Better Call Saul, the popular spinoff of the even-more-popular Breaking Bad, ended its run in 2022. But in many ways, Saul Goodman never left us. Today, Bob Odenkirk reappeared in character to give a version of his classic in-show commercial in honor of America’s 250th birthday.
In his sarcastic way, Odenkirk lists off multiple constitutional rights and references the “wallpaper” behind him. He pays homage to the “whole bunch of good people, 250-years-worth” who have upheld the constitution.
“Hi, I’m Saul Goodman. Did you know you have rights?”
The spiel ends with Odenkirk encouraging viewers to “never give up” their constitution-given rights.
The 45-second video was uploaded to a YouTube account called “Saul4Democracy,” and it is unclear when the clip was filmed. The caption reads, “Saul Goodman wants YOU to know your rights!” Peter Gould, the executive producer of Better Call Saul, reposted the video on his BlueSky account and confirmed it was not AI-generated. The video has garnered over 123,000 views so far.
Better Call Saul was a spinoff series of the Golden Globe-winning Breaking Bad. It followed a minor character who first appeared in season two.
Albuquerque lawyer Jimmy McGill scrapes for clients and respect, but every win drags him closer to shady deals, dangerous players, and the alter ego Saul Goodman.
This PSA comes just in time for America 250, or the United States’ 250th “birthday.” For fans of the show, this video was a welcome sight four years after the story concluded. This is made even more impactful after Odenkirk’s 2025 statement.
“He’s not getting out [of prison]. If there’s another Saul show, it takes place inside prison.”
At the very end, the video featured an appearance from Mike Ehrmantraut, played by Jonathan Banks, another beloved character from the series. Many of the comments are raving about the cameo.
This is likely not a sign that the Better Call Saul universe will continue to expand. However, beyond the humor, the message within the video is important and certainly relevant.
Late last month, Kwalee Labs launched its first-person horror shooter Luna Abyss on Xbox Series X|S, PlayStation 5, and PC. But not even a day-one Game Pass release was apparently enough to save the jobs of the team that made Luna Abyss.
Kwalee Labs CEO and production director Hollie Emery announced on her LinkedIn page that she and the other eight members of Luna Abyss’s development team were laid off earlier this week for undisclosed reasons.
“Unfortunately as of yesterday, the entire team has been made redundant; a decision that was completely outside of our control,” wrote Emery. “As a result, the entire team are available for work as of today.”
Emery also stated that she and the rest of her team were “enamoured by the love and support it received both by our industry and critically by journalists and media. Whilst we faced many challenges along the way, it has been the highlight of our careers–and we are incredibly proud that it has finally seen the light of day.”
According GameSpot’s sister site Metacritic, Luna Abyss had an 81% score and was largely received well by critics. While the title’s Game Pass numbers aren’t available, its peak concurrent players on Steam was 18,597 near launch. However, its most recent 24-hour peak was only 310 players, which marks a dramatic drop-off.
Luna Abyss puts players in control of Fawkes, a woman who has been imprisoned on a moon called Luna and tasked to excavate and explore the deep passages beneath the surface while monitored by her A.I. prison guard, Aylin. As Fawkes uncovers the secrets of Luna, she’s forced to fight for her life against cosmic horrors that defy description.
Presumably Luna Abyss will remain available on its current platforms. The layoffs of Kwalee Labs’ developers comes at a time when even prominent first-party studios at Xbox are currently negotiating with Microsoft to avoid being shut down. The final fate of those studios is currently unclear.
Romanian filmmaker Marius Olteanu (“Monsters.”) is readying his sophomore feature, “We Won’t Get Old Together,” a pandemic-set drama about a man struggling to rebuild his life from the ground up when everything around him comes crashing down. Olteanu is presenting the film this week in the Works in Progress program of the Transilvania Intl. Film Festival.
“We Won’t Get Old Together” tells the story of Radu, an unemployed architect who finds himself at a crossroads amid the stultifying stillness and uncertainty of Bucharest during the pandemic. Caught between two relationships and facing a potentially life-threatening diagnosis, the 40-year-old must make choices that he’s been putting off for far too long.
Speaking to Variety in Transilvania, Olteanu described the film as “a slo-mo journey towards an unavoidable future” that is “scary yet intense, provoking yet filled with a constant need to connect and understand.”
“I also wanted this to be a journey where dreams, feelings, images and words — lots of words and ideas — slowly blur into a riddle about life itself,” he said. “How do we connect and when do we part ways with the ones who, at some point, were fragments of the core definition of our life?”
At the center of the film is Radu, a struggling architect described by Olteanu as “a human museum of broken dreams” who has been putting off a long-planned move to Lisbon, where he’ll be reunited with his long-term partner, Gabi. In the interim, he finds comfort with a younger lover in Bucharest, even as his career is stalled and the future grows increasingly uncertain. The situation is complicated when Radu suddenly finds himself confronting a potentially serious illness but is too scared to face the test results that could determine his fate.
For Olteanu, the character of Radu taps into many of the fears he himself has dealt with on the cusp of middle age. “Forty is an interesting place for a man. It’s that point where you have a life and a history behind you, and at the same time, you realize that what’s following might not be as interesting and as intense as what you’ve experienced,” he says. “[Radu] is at a point where nothing is working, and he’s wondering what he’s going to do with the rest of his life.”
When he began writing the script in 2022, “I was speaking from a place that I was at, too,” the director adds. “You can postpone things, but not forever. At some point, you need to make a decision.”
“We Won’t Get Old Together” is Olteanu’s first feature since 2019’s “Monsters.” premiered in the Berlin Film Festival’s Forum strand, where it won the Tagesspiegel Audience Award. In a glowing review, Variety’s Jessica Kiang praised the “remarkable debut,” describing the “powerful, minutely observed three-part study of a loving marriage threatened by socially taboo and mutually painful revelations” as “wise, compassionate, surprising.”
Olteanu is again confronting social taboos with his latest — this time, around homosexuality, which the director said many Romanians are willing to tolerate “as long as it’s kept between the walls of your apartment.” That belief — along with the conceit of pandemic lockdowns — provides a narrative framework for the film, which is largely set inside three apartments in Bucharest.
“Three apartments, three closed spaces, three lives, one thread that connects them — Radu’s presence, the way he captures, reimagines, confronts and finally abandons reality,” Olteanu said. “This film is a journey through compromise and unfulfilled dreams, through fear and cowardice, and above all, a story about the need to feel safe and loved in a world that seems to be falling apart.”
“We Won’t Get Old Together” is written and directed by Olteanu and produced by Oana Giurgiu, of Bucharest-based Point Film. It’s co-produced by Martine Vidalenc of French production outfit Midralgar Films and boasts a star-studded roster of below-the-line talent, with sound design by Alexandru Dragomir (“12:08 East of Bucharest,” “Police Adjective”), sound mixing by Bruno Ehlinger (“Uncle Boonmee Who Can Recall His Past Lives,” “Cemetery of Splendor”), color grading by Andu Radu (“Fjord,” “The President’s Cake”) and VFX by Thierry Delobel of France’s Reepost (“Bacurau”).
The Transilvania Intl. Film Festival runs June 12 – 21.
Armie Hammer was one of Hollywood’s biggest upcoming actors, but when several women came forward with sexual assault allegations against him in 2021 (not to mention those bizarre cannibalism claims), his career was over. After several years under the radar, Hammer has been slowly making his way back to the world of acting and is ready for a second chance.
Armie Hammer Returns
When Hammer returned to Los Angeles, one of the first job offers he received was from none other than Uwe Boll, the controversial German filmmaker behind some of the worst movies of all time. But for Hammer, it was just thrilling to get an offer to star in a movie again.
“I’m pretty sure I cried,” Hammer told THR in a feature that’s very well worth the read. “It was just this moment where I was like: I’m going to get to do the thing that I love more than anything — other than my children. I would have done a f***ing cat food commercial. I just wanted to work again.“
When he arrived on set for Citizen Vigilante, it had been so long that he wasn’t sure he could remember how to act. “I was scared shitless until the moment Uwe said action for the first time,” he said. “And then I was like — ‘Wait. I do know how to do this.’ There’s a reason I had the success I had.“
In addition to Citizen Vigilante, Hammer also shot three other low-budget movies: Frontier Crucible, a Western released last year; Night Driver, an upcoming thriller about a Mafia errand boy whose night goes sideways; and a third project that hasn’t yet been announced.
It remains to be seen if Hammer will ever return to the Hollywood mainstream, but he’s ready if that day comes. That said, he acknowledges some responsibility for the events that cast him out in the first place. “I made these problems for myself,” he said. “This didn’t happen to me by a fluke accident. I didn’t do what people are saying I did. But I brought very dangerous and unsafe people into my life, and I pissed off people in my life — and here we are.“
Citizen Vigilante
Citizen Vigilante centers on a wealthy American businessman living in Europe who transforms into a notorious vigilante targeting violent criminals and corrupt officials, ultimately becoming both a hunted fugitive and an unlikely media phenomenon. Boll has said that the film is a “very dark and violent movie” which features “rapes and knife attacks” as it examines the “landscape in Europe.“
The film is scheduled to be released in select theaters and on digital on June 19.
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There’s always a bit of a learning curve when it comes to a new season of long-running British panel series/game show/escape room/performance art/madness simulator Taskmaster. Because the series uses the same cast of five well-known comedians throughout the entirety of a ten-episode season, the first few episodes usually function as a bit of a getting-to-know you period, even with people (like recent American contestants Jason Mantzoukas and Kumail Nanjiani) you might be professionally familiar with. It’s a function of the series’ nature as a very silly sort of crucible: Public personas inevitably burn away in the face of the utter ridiculousness that cast members are asked to perform.
All of which is to say that we’re genuinely curious to see how the just-announced cast for the show’s 22nd season will fare, given how, uh, developed some of those public personas are. We’re thinking specifically here of LittleBritain, Doctor Who, and Great British Baking Show‘s Matt Lucas—a guy who’s spent his career working pretty much every rung of the ladder of British comedy tastefulness—and then most especially former IT Crowd and Garth Marengthi’s Darkplacestar Richard Ayoade, whose entire public presentation is built around such an ironclad vibe of composure that it feels like an immovable object is about to slam into an unstoppable force.
As usual, the season 22 cast is a mix of people at different points on the fame spectrum, albeit with no American interlopers involved this time around. (Sadly, Horne’s dreams of luring in Conan O’Brien have apparently yet to come to pass.) The other three competitors on the upcoming season are Chloe Petts, who appeared in 2024 on Netflix stand-up special Hannah Gadsby’s Gender Agenda; Nina Conti, a comedian and ventriloquist you might know from her strange and fascinating mid-2010s film Her Master’s Voice; and Isy Suttie, a comedian and songwriter probably best known to American audiences for playing Dobby in Peep Show.
Taskmaster airs two seasons per year, so fans can expect to see Lucas, Ayoade, Petts, Conti, and Suttie in the house some time in the fall. All episodes of the series (including the just-finished season 21, during which Nanjiani publicly revealed his internet search history as part of a desperate quest for points) are currently available on YouTube.
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Amanda Batula opened up about her romance with West Wilson in the Season 10 bonus episode, claiming that she felt “stupid” about the repercussions it had on her. Wilson previously dated Batula’s real-life best friend, Ciara Miller. The secret romance between Wilson and Batula fractured Miller’s relationship with Batula.
Amanda Batula discusses West Wilson and the Summer House relationship fallout
Amanda Batula spoke to Lindsay Hubbard on a bonus episode of Summer House Season 10. At the beginning of their conversation, Hubbard told Batula that she planned to speak to her “like an older sister.”
Batula, whose relationship with West Wilson became a major storyline this season, said that her close friendship with Wilson initially made her feel “fun” again.
“Maybe I confused going out with West and falling in love with myself again, and like remembering who I am with feelings,” Amanda said. “This person that like wanted to have fun, wanted to go out, like loved life again, didn’t feel lost and alone and scared anymore. I felt such a euphoric feeling.” She noted that spending time with West and his friends brought out a different side of her. “It was hard to think rationally or logically through any of that,” she added.
Hubbard acknowledged what Batula was experiencing. But she told her that it “does not excuse going for the one guy that has broken Ciara’s heart multiple times.”
When Batula claimed that her relationship with West was not physical, Hubbard asked, “Why didn’t you shut it down? Why not at that point say, ‘No, I’m not doing that to Ciara’?”
Batula admitted that she had been “so selfish.” She added, “I was so focused on my happiness and like feeling good for the first time. It overwhelmed me, this feeling of just, like, someone caring about me.” She further explained that West made her feel loved during a period when she felt unlovable.
“I wake up with the most anxiety about how I’ve like f—ed up my whole entire life, every single day,” Amanda continued. “I just feel like really f***ing stupid.”
Hubbard agreed with her assessment and responded, “To be honest, you should feel stupid. The only way to save yourself in this moment is to separate yourself from the sinking ship that West Wilson is.”
During the same episode, West also discussed his relationship with Kyle Cooke, who was previously married to Batula.
The French-language series Empathie from screenwriter Lorence Longpre picked up the Grand Jury Prize at the Banff World Media Festival’s Rockie Awards on Tuesday night.
The Canadian series from Trio Orange, which also won for best non-English language drama, the Prix Francophone and the Prize for Excellence in Canadian Content, sees Longpre play a criminologist-turned-psychiatrist in a Montreal hospital where she meets an eclectic group of patients. “I would like to thank the whole team for this Rockie Award,” Longpre said in a pre-taped video to accept the Grand Jury Prize at the Rockie Awards.
And in the best English-language drama category, HBO’s The Pitttook top honors, beating out Canada’s Heated Rivalryand Plan B series, another U.S. series in The Handmaid’s Tale and the British drama Reckless. “As a Canadian boy, it’s so good to be home, I have to say,” R. Scott Gemmill, the series creator and a Canadian-born writer and producer, said when accepting the honor at the gala ceremony in the Canadian Rockies.
Elsewhere, the best English-language comedy honor went to HBO’s The Chair Company, and Malin Akerman won for best drama performance for her turn in Netflix’s The Hunting Wives. “This role is one of my favorite roles I’ve ever got to play. She is one spicy gal,” Akerman said of her performance as Margo Banks when coming on stage at the Banff Springs Hotel’s conference center to pick up her award.
The best feature film prize, presented by Lori O’Connor, executive vp and publisher, and Mikey O’Connell, senior entertainment editor at The Hollywood Reporter, went to Mountainhead, Succession creator Jesse Armstrong’s movie directorial debut.
“It really very touching to see British TV — I come from the U.K. — and American TV, but we can sometimes be very inward looking. And to be reminded of some of the amazing work that’s made all around the world and to be considered amongst it and take home an award, I feel really very honored to be among everyone,” Armstrong said when accepting his trophy.
Wayward creator and comic Mae Martin, who picked up the Creative Voice Award, told the Rockies Awards audience she’d managed to overcome her customary Canadian humility about career success. “Now I’m sort of admitting I’m very ambitious, and I really love the process of making things and collaborating with other artists,” she said on stage.
In other special prize giving, Canadian indigenous actor Tantoo Cardinal (Killers of the Flower Moon, Dances with Wolves) earned the career achievement award. “First time I came here, I hitchhiked here, and they didn’t kick me out,” Cardinal said of first coming to the Banff World Media Festival. “We were not First Nations then. We were being treated with comatose medicine to hide the power of the treaties and then to hide the truth of just how deeply justice and humanity were not for us in this great society,” Cardinal said of her upbringing in a Canada that oppressed its indigenous peoples.
But that changed when she and other First Nations creatives began telling indigenous stories in Canada and elsewhere. “A lot of work has gone into this powerful tapestry of strength of beauty,” Cardinal added of her career legacy and that of other indigenous artists.
The Rockie Awards also honored Community star Ken Jeong with the Sir Peter Ustinov comedy award. “I don’t stand here because of me. I stand here because of Community, because the people who gave me opportunities when I was just a doctor at Kaiser Permanente in Woodland Hills,” Jeong told the Banff audience as he paid tribute to the popular Dan Harmon comedy and other early career opportunities.
And Beverly Hills,90210 actor Jason Priestley was in Banff to receive the Canadian Award of Distinction after recently starring in the homegrown procedural Private Eyes. Priestley, who cut his teeth as an actor on local film and TV sets as a child before becoming a star in Hollywood, said on stage: “I owe my career and much of my life to the Canadian film and television industry. I thank you for this important recognition.”
Also Tuesday night, the best animated series competition was won by The Simpsonson Fox, and the best performance trophy in a comedy went to Aimee Lou Wood for the British comedy series Film Club. The BBC’s The Graham Norton Show won for best comedy and variety series and the Jeffrey Dean Morgan-hosted Destination X won for best competition and game show series.
Going into this year’s annual Rockie Awards, hosted by Allana Harkin (Full Frontal with Samantha Bee), American TV shows nabbed 55 nominations, followed by U.K. series with 39 mentions.
The opening image of warplanes flying towards battle is a stark juxtaposition to the beautiful beaches and picturesque hotel where writer/director Alicia Scherson’s Summer War is set. But in 1989 Chile, during the waning moments of Augusto Pinochet’s military dictatorship, it’s all inextricably linked. Scherson explores the connection in this adaptation of Chilean author Roberto Bolaño’s The Third Reich, her second adaptation of his work.
The film follows American Udo Berger (Dan Beirne) and his girlfriend Ingrid (Lux Pascal) on vacation to a coastal Chilean town. They spend their days by the ocean, basking in the sun, making friends along the way. But Udo’s attention drifts towards a board game he brought on the trip. It’s a tabletop World War II strategy game called Third Reich that he plays competitively, acting out various scenarios of Germany’s occupation of Europe. When one of their new friends goes missing, a shaken Ingrid decides to head home, but Udo opts to stay back under the guise of wanting to help find their missing friend. That’s when he decides to invite El Quemado, a mystery man living on the beach with burn scars across his face, to play his game.
El Quemado (David Gaete) and Udo Berger (Dan Beirne) share a tense moment in Summer War.
“That’s when he decides to invite El Quemado…to play his game.”
The film is an effective character study about a man being so wrapped up in his obsession that it completely blocks out the experiences of the people around him. Scherson cleverly sets the story in her native Chile (the novel takes place in Spain), a country at a crossroads, sensing freedom but still skeptical and scarred by the past. Enter Udo, a privileged white man obsessed with war but completely detached from the realities of it, unlike the locals who surround him. The lead character’s evolution throughout the film is thrilling to watch unfold, both thanks to Scherson’s writing and Beirne’s performance. Udo is undoubtedly unlikable, but hard to take your eyes off. His decisions are frustrating, but his descent into near-madness is fascinating. The diary-like narration that begins at the start of the film turns into a war journal as the game heats up. But Udo doesn’t physically unravel as you expect. If anything, he finds his confidence. He dances in the clubs where he once awkwardly putzed around. He swims in the ocean, which he previously remarked was too cold. He begins a relationship with the hotel’s owner, whom he developed a childhood crush on when he visited the hotel in his youth. Beirne physically transforms the character from a pasty, inelegant loaf to a man with a voracious drive to win.
Scherson directs the film with the confidence and flair of a seasoned auteur. The dazzling, nostalgic color palette washes over us like the waves along the Pacific coast. Iris wipes pull you in and out of scenes, focusing the audience’s attention, while interspersed archival war footage keeps us grounded in the reality of the Chilean plight. The sound design steadily but stealthily reminds us of the occupation, buzzing with planes and helicopters overhead. And music is skillfully used to match Udo’s transformation, breaking into energetic rock music as his reality fractures.
Ultimately, for El Quemado and the Chileans around him, Udo’s Third Reich is bigger than a game. It’s a fight against fascism that they can actually control after being casualties in one they couldn’t. Summer Waris an indictment of a culture of apathy created by a never-ending barrage of wars. Scherson shows us the importance of never losing sight of the victims of these battles, often waged by men not too different from Udo.
Former U.S. secretary of homeland security and current special envoy to the Shield of the Americas Kristi L. Noem has been hired by a British Columbia mineral exploration company.
In a release on its website, NovaRed Mining Inc., whose head office is located in Vancouver, said Noem has joined the company in a “strategic advisory role to support NovaRed’s mission of acquiring and advancing critical mineral exploration opportunities through its artificial intelligence-enhanced technology platform.”
In a post on Truth Social, U.S. President Donald Trump said that Noem, “who has served us well, and has had numerous and spectacular results (especially on the Border!, will be moving to the new role of ‘Special Envoy for The Shield of the Americas.’”
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Krist Noem blames ‘violent’ protesters for Minneapolis chaos
Following the announcement, Noem thanked Trump for appointing her as the Special Envoy for the Shield of the Americas and said she looks forward to working with U.S. Secretary of State Marco Rubio and Defense Secretary Pete Hegseth.
