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.
[Editor’s note: The following interview contains spoilers for “Bring Me the Beauties.”]
Nearly five years and one hundred hours of interviews went into the latest HBO docuseries, “Bring Me the Beauties: A Model Cult.” While the fervor around cult and true-crime documentaries is practically in the water these days, director Chris Smith‘s three-episode series stands out for its sensitive portrait of the individuals swayed by the ’80s and early-’90s Eternal Values cult, one of the strangest on television’s offer. Led by the heavily plastic-surgered Frederick von Mierers, the son of a Brooklyn dry cleaner who posed as a descendant of European nobility, the New Age wellness group preyed upon male and female models while claiming to be walk-ins — or people whose souls have been replaced by those of extraterrestrials.
At the center of the documentary is Hoyt Richards, one of the early male models of the 1980s, who has been processing his hard-won escape from the cult since around the time of the closeted Mierers’ death of AIDS-related complications in 1990. Richards attained fame as a pioneering male supermodel in major ad campaigns by the likes of Bruce Weber, Richard Avedon, and Helmut Newton, but all along he was being extorted and exploited by Mierers and his followers to bolster (and bankroll) their shaky, pseudoscientific philosophy.
The heartbreaking third episode, which just aired Monday night, details Richards’ escape from the cult and the Eternal Values acolytes who assumed power after Mierers died — those who kidnapped Richards after one escape attempt, kept him brainwashed and subservient, and even forced him to break up with his girlfriend because she wasn’t part of the cult.
But that story, among others, has a happy ending, as Episode 3 revealed. IndieWire spoke to director Smith ahead of the finale to break down key moments, including a housefire that burned down the Eternal Values’ compound near Lake Lure, North Carolina — the house Richards eventually escaped from. To include the fire, which was unrelated to Eternal Values, would have been too conspiratorial, according to Smith.
Richards and his girlfriend are also set to be married in the fall.
This interview has been condensed and edited for clarity and brevity.
IndieWire: You met Hoyt Richards around the time you were making the documentary “Bad Vegan,” but his story had largely remained unknown until your series. Now it feels like his story is everywhere. Already, Nicholas Galitzine is set to play him in a Gus Van Sant movie.
Chris Smith: I was surprised I’d never heard anything about this story. There are so many people in the documentary space, looking at any and every story out there. This is such an incredible intersection between this world of male models and cult, the idea that Hoyt was living this double life between these two worlds seemed really fascinating to me.
It took years of relationship-building to get some of the former Eternal Values members to even talk, as Hoyt advised. Who were the ones you had to convince?
Dar [Dixon] was another former member who ended up reconnecting with Hoyt after they both had left the group and ended up becoming roommates, processing this experience together. We ended up doing 18 hours of interviews with Dar alone… The fact that [the cult] went on for 20 years meant there was so much ground to cover. A lot of documentaries, it’s like, can we get to a feature-length? Do we have a series? For us, it was the opposite problem, where [we were] trying to contain the story within three episodes… The caliber of people who engaged with Frederick, they were all incredibly smart, caring people who wanted to become the best versions of themselves and help mankind, or help the planet in some degree. It felt like, in reconnecting with these people later, that none of that had changed.
Toward the end of the series, what I found really devastating was the breakup forced on Hoyt’s relationship with Donna, who came from outside Eternal Values. In the end credits, it’s revealed that they reconnected and are together today. Did you try to bring her into the series at all?
That was fairly recent that they reconnected and are now engaged to be married. They had an engagement party the other night [they’re set to get married in September]. That was something that happened at the very end of the process. Hoyt addressed it in his interview, and we put a title credit there. Obviously, they still had a really strong connection that endured all these years later, and we found there to be something beautiful about that as a coda to his story.
It’s at the end of the darkest episode in the series. The series begins in this woo-woo, New Age-y, pseudoscience register, especially when you’re talking about Ruth Montgomery, the psychic whose lore Frederick borrowed to form the Eternal Values philosophy.
We originally cut this as four parts, and eventually moved it into three. The first episode is called “The Promise,” and it’s about the promise of what this group could be. The second episode… [is about] the fall of the group, precipitating [John Pearson’s] leaving, the downfall. Then it felt like Episode 3 was the aftermath… One of the things we found really interesting about Hoyt’s story was the fact that he came from what appeared to be the most idyllic, almost a Norman Rockwell version of an American family, with six kids and summers in Nantucket, and his dad had documented everything, and Ivy League schools. That juxtaposition with his trajectory and how things unfolded felt very unique in that way.
Frederick von MierersCourtesy HBO
In the last episode, there’s a phone call with Frederick’s mother, who’s either in total denial or oblivion toward the situation. Was that a call you made or archival?
She’s passed away, but our producer had tracked her down and was able to get her on the phone, and she obviously felt like a lot of what had been reported on her son was not accurate. A lot of the people we had talked to that had been in the group were shocked when they learned we were able to learn to talk to his mother. As far as they had known, she was no longer with us.
She wanted to get on the record to set it straight, to say, “You’re the crazy ones.” Speaking of Frederick, the documentary allows the viewer to interpret for themselves the source of his need for control. Did you and the subjects reach a conclusion by the end? A lot of it came from internalized homophobiaand his own repression.
One of the questions I asked throughout the process was how much of Frederick’s evolution was premeditated. That’s something we still don’t know, but was he someone who wanted to be a leader of a group of people, or was that something that organically evolved, and he just sort of understood how to communicate in a way that allowed that to happen? I still don’t know the answer. In today’s age, you could study how to become a cult leader, but at the time, it was hard to understand if that was something Frederick was trying to do or not.
There were some senior people in the organization who weren’t going to comment. Is this cult still surreptitiously operating or has it mostly dissolved?
I think everybody has moved on from what we can tell. It doesn’t seem like there’s a group per se anymore.
John Lennon’s very apropos song “Mind Games” plays over the end credits. It’s famously hard to get Beatles songs in film and TV. How did you do it?
It was one of those things we put in and loved and assumed we wouldn’t be able to afford. We have an amazing music supervisor [Linda Cohen] who wrote a letter and explained why it was meaningful for us creatively, and we were surprised, they came back and supported us creatively. There are still artists out there who want to help other artists do great work.
What’s the status of the house in Lake Lure, where the cult spent its final years?
The house burned down. We had it in [the doc] at one point, but it seemed like it was inferring something. As far as we can tell, we don’t know exactly why it burned down, but it did not appear to be nefarious, or anything other than accident. That was after it was sold. That’s why it wasn’t included, but the house is no longer there, and there was another house rebuilt on the property.
All episodes of “Bring Me the Beauties” are now streaming on HBO Max.
Two iconic New Orleans hip-hop labels, No Limit Records and Cash Money Records are hitting the road together for their first joint U.S. arena tour. The labels led, respectively, by Master P and Birdman, announced the dates for the outing on Monday (June 15), revealing that the 17-date tour is slated to kick off on Sept. 11 at the Toyota Center in Houston, Texas.
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The super-stacked bill featuring some of the labels’ most iconic artists will find the two bosses joined by Juvenile, Mannie Fresh,Silkk the Shocker, B.G., Mia X, Mac, Fiend, Mercedes, Choppa, Mr. Serv-On and special guests the Ying Yang Twins.
Master P announced the tour on his Instagram, writing, “It’s about to be EPIC! 🔥 No Limit x Cash Money Tour, one more time for the streets… Salute to all of our fans. All our No limit soldiers rock y’all camo and witness history! ⚜️”
Following the Houston gig, the tour — subtitled “Two Empires. One Stage. One Time” will touch down at home on Sept. 12 with a show at the Smoothie King Center in New Orleans, followed by stops in Atlanta, Raleigh, N.C., Detroit, Indianapolis, Birmingham, Ala., Dallas, Washington, D.C., Columbia, S.C., St. Louis, Memphis, Sunrise, Fla., Tampa, Chicago and Cincinnati before winding down on Nov. 15 at the Rocket Arena in Cleveland.
Both labels helped turn Southern hip-hop into a major force, with P moving No Limit from Richmond, Calif. to his birthplace in New Orleans in 1995, where he grew his roster with local talent including Mystikal, Mia X and Mr. Serv-On, while breaking into soundtracks and low-budget, direct-to-video films including I’m Bout It, I Got the Hook-Up and Foolish.
Cash Money was founded in New Orleans in 1991 by brothers Ronald “Slim” Williams and Bryan “Baby” Williams, blowing up in the 1990s thanks to a roster including B.G., Lil Wayne, Juvenile and the Hot Boys, who scored the label 12 No. 1 albums on the Billboard 200, as well as seven No. 1 singles, including Weezy’s “Lollipop,” Drake’s “One Dance,” “God’s Plan” and “Nice For What” and Jay Sean’s “Down,” among others.
“The fans have been waiting for a tour like this for a long time,” Master P said in a statement. “We came from New Orleans and built something the world had never seen before — movements that changed music, hip hop culture, and the business forever.” The team-up comes after the two labels faced off in a highly anticipated Verzuz battle last October at ComplexCon in Las Vegas.
A presale will kick off on Wednesday (June 17) at 10 a.m. ET and run through Thursday (June 18) at 11:59 p.m. ET, followed by a general on-sale beginning on Friday (June 19) at 10 a.m. ET here.
imagineNATIVE 2026 FILM FESTIVAL REVIEW! Proving that there are still edges of the Earth to fall off of is the Canadian outlaw drama Nika & Madison, directed by Eva Thomas, who co-wrote the script with Michael McGowan. Nika (Ellyn Jade), who lives out in the country on tribal land, starts her day by running out into the bush to hunt game. Her cousin, Madison (Star Slade), who is going to university in Toronto, goes out clothes shopping with her classmate, Emma (Tehya Silbermann). Madison lets Emma know she is going back to the reservation for the weekend, a few hours away by bus, to visit Nika and Uncle George (Billy Merasty). She and Nika used to be very close, but fell out of touch after she left. When Madison visits Nika at her cash register job, the reaction she gets is ice-cold. Nika just glowers at Madison over the paperback she is reading, giving her short answers. Madison doesn’t understand why Nika never left the reservation like she did, as she was way too good at school.
“Nika just glowers at Madison over the paperback she is reading, giving her short answers.”
Madison gives up and goes out partying in town, ending up in a bar fight with a bitch who should have known better. Constable Boyd (David Reale), who was called to the scene, offers to give Madison a ride home in his squad car. Nika is called about the bar fight by their bud, Trevor (Dylan Cook), so she goes looking for Madison to make sure she is okay. Tracking Madison’s phone signal, Nika ends up in an empty industrial lot, nowhere near home. When Nika finds Constable Boyd beginning to rape Madison, she brains him good with a blunt instrument. Nika calls for help on the cop’s radio, then gets herself and Madison out of there. The cop ends up in a coma, so Detective Sargent Timmins (Amanda Brugel) and Detective Warhurst (Shawn Doyle) are assigned the case to find out what happened. To protect the girls, Chief Sampson (Gail Maurice) throws up literal roadblocks in the police investigation. Aware of how brutal the system is to indigenous women, Madison and Nika flee into the woods. To outsiders, running makes the pair look guilty, and the world starts to close in around them.
Nika & Madison has one of the most perfect cinematic destinations ever: Nika’s trailer in the woods. This backwoods hideout rivals the boat in The African Queen for places people wish they could be transported to. Even with the figurative dire wolf glaring through the window, there is something eternally peaceful about this shelter from the storm. The moment Jade and Slade arrive at the trailer, everything clicks, with endless possibilities as to how this will play out. It is a fantastic plateau Thomas achieves, as the movie has the sort of welcome to wonderland jolt that runs up your seat. It is bittersweet that this wilderness retreat is already overshadowed by the doom of being pursued relentlessly. However, nothing makes relief sweeter than when all hope is absent.
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Having made its debut at Mipcom in 2025, YouTube is doubling down on the TV event this year.
The company has announced that not only is it returning to Cannes in October, but it will have an expanded presence that it claims is “designed to embed the platform as a core distribution and monetisation pillar for the global entertainment industry.”
YouTube’s bolstered Mipcom offering will include an opening day main-stage keynote address by its vice president of EMEA, Pedro Pina. Throughout the week, Pina will also be joined by YouTube’s global head of media & sports, Justin Connolly, plus its partnership teams and more than 10 media partners.
Over on the exhibition floor, YouTube is enhancing its YouTube View hub and will also run a series of twice-daily workshops and panels tailored to broadcasters, studios, media publishers and creators. The platform is also expanding its footprint into the preceding MipJunior weekend and will host a session about building fandoms and scaling premium IP for Gen Z and teens.
“The media landscape is shifting rapidly, and YouTube is here to help broadcasters and studios grow,” said Pina. “This year at Mipcom, our focus moves from why media companies should be on YouTube to exactly how they can build a sustainable business on the platform. We want to show them a clear path to distribute and monetize content, driving shared success in the new streaming era.”
Added Lucy Smith, director of Mipcom and MipJunior: “Last year marked a generational shift for Mipcom, proven by YouTube’s historic debut. Their message to the industry was clear: ‘We only succeed when you do.’ This year, they are backing that up by doubling their presence, bringing their global leadership, and offering the practical tools needed to shape the future of entertainment.”
Argento will receive the award in Piazza Grande on the evening of Aug. 13 and also present Jorge Thielen Armand’s La Muerte No Tiene Dueño (Death Has No Master), which premiered in the Directors’ Fortnight at Cannes this year and which stars her.
“Since making her onscreen debut as a child in Lamberto Bava’s cult sequel Demons 2 (1986) and starring in Palombella rossa (1989) by Nanni Moretti, Asia Argento, one of the most distinctive European performers of her generation, has built a singular body of work that encompasses passionately beloved genre films, auteur cinema, and intimate self-portraiture,” Locarno said. “Argento emerged as one of the most daring presences in cinema, winning two David di Donatello awards for best actress for Perdiamoci di vista (1994) by Carlo Verdone and Traveling Companion (1996) by Peter Del Monte. With her father, Dario Argento, she starred in a slew of dazzling films – starting with Trauma (1993) – that would reshape the legendary Italian auteur’s canon, most famously with The Stendhal Syndrome (1996).”
As a performer, she has collaborated with such big-name directors as Patrice Chéreau (Queen Margot, 1994), Abel Ferrara (New Rose Hotel, 1998 and Go Go Tales, 2007), Gus Van Sant (Last Days, 2005), George A. Romero (Land of the Dead, 2005), Sofia Coppola (Marie Antoinette, 2006), Olivier Assayas (Boarding Gate, 2007), Catherine Breillat (The Last Mistress, 2007), Bertrand Bonello (On War, 2008), and Tizza Covi and Rainer Frimmel (Vera, 2022).
Locarno lauded Argento for “moving with ease between Italian productions and international ensembles and bringing a powerfully distinctive cinephile sensibility to each collaboration.” She has also starred in such blockbusters as xXx (2002), directed by Rob Cohen, and cult thrillers like The Red Siren (2002), directed by Olivier Megaton.
“Parallel to her career as an actress, Argento has directed a remarkable string of her own films, from her memorable feature debut Scarlet Diva (2000) to The Heart Is Deceitful Above All Things (2004) and the daring Misunderstood (2014), tracing a restless creative path in search of new forms of expression and self-exploration,” Locarno highlighted.
Giona A. Nazzaro, Locarno’s artistic director, called her “an artist who has always managed to reimagine what it means to make films, constantly challenging herself and taking personal risks.” He said: “Driven by a radical creative calling, through which she has probed the limits and explored the possibilities of cinema, both as an actress and as a director, Asia Argento embodies a vitality, generosity, and restlessness that stands as among the most vivid representations of all that cinema still has to offer.”
Jon Stewart took aim at his own corporate parent, Paramount Skydance, after the company played a role in bringing about President Donald Trump’s UFC Freedom 250 event.
The comedian weighed in on the controversial White House celebration during Monday’s monologue for “The Daily Show,” where he blasted it as “a god awful mockery of an event.”
“So, you didn’t care for New York’s joyful night marred by a small amount of violence because it wasn’t focused enough on the violence part,” Stewart said in a message to right-wing media after criticism of Knicks fans’ NBA finals celebration. “Yes, Sunday night gave the president and his acolytes an opportunity to rebut the joyous communion of teamwork that embodied the New York Knickerbockers for a joyless, Vegas-style trudge through the people’s house now transformed into a gold-plated pummeling center where the gladiator’s god was praised for his forbearance and, of course, nutsack.”
He continued: “And if you were at home watching this, thinking to yourself, ‘Is this a parody? Are they filming ‘Idiocracy?’ Next thing you know, they will be branding the cutaways to our country’s commander-in-chief.”
Stewart then called out the Monster energy drink banner that covered Trump at the event, suggesting editors were “just taunting the old man,” a clear reference to the president’s recent bouts of tiredness in the Oval Office.
“What a god awful mockery of an event that somehow managed to find a way to devalue both combat sports and our national dignity. Who even aired this embarrassing s–t?” Stewart asked before playing footage that confirmed Paramount+ was responsible for streaming the fight.
Given Paramount is the parent company for Comedy Central, Stewart jokingly walked back his criticism, noting, “And what a fine event it was. Once once again, the leaders of Paramount+ providing us all with incredible content at reasonable prices. I am proud to stand with the Paramount family and whatever shows they decide to either cancel or put on.”
However, as “The Daily Show” editors played the most controversial moment of the night, where UFC heavyweight fighter Josh Hokit called Michelle Obama “a man” amid a post-fight interview, Stewart declared, “What a f–king asshole. I look forward to his performance on next week’s ‘Comics Unleashed’ … I’ll let myself out.”
Stewart appeared to be referencing Stephen Colbert here, whose “The Late Show” was canceled after the comedian mocked Paramount’s $16 million settlement with Trump. Colbert’s show was then replaced by Byron Allen’s “Comics Unleashed — though, CBS executives have defended that the cancellation decision was purely a financial one.
Watch Stewart’s full monologue for yourself above. A representative for Paramount did not immediately respond to TheWrap’s request for comment.
