran “dinero de bono” y están sujetas al seguimiento de los condiciones de apuesta (wagering) indicados en los términos del acuerdo. Solo una vez que hayas apostado el importe total requerido, las ganancias finales se volverán en “dinero real” disponible para cobro. Es un proceso pensado para prevenir el fraude y salvaguardar la equidad del método para todos los usuarios.

¿Qué pasa si no completo con los requisitos de apuesta en el tiempo establecido?

Si no consigues cumplir con el factor de apuesta dentro del tiempo tope indicado en los cláusulas, tanto el bono como cualquier saldo generado derivada de él serán forfeitados, es decir, se retirarán de tu cuenta. Es una condición estándar que motiva a los participantes a emplear la bonificación dentro de un período de tiempo adecuado. Fugu Casino normalmente indica tu estado de apuesta en la sección de bonos de tu cuenta para que lleves a cabo un seguimiento.

¿Estos bonos gratuitos están vigentes para todos los países?

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South Africa’s music industry has never been short of talent.

From jazz and rock to kwaito, Afro-pop and amapiano, generations of artists have shaped the soundtrack of the nation.

What makes the story even more fascinating is how music often stays in the family, with fathers passing down wisdom, experience and passion to children who go on to build careers of their own.

This Father’s Day, we celebrate some of South Africa’s most remarkable musical dynasties where talent runs through the family tree, and the next generation is carrying the torch forward.

One of the most talked-about father-son partnerships today is TK Nciza and his son Ciza.

TK, whose real name is Thembinkosi Nciza, helped build some of South Africa’s biggest music careers as a co-founder of TS Records.

For years, he worked behind the scenes, shaping the industry and helping artists find their place in the spotlight.

Now it is his son who is commanding attention. Ciza has become one of the country’s fastest-rising stars with a sound that blends Afro-fusion and amapiano.

His hit song “Isaka (6am)” introduced him to a wider audience and established him as an artist to watch. While his success continues to grow, Ciza often credits his father for keeping him grounded.

Their relationship is built on guidance, discipline and a shared love of music.

Another legendary musical family is that of Johnny and Jesse Clegg.

Johnny was one of South Africa’s most influential performers, using music to bridge cultural divides during apartheid through bands such as Juluka and Savuka.

His work connected audiences across communities and earned him global recognition. Jesse grew up surrounded by music and life on the road.

Today, he is an accomplished singer-songwriter with a successful career of his own. While his sound follows a different path, traces of his father’s influence remain visible in his commitment to storytelling and meaningful music.

Jesse continues to honour Johnny’s legacy while creating a distinct identity for himself.

The Madlingozi family is another example of music flowing from one generation to the next.

Ringo Madlingozi became one of South Africa’s most beloved Afro-soul artists through songs that captured themes of love, hope and everyday life.

His son Phila Madlingozi has embraced creativity in several forms, balancing careers in music, acting and filmmaking.

His journey began early when Ringo invited him and his siblings into the recording studio to contribute backing vocals. Those early experiences sparked a passion that continues to shape his career today.

Kwaito pioneer Oskido has also passed valuable lessons to the next generation. As a co-founder of Kalawa Jazmee and one of the architects of South Africa’s dance music movement, Oskido helped create opportunities for countless artists.

His eldest son, Bass, has followed closely in his footsteps, developing an understanding of both music and business.

Oskido often speaks about the importance of being present as a father and mentoring his children. For him, legacy is not only about hit songs but also about preparing the next generation for success.

In Durban, another father-son duo is proving that family collaboration can create something special.

Neil Breytenbach, known for his work with Prime Circle, shares the stage with his son Jesse Breytenbach as part of the rock band Cantrel.

What began as a side project evolved into a full-time partnership during the pandemic when father and son started writing music together from home.

Their chemistry is clear in every performance, blending experience with youthful energy.

Songs such as “Walls” have resonated with listeners and helped the group attract fans far beyond South Africa.

These musical families remind us that talent may open the door, but mentorship, support, and shared passion help keep it open.

Whether they are performing on stage, working behind the scenes or writing songs together, these fathers have done more than build careers.

They have inspired a new generation to dream bigger, work harder and continue the rhythm long after the final note fades.

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South Africa’s music industry has never been

The actress behind the female Iron Fist officially spoke out on a potential return to the MCU after news confirmed a Netflix reunion. Marvel Studios has made a concerted effort over the last few years to fully integrate the Defenders Saga from Netflix with the greater Marvel Cinematic Universe. Now, more stars from that streaming franchise seem eager to return to their fan-favorite roles.

Iron Fist star Jessica Henwick spoke about potentially returning to her role as Colleen Wing in the MCU after her run in Netflix’s Defenders Saga. In an interview with Polygon, she said that she “would love to do it if the story is right.” Reminiscing fondly on her experience, she would enjoy seeing Colleen get “a cooler suit:”

“It’s public news that a lot of the cast is going back, and I would love to do it if the story is right. I loved playing Colleen, and I think it would be really cool after nine years to put the suit back on. Maybe a new suit, maybe a cooler suit. It would be a pleasure. We’ll see.”

As of writing, Henwick has not been confirmed to reprise her role in any future MCU projects. Henwick played Colleen Wing in both seasons of Iron Fist and also starred in one episode of Luke Cage Season 1 and six of the eight episodes in The Defenders. Originally known as a capable martial arts instructor, she later revealed herself to be part of The Hand and betrayed the group in support of Danny Rand after learning of their sinister nature.