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“The Western Hemisphere is absolutely critical for U.S. security. In this new role, I will be able to build on the partnerships and national security expertise, I forged over the last 13 months as Secretary of Homeland Security,” Noem wrote.
Noem faced criticism while overseeing Trump’s immigration crackdown, including over the shooting deaths of two protesters — Renee Good and Alex Pretti — in Minneapolis at the hands of immigration enforcement officers. The former South Dakota governor was also criticized over the way her department has spent billions of dollars allocated to it by Congress.
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NovaRed Mining said Noem has “extensive experience spanning economic development, infrastructure, energy, agriculture, national security, and public-private collaboration.”
The company said she also has broad experience in government affairs, strategic planning, regulatory matters, stakeholder engagement and large-scale organizational leadership.
Brian Goss, Chief Executive Officer of NovaRed Mining Inc., stated in a release that, “Kristi brings exceptional leadership experience and a deep understanding of the policy, regulatory, and economic factors that influence infrastructure investment, resource development, and long-term economic growth.
“Her perspective and experience working across government and industry will be valuable as NovaRed advances its corporate development strategy and evaluates new opportunities.”
Minneapolis ICE shooting: DHS Noem doubles down on defence of officer who killed Renee Good
Noem also commented in the statement, saying, “I look forward to supporting the Company’s strategic objectives. In an increasingly competitive global environment, secure and reliable access to critical minerals has become an important economic and national security priority.
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“NovaRed is pursuing opportunities in sectors that will remain important to long-term growth and supply-chain resilience, and I am excited to contribute my experience in public policy, stakeholder engagement, and strategic planning as the Company advances its initiatives.”
The Real L Word star Francine Beppu’s cause of death has been revealed following her death at age 43.
According to a report by the Honolulu Medical Examiner, with details published by TMZ on Tuesday, June 16, Beppu died by suicide on February 17.
The examiner’s office also conducted toxicology testing which indicated “the presence of amphetamine and alcohol” in her system when she died.
Beppu, who starred on season 2 of the Showtime reality TV show in 2011, was confirmed dead by a spokesperson for her family who spoke to People several days later. “It is with a heavy heart that we share the passing of our beloved Francine ‘Naoko’ Beppu,” a statement from the family obtained by the outlet read at the time. “The outpouring of care and concern from her friends and colleagues is a testament to the tremendous impact she had on everyone around her. We are deeply grateful to know how cherished she was and how brightly she will continue to shine through all who knew her.”
Bethenny Frankel is mourning the death of her mother, Bernadette Birk, who died on Friday, April 19, at the age of 73 following a battle with lung cancer. The Real Housewives of New York City alum, 53, posted photos and a touching tribute on Instagram, opening up about her complicated relationship with her mom. “She […]
The family added that they had appreciated “the many gestures of love for Francine” while requesting privacy and they navigated “this unimaginable loss and honor her memory.”
This story is still developing.
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TechRadar is running a live Q&A in the lead-up to our Oura Ring 5 review
Leave a comment with what you’re most interested in hearing about below
You can ask questions all week before the Q&A closes
The Oura Ring 5 only started shipping just over a week ago, but it’s already causing a stir, with early impressions mostly positive across the board — thanks to being such a substantial, visible upgrade over the previous model.
I’m currently testing what Oura claims to be “the world’s smallest smart ring”, and while I can’t yet access every feature in the app — some require at least 30 days of continuous wear to establish personal health baselines — the ring design itself is a big step up.
It’s significantly more petite than the Oura Ring 4, both in form and weight, which gives it a much better fit and makes it more comfortable to wear. While I can’t yet give a final verdict on its performance or accuracy, or properly judge its value, I’m happy to answer any questions you might have.
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Want to know if it feels noticeably different compared to the Ring 4? If you can, you still wear it while typing or lifting weights without it feeling bulky? Or how long does the battery really last? Drop your question in the comment box below, and I’ll get back to you.
This live Q&A will remain open until this weekend, when my Oura Ring 5 review will be published. Because I won’t yet have unlocked every new feature that’s available, my verdict will be based on an early assessment of what I have been able to test in just over two weeks.
That’s why I’m opening this testing period up to you. I want to know what your biggest questions are about what could be the best smart ring available. Of course, I’ll be looking at its price, design, features, and performance to determine a final value score, but I know that won’t cover everything.
There are countless questions I imagine many of you will likely have before clicking buy on a $399 / £399 / AU$649 smart ring — or $499 / £499 / AU$799 if you’re considering one of the more premium finishes — so let me know what you’re weighing up, and I’ll try to help where I can.
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I already know from the early results of the poll above that most TechRadar readers don’t want to spend the extra $50 / £50 / AU$80 that the Ring 5 costs over the Ring 4, but many of you said you would wait to see what the reviews say.
If that’s you, this is your chance to get a behind-the-scenes look at the testing process. As I noted above, I haven’t yet been able to explore all the new features Oura Ring 5 brings, but some of the basic features are unlocked after 10 days of wear, so I can give you early answers on whether they’re actually useful.
Which brings me to another caveat, because I live in the UK, I don’t have access to every new feature that Oura is currently rolling out, which means I won’t be able to test the new ‘Lab Uploads’, ‘Brain Health Study,’ and ‘Health Radar’ at all.
That’s a shame because those three features are among the most sought after, judging by the results of the above poll, which shows that the majority (40%) of TechRadar readers are most excited to try ‘Health Radar: Blood Pressure Signals’.
‘Brain Health Study’, ‘Nighttime Breathing’, which is part of ‘Health Radar’, and ‘Lab Uploads’ also ranked highly among readers, raising the question of whether the Oura Ring 5 is most suited to those who live stateside.
Let me know if missing out on those new features is a deal breaker for you? I’ll be considering all aspects, like these regional limitations, in my review.
JD Vance labeled the hosts of “The View” as “only a little bit vicious” hours after appearing on the ABC talk show, where he had a somewhat tense exchange with Whoopi Goldberg.
The vice president addressed his appearance on “The View” during his Tuesday night stop by Fox News’ “Gutfeld!,” where he admitted the visit “defied” his expectations.
“Honestly, Greg, I expected them to be absolutely vicious,” Vance said. “And they were only a little bit vicious. It wasn’t as bad as I thought it was going to be.”
As Vance went on, he claimed that Joy Behar even offered him a compliment during one of the commercial breaks. Specifically, Vance claimed Behar told him, “You know what, you’re pretty good for a Republican.”
“I was like, ‘Whoa.’ That is a way better compliment than I could’ve expected from Joy Behar,” Vance added.
While Vance seemed to be won over by Behar, he took aim at his tense moment with Goldberg, noting, “I gotta say, I thought Sunny [Hostin], the woman to my left, was going to call me racist. In reality, it was Whoopi, the woman to my right, that called me racist. Expectations defied.”
Watch Vance’s comments below.
Vance: I thought Sunny, the woman to my left, was going to call me racist. In reality, it was Whoopi, the woman to my right, that called me racist. Expectations defied. pic.twitter.com/yO1CHiU9lF
As we previously reported, Vance and Goldberg butted heads during the taping on Tuesday, especially during one moment where the “Sister Act” star asked the vice president about the treatment of people of color in America, wondering what they’ve done to the Trump administration “that has allowed it to really stigmatize” them.
After Vance questioned if Goldberg was suggesting that the administration was “anti-minority or anti-Black,” the Oscar winner accused the vice president of spinning her words.
“No I didn’t say that!” Goldberg sounded off. “I asked — see? Don’t start any stuff with me, man. Don’t get me in trouble.”
Though Vance had a somewhat positive take on his appearance on “The View,” Meghan McCain, who was a co-host on the show for four seasons from 2017 to 2021, felt her former co-workers did a less than stellar job.
“My biggest takeaway from Vance on ‘The View’ is honestly how s–tty and undisciplined the hosts STILL ARE,” the conservative television personality wrote on X Tuesday.
“After all these years they still get basics facts wrong, flub easy questions and can’t get through a segment without yelling at each other,” her statement continued. “Vance handled it all very well.”
“Hope has a home, and it’s time to open its doors,” reads the center’s welcome message for its grand opening in Chicago
Bruce Springsteen, U2’s Bono and the Edge, and Stevie Wonder, are among the stacked lineup for the Obama Presidential Center’s grand opening ceremony in Chicago on Thursday, June 18.
“We are bringing together some of today’s most prominent voices and global icons for the Obama Presidential Center Grand Opening Ceremony,” the Obama Foundation captioned an Instagram post on Tuesday, announcing the lineup. “The festivities will livestream globally at 11 a.m. CT, Thursday, June 18 — don’t miss it!”
The savvy reveal on IG came by way of a group chat, which features former President Barack Obama adding people to his phone chat who will also appear at the ceremony. In addition to Bono, the Edge, Springsteen, and Wonder, the lineup includes spouse and former First Lady Michelle, Christina Aguilera, Common, Eddie Vedder, Jennifer Hudson, John Legend, Marc Anthony, Marsai Martin, the Roots, and Tems.
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Per the Obama Presidential Center’s official website, “The livestreamed event brings together global leaders, artists, changemakers, and citizens for an inspiring celebration of the values that shaped the Obama presidency and continues to inspire people everywhere to believe in their power to create change.” The ceremony will livestream on Thursday on the center’s official website, beginning at 11:00 a.m. CT/12:00 p.m. ET.
The Obama Presidential Center officially opens to the public on June 19.
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Los jugadores deben ser mayores de 18 años. Juega con responsabilidad.
Brittany Allen says with a smile, on a Zoom call from the Pasadena backyard where she lives with her husband and raises their 3-year-old son. The cable network hasn’t been in touch since she learned, through her now-former publicist, that she would not be part of its Emmy submission package for the medical drama “The Pitt.”
So she submitted herself.
Allen plays Roxie, a dying wife and mother who arrives in the trauma bay during the show’s second season. The role was written for six episodes, then two more were added, and Allen spent weeks unsure whether she would surface in what would have been Roxie’s eighth, lying in frame as a body after the character succumbs to cancer. Had that scene aired, it could have pushed her past the threshold for guest drama actress and forced her into supporting drama actress, where she would compete against reigning champion Katherine LaNasa and contenders Sepideh Moafi, Taylor Dearden and Isa Briones.
“I was waiting to see if they would include that scene they had shot,” Allen says. “When I saw that they just had her pass away off camera, first of all, I thought that was a beautiful decision creatively. And then it opened the door for me to be eligible, which was, oh my God, exciting.”
The math can be unforgiving for a guest appearance.
To compete in an Emmy guest acting category, a performer must appear in less than 50% of a show’s eligible season episodes. Any actor previously nominated or who won in a lead or supporting category is also barred from submitting in a guest category for the same role. The stakes of that line are not hypothetical, as seen in 2016, when veteran character actor Peter MacNicol received a guest comedy actor nomination for HBO’s “Veep,” only to be disqualified weeks later when an additional appearance put him in exactly half the season’s episodes. Seventh-place finisher Peter Scolari (“Girls”) received the nomination in his place, going on to win the category.
Self-submitting is not unusual.
The Television Academy charges a processing fee plus a per-person entry fee for individual achievement categories, with active and associate members eligible for a limited waiver on up to two entries. For a performer whose studio has passed, the practical effect is that the actor absorbs the cost of staying on the ballot.
What’s interesting is that this concept and submission process are not foreign to Allen.
In 2011, she was a cast member on the soap opera “All My Children,” playing Marissa Tasker Chandler. “During the submission process, I actually was no longer on the show, and it was a real story of redemption,” she says. “I had been on the show for about a year and a half, and then the fans didn’t take to the character, so, as they do in soaps, I left the room one day as Marissa and another actress entered the room the next episode as Marissa. It was kind of the epitome of the highs and lows of this career. But then I did submit myself, and a year after finishing on the show, I ended up winning.”
That run earned her the Daytime Emmy for outstanding younger actress in a drama series.
Is Allen the “Queen for acting self-submissions?”
“You have to fight for yourself. You have to believe in your work, and you can’t expect other people to do that for you,” she asserts. “The industry is built on hype, and if nobody is creating that hype for you, you have to find a way to do it yourself. I’ve always focused the majority, if not all, of my efforts on evolving my craft as an actor. That’s the most important thing, and it’s taken me a lot of years to realize that, that alone will not necessarily advance your career.”
It almost reads like a page from the Andrea Riseborough playbook.
Riseborough was the beneficiary of a grassroots campaign that landed her a best actress nomination for the indie drama “To Leslie,” which grossed only $27,000 at the box office. When told of the comparison, Allen lights up. “That’s one of my favorite movies of the last few years.”
Allen is doing what she can on social media. Her bid is on Instagram, where on June 15, she shared an FYC graphic with the caption: “Kind of surreal to be in Emmy consideration…and since HBO didn’t submit me, I’m running my own FYC campaign.”
She went on to thank her casting directors, Cathy Sandrich Gelfond and Erica Berger.
She promises she’s not bitter or holds grudges from the network that brought her “Six Feet Under,” which she says helped her during the death of her grandmother.
“HBO definitely has the challenging task of choosing from so many amazing performances on ‘The Pitt,’” she says. “I’m in awe of the choreography and the casting and the balancing of all of these incredible humans existing in this world. HBO put forward a few guest stars who all did fantastic work. But in terms of a conversation with them, there hasn’t been much between me and HBO.”
Taking a bet on yourself has occasionally paid off, which HBO knows intimately.
In 2019, the final season of HBO’s fantasy juggernaut “Game of Thrones” arrived to divided reactions, yet the show went on to a historic 32 nominations, the most for any program in a single year. Among them were three performers HBO had not submitted, who entered themselves: Alfie Allen (Theon Greyjoy) and Gwendoline Christie (Brienne of Tarth) landed in the supporting drama races, while Carice van Houten (Melisandre) was nominated for guest drama actress. These presumed long-shot performers are entered by their reps or themselves every year. However, it is far rarer for those entries to convert. Another example came in 2018, when Kelly Jenrette earned a guest drama actress nomination for her role as Annie in Hulu’s dystopian drama “The Handmaid’s Tale.”
This year, 1,573 submissions are in contention across the 17 performer categories, down from 1,706 in 2025, a decline of nearly 8%. Prime Video’s superhero satire “The Boys” (which, coincidentally, Brittany Allen had a three-episode arc on in 2019 in the first season) and NBC’s sketch staple “Saturday Night Live” drew the largest submission hauls of any series, with 28, followed by “The Pitt” with 24. Of those, 15 came from the studio and nine were self-submissions, including Allen.
The rest of “The Pitt” self-submissions break down by category: Charles Baker and Lucas Iverson in supporting drama actor; Allen, Ramona DuBarry, Irina Dubova, Ayesha Harris (recently promoted to series regular for Season 3) and Cathryn Dylan Ortiz in guest drama actress; and Kevin Brief and Luke Tennie in guest drama actor. Tennie also appears on the ballot as supporting comedy actor for “Shrinking” and guest comedy actor for “Abbott Elementary,” both of which were put forward by Apple and ABC networks.
Allen doesn’t take the omission as a slight. “It wasn’t dramatic. The publicist I was working with at the time made some contact and was told, ‘Oh, these are who we’re submitting.’ You don’t take it personally. You see the facts and decide what you want to do with them.”
The fields she is entering are crowded. Guest drama actress saw the cycle’s sharpest decline, falling to 51 from 77 in 2025, but there will be six nominees thanks to the Emmys‘ parity rule (guest drama actor cleared the 80-submission threshold). She’ll compete against her self-submitting sisters, along with official entries put forward by HBO – Tal Anderson (Becca, Mel’s twin sister) and Tina Ivlev (Ilana). “There was no conversation amongst those of us who self-submitted, but I’m happy to be in their company,” Allen says. “It’s a straightforward process. I had to pick the episode that I felt best represented my work on the show, give them a logline, a headshot and pay the fee, and that’s about it.”
She submitted “3:00 p.m.,” the episode directed by Shawn Hatosy, who is making his own strategic leap this year. Hatosy won guest drama actor last year for the show’s inaugural outing and has elected to submit in supporting drama actor for Season 2, even though he remained eligible for guest. Across the cast, the actors of “The Pitt” seem to be in a zone of advocating for themselves beyond what is expected of them. Allen agrees.
Then there is the strategy, executed without the million-dollar budget that comes with studio backing. “My partner and I brainstormed about a week ago and thought, OK, how can we churn up some attention again?” she shared.
Her partner is her husband, Colin Minihan, who is also her filmmaking collaborator and has made four movies with her. She says he’s her “PR team and put this great FYC post together, and that too has garnered some traction just this morning.”
That’s what caught Variety’s attention.
And Allen points out that Emmy winner Sarah Paulson, who’s on the ballot for Hulu’s “All’s Fair,” reposted it. “That’s really meaningful to me, because she’s somebody I’ve always looked up to.”
For Allen, this is a singular opportunity. “The Pitt” is the biggest show she has ever been part of, and because Roxie cannot return next season (barring a sudden supernatural turn), it is her one chance to be associated with a drama that has the ingredients to stand the test of time.
Her message to other actors is simple.
“Always put your craft first. Stand behind your work authentically. In sharing what I have in the last couple of weeks, the most stripped-down version of the work in my self-tape, and then an honest post about self-submitting, I opened myself up to being more vulnerable than just saying, ‘Hey, I’m great, look at me.’ It’s that vulnerability, opening the door to what’s underneath the shiny facade of Hollywood, that I think people have resonated with.”
The only project sitting on her IMDb page is a completed project titled “Grendel.”
“That was a show on Netflix that I was a regular on about five years ago,” she says. “They made the whole show. They were in post for seven months on it, and then Netflix never aired it. So it’s still in this limbo on IMDb, but it’s done.”
For Allen, the campaign is its own statement, regardless of how the nominations land.
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Avengers: Doomsday‘s slow-burn marketing strategy has made it clear which heroes (and villains) are the most important characters in the Multiverse Saga capper. Similar to Avengers: Endgame, Doomsday adopted a deliberately slow, selective reveal approach to build anticipation for the MCU’s next major crossover event. These high-impact teases were strategically designed to spotlight core pillars of the Multiverse Saga, as evidenced by the first four teasers that were shown during screenings of Avatar: Fire and Ash in December 2025.
These pillars include legacy heroes reclaiming the spotlight, unexpected Multiversal team-ups, and original members of Earth-616’s Avengers ready to take charge in the imminent clash against Robert Downey Jr.’s Doctor Doom.
One of the reasons why Avengers: Doomsday‘s marketing is so great is due to how it all lived up to hype by showcasing a cast announcement infused with clever creativity in March 2025 that featured empty director’s chairs being placed one by one on a soundstage, confirming the movie’s massive ensemble while proving how Marvel can still generate massive excitement.
Avengers: Doomsday’s Most Important Characters, Ranked Based on Marketing Exposure
Doctor Doom
Marvel Studios
Status: Basically, in every marketing material, too many to count
At the center of Avengers: Doomsday‘s story is the arrival of Robert Downey Jr.’s Doctor Doom. While he is not present at all in the four major teaser trailers released by Marvel Studios, Doom has served as the undisputed face of the campaign.
He appeared in the San Diego Comic-Con 2024 Hall H reveal, the chair livestream finale with Downey Jr. at the forefront, the first high-definition look at The Fantastic Four: First Steps post-credits scene, Marvel’s official banner at the Disney 2026 Merchandise Expo, various behind-the-scenes photos on social media, an official variant cover for Ultimate Endgame # 1, and the latest CinemaCon trailer in April 2026. This is on top of multiple promo art, merchandise, and posters showcased by Downey Jr. himself on social media.
Every teaser is indirectly building around his impending arrival, positioning him as the Multiverse Saga’s ultimate villain and emotional core.
Thor
Marvel Studios
Status: 10 times
Thor received consistent spotlight in Avengers: Doomsday‘s marketing, appearing at least 10 times.
Thor’s Asgardian legacy and father-daughter stakes make him a key emotional anchor in Doomsday.
Sam Wilson (Captain America)
Marvel Studios
Status: 8 times
Similar to Doctor Doom, Anthony Mackie’s Captain America did not appear at all in the first four teasers for Avengers: Doomsday.
Still, the new Avengers leader received enough spotlight in marketing, appearing 8 times, notably during the chair event, CinemaCon footage, group shots, crew merchandise art, promo art, and the newly emerged leaked action figure showing Sam Wilson’s costume in the film.
Sam Wilson serves as the active Avengers leader, bridging old and new heroes, so it makes sense that he is receiving substantial marketing focus.
Thing was also featured in various promotional art, the much-talked-about CinemaCon trailer, and one of the Fantastic Four Easter eggs (as part of Robert Downey Jr.’s barrage of Doomsday teases on social media).
Thing’s prominent placement in the marketing signals the true integration of the Fantastic Four, not just in Doomsday, but also within the confines of the MCU.