“The Daily Show” airs weeknights at 11 p.m. ET on Comedy Central.
AlaWin Casino voor België heeft een spelbibliotheek die je terecht enorm kunt noemen. Meer dan 2000 titels treft u hier, een getal dat in de Belgische markt zijn evenknie niet kent. Die verzameling is er niet zomaar. Hij wordt gerealiseerd door partnerschappen met de belangrijkste en meest innovatieve softwareontwikkelaars. We letten niet alleen naar de kwantiteit, maar vooral naar wat die spellen voor jou betekenen. Het geheel is een uitgekiende mix van vermaak, waar diversiteit, hoogwaardigheid en speelgenot centraal staan.
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Bij een selectie van deze grootte is een duidelijke interface cruciaal. Onze lobby is ontworpen met enerzijds de nieuwkomer als de doorgewinterde speler in overweging. Je kunt inzetten op krachtige filters om de weergave te verfijnen op type spel, softwareprovider of kenmerken zoals ‘Jackpot’. Met een favorietenfunctie stel je zelf een shortlist samen voor snelle toegang.
Maak gebruik van de zoekbalk: Typ de benaming van een titel of provider in voor snelle uitkomsten.
Sorteer op ‘Nieuw’ of ‘Populair’: De ‘Nieuw’ tabblad laat de nieuwste toevoegingen zien. ‘Populair’ laat zien waar overige spelers nu regelmatig vertoeven.
Provider-filter: Kies voor een bepaalde ontwikkelaar zoals Pragmatic Play om hun volledige spellen in één overzicht te bekijken.
Proefmodus: De vele slots kun je vrijblijvend uitproberen in de demo modus, vaak gemarkeerd met ‘Demo’ of ‘Gratis Spelen’.
Het is een goed plan om de ‘Nieuw’ afdeling frequent te checken. We voeren namelijk voortdurend titels toe om de collectie actueel te behouden. De demo modus gebruiken is een verstandige eerste zet. Zo raak je vertrouwd met de mechanics en het risicoprofiel van een nieuw spel begrijpen alvorens je met daadwerkelijk geld inzet.
Top Software Providers in Onze Catalogus
Het niveau van onze spellen wordt bepaald met de kwaliteit van de makers. We kiezen onze partners zorgvuldig, op basis van technische degelijkheid, originaliteit en vertrouwbaarheid. Dat garandeert een consistent hoge kwaliteit op het gebied van graphics, geluid, gameplay en eerlijkheid. Elke game in onze lobby beantwoordt aan strenge eisen voor toeval en wetgeving.
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Play’n GO: Een grote naam in mobiele gaming, gekend van games als Book of Dead en met een hoog tempo van nieuwe releases.
Pragmatic Play: Een marktleider in het lanceren van veel nieuwe spellen, met prachtige visuals en mogelijkheden zoals de geliefde ‘Buy Bonus’ optie.
Evolution: De absolute specialist in live casino games. Met ervaren croupiers streamen ze live Blackjack, Roulette en gameshows.
Yggdrasil: Een innovator die bekend staat om originele gameplay en een opvallende artistieke stijl in hun slots.
Naast deze grote namen hebben we ook spellen van vele andere gerenommeerde studios, zoals Microgaming, Quickspin, Red Tiger en Big Time Gaming. Die veelzijdigheid zorgt ervoor dat de laatste ontwikkelingen en features altijd snel in onze collectie verschijnen. De gamebibliotheek blijft daardoor in evolutie en neemt toe gestaag door.
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We hebben onze uitgebreide catalogus geordend in overzichtelijke groepen. Zo vind je snel je route naar het soort spel dat je nastreeft. Het merendeel wordt gevormd door online slots, van simpele klassiekers tot geavanceerde videopokermachines met talloze winlijnen. Bovendien bieden we een uitgebreid live casino aan, waar de spanning vanuit een studio meteen naar je scherm stroomt.
Online Slots: Hier behoren klassieke slots, video slots, megaways slots, progressieve jackpots en thematische slots toe, gestoeld op films, mythen en avonturen.
Live Casino Games: Hier ervaar je live roulette, live blackjack, live baccarat en live gameshows zoals Monopoly Live en Dream Catcher. Authentieke dealers leiden het spel.
Tafelspellen: Dit zijn de digitale versies van roulette, blackjack, baccarat en pokervarianten. Ideaal voor berekenende spelers die in hun eigen tempo willen spelen.
Overige Spellen: In deze categorie ontdek je bijvoorbeeld videopoker, scratchcards, virtual sports en andere speciale spellen.
Elke categorie apart is al ruim voorzien https://alawin.eu.com/nl-be/. Denk aan de progressieve jackpots. We leveren zowel netwerken met gematigd stijgende prijzen als de bekende mega-jackpots waar enorme bedragen mee gepaard kunnen gaan. Deze indeling zorgt voor een gebalanceerd aanbod dat zowel de ontspanningsspeler als de doorgewinterde gamer aanspreekt.
Pluspunten van Een Dergelijke Uitgebreide Game Lobby
Een collectie met meer dan 2000 titels geeft concrete winstpunten op die verder gaan dan enkel een groot aanbod. Ten eerste is verveling zo goed als uitgesloten. Er ligt altijd een nieuw thema of een nieuw spelmechaniek op je te wachten. Ten tweede kom je gemakkelijker datgene je daadwerkelijk aanspreekt. Je bouwt eerder een persoonlijke voorliefde, of dat nu gaat om slots met laag risico of blackjacktafels met hoge inzetten.
Een ander significant punt is verstandig spelgedrag. Met een overvloed aan mogelijkheden kun je simpel overstappen tussen titels en stakes. Dat helpt om een game-ervaring beter onder controle te houden. Bovendien stelt zo’n grote bibliotheek ons in staat om uitvoerige zoekfuncties en zoekmogelijkheden aan te bieden. Je kunt direct ordenen op leverancier, populariteit, nieuwheid of specifieke kenmerken zoals free spins of bonusgames.
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Een onveranderlijke collectie, hoe uitgebreid ook, wordt al gauw saai. Daarom is ons team voortdurend bezig met het vernieuwen en vergroten van de spelbibliotheek. We brengen wekelijks nieuwe titels toe van onze partners. Dat maakt de ervaring fris en waarborgt dat we mee gaan met technologische ontwikkelingen. Denk aan betere graphics, nieuwe bonusformats en een nog betere mobiele ervaring.
Onze keuze voor nieuwe spellen gronden we op een mix van factoren. We kijken naar wat de spelersgemeenschap verwacht, naar de recensies in de industrie en naar innovatieve gameplay-elementen. We introduceren niet alleen nieuwe slots, maar ook nieuwe live gameshow-formats en tafelspelvarianten. Die voortdurende vernieuwing is een vast onderdeel van onze service. Terugkerende spelers kunnen altijd rekenen op iets nieuws bij hun volgende bezoek.
Het Bereik van Onze Spelcollectie
Over de 2000 spellen leveren is geen lege belofte. Het is het fundament van het gevoel bij AlaWin Casino. Zo’n grote schaal zorgt ervoor dat je als speler nagenoeg nooit uitgespeeld raakt. Houd je van ouderwetse fruitautomaten, ingewikkelde videopoker of de spanning van een live blackjacktafel? In onze catalogus vind je altijd wel iets nieuws om te proberen. Die variatie maakt het spelen interessant.
Als je graag vergelijkt, geeft deze omvang unieke mogelijkheden. Je kunt diverse thema’s, risiconiveaus en bonusfeatures naast elkaar leggen op één platform. We beantwoorden daardoor ook nichevoorkeuren, van klassieke Europese spellen tot de allernieuwste internationale hits. Die variatie is mogelijk omdat we met tientallen topproviders partners zijn. Elke ontwikkelaar draagt zijn eigen sterke punten en visie mee.
FAQ
Hoe kan ik een spel gratis uitproberen bij AlaWin Casino?
Je kunt de overgrote deel van onze slots zonder kosten spelen in de demo modus. Zoek het spel in de lobby en klik op de knop “Demo” of “Gratis Spelen”. Je hebt hiervoor geen account vereist. Wees je ervan bewust: live casino games en sommige tafelspellen zijn vaak niet in demo modus speelbaar, omdat ze in real-time gespeeld worden.
Zijn alle 2000+ spellen speelbaar op mobiele apparaten?
Ja, dat klopt. Ons hele aanbod is aangepast voor mobiel spelen. Je gaat via je mobiele browser naar de website en de spellen stellen zich automatisch in aan je scherm. De gameplay, graphics en features blijven van hetzelfde hoge niveau als op de desktop. Een app downloaden is niet nodig.
Absoluut. Onze collectie heeft een ruime selectie progressieve jackpot slots. Daar zitten ook netwerkprogressieven bij, met prijzen die kunnen stijgen tot bedragen die een leven kunnen veranderen. Deze spellen zijn goed aangeduid in de lobby, vaak in een aparte “Jackpot” categorie, zodat je ze gemakkelijk vindt.
Met welke frequentie worden er nieuwe spellen toegevoegd aan de collectie?
We volgen een frequent updateschema. Meestal nemen we wekelijks meerdere nieuwe titels toe. De exacte frequentie hangt af van wanneer onze softwareproviders hun releases uitbrengen. De nieuwste aanwinsten zijn altijd bovenaan in de lobby, onder het filter “Nieuw” of “Laatst Toegevoegd”.
Is het mogelijk om ik mijn favoriete spellen markeren voor snelle toegang?
Ja, dat is mogelijk. Als je ingelogd bent op je account, kun je bij elk spel op een hartje of sterretje klikken. Zo voeg je het toe aan je persoonlijke favorietenlijst. Die lijst is nadien altijd direct te openen via een apart tabblad in de spelerslobby. Het scheelt je een hoop geklik.
Zijn er de spellen bij AlaWin Casino eerlijk en geverifieerd?
Alle spellen in onze collectie zijn afkomstig van gelicentieerde en gereguleerde softwareproviders. Zij hanteren gecertificeerde Random Number Generators (RNG’s). Die waarborgen dat elke uitkomst volstrekt willekeurig en onafhankelijk is. Onze eigen operatie staat ook onder toezicht van de regelgever. Dat borgt een extra controle en fair play.
It’s hard to top my favorite Neil Diamond-inspired film, 2001’s misunderstood gem Saving Silverman, but Song Sung Blue comes pretty damn close. Written and directed by Craig Brewer and starring Hugh Jackman and Kate Hudson, this beloved fan favorite follows the ups and downs of a Neil Diamond tribute band. A film that’ll make you laugh, cry, and sing a few Neil Diamond classics, Kate Hudson earned an Academy Award nomination for her performance, and the film has an enviable 97% Popcornmeter rating on Rotten Tomatoes.
Although Saving Silverman has an 18% Tomatometer rating on the site, which I assume is a technical glitch. It probably meant to say 118%. ANYWAY, Song Sung Blue used to be streaming on Peacock, but it’s now available on Netflix!
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To the comedian John Early, few situations are more ripe for humor than hosting a dinner party.
“It is the most pleasurable thing you can do — in theory,” he said, taking a bite of lemon rice at Chola, an Indian restaurant in Midtown Manhattan.
“What mostly happens is that I get three hours behind and I am caught in a prison of joking, and then the food’s late and I’m in the kitchen. There is something very upstairs-downstairs,” he added, about the split screen of his role as host — struggling to finish cooking while popping his head out to entertain his guests. He flashed a cheeky grin, his arms waving like an inflatable tube man at a car dealership.
Mr. Early, 38, has made a name for himself doing exactly this: poking fun at the ways everyday life can feel like a performance.
On television comedies like “Search Party” and the remake of “Wet Hot American Summer,” he has played a manipulative narcissist and a hypercompetitive theater kid. In his stand-up routines, he roasts his audiences with a cheerful verve: “An entire generation of people pretending to hate the word ‘moist,’” he declared in his 2023 comedy special, “Now More Than Ever.”
Much of what Mr. Early finds so funny has to do with what and how we eat. Over dinner, he chuckled as he described what he sees as an alarming trend of internet-speak making its way to menus. “It will literally say in a description of a dish, ‘Calabrian chiles, all the things.’”
He joked about restaurants’ current obsession with rusticity and found objects. “Butcher paper, an old canned tomato tin with your silverware and napkins in it. I took my parents to this place and they were like, ‘$500 to sit on milk crates?’”
Food stars in some of the sharpest bits of his comedy routines. On his generation’s lack of hard skills: “Everyone just wants to make cake pops or make videos of themselves making cake pops.” On the absurdity of Postmates advertising slogans: “They’ll be like, ‘Don’t let breakfast bully you into putting your pants on!’”
Mr. Early insists he is just lampooning himself. “It all comes from my own food obsessions, the way that I am a puppy dog with all this stuff.” he said. He reads every list of best restaurants. He stays up to date on “Top Chef.” He adores his rice cooker.
That genuine love for food underpins his latest project, “Maddie’s Secret,” an independent film he wrote, directed and stars in, playing a sincere cooking content creator named Maddie who’s navigating a budding career at a media company while struggling with an eating disorder. The movie will have a limited theatrical release nationwide on June 19.
The premise came out of an observation: Online cooking videos, he said, had gone from gentle and instructive to aggressive and even sexual.
“It’s noodles slapping a pan,” he said, making a squelching noise.
“Or for the men, the phone is down there,” he continued, his hand hovering over his lap. “They turn the sandwich with layers of meat — The New York Times cannot print what that looks like — and they are squeezing the layers of meat directly to camera and it is oozing sauce and then people take these bites. Mmmmmm!
“And they do these faces that I have seen — or friends of mine have seen — in porn.” (This part of the interview bore an uncanny resemblance to the “I’ll have what she’s having” scene in “When Harry Met Sally.”)
“It felt so perverse to me,” he said, reminding him of the camp and eroticism of “Showgirls,” the 1995 cult-classic film about an aspiring professional dancer.
What if, he wondered, he were to make a movie that plopped an earnest domestic goddess of the PBS cooking-show genre into today’s noisy world of online content?
“It was cracking me up the idea of shooting a Bon Appétit-like place as if it were ‘Showgirls,’” he said. “As ruthless and perverse as that, with an Elizabeth Berkley ingénue with hopes and dreams.”
In the movie, Maddie posts a recipe video that goes viral, prompting her sudden promotion from dishwasher to on-camera host. Her rapid rise causes tension with her friends and colleagues, and heightens her body-image issues, landing her at an eating-disorder treatment center. The movie plays like a ’90s after-school special, fully committing to the melodrama without a hint of irony.
“I wanted to follow the tropes of the genre,” he said. “I knew the risk of this movie, but also its potential virtue, was to not be cautious and lean into the drama.”
The movie isn’t supposed to be educational, didactic or even representative of the experiences of women or people with eating disorders, he said, though he did conduct interviews with people who had spent time in treatment centers. The food is the medium, not the message.
“I wanted to make a movie that was propulsive and full of feeling,” he said.
“Maddie’s Secret” will remind fans of Mr. Early’s biting satire that he is, at his core, a sentimental Southerner. He grew up in Nashville, where his parents were Presbyterian ministers. After graduating from New York University’s Tisch School of the Arts, he began performing in bars and making online comedy videos before landing a starring role in “Search Party” and moving to Los Angeles in 2016.
“I could suddenly afford to go to restaurants,” he said. “There was this whole apparatus of Infatuation, Eater, Bon Appétit. It felt like food had transformed from something that was snobby and highbrow to more accessible.”
He wholeheartedly bought into the world of orange wine and chile crisp, and his movie is filled with sly references to that era of food culture. A chalkboard grocery list in Maddie’s kitchen is a catalog of 2010s trends: “Yuzu, Meyer lemon, turmeric.” Maddie’s recipes sound like an all-day cafe menu from 2017: “Grilled halloumi with yuzu kosho crisp.” Maddie speaks like an Instagram caption: “This dish does have major breakfast sandwich-y hangover vibes.”
For all the jokes about the millennial aesthetic, “I promise you that I have softened toward my fellow millennials,” he said. “And therefore myself.”
That softer side shone in his most recent role as a 20-something son in a stripped-down Off-Broadway production of “What We Did Before Our Moth Days,” a play about a family in crisis written by the actor Wallace Shawn. He said performing monologues on a spare set made him more appreciative of art that’s indifferent to trends.
As he spoke, he splashed butter chicken onto the sleeve of his striped dress shirt, and a server rushed over with a wet towel and began dabbing the stain aggressively. Mr. Early kept thanking the server, busy at work on his arm, then suddenly stopped and burst into laughter.
“Life,” he chuckled. “It’s just monkey bars between the next stain.”
Beloved British animated characters The Wombles are set to enchant a new generation following a consolidation of the brand’s intellectual property rights and the appointment of The Blair Partnership as its exclusive global representative.
Created by Elizabeth Beresford in the 1960s, The Wombles are fictional furry critters with an eco-driven mission who live in burrows where they collect and recycle trash. Although the prescient children’s author focused primarily on the British branch of The Wombles, who famously live on London’s Wimbledon Common, there are Wombles in every country across the globe, according to Beresford’s stories.
As well as Beresford’s book series, the cuddly creatures were most famously depicted in BBC stop-motion series “The Wombles,” which ran for two seasons in the 1970s and originated the brand’s iconic theme tune. A further three seasons and a trio of one-off specials appeared in the 1990s via a Canadian animated company that was later acquired by WildBrain.
With the varying rights now consolidated into a single ownership structure with worldwide protection, The Wombles are set for a new content slate and international development of the franchise, ranging from licensing and gaming to publishing and live experiences aimed at both nostalgic fans and new family audiences.
With a mandate to build an international distribution model that will see the brand through for the next five decades, Wombles Operations Ltd have appointed The Blair Partnership to manage worldwide rights and commercial strategy that encompasses television, film, audio, publishing, theater, live events, digital media, gaming, apps, consumer products and third-party licensing.