At the end of Season 2, after Danny’s rival Davos seals the power of the Iron Fist, Danny performs a ritual to transfer that power to Colleen permanently. She defeats Davos and becomes the new Iron Fist, using her chi to charge the katana she is known for fighting with. She also paired up with Simone Missick’s Misty Knight to form a crime-fighting duo known as the Daughters of the Dragon. 

This quote comes after set photos supposedly showed that Daredevil: Born Again Season 3, which is currently filming and expected to be released in March 2027, is bringing back Mike Colter’s Luke Cage and Finn Jones’ Danny Rand.

Colleen Wing’s Potential Role in Future MCU Projects

Marvel Television

Should Colleen Wing eventually come back into the MCU, she would do so holding the mantle of the Iron Fist after Danny passed on his powers to her. This would make her one of the more powerful street-level fighters in the MCU, on a level with other heroes like Daredevil, Luke Cage, and Jessica Jones (all of whom are in Born Again Season 3, as is Luke Cage).

After gaining the power of the Iron Fist, Colleen’s story remains a mystery, as she has not been mentioned in any subsequent MCU movies or TV shows. However, many expect her to still be in the greater New York area, protecting the city while Danny went off to learn more about his past, before which he told Colleen in a note that he knew what the medallion bearing her family crest meant.

Meanwhile, Danny’s storyline in Born Again Season 3 is being kept under wraps. Even so, his return pushes the door wide open for a reunion between him and Colleen. All things considered, it would only make sense for Marvel to continue Colleen’s story and give her a chance to shine with the Iron Fist mantle.

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After the release of Hoppers earlier this year, which still stands as one of the biggest hits of 2026, Disney and Pixar look to hit even bigger with the release of Toy Story 5 this month. This will be the first Toy Story movie in seven years, reuniting Tom Hanks’ Woody and Tim Allen’s Buzz while Joan Cusack’s Jessie becomes the story’s leading character. This sequel will pit the toys in an intense battle against the rise of technology, as their kid, Bonnie, is gifted a tablet named LilyPad that threatens to make them irrelevant forever. Considering how popular this franchise has become over the last 31 years, it comes as no surprise that anticipation is high for this movie’s debut.

The last Toy Story movie, Toy Story 4, broke franchise and company records by becoming the fourth Pixar movie to gross over $1 billion at the global box office, finishing its run at $1.074 billion worldwide. This was just slightly higher than Toy Story 3‘s $1.067 billion in 2010, proving that the toy gang’s days of appealing to viewers were far from over. Now, as the fifth chapter in their saga gets ready to hit the big screen, expectations for its own box office success are already through the roof.

According to Variety, Toy Story 5 is targeting an opening weekend debut in North American theaters that could result in a gross of anywhere from $145 million to $150 million. Initial ticket sales could even push beyond those numbers, as some predict the total could be closer to a range of $160 million to $175 million. If those estimates come to fruition, Toy Story 5 would easily have the best opening weekend of any movie in this franchise, surpassing Toy Story 4‘s $121 million opening and Toy Story 3‘s $110 million domestic debut. It would also pass The Super Mario Galaxy Movie ($131.7 million) for the biggest domestic opening of 2026.

Pixar’s success has only grown over the last couple of decades, with all five of its $1 billion hits released since 2010, the last four since 2016. Considering two of those movies are from the Toy Story franchise, it is no surprise that Toy Story 5 is expected to continue that trend and become Pixar’s latest massive hit. This comes only a day after Toy Story 5 officially received its opening Rotten Tomatoes score; while its 93% critic rating may be the lowest of the five core Toy Story movies (2022’s Lightyear ranks lower at 74%), it becomes the latest Pixar sequel to be a massive critical hit.

Toy Story 5 will begin playing in theaters on Jun. 19, 2026.

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After the release of Hoppers earlier this

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Sony has patented a controller with buttons that can become harder or softer in reaction to PlayStation gameplay.

The patent, which was published late last month and uncovered by Cheat Happens, describes buttons made of smart, magnetically responsive composite materials that will soften or harden depending on the strength of the magnetic field.

Essentially, the controller would be able to change the ‘feel’ of the controls by altering button hardness in real time to enhance game immersion, similar to the PS5 DualSense controller’s existing haptic feedback.

For example, the buttons could soften when a player character is walking through a swamp, and harden when they’re climbing a rocky surface, it’s claimed.

The patent also describes how the theoretical controller could create a ‘finger grab’ effect, where buttons soften to let fingers sink in, and then harden to hold them, simulating being grabbed in-game.

The ability to soften or harden buttons could also be used for accessibility purposes, it’s claimed, making it easier for disabled players to play.

An image from Sony‘s latest controller patent.

Sony regularly patents new ideas for control methods, and it’s worth noting that they won’t necessarily lead to real products.

Earlier this year, the PlayStation firm obtained a US patent for a special controller with a touchscreen that lets players choose where the buttons should go, and resize elements like the d-pad.

Sony is also seemingly exploring ways to integrate AI into future PlayStation consoles, as it’s acquired a patent for the creation of bespoke AI-generated podcasts starring video game characters, and a new technology that would see PlayStation games play themselves with the help of AI.

It’s claimed that Sony could launch PlayStation 6 next year, alongside a possible Switch-style portable version. In a recent earnings call, the company claimed that it hadn’t yet decided when it would release the PlayStation 6 or what its price would be.