As the leader of the X-Men, it makes sense that Cyclops appeared heavily in the marketing as he represents the core of the mutant stakes.
Yelena Belova
Marvel Studios
Status: 6 times
As the leader of the New Avengers, Yelena Belova was featured six times in Avengers: Doomsday‘s marketing, including the chair reveal, the Thunderbolts* post-credits scene (the first official footage from Doomsday), the CinemaCon trailer, and promotional art.
Yelena’s place in the marketing ladder essentially shows how the MCU’s street-level world and New Avengers are integrated in the Multiversal stakes of Doomsday.
As the final shot in the four teasers, Shuri is being pushed as one of the unifying leaders and Multiversal bridge-builder, cementing her status as one of the most strategically highlighted heroes in the campaign.
Reed Richards (Mister Fantastic)
Marvel Studios
Status: 6
As Doctor Doom’s main rival in Marvel Comics and the MCU, Reed Richards appeared and was mentioned six times in marketing, with his most notable appearance during the recent Avengers: Doomsday pop-up event in London, where his rivalry with Doom was teased.
Reed also appeared in promotional art, the CinemaCon trailer, and Pedro Pascal’s interviews in the buildup to Doomsday.
Namor’s heavy appearance in Doomsday‘s marketing emphasized underwater sequences and unexpected alliances with the heroes of both Earth-616 and Earth-828.
Gambit
Marvel Studios
Status: 4 times
Following his memorable appearance in Deadpool & Wolverine, Channing Tatum’s Gambit is set to appear in Avengers: Doomsday, and he has been featured in marketing at least 4 times so far.
As one of the genius minds of the X-Men, Beast is expected to play a major role in convening with Shuri and Reed Richards on how to deal with incursions.
Johnny Storm
Marvel Studios
Status: 4 times
While absent from the trailers, Johnny Storm of the Fantastic Four still appeared four times in marketing, most notably in promotional art, the CinemaCon trailer, Hasbro’s art for his action figure, and crew merchandise after filming wrapped.
Following his prominent role in The Fantastic Four: First Steps, Johnny’s role in Avengers: Doomsday is expected to be a significant supporting player with high-impact moments as he comes face-to-face with Doctor Doom.
Shang-Chi appeared four times, notably in behind-the-scenes cast photos, promotional art, the CinemaCon trailer, where he was fighting Gambit, and crew merchandise.
M’Baku also appeared in promotional art, behind-the-scenes photos, and crew merchandise when production wrapped.
Ant-Man
Marvel Studios
Status: 4 times
Paul Rudd’s Ant-Man starred four times (so far) in Avengers: Doomsday‘s marketing. Aside from the cast reveal, Ant-Man’s appearances have been light but memorable, most notably during the CinemaCon 2026 trailer, promotional art alongside other heroes, and crew merchandise from the wrap party.
Avengers: Doomsday‘s third trailer revealed the first look at Patrick Stewart’s Charles Xavier, indicating that he will play a big part in the X-Men’s involvement in the fight for the Multiverse. Professor X was also featured in the CinemaCon trailer and different promotional art.
This measured but prestigious visibility underscores Marvel’s intent to treat him as a foundational figure for the X-Men’s integration into the larger MCU.
Rather than being portrayed as a villain, it will be exciting to see how Magneto works together with the Avengers, X-Men, and the Fantastic Four to save the Multiverse from being destroyed.
Sue Storm
Marvel Studios
Status: 3 times
The Fantastic Four: First Steps proved how powerful Sue Storm really is, and she is set to take center stage in Avengers: Doomsday in the fight against Doctor Doom. Marketing has featured Sue only three times, most notably in the CinemaCon trailer and in various official ensemble promotional art.
Her exposure is more selective and consistent with Marvel’s slow-burn approach, enough to remind audiences of her importance after her debut film without over-revealing.
Bucky Barnes
Marvel Studios
Status: 3 times
Sebastian Stan’s Bucky Barnes was featured three times in Avengers: Doomsday‘s marketing, including the CinemaCon trailer, the official promotional art featuring the stacked cast, and the crew merchandise.
Bucky is one of the leaders of the New Avengers, and his reunion with Steve Rogers will be hotly anticipated as they team up against Doctor Doom.
John Walker
Marvel Studios
Status: 3 times
Similar to other members of the New Avengers, John Walker also appeared three times in Doomsday‘s marketing, including the CinemaCon trailer and promotional art. Walker serves as one of the grounded anchors from the New Avengers, helping the team protect Earth-616 while the others are in a different universe to stave off Doctor Doom.
Ghost
Marvel Studios
Status: 3 times
Another member of the New Avengers featured in Avengers: Doomsday‘s marketing is Ghost (aka Ava Starr). Her three notable appearances are consistent with those of her fellow Thunderbolts, as seen in the CinemaCon trailer and promotional art. Ghost is treated as a prominent supporting character, helping the other heroes in their fight for the Multiverse.
Sentry/Bob
Marvel Studios
Status: 3 times
As one of the most powerful heroes in Avengers: Doomsday, Sentry is set to play a major role in the fight against Doctor Doom. Sentry’s three appearances in marketing include the promotional art, the crew merchandise, and the chair livestream.
Sentry is positioned as a high-power wildcard that could be exploited by Doctor Doom. Marvel is deliberately holding back the full spectacle around his immense abilities, and some have claimed that the Void could be unleashed as either the last resort for the heroes or a secret weapon by Doom.
Red Guardian
Marvel Studios
Status: 3 times
Red Guardian has received moderate marketing exposure for Avengers: Doomsday, with three notable appearances: the CinemaCon trailer, promotional art, and crew wrap merchandise. Marvel Studios is expected to use his larger-than-life personality for fun highlights and dynamic interactions with the other heroes.
Joaquin Torres (Falcon)
Marvel Studios
Status: 3 times
Joaquin Torres also received low marketing exposure for Avengers: Doomsday, appearing only three times (the CinemaCon trailer, the official promotional art, and the crew merchandise). As the new Falcon, Joaquin is positioned as a promising new-generation hero, one of the new members under Sam Wilson’s guidance.
As God Loki, he returns as a key ally in the fight against Doctor Doom, making him a prime target due to being the guardian of the Multiverse.
Mystique
Marvel Studios
Status: 3 times
Mystique appeared three times in Avengers: Doomsday marketing, with her most notable appearance in the CinemaCon trailer, where she fought Yelena Belova. Other appearances include the promotional art and the crew wrap gift.
As one of the notable X-Men across media, Mystique is positioned as a high-impact supporting player in the fight against Doctor Doom.
While he has only officially appeared in two marketing promos so far, both are trailers, indicating he will have a greater role in the movie despite not ranking high on this list.
Nightcrawler
Marvel Studios
Status: 2 times
Alan Cumming’s Nightcrawler appeared twice in Avengers: Doomsday‘s marketing, notably in the CinemaCon trailer and official promotional art showcasing his new redesign. Nightcrawler’s teleportation powers make him a crucial mobility and rescue asset in various kinds of battles in the film.
Franklin Richards
Marvel Studios
Status: 2 times
Franklin Richards is set to play a significant role in Avengers: Doomsday, especially after The Fantastic Four: First Steps‘ post-credits scene revealed that Doctor Doom wants him due to his immense power. Franklin has appeared twice in official Doomsday marketing so far, including the themed wrap gift that showcased the character’s new, aged-up look and the official ensemble promotional art.
Avengers: Doomsday‘s CinemaCon trailer confirmed that Kathryn Newton’s Cassie Lang will make an appearance in the film, potentially as a supporting player in her father Scott Lang’s emotional arc. Some are even theorizing that Ant-Man could be killed to set up Cassie’s more prominent role in Avengers: Secret Wars.
Namora
Marvel Studios
Status: 1 time
Avengers: Doomsday‘s fourth official teaser confirmed the return of Namora, one of Namor’s strong enforcers from Talokan. It remains to be seen how Namora fits in the film, but she could be joining the rest of the heroes to protect Earth-616 from an impending invasion.
Spider-Man
Sony Pictures
Status: 1 time
Robert Downey Jr.’s Avengers: Doomsday‘s Easter egg poster confirmed that Spider-Man will appear in the film, and reports claimed that it will not be Tom Holland’s version. Instead, Tobey Maguire’s Spider-Man will be featured prominently in the crossover event, likely to set up his more significant role in Avengers: Secret Wars.
The DC Universehas an officially confirmed show on the way starring one major Flash comic villain, which is sure to be a unique and unusual release for new and old DC fans alike. The DC Universe timeline has already taken itself off the beaten path more than once with its current release slate, having unveiled both Creature Commandos season 1 and Peacemaker season 2 as some of its earliest installments.
This has given it a very different vibe to previous DC cinematic worlds, but this appears to at least be in part the point, with upcoming DCU releases like Clayface and Lanterns being all the more interesting because they explore movie and show avenues that have generally not been delved into in the manner the DC Universe promises to.
That same setup promises to be the case for another upcoming DC Universe show, since one of the franchise’s impending shows is set to center around a notable Flash villain – which is a premise that immediately builds up considerable intrigue for the story that’s yet to come here, particularly given we haven’t actually had any version of the Flash themselves appear in the flesh on-screen in the franchise quite yet.
James Gunn’s Latest DCU Confirmations Prove Gorilla Grodd Has An Upcoming Show
gorilla grodd in dc comics
Word that a Jimmy Olsen DCU show was on the horizon had been provided many months ago, and makes sense for the franchise given Olsen’s introduction in Superman, allowing a series involving the character to flesh out more about the universe via Olsen’s own investigative adventures.
What may have come as slightly more of a surprise to audiences is that the show has recently been confirmed by DC Studios co-CEO and Superman writer and director James Gunn to be a “Jimmy Olsen AND a Gorilla Grodd show“, with Gunn also mentioning on Threads that filming for the project was set to start soon.
While Gorilla Grodd was provisionally introduced as part of the DCU in Creature Commandos, the character only had a very brief role in its proceedings, making his new role as one half of the upcoming series – which James Gunn has also mentioned is notably a live-action story (also on Threads) – all the more interesting. Crucially, this means the Flash villain will get his own series before the DCU has introduced its own Flash, which is surreal to note given the hero’s prominence in the wider DC lore.
Why Gorilla Grodd Has A DCU TV Show Before The Flash Has Even Debuted
Captain Cold stands behind Barry Allen in The Flash episode Into the Speed Force
Conventionally, the approach to making interconnected DC universes has been to focus on introducing heroes before then bringing in their villains and building out from there – which both the Arrowverse timeline and the DCEU timeline followed loyally to some great effect, and has been shown to work similarly with Marvel counterpart the MCU.
However, the predominance of superhero franchises means this approach is also one audiences are used to now to the point of arguably growing somewhat jaded with it, since it does make for a more predictable journey when repeated several times for several different worlds over the course of the last decade or two.
As such, the DC Universe taking a different avenue by bringing characters like Gorilla Grodd in before the Flash – and waiting seemingly longer to bring some DC staples into the franchise proper – does seem as though it could pay off for the DCU, and keep audiences on their toes while showing them a different side to the world than has been witnessed in other on-screen iterations of the iconic franchise.
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الموقع يقدّم أيضًا عرض ترحيب 200% حتى $25,000 مع دورات مجانية متدرجة ورهانات بونص، بحد إيداع مؤهل يبدأ من $10. كما يدعم مزودين مثل Playson وBGaming وPragmatic Play وNetEnt وEvolution Gaming، مع تركيز واضح على الكريبتو والرياضة والبطولات وVIP cashback/rakeback.
الحد الأدنى للإيداع $10 أو €20 أو ما يعادلها بالكريبتو حسب المنطقة. وسائل الدفع تشمل Visa وMastercard وPayPal وBank Transfer والعملات المشفرة مثل Bitcoin وEthereum وDogecoin وLitecoin وTether وTron وBNB وXRP. متطلبات الرهان 60x، وثقة البيانات متوسطة.
الميزات الرئيسية
الألعاب
طرق الدفع
الحد الأدنى للإيداع
عرض الترحيب
4,000+
Visa, Mastercard, PayPal, Bank Transfer, Cryptocurrency (Bitcoin, Ethereum, Dogecoin, Litecoin, Tether, Tron, BNB, XRP and more)
$10 أو €20 / ما يعادلها بالكريبتو
200% حتى $25,000 + دورات مجانية متدرجة + رهانات بونص
الإيجابيات
تطبيق جوال مع ترخيص كوراكاو يضيف عامل ثقة وسهولة استخدام
يدمج الكازينو والمراهنات الرياضية والبطولات في حساب واحد
سحب فوري للكريبتو والمحافظ الإلكترونية بحسب البيانات
يدعم PayPal إلى جانب البطاقات والتحويل البنكي والكريبتو
السلبيات
متطلبات الرهان مرتفعة عند 60x
رقم الترخيص غير مذكور
ثقة البيانات متوسطة، لذا راجع التفاصيل على الموقع
TG Casino – ترخيص معلن وتجربة عبر تيليجرام في عالم المراهنات الدولية
تحتاج أحيانًا إلى شيء مختلف داخل مواقع مراهنات عالمية، وهنا يقدّم TG Casino نقطة تميّز واضحة: اللعب والدعم عبر بوت تيليجرام، مع ترخيص معلن من Government of the Autonomous Island of Anjouan برقم ALSI-142311005-FI2. هذا يعطيك وضوحًا جيدًا من ناحية التنظيم وسهولة الوصول.
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الحد الأدنى العام للإيداع 1 EUR، بينما تفعيل المكافأة يحتاج إلى $25. وسائل الدفع تعتمد على العملات المشفرة فقط تقريبًا، وتشمل BTC وETH وBNB وLTC وDOGE وXRP وUSDT وUSDC وSOL وTRX وADA وSHIB وLBLOCK وBCH وAVAX وSUI وPEPE وTON. لا يوجد تطبيق جوال.
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المكتبة تضم أكثر من 4,500 لعبة من مزودين مثل Pragmatic Play وHacksaw Gaming وNovomatic وEvolution وNolimit City وPush Gaming وSpribe. كما تحصل على مكافأة أول إيداع 200% حتى 1 BTC مع 50 دورة مجانية، ومتطلبات رهان 40x، وهو عرض مناسب لمن يستخدم الكريبتو بكثافة.
الحد الأدنى للإيداع €20 أو ما يعادله بالكريبتو داخل الكازينو، أو 0.1 TON عبر بوت تيليجرام. وسائل الدفع تشمل Bitcoin وEthereum وUSDT وLitecoin وXRP وCardano وTRON وBitcoin Cash وDogecoin وUSD Coin وPEPE وAVAX وBNB وSOL. لا يوجد تطبيق جوال.
€20 أو ما يعادلها بالكريبتو؛ 0.1 TON عبر Telegram bot
200% حتى 1 BTC + 50 دورة مجانية
الإيجابيات
بوت تيليجرام مرخّص مع سحوبات كريبتو سريعة جدًا، وهي نقطة قوية في المواقع العالمية
أكثر من 4,500 لعبة مع مراهنات رياضية
لا حاجة إلى KYC بحسب أبرز مزايا الموقع
يدعم أكثر من 20 عملة مشفرة
السلبيات
لا توجد وسائل دفع تقليدية مذكورة
لا يوجد تطبيق جوال
قد تستغرق بعض السحوبات حتى 24 ساعة في حالات نادرة
Fastslots – ترخيص كوراكاو ومزيج دفع واسع لموقع مراهنات عالمي
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الموقع يضم أكثر من 4,000 لعبة من NetEnt وMicrogaming وEvolution Gaming وPragmatic Play وPragmatic Play Live وLive88 وBetGames TV، إضافة إلى قسم مراهنات رياضية يغطي أكثر من 50 رياضة. عرض الترحيب 200% حتى €5,000 مع 50 دورة مجانية على 2 Wild 2 Die و10% كاش باك أسبوعي، ومتطلبات رهان 30x.
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الميزات الرئيسية
الألعاب
طرق الدفع
الحد الأدنى للإيداع
عرض الترحيب
4,000+
Visa, Mastercard, Apple Pay, Google Pay, Interac, MiFinity, Open Banking, PicPay, Pix, Sofort, Bank Wire Transfer, Bitcoin, Ethereum, Tether, Litecoin, Ripple
€20
200% حتى €5,000 + 50 دورة مجانية + 10% كاش باك أسبوعي
الإيجابيات
ترخيص كوراكاو مع مزيج واسع من وسائل الدفع يدعم الثقة والمرونة في الاستخدام الدولي
أكثر من 4,000 لعبة مع مراهنات على 50+ رياضة
عرض ترحيبي كبير مع كاش باك أسبوعي
متطلبات رهان 30x أقل من بعض العروض المنافسة في هذه القائمة
السلبيات
السحب عادة 3-5 أيام عمل
لا توجد بيانات مؤكدة عن تطبيق جوال
الحد الأدنى للإيداع €20 وليس منخفضًا مثل بعض المواقع الأخرى
لماذا تبدأ الثقة أولًا عند اختيار مواقع مراهنات عالمية
عند البحث عن منصات مراهنة تعمل عبر أكثر من سوق، يبقى الأمان هو النقطة الأولى التي تستحق التدقيق. هذا القسم يوضح كيف تميّز بين الموقع المرخّص والموقع الذي يكتفي بوعود عامة، مع نقاط مهمة تناسب القارئ العربي الذي يهتم بحماية البيانات وسلامة السحب.
الترخيص الواضح، وتشفير الاتصال، وسياسات التحقق الصريحة، كلها مؤشرات أساسية قبل التسجيل أو الإيداع. إذا غابت هذه العناصر أو ظهرت بشكل مبهم، فهذه إشارة كافية للتوقف.
الترخيص والجهات الرقابية
هيئة مالطا للألعاب (MGA): من أكثر الجهات المعروفة في السوق الدولي، وتفرض متطلبات على حماية أموال العملاء واللعب المسؤول.
هيئة تنظيم جبل طارق: تُعرف بمتابعة الامتثال التشغيلي والتدقيق على إجراءات الأمان والحوكمة.
هيئة كوراساو للألعاب: تظهر كثيرًا في المنصات الدولية، لكن من الأفضل فحص رقم الترخيص وتحديثه بدل الاكتفاء بالشعار.
كيفية التحقق بنفسك
ابدأ من أسفل الصفحة الرئيسية وابحث عن اسم الجهة الرقابية ورقم الترخيص، وليس مجرد صورة أو ختم بصري. بعد ذلك، طابق اسم الشركة المشغلة مع الاسم المذكور في الشروط والأحكام وسياسة الخصوصية.
تحقق أيضًا من وجود اتصال مشفر عبر رمز القفل في المتصفح، وراجع ما إذا كانت صفحة التحقق من الهوية تشرح المستندات المطلوبة بوضوح. المواقع الموثوقة تعرض معلومات الترخيص والدعم وإجراءات الشكاوى بشكل مباشر، لا داخل صفحات مخفية.
وسائل الدفع والسحب في مواقع المراهنة الدولية المناسبة للسوق العربي
الدفع ليس مجرد خطوة تقنية؛ هو اختبار مباشر لمدى جدية المنصة في معالجة الإيداعات والسحوبات. في الأسواق العربية، يهمك أن تجد وسائل معروفة، وحدودًا واضحة، ورسومًا مفهومة قبل تنفيذ أي معاملة.
الطريقة
الحد الأدنى للإيداع
مدة السحب التقريبية
الرسوم
فيزا
٥٠ ر.س
من ١ إلى ٣ أيام عمل
غالبًا بدون رسوم من الموقع
ماستركارد
٥٠ ر.س
من ١ إلى ٣ أيام عمل
قد تطبق رسوم من البنك
أبل باي
٤٠ ر.س
يعتمد على طريقة السحب المرتبطة
عادةً بدون رسوم مباشرة
ستيك باي
٤٠ ر.س
خلال ٢٤ ساعة في العادة
منخفضة أو بدون رسوم
التحويل البنكي
١٠٠ ر.س
من ٢ إلى ٥ أيام عمل
قد توجد رسوم مصرفية
بيتكوين
ما يعادل ٧٥ ر.س
من ١٥ دقيقة إلى عدة ساعات
رسوم الشبكة فقط
إيثيريوم
ما يعادل ٧٥ ر.س
من ١٥ دقيقة إلى عدة ساعات
تختلف حسب ازدحام الشبكة
تيذر (USDT)
ما يعادل ٥٠ ر.س
خلال ساعة تقريبًا في كثير من الحالات
رسوم شبكة محدودة
عند طلب السحب، قد يُطلب رفع صورة الهوية وإثبات العنوان ونسخة من وسيلة الدفع إذا كانت القواعد التنظيمية تفرض ذلك. من الأفضل أن تتأكد من تطابق اسم الحساب مع اسم بطاقة الدفع أو المحفظة قبل الإيداع لتفادي أي تأخير لاحق.