“The Wombles is an iconic British brand with strong cultural appeal, distinctive characters with core values that translate and resonate globally,” said Neil Blair, founding Partner and agent at The Blair Partnership. “It is a rich content opportunity, and with rights now aligned plus a clear development pipeline in place, the property is ideally positioned for expansion across multiple platforms and categories. We see significant potential to build The Wombles into a multi-platform international franchise for a new generation of audiences.”
To kick off the partnership there will be a roll out of new content via digital and interactive channels this year to re-introduce The Wombles and their mission. This includes an official Wombles YouTube channel, which launches this summer and features original episodes of the television series alongside new live-action formats featuring a roster of young hosts and influencers that aim to inspire creativity and environmental awareness with skills such as arts, cooking and gardening.
Also in the works are a new interactive digital game, audio productions with celebrity casts, a new range of storybooks and publishing formats.
Befitting the Wombles’ focus on “keeping your patch clean,” philanthropy is also a fundamental element of the brand and the strategic re-launch is accompanied by the growth of the Wombles Community Charity, which organizes litter-picking, recycling and education initiatives across the U.K. including 250 community groups and more than 50,000 registered volunteers. Its message for 2026 is “Be More Womble,” encouraging people to give back to their communities. The organization has also partnered with NHS hospitals in Sussex to help recycle non-infectious clinical waste into training equipment, a scheme which is now going to be expanded across other hospitals.
Britain has produced some of the world’s most iconic children’s characters over the past century, ranging from Paddington Bear and Winnie the Pooh to Harry Potter and Peppa Pig.
As Spider-Man: Beyond the Spider-Verse (Spider-Verse 3) gets prepped for its release, a few images from the film have already been shared publicly. Spider-Verse 3 has been through a long journey ahead of its debut after originally being set for a release less than a year after 2023’s Spider-Man: Across the Spider-Verse. While the threequel is still more than a year away, Sony Pictures Animation has at least offered a small peek into what to expect.
Sony Pictures Animation has released nine still images from Spider-Man: Beyond the Spider-Verse ahead of its release. The studio released the first of these images during a presentation at CinemaCon 2025.
The first one in the batch shows Shameik Moore’s Miles Morales hanging on the side of what appears to be a bus or train in the middle of the city. This is most likely on Earth-42, although it is unclear if he is running from somebody or in pursuit of an enemy.
Sony Pictures Animation
Sony also released concept art of one of this movie’s new villains, Jharrel Jerome’s Miles G. Morales. Donning the full purple and black Prowler outfit he used in his debut at the end of Across the Spider-Verse, he unsheaths his claws and jumps in the air for an attack.
Sony Pictures Animation
Next up, Miles Morales stands on top of a tall machine under the sun and looks over the edge, with Hailee Steinfeld’s Gwen Stacy standing behind him. Seemingly near the tops of a bunch of sailboats, this is sure to be one of the more emotional moments of the movie after the two leading heroes reconnect.
Sony Pictures Animation
The two variants of Miles Morales take center stage in the next image, as Spider-Man and the Prowler face off. Spider-Miles has his mask off as he sticks to the wall, getting ready to take on his doppelganger in one of the film’s multiple expected battles.
Sony Pictures Animation
Miles is shown again without his mask on in an image in which he is hanging upside down from a roof. While the background does not show any surroundings, Miles’ costume is damaged in the shoulder area, meaning this could be a shot from later in the film.
Sony Pictures Animation
Miles is then shown out of his superhero costume in a moment with his father, Brian Tyree Henry’s Jefferson Davis. The two bond on the hood of Davis’s car, although it is unclear if Miles’ father knows about his secret identity yet.
Sony Pictures Animation
Daniel Kaluuya’s Hobie Brown/Spider-Punk returns to action in an image of him kicking an enemy in front of text that reads, “Gonna save your dad.” After Brown helped Miles escape custody in the last movie, this could show their partnership continuing, as Hobie hopes to protect Miles’s father from being killed as part of a canon event.
Sony Pictures Animation
Fans will get a unique blast to the past in this movie, as one image shows a look at a young Aaron and Jefferson Davis together (Aaron played by Mahershala Ali). While it is unclear if this is from a flashback or a look at another universe, the two appear happy together while looking at the back seat of their car.
Sony Pictures Animation
Oscar Isaac’s Miguel O’Hara/Spider-Man 2099 jumps back into action against Miles Morales, holding him by the throat and winding up a punch. Considering O’Hara is angrily pursuing the young Spider-Man to stop him from saving his father, tensions will be high when these two reunite.
Sony Pictures Animation
Spider-Man: Beyond the Spider-Verse will be the third movie in Sony’s Spider-Verse trilogy, written by popular creative duo Christopher Miller and Phil Lord. Starring Shameik Moore, Hailee Steinfeld, Oscar Isaac, Jake Johnson, and more, this story will immediately follow the second film, which ended with Miles Morales being captured by his alternate universe doppelganger as his friends run to find him. Spider-Man: Beyond the Spider-Verse will debut in theaters on June 18, 2027.
When Will Sony Share More From Spider-Verse 3?
With Spider-Verse 3‘s release date officially locked in for next June, the big question is when fans will get to see the first official footage from this new movie. Particularly considering the film was originally meant to debut in theaters two years ago (2024), this film is quickly building up hype as one of 2027’s biggest movies after the first two became such big hits.
Sony already showed off footage from the film for CinemaCon 2026 attendees, revealing the first few minutes from the movie’s opening scene. Here, Miles G. Morales and his Uncle Aaron hold the main Earth-1610 Miles captive before the later uses his powers to escape from the punching bag and fight back against his assailants.
Looking forward, Sony may look to deliver a first trailer for Spider-Verse 3 by the end of this year or early 2027 to build anticipation for this thrilling new chapter. However, with Spider-Man: Brand New Day coming in July, this film could also be a good place for Sony to share a first look at its new animated threequel. While specifics on that are still being kept secret, Sony is sure to bring everything it has to make sure fans know how big and expansive Spider-Verse 3 will truly be.
After Marvel’s heroes recently teamed up with a plethora of DC Comics icons, what could possibly follow that up? Well, we have an answer. The iconic heroes of the Marvel Universe will soon join forces with none other than Kermit the Frog, Miss Piggy, Gonzo, and all the other Muppets. Coming in September is The Muppets Take the Marvel Universe#1, from a creative team that includes writers Chip Zdarsky, Mackenzie Cadenhead, Phillip Kennedy Johnson, Adam F. Goldberg, Ashley Allen, Kyle Starks, and more. Artists include Pete Woods, David Baldeon, Áthila Fabbio, E.J. Su, Paco Medina, and Mike Henderson. This special comic celebrates the 50th anniversary of The Muppet Show, which recently returned to Disney+.
Below is the main cover for The Muppets Take the Marvel Universe #1, by artist, along with a statement on this new collaboration from Leigh Slaughter, Vice President of The Muppets Studio.
Marvel
The Muppets Take on the Marvel Universe #1
It has been exciting for The Muppets Studio to collaborate with Marvel Comics in a new and unique way to bring the personality, humor and mayhem of The Muppets into the Marvel Universe and vice versa. To do this during the 50th anniversary year of The Muppet Show makes this project even more meaningful.
Writer Chip Zdarsky said, “With the great power of two iconic properties comes great responsibility. I promise not to let down Kermit, Fozzie, and Animal the way Spider-Man let down his Uncle Ben.” Ouch. That’s a low blow sir! Would you talk that way about the other character you famously wrote, Batman? We think not. Zdarsky continued, saying, “It’s impossible to overstate how excited I am to write for Miss Piggy, who I consider to be one of the greatest icons of the last hundred years, a character who speaks to every generation. I also got to write Deadpool.”
There will also be several variant covers. Humberto Ramos’ cover features Kermy swinging along with Spider-Man, and iconic Infinity Gauntlet artist Ron Lim illustrates Gonzo racing Ghost Rider on his bike. Matteo Lolli’s variant cover pays homage to the iconic ’90s movie Muppet Treasure Island, with Deadpool standing in for Long John Silver. Wade Wilson as a pirate? Yeah, we can totally see it. The final variant features a logo mashup, showing a split logo between Spider-Man’s mask and Kermit the Frog’s face.
Muppets Take on the Marvel Universe #1 arrives in comic shops on September 23.
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Mobilspelande och teknisk analys
Kapacitet på olika enheter
I en tid där mobilspel representerar en allt betydande andel av den totala spelkonsumtionen har vi lagt särskild vikt vid att utvärdera hur Sweet Bonanza 2500 Slot fungerar på olika bärbara enheter. Vår testmiljö har inkluderat allt från toppmodeller till mer ekonomiska telefoner, och resultatet är genomgående positivt. Spelet är självklart optimerat med HTML5-teknik vilket innebär att det skalar smidigt till skilda skärmstorlekar utan att göra avkall med vare sig grafik eller laddningstider. Vi har speciellt noterat hur rullningsanimationerna löper lika smidigt på en mellanklasstelefon som på en bords, något som inte alltid är en garanti i genren. Under Valentine-kampanjen tillkommer dessutom en rad bildmässiga element som vi till en början misstänkte skulle kunna inverka prestandan negativt, men våra mätningar visar att dessa är så skickligt integrerade att de praktiskt taget inte inverkar vare sig bildhastighet eller energiåtgång. Detta är ett kvitto på den ingenjörsmässiga kompetens som står bakom produkten och något vi anser vara värt att lyfta fram.
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Utöver den egentliga prestandan är det interfacet som avgör huruvida en mobilspels spelupplevelse ter sig intuitiv eller besvärlig, och här har utvecklaren bakom Sweet Bonanza 2500 Slot utfört flera kloka kompromisser. Knapparna för insatsjustering, automatiskt snurr och inköp av bonus är strategiskt belägna i skärmens undre kant där fingret naturligt befinner sig, och vi tracxn.com värdesätter att de är tillräckligt dimensionerade för att minska risken för misstag utan att överskugga skärmytan. Under Valentine-kampanjen har vi också observerat att kampanjinformationen visas via en diskret meddelandeikon som expanderar vid klick, vilket medför att spelaren enkelt kan sätta sig in om aktuella villkor utan att gå ifrån spelet. Detta är en faktor som ofta missas men som i verkligheten har stor betydelse för den samlade upplevelsen. Vi vill också nämna att spelet hanterar både porträtt och landskap orientering, och att övergången mellan dessa är problemfri, vilket erbjuder spelaren full valmöjlighet att välja det format som matchar den egna spelstilen bäst. Sammantaget är detta en mobilapplikation som vi bedömer erbjuder absolut toppklass.
Kärlekskampanjens uppbyggnad och mekanik
Så aktiverar du bonusen
Att ta del av Valentine-kampanjen relaterad till Sweet Bonanza 2500 Slot är en hantering som vi upplever såväl logisk och väl beskriven. Kampanjen är designad som ett tidsbegränsat event där deltagare som registrerar sig under den specificerade perioden automatiskt blir berättigade för en uppsättning fördelar, under förutsättning att de möter de nödvändiga kontokraven. Vi har noterat att aktiveringsfunktionen skiljer sig något från vanliga bonusar genom att den i många fall kräver en aktiv godkännande i skepnad av ett val på en erbjudandebanner inuti spelprogrammet, vilket är ett avsiktligt designbeslut för att öka kännedomen om erbjudandet. När denna initiering har utförts erhåller spelaren direkt ett antal free spins eller en insättningsbonus som är öronmärkt för just denna spel, och vi värdesätter tydligheten i hur bestämmelserna presenteras direkt i anslutning till aktiveringsknappen. Det är också värt att poängtera att kampanjen i somliga fall består i flera steg där återkommande spelande och tidigare insättningar har betydelse, vilket premierar trofasta spelare med gradvis fördelaktigare termer.
Regler och omsättningskrav
Ingen seriös granskning av en kampanjbonus är fullständig utan en utförlig genomgång av de medföljande villkoren, och vi har gett särskild fokus åt omsättningskraven som gäller Valentine-erbjudandet. I allmänhet sett befinner sig kraven på en nivå som vi anser som marknadsmässig, vilket innebär att bonusbeloppet måste omsättas ett angivet antal gånger innan potentiella vinster kan tas ut. Det som differentierar denna kampanj från många andra är att omsättningskravet enbart gäller bonusdelen och inte den initiala insättningen, vilket vi ser som en betydande fördel för spelaren. Vi har också noterat att tidsfristen för att fullgöra kraven är generösare än genomsnittet, vilket ger spelare gott om tid att planera sin spelsession utan onödig stress. Det är dock nödvändigt att vara medveten om att olika speltyper bidrar olika mycket till omsättningen, och i detta fall är slots den dominerande kategorin medan bordspel ofta har en reducerad viktningsprocent, något som väl framgår i kampanjens informationsmaterial.
Bonusen sätts igång via ett manuellt klick på kampanjbannern i spelklienten.
Omsättningskravet gäller enbart bonusdelen, inte insättningen.
Tidsfristen för att uppfylla kraven är friare än marknadsgenomsnittet.
Olika spelkategorier hjälper med skiftande procentsatser till omsättningen.
Spelmekanismer och särskilda funktioner
Tumbling-mekanismen
I kärnan av Sweet Bonanza 2500 Slot hittar vi en mekanism som vi bedömer vara en av de mest fängslande i modern slotdesign, specifikt tumbling-funktionen. Till särskiljning från klassiska spel där symbolerna landar på bestämda rader och sedan upphör, medför denna funktion att vinnande kombinationer direkt sprängs och ger plats för nya symboler som rör sig ner från ovan. Vi har under våra prov observerat hur detta genererar en följd av potentiella vinster inom en och samma snurr, vilket markant höjer spänningen och ger varje runda en upplevelse av att något imponerande kan inträffa när som helst. Det som gör mekanismen extra attraktiv i samband med Valentine-kampanjen är att de tidsbegränsade bonusrundorna ofta är utformade för att optimera kvantiteten tumbles, vilket i verkligheten betyder att deltagare får vara med om utdragna sekvenser av gratisspel med gradvis stigande vinstmultiplikatorer. Vi anser att denna synkronisering mellan kampanj och spelmekanik är en medveten taktik från utvecklarens perspektiv, och den verkar perfekt för att förbättra helhetsintrycket.
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Förutom tumbling-mekanismen är det multiplikatorsystemet som faktiskt bestämmer vinstpotentialen i Sweet Bonanza 2500 Slot, och vi har ägnat betydande tid åt att analysera hur dessa interagerar med varandra under kampanjperioden. I grundspelet uppträder multiplikatorer fram i form av färgstarka bomber eller kristaller som kan uppnå värden från måttliga 2x till hissnande 100x, och när flera av dessa placeras samtidigt läggs de samman innan de tillämpas på den totala vinsten för rundan. Under Valentine-kampanjen har vi märkt att förekomsten av dessa symboler synes vara något stegrad i de specifika bonusrundorna, vilket vi ser som en del av den säsongsbetonade generositeten. Free spins-rundorna i sig är en fröjd att studera eftersom de ofta inleds med ett säkrat antal spins men sedan kan utökas genom att extra scattersymboler hamnar under rundans gång. Vi har upplevt exempel på sessioner där en enda bonusrunda producerat över tjugo extra spins, och det är i dessa stunder som spelets hela potential sannerligen exponeras för den observante spelaren.
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Typiska frågor om Valentine-kampanjen och spelomgången
Gäller bonusen tillgänglig för nya spelare?
Vi mottar ofta den här fråga, och svaret blir att Valentine-kampanjen i de allra flesta fall är utformad för att inkludera både nya och befintliga spelare. Nya konton kan oftast utnyttja ett välkomstpaket som är specifikt kopplat till kampanjen, medan befintliga spelare belönas med trohetsbaserade förmåner. Vi rekommenderar alltid att man studerar de specifika villkoren för den sajt man tänker att spela på, eftersom det kan förekomma mindre variationer i hur bonusen tilldelas. Det viktiga är att ingen behöver känna sig utesluten, och vi ser att kampanjen är designad för att framkalla en välkomnande atmosfär.
Vilket omsättningskrav är aktuellt?
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Kan jag spela på mobilen?
Absolut, och vi skulle till och med våga säga att mobilversionen av Sweet Bonanza 2500 Slot är den mest imponerande aspekten av hela produkten. Spelet är väl anpassat för både iOS och Android, och alla funktioner inklusive köp av bonus och tumbling-mekanismen opererar identiskt oavsett plattform. Vi har under våra tester inte stött på några kompabilitetsproblem, och laddningstiderna är stadigt korta även på äldre enheter. Det enda vi råder är en stabil internetuppkoppling för att motverka avbrott under kritiska bonusrundor.
Hur länge varar kampanjen?
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Är spelet rättvist och licensierat?
Vi kan med hög säkerhet konstatera att Sweet Bonanza 2500 Slot är en produkt från en ansedd utvecklare som verkar under tydliga licensvillkor, däribland den svenska spellicensen där så är tillämpligt. Spelets RNG är godkänt av oberoende testinstitut, och utbetalningsprocenten är offentligt tillgänglig för den som vill granska den. Vi har själva genomfört omfattande tester och ser inga avvikelser från normalt beteende. Transparensen kring licensiering och rättvisa är något vi värderar högt i våra analyser, och denna titel motsvarar de krav vi ställer med god marginal.
Introduktion till Sweet Bonanza 2500 Slot – en fest för ögat
Vid första ögonkastet står det tydligt att Sweet Bonanza 2500 Slot är en titel som vågar tar ut svängarna visuellt. Färgpaletten kännetecknas av pasteller och ljuvliga nyanser som för tankarna till ett godislandskap där varje symbol är omsorgsfullt renderad med en praktiskt taget tredimensionell känsla. Bakgrunden varierar mellan mjuka rosa och lila toner, och under Valentine-kampanjen har vi sett hur temarelaterade element som hjärtformade konfetti och små kärleksbrev integreras sömlöst i gränssnittet utan att rubba den originala spelkänslan. Ljudbilden fyller ut det visuella med ett lekfullt soundtrack som påminner om klassiska arkadspel, vilket ger en direkt känsla av nostalgi och avslappning. Det är precis denna blandning av högkvalitativ grafik och omsorgsfullt utformad ljuddesign som innebär att spelet utmärker sig i en allt konkurrensutsatt marknad, och vi värdesätter hur utvecklaren förmått balansera det barnsligt charmiga med det elegant vuxna.