العروض والمكافآت في مواقع مراهنات عالمية: اقرأ الشروط قبل أن تنجذب للرقم
العروض الترحيبية قد تبدو كبيرة في الواجهة، لكن القيمة الحقيقية تظهر فقط بعد قراءة متطلبات المراهنة والحدود المرتبطة بها. في منصات الرهان الدولية، الفرق بين عرض جيد وعرض مرهق يكون غالبًا في التفاصيل الصغيرة.
مكافأة الترحيب
كمثال شائع، قد تحصل على مطابقة إيداع بنسبة ١٠٠٪ على أول مبلغ حتى ٨٠٠ ر.س. إذا أودعت ٤٠٠ ر.س وحصلت على ٤٠٠ ر.س إضافية، يصبح رصيد المكافأة ٨٠٠ ر.س، لكن السحب يرتبط عادة بمتطلبات تشغيل محددة.
هنا يجب أن تراجع أيضًا نسبة مساهمة الألعاب؛ فليست كل الرهانات تحتسب بالمعدل نفسه. بعض الألعاب تسهم بنسبة ١٠٠٪، بينما قد تحتسب ألعاب الطاولة بنسبة أقل بكثير.
مكافأة بدون إيداع
هذا النوع يكون عادة صغيرًا، مثل ٢٠ ر.س إلى ٥٠ ر.س أو عدد محدود من اللفات المجانية. الفكرة منه تجربة المنصة، وليس بناء رصيد سحب كبير بسرعة.
اللفات المجانية
اللفات المجانية تُمنح عادة على لعبة محددة ولمدة قصيرة، مثل ٢٤ أو ٧٢ ساعة. الأرباح الناتجة عنها تتحول أحيانًا إلى رصيد إضافي يحتاج إلى تشغيل قبل السحب.
شروط يجب الانتباه لها
متطلبات المراهنة: مثال عملي: شرط ٣٥× على مكافأة بقيمة ١٠٠ ر.س يعني تنفيذ رهانات بإجمالي ٣,٥٠٠ ر.س قبل طلب السحب.
الحد الأقصى للرهان: قد يكون الحد ٢٠ ر.س للدورة الواحدة أو ما يعادلها أثناء تنفيذ متطلبات التشغيل.
المهلة الزمنية: بعض العروض تمنحك ٣٠ يومًا فقط لإكمال الشروط، وبعدها تُلغى المكافأة وما يرتبط بها.
الألعاب والمزودون: ما الذي يميز منصات المراهنة العالمية فعلًا
قوة المنصة لا تُقاس بعدد الأقسام فقط، بل بجودة الألعاب، وسرعة تحميلها، وأسماء الشركات المطوّرة الموجودة فيها. إذا كنت تبحث عن تجربة مستقرة، فالتنوع الحقيقي يعني أن تجد سلوتس، وطاولات مباشرة، وألعاب كلاسيكية من مزودين معروفين.
ماكينات السلوتس
من العناوين المنتشرة عالميًا: Book of Dead بطابع المغامرة وتقلبها الواضح، وStarburst التي تتميز بأسلوب لعب سريع وبسيط، وGates of Olympus المعروفة بمضاعفاتها، وBig Bass Bonanza التي تعتمد على جولات إضافية مألوفة لعشاق الصيد والجوائز.
عند المقارنة، انتبه إلى معدل العائد النظري، والتقلب، وحدود الرهان، وليس الاسم فقط. لعبة ذات عائد ٩٦٪ تقريبًا قد تكون مناسبة، لكن طبيعة التقلب تحدد شكل التجربة أكثر من الرقم وحده.
ألعاب الطاولة
ستجد عادة نسخًا متعددة من البلاك جاك، والروليت الأوروبية، والباكارا، إلى جانب بعض الصيغ السريعة. الفارق بين نسخة وأخرى يظهر في حدود الطاولة وسرعة الجولات والرهانات الجانبية المتاحة.
الكازينو المباشر
في هذا القسم، تبرز استوديوهات مثل Evolution Gaming وPragmatic Play Live بفضل البث المباشر الواضح وتعدد الطاولات. من أكثر الخيارات شيوعًا: بلاك جاك مباشر، روليت مباشر، وبث ألعاب برامج مثل Dream Catcher وأنواع مشابهة من ألعاب النتائج الفورية.
أبرز مزودي الألعاب
NetEnt
Microgaming
Pragmatic Play
Play’n GO
Evolution Gaming
اللعب المسؤول عند استخدام مواقع الرهان الدولية
حتى مع المنصات المرخّصة، يبقى التحكم في الوقت والميزانية جزءًا أساسيًا من التجربة الآمنة. الأدوات الصحيحة تساعدك على إبقاء المراهنة ضمن حدود واضحة بدل تحويلها إلى ضغط مالي أو ذهني.
حدود الإيداع: يمكنك تحديد سقف يومي أو أسبوعي أو شهري، مثل ٢٠٠ ر.س في الأسبوع، لمنع الإنفاق العشوائي.
تذكيرات الجلسة: تنبيه يظهر بعد مدة محددة، مثل ٦٠ دقيقة، حتى تراجع الوقت الذي قضيته.
الاستبعاد الذاتي: يتيح إغلاق الحساب مؤقتًا أو لفترة أطول إذا احتجت إلى توقف واضح وملزم.
الدعم: إذا شعرت بأن المراهنة خرجت عن السيطرة، ابحث عن خدمات دعم نفسي محلية أو تواصل مع مختص معتمد في بلدك الناطق بالعربية.
ما الذي يجعل مواقع المراهنات العالمية موثوقة؟
يمكنك البدء بفحص الجهة المرخِّصة، ووجود رقم ترخيص معلن، وسياسة السحب، ووضوح شروط المكافآت. ستفيدك أيضًا وسائل الدفع المعروفة، وتفعيل التحقق الثنائي، وسياسة خصوصية واضحة.
كيف تتحقق من ترخيص موقع مراهنات عالمي قبل التسجيل؟
ابحث عن اسم الجهة التنظيمية ورقم الترخيص في أسفل الموقع أو داخل صفحة الشروط. بعد ذلك، قارن البيانات مع السجل الرسمي للجهة المانحة إذا كان متاحًا، وتأكد من تطابق اسم الشركة المشغلة.
هل مواقع المراهنات الدولية آمنة عند استخدام العملات المشفرة؟
قد تكون آمنة إذا كان الموقع يوضح إجراءات الأمان، وسرعة المعالجة، والعملات المدعومة، ورسوم السحب إن وُجدت. من الأفضل أن تستخدم محفظة خاصة بك وتراجع عنوان الإرسال بدقة قبل أي تحويل.
ما الفرق بين مواقع المراهنات العالمية المرخصة وغير المرخصة؟
الموقع المرخّص يقدّم لك جهة رقابية يمكن الرجوع إليها، وشروط تشغيل أوضح، وإطارًا محددًا للنزاعات والامتثال. أما الموقع غير المرخّص فيتركك غالبًا بدون مرجعية واضحة إذا ظهرت مشكلة في السحب أو التحقق.
هل الواجهة العربية مهمة عند اختيار موقع مراهنة دولي؟
نعم، لأنها تساعدك على فهم الشروط، وحدود السحب، ومتطلبات الرهان، وأقسام الدعم بشكل أدق. إذا كانت اللغة غير واضحة، قد تخطئ في قراءة تفاصيل مهمة قبل الإيداع.
ما وسائل الدفع الأكثر شيوعًا في مواقع المراهنات من الخارج؟
ستجد عادة البطاقات البنكية، والتحويل البنكي، والمحافظ الإلكترونية مثل Skrill وNeteller، وخيارات الكريبتو مثل Bitcoin وUSDT. سرعة السحب تختلف حسب الوسيلة، لذلك من الجيد مراجعة المدد قبل فتح الحساب.
كم تستغرق السحوبات عادة في مواقع المراهنات العالمية؟
يعتمد ذلك على طريقة الدفع وسياسة المراجعة الداخلية. غالبًا ما تكون المحافظ الإلكترونية والعملات المشفرة أسرع، بينما قد تستغرق البطاقات والتحويلات البنكية من يومين إلى عدة أيام عمل.
هل تحتاج هذه المواقع إلى التحقق من الهوية دائمًا؟
ليس دائمًا بنفس المرحلة، لكنك ستجد أن كثيرًا من المواقع تطلب التحقق عند السحب أو عند تجاوز حدود معينة. من الأفضل أن تجهز مستندات الهوية وإثبات العنوان مبكرًا حتى لا يتأخر طلب السحب لاحقًا.
For James Fields, microbudget is a way of life. He relishes that the unique challenges that come from making a microbudget film require you to learn every aspect of filmmaking, because with limited budget and crew, you’re going to be doing every job. “On any set I’m on, I’m asking every crew member how I can help move things forward. Having learned every aspect of production over the years has made me a better filmmaker,” he said. Now with Hieronyvision, Fields works as head of production, and helps students from film schools across the country learn about microbudget filmmaking in its Film Incubator.
Next Tuesday, Fields will be moderating a virtual discussion as part of our NanoWave: The Microbudget Film (r)evolution series. The series covers ultra-microbudget filmmaking and the filmmakers who are producing independent films with budgets under $100,000. In this edition we’ll be covering the craft of cinematography and VFX, and how to get the most out of a limited budget with what you see on screen. Fields with speak with cinematographer Juan Camilo Barriga (Ludi), VFX artist Owen Dennis (AJ Goes to the Dog Park), with more to be announced. Click here to register for the event.
In the meantime, we spoke with Fields about his history with microbudget, and what we can expect from the talk.
Tell us a little about yourself and your background with microbudget filmmaking.
I moved to Los Angeles from Park City, Utah in 1996 and got my start on the acting side before quickly realizing my real place was behind the camera. My first real project was a documentary about the demonstrations at the 2000 Democratic National Convention in LA. We just showed up with a Canon XL1, went to pre-rally meetings, and tried to understand why people were out there. After that, my creative partner and I made Pipe Dreams, following two Park City athletes trying to qualify for the 2002 Salt Lake Olympics. One made the team; one blew out his knee in the qualifying process. Triumph and tragedy built right in. That film got into Sundance, and it set me on a path of learning every aspect of production, from gripping to editing to camera. I didn’t realize microbudget was my thing at the time, but everything I was doing was microbudget. I just never really left.
Tell us what will be covered in the upcoming talk.
This one is a bit different from the usual filmmaker-focused sessions. We’re going behind the lens. We’ll be talking with cinematographer Juan Camilo Barriga from Ludi and VFX artist Owen Dennis from AJ Goes to the Dog Park. The conversation will focus on what it actually looks like to be brought onto a crew in those roles — camera choice, visual framing, special effects — and how those decisions get made and executed at the microbudget level.
Why do those films resonate with you and HieronyVision as examples of microbudget filmmaking?
AJ Goes to the Dog Park was a really passionate piece. It was shot over the course of more than a year, in the director’s hometown, calling in favors and shooting when they could. Having to use special effects to pull it off on that budget, and actually pulling it off, is exactly the kind of creative problem-solving we want to highlight.
One thing all of these films have in common is a skeleton crew where everyone is wearing multiple hats. That’s something I love about independent filmmaking at this level. On any set I’m on, I’m asking every crew member how I can help move things forward. Having learned every aspect of production over the years has made me a better filmmaker, and these films are a direct expression of that ethos.
We work with Film Independent on the Film Incubator with ten students from programs like Yale, Columbia, UCLA, and CalArts. One of last year’s participants recently told me she made her graduate project as a feature film for $3,000. She said we inspired her not to make a short, but to go out and make a feature. That’s exactly what we’re going for. And honestly, she inspired us right back.
Why do you think microbudget and ultra-microbudget filmmaking have become such a hot topic in the independent film world in recent years?
There’s a real and growing divide between the upper echelon of the film industry and the filmmakers trying to break in below it. A lot of people who were working at that upper level, writers on prestige shows, crew members on big productions, are out of work now. Production is leaving Los Angeles. The gap between where new filmmakers start and where the industry operates has never felt wider.
But what’s shifting is the understanding that you don’t need $1 million or even $100,000 to make a film. The technology has genuinely caught up. I shot a film recently on an iPhone. If you know what you’re doing as a cinematographer, your phone is a legitimate tool, and you just saved yourself a significant equipment rental. I walked through the streets of Vienna, Austria with a Blackmagic 6K shooting a documentary and nobody said a word. I’ve never pulled a permit for anything I’ve filmed in LA. If you want to get it done, you can get it done.
The other thing is that waiting around for permission has a real cost. I spent years doing that myself. My creative partner on Pipe Dreams spent years writing every day, working a waiter job, before he got there. That path still exists, but it’s harder than ever to get through the door. Ultra-microbudget gives you a way to not wait, to go out and make the thing, build the experience, and have something to show when you do eventually get in the room. Give me a strong script with two characters and a good sound person, and I can make a film anywhere. That’s not a fantasy. That’s just where the technology and the craft are right now.
Click here to register for the online discussion happening next Tuesday at 5:30pm PT.
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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We’ve seen Woody’s origins tale in Toy Story 2, Buzz Lightyear’s in spinoff Lightyear, and all the toys nearly getting incinerated in Toy Story 3, but the fifth time around, it’s Jessie’s story.
In an already vibrant summer marketplace which is at a near $1.6 billion in North America, the best since 2019 per Rentrak, Disney Pixar’s Toy Story 5will keep this bull box office season going with what’s expected to be a 2026 domestic as well as franchise best start of $140M at 4,425 theaters. Of course, Toy Story 5 will have the action figure kung-fu grip of all PLFs and Imax. Worldwide, though, the Andrew Stanton directed fifthquel is expected to be a record start for the franchise, but a second best 2026 bow globally with $275M, $135M of that coming from an 87% footprint abroad including China. Japan is going later on July 3 and Germany is going late on July 23 afterIllumination/Universal’s Minions & Monsters (where that slapstick animated comedy rallies). Germans prefer their Minions over heartwarming toys.
Year-to-date, the best global and domestic opening by a MPA title belongs to Illumination/Nintendo/Universal’s Super Mario Galaxy Movie which respectively minted $372.5M WW and a 3-day domestic of $131.7M ( $190.8M 5-day). China’s Pegasus 3 with a Tuesday-Sunday take of $393M, is essentially the year’s best global opening at the B.O.
At the domestic B.O., Incredibles 2 still holds the record for the best Pixar opening ever at $182.6M, however, worldwide in like-for-likes that record goes to 2024’s Inside Out 2 at $384M WW ($230M Int’l, $154M domestic). The previous record opening for a Toy Story film was 2019’s Toy Story 4 both domestic ($120.9M) and worldwide ($249M in like-for-likes). Looking back, that was a great opening, but at the time it came in under projections which were wild at $160M stateside and $260M WW.
Why the slightly lower domestic forecast for Toy Story 5from $150M to $140M? That’s where presales stand currently, that being $25M. Those advance ticket sales are ahead of Super Mario Galaxy at the same point in time, ahead of Zootopia 2 ($100.2M 3-day, $158.8M 5-day), but behind Moana 2 ($139.7M 3-day, $225.4M 5-day). A lot of resales are on the Juneteenth holiday this Friday, which is the swing factor: It’s bound to be a bigger day more than usual, so the question is what the hold is on Saturday.
First choice is best with women under 25, but strong across the board. It’s traditional (except with Toy Story 4) for Pixar to have a theatrical release over Father’s Day weekend. In the case of Toy Story which skews more female, it will have a hold in its Saturday to Sunday, though not as big as a young boys skewing movie such as Incredible 2 (-11%). The female skewing Inside Out 2 eased -23% between its Saturday and Father’s Day Sunday.
Critical reviews on Rotten Tomatoes so far are very good for Toy Story 5 at 93% certified fresh, though lowest in the franchise following Toy Story and Toy Story 2 (both 100%), Toy Story 3 (98%) and Toy Story 4 (97%). All the previous Toy Story pics received A CineamScores with the exception of Toy Story 2 which was an A+. Stanton is part of the Pixar posse having directed Wall-E, Finding Nemo and Finding Dory, and having co-directed A Bug’s Life, but this is his first Toy Story.
Previews start at 2PM in U.S. and Canada on Thursday.
Overseas, the riches for Toy Story 5 are expected to be in English-speaking territories, Latin America and France. Not so much Asia. China posted a $13M opening for Toy Story 4 in reported while Toy Story 3 bowed to $14M in the Middle Kingdom. In like-for-likes Toy Story 3 posted an international opening of $98M while Toy Story 4 was $128M.
Elsewhere on North American marquees, there’s arthouse counterprogramming with A24’s Michael Sarnoski directed, Hugh Jackman and Jodie Comer starring The Death of Robin Hoodwhich is booked in 1,760 theaters with an eye on the single million digits. Critics are at 78% fresh for the older guy skewing period drama which follows the guy who steals from the rich and gives to the poor, severely injured and in the hands of a mysterious woman offering a chance at salvation. A24 took domestic on this $20M production for around $4M. Sarnoski shot in 35MM in Ireland (which has excellent film tax credits around 30%-40%).
NEON has their $10M+ Sundance global acquisition, Leviticus, opening in the low single digits at 1,075 theaters. Reviews for the Adrian Chiarella directed and written genre feature are at 94% certified fresh. Starring Joe Bird, Stacy Clausen and Mia Wasikowska, two teenage boys must escape a violent entity that takes the form of the person they desire most – each other. The comp here is IFC’s horror pic Late NightWith the Devil which opened to $2.8M back in late March 2024.
Joe Bird appears in Leviticus by Adrian Chiarella, an official selection of the 2026 Sundance Film Festival. Courtesy of Sundance Institute | photo by Ben Saunders.
Courtesy of Sundance Institute | photo by Ben Saunders.
Ella Williams’ is back with her latest Squirrel Flower record. Say a Prayer to the Gods of Getting Going includes contributions from Horse Jumper of Love’s Dimitri Giannopoulos, the War on Drugs’ Dave Hartley, Free Range’s Sofia Jensen, Twin Peaks’ Clay Frankel, and more. It arrives August 21 on Polyvinyl. Check out the video for lead track “Reelin” below, along with a full slate of fall tour stops (including supporting dates with the Beths, Spoon, and Ethel Cain).
“The lyrics started as an art piece I made on an overdue Kansas Turnpike toll bill,” Williams said in a statement about the new single. “This song is my ode to the push and pull of domesticity and unraveling. Leaving and getting reeled back in, over and over and over and over.”
Say a Prayer to the Gods of Getting Going: 01 Say a Prayer to the Gods of Getting Going 02 Cleveland 03 Not Me 04 Helicopters 05 Highway Woman 06 Reelin 07 Foot Thick Ice 08 Sick Tooth 09 Fought a Hornet 10 Surfing USA 11 Weightless, Untethered
Squirrel Flower: Say a Prayer to the Gods of Getting Going
Squirrel Flower 2026 Tour Dates: 06-16 Charlotte, NC – The Underground # 06-17 Carrboro, NC – Cat’s Cradle # 06-18 Carrboro, NC – Cat’s Cradle # 06-21 New Haven, CT – College St Music Hall $ 06-23 Philadelphia, PA – The Fillmore $ 06-24 Baltimore, MD – Nevermore Music Hall $ 06-26 Detroit, MI – The Fillmore $ 06-27 Cleveland, OH – Rock and Roll Hall of Fame $ 06-28 Columbus, OH – KEMBA Live! $ 06-30 Newport, KY – MegaCorp Pavilion $ 07-01 Louisville, KY – Iroquois Amphitheater $ 08-02 Chicago, IL – Metro ! [SOLD OUT] 09-23 Cleveland, OH – Grog Shop = 09-24 Toronto, ON – Second Summer Festival 09-25 Montreal, QC – La Sotterenea (POP Montreal Festival) 09-26 Boston, MA – Crystal Ballroom at Somerville Theatre = 09-27 Northampton, MA – Iron Horse = 09-29 Brooklyn, NY – Elsewhere – Rooftop* 09-30 Philadelphia, PA – Johnny Brenda’s* 10-01 Washington, DC – Union Stage* 10-02 Richmond, VA – Richmond Music Hall* 10-03 Durham, NC – Stanczyks* 10-06 Asheville, NC – Revival* 10-07 Atlanta, GA – The Earl* 10-08 Nashville, TN – Third Man Records – Blue Room* 10-10 Indianapolis, IN – The Turntable* 10-23 St. Louis, MO – Off Broadway + 10-24 Lawrence, KS – White Schoolhouse + 10-25 Fayetteville, AR – George’s Majestic Lounge + 10-27 Dallas, TX – Ruins + 10-28 San Antonio, TX – Paper Tiger + 10-29 Houston, TX – White Oak Music Hall Upstairs + 10-30 Austin, TX – 29th Street Ballroom + 11-01 Phoenix, AZ – Valley Bar + 11-03 Los Angeles, CA – Sid the Cat Auditorium + 11-04 – Ojai, CA – Ojai Deer Lodge + 11-05 San Francisco, CA – The Chapel + 11-07 Seattle, WA – Tractor Tavern + 11-08 Vancouver, BC – Wise Hall + 11-09 Olympia, WA – Wild Child + 11-11 Portland, OR – Aladdin Theater + 11-12 Boise, ID – Neurolux + 11-13 Salt Lake City, UT – Urban Lounge + 11-15 Denver, CO – Globe Hall + 11-17 Omaha, NE – Reverb + 11-18 Minneapolis, MN – Fine Line Music Cafe + 11-19 Milwaukee, WI – Cactus Club + 11-20 Chicago, IL – Thalia Hall +
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The adaptation trail of “Girls Like Girls” is an unusual one. In 2015, pop singer Hayley Kiyoko released her hyper-catchy pop song of the same name, bringing a plainly worded statement of lesbian desire — “girls like girls like boys do” — into the viral mainstream, with an accompanying video laying out a compacted five-minute story of two suburban teenage girls discovering that their friendship is something more. Co-directed by the singer, the clip was artfully shot and empathetically told, and got fans sufficiently invested that Kiyoko eventually published a YA novel expanding the adventures of its young lovers, Coley and Sonya. And now we come around to “Girls on Girls” the movie, a full decade after the song’s first release — several eons in pop terms, then — but just as fresh and disarming in its articulation of queer self-discovery.