Under huven ser vi dock en betydligt mer komplex struktur än vad det yttre skvallrar om. Sweet Bonanza 2500 Slot utvecklar på arvet från sin föregångare men introducerar en rad förbättringar som främst märks i den ökade vinstpotentialen och det finjusterade volatilitetssystemet. Vi har under våra testomgångar noterat hur spelet klarar behålla den stora träffrekvensen som gjorde originalet uppskattat samtidigt som det presenterar möjligheten till betydligt större enskilda vinster, vilket är en bedrift i sig. Den matematiska modellen är kalibrerad för att ge en kontinuerlig ström av mindre belopp som ibland når sin kulmen i intensiva bonusrundor, och det är exakt denna rytm som innebär att spelet verkar både frihändigt och intensivt. För den som är nyfiken på hur denna avvägning har effekt på den långvariga spelupplevelsen är det värt att notera att RTP-värdet befinner sig på en bra nivå som vi anser som alldeles acceptabel för den här sorten av produkt.
Säsongsbonusar i Sverige – hur de avviker från globala erbjudanden
Lagstadgade aspekter
Den svenska spelmarknaden arbetar under en unik regulatorisk ram som i hög grad influerar hur säsongsbonusar utformas och distribueras, och vi har under vår analys observerat hur detta bildar en distinkt profil för Valentine-kampanjen jämfört med internationella motsvarigheter. Den svenska spellicensen kräver på tydlighet, ansvarsfullt spelande och begränsningar i hur aggressivt bonusar får marknadsföras, vilket resulterar i ett upplägg som vi finner som mer sober och informationsrikt än vad som ofta är fallet på oreglerade marknader. Det betyder att spelare i Sverige konfronteras med kampanjer där villkoren är mer framträdande, där insättningsgränser efterlevs och där möjligheten till självavstängning alltid finns lättillgänglig. Vi anser detta som en styrka snarare än en begränsning, eftersom det etablerar en tryggare miljö där underhållningsvärdet får stå i centrum utan att överskuggas av aggressiva säljargument. För den internationella publiken som tar del av denna information är det värt att notera att samma höga standard ofta gäller även när kampanjen erbjuds via plattformar med flera licenser.
Befintliga betalningsmetoder
En ofta förbisedd men avgörande aspekt av hur säsongsbonusar känns är kopplad till de betalningsmetoder som finns tillgängliga, och här framhäver sig den svenska marknaden genom en bred palett av alternativ som är optimerade för snabb och säker transaktionshantering. Under Valentine-kampanjen har vi observerat att aktörerna lägger särskild vikt vid att integrera metoder som Swish och Trustly, vilka båda tillhandahåller omedelbara insättningar och därmed eliminerar den väntetid som annars kan uppstå och som riskerar att bryta spelarens momentum. Detta är särskilt relevant i samband med tidsbegränsade bonusar eftersom varje minut av fördröjning kan medföra att en kampanjperiod går till spillo. Vi har också noterat att många plattformar tillhandahåller möjligheten att kombinera dessa snabba metoder med den lokala valutan, vilket avskaffar växlingsavgifter och gör den ekonomiska aspekten av spelandet mer transparent. För den som är van vid internationella plattformar där kortbetalningar dominerar är denna smidighet en välkommen kontrast som vi uppskattar förbättrar den totala användarupplevelsen avsevärt.
Tillvägagångssätt för att optimera bonusrundor
Hantering av spelkassa under kampanjperioden
Att navigera en säsongsbaserad kampanj som denna behöver en välplanerad strategi för bankrullehantering, och vi har under våra tester utvecklat ett antal riktlinjer som vi anser särskilt betydelsefulla. Grundtanken är att skilja den reguljära spelbudgeten från de medel som är öronmärkta för att utnyttja kampanjbonusen, vilket bildar en känslomässig buffert som minskar risken för ogenomtänkta beslut. Vi råder att man innan man påbörjar en session fastställer en maxgräns för hur mycket man är beredd att investera i köp av bonusrundor, och att denna gräns är oberoende av huruvida man upplever en vinst- eller förlustsekvens. Det är också klokt att använda de lägre insatsnivåerna under de första spinsen för att bekanta sig med spelets rytm innan man successivt ökar, särskilt under en kampanj där tidsaspekten spelar in. Vi har observerat att spelare som följer denna metod ofta uppger en mer jämn och långsiktigt hållbar upplevelse, vilket harmonierar med vår egen övertygelse om att slots främst ska anses som underhållning.
Utnyttja köp av bonus strategiskt
För den som väljer att införliva köp-funktionen i sin plan under Valentine-kampanjen existerar det ett antal detaljer som vi tycker vara värda att att uppmärksamma. Det mest självklara är att tajma köpen till perioder då kampanjens extra bonusar är som mest fördelaktiga, vilket ofta medför att man bör studera kampanjens tidslinje och planera sina spelpass i enlighet med detta. Vi har också noterat att det kan vara gynnsamt att ändra nivån på de insatser som används för att köpa bonusrundor, i och med att den grundläggande matematiken i spelet ibland kan ge olika resultat beroende på insatsnivå. En annan faktor som vi finner spännande är möjligheten att utnyttja köp-funktionen som ett verktyg att effektivt omsätta bonusmedel, under förutsättning att villkoren tillåter detta. Här gäller det att grundligt granska det småstilta, då vissa kampanjer uttryckligen undantrar köpta bonusrundor från genomspelningskravet, vilket i så fall skulle göra att strategin sämre verkningsfull. Vår totala bedömning är att köp-funktionen, när den används med omdöme, kan tillföra en extra aspekt av styrning och spänning som berikar den organiska spelupplevelsen på ett välförtjänt sätt.
Bestäm en särskild budget för kampanjbonusar och följ den.
Börja med små insatser för att förstå spelets rytm.
Tajma köp av bonusrundor till de bästa kampanjperioderna.
Justera insatsnivån vid köp för att dra nytta av matematiska nyanser.
Verifiera alltid om köpta bonusrundor omfattas i omsättningskravet.
Exercise games like Nintendo’s Ring Fit Adventure could improve early depressive symptoms, a new study has found.
The study, which was funded by the Jilin Association of Higher Education in China, investigated whether subthreshold depression could be treated with video games that make the player do exercises.
‘Subthreshold depression’ (StD) refers to a state where someone experiences depressive symptoms, but doesn’t yet meet the criteria for major depressive disorder.
Previous research has found that exercise can reduce depressive symptoms for people with StD, but according to the study it can be difficult for some people suffering such symptoms to stick to a regular routine.
The study attempted to find whether “exergames on platforms such as Nintendo Switch may improve motivation and participation in physical activity”, noting that evidence of this had been limited until now.
84 adults with StD were randomly separated into two groups. One group of 42 were given an eight-week program playing Ring Fit Adventure for 2-3 sessions a week, and 50-60 minutes per session. The other group of 42 continued their usual activities.
According to the results of the test, the group given the Ring Fit Adventure program reported “significantly greater reductions in depressive symptoms at all time points”, as well as “significant improvements” in sleep quality and anxiety.
Ring Fit Adventure was released in 2019.
Follow-up research, in which participants were interviewed, found that they felt engaged with the content, believed it helped their mental and physical wellbeing, and found it easier to stick to a the routine.
“These findings suggest that commercially available exergaming platforms may serve as accessible, engaging tools for early mental health support in real-world settings,” the study concludes.
Ring Fit Adventure was released in October 2019 and sees players taking on a turn-based RPG where the movements and battle moves are performed using the Ring-Con, a Pilates ring with a strain sensor which can tell how much it’s being stretched.
Using a combination of the Ring-Con (which holds one Joy-Con) and a leg strap (containing the other Joy-Con), players can run, jump and perform moves which are tracked by the game.
Ring Fit Adventure is the 13th best-selling game on Nintendo Switch, selling more than 15 million copies since its release.
Nintendo‘s previous fitness games included Wii Fit (which sold 22.67 million copies), Wii Fit Plus (21.13 million) and Wii Fit U.
Historyverse, the culturally focused content label within India’s Collective Studios, has announced “Vikram Betal,” an AI-enabled adaptation drawing on the ancient Indian folk tradition of King Vikramaditya and the spirit Betal. Birla Open Minds will serve as knowledge partner on the project.
The source material – rooted in the “Baital Pachisi,” a collection of tales narrated by the spirit Betal to King Vikram, each ending in a moral riddle – has been a cornerstone of Indian popular storytelling for generations. The most celebrated screen adaptation remains Ramanand Sagar’s “Vikram Aur Betaal,” which aired on DD National from October 1985 to April 1986, starring Arun Govil as King Vikrama and Sajjan as the Vetala. The series ran for 26 weeks and drew audiences internationally, with its success widely credited as giving Sagar the confidence to go on and produce his landmark “Ramayana” series. Subsequent adaptations have included a Colors series, a 2004 Cartoon Network TV movie and a 2018 &TV series.
The Historyverse project will be produced through Galleri5, Collective Studios’s in-house AI storytelling studio, with the company positioning emerging technology as a complement to the source material’s narrative and philosophical core rather than a departure from it.
Students across the Birla Open Minds school network will be offered curated interactions and behind-the-scenes access to the production, with the partnership framed around exposing young audiences to the role of artificial intelligence in contemporary content creation.
Vijay Subramaniam, founder and group CEO of Collective Artists Network, said, “‘Vikram Betal’ is a perfect example of an enduring IP that continues to spark imagination and critical thinking. Our partnership with Birla Open Minds allows us to extend this journey into education, creating meaningful ways for young learners to connect with India’s cultural heritage through the power of storytelling.”
Nirvaan Birla, managing director of Birla Open Minds, added, “We believe education should connect students with both cultural heritage and emerging technologies. The ‘Vikram Betal’ project brings these two worlds together by reimagining one of India’s most iconic storytelling traditions through the use of Artificial Intelligence. It offers students a unique opportunity to engage with creativity, technology, and storytelling while remaining connected to the cultural foundations that continue to shape generations.”
The announcement adds to Historyverse’s stated ambition of building a long-term platform around Indian history, folklore, and cultural narrative across film, series, gaming, and emerging formats.
An odd occurrence is occurring in homes across the nation bluewizard.eu.com. A player chooses to give a few spins a go on the Blue Wizard Slot. They look at the clock, and somehow a whole evening has disappeared. This title has a special appeal on players. It’s beyond simple reel spinning; it feels like stepping into a story. The symbols shimmer with arcane energy, the bonuses draw you further, and the soundtrack envelops you. For UK gamers seeking a real escape, it hits the mark. The familiar fantasy theme meets clever design in a manner that truly resonates. Before you know it, the real world has dissolved, leaving behind the screen’s brightness and the quiet hope for the wizard’s next trick.
What is Blue Wizard Slot?
Blue Wizard Slot is an online video slot from a leading software studio, famous for its sharp design and captivating play. The game places you in a mystical reading room. A bearded wizard commands the reels, which are filled with magical items: spellbooks, simmering potions, crystal balls, and a wise old owl. It uses a conventional five-reel, various payline layout that has gained traction rapidly in Britain’s saturated online casino landscape. The fantasy theme obviously resonates for fans of Merlin and Tolkien, but its true strength is its structure. It doesn’t overwhelm novices, yet it contains enough elements and bonus features to hold experienced players glued to their screens. That delicate equilibrium is what transforms it from a simple game into a genuine attraction.
Main Gameplay and Magical Symbols
Underneath the magic, Blue Wizard Slot runs on a classic framework any UK player will notice. That familiarity is a big part of its appeal. You pick your stake and how many win lines to activate, then spin the reels. The lesser symbols are the classic card suits, though they appear with ornate fonts to fit the theme. The main attraction comes from the higher-value symbols. You have various potion bottles, a leather spellbook, a bright crystal ball, and the watchful owl. The Wild symbol, typically depicted as the Wizard’s wand, can stand in for others to create wins. The Scatter, commonly a magical rune or a pointed hat, gives you access to the game’s best features. This combination of straightforward mechanics and thematic richness gives every spin a sense of comfort and potential.
Why UK enthusiasts Keep Coming Back
This game’s explosive popularity in the UK is no surprise. It draws on a long-held fascination for wizardry and fantasy, a genre woven through British culture from old tales to today’s hits. But the theme alone doesn’t suffice. This game is technically slick. It works flawlessly on mobile, allowing you to enter that enchanted realm on your commute or from your couch. The mix of gorgeous visuals, a captivating audio, generous bonuses, and that just-right level of volatility creates a powerful “one more spin” pull. It’s a complete package. It delivers escape, genuine excitement, and the possibility of a reward, all wrapped up in a digital experience that strikes a balance between magic and fairness.
The Captivating Graphics and Sound
Launch the game and you’re faced with a lavish, detailed scene. The reels are set in a oak mage’s study, amid ancient books, bubbling beakers, and soft light from a high window. Each symbol is drawn with precision, and they transition smoothly with each win. The Blue Wizard himself watches from the side, offering a nod when you achieve a good combination. But the audio finishes the enchantment. The soundtrack is a delicate, classical piece that wouldn’t sound out of place in a medieval film. Every action has its own gratifying cue – the flutter of a book leaf, the bubble of a brew, the tinkle of magic. These audios are balanced just right. They feel rewarding without ever irritating on your nerves, which is a trap many other machines make.
Free Spins: The Mage’s Great Offer
If there’s one reason players become so deeply engrossed in this slot is the Complimentary Spins feature. Hit three or more Scatter symbols across the reels, and this bonus round activates. The game commonly gives a generous batch of complimentary spins, and commonly applies a multiplier to every win you land during them. What pulls players in deeper is how the round often twists the base game. Extra Wilds might appear across the reels, or the multiplier might increase with per spin. For someone spinning in Leeds or Liverpool, this is when a casual session evolves into a real epic. The excitement intensifies. Since your balance isn’t decreasing, each spin feels like pure potential. Every new winning combination feels like a hidden magic has taken effect.
Special Features and Engaging Mechanics
Apart from the standard Free Spins, Blue Wizard Slot frequently includes an engaging bonus game. This could be a “Pick Me” challenge where you pick from objects on the screen – a potion, a key, a chest – to uncover instant cash, multipliers, or more free spins. Another popular type is a click-through adventure where you guide the wizard gather ingredients https://pitchbook.com/profiles/company/608533-21 for a spell, earning a reward at each step. These features cut through the routine of spinning. They offer a moment of direct control that really captivates people. You get a sense of discovery and agency, like you’re part of the story rather than just observing it. That bit of interactive fun is a major draw, particularly for players who want more diversity from their slot.
Fluctuation and Stake Range
Every savvy UK user understands to examine a slot’s variance. Blue Wizard Slot often sits in the medium to high range. This indicates wins won’t happen on every spin, however when they appear, they can be much larger. This setup fits players who appreciate the anticipation and the rush of going after a sizable payout from the bonuses. The wager range tends to be wide. The betting range welcomes novices who want to stake just small amounts per spin, and it accommodates high rollers looking for top returns. This kind of openness means everyone enjoys the identical fundamental experience. Regardless of whether your stake is small or large, the magic immersion stays perfectly intact.
Playing Responsibly throughout the World of Magic
The world of Blue Wizard Slot is built for enjoyment, but UK players need to approach it with a level head. The very things that make it so captivating – the bonus wait, the engaging visuals and audio – also lead to losing track of time. Reliable UK operators that host this game offer player protection tools. You are able to establish deposit caps, use session reminders, or activate a cool-off period if you need to. Think of the game as a form of leisure, like watching a film. Any wins are a reward. The most important thing you can do is to establish a strict budget before you start, and adhere to it. That is the real magic trick, guaranteeing the entertainment persists without any negative fallout.
You activate the Free Spins mode by landing three or more Scatter symbols on the reels in a single spin. The Scatter is normally a clear magical symbol, like a special rune or the wizard’s own hat. Typically, the more Scatters you land, the more free spins you’re awarded. This bonus round frequently includes a multiplier on all wins, which makes it the part of the game with the largest potential for a major payout.
Is there gamble feature in Blue Wizard Slot?
Most versions of Blue Wizard Slot include a traditional gamble feature. It shows up as an option after any regular win. This mini-game usually asks you to guess the color or suit of a hidden card to double or quadruple your win. It’s a high-risk choice that adds a shot of adrenaline. But guess wrong, and you forfeit the win that triggered it. The feature is totally optional. UK players should treat it with caution, as it can quickly turn a winning streak around.
Where can I play Blue Wizard Slot in the UK?
You will discover at numerous internet casinos approved and controlled in the UK. To play, you must be 18 or over and physically present inside the United Kingdom. Always choose a casino that possesses a current licence from the UK Gambling Commission. This guarantees the games are honest, your money is protected, and you have access to responsible gambling tools. Find the game in the slots lobby of these regulated sites, frequently listed under the developer’s name, or just use the search bar. If you claim a welcome promotion, do so sensibly.
What makes Blue Wizard Slot apart from other fantasy slots?
Lots of slots are fantasy-themed. Blue Wizard Slot is distinguished by its exceptional polish and how all elements combine. The visual and audio elements aren’t just placed beside the gameplay; they build a cohesive, absorbing atmosphere. The gameplay finds a sweet spot: easy enough to begin, but with enough layers in the bonus features to hold your attention. Its moderate-to-high variance provides a real thrill. The whole package feels meticulously crafted. It is the meticulous care, the sense of a complete and captivating world, that clicks so well with players here.
NBC’s The Tonight Show stole are march on its rivals by securing the champion Knicks as special guests on Monday’s episode, with the orange-tie-sporting Fallon joking in his monologue “of course, it’s the Knicks so they won’t really show up till the second half.” It was a New York type of night with Fallon revealing the audience was made up Knicks superfans, and that the musical guests were Staten Island legends the Wu-Tang Clan. “It sounds like Game 5 in San Antonio in here!” remarked Fallon as the crowd burst into an impromptu “Let’s Go Knicks!” chant.