Not that you need know any of this background — or indeed anything about Kiyoko — to enjoy the star’s summer-soaked feature directing debut, which tells its unavoidably familiar tale of first love, first heartbreak and lessons learned with such open-hearted emotional purity that it feels new again. Or rather, it reminds you of when such feelings were new, and overwhelmingly big, as much as those older and supposedly wiser than you tried to tell you otherwise. The film’s two superb young stars, Maya da Costa and Myra Molloy, deserve much of the credit for its gentle, relatable warmth, but so of course does Kiyoko, who emerges here as a filmmaker of considerable skill and sensitivity — clearly capable of handling other projects not rooted in her own songbook.
Kiyoko and co-writers Chloe Okuno (“Watcher”) and Stefanie Scott — the lead actress from the original music video, as it happens — have opted for an early-2000s setting that may accommodate some millennial nostalgia (when apart, characters chiefly communicate not by text but by desktop IM messaging) but more pointedly serves to illustrate the extent to which young queer visibility has shifted in recent decades. Though it will play to young viewers who can’t conceive of life without a smartphone, “Girls Like Girls” should resonate with older LGBTQ audiences who grew up feeling alone in that identity, without many vocal peers or allies, and certainly without such normalizing cultural touchstones as “Heartstopper.”
Unusually, however, it’s not chiefly a coming-out story. 17-year-old protagonist Coley (da Costa) may be shy and unsure of herself in many ways, but the fact that she’s into girls isn’t a point of insecurity: She’s just quietly waiting to fall in love with one, and accepting that it may take a while. She’s a loner, after all, having only recently moved to a new town following the death of her mother, with a father (Zach Braff) whom she doesn’t know all that well. Summer stretches out before her like a blank diary, as she cycles in circles around the suburbs, bathed in the all-day magic-hour glow cast by DP Sonja Tsypin’s gorgeously hot, honey-dipped lensing, though not really enjoying it. Social rescue arrives in the form of outgoing cool girl Sonya (Molloy), who takes a shine to Coley after a chance encounter in a coffee shop, and invites her to join her clique.
Coley doesn’t much care for Sonya’s superficial friends, and certainly not for her boorish, territorial semi-boyfriend Trenton (Levon Hawke), but the girls click — when they hang out alone, which is increasingly often, the line between intense BFF affection and romantic love gets fuzzy fast. Kiyoko beautifully captures the charged rush of nascent desire, zeroing in on small, innocent gestures that, in the moment, feel seismic: the loan of a favorite jacket, the messages haltingly drafted and then scrutinized for subtext, the boundary crossed when one knee tentatively touches another in the back of a car. Crossed too far, at one point: Sonya may be preternaturally poised and self-possessed, but she’s still less accepting of her own sexuality than her gawkier would-be girlfriend.
Consumed with these tensions, and the will-they-won’t-they limbo of the girls’ relationship, the second half of “Girls Like Girls” is more expected and less seductive than the first — the film having begun as a woozy, sunburnt mood piece ambiently perched, like many an idle June afternoon, between reckless possibility and melancholic stasis. But it’s still moving and rewarding, illuminated throughout by da Costa’s wonderful performance, which conveys Coley’s depth and seriousness of feeling while also permitting the character spells of silliness and petulance.
She alternates between seeming far younger and more mature than Sonya, whom Molloy plays with compelling, casually volatile hot-and-cold energy; the film is enriched by a keen, specific sense of how both girls watch each other, sometimes passively and sometimes with rapt, unguarded fascination. Alive to both the soul connection and the bodily itch of these intimate, unwieldy, personally uncharted feelings, Kiyoko’s uncommonly lovely teen movie matches the dizzy, obsessive ecstasy of the song that inspired it — which plays over the closing credits in a new, slowed-down, blissed-out recording. “We will be everything that we’d ever need,” Kiyoko sings airily: a giddy line about first-crush idealism, from someone who lived to tell the tale.
Summer is officially glow season, but some of your favorite warm-weather habits could actually be sabotaging your skin.
To find out what not to do this summer, ET caught up with celebrity plastic surgeon Dr. John Layke, who shared the biggest skincare mistakes he sees during the hottest months of the year and how to avoid them.
Dr. John Layke/Instagram
First up: Overdoing it with heavy active ingredients.
“During the peak summer months, skin is more sensitive to the sun when using retinol, so decrease the frequency of usage to 3 days per week and ensure multiple reapplications of sunscreen,” Layke says.
But that doesn’t mean you should break up with retinol altogether just because the sun is out. Layke recommends reaching for the ProRetinol Age Rewind from his Beverly Hills MD line with Dr. Payman Danielpour to help maintain a smooth complexion.
Beverly Hills MD
“It helps increase cellular turnover, leading to fresher, healthier skin,” the Beverly Hills Plastic Surgery Group doctor explains.
And while everyone loves a good serum, sunscreen like his brand’s Sheer Radiance SPF Drops remains the foundation of any summertime skincare routine.
“Appropriate sunscreens, which contain protective actives like zinc oxide can mechanically protect the skin from overexposure of UV rays, especially when using a retinol. … Some of the biggest mistakes I see is the lack of reapplication when being in the sun, especially during peak hours of 10am and 2pm, when UV rays are strongest,” he explains.
Beverly Hills MD
And if you’ve been putting off a laser treatment until fall, you may not have to.
“As long as people are aware that protecting the skin is paramount, microneedling or laser resurfacing can be done at any time of the year. This means no direct exposure for 6 weeks following the treatment to avoid any untoward hyperpigmentation that may occur in the healing skin,” he notes.
For those seeking an instant refresh, Layke points to HydraFacials as a seasonal favorite.
Beverly Hills Plastic Surgery Group/Instagram
“It will improve the texture of the skin temporarily and leave a noticeable glow.”
If you’re seeking something beyond a quick glow-up, Botox remains a popular option year-round, though summer plans may impact the longevity of your results.
“This is related to the increase in outdoor physical activity, which has been shown to decrease the longevity of neurotoxins due to an increase in the metabolism of this purified protein.”
Beverly Hills Plastic Surgery Group/Instagram
But before you head inside after a day at the beach or pool, don’t forget one simple step: rinse off.
“Excess chlorine exposure in a pool, or salt exposure to the skin can cause irritation and dryness. Make sure to rinse soon after swimming to avoid.”
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Kara Swisher doubled down on her plans to leave CNN “as soon as I can” Tuesday, citing the news network’s parent company Warner Bros. Discovery’s merger with Paramount Skydance and its CEO David Ellison.
On Tuesday’s episode of “Pivot,” Swisher explained to her co-host Scott Galloway that because the Paramount takeover of Warner Bros. was moving forward she was not planning on being a contributor at CNN for much longer. Her hopes are she’ll be let out of her contract early.
“With the CNN thing, well you know my feelings on that,” Swisher said. “I’m leaving as soon as I can.”
Galloway cut in to re-confirm that she was planning to step away from the news organization.
“Let me try to outline it: I don’t want to work for the Ellisons, and I don’t want to work for their handpicked minions because I think they’re incompetent,” she added. “I just don’t see any way that these people make good decisions and I don’t trust them. That’s it.”
Swisher finished: “Anyways, there’s a lot of other options, and I’m under contract with them until the end of the year, and I’m hoping they’ll let me out early because I don’t want to affiliate with them. I left James Murdoch, too; this is not a new, fresh thing for Kara Swisher to flounce out and do better.”
This was not the first time Swisher said she was considering stepping away from CNN. Back in March, she said she’d leave the news organization if the David Ellison-led Paramount succeeded in closing its merger with Warner Bros. Discovery, claiming Ellison and his billionaire father Larry Ellison have demonstrated they have “no interest in journalism.”
“I don’t think they’ll be good owners,” Swisher said at the time. “They’ve already shown several times, including editorial choices … that they have no interest in journalism, and I refuse to work for an organization that doesn’t respect journalists.”
Since her film debut in Milos Forman’s 1971 comedy Taking Off, credited for a cameo as Bobo Bates, Kathy Bates has turned in a number of memorable performances in movies, TV and stage — winning an Oscar (and four nominations), two Emmys (and 14 nominations), two Golden Globes, two SAG Awards and other honors for an exemplary career.
We definitely cover the waterfront here, right from the beginning and including her yearlong run in the Broadway hit ‘night Mother and her extreme disappointment that she didn’t get the opportunity to play the role in the film version (Sissy Spacek did); her life-changing role and Oscar win for Misery; as well as appearing on stage at this year’s Oscars to honor the film’s director Rob Reiner; going nude with Jack Nicholson in a hot tub in About Schmidt (another Oscar nomination); working for Clint Eastwood in Richard Jewell (another Oscar nomination); the advice from Dustin Hoffman in her first major movie role for Straight Time; plus memories of Titanic, The Waterboy, Are You There God? It’s Me, Margaret, Dolores Clairborne, Primary Colors and more. She also remembers playing Jay Leno’s vicious Tonight Show producer Helen Kushnick in The Late Shift, for which she won SAG and Globe awards; and her continuing run on Ryan Murphy’s American Horror Story, a series she is going to be returning to next season for another go-round.
Then, of course, there is Matlock, and why that show is defiantly not a updated remake of the Andy Griffith original but a clever reinvention that puts a whole new spin on a lawyer series.
To watch our conversation and to get the “actor’s side” of things from Kathy Bates, just click the link above.
Join me this season every Tuesday and Thursday for a new edition of The Actor’s Side and every Monday and Friday for a new Behind the Lens.
Princess Charlene of Monaco presented the Crystal Nymph Award of the Monte-Carlo Television Festival to Kurt Russell on Tuesday in recognition of his “exceptional contribution to the entertainment industry and his remarkable career spanning more than six decades.”
Prince Albert II joined Russell on stage in the Salle des Princes at the Grimaldi Forum, while Russell was accompanied at the ceremony by his partner Goldie Hawn.
Princess Charlene also presented British actor Matthew Broome with the International Golden Nymph for Most Promising Talent. Having gained international recognition through his leading role in “My Fault: London” for Prime Video, Broome went on to appear in “The Buccaneers” for Apple TV+.
Among the guests at the festival were Kristin Scott Thomas, Ester Expósito, Lesley Manville, Jeffrey Dean Morgan, Lauren Cohan, John Hannah, David Boreanaz, Aldis Hodge and Kevin McKidd.
Danish crime drama “The Uniform” won the Golden Nymph Award for best series at the festival. The show, produced by Miso Film, exposes the deadly cost of loyalty and corruption within a fractured and fiercely competitive police academy in contemporary Denmark.
The best film prize and the jury special prize went to “Fadia,” produced by Israel-Palestine’s Cinema Virgin. The film addresses the topic of femicide in the name of a misguided sense of family honor.
The award for best creation went to Italian series “Gomorrah – The Origins,” produced by Sky Studios and Cattleya. The show, which starts in 1977 in Naples, follows Pietro Savastano – a tough city kid from a poor neighborhood – who is set to enter the criminal underworld as a means of survival.
The best actress award went to Yara Jarrar for “Fadia,” and the best actor award went to Johannes Hegemann for “Olivia” from Germany.
The Public Prize was picked up by “Ponies,” produced by Universal Television.
The award in the Feature Reports and News competition category for best social or cultural feature report went to “Mission Investigate: The Hunt” from Sveriges Television in Sweden.
The prize for best geopolitical or conflict feature report went to “La Guerre, Donald Trump et nous” from Elephant et Mile Production and France Télévisions in France.
The jury special prize went to “Into the Void: Putin’s Foreign Fighters” from the BBC in the U.K.
The award for best original digital creation went to “Next-Door Families – What Makes a Family?” from KBS and Yoo Kyung-Hyun in South Korea.
Best documentary digital format was taken by “La face cachée de l’aéroport CDG la nuit” from OK Charlotte in France.
In this fraught year of the nation’s semiquincentennial, political theater is not exactly all the rage. Audiences are stressed out — desperate for comedy, not confrontation. So the prevailing wisdom says, anyway.
But what if that confrontation involved the great singer-actor Paul Robeson absolutely trouncing his congressional interrogators on the communist-hunting House Un-American Activities Committee? Or the playwright Lillian Hellman at her most blisteringly principled, refusing to harm anyone by cooperating with the investigation into the entertainment industry? Or the choreographer-director Jerome Robbins, a former communist making the opposite decision, doling out names of ostensibly red associates like candy?
“I feel I am now doing the right thing as an American,” Robbins testifies to the committee in Eric Bentley’s 1972 drama, “Are You Now or Have You Ever Been,” which the playwright constructed from copious testimony stretching from 1947 to 1956.
As Bentley notes in his preface to the play, the “characters wrote their own lines into the pages of history” — which he abridged and tidied in his script, but did not invent. Thus “no resemblance between the witness and the actual person is coincidental.” The three committee members, including the chairman, are composites of multiple real people.
Anna D. Shapiro’s revival, at New York City Center Stage 1, is theater to make the blood boil, and it means to be, as audience members watch historical figures living through a past whose echoes we can recognize in our present. Such as when the committee chairman (Michael McKean) loses his patience with a resistant Ring Lardner Jr. (Steven Boyer).
The chairman goads him: “Any real American would be proud to answer the question, ‘Are you, or have you ever been, a member of the Communist Party?’ — any real American!”
Lardner counters: “I could answer it, but if I did, I would hate myself in the morning.”
What the committee’s targets can live with is one of the threads that runs through the testimony. Another is what they can’t live without — like the ability to make a living in their chosen field, which being blacklisted as a communist might well end permanently.
As the movie star Larry Parks (Andrew McCarthy) tells the congressmen, “To be called before this committee has a certain inference, a certain innuendo, that you’re not loyal to this country. This is not true.”
McCarthy imbues Parks with a quality some actors have of dimming their luminosity when they aren’t performing. A thoughtful man, sure of his own moral core, Parks seems to get smaller as he testifies, his resolve eroding along with his dignity. Determined not to fold, he folds. There is such quiet sadness in his capitulation.
Shapiro’s production uses a core cast of six — anchored by McKean, his chairman like a snake coiled to strike — plus five more actors who join the show for shorter runs, playing major witness roles. The current members of the rotating cast are McCarthy, David Krumholtz and Jay O. Sanders, all appearing through June 21, and Sally Murphy and Billy Eugene Jones, appearing through July 12.
Actors on deck for the rotating roles include Scott Adsit, Thomas Sadoski, Steven Pasquale, Harry Lennix, Molly Ringwald, Bob Odenkirk and Norbert Leo Butz — which is one way of enticing audiences toward political drama.
Shapiro’s current company is highly polished, making each of the many witnesses distinct. Text occasionally projected upstage on Andrew Boyce’s set provides additional historical orientation, though it would be more helpful if the audience had just a little longer to read it. (Projection design is by Brittany Bland.)
It is a slow burn of a show, worthy of your attention. Krumholtz makes the equivocating playwright-director Abe Burrows (“Guys and Dolls”) one of the slipperiest characters you’ll ever meet, introducing a welcome note of levity in testimony both self-serving and self-incriminating. In Sanders’s portrayal, the character actor Lionel Stander is funny, too, and heartbreaking, appearing before the committee in desperation to revive his career.
As Hellman, trying to negotiate with the chairman by letter, Murphy breathes a tiny role wholly to life, and speaks perhaps the most famous line of all: “I cannot and will not cut my conscience to fit this year’s fashions.”
But Jones’s calm, methodical, intellectual Robeson is the one who turns the play at last into a thrilling conflagration. Of all the witnesses, he is the only one who is entirely unafraid.
“I am here because I am opposing the neo-fascist cause,” he tells the committee.
One gets the sense that that’s why the revival is here as well.
Are You Now or Have You Ever Been Through Sept. 11 at New York City Center Stage I, Manhattan; areyounowplay.com. Running time: 1 hour 45 minutes.
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From Gugu Gumede and S’dumo Mtshali in the leading roles to Kwanele Mthethwa, S’thandiwe Kgoroge, Kenneth Nkosi and Celeste Ntuli in supporting characters, the star-studded ensemble are showcasing African talent to the world.
As the stars of the brand-new Netflix series, they are currently all the rage as the supernovela, which, at the time of writing, is currently the most-watched television series on the streaming platform in South Africa.
The local drama, with a sensational focus on betrayal, power, ego and emotional destruction in relationships, is also topping trends on social media.
Much of the 22-episode series’ success lies in its acting, as Gumede in particular has been praised for her nuanced and poignant performance.
And despite the title, the programme ensures it makes a clear distinction between traditional polygamy and deception, as it spotlights the tragic consequences of actions and the detrimental impact they have on those around you, rather than examining culturally recognised polygamous marriages.
“The Polygamist” is adapted from the renowned novel by Zimbabwean author Sue Nyathi. The original novel was set in Zimbabwe, but the television adaptation places the story into a South African context, with most of the scenes shot in Johannesburg.
It is produced by Stained Glass Productions, directed by Akin Omotoso, Rolie Nikiwe and Nthabi Tau, with Busisiwe Zwane as head writer.
“The Polygamist” centres around Jonasi Gomora (Mtshali), a wealthy, self-made CEO who rose from poverty in Soweto to build an empire and live in the city’s opulent suburbs.
Jonasi appears to have it all: a JSE-listed company that is thriving, a beautiful wife Joyce (Gumede), two teenage children Mpume (Noluthando Shabalala) and Menzi (Wonder Ndlovu) and a baby boy.
With his loyal brother Magesh (Nkosi) by his side, Jonasi is living the life many aspire to have. However, beneath the polished exterior and carefully curated image lies a web of secrets, lies and betrayal that threatens to destroy everything he has worked so hard to build.
To say that the wealthy businessman has a thing for the ladies is an understatement. Viewers witness how he manages to convince his brother’s girlfriend, Matipa Nkosi (Mthethwa), to leave him and become his mistress instead.
When Joyce discovers this betrayal, her perfectly polished persona is shattered, as her social media brand is built on embodying the image of the perfect housewife.
And when Jonasi impregnates Matipa with twins, Joyce is forced to confront the painful reality behind the perfect image she has spent years maintaining.
In a move that blurs the lines between tradition, survival and self-preservation, Joyce ultimately agrees to Jonasi taking Matipa as a second wife. On the surface, it appears like acceptance rooted in cultural understanding, but beneath it lies a far more complex emotional compromise.
For Joyce, the decision is less about consent and more about control, as she attempts to preserve her status, her family and the image she has spent years carefully constructing, even as it quietly begins to fracture from within.
As things begin to unravel further, more painful family secrets are discovered, proving that Jonasi’s reign of manipulation has been unfolding for years, and that the consequences of his choices are beginning to catch up with him as his world starts to collapse under its own weight.
And while “The Polygamist” is rooted in South African storytelling, it also includes several universal themes that global audiences can relate to.
This includes the performance of perfection, most powerfully highlighted through Joyce, as her private life directly contradicts her public image.
And while Jonasi drives the plot, the emotional heart of the series lies with the women affected by his decisions, placing female resilience firmly in the spotlight. Power and patriarchy also sit at the centre, as Jonasi’s wealth and status allow him to avoid consequences for much of the story, raising questions about gender dynamics and unequal power structures.
Revenge is also a central theme of the show, as the plot quickly evolves from marital drama into revenge-fuelled melodrama.
I also enjoyed how “The Polygamist” invites viewers to interrogate what qualifies as consensual polygamy versus exploitative infidelity.
Described by some online as “comfort television” for soap opera fans, the show is sure to keep you enthralled with its heightened emotions, explosive confrontations and shocking twists.
It is also sure to spark debate, as viewers become invested in the moral ambiguity of nearly every character.
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A new YouTube promo for Spider-Man: Brand New Day directly referenced the Hand from Marvel’s Defenders Saga on Netflix. The ad shows Jacob Batalon’s Ned Leeds telling the public about the official Spidey Tracker, which he creates and uses to help the public keep track of Spider-Man as he works to relearn the hero’s secret identity.
At the 0:57 mark, as Ned shows a graphic of Spider-Man’s villains, a slide pops up for The Hand, featuring the shot of Spider-Man leaping towards red-suited ninjas. The picture’s caption also teased the group being “back in New York,” indicating they were not active for some time before this movie:
“Can someone tell me what NINJAS are doing back in New York? The all-red outfits do go kinda hard but feels like it’d be hard to sneak around in.”
While this group was theorized to be The Hand when it was first shown in the original Brand New Day trailer, this clip sets that identity in stone. This will be The Hand’s first official appearance in the MCU since it served as the main villain in 2017’s The Defenders on Netflix; the villainous organization also appeared in multiple seasons of Daredevil and Iron Fist.
Samsung
This group was introduced in Daredevil Season 1 as a mysterious faction led by Nobu Yoshioka alongside Vincent D’Onofrio’s Kingpin. They then became the main antagonists in Season 2, which shows them exploring a prophesied weapon called the Black Sky, a mantle eventually taken by Elodie Yung’s Elekrtra.
At the end of The Defenders, Elodie Yung’s Elektra declared herself the new leader of The Hand after the Defenders team had gone toe-to-toe with them across the eight-episode season. This led to an all-out brawl between the Defenders and The Hand, with the Defenders coming out on top after a massive building collapsed on top of the villainous group’s leaders.
Samsung
Spider-Man: Brand New Day‘s first trailer showed the Hand returning to action, as the ninjas donned bright red robes and came hard after Peter Parker. As Parker’s eyes turn black (one of numerous physical changes he will endure in this movie), he breaks one of the ninja’s swords with his webs, and the final shot shows him jumping forward at half a dozen robed enemies.
Spider-Man: Brand New Day will be the MCU’s fourth solo Spider-Man movie. Starring Tom Holland as Peter Parker alongside a host of MCU regulars, it will pit the now anonymous web-slinger against a host of new antagonists as he works up the courage to reveal his identity to his closest friends.
The Hand’s Potential Role in Spider-Man: Brand New Day
Marvel Television
It appears that The Hand will not have been active in New York City for years following the end of The Defenders. However, this movie looks to bring that group back into the spotlight in a big way, complete with new robes and a likely renewed quest for power in a New York City that may be vulnerable to attack.
Thus far, The Hand has no tangible connection to Spider-Man in the MCU, even though it was closely tied to Vincent D’Onofrio’s Kingpin in the Netflix shows (as D’Onofrio waits for his chance to take on Spider-Man on the big screen). However, given the group’s original goal of gaining immortality, this unit is sure to cause plenty of mayhem through ancient, potentially supernatural means to achieve it.
Sony Pictures
While details on The Hand’s role in the story remain unclear, the group will be among only a few antagonists in Brand New Day. This will give Peter Parker some of his most difficult challenges to date, even after dealing with the threat of the multiverse falling apart in his last solo film.
Fans hope that one major DCU mystery will get a resolution from DC Studios co-CEO James Gunn’s next movie release, Supergirl. Directed by Craig Gillespie and releasing on June 26, Supergirl will deliver the first full adventure for Milly Alcock’s Kara Zor-el after her short introduction at the end of 2025’s Superman. As part of that story, fans will get a deep look into her past, including where she came from.
2025’s Superman offered the first teases of Krypton’s history in the new DCU under DC Studios co-CEOs James Gunn and Peter Safran. Set on Earth, David Corenswet’s Clark Kent was shown to have a message from his dead parents (Bradley Cooper’s Jor-El and Angela Sarafyan’s Lara Lor-Van) that he played in the Fortress of Solitude. Originally believed to be a message of hope, it later proved more disturbing, telling him to rebuild Krypton on Earth.
DC Studios
Fans will now get to see Krypton in all its glory in 2026’s Supergirl, courtesy of what appear to be flashback scenes of Kara’s time on her home planet. Scenes from the trailers showed a stunning look at this planet, highlighting some kind of processional taking place before the world’s destruction.
DC Studios
The trailer also teased that the movie will show how Krypton’s fall unfolds, detailing how the planet loses its way before its eventual destruction. After Superman ended, none of this information had been revealed, as the film focused entirely on Clark Kent’s Earth-based adventures.
Supergirl will be the second new movie released in James Gunn and Peter Safran’s DC Universe. Starring Milly Alcock, Jason Momoa, David Krumholtz, Eve Ridley, Emily Beecham, and Matthias Schoenaerts, this movie will embrace the Woman of Tomorrow storyline from DC Comics, following Kara Zor-el as she protects a young girl on an intergalactic journey and seeks vengeance.
What Happens to Krypton in the DCU?
DC Studios
Looking ahead to 2026’s Supergirl, fans may finally get some of the answers to the questions about what happened to Krypton. In the most recent big-screen adaptation of the DCEU’s Man of Steel, the planet was destroyed after its core collapsed, with Russell Crowe’s Jor-El saying its leadership overmined its resources and brought about its destruction.
While the details of Krypton’s demise are still unknown in the new DCU, Supergirl may clarify some of that mystery. The film could show more of Superman’s parents’ allies (and whether they were in the majority or minority on opinions about Krypton), their beliefs about the planet’s leaders, and how their relationship with Supergirl could affect their decisions.
While early trailers hinted at what led to Krypton’s fate, more details are sure to come to light. Considering the story will explore multiple planets (and possibly multiple time periods), it would be a shock not to see DC Studios pull back the curtain on this important piece of DC history.
Ubisoft has announced its final content update for Assassin’s Creed Shadows, which is rolling out today.
While there may be more patches for the game in the future to fix bugs or improve performance, today’s version 1.1.11 title update will be the last content drop for the game.
This includes a new end-game story quest called Black Tides, which is unlocked when the player completes Naoe and Yasuke’s main story, as well as the two post-release quests A Critical Encounter and A Puzzlement.
The update also adds new crossover Projects in the Animus Hub, titled Riptides and Undertow. By completing these projects, players can unlock rewards in both Assassin’s Creed Shadows and the upcoming Assassin’s Creed Black Flag Resynced.
A new end-game feature called Domains has also been added, where players face “five new gameplay simulations across 10 challenge levels”, unlocking classic Assassin’s Creed weapons as a reward.
The full patch notes for the new update are as follows:
Assassin’s Creed Shadows – Version 1.1.11 Title Update patch notes
New Free Story Quest: Black Tides
A new threat washes ashore!
Two elite-level Templars known as “Black Cross” are called to Japan to hunt Naoe and Yasuke for all the trouble they have caused. But as is often the case with the Templar Order, those Black Cross may have additional goals of their own: It’s up to our two protagonists to prevent them from acquiring whatever they seek – and manage to stay alive…
Conditions for Black Tides
Complete Naoe & Yasuke’s main story
Complete “A Critical Encounter” post-launch quest
Complete “A Puzzlement” post-launch quest
New Crossover Projects: Riptides & Undertow
We’re releasing two new crossover Projects available in the Animus HUB called Riptides and Undertow, in which you can unlock new themed outfits, weapons, trinkets and more!
To activate the new Projects, complete Anomalies and progress through the rewards like previously released ones. These include rewards for both Shadows and Black Flag Resynced and can be progressed by completing Anomalies from both games.
Note: Unfortunately, these will not be available on Nintendo Switch 2 as it contains crossover content with Black Flag Resynced, which will not be releasing for Nintendo.
New End-game Feature: Domains
A brand-new Animus activity that will put your RPG build crafting skills to the test as you tackle 5 new gameplay simulations across 10 challenge levels.
Unlock conditions: Reach level 30
MOD, an Assassin hacker, has created a new type of simulation called “Domains.” These trials are designed to help the Dark Animus users sharpen their combat and survival skills. Those who can rise to the challenge can earn dozens of new and remixed outfits, weapons, trinkets and engravings.
The higher the difficulty, the more gameplay modifiers will be applied. The goal is to push you out of your comfort zone and make you rethink your loadouts. A strategy that works in one Domain may not in the next. “Time to get those Mythic and Artifact upgrades you’ve been putting off!”
MOD has an exclusive shop and in-game currency you can use to purchase new end-game gear sets, new powerful engravings, and a progression tree to support the Domain’s increasing challenges. As you push through higher difficulties, MOD will reward you with weapons and armors that longtime Animus users may recognize.
And you will need it all if you want to beat the hardest challenge levels (and get the secret rewards along the way!)
Note: None of these items will ever be in the store or the exchange. These are Domain-exclusive, for bragging rights only!
New Animus Rift: Horizon
Another Rift has opened to reveal trouble stirring in its depths.
The Eagle has more information to share about the Guide.
Note: You must complete the two previous Animus Rifts to access the New one: Horizon.
Bug Fixes & Improvements
Gameplay
Damage increase for “Shurikens” fired from the “Bank Shot” and “Triple Threat” tools mastery upgrade.[JF4.1]
All abilities that destroy enemy armor are now half as effective when used against bosses.
Fixed an issue preventing the “weak point attacks from making enemies vulnerable a second time” engraving from unlocking correctly.
Fixed an issue where Yasuke’s knowledge bonus that granted damage reduction against melee or ranged attacks had no effect.
Enemies now take fall damage from shorter heights, resulting in more overall fall damage.
Damage from “Poison Kunai” thrown by enemies is reduced.
Damage from “Explosive Grenades” thrown by enemies is reduced.[JF5.1]
Up to 6 “Corrupted Castles” are now available each season.
Fixed an issue with Naoe’s “Katana Sheath” being stuck to her.
UI
Forge engraving lists have been reordered, and a new “Critical Category” has been added.[JF6.1]
Fixed an issue where some perks are shown in the wrong forge category engraving list.
Fixed an issue where some perks and knowledge skills displayed the wrong icons.
Fixed an issue where the “Damage when Hitting Vulnerable Enemies” perk was missing from the stat sheet.
Naoe’s “Peasant Hat Headgear” perk now has extra text in the stat sheet clarifying it only triggers when below 1 adrenaline.[JF7.1]
Fixed an issue where Yasuke’s knowledge bonus “Damage with Combo Enders” showed a value 10 times higher than intended in the stat sheet.
Pins and world markers are now saved through travels in Japan and Awaji.
Gears & Perks
Perks listed below have been reworked to a % of an adrenaline chunk and have been rebalanced to a lower value:
Adrenaline Tools
Adrenaline on Headshot
Adrenaline on Critical Hit
Adrenaline over half health
Adrenaline under half health
Adrenaline on afflicted enemies
Adrenaline on posture attack
Adrenaline on vulnerable enemies
Perk present on “Whisper of Gold Long Katana” now increases ability damage by 100% (up from 50%).
Fixed an issue where Naoe’s “Kusarigama” perk “Affliction on Entangled Enemy” dealt lower damage than intended when triggering bleed with entanglement.
Fixed an issue with “Blade of Yumminess” missing from inventory in some cases.
“Teppo” and “Bow” weapons can now be engraved with armour damage and armour piercing perks.
Fixed an issue where the “Arrownomics Bow” perk could be engraved on amulets.
Fixed an issue where the “Golden Chamber Teppo” perk could be engraved on amulets.
Perk present on Naoe’s “Ethereal Cloth Headgear” now triggers when health is below 15% (up from 10%).
Perk present on Naoe’s “Pink Petal Kosode Light Armour” and Yasuke’s “Sakura Bloom Armour” now converts adrenaline to 20% health on death (up from 10%).
Fixed an issue to prevent Yasuke’s “Riddle Scroll Beacon Trinket Perk” from reverting to default perk.
Fixed an issue where “Consecutive Enemy Kills” perk would not reset when combat ended.
Fixed an issue where “Consecutive Enemy Kills” perk would reset upon being damaged.
Perks with the condition “with backstab” can now correctly only be engraved on “Tanto” weapons.
Perks with conditions such as “with ranged weapons”, “with headshots”, and “while stationary” can no longer be engraved on melee weapons, where they would have no effect.
Perks with conditions such as “with melee weapons”, “with posture”, “with combo ender”, “when hitting multiple enemies” can no longer be engraved on ranged weapons, where they would have no effect.
Fixed an issue where some perks affecting affliction duration or granting adrenaline didn’t have their effect increased when engraved on enhanced items.
Fixed an issue where the “Critical Change with Melee Weapons” perk could be engraved on armours instead of helmets.
(Spoilers) Quests
“Gather Mon”: Fixed the “Anomaly Quest” progression issue.
“Way of the Blacksmith”: Fixed an issue where “Heji and the forge” have been removed from the hideout and his quest is not available.
“Lost and Found”: Fixed an issue where Sentinel B-Ser.0197 is teleported out of bounds.
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The large-format movement is now in full force, with more options available at more affordable prices than ever before. From the Fujifilm GFX ETERNA 55 to the ARRI ALEXA 265 to the Blackmagic URSA 17K 65, filmmakers are in the midst of a large-scale revolution.
Yet, while these digital LF cameras are more readily available than ever before, that doesn’t mean everyone can grab one and dive into large-format cinematography and filmmaking right away. There’s a bit of a technology curve to catch up to, as filmmakers will have to level up not just their cameras, but their lenses and gear as well.
To help with this journey, more brands are recognizing that this revolution is afoot and are presenting new high-quality options for these larger-than-full-frame sensor cameras. The latest comes from Angénieux: the company’s new EZ 65 Series, set to feature two LPL-mount large-format zooms.
Let’s check them out.
The New Angénieux EZ 65 Series
As part of this large-format movement, Angénieux has announced its new Angénieux EZ 65 Series, a step up from its EZ zoom line into the 65 format. This series begins with two LPL-mount large-format zoom lenses, including the following models.
Angénieux EZ-2 65 (27-72mm T3.6)
Angénieux EZ-3 65 (82-300mm T4.2-T5.4)
These two new large-format zooms promise to take full advantage of your camera’s 65 sensor while still retaining all the intrinsic qualities of the company’s EZ series, with strong ergonomics, high resolution, and a cinematic yet familiar look and feel.
Angénieux EZ 65 Series
Credit: Angénieux
Price and Availability
We don’t have a ton of information to go on for these new large-format zooms, but the company has shared a spec sheet indicating that both will feature a 60mm image circle and weigh around 5.5 lbs and 6.6lbs, respectively.
For more details on pricing and availability, stay tuned to the Angénieux website, where more info should be shared here soon.
Anyone cynical enough to spout the old adage that “there’s nothing new under the sun” has clearly never seen “The Chair Company.” Tim Robinson and Zach Kanin’s mind-bending HBO comedy builds off the comedic tropes they established in “I Think You Should Leave” — bizarre fake companies and the loyalty and ire they inspire, the ways that unspoken social rules and norms sometimes present as indecipherable codes, and the obsessions and outbursts of middle-aged men who would otherwise be invisible — and expand them into something infinitely more complex.
“The Chair Company” manages to be a zany workplace comedy, a domestic family drama, and an edge-of-your-seat weekly mystery series at the same time, elegantly balancing the three components without ever letting one feel out of place. The success is partially a testament to the incredible supporting cast that Kanin and Robinson assembled to surround him. From fellow comedy writers and “I Think You Should Leave” veterans to dramatic actors and celebrity impersonators, the show contains a galaxy of characters who can turn even the smallest interactions into something memorable.
Stars Lake Bell, Lou Diamond Phillips, and Joseph Tudisco recently spoke to IndieWire about the singular experience of working on “The Chair Company.” They all made it clear that the project was like nothing they had ever encountered before, but they jumped at the chance to come along for the ride.
“I immediately was like, ‘Where do I sign? How do I get to be a part of this?,’” Bell said. “Because I think I can intuit that, given it’s the brainchild of Tim and Zach, I understood that tonally it would be sort of a new flavor of comedic subversion that I had not really seen. And so I think when you finally read something that feels so unique, especially as a creator myself, as a writer myself, I was like, ‘I want to be a part of this party.’”
“My first reaction when I read the script is who thought of me?,” Phillips added with a laugh. “Because I tend to be very specific. People don’t think outside of the box when it comes to me. My people are the one who have to go, ‘Hey, what about Lou? He can do comedy. He’s done things like this before. He’s been a bad guy,’ whatever. And for someone to have thought of me for that role, obviously they’re a genius, but I still don’t know who it is.”
‘The Chair Company’Courtesy of Sarah Shatz / HBO
None of they key players went in colder than Tudisco, whose deceptively warm performance as sometimes-mobster Mike Santini holds a large chunk of the show together. While the other actors had seen “I Think You Should Leave” and were familiar with Robinson’s brand of comedy, Tudisco was a newbie. That created some surprises once he arrived on set, but it led him to approach the casting process in a more straightforward manner that helped him find the pathos of the character.
“I did a little research when I booked it. So I saw the type of humor he had,” Tudisco said. “I’ve been through things where this character, in some manner, or shape, or form has appeared in my life. So I had all those elements and I didn’t preordain anything. Whatever the moment was, I tried to exist in it using myself as the character.”
But as it turns out, Tudisco wasn’t that far behind anyone else. Because no matter how much you knew about Robinson and Kanin’s prior work, there was no way to fully wrap your mind around the mad genius of the show. Phillips, who fills show’s main villain role as smarmy architectural firm CEO Jeff Levjman, explained that he sometimes didn’t know the intended tone of scenes after he had shot them.
“I don’t think I have been more fluid in a role than I have in this one because you never know what you’re going to get. And just reading the scripts, I couldn’t always figure out what the tone was going to be,” Phillips said. “There are a lot of really wonderful comedies out there these days that capture their tone perfectly and I wasn’t exactly sure what we were shooting for. And even on set, a lot of times having directed a lot for television and written and whatnot, I’d come home and my wife went, ‘Well, how’d it go?’ And I’d go, ‘I have no idea.’”
‘The Chair Company’
He continued, “We would approach scenes in two or three different ways, we would re-block, we would rethink, we would improv. And at the end of the day, I would never know which nuggets Tim and Zach were going to gravitate toward. I always left feeling like we had done really, really good work. I just never knew what the shape of things was going to be.”
Bell echoed some of those sentiments, though she had a bit more clarity about her own purpose within the show. She explained that as Barb Trosper, a suburban mom and entrepreneur whose husband Ron (Robinson) gets sucked into a vast chair-related conspiracy, her role was primarily to be a dramatic foil to the craziness. That prompted her to approach Barb as if the show were a true drama, allowing her to reflect the chaos that Ron is constantly bringing into their otherwise normal lives.
“I like how you’re just asking that so gently,” Bell said with a laugh when asked about finding the balance between the human drama and the absurdity. “Yeah, it’s absurd. I do feel like my character, Barb, is integral to grounding us as viewers. Even I recognize very much what my job is, to complement and service the absurdity. So I think Barb often is kind of what everyone else is, how the general population would react to certain things. And yet there’s a patience, there’s a consistency and patience and sobriety to Barb that I also recognize is essential to make it work.”
‘The Chair Company’Courtesy of Sarah Shatz / HBO
Bell also explained that even the briefest roles were cast with intentionality, with Kanin and Robinson using small roles as opportunities to experiment with casting actors from unusual backgrounds.
“There was this one thing I talk about in the flashback Barb and Ron are at a Christmas party. And I show up on the day and I think, OK, I know that there’s this one little scene where Ron is talking to this guy who’s talking his ear off and Ron’s looking at me like, ‘Oh, my God,’” she said. “And they cast a gentleman who only, and he’s never been on camera, he only is a Curly impersonator. He does Curly from The Three Stooges and he only does Curly. Also, where do you hire this person?”
Bell was unable to answer some follow-up questions about whether this impersonator was part of a trio of Three Stooges impersonators or if you have to separately find a freelance Moe and Larry in order to book him for a gig. But she continued the story, which illustrated the attention to detail that goes into every scene of “The Chair Company” and leaves its stars utterly unprepared for whatever madness might happen on set on a given day.
“So he’s doing Curly as this person who’s talking Ron’s ear off and that on the page was just like some random dude, could have been a day player,” she said. “And they would have him turn up his Curly and then turn down his Curly and they were like seeing, ‘OK, let’s try it with full Curly and then like half Curly and then turn completely Curly off.’ He actually couldn’t even speak. The guy, he was so sweet. He just was like, ‘I don’t know how to do this without being Curly.’”
All of the actors stressed that the madcap experience was made possible by the openness and creative generosity of Kanin and Robinson, whose unhinged onscreen persona is a far cry from the professional approach he takes on set.