The Knicks’ No.1 booster Spike Lee joined Fallon on stage to introduce the trophy-wielding team to a cacophany of cheers from the home crowd. Fallon split the main interview segment in two, speaking to NBA Finals MVP and Knicks captain Jalen Brunson, starting forward Karl Anthony Towns (KAT) and coach Mike Brown first. Fallon began the first interview by reminding the audience that the last time Brunson appeared on the Tonight Show, he promised that if the Knicks won the championship he would bring the trophy to the show on his next visit. “He’s a man of his word,” said Fallon. Brunson admitted that winning hadn’t really sunk in yet and both KAT and Brunson then spoke about the feeling of playing in Madison Square Garden during Games 3 and 4 of the Finals and the noise and energy inside the arena as victory crept closer.
“When we get the fans involved, and we give them something to cheer for it’s something special,” said KAT. With sports being so superstitious, Fallon inevitably asked about KAT’s fiancee Jordyn Woods and her lucky game-day “Tux Clutch Mini” bag. Fallon also brought up the WWE wrestler Danhausen who “uncursed” the Knicks before the Finals, asking Brunson whether he believed that’s what happened. “At first I was a little skeptical, but you have to believe it now,” joked Brunson.
In the second interview, Fallon spoke to the Knicks’ small forward Josh Hart, guard Mikal Bridges and forward OG Anunoby, the latter of who has now arguably become the greatest British basketball player ever. Inevitably, Fallon started the segment with OG’s tip-heard-around-the-world that secured an unlikely and historic come-from-behind victory in Game 4. “I saw a man flying,” said Bridges about the “crazy play”, praising OG’s athleticism and ball control on the seemingly impossible shot. The second interview was far more light hearted and dwelt on OG’s memeable stoic personality and Hart repeatedly untying Fallon’s sneakers during actual Finals games.
The Tonight Show ended with a spirited set from the Wu-Tang Clan, who Knicks fans will tell you truly uncursed the team after Donald Trump’s visit for Game 3 and the horrendous first half in Game 4 with the rap supergroup’s half-time performance during that game in the Garden preceding that insane comeback.
Over at The Daily Show, Stewart teased his audience that he was going to “focus the entirety of the show today on the complexity of what a new nuclear enrichment inspection regime will look like.” But to the crowd’s delight, he was just joking.
The host, who was overjoyed about the Knicks’ win, kicked off Monday’s show continuing his celebrations by recapping the lively chaos that unfolded across New York City Saturday night.
“By the way, do you ever be sitting at home and you’re watching this kind of footage and you wonder to yourself: who the are these people out in the streets of New York losing their minds? Well, funny story. The little guy on top of that other guy’s shoulders, he works here,” Stewart said, revealing that the man featured in the respective clip was Scott Hercman, one of The Daily Show‘s writers.
Hercman then made an appearance on stage with Stewart; however, he was still sitting on someone’s shoulders, just like in the viral video of him celebrating in the NYC streets Saturday night. “I’m very superstitious, so I’m up here until next year’s finals,” Hercman quipped.
Stewart continued, “It was an incredible night all across the city. Everyone was out celebrating. They were in the streets. They were in the subways. We had drum lines. We had bagpipes. We had fireworks, and we had an MTA bus driver breaking it down.”
He then pointed out that the Knicks victory brought out many “appearances by the entire NYCU,” referencing the Marvel Cinematic Universe.
“There was Spider-Man and there was also Spider-Man and then there was, of course. Spider-Man and oh no, Spider-Man,” Stewart quipped. “And then there was Batman and, of course, back to Spider-Man.”
Later in the episode, the host also poked fun at himself as he posted a video on his own social media over the weekend of his joyous reaction to the game’s results. He was spotted at an outdoor watch party with his friends and family.
“There was truly no place I would have rather been than right on the streets of New York. And shout out to the unsung MVPs of the night: the people who had the genius idea to go out on their fire escapes and project the game onto the sides of buildings,” he joked before shouting out the “always MVPs who keep this city safe and clean for the rest of us to enjoy.”
On ABC’s Jimmy Kimmel Live!, Kimmel opened his Monday night monologue with “the best five-game NBA Finals series ever.” After rattling off all post-Game 5 stabbings, injuries and arrests in the aftermath of the Knicks’ win, Kimmel joked that “people worried Mayor Mamdani was going to destroy New York, no one would have guessed it would be fans of the Knicks.” Kimmel then played a clip of Knicks fans getting a little too rowdy, including destroying school buses and putting Elmo’s head on a spike. “You know you’re in a festive mood when you set fire to a school bus, and nobody has a problem at all!”
On Late Night, Seth Meyers dedicated the first half of his “Closer Look” segment to the Knicks’ Finals win. “I don’t know where you’re watching tonight, but wherever you are, I guarantee it’s not as much fun as New York City is right now,” said Meyers. “No offense, but New York City is currently a cross between Mardi Gras, Coachella, and that rave from The Matrix. We got Knicks in 5, World Cup Fever, the Puerto Rican Day parade, we got block parties, we got watch parties. We’ve even got guys balancing trash cans on their heads for some reason.”
Meyers added, “The vibes are so immaculate here in New York City that any given night you could be out for a walk in Brooklyn, and you could see Spike Lee being paraded through a raucous crowd like he was basketball Santa Claus.” The host then spent some time giving Lee some extra love for so publicly sticking with the Knicks through feast and mainly famine.
“It all feels bigger than just sports,” said Meyers. “If you’re in New York City right now, whether you live here or you’re just visiting, you could jump on the F train and at any moment be surrounded by people in Knicks gear or Brazil gear, or Morocco gear or even Mets gear. And if you’re from abroad and you don’t know what the Mets logo is, it’s the one on the hats of the sad people.”
Keresel egy olyan online kaszinót, ami valóban a magyar játékosoknak készülődik? A Robocat Casinóban pontosan ezt leled https://casinorobocats.com/hu-hu/. Itt nem csak a nyerés a legfőbb cél, hanem az, hogy minden perc szórakoztasson. Magyarul kommunikálunk, forintban játszol, és olyan környezetet hozunk létre, ahol azonnal otthon érzed magad. Gyere, állj be, és figyeld meg, mennyire más, amikor a játék valóban a te anyanyelveden és kívánalmaidon alapul.
Garantált és Villámgyors Pénzkezelés Forintban
A pénzzel kapcsolatos dolgoknak gyorsnak és biztonságosnak kell maradniuk. A Robocat Casinóban pont erre fókuszálunk. Minden tranzakciót korszerű titkosítással óvunk, tehát a pénzügyi adataid biztonságban vannak. Forintban játszol, és olyan fizetési módok közül válogathatsz, amiket Magyarországon is szívesen alkalmaz az ember.
A befizetések azonnal jóváíródnak a fiókodban, nem kell várnod a játékra. A nyereményed kifizetésére is gyorsan sor jut. Átláthatóak a szabályaink, és az ügyintézés is rugalmas. A pénzügyek ne jelentsenek soha akadály a jó szórakozás során.
Elbűvölő Játékkínálat: Több ezer Játék az Ujjad Hegyén
Rengeteg kaszinójáték vár rád, mind magyar játékosoknak készült. A gyűjteményünk állandóan növekszik, úgyhogy mindig találsz valami újat. Legyen szó arról a klasszikus asztali játékok hangulata vonz, akár a legfrissebb videó slotok, nálunk mindkettőt megtalálod.
Élő Kaszinó Élmény a Valóság Közelében
Az élő kaszinóban valódi krupiék vezetik a játékot, és valós időben láthatod őket a képernyőn. Kommunikálhatsz velük és más játékosokkal is, pont mint egy fizikai kaszinóban. Játszhatsz blackjacket, rulettet, baccaratot, vagy nézhetsz egy izgalmas játék-showt. A stream minősége kiváló, szóval az élmény majdnem olyan, mintha ott lennél.
Slotok és Jackpottal Teli Slots
A slotjaink között biztosan megtalálod a kedvenced. Vannak modern video slotok, örökzöld gyümölcsös gépek, és persze óriási nyereményeket ígérő progresszív jackpot játékok is. Egyetlenegy pörgetés mindent megváltoztathat. A játékok témái változatosak, a grafika lenyűgöző, és magas a visszatérési százalékuk. Valamennyi pörgetés egy kis kaland.
Párhuzamos Univerzumok: Tematikus Játékok és Innováció
A Robocat Casinóban imádunk új dolgokkal kísérletezni. Témakörű játékaink más világokba kalauzolnak. Felfedezhetsz egy ősi egyiptomi sírt, csatába szállhatsz vikingekkel, vagy kincset találhatsz egy sűrű dzsungelben.
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Mi okból a Robocat Casino a legideálisabb választás Magyarországon?
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A mi kaszinónkban a kikapcsolódás és a felelősségvállalás kéz a kézben jár. Meggyőződésünk, hogy a szerencsejátéknak mindig kontrolláltnak kell maradnia. Emiatt kínálunk neked eszközöket, amikkel te kontrollálhatod a folyamatokat.
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Üdvözöllek a Robocat Casinóban! Első lépésként egy kiemelkedő üdvözlő kedvezménnyel kínálunk, hogy rögtön belemelegedj. A jutalmazási rendszerünk úgy van kitalálva, hogy ne csak az kezdő játékosok, hanem a hűségesek is állandóan kapjanak valami pluszt.
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Robocat Közösség: Több Mint Egy Kaszinó
A Robocat Casinó nem csak egy hely, ahol forgatod a gépokat. Egy aktív közösség vagyunk. Arra törekszünk, hogy összeköttetésbe lépj más magyar játékosokkal, és hozzánk is. Közösségi programokat, exkluzív akciókat rendezünk, és meghallgatjuk a véleményedet.
A véleményeitek alapján törekszünk fejlődni és újítani. Ez a közvetlen kommunikáció emeli ki a Robocatot. Ezen a helyen nem csak egy szám vagy a rendszerben, hanem a csapat egyik alkotóeleme. Gyere, csatlakozz, és formáld velünk ezt a játékos univerzumot.
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Ma manapság mindenki a telefonján játszik, és mi ezt teljesen elősegítjük. A Robocat Casino weboldala alkalmazkodó. Ez azt jelenti, hogy bármilyen okostelefonon vagy tableten, a böngészőn keresztül hibátlanul funkcionál. Nem szükséges alkalmazást beszerezni, azonnal játszhatsz.
Ugyanazt a egész élményanyagot kaphatod, mint a asztali gépen: éles képek, akadálymentes játékélmény, és ugyanaz a a nagy játékkönyvtár. Várod a buszt, vagy otthon kikapcsolódsz a kanapén? A Robocat Casinó univerzuma mindig a zsebedben van. Ekkora szabadságot korábban nem adott egy online kaszinó.
Gyakran Ismételt Kérdések (GYIK)
Hogy regisztrálhatok a Robocat Casinóba?
Rendkívül egyszerű. Nyomj a “Regisztráció” gombra, írd be az szükséges adataidat (neved, e-mail címed, születési dátumod), és erősítsd meg a fiókod. Néhány perc múlva már játszhatsz is. Minden egyes magyarul van, és forintban zajlik.
Milyen fizetési módokat elfogad a Robocat Casino?
A legnagyobb részét hazai fizetési módot elfogadunk. Használhatsz Visa vagy Mastercard bankkártyát, Skrill vagy Neteller e-pénztárcát, és rögtöni banki átutalást is. Minden forintban történik, gyorsan és biztonságos módon. A nyereményed ugyanezeken a módokon keresztül igényelheted.
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Létezik mobilalkalmazás a Robocat Casinónak?
Most nincs dedikált alkalmazás. De ez nem gond, mert a honlapunk maradéktalanul mobilbarát. Mindenféle okostelefon vagy tablet böngészőjén keresztül ugyanazzal a élménnyel játszhatsz, mint a számítógépről. Nem kell telepíteni semmit, és minden játék játszható.
Mi a teendő tehetek, ha nem emlékszem a jelszavam?
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Ez számunkra fontos téma. Számos eszközöket adunk a kezedbe: konfigurálhatsz befizetési limitet, kérvényezhetsz szünetet, vagy akár kitilthatod magad. A játékokban mindig látszik, mennyi időt eltöltöttél és mennyit költöttél. Ha úgy érzed, tanácsra van szükséged, hívj minket, vagy egy szakmai segélyvonalat.
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Igen. A Robocat Casino magyar ügyfélszolgálata mindig elérhető áll. Online üzenetben, e-maillel vagy telefonon is elérhetsz minket. A csapatunk gyorsan és szakmailag megoldja a problémádat, hogy akadálytalanul folytathasd a játékot. Olyan hosszú nyitvatartásunk van, hogy amikor te játszol, mi is rendelkezésre állók legyünk.
A Robocat Casino több, mint egy online kaszinó. Egy olyan hely, amit magyar játékosoknak terveztünk. A játékok kiváló minőségűek, a bónuszok igaziak, a pénzügyek forintban és biztonságos módon intézhetők, és ha kell, magyar segítség van a környéken. Minden látogatásodra felejthetetlen élményt akarunk adni. Játssz okosan, játssz felelősséggel, és élvezd velünk – a Robocat Casinóban.
EXCLUSIVE: Maya Jama and Roman Kemp’s agency Insanity Talent Management has hired a partnerships chief from Channel 4.
Lucy Gulliver joins in the newly-created role of Group Partnerships Director and will look to “build the next generation of brand to talent partnerships,” the London agency said.
She will lead Insanity’s partnerships team, working with brands to develop branded content series and commercial partnerships across its roster of talent, spanning broadcast, social, music, sport, comedy and entertainment.
She previously spent more than a decade at Channel 4, where she woked across the likes of the Black to Front project, a 24-hour schedule presented and produced by Black talent to champion diversity on and off screen.
Before Channel 4, Gulliver led communications planning and strategy at media agencies.
Insanity boss Andy Varley called the hire a “statement of intent.”
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Gulliver said Insanity has “broadcasters, creators, music artists, producers and commercial specialists under one roof, which is where the market is heading.” “Brands are asking for joined-up partnerships that can move across platforms and audiences, and talent increasingly wants commercial relationships that feel considered, credible and built for the long term. Insanity is already built for that shift,” she added.
Insanity reps the likes of Jama, Kemp, Mollie King and Zara McDermott. It recently hired agents from Independent Talent and Curtis Brown.
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Das Telefon: Direkter Austausch für persönliche Anliegen
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Welche Bereiche außerhalb der Support-Kompetenz liegt
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Welche Themen der Support bearbeiten kann
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It is a sad day for Stars Hollow fans. Netflix has now weighed in and officially confirmed that the beloved series Gilmore Girls is leaving the streaming service, with its last day on the platform in the US slated for June 30th.
In a heartfelt statement on X, Netflix addressed the fandom directly with a nod to one of the show’s most iconic quotes:
“It’s a show? It’s a lifestyle. It’s a religion. We are sorry to say that Gilmore Girls Seasons 1-7 will be leaving Netflix in the US on June 30. Raising a cup of coffee to every fan who visited Stars Hollow with us.”
June 30th applies to the last day to watch, with the actual removal planned for July 1st. Netflix had previously declined to comment on our findings.
Netflix has now confirmed to us that it will keep the series internationally for the foreseeable future. The US and other select countries will see it depart. Netflix also confirmed to us that Gilmore Girls: A Year in the Life will depart in November, as we cover below.
The Writing Was on the Wall
For eagle-eyed fans and streaming trackers, this heartbreak is not entirely unexpected. As far back as 2022, our exclusive reporting on streaming licenses indicated that Netflix’s global hold on the series was set to expire by July 1, 2026.
Just earlier this month, third-party tracking sites flagged July 1st as the impending removal date and was appearing in the last chance to watch section. However, we held out a glimmer of hope. Because Netflix actively suppressed “Leaving Soon” warnings when they are quietly trying to thrash out a last-minute renewal deal, the absence of a notice on the show’s Netflix page led many to believe that negotiations with Warner Bros. Television were ongoing. Unfortunately, no deal was struck to save the original seven seasons.
The departure of Gilmore Girls marks another massive casualty in the ongoing streaming wars. Warner Bros. Discovery has been aggressively clawing back its most popular legacy shows—such as Friends, The Vampire Diaries, and Gossip Girl—to bolster its own streaming platform, Max. Given its colossal viewership—amassing over 3.7 billion viewing hours between 2023 and 2025 alone—the franchise is a crown jewel that Warner Bros. is eager to bring exclusively in-house.
Picture Credit: Warner Bros. Television
What happens to the Netflix Original A Year in the Life?
With the original series packing its bags, fans are naturally wondering about the fate of the 2016 revival, Gilmore Girls: A Year in the Life. You might assume that because it carries the “Netflix Original” branding, it is safe from the licensing drama, but that isn’t the case.
Because the revival was a co-production and the underlying IP is entirely owned by Warner Bros., Netflix only paid for an exclusive 10-year streaming window. Based on current intel, the four-part revival is slated to depart Netflix on November 25, 2026—exactly ten years to the day after it premiered on the platform. Since Netflix couldn’t secure a deal to keep the mothership series, it is incredibly unlikely they will extend the lease on the revival before November rolls around, but fingers crossed, we are wrong on that.
If you haven’t finished your rewatch, it’s time to grab a giant mug of coffee from Luke’s Diner and start your panic-binge. You have until June 30th to say your goodbyes!
Jimmy Kimmel ripped into Donald Trump’s UFC Freedom 250 event held for his birthday, blasting it as a “mini January 6th.”
The late night host addressed the controversial event on the White House lawn during Monday’s monologue for “Jimmy Kimmel Live!,” where he said the celebration had “all the refinement and prestige as a Hooters at the Vatican.”
“Speaking of MAGA rallies, we had a sporting event that didn’t bring people together this weekend,” Kimmel said. “Donald Trump’s big violent birthday party, the UFC fight at the White House.”