“On a personal note, I think we started off very slow and I wouldn’t say guarded, but not quite sure where we would go with this dynamic. And it developed to be… he gave a lot,” Tudisco said. “He never demanded a lot from me. He let me be what my choices were and a little bit here, a little bit there. It was tweaked and whatnot, but pretty much just letting me run with who Mike Santini was in my mind. And I guess pretty much so it was accepted by them. So that’s how that went. But in general, working with Tim is just wonderful. We really developed a wonderful relationship. He’s very generous, very gracious, very supportive through the whole run.
“The Chair Company” has already been renewed for Season 2, and the stars made it clear that they still barely understand what happened in Season 1, let alone what’s coming next. But they’re all just as curious as the rest of us about where the show could go from here.
“Zero. Nada. Nothing,” Phillips said when asked if he knows anything about what’s next for Jeff. “They don’t tell me bupkis. Tim and Zach really play their cards close to the vest. I don’t think any of us involved, Joe or Lake, I don’t know if any of us know really where it’s going or what the end game is. I think as they exhibited in Season 1, they’re willing to go anywhere. And I literally joked with Zach at the premiere party. I said, ‘OK, loving the show, man. Don’t kill me, OK?’ And Zach just paused. I thought, ‘Oh, great. Oh, wonderful. That’s on the table.’”
“The Chair Company” Season 1 is now streaming on HBO Max.
The audio in an online slot is more than background filler. It’s a crucial part of how players experience, stay engaged, and experience the game. Take the massively well-loved Fluffy Favourites slot. Everybody recognises its cuddly animal toys and bright colours, but the sound design generates some of the most fascinating chatter among UK players. This community, famous for its dedicated and thorough take on slots, has built up a whole library of opinions on the game’s audio. Their interpretations include everything from warm nostalgia to interpreting strategic cues, creating a unique approach of sound awareness around this classic title. Here, we examine those player perspectives, considering how the sounds of Fluffy Favourites—its cheerful tunes, its suspenseful spins—are perceived, understood, and loved by its British fans.
The Sonic Identity of Fluffy Favourites
Fluffy Favourites constructs its world with sound from the moment you hit spin. UK players often refer to it as “instantly recognisable” and “deeply comforting,” like listening to a favourite childhood lullaby. The main melody is a soft, bouncy tune, played on something resembling a music box or glockenspiel. It sets a tone that’s whimsical and innocent on purpose. You won’t find epic, cinematic sweeps here. Instead, you get a gentle, repetitive loop that many players find oddly soothing, even during a long session. The sounds of the reels spinning are gentle clicks and whirrs, kept quiet so that central melody can take centre stage. This crafts a consistent, almost hypnotic sound environment that matches the game’s low-stress, straightforward appeal. The audio fits the visuals—stuffed toys in a pastel arcade booth—so perfectly that players point to this cohesion as a big reason for the game’s lasting success.
Pitting Audio to Alternative Popular Animal-Themed Slots
To truly grasp what Fluffy Favourites achieves with sound, UK players commonly stack it up against different animal-themed slots. Games like Piggy Riches or Raging Rhino feature grand, dramatic scores with full orchestration and deep bass. This fits their high-volatility, luxury themes. Fluffy Favourites takes the contrary way. Its sound is purposely lo-fi and synthetic. Beside the chaotic, circus-like noise of a game like Circus Royale, Fluffy Favourites seems orderly and gentle. The contrast is clear even within games from the same developer. A slot like Bonanza features rocky, mining-themed sounds that are abrasive and intense, a perfect match for its volatile Megaways system. Fluffy Favourites distinguishes itself by dedicating totally to its soft, toy-box aesthetic. This comparison leads players to a conclusion: the game’s audio isn’t a generic casino soundtrack. It’s a calculated, bold choice. The game creates a niche of calmness and simplicity. This forms its brand identity and draws players particularly wanting a less sonically aggressive experience.
Sentiment and Cozy in Audio Cues
For many UK players, the sounds of Fluffy Favourites are a direct line back in time. They bring back memories of seaside arcades, summer fairgrounds, and childhood prize counters. The audio isn’t the harsh clatter of a casino floor. It’s softer, from a more playful era. The “cha-ching” of a win, while digital, echoes old-fashioned cash registers or ticket dispensers. Even small wins get a cheerful fanfare, creating a sense of reward that feels lighthearted and fun. Players talk about a kind of Pavlovian response to these sounds. The loop of spin, potential win, and positive sound builds a deep sense of comfort and familiarity. This auditory comfort zone is key to why people stay playing. The sounds are pleasant company, not aggressive or anxiety-inducing. This makes a long session feel less like high-stakes gambling and more like a relaxing, nostalgic habit. The audio builds a safe, colourful world that players want to return to.
The Importance of Sound in Anticipating Features
Sound in Fluffy Favourites goes beyond celebrating what’s happened; it generates thrill for what might come next https://fluffy-favourites.net/. The UK player community is sharp at picking up these subtle cues. The best example is the Pink Elephant wild symbol. Its arrival on the reels often comes with a slightly different sound—a more pronounced “thud” or a soft trumpet noise that fits its character. This notifies the player to a possible winning combination even while the reels are in motion. Also, the game often indicates an approaching bonus round with a change in the music pattern or a brief moment of audio silence. Players sometimes call this “the game holding its breath.” This smart use of sound generates peaks and valleys in the experience, disrupting monotony and adding moments of real expectation. Learning to listen for these cues transforms the game. It becomes a multi-sensory activity where your ears are just as important as your eyes for predicting what luck might bring.
The psychological impact of audio in games
Observant players appreciate exploring the mindset behind Fluffy Favourites’ sound design. The sounds use concepts of operant conditioning. Rewarding auditory feedback—those celebratory jingles—boosts the act of spinning. The near-miss effect, a powerful psychological trigger in gambling, gets a boost from sound. When two high-value symbols land with a teasing gap, the spin sound followed by silence creates a mini-cliffhanger, motivating another try. The steady, gentle background music lowers the perceived stress of spending. It establishes a gap between the real value of money and the fun, token-like value of the in-game coins. UK players, many of whom are knowledgeable about responsible gambling messages, debate this phenomenon openly. They remark how the soothing audio can mask the passage of time and soften the sting of a loss, which can make it easier to keep playing. For many, this awareness doesn’t detract from the fun. It adds a layer of thoughtfulness, where they can appreciate the game’s charm while deliberately recognising the psychological tools being used.
Player Conversations on Audio Design
Check out online slot forums or social media groups, and you can see lively debates about Fluffy Favourites’ audio. UK players analyze the sound design with the attention of music critics. Threads juxtapose the sonic experience to other cute-themed slots, debating over which game has the more effective or less irritating jingles. Players share tips on “sound-on” versus “sound-off” strategies, often recommending newcomers to play with audio on at first to grasp the cues. Memes and in-jokes based on the game’s sounds are ubiquitous. People talk about the main tune being an “earworm,” or they’ll compose text versions of the win jingles to spread a laugh. These conversations solidify the game’s cultural status. The sound becomes a common tongue, a common experience that ties the community together. Through these discussions, a collective understanding emerges. The players themselves end up authoring the unofficial audio guide to the game’s mechanics.
Player Reactions to Repeating Audio Patterns
On player forums and in assessments, the repetitive nature of the Fluffy Favourites music is a frequent theme. While many consider the main melody calming and hypnotic, a noticeable minority admits it can grate during a very long session. UK gamblers have formed private methods to cope with this. Some play with the sound completely off, putting on their own music and using on-screen win alerts—a popular technique called “playing on mute.” Others delve into the settings, turning the music volume down but leaving game noises up. This enables them to hear win alerts and special mode initiations without the constant background loop. But here’s the twist: that identical recurrence is also listed as a positive. For users employing the title to unwind or as a gentle pastime, the predictable, invariable audio functions as background hum. It assists in forming a zen-like state of play. This polarized perspective illustrates how the same sound design can polarize a audience. Yet each camp shows just how influential the music is in influencing a spinning period.
The way Sound Enhances the Complete Gaming Experience
Ultimately, the way UK players perceive the sounds of Fluffy Favourites demonstrates that audio is a key feature, not an afterthought. The sounds provide crucial feedback, transforming cold win calculations into satisfying sensory moments. They construct a narrative, changing a sequence of random numbers into a story with tension, celebration, and excitement. They foster immersion, immersing the player in a unique world that feels miles away from a standard online casino lobby. For the committed fan, the sounds become the game. Catching that characteristic jingle out of context can quickly bring the vibrant reels to mind. This complete integration is why Fluffy Favourites continues to be a dominant force, even next to showy modern 3D slots. The game recognizes that enduring player attachment is built through multi-sensory interaction. Its legendary, carefully crafted soundscape shows that design philosophy functions, connecting with a community that hears just as hard as it plays.
Decoding Win Alerts and Celebratory Jingles
A win in Fluffy Favourites is a layered audio event, and UK players have become pros in reading it. The most common win gets a brief, positive two-note chime. It’s a satisfying “okay” without too much fuss. The bigger wins paint a different story. Wins that involve the Fluffy Favourites toys or activate the Fruit Stake feature play longer, more intricate jingles. These tunes have more depth, often including layers like tambourine shakes or climbing scales. Players get used to matching specific jingles to specific wins or features, creating an audio feedback system. For example, the recognizable carnival-style tune that plays during a Fruit Stake collection is unmistakable. It builds excitement as the player watches their multiplier climb. You’ll hear stories in forums of players identifying these jingles from another room, generating a shared moment of celebration. This attention to sound turns sound into real-time information. The jingle doesn’t just indicate a win; it often points at the win’s size before the reels even stop.
The Fruit Stake Anthem
The Fruit Stake feature gets a lot of attention for its sound design. Each fruit symbol collected makes a pleasing “plink,” and the on-screen counter ticks up with a clean digital click. When the feature finally kicks in, the audio shifts gear. A dramatic, building melody starts up, ending in a triumphant fanfare as the multiplier applies. Players observe how this sequence uses sound to create tension and release, turning a simple collection game into a real event. https://www.bloomberg.com/news/articles/2025-04-29/steve-cohen-closer-to-clearing-hurdle-for-8-billion-ny-casino The sounds are sharp, distinct, and unapologetically game-like, which captures the slot’s arcade machine roots.
Jackpot Round Audio Drama
The game reserves its biggest audio shift for the £100,000 Jackpot Bonus round. The usual background music cuts out entirely. It’s succeeded by a dramatic drum roll and the sound of a sweeping spotlight. Every player knows this sound means serious action. People mention a real adrenaline rush from that sudden auditory change, a clear signal that something major is happening. The sounds during the bonus pick itself are all suspense, with each selection marked by a profound, resonant tone. This makes the final reveal and its explosive celebration jingle feel like a true release.
Taylor Swift seems to be everywhere right now, not that I’m complaining. For one, she’s dressing so well this summer. The custom Givenchy gown at the Songwriters Hall of Fame induction, the Stevie Knicks shirt, her perfect wedding guest dress…the list goes on. And now, add to that the elevated street style moment she wore as she ducked into—prepare yourself—the studio. Don’t jinx it. But…TS13?? Actually, streets are saying it was Rachel Antonoff’s birthday party, which is why she was there with the Haims.
Until we know for sure, let’s focus on the clothes! Swift, who currently has a number-one hit thanks to her contribution to the Toy Story 5 soundtrack, “I Knew It, I Knew You,” stopped by Electric Lady Studios in New York City on Monday, June 15 looking very Midnights in a top from her friend Gigi Hadid’s brand Guest In Residence. Her particular mustard colorway is sold out but the navy and sky blue versions are still available.
She paired the polo with light-wash jeans for an outfit that would have been fine, if simple, but was elevated into an all-timer by the perfectly matched accessories. Her bag (Chloé), shoes (Gucci), and belt are all the same shade of rich, warm orange-brown as the hemline of her shirt. The combination instantly makes this ensemble feel intentional, polished, and expensive.
Aeon/Getty Images
It’s the “sandwich styling” method at work. Basically, the idea is to match the top in color or volume to your shoe—the “bread”—while the middle (pants, skirt, etc.) functions as the meat of this outfit “sandwich.” You can do it by matching your scarf to your socks, your headband to your shoes, your sweater to your…you get it. If you want to dress exactly like Swift, it’s as easy as finding shoes and a belt in similar tones as a knit polo. Simple, but effective!
Status: Ended”Gin Tama” is a TV show produced by SUNRISE, BN Pictures, TV Tokyo and Shueisha. The show was originally broadcast on TV Tokyo (Japan), TV Aichi (Japan), TVQ (Japan), TV Osaka (Japan), TVh (Japan) and TSC (Japan) and premiered on April 4th 2006. “Gin Tama” ended after 11 seasons and a total of 367 episodes. The final episode aired on October 8th 2018.
On screen, Robin Hood has been robbing from the rich to feed the poor for nearly as long as movies have been made. The likes of Errol Flynn, Kevin Costner and Sean Connery have put their imprint on the character, portraying him as everything from a swashbuckling rogue to a battle-hardened crusader. Even Walt Disney got in on the action, depicting Sherwood Forest as an animated haven for anthropomorphic foxes, bears and chickens. Given the dozens of films about Robin Hood, Michael Sarnoski, the director of “Pig” and “A Quiet Place: Day One,” worried there wasn’t much left to say about the famous thief.
“I loved the legend since I was a little kid,” Sarnoski says. “But I loved the ballad about the death of Robin Hood almost as much. This idea that this immortal folkloric figure also has a very human, simple, quiet death stayed with me.”
So Sarnoski used the story of Robin Hood’s last days as a jumping off point to offer a very different look at the outlaw, one that treated him as a haunted, guilt-stricken figure whose criminality is a matter of survival, not charity. It’s a savage take on the fable that is more aligned with “Unforgiven” or “Valhalla Rising” than the kind-hearted, tights-wearing merry men from so many movies.
“The earliest written mention of Robin Hood is in this history book called the Scotichronicon, which is basically a chronicle of Scotland, and it calls him a murderous cutthroat who common folk are so fond of glorifying,” Sarnoski says over a lunch at a midtown Manhattan restaurant. “That made me think about what a medieval bandit would really be like. They would not have existed in a glamorous happy world where they were worried about the poor.”
As he researched the story, Sarnoski listened to lectures on medieval history. “One of the teachers remarked that we think of medieval battles as knights on horses, but most of the time it was just peasants beating each other to death with shovels and rocks.”
Audiences will see Sarnoski’s mournful vision on Friday when “The Death of Robin Hood” opens in theaters. It stars Hugh Jackman as a murderous, thuggish Robin, long past his prime and hunted by the people he once terrorized and robbed.
“Hugh understood the character,” Sarnoski says. “He could bring the viciousness that I needed, like we’ve seen him do in ‘Prisoners’ and ‘Logan,’ but he’s such a kind, warm person that no matter how many kids he kills and horrible things he does, you believe he can be redeemed.”
Produced for roughly $20 million, “The Death of Robin Hood” was a scrappy affair. It shot for 30 days in remote sections of Northern Ireland with the cast and crew braving the cold to bring an authentically gritty story to the screen. There’s action in the film, but most of those sequences, including a bravura fight scene set in a farmhouse that’s been set ablaze, take place in the first 30 minutes. The rest of the movie is meditative, following Robin as he recovers from his wounds in a remote priory, where a mysterious healer (Jodie Comer) nurses him back to health. They grow close and their relationship takes an unexpected turn.
“I don’t want this to be some $100 million action-adventure,” Sarnoski says. “I want to make a movie for a responsible amount that can be weird and unique and have some edges.”
That meant getting buy-in on the title. Sarnoski wrote the script on spec and the film was packaged with Jackman and Comer before A24 came on board. Some potential buyers argued audiences would be turned off.
“Early on people were worried we were spoiling the movie or that it’s a bummer of a title,” Sarnoski says. “For me it felt like a chapter in an old book. I took a lot of liberties and changed the characters. I explored some nuances. I’m not trying to trick the audience about the tone of the story. And when A24 came on board, they eventually were like ‘we can market the shit out of this title.’”
Like “Pig,” the Nicolas Cage revenge drama that put Sarnoski on the map, “The Death of Robin Hood” is atmospheric and assured. It’s beautifully shot with Sarnoski’s camera capturing a rugged, mountainous landscape that’s as unrelenting and unforgiving as the film’s tortured protagonist. Given the darkness of his work, you’d expect Sarnoski to be an idiosyncratic Lynch-ian figure or a Peckinpah-ish man’s man. Instead, he’s bespectacled and soft-spoken, dressed in a blazer that makes him look more than an antiquarian than an auteur as he eats steak tartare with truffles.
Sarnoski, who grew up Milwaukee and went to Yale, got his start making low-budget short films and documentaries. When he got his big break with “Pig” in 2021, he worried he’d didn’t have what it took to call the shots on a feature.
“I’m a pretty anxious person in my daily life and always second-guessing myself,” Sarnoski says. “But I remember walking onto the set the first day of ‘Pig,’ and there were 10 seconds where I was like, “Holy shit, Nic Cage is walking up dressed as a character that I created.’ And then I just went to work and all that other shit just faded away.”
Sarnoski has found himself in demand after “A Quiet Place: Day One” scored at the box office and “Pig” was embraced by critics. Having offered his darker take on Robin Hood, he will next re-team with A24 on a live-action film adaptation of the video game “Death Stranding.” The story unfolds in a post-apocalyptic America that is ravaged by supernatural creatures. Sarnoski recently turned in a second draft of the script and hopes to shoot the picture in Iceland and Northern Ireland next year.
“I want it to feel big, but also offbeat and character driven,” Sarnoski says. “This takes place in the world of the video game, but I have my own set of characters. There are some like overlapping characters that fans will be excited to see, but it’s very much my own story within this universe.”
After that, Sarnoski has an idea for a smaller, low-budget personal project.
“I want to keep floating between the studio system and the indie world,” Sarnoski says. “If I can have a career like that, I’ll feel very spoiled.”
Here are five films Sarnoski says inspired “The Death of Robin Hood.”
1.) Valhalla Rising
“I love the physical brutality of the story and how it is set against the bleakness of the landscape. You just feel cold and alone watching it. And then there are these really intense moments of violence that are abrupt and unpleasant. That’s how I approached the violence in ‘Robin Hood.’ I want it to leave a sour taste in your mouth.”
2.) The Virgin Spring
“It takes place in the same time period as ‘Robin Hood.’ There’s a realness to it. You feel like it captures what it must have been like then and not in some cliched old-timey version of the medieval era that Hollywood used to make. And it’s also a deeply human tragedy. It’s impossible not to be moved by it.”
3.) The Revenant
“The film conveys the danger of nature. Everything around the characters is designed to kill them so they are never safe. I wanted that kind of intensity for the first 30 minutes of my movie. I wanted you to feel you could never let your guard down.”
4.) Days of Heaven
“I thought a lot about this movie for the scenes in the Priory. I tried to convey the same sense of stumbling upon this unlikely community that has created a world of its own that’s beautiful and serene, but there’s this fragility to what’s been built. It could all collapse at any moment.”
5.) Phantom Thread
“Robin Hood spends part of the film in bed and sick with Jodie’s character looking after him. That also caused them to build this unexpected understanding. They trust each other but that trust manifests in a peculiar way that takes the story in a darker direction much like ‘The Phantom Thread.’”
Voor gokkers die inschrijven bij Wisdom of Athena Slot of soortgelijke online kansspelplatforms in Nederland, is het volgen van een identiteitsverificatieproces een vereiste en cruciale stap https://wisdomofathena.co.nl/. Dit proces, wereldwijd gekend als Know Your Customer (KYC), is geen papieren hindernis maar een basis onderdeel van een betrouwbare en verantwoorde speelomgeving. De Nederlandse wet- en regelgeving, streng toegepast door de Kansspelautoriteit (KSA), bepaalt deze controles om deelnemers te beveiligen, fraude tegen te strijden en de zuiverheid van het spel te waarborgen. Voor Wisdom of Athena Slot betekent dit dat nieuwe gebruikers hun identiteit, ouderdom en adres moeten bevestigen voordat zij helemaal van het aanbod kunnen profiteren. Dit artikel geeft een grondige, praktische analyse van het KYC-proces zoals dat van geldend is op deelnemers van Wisdom of Athena Slot in Nederland. Het bespreekt de wettelijke basis, de precieze handelingen die een speler moet doorlopen, de categorieën documenten die goedgekeurd worden, en de redenen waarom deze voorzieningen tenslotte in het voordeel van de speler zijn.