As his studio audience erupted into boos, Kimmel sarcastically responded, “I know. I know. That was my reaction when I heard about it, but when I watched it, so much elegance, so much sophistication, so much class.”
In reality, Kimmel said he felt as if the president had “turned the White House into a Waffle House,” adding, “More than 4,000 people trampled the White House grass to celebrate the Orange One turning 80.”
“Historians are saying this is the first time in history an American president spent $60 million to publicly fellate himself,” Kimmel continued. “So, congratulations to him. I would also add that Trump knocked down the east wing of the White House and wants a billion dollars because he needs to have a safe place to throw parties. Meanwhile, [he has] no problem throwing a giant 80th birthday cage match on the front lawn of the White House.”
Per Kimmel, the UFC event utilized “every room of the White House,” noting that fighters were warming up everywhere from the diplomatic reception room to the cabinet room to the Oval Office.
After cutting to footage of one fighter yelling out from the Truman balcony, Kimmel said with a laugh: “What a night. Like a mini January 6th.”
“And I do want to say this. No one should be wearing shorts at the White House. Just never. No one ever. The whole place smells like jockstraps and axe body spray,” Kimmel further sounded off. “Now these are the same people, by the way, who gave President Zelenskyy a hard time because he didn’t wear a suit to the meeting.”
Kimmel also took a moment to roast Trump for falling asleep at his own event, comparing him to an overstimulated child at Disneyland.
“He almost stayed awake through the whole thing until it was time to take a little UFC-esta,” he quipped. “So sweet. He’s like an angel when he sleeps … Now, to be fair, we don’t know for sure that he was asleep. He could have just been sitting completely motionless with his eyes closed for an extended period of time. But this is why most 80th birthday parties happen at noon.”
Watch Kimmel’s full monologue above.
“Jimmy Kimmel Live!” airs weeknights at 11:35 p.m. ET on ABC.
The Lestat we meet in season one of Interview With The Vampire is already a performer: An accomplished pianist, a commedia dell’arte harlequin, an opera connoisseur whose perfectionism leads him to murder a subpar tenor. For fans of the Vampire Chronicles novels, these moments offered a tantalizing tease of how the show would adapt The Vampire Lestat, where he embarks on a career as a rock star. For composer Daniel Hart, who penned a more traditional score for the first two seasons, this creative pivot presented a fascinating new challenge.
“The most important thing we needed to discover was the sound of the music that Lestat wanted to make, because that was going to drive us throughout the entire season,” Hart tells The A.V. Club. “It was going to comment on things that were happening in episodes, plot points, and it was going to delve through Lestat’s past, especially lyrically, since Lestat was going to be the one writing the lyrics.”
Actor Sam Reid prepared extensively for this point in Lestat’s journey, working with a vocal trainer and learning to play piano. That all culminated in a live concert in New York ahead of the season premiere, performed in-character as an act of promotional kayfabe. Lestat’s North American tour then provides the framing device for this season, traveling with an entourage including Daniel Molloy (Eric Bogosian), who is filming a documentary about Lestat’s rise to fame.
Known for his collaborations with director David Lowery on films like The Green Knight and Mother Mary (another project about a fictional pop star, this time with songs by Charli XCX and Jack Antonoff), Hart has also toured and recorded with artists including St. Vincent and Broken Social Scene. When the time came to start work on The Vampire Lestat, those experiences were “pretty much the first thing that we discussed at the writer’s room table.” The writing team demanded juicy anecdotes, but Hart had to talk them down: “Touring is very grueling. It’s just a job, and yeah, there’s some partying, people do crazy stuff and do lots of drugs, but that wasn’t me. It was a job for me.”
His pragmatic outlook did not translate to Lestat’s story, which definitely leans more toward the sex and drugs side of things. Swapping one unreliable narrator for another, season three sees Lestat use music as a chaotic, exhibitionist form of self-expression. His songs function as a companion piece to Daniel Molloy’s in-universe book Interview With The Vampire, which explores the life and undeath of Lestat’s ex-lover Louis. By striking back in such a public way and revealing his identity to the mortal world, Lestat has violated a cardinal law of vampire culture—although some humans still seem to think his undead shtick is just a gimmick.
“I can only draw on my own experience when I’m writing music,” says Hart. “I try to write music that’s very personal, so I tried to adapt the things about music that are important to me, and overlay it on the things about music that are important to Lestat.”
Lestat’s choice of genre is appropriately anachronistic for a guy whose influences span three centuries. Daniel Hart and showrunner Rolin Jones have cited numerous references including David Bowie, INXS, Kurt Cobain, and Chappell Roan, but above all, The Vampire Lestat’s sound is straightforward rock. This season’s credits song, “All Fall Down,” resembles a cross between T. Rex and a lost track from The Rocky Horror Picture Show.
“We talked about it a lot in the writer’s room,” says Hart. “Rolin asked me if I thought rock and roll was dead, and I said I think it’s not dead, but headed for a deep sleep, maybe.”
The original Vampire Lestat novel came out in 1985, and in theory, the show could’ve updated it with a more modern style of music. But Hart argues that rock felt “right on target” for their version of Lestat, who embraces the rockstar lifestyle complete with groupies, drug binges, and a VH1-style film crew documenting his spiraling mental health. Lestat isn’t a millennial artist trying to emulate Iggy Pop’s self-aggrandizing stage presence. He’s “like a 60- or 70-year-old who maybe listened to Woodstock albums when they came out.”
The Vampire Lestat follows a lineage of rockstar films like Hedwig And The Angry Inch and Velvet Goldmine. Not traditional musicals, but stories about music, where the songs reflect the personality of their fictional protagonist. “Much of my time in the writers’ room was spent thinking about Lestat’s past,” explains Hart. “How that might affect him musically, and what kind of music he might have enjoyed the most.” That ranged from classical composers Lestat might have encountered in his youth (“a lot of Mozart and Bach”), to 20th-century names like Igor Stravinsky and Florence Price, to more direct reference points like Bowie.
“I’ve never been as involved in anything as I’ve been involved in this,” says Hart, who co-wrote an episode this season. “I was in the writers’ room essentially from day one, and spent the entire length of the writers’ room either working on scripts or working on songs, or both at the same time, and the two informed each other quite a bit. I would sit at the writers’ room table with all the other writers, and we would talk about an episode and how it related to a specific part of the book. Every once in a while inspiration would strike, and I would just get up and leave and go back to my little corner where all the music instruments were, and work on music for a little while.”
Taking cues from the novel, Lestat’s guitar rock sound is partly a matter of circumstance. We see him working on music in the season-two finale, but his rock career only takes off a couple of years later, after he hijacks a nearby garage band and recruits them for his Vampire Lestat tour. “They’re good, but they’re not as good as Lestat is,” Hart explains. “He raises them up to another level with his musicianship and his personality.”
It’s a conflicted dynamic. Lestat’s band are important characters this season, played by multi-hyphenate actor-musicians including Schitt’s Creek star Noah Reid and Man Man songwriter Ryan Kattner, who collaborated with Hart on some of Lestat’s music. Performing in Lestat’s shadow, these characters have mixed feelings about their newfound success. Their new frontman has given them the fame they craved, but it’s a devil’s bargain, leaving them beholden to the whims of a megalomaniac overlord.
“We knew that at least one of the songs needed to have come from the band,” notes Hart. “Like it would have been their song first that Lestat then hijacked, which also feeds into some of the tensions between him and the band members.” Playing into the group’s garage band roots, Hart found it “a lot of fun to make a shittier version of a song that I’d already written.”
One of the most compelling elements of Interview With The Vampire is the way it invites us to analyze the biases of its narrators. All of the main characters are performers, attempting to retell their own stories through theater, music, or journalism. So when Lestat takes the stage, there’s a lot going on beneath the surface of Sam Reid’s vampiric charisma, encouraging fans to dig deeper.
“My favorite lyrics are ones that are open to interpretation,” says Hart. “I would love for people to listen to Lestat songs and find things that relate to their own life in those lyrics. Some fans of the show have reached out to me on social media to say, like, does this lyric mean this? Is this lyric talking about this? And most of the time it hits on one of the multiple intentions that I had in writing those lyrics.”
Likewise, Hart could imagine Lestat smirking while writing some of those more ambiguous lines. “Lestat would really enjoy being allegorical and engaging in double entendre, or even triple entendre.” In Lestat’s debut single “Long Face,” he refers to a relationship as a “Boléro”—an old-fashioned term that harks back to his classical roots—but otherwise sticks to a horny glam rock vibe, including a phallic brag about his “long fangs,” and a cascading finale of orgasmic “oh yeahs.” Mirroring the comedic side of Sam Reid’s performance, Hart never loses track of the fact that Lestat is a pretty ridiculous person. His music may be a window into his traumatic past (for instance, with the intensity of “Your Biggest Fan”), but in some cases it’s also wildly over-the-top.
Under normal circumstances, Hart finds lyrics to be “the most challenging part” of his songwriting process. “Conversely, writing for a vampire who thinks of himself as a clown sometimes, and is pretty silly sometimes, and melodramatic, and extremely clever, and witty, and petty, and angry, was extremely easy.” Getting into Lestat’s head was a freeing experience, allowing him to get “more heart on the sleeve than I might ever do from my own music.”
There’s a self-aware humor to Hart’s approach, overlapping with the complicated question of whether Lestat’s music career is actually a success. Viewers may begin this season expecting to be wowed by Lestat’s genius, but within the show’s narrative, he’s more of a trashy B-list celebrity, filling mid-sized venues and receiving more attention from conspiracy theorists than critics. In an early episode, Daniel Molloy openly makes fun of his songwriting, suggesting that lyrics like “Oh yeah we’re coming, oh yeah we’re coming” are not exactly a convincing showcase for Lestat’s inner turmoil. Sometimes, Hart’s goal was to write songs that provoke this kind of criticism; an exercise he enjoyed a great deal.
Later, this self-mocking tone extended into the show’s promotional materials, where Hart and Rolin Jones co-wrote quotes in Lestat’s voice. Hart says it was “extremely satisfying” to make fun of himself as Lestat—for instance when Lestat derides “Butterscotch Bitch” in an AMC press release as “the song that feels the most like Daniel Hart, as it’s the song he wrote on a toilet in between vegan burritos.”
Like many of Lestat’s songs, “Butterscotch Bitch” is full of in-your-face sexuality. Lyrics like “Gimme your hips and I’ll open you wide” play alongside self-critical lines where he characterizes himself as “a showgirl in the shower, a puking princess on your bathroom floor.” After two seasons where we only see Lestat through other people’s eyes, he’s finally getting to introduce himself on his own terms—and it’s interesting to see how much of his identity is wrapped up in sex appeal.
After season two, Sam Reid described Lestat as “a hypersexualized person, not necessarily by his own design.” Abusive relationships and sexual trauma are central themes throughout the show, and it feels telling that Lestat processes his side of the story in such a radically different way from Louis. We see a few quiet moments of private Kurt Cobain-like angst, but for the most part he’s an attention-seeking stereotype of rockstar sexuality, moaning and thrusting his way through songs about toxic relationships and self-destruction.
Despite Lestat’s repeated claims that he’s an inhuman monster, Hart highlights his music as “one of the things that connects into humanity” this season. “It is a very human thing to want to create in this way, and that music was a way for him to discover himself, for him to think about his past.” Unlike the controlled environment of Louis’ interview with Daniel Molloy, Lestat’s therapeutic process requires an audience—preferably an adoring one who will buy his records and scream his name at the stage, providing evidence that his trauma has tangible worth to other people.
British actor David Morrissey tries not to think of the audience when making TV shows “but once you push the boat out of the harbor you’re just praying and hoping that people like it,” he tells Variety at the Monte-Carlo Television Festival.
As the star of ITV’s hit thriller “Gone,” which is in competition at the festival, Morrissey doesn’t have a magic formula for TV crime shows, “but you have to care about the people,” he says. “They have to connect with you personally and once that happens there’s a magic thing. It’s like you’ll make a souffle 14 times and then one time it doesn’t rise, but all the ingredients were the same.”
When he got the scripts for “Gone,” written by “Lupin” creator George Kay, Morrissey reacted “with my gut because analysis can be paralysis sometimes and I don’t always know why I keep reading something but if I do then I want to be involved in it.”
In the show, Morrissey plays headmaster Michael Polly, who becomes the chief suspect when his wife goes missing and who remains inscrutable for most of the six episodes. A garrulous interviewee himself, he says of the character: “I thought ‘I want to tell this man’s story, this man who has an inability to really open up and to communicate.’”
The actor says he’s pleased by audience reactions to the show, “but you’re not thinking about the audience when you make shows. We’re not thinking about how it lands, we’re thinking about ourselves in it and what story we want to tell.”
Without naming names, he adds: “Sometimes I’ve certainly made work that I absolutely love, which hasn’t landed well with the public. But that doesn’t mean to say I love it less.”
Morrissey also stars in Russell T. Davies’ Channel 4 series “Tip Toe” as Clive Gross, a man who is as vocal in his anger as Michael in “Gone” is closed off. Does he see any connective tissue between such opposites? “All through my career, the drama is about conflict. Whatever character you’re playing, they have to be in conflict, otherwise they shouldn’t be in a drama.”
That’s especially true of Clive, who is raging against the lifestyle of his gay neighbor Leo Struthers and the threat he perceives Leo poses to his sons. “Now with the Manosphere and toxic masculinity that conflict is out there as a zeitgeist,” Morrissey says of how “Tip Toe” feels very much a show of its time. “But if you look at the characters I’ve played all through my life, they’re in crisis because that’s what drama is. You wouldn’t tune in if somebody got up in the morning, had a lovely day and went back to bed.”
When wildfires force residents from their homes, knowing an evacuation route exists may not be enough.
A Kelowna, B.C., technology company is working to help emergency officials better understand the condition of back roads that could become critical escape routes during a disaster.
Line up of cars trying to evacuate Kelowna in 2023.
But what happens if the road meant to get people to safety is riddled with potholes, loose rock and washouts, or isn’t suitable for the vehicle they’re driving?
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That’s the question Kelowna entrepreneur Ryan Gallagher has been trying to answer since the 2023 wildfire season.
Ryan Gallagher surveying back roads using tech that he invented.
Cohan Sassaman / Global News
That experience led Gallagher to create Back Road Intel, a system that uses sensors and artificial intelligence to monitor backroads and evacuation routes.
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On a recent drive along Chute Lake Road, one of several backroad connections in the Central Okanagan, Gallagher pointed out just how quickly conditions can change.
“I was here a week ago, but it wasn’t this bad.” said Gallagher
A little further up the road, conditions became noticeably rougher.
This tech uses AI to survey roads that could be used in emergency scenarios.
Ryan Gallagher
The technology collects information about road surfaces, hazards and road degradation. That data is then analyzed by AI and provided to emergency officials, helping them better understand which routes may be viable during an emergency. The thought is that officials will use this data to conduct where the public should go.
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The survey tool attached to a truck hitch and wirelessly connects to a smart phone.
Ryan Gallagher
But Gallagher says the issue isn’t simply whether a road is open.
A route that can handle a four-wheel-drive truck may not be suitable for a family sedan carrying children, pets and emergency supplies.
“Take a look here. Imagine a mom and her kids trying to navigate this,” Gallagher said. “This is really why I want to figure this out.”
The goal is to help emergency planners understand not only which roads are available, but which vehicles can safely use them.
“When it comes to evacuations, the last thing you want is a flat tire or a broken axle,” Gallagher explains. “If you can’t clear these bumps, you will probably have a problem, and that’s a huge problem because you can block everyone behind you.”
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The company has already begun working with communities across B.C., including regional districts, municipalities and First Nations. The hope is that better information will help emergency officials make better decisions before the next disaster strikes.
For Gallagher, that’s what the technology is really about: making sure people aren’t forced to drive into the unknown when they’re trying to get out of danger.
Surveying survice roads across BC is a data intensive job but AI is making processing much easier.
Jon Stewart, a born and bred New Yorker, kicked off his Monday night installment of The Daily Show celebrating the momentous victory of the Knicks, shouting out sanitation workers and the community of NYC for coming together to celebrate the team’s triumph for the first time since 1973.
Describing an “overwhelming sense of joy and solidarity and diversity and community and a good amount of crying and a lot of contact high,” Stewart mocked right-wing media’s depiction of the festivities as violent, apologizing that they couldn’t live up to its depiction of a “peaceful gathering” like the Jan. 6 insurrection.
“Although, to be fair to that mob, you know, they lost. So, anger justifiable,” he quipped.
Acknowledging that some hooliganism did take place, it was a “record low” for a Saturday night, the late-night host added, maintaining, “Where you see a mob destroying a school bus, I see people of all faiths and creeds and colors and sexualities coming together to destroy a school bus. It ain’t a melting pot until you light that bitch on fire!”
The comic then transitioned to the other major sports event of the weekend outside of the Knicks win and World Cup — the White House‘s UFC Freedom 250.
“What a god-awful mockery of an event that somehow managed to find a way to devalue both combat sports and our national dignity,” he began. “Who even aired this embarrassing shit?”
After playing a news feed that announced Paramount+ as the streaming partner, The Daily Show cut back to an overly penitent Stewart: “And what a fine event it was. Once again, the leaders of Paramount+ providing us all with incredible content at reasonable prices,” he said, flashing a thumbs up. “I am proud to stand with the Paramount family and whatever shows they decide to either cancel or put on.” (The Daily Show‘s cable channel, Comedy Central, is owned by Paramount Skydance.)
“You know, the average American, they don’t want their White House to stand for certain morals and values,” Stewart stated. “The regular people in this country want their president to live in a slightly more violent Hooters, or a slightly less violent Waffle House.”
In wrapping up his monologue, the two-dozen-time Emmy winner concluded: “The real division in America isn’t between cities and rural areas or suburbs or heartland values and coastal elites or liberals and conservatives, it’s between people anywhere who find joy in community versus those who seem to only find it in fealty. And I know which America I want to occasionally step in dog shit in.”
The British government plans to ban access to social media for all children under 16, Prime Minister Keir Starmer said on Monday, after weeks in which the nation debated how it would introduce new protections for children online.
Mr. Starmer said the government would introduce the new regulations in Parliament before Christmas and bring a ban into force in early 2027. The measures will also include restrictions on game platforms and livestreaming apps, with more details expected to be announced next month.
“I am not prepared to compromise on the safety and happiness of our children, and that is why this ban must happen,” Mr. Starmer said at a news conference.
The government has faced growing pressure to act on the issue as public opinion has coalesced around the idea that more should be done to keep children safe online. One YouGov poll in December found that 74 percent of Britons surveyed supported a ban on social media for children under 16.
Mr. Starmer acknowledged that the ban might not be perfect and would not be cost-free, but he added, “Government is always about choices, and it’s clear to me that a full ban is the right choice.”
In March, the government invited public input on the issue, drawing more than 116,000 responses from parents, young people, industry groups and experts.
The government said that 90 percent of parents who responded backed a minimum age of 16 for access to social media and that 85 percent said the risks of social media outweighed the benefits.
The measures will follow a similar model to that of Australia, where a ban was introduced in December, and will apply to platforms like Snapchat, TikTok, YouTube, Instagram, Facebook and X, the government said. Messaging apps like WhatsApp and Signal will not be included in the restrictions.
The government said that it also planned to block children under 16 from livestreaming and from communicating with strangers on a wider range of online services, including game sites, and that it would be “looking in more detail at overnight curfews and breaks in infinite scrolling” for people under 18.
Not all parents favor a ban, and some experts have pointed out that most young people with social media accounts in Australia have continued to use the platforms. Others have criticized the announcement as rushed, coming as Mr. Starmer faces threats to his leadership from within his Labour Party after steep losses in local elections in May.
Ian Russell, a longtime campaigner for online safety, criticized Mr. Starmer for introducing what he called a “politically expedient blanket ban” rather than forcing social media platforms to remove harmful content. Mr. Russell’s daughter Molly Russell was 14 when she took her own life in 2017 after viewing content relating to suicide and self-harm.
But for many parents in Britain, the measures were a welcome step in addressing their concerns about the harmful effects of online content on their children, as well as fears that childhood has been fundamentally changed by unrestricted access to those platforms.
Justine Roberts, the founder of Mumsnet, an online forum for parents, said in a statement that the announcement was “a huge moment for children’s online safety, and for every parent who has felt powerless in the face of addictive technology designed to keep children scrolling.”
Smartphone Free Childhood, a British charity set up by three parents in 2024, called the social media ban a “hugely significant moment for children and families across the U.K.”
“For years, parents have been fighting a losing battle against some of the most powerful companies in the world as smartphones and social media have become an ever bigger part of childhood,” said Joe Ryrie, one of the charity’s founders, in a statement. “Today feels like a turning point.”
There is little data available to understand the consequences of Australia’s ban, academics have stressed, but six months in, early indications are that it has largely failed at keeping young teenagers off the platforms. Still, some Australian parents say, the real impact of the law may not be felt for years, when younger children who are not yet on social media may stay off because of the regulations.
Experts in online safety have warned that Britain’s ban could be ineffective in halting potential harms while also failing to take into account some of the positive impacts of social media on young people. Many acknowledge that it could still have a longer-term deterrent effect.
The tech industry is unlikely to respond positively. The Computer and Communications Industry Association, an international industry group, said in a statement that a ban would prevent teenagers from using platforms that offered benefits as well.
“Blanket restrictions will stifle access to age-appropriate experiences with proper parental controls, encouraging children to seek out riskier unregulated alternatives,” said Matthew Sinclair, a senior director of the group in Britain.
Meta, the parent company of Facebook, Instagram and WhatsApp, echoed that criticism and said in a statement that it had already introduced features aimed at keeping teens safe online.
The company also said that any restrictions “must be underpinned by an age verification system on devices so people aren’t asked to hand over ID to dozens of individual services to prove their age.”
YouTube said in a statement that it had “invested in expert-led, age-appropriate experiences and default protections for teens for over a decade” and would “continue to do so.” It described its platform as “a vital resource for young people, educators and parents.”
A number of other countries, including many in Europe, have been considering regulations to limit children’s access to social media.
Speaking at a meeting of Group of 7 nations in Evian, France, on Monday, Ursula von der Leyen, the president of the European Union’s executive arm, spoke about how nations were exploring limiting access to platforms.
“The debate is not whether young people should have access to social media,” she said. “The debate is whether social media should have access to our children and teenagers, and when.”
Mr. Starmer acknowledged that the new regulations would not mean that no child ever logged on to social media again, but he said that the potential circumvention of the law was no reason not to introduce restrictions.
“They get around other laws, too, but we don’t say, ‘Oh, look, a teenager managed to get a drink somehow, so let’s not bother banning alcohol sales to children,’” he said. “We don’t do that, that would be utterly ridiculous, and so I just don’t accept that argument.”
Jeanna Smialek contributed reporting from Evian, France, and Adam Satariano and Stephen Castle contributed reporting from London.
Jalen Brunson and Karl-Anthony Towns admitted they found themselves believing in superstitions after their team, the New York Knicks, took home the NBA championship.
Following their big win on Saturday, Brunson, the Knicks team captain, and Towns, one of the star players, stopped by “The Tonight Show” to celebrate their historic win. During the sit down, host Jimmy Fallon asked the NBA stars to address a couple of the superstitions that emerged during the finals.
Neither Brunson nor Towns were willing to shut down fans’ theories – with the Knicks captain even admitting he was “a little skeptical” at first, but was now a believer.
Brunson’s comment was directly in response to WWE star Danhausen publicly lifting a curse off of the team, which he had put on them in the middle of April. “There’s a WWE wrestler, Danhausen, who uncursed the Knicks. And apparently, after he uncursed the Knicks, you guys won every single game,” Fallon highlighted. “It did work.”
Brunson, a WWE fan, added: “You have to believe it now.”
Towns was equally open-minded regarding the superstition surrounding his fiancée Jordyn Woods’ orange clutch, which had been viewed as a lucky totem.
“There are different reasons of why everyone thinks the Knicks won this year,” Fallon said. “Everyone has different superstitions, one of them is Karl your fiancée’s bag. When she brings the bag, it’s good luck.”
“What do you want me to say? We were undefeated in the playoffs,” Towns responded. “Obviously, she made some magic when she made that Woods by Jordyn bag, for sure.”
Of course, the Knicks stars also credited their dedicated fans for bringing electricity and energy to every game, defending that the loud fans were actually helpful during the games.
“When we get the fans involved and we give them something to cheer for, it’s something special. It’s something once in a lifetime,” Towns added.
Watch their full “Tonight Show” interview above.
“The Tonight Show Starring Jimmy Fallon” airs weeknights at 11:35 p.m. ET on NBC.
Brazilian soccer star Neymar has licensed his likeness to FlareFlow, the international microdrama platform owned by Chinese digital publisher COL Group. Neymar will star in a 16-title franchise of AI-assisted vertical series timed to coincide with the World Cup, the company said.
COL announced the partnership Tuesday at APOS, the Asia-Pacific media industry conference in Bali, billing it as the first major instance of a globally recognized sports star collaborating at scale with AI-driven vertical storytelling. The first six titles premiere worldwide on FlareFlow between June 19 and 22, with the remaining 10 rolling out across the rest of the football season. The lead title, The Way Back to Glory, debuts June 19.
The series lean into the lurid, hook-driven style that defines much of the microdrama landscape, casting Neymar as a hero across a range of revenge-and-redemption fantasies. Titles include Fake Neymar, Real God, The Limping Janitor Is the True World Football King and Soccer Star Kidnapped Into the Galaxy Cup: Score or Die!, the last of which places the player in an intergalactic tournament where “victory is humanity’s only chance for survival.”
COL describes the franchise as “premium” content produced through “AI-powered” live-action workflows, though it has not detailed how much of Neymar’s on-screen presence is filmed versus generated.
COL is undoubtedly rooting for its franchise star to make a swift return to the World Cup’s field of play. Neymar, 34, was named to Brazil’s 26-man squad, but he’s currently injured and sat out Brazil’s opening game on June 13 against Morocco. It’s unclear when he will return to the field.
The deal is a clear effort by one of the leading microdrama platforms to broaden the form’s usual reach. The genre’s heavy users skew female, and COL’s own data has pointed to women aged 20 to 35 as its core bingers. The company is banking that a male sports icon with 220 million-plus social media followers will unlock more male viewers. One series sends Neymar on a supernatural quest to win over five powerful women or forfeit his soccer talent.
FlareFlow chief marketing officer Timothy Oh, who is set to appear on an APOS microdrama panel on June 18, called the launch “the true dawn of our Vertical 2.0 strategy,” a major push to lure in male audiences.
COL Group is a Beijing-based digital publisher listed on the Shenzhen stock exchange that moved into microdramas in 2021. Its most significant investment in the sector is a 49 percent stake in California-based Crazy Maple Studio, maker of ReelShort — the app credited with bringing vertical microdramas into the U.S. market. FlareFlow is COL’s own international platform, launched in April 2025. The company says it now carries some 5,200 series in 14 languages and has 33 million registered users, having climbed the entertainment app charts in the U.S., Germany, Australia and Canada over the past year.
Like the scores of microdrama apps launched worldwide in the past few years, most with Chinese backing, COL has been burning cash in its pursuit of lucrative North American users and market share. COL’s net loss for the first half of 2025 widened by roughly half to 226 million RMB ($31 million), due to the cost of overseas marketing and content creation. ReelShort, despite revenue of around $400 million in 2024, also remains in the red, according to research from Media Partners Asia, the organizer of APOS.
The Way Back to Glory premieres on FlareFlow on June 19 — the same day Brazil faces Haiti. Should Neymar make his first appearance of the tournament, the company may have bought a viral moment.
There are several from Bone Tomahawk that I would like to nominate. For more true crime questions like this delivered straight to your inbox, sign up for my newsletter That Got Dark.)
South African jazz icon Abdullah Ibrahim, one of the country’s most celebrated musicians and cultural ambassadors, has died at the age of 91.
The legendary pianist and composer passed away peacefully in Germany following a short illness, surrounded by his family.
The news was confirmed to IOL by his family on Monday, bringing to a close a remarkable career spanning more than seven decades that saw Ibrahim become one of the most influential figures in global jazz.
Renowned for blending jazz with the rich musical traditions of South Africa, Ibrahim’s work resonated across continents and generations, earning him international acclaim while remaining deeply rooted in the sounds and struggles of his homeland.
His final South African public performance took place at the Cape Town International Jazz Festival in March this year, where audiences witnessed one last masterclass from a musician whose artistry and innovation helped shape the global jazz landscape.
Paying tribute to Ibrahim, his partner Dr Marina Umari , said Ibrahim died “with South Africa and its people in his heart”.
“His love for his country never wavered, no matter where in the world he found himself,” she said.
Born in 1934, Ibrahim rose to prominence during the apartheid era, becoming a leading voice in South African jazz. His compositions, including the iconic Mannenberg, became synonymous with resistance, hope and the enduring spirit of South Africans during some of the country’s darkest years.
Over the course of his distinguished career, Ibrahim performed on some of the world’s most prestigious stages and collaborated with leading international musicians, earning recognition as both a master pianist and a pioneering composer.
Despite spending many years abroad, he maintained a profound connection to South Africa, frequently returning home to perform and inspire new generations of musicians.
Tributes are expected to pour in from across South Africa and the international music community as news of his passing spreads.
Close family friend, Dr Iqbal Survé expressed his condolences to Dr Marina Umari and the family. He said South Africa has lost more than a musical icon. “We are thankful that Abdullah died after only a short illness. When I spoke to him on Saturday evening he was still feisty and in good spirits. He was a fighter right to the end.”
While his passing marks the end of an extraordinary life, it is not the end of his voice. Through his music, recordings and enduring influence on generations of artists and audiences, his legacy will continue to inspire and resonate around the world.
According to the family, Ibrahim’s burial will take place in Germany’s Bavaria region.
Marvel Studios just cast its first actress to play Scarlet Witch’s sister, Polaris, in an upcoming Disney+ series. While Wanda and Pietro Maximoff (Scarlet Witch and Quicksilver) were born to ordinary Sokovians in the MCU, their heritage is far more complex in Marvel Comics. The sibling duo was introduced as mutants and the children of the iconic X-Men foe Magneto, though that fact has been retconned over the years. Still, Magneto does have another daughter, now portrayed as Scarlet Witch’s non-biological sister, Polaris, aka Lorna Dane, a mutant with her father’s magnetism powers, allowing her to manipulate metal.
Voice actress Carolina Ravassa (who is best known for voicing Sombra in Overwatch) confirmed with a collab post on Instagram that she has landed the role of Magneto’s daughter and Scarlet Witch’s sister, Polaris, in X-Men ’97 Season 2. The news comes as a slight surprise, given that X-Men ’97‘s original showrunner, Beau DeMayo, who exited during Season 2’s development, previously stated that he had cast Scream star Neve Campbell as Polaris.
Marvel Animation
Responding to rumors that Campbell had been cast as Magneto’s daughter in the MCU, DeMayo said that he actually cast her in X-Men ’97and that “she does amazing work bringing something new” to the character after her last appearance in X-Men: The Animated Series Season 3’s “Cold Comfort.”
Campbell denied her rumored casting in an interview with The Movie Dweeb, declaring, “I have not” when asked if she had boarded X-Men ’97, but made it clear she was aware of the reports: “That is a rumor, though, isn’t it?”
Marvel Animation
Clearly, the actress best known for playing Scream‘s Sidney Prescott was telling the truth, as Carolina Ravassa will officially play Polaris. Moving into Season 2, Polaris will form one-sixth of X-Factor, a government-sponsored mutant team that is bound to aid in protecting Earth now that the X-Men are scattered across time.
X-Men ’97‘s Polaris casting marks a recast from the original X-Men: The Animated Series, in which she was voiced by Terri Hawkes, who has largely transitioned away from voice acting in recent years. The metal-manipulating mutant made her live-action debut as a main character in Fox’s The Gifted TV series, where she was brought to life by Oppenheimer actress Emma Dumont.
As far as X-Men ’97 is concerned, Scarlet Witch and Quicksilver are seemingly still Magneto’s biological children, making Polaris their true sibling, although they haven’t been seen properly in the Disney+ series just yet.
Scarlet Witch’s portrait was on Forge’s board in the Season 1 finale, declaring her to be “off-world.” It’s unclear whether she will return to Earth to join the looming face-off with Apocalypse or remain absent from the Disney+ saga.
Will Polaris & Scarlet Witch Join Magneto in Avengers: Doomsday?
Marvel Studios
Marvel Studios didn’t acquire the rights to Fox and the X-Men until long after introducing Elizabeth Olsen’s Wanda Maximoff, so she isn’t a mutant or the daughter of Magneto in the MCU. Therefore, it sadly seems unlikely that Scarlet Witch and Polaris’ sisterly relationship will ever play out in the main MCU canon.
But there may be a chance elsewhere in the Multiverse, as, if one recentrumor is to be believed, Polaris might appear in Avengers: Doomsday this December. Polaris is rumored to be part of a “royal family” situation on Genosha, alongside her father, Ian McKellen’s Magneto, and her siblings, Wanda and Pietro.
It remains unconfirmed whether Elizabeth Olsen is returning for Doomsday after her “death” in Doctor Strange in the Multiverse of Madness. Many have speculated that Wanda will appear as one of Doctor Doom’s followers, but if not, it would be a treat for fans to see her alongside her mutant family just once in live-action.
It’s tough to tell what Polaris’ arc will involve in X-Men ’97 Season 2, but her government-sponsored X-Factor team could be picking up the slack for the X-Men after they were scattered across time. Interestingly, X-Men ’97‘s recent promo art of its five teams also places Polaris in the new X-Corp team with Jean Grey, Cyclops, Rogue, Beast, Nightcrawler, and Bishop, indicating that whatever transpires during the war with Apocalypse will push her in a brand new direction.
Let me be honest with you: I’ve made some total howlers at Rockwin Casino https://rockswin.com/en-au. We’re talking face-palm, wallet-emptying, “why did I do that?” moments that I would love I could take back. But I’m not keeping quiet about them. As an Australian player who’s spent more hours than I care to admit spinning reels and chasing bonuses, I learned the hard way so you don’t have to. This isn’t a lecture from some distant expert; it’s a real, gritty confession from someone who’s felt the sting of a drained balance and the thrill of a big win, all on the same night. Rockwin Casino is a fantastic playground for us Aussies, but walking in without a game plan is a certain way to turn fun into frustration. I’m here to share my blunders, the raw lessons I learned from them, and how you can avoid these pitfalls to make your online gaming experience smarter, safer, and more enjoyable. Think of this as your friendly, neighbourhood guide to not messing it up like I did.
Pursuing Losses Without Thinking of Tomorrow
My initial and most costly mistake was the standard gambler’s fallacy. I thought my luck had to change if I simply kept playing. I’d have a difficult session on the pokies, watch my balance dip, and in place of logging off, I’d deposit more. I’d tell myself the next spin on Big Bass Bonanza had to hit, or that the next blackjack hand would turn it all around. It never did. Things almost always got worse. I viewed my bankroll like an infinite resource, overlooking the fundamental fact that outcomes are random. This is notably dangerous for Australian players because our sessions can easily stretch into the late hours. The convenience of playing from home wiped out the built-in barrier of having to leave a real venue. I learned a brutal lesson. Chasing losses isn’t a strategy. It’s a quick route to turning a minor, manageable loss into a major financial headache. The emotional toll was equally heavy, leaving me feeling worn out and frustrated instead of entertained.