De Wettelijke Basis: Waarom KYC Verplicht Is in Nederland
De invoering van KYC-controles door Wisdom of Athena Slot is een rechtstreeks resultaat van de Wet Koa (Wet Koa), die in 2021 van kracht werd. Deze wet reguleerde en ordende de online kansspelmarkt onder supervisie van de Kansspelautoriteit. Een van de kernpijlers van deze wet is bescherming van spelers, en KYC maakt daarvan de basis. De wet vereist dat licentiehouders, zoals de partij achter Wisdom of Athena Slot, de persoonsgegevens van hun klanten controleren vóór accountactivatie. Dit vervult diverse wettelijke doeleinden: het voorkomen van toegankelijkheid door personen onder 18 jaar, het bestrijden van witwaspraktijken en terrorismefinanciering, en het verzekeren dat spelers werkelijk in persoon in Nederland verblijvend zijn. Het niet naleven van deze verplichtingen kan voor de aanbieder leiden tot hoge straffen en schorsing van de licentie. Voor de speler schept dit kader een gereguleerde context waar oneigenlijk gebruik en oneerlijke praktijken worden tegengegaan. Het is dus geen vrije keuze van het casino, maar een non-negotiable vereiste gesteld door de Nederlandse staat om een integere en betrouwbare markt te realiseren.
Toegestane Documenten voor Identiteitsverificatie
Wisdom of Athena Slot accepteert vastgestelde, door de overheid verstrekte documenten om aan de KYC-vereisten te voldoen. Voor identiteitsverificatie is een geldig paspoort, Nederlandse identiteitskaart of rijbewijs nodig. Het document moet duidelijk leesbare details tonen: de volledige naam, geboortedatum, pasfoto, documentnummer en de vervaldatum. Voor adresverificatie is een recent document vereist dat het naam en adres verifieert zoals opgegeven tijdens de registratie. Acceptabele documenten hiervoor zijn een bankafschrift, een energierekening, een belastingaanslag of een officiële brief van een overheidsinstantie (zoals de gemeente). Deze mag niet ouder zijn dan drie maanden. Cruciaal is dat het BSN overeenkomt met de geregistreerde gegevens; dit wordt vaak automatisch gecontroleerd via een aangesloten database. Spelers behoren erop te letten dat alle uploads van hoge kwaliteit zijn: alle hoeken van het document moeten zichtbaar zijn, de tekst moet leesbaar zijn en er mag geen reflectie of vervaging zijn. Het gebruik van een gescande versie of een foto van hoge kwaliteit genomen in goed licht wordt aanbevolen.
Het Stapsgewijze KYC-Proces bij Wisdom of Athena Slot
Het KYC-traject bij Wisdom of Athena Slot verloopt doorgaans in een logische opeenvolging van stappen, bedoeld om eenvoudig te zijn tegelijkertijd aan alle wettelijke vereisten wordt tegemoetgekomen. De eerste stap wordt gezet tijdens de registratie, waar standaardgegevens zoals naam, geboortedatum, BSN (Burger Service Nummer) en adres worden ingevuld. Na het openen van het account en mogelijk het doen van een initiële storting, zal het systeem of het klantenserviceteam de speler verzoeken de verificatie af te ronden. Gewoonlijk krijgt de speler een melding in de accountomgeving of per e-mail met aanwijzingen. De kern van het proces is het uploaden van heldere, wettige exemplaren van de vereiste documenten via een beveiligd portaal op de website of app. Na upload evalueert een gespecialiseerd compliance-team de documenten; dit kan enkele uren tot hoogstens enkele werkdagen in beslag nemen. Bij acceptatie krijgt de speler een bevestigingsbericht en is het account helemaal geactiveerd. Indien er moeilijkheden zijn, zoals een onduidelijk document of een foutief adres, maakt het team contact op met een verzoek om aanvullende of betere informatie.
Gevolgen van Niet-Voltooien van KYC en Beperkingen op Accounts
Het niet tijdig of onjuist doorlopen van het KYC-proces heeft onmiddellijke gevolgen voor het benutten van een account bij Wisdom of Athena Slot. In de eerste fase zullen betalingen en met name opnames worden geblokkeerd totdat de verificatie goed is afgesloten. Dit is een standaard risicoverlagende actie. Als een speler telkens aanvragen negeert of ongeldige documenten indient, kan het account worden beperkt of totaal beëindigd. In dit soort situaties wordt aanwezig beschikbare tegoed geretourneerd naar de herkomst van de deposito, op voorwaarde dat de identiteit alsnog kan worden geverifieerd. Een veelvoorkomende motief voor uitstel is het verstrekken van onvoldoende duidelijke documenten of documenten die niet beantwoorden aan de vereisten (zoals een niet actueel adresbewijs). Het is derhalve in het eigen belang van de gokker om het proces actief en nauwkeurig af te werken. Een geheel gevalideerd account daartegenover heeft alle voordelen: ongelimiteerde overboekingen, toegang tot aanbiedingen en cadeaus (waar vaak ook KYC voor verplicht is), en de mogelijkheid om gebruik te maken van alle klantenservicekanalen zonder restricties.
Leeftijdsverificatie en Bestrijding van Minderjarig Spel
Het verifiëren van de minimumleeftijd is het belangrijkste en meest strikte component van het KYC-proces. De Nederlandse wet gedoogt helemaal geen vorm van kansspel aan aan personen onder de 18 jaar. Wisdom of Athena Slot is wettelijk verplicht om dit actief te verifiëren en te handhaven. De leeftijdscontrole is opgenomen in de identiteitscontrole; door het geboortejaar op het verstrekte identiteitsbewijs te nagaan, bepaalt het compliance-team of vast de speler meerderjarig is. Dit is een binair proces: voldoet de speler niet aan de leeftijdsgrens, dan wordt het account direct en permanent geweigerd of afgesloten. Deze maatregel strekt zich verder uit dan een simpele checkbox tijdens registratie; het is een fundamentele, document-gestuurde verificatie. Het belang ervan kan niet worden overdreven, aangezien het de kwetsbaarste groep in de samenleving vrijwaart tegen de potentiële risico’s van gokken. Voor de meerderjarige speler verschaft deze rigoureuze controle de garantie dat zij in een omgeving gokken waar verantwoordelijkheid voorop staat en waar een concurrentievoordeel door het toelaten van minderjarigen is vermeden.
Privacy en Bescherming van Privacygegevens
Een veelgehoorde vraag bij het indienen van gevoelige documenten is de veiligheid en beveiliging van die data. Wisdom of Athena Slot is conform de AVG (Algemene Verordening Gegevensbescherming) en de Wet Koa genoodzaakt om de beste normen voor databeveiliging te gebruiken. Persoonlijke data en ingediende documenten worden geëncrypteerd bewaard op veilige servers, alleen inzichtelijk voor erkend compliance-personeel. De informatie worden uitsluitend gebruikt voor het wettelijk vereiste vereiste verificatiedoel en worden niet verstrekt met externe partijen, behalve wanneer dit specifiek door de wet wordt voorgeschreven (bijvoorbeeld bij een onderzoek door de KSA of FIOD). Het casino moet een helder privacybeleid hebben dat uitlegt hoe lang gegevens worden bewaard – gewoonlijk voor de wettelijk verplichte vereiste periode na opzegging van het account. Spelers hebben het bevoegdheid hun gegevens in te kijken, te aanpassen of te verzoeken tot wissen, mits dit niet in strijd is met wettelijk verplichte bewaarplichten. Het is voor spelers verstandig om alleen documenten rechtstreeks via het beveiligde portaal van het casino te versturen en nimmer via onversleutelde e-mail of andere onofficiële kanalen.
Adresvalidatie en het Verblijfsvereiste in Nederland
Naast identiteit en leeftijd moet Wisdom of Athena Slot bevestigen dat een gebruiker daadwerkelijk fysiek in Nederland verblijft. Dit vestigingseis is een direct resultaat van de Nederlandse licentie: alleen mensen die binnen de grenzen vertoeven, mogen profiteren van de voorzieningen van een KSA-vergunninghouder. Adresverificatie voorkomt dat personen vanuit het andere landen, waar mogelijk andere regels en beschermingsmaatregelen bestaan, op het Nederlandse producten deelnemen. Het procedure vereist, zoals eerder genoemd, een recent stuk met volledige naam en woonadres. Het compliance-team zal dit document zorgvuldig vergelijken met het woonadres in het account. Afwijkingen, zoals een postbus in plaats van van een verblijfadres of kleine spellingsfouten, kunnen tot oponthoud of afkeuring uitmonden. Soms wordt de locatie ook geverifieerd via IP-adres tracking of de uitvoering van een gesprek. Deze strikte toetsing garandeert dat Wisdom of Athena Slot zich houdt aan de geografische grenzen van haar vergunning en draagt bij bij het voorkomen van bedrog, zoals identiteitsdiefstal of het opzetten van verschillende accounts vanaf hetzelfde vestigingsadres.
Hoe Lang Duurt het KYC-Proces en Wat Bij Vertraging?
De verwerkingstijd voor KYC-documenten bij Wisdom of Athena Slot verschilt, maar een efficiënte aanbieder richt zich op verwerking binnen 24 tot 48 uur na verkrijging van duidelijke documenten. Tijdens drukkeperiodes, zoals na een grote campagne, kan dit iets langer duren. Als de evaluatie langer dan een enkele werkdagen in beslag neemt, is de grootste oorzaak een kwestie met de aangeleverde documenten. In dat geval moet de speler de e-mailinbox (inclusief spamfolder) en de berichten te controleren op contact van het compliance-team. Indien er na een paar dagen niks is en er niets zijn ontvangen, is het raadzaam contact op te nemen met de klantendienst. Zij kunnen de stand van zaken opvragen en wanneer nodig concrete feedback geven. Spelers moeten vermijden om herhaaldelijk dezelfde documenten opnieuw te uploaden zonder aanwijzing, omdat dit het proces net kan vertragen. Geduld en precisie en precisie bij de initiële indiening zijn de basis tot een vlot en snel doorlopen verificatie.
Veelgestelde Vragen (FAQ) over KYC bij Wisdom of Athena Slot
Is herverificatie nodig na mijn eerste KYC-controle?
Is mijn BSN veilig bij Wisdom of Athena Slot?
Wat gebeurt er zonder Nederlands ID maar wel legaal in Nederland woon?
Mag ik deelnemen terwijl mijn KYC in behandeling is?
Waarom vraagt Wisdom of Athena Slot een selfie met mijn ID aan?
Het KYC-proces voor Wisdom of Athena Slot in Nederland is een integraal en onmisbaar onderdeel van een gecontroleerde en beveiligde online spelomgeving. Het dient niet alleen om te voldoen aan strikte wettelijke vereisten van de Kansspelautoriteit, maar geeft spelers daadwerkelijke bescherming tegen oplichting, jeugdgokken en illegale geldstromen. Door het correct overleggen van de benodigde papieren kunnen spelers het proces gemakkelijk voltooien, waarna zij met gerustheid kunnen gebruikmaken van het spel, wetende dat hun gegevens veilig zijn en dat het platform werkt volgens de hoogste normen van integriteit en verantwoordelijkheid.
After a 10-year hiatus, Faith No More has signed a long-term global agreement with Brazilian live entertainment powerhouse 30e that will place the company at the center of the group’s future worldwide activities, from tour planning across five continents to marketing strategy, fan experiences and brand development.
“30e feels like a company that wants to dent into the status quo, and as artists we understand the value of that,” the Mike Patton-led band says. “Their approach doesn’t feel like the usual machinery; it feels like it’s coming from a different place, with a different kind of energy, and we are willing to get behind that.”
Faith No More has remained inactive since the cancellation of planned 2021 reunion dates, which were scrapped after Patton cited mental health struggles during the pandemic. In the years since, the group’s future has remained uncertain, with members offering few indications about whether they would return to the stage. That changed in recent days when the band began teasing activity tied to 2027.
If so, the timing would be fitting. Next week marks the 37th anniversary of The Real Thing, the landmark 1989 album that transformed Faith No More from cult favorites into one of rock’s most intriguing acts. Released after the band dismissed original frontman Chuck Mosley and recruited then-unknown vocalist Patton, The Real Thing became a nulti-genre, breakthrough success, eventually earning platinum certification and spawning the crossover smash “Epic,” which climbed into the Billboard top 10.
“Faith No More has always been synonymous with disruption,” 30e CEO Pepeu Correa says. “They shaped entire generations precisely because they refused to play by the market’s obvious rules, and it is that same audacious spirit that drives 30e. This agreement aims to jointly build a platform for global experiences that respects the band’s transgressive DNA and presents our vision of entertainment to the world.”
For now, neither side is announcing specific tour dates. Patton is winding down a run of shows with the Avett Brothers in support of their surprising collaborative LP AVTT/PTTN, including Thursday (June 18) in Cleveland, the following night in Ann Arbor, Mi., and Saturday in Waukegan, Il.
Every independent film is a small business that runs for exactly one production cycle. And like any business, the two questions that determine whether it survives are: how do you reduce costs, and how does the money come back?
For indie producers, film tax incentives and the recoupment waterfall are the two financial structures that answer those questions. Incentives reduce the effective cost of production by returning a percentage of what you spend in a given state or territory. The recoupment waterfall determines the order in which revenue flows back to the people who financed the film: investors, lenders, the producer, and eventually the talent with profit participation.
Most filmmakers understand these concepts in the abstract. But the gap between understanding them in theory and using them to actually close financing is where a lot of indie projects stall. This guide is designed to bridge that gap.
Film Tax Incentives: More Than a Headline Number
As of 2026, 39 U.S. states plus D.C. and Puerto Rico run active film production incentive programs. These programs return between 15% and 45% of qualified in-state spending to producers, typically as a tax credit, cash rebate, or competitive grant. For independent producers working with tight budgets, that money often makes the difference between a film that closes financing and one that dies in development.
But here is the mistake most first-time producers make: they pick a state based on whoever advertises the highest percentage. A state offering a 40% credit sounds better than one offering 25%. In practice, the effective return depends on a half-dozen factors the headline rate does not capture.
The type of incentive matters enormously. A refundable tax credit converts directly to cash. The state writes you a check regardless of whether your production company owes state taxes. A transferable credit has to be sold through a broker, and the broker takes a spread, so a 30% transferable credit might net you 26% or 27% after fees. A grant is allocated competitively, meaning you might not get it at all.
Then there are the caps. Some states set annual program limits. California recently expanded its cap to $750 million annually. Georgia runs the only major uncapped program in the country. But a state with a $4 million annual cap can only support a handful of productions per year. If the money is gone before your application is processed, your effective rate is zero.
Other factors that change the math: what counts as qualified spend (some states exclude above-the-line costs), how quickly you get paid (90 days versus six months changes your cash flow plan), whether the state has enough local crew (flying in department heads eats into whatever you saved on the incentive), and whether the program has the legislative stability to survive through your post-production timeline.
And this is not just a U.S. conversation. The UK offers generous incentives for independent filmmakers, including an enhanced Independent Film Tax Credit of 53% on qualifying expenditure for films with budgets under £15 million. Canada, Ireland, Australia, New Zealand, and much of Europe run their own incentive programs with different structures, caps, and eligibility rules. The details vary by country, but the framework is the same everywhere: evaluate the effective return after all conditions, not just the advertised rate.
The producers who get the most out of incentives are the ones who evaluate the full picture, not just the rate. Tools like Shamel Studio’s Film Tax Incentives Map let you compare every active U.S. program side by side, covering rates, caps, incentive types, minimum spend thresholds, and payroll burden, so you can make the decision based on your specific budget rather than a marketing number.
What Changed in 2026
The incentive landscape shifted meaningfully this year. The federal Section 181 deduction, which allowed immediate expensing of production costs, officially expired on January 1, 2026, for all productions that did not commence principal photography by the deadline. That makes state-level incentives even more critical to production financing than they were before.
At the same time, the two biggest production hubs escalated their competition. California expanded its annual cap from $330 million to $750 million. New York raised its cap to $800 million and removed restrictions on above-the-line costs. New Jersey extended its program through 2049 with rates up to 40% for in-state studio partners. Illinois extended through 2038 with effective rates that can reach 55% with the right uplift combination.
For a detailed look at how every state program compares and how to evaluate them against your budget, see this guide to film tax incentives.
The Recoupment Waterfall: Where the Money Goes After the Film Is Made
Tax incentives reduce how much your film costs to make. The recoupment waterfall determines how the revenue that comes back gets divided.
A recoupment waterfall is the contractual order of priority in which revenue from a film is distributed to the parties who financed and created it. Think of it as a sequence of buckets. Revenue fills the first bucket before any money flows to the second, and so on down the line.
A typical indie film waterfall looks something like this:
First position: The sales agent or distributor takes their fees and recoups distribution expenses (P&A, deliverables, market costs).
Second position: Equity investors recoup their capital contribution, often with a premium (for example, 120% of invested capital before profits split).
Third position: Any gap lenders, mezzanine financiers, or tax credit lenders recoup their advances.
After recoupment: The producer, talent with backend deals, and remaining equity investors split what is left according to negotiated percentages.
The exact structure varies by deal, but the principle is the same: money flows from top to bottom, and the people at the top get paid first. Understanding where your investors sit in this structure, and being able to show them clearly, is often the difference between raising the money and not.
Why These Two Structures Work Together
Here is the connection most producers miss: the tax incentive directly affects the recoupment waterfall.
If your film has a $1 million budget and you secure a 25% refundable tax credit, your effective capital requirement drops to $750,000. That means your investors need to put in less money, which means they recoup faster, which means the backend (where the producer and talent make their money) kicks in sooner.
This is not a minor detail. When you are sitting across the table from an investor and you can show them a model where their capital is returned at 120% before the end of the second revenue window instead of the fourth, that changes the conversation. It makes the investment more attractive. It makes the film more likely to get financed.
Modeling this requires a tool that lets you set up the waterfall structure, input the incentive as an offset against total capital, and see how the returns shift. Shamel Studio’s Film Recoupment Waterfall Calculator does exactly that. It lets you build the waterfall, assign positions, and model different scenarios so you can present investors with clear, credible projections.
Independent filmmaking is a creative pursuit built on a financial foundation. The films that get made are the ones where the producer understood the money. Not just how to raise it, but how it flows through the production and back out to the people who put it in.
Tax incentives and the recoupment waterfall are not glamorous topics. But they are the two structures that determine whether your film is financially viable before you ever call “action.” The more clearly you understand them, the stronger your position at every stage: pitching investors, choosing a location, negotiating distribution deals, and building a career where you can keep making films.
Do the homework. Run the numbers. Let the data tell you where to shoot and how to structure the deal. The creative work deserves a financial plan that can support it.
Feras Alfuqaha is co-founder of Shamel Studio, a lightning-fast production management platform that combines scheduling, budgeting, call sheets, and production reports in one workflow. Built for producers, directors, and ADs, Shamel Studio helps teams plan and manage productions more efficiently.
An invasive species of fish has taken over the waterways at Kejimkujik National Park, sparking concern it could spread further and severely impact Nova Scotia’s fish stocks.
The lakes and rivers at the park used to be teeming with mostly brook trout and yellow perch.
However, the invasive chain pickerel started making the park its new home in 2018.
“They are quite good at what they do. It’s an invasive species because they reproduce quickly, they move quickly, they’re actually the top predator in our watersheds right now,” said Gabrielle Beaulieu, an ecologist with the national park.
“And they outcompete a lot of the native species, both for food and shelter throughout the park, as well as outside of the park.”
According to the latest Kejimkujik Angler Diary Report, chain pickerel have dominated catches since their reporting began in 2015.
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The newest report shows more than 5,300 chain pickerel caught, compared with 5,006 brook trout and just under 4,000 yellow perch.
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Beaulieu says the situation was especially dire last year, with nine in 10 fish caught being chain pickerel, leading the national park to end its brook trout creel census.
The census involved volunteers catching the trout, recording information about them and releasing them back into the waters.
“Unfortunately, because chain pickerel has now essentially taken over a lot of the populations of fish in the waters at Kejimkujik, we felt it necessary to reduce any potential stress that we would be putting on native species of fish,” Beaulieu said.
Sheri MacNeil with the Nova Scotia Invasive Species Council says the fish were introduced to the province in the 1940s in the Yarmouth and Digby areas for sport fishing.
The population has now exploded, with the council monitoring waterways in northern Nova Scotia and Cape Breton for the fish.
“They have impacted the trout and it will happen in other watersheds in other areas if we don’t try to prevent the spread,” MacNeil said.
Nova Scotia has a catch-and-kill policy in place for the fish.
Beaulieu says the “silver lining” is that chain pickerel are quite easy to spot on the surface of the water. Both she and MacNeil say it’s important for anglers to keep an eye out and to be cautious about introducing the species to any new areas or watersheds where they can proliferate.
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“The food here is plenty. They’re doing well. They are a shallow, warm water species and they’re predatory,” Beaulieu said. “So all the conditions here are actually quite good for chain pickerel to establish and stay long-term.”
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