Skipping the Bonus Terms and Conditions
I always see a attractive “200% Match Bonus” at Rockwin Casino and press “CLAIM” right away. I seldom read the fine print. That was a big mistake. I on one occasion accepted a generous welcome bonus, hit a decent win on a pokie, and tried to withdraw. That’s the point I realised I wasn’t able to. The wagering requirements were set at 50x the bonus plus the deposit amount. The game contributions presented another shock. A few of my go-to table games merely applied 10% toward meeting the bonus. I ended up gambling through a enormous amount, watching my bonus-fueled balance dwindle, and I was never able to withdraw my first win. For players in Australia, knowing these terms is non-negotiable. Here’s the things I check before ever claiming a bonus these days.
Wagering Requirements (Turnover): The multiplier, such as 30x or 50x. A lower figure is typically always superior.
Eligible Games: What pokies, table games, or live dealer titles count? Often, pokies contribute 100%, while roulette or blackjack contribute far lesser.
Highest Bet Limits: Many bonuses may invalidate your winnings when you wager over a set amount per spin, such as $5. This tripped me up once.
Expiration Dates: Bonuses and any winnings from them frequently expire if you don’t use them within a certain number of days.
Trying out Games I Wasn’t Familiar With
I’d get excited by a big jackpot or cool graphics and jump into a new game without a clue about how it functioned. This occurred with complex bonus-buy slots and some table game variants. I remember loading up a high-volatility slot with a cascading reels feature. I was puzzled by how fast my balance drained. I was unaware of the hit frequency, how the bonus activated, or the potential for long dry spells. With table games like Caribbean Stud Poker, I was basically guessing. I had no idea about the optimal strategy for when to raise or fold. This lack of knowledge cost me money. It converted gaming from a form of entertainment into a costly guessing game. For any Australian player, taking five minutes to read a game’s info section is vital. Check its RTP (Return to Player) percentage, which Rockwin Casino clearly displays. You can even play in demo mode first. Knowledge doesn’t only contribute to the fun; it preserves your bankroll.
Avoiding Deposit and Session Limits
This was a basic error. I’d begin playing at Rockwin Casino with a loose idea of what I was willing to spend. But I never used the responsible gaming tools right there in my account settings. A relaxed session could transform into a three-hour marathon. A planned $50 deposit could become $200 before I’d even recognized it. The “one more spin” mentality is incredibly seductive when you’re in the flow. I didn’t adjust until I felt that sickening feeling of overspending. That’s when I finally started using Rockwin’s limit-setting features. Now, I rely by them. Setting a firm daily deposit limit acts as a hard stop. It stops any impulsive decisions in the heat of the moment. Session reminders are also excellent for us Aussies who might play late. A pop-up telling me I’ve been playing for an hour is the ideal nudge to take a break, grab a cuppa, and evaluate how I’m going.
Permitting Emotions Steer My Choices
Gambling is an psychological rollercoaster. I used to be a spectator without a seatbelt. A big win made me feel untouchable. I’d raise my bets impulsively on games I normally wouldn’t try. A annoying loss made me enraged or hopeless. That clouded my judgment and led directly back to Mistake Number One, pursuing losses. I learned that my most successful sessions, the ones where I had fun and stayed in command, happened when I regarded it like a form of recreation. It’s not an emotional support or a get-rich-quick scheme. For Australian players, it’s essential to recognise these emotional cues. Now, if I experience that rush of “I can’t lose” after a win or the sinking feeling of frustration after a loss, that’s my cue to cash out and end it a day. Betting with a calm, level head is the biggest distinction between lasting fun and choices you’ll repent.
Skipping Account Verification At Withdrawal Time
Like many people, I delayed the verification process. I’d join, deposit, and play for weeks. I told myself I’d handle uploading my ID “later.” Then, when I finally achieved a nice win and asked for a withdrawal, my payout was delayed. Rockwin Casino, like all licensed operators catering to Australia, must verify your identity by law. This KYC (Know Your Customer) process is non-negotiable for security and anti-fraud reasons. By not doing it upfront, I created unnecessary anxiety for myself. I worried about my documents being approved and my funds being locked. The lesson is simple. Complete your verification as soon as you sign up. Have your driver’s licence or passport and a recent utility bill ready. Getting it done early means when you do win, the path to getting your money is smooth and swift. It’s a boring administrative task, but doing it immediately removes a huge potential headache down the track.
Neglecting to Track Wins and Defeats
I often play in a total financial fog. I possessed no concrete idea of my net position over a week or a month. Was I winning? Was I behind? I’d vaguely remember a few wins but miss all the smaller losses that mounted. This hindered my ability to manage my gambling as a true entertainment expense. The turning point arrived when I began using a simple spreadsheet. Now, I log every deposit, every withdrawal, and the date. It creates absolute clarity. For Australian players, this is also crucial for tax purposes. The ATO enforces specific rules regarding gambling winnings and losses. Viewing the numbers in black and white reinforces discipline. It assists you see patterns, like which games are truly enjoyable for your budget and which are just draining it. Here is a simple tracking method I use now.
Log the Date & Time: Of each gaming session.
Starting Balance: Note your balance when you begin.
Funds Made: Log any money added during the session.
Closing Balance & Result: Record your final balance and calculate the session’s profit or loss.
Monthly Total: Tally it all up at the month’s end to see your overall spend on entertainment.
This honest accounting transformed everything for me. It took away the guesswork and emotion from the financial side. I could focus purely on the fun and strategic elements of playing at Rockwin Casino. It transformed my approach from haphazard spending to managed entertainment. It ensured my time on the platform remained a positive part of my life. This practice, more than any other, reinforced the lessons from all my previous mistakes. It gave me the control I’d been lacking. It’s the top tool for any savvy Australian player who wants to enjoy the thrill without the financial fear.
Improvisation got weird between one of Suicide Squad’s supporting actors and Jared Leto as he was playing The Joker.
Ike Barinholtz appeared in the star-studded 2016 DCEU movie as Captain Hunter Griggs, an officer at the Belle Reve prison complex where the Task Force X operatives were kept incarcerated. Griggs ended up being forced to work for Joker so that the cackling criminal could make contact with Margot Robbie’s Harley Quinn. The Suicide Squad scene where Griggs came face-to-face with Joker for the first time led to an awkward moment that Barinholtz recently recalled.
On his podcast Funny You Should Ask with Ike Barinholtz, the titular host told Seth Meyers about how, during the filming of Suicide Squad, there was a moment when Leto improvised asking Barinholtz if he peed himself as he was being straddled. Barinholtz wasn’t particularly pleased by Leto going off script like this. Check out his explanation below:
I remember I had to do this scene with him, and he was actually like nice even though he was in character, but he was supposed to be menacing me in the scene. So I was acting scared, you know? I was like, “Oh no, please…” And at some point, he’s straddling me, and he’s like, “Uh oh, did someone piss their pants?” And I’m a yes-ander, so I was, like, “Yes.” That’s a rough improv to say to someone. Like, “Oh, someone s*** themselves.” It’s not cool.
Leto’s Joker had no issue violating personal space, as evidenced by how he greeted Griggs while his henchmen watched. While it’s never explicitly shown or even stated what Joker did to Griggs, given the Clown Prince of Crime’s reputation, one could certainly envision a “piss their pants” scenario unfolding. In any case, Griggs ultimately caved to Joker’s demands and passed along a phone to Harley before the Task Force X mission began, to which she told him, “You’re so screwed.”
Though Suicide Squad was Barinholtz’s only time appearing in the DCEU, he did return to the DC space by voicing Lex Luthor in The Lego Movie 2: The Second Part, then Harvey Dent/Two-Face in Batman: The Audio Adventures. Barinholtz, Leto, and Robbie’s Suicide Squad castmates included Will Smith as Deadshot, Viola Davis as Amanda Waller, Jai Courtney as Captain Boomerang, Joel Kinnaman as Rick Flag Sr., Jay Hernandez as El Diablo, and Karen Fukuhara as Katana. David Ayer directed the feature and was credited as the sole writer, though Geoff Johns wrote the material filmed during reshoots.
Following five months after Batman v Superman: Dawn of Justice, Suicide Squad was met with similarly negative critical reception. ScreenRant’s Suicide Squad review described the movie as “lively,” but ultimately “undermined by plot holes and uneven execution of action, character, and comedy.” However, it was a commercial success, making over $749 million worldwide. Suicide Squad also won the Academy Award for Best Makeup and Hairstyling.
Barinholtz will next be seen reprising Sal Saperstein in The Studio season 2, which Apple TV hasn’t set a release date for yet. He also created the Netflix series Running Point, which is returning for season 3. Leto can currently be seen playing Skeletor in the Masters of the Universe cast.
Amazon’s massive Buy Two, Get One Free sale is back as an early Prime Day deal just in time to stock up your summer reading list. To take advantage of this deal, add three eligible books to your cart; you’ll then receive a discount on the lowest-priced item at checkout. Most eligible books are also seeing big price cuts in addition to the B2G1 promotion, meaning you can save quite a bit while the deal is available. Dozens of novels, comics, art books, and other reading material are eligible for the discount, so we’ve compiled a list of some of our favorite books that are on sale, as well as some trending picks and bestsellers if you’re looking for recommendations.
If you or someone special in your life is a Romantasy fan, several of the genre’s most popular books and series are on sale. Sarah J. Maas fans can get the entire Throne of Glass box set right now for 43% off, dropping the price to $88 (normally $155), while From Blood and Ash, Fourth Wing, and The Knight and the Moth are all seeing steep discounts as well.
Speaking of steamy romances Game Changer, the first book in the spicy Romance series that inspired HBO’s Heated Rivalry, is part of the sale, as well as several other titles that have seen recent or upcoming screen adaptations, such as Project Hail Mary and A Knight of the Seven Kingdoms, while those looking for a new non-fiction book might want to check out Lena Dunham’s new memoir Famesick. Check out the list below for even more of our recommendations, or check out Amazon’s full Buy Two Get One Free sale to browse all the options.
Game Changer, the first book in the spicy Romance series that inspired HBO’s Heated Rivalry, is part of the sale, as well as several other titles that have seen recent or upcoming screen adaptations, such as Project Hail Mary and A Knight of the Seven Kingdoms.
If you or someone special in your life is a Romantasy fan, several of the genre’s most popular books and series are on sale. Sarah J. Maas fans can get the entire Throne of Glass box set right now for 43% off, while From Blood and Ash, Fourth Wing, and The Knight and the Moth are all seeing steep discounts as well.
I Love Boosters is already one of the year’s most inventive and unique films, due in part to production designer Christopher Glass, who brought director Boots Riley’s vision to life alongside a team of innovative creators. He was tasked with creating some truly wild sets, including a tilted (literally tilted) penthouse studio, a chicken-restaurant-turned-squatter’s pad, a colorful Chinese factory, and more.
Glass began with more than a decade as a storyboard artist in commercials before moving into feature films, previs supervision, and visual effects art direction, work that eventually led to designing The Jungle Book and a career in movie and TV production design.
I Love Boosters follows a group of women in the Bay Area who steal high-end clothing for resale. Among them is Corvette (Keke Palmer), an aspiring designer who idolizes the creator of their stolen goods, Christie Smith (Demi Moore). Her gang meets, through incredible circumstances, a Chinese factory worker bent on taking down Smith for her company’s unfair business practices. The film is funny and anti-capitalist and creative in the most surprising ways.
We got the chance to speak with Glass about his experience on the film.
Editor’s note: The following conversation has been edited for length and clarity.
No Film School: I know that your path is a little bit unique because you came up as a storyboard artist and doing FX and previs and stuff like that. So I would love to hear you just talk about that, and then how you got into production design.
Christopher Glass: For about 11 to 12 years, I was a storyboard artist. Started out in commercials, which is a great … I’d actually say it’s a great place to start a film career in the commercial world. And then that led to movies, and then eventually previs became a big thing in the pre-production of movies. And certain directors like Sam Raimi and Ron Howard that I worked with, they would put their storyboard artists in charge of a previs team. So we would storyboard, and then became a previs supervisor. And then that led to then art directing visual effects for commercials and designing things like robots and stuff like that in the commercial world.
And then that commercial experience led to The Jungle Book. Jon Favreau had been trying to get me to design some commercials with him actually at one point. And then he was like, “Hey, you want to try out for the Jungle Book?” Which was kind of a long shot.
But yeah, so I got that, and then I became a movie production designer, basically. I do TV shows, and I still do commercials. And in the beginning, I didn’t really know what I was doing. I production-designed commercials before getting into doing The Jungle Book. So I had done maybe four years of production design commercials before The Jungle Book. So it wasn’t like I just didn’t know anything. But yeah, I was still pretty new, and I’m one of those people that likes to learn, trial by fire. So that’s sort of how I got into it.
NFS: On a film like this one, where the director has such a specific and singular vision, I’m interested in what those early conversations look like, and how Boots talked to you, and how you synthesized his ideas.
CG: So Boots started out with giving me the script, but he gave me a playlist of music since he comes out of the world of music, and he wanted me to listen to certain songs as I read it. And it gave a vibe. And of course, the script is written in a way that is very visual, and a lot of the uniqueness comes across in his writing itself. But yeah, so we start out with references and pass references back and forth. He had a set of references that he found. He talked about Michelle Gondry and stop-motion animation, and he liked this movie called White Cat, Black Cat.
And then I would bounce references off with him, like Time Bandits, Terry Gilliam, stuff like that. So we kind of get in the right world, the right vibe, and then we kind of go from there. But it’s a lot of reference gathering. He wanted a heightened reality. He didn’t want it to look realistic. It was always intended to be absurdist and hyperreal. And that would include the monochromatic stores.
Boots often would say that he was bored with real stores, or people would get bored with it quickly. So we should make them more interesting-looking. And also, it fits in with the character of Christie Smith controlling her customers in a way. And it becomes a thing where it’s almost condescending. “If you want a different color, then deal with it, go to another store. Each store has a different color.” So that was the basic beginnings of the conversation, and then we went from there.
I Love Boosters Credit: Courtesy of NEON
NFS: You have that great montage sequence where you see several of the stores, and they change throughout. How did you approach creating those sets?
CG: Well, before I get to the montage, the green and the yellow sets, those were full sets, and they were the same set, and we just literally painted them a different color. So we started out, I think green. I wanted to start out yellow, because it’s easier to go from yellow to green, but I think we had to start out green for scheduling reasons. And then we would go shoot something else, and then, while they’re off shooting something else, we’re changing the set completely to yellow.
So we’d paint it yellow, then we had to bring in all the set dressing that’s yellow. And we never wanted all the clothing racks and everything to be perfectly matched. We wanted to be in a world of that tone. So it’s yellow, but if you watch it, you’ll see there’s different types of yellow. One, that’s for practical reasons, but also I think it looks good.
And then in terms of all the montage, what we did is we built a really long set, and it was little sections that were different colors. So you’d have a red, brown, pink, and blue, and there were very small two-wall sets that were just back to back to back, and they’re all shot on the same day. Shirley [Kurata] had to do a lot of costume changes. She always had to do a lot of costume changes, actually, which, by the way, she’s amazing. And we just shot it in a row. So you’d have on the next, to the next, the next, the next, and we did it all in half a day for the montage.
NFS: How are you collaborating with the other departments to give everything that fun and quirky energy, but also be unique and varied in the way that you just pointed out?
CG: So obviously, Boots, he’s the director, he was the guiding light for us. But having said that, this was definitely a collaborative effort between all the departments, between myself, costumes Shirley Kurata, Natasha Braier, the DP, the miniature makers, the stop-motion artists, everyone. I mean, the ADs, the special effects department we worked very closely with, because there’s a lot of moving set pieces and clothes being shot out of cannons and being sucked into cannons and shot in reverse and all these things.
We just had to talk a lot. We had to communicate. I would give color samples to Shirley. I’d say, “Hey, this is what the walls are going to be like in the Metro Designers.” And then that would give her an idea of what kinds of costumes would work well. And she did a great job of contrasting that for the non-employees. So if you’re not an employee, then she hyper-contrasted the background color, and it’s very effective. And if you become an employee, then you’re meant to blend in and assimilate. So that was part of the conversation.
And then, of course, Natasha, she lit the sets. They were already painted in a color, but then she would accentuate it with her own color, and she’d decide when to contrast or accentuate, and it was just a rolling conversation.
It’s always collaborative on filmmaking, but to get the color right was the most collaborative that I’ve ever had to do on a feature or any project, other than there was a commercial I did with Spike Jones with FKA Twigs, where that was another very colorful thing. But I think it just takes good communication, giving samples. Sometimes Shirley would give me samples of fabrics. Natasha would then send me photographs or reference, or she’d explain to me what she wanted to do for a certain scene, and we just had to work together. It was just a collaborative [project]. It was fun. And thankfully, we all got along. It was great.
NFS: I have to bring up that slanted set because it’s just bonkers. How did you arrive at the degree to which it was tilted?
CG: The slanted, Christie Smith’s penthouse studio, was written as a 45-degree slant, which is actually a big slant. And if we actually built it at a 45-degree slant, no one would be able to work on the set without being strapped in with safety harnesses, including everyone basically. So that was just impractical, and it’s also kind of scary. 45 is actually way more scary. It’s like a skate ramp. It’s like asking everyone to work for hours on a skate ramp.
So we arrived at 15 degrees, which sounds like a huge compromise, and I think there was a worry that that would be a big compromise, but we made a sample floor piece. I had my art director, Troy Sizemore. He made an incredible foam-core model of the set at different angles. And then he built an actual wedge, like a floor piece, so we could find the right angle, and we could put more wedges underneath it to see, like, okay, and then stunts came. (Oh yeah, it was a huge collaboration with stunts, by the way, with Chelsea Bruland.)
And so we arrived at 15, and Boots saw it, and he was like, “Oh yeah, I guess this is kind of steep actually.” So we built the set at 15 degrees. And that presents all kinds of problems. You can’t just set up a light; you can’t set up things. And what was great is that Boots, it’s meant to look like it’s slanted. It’s meant to look like Christie Smith has adapted to it somehow and only she’s comfortable in this weird luxury thing, and no one else is. So he wanted all the furniture strapped down with L-brackets and chains. And if you watch the movie, you’ll see there are L-brackets and chains on everything, including everything on the shelves. There are chains holding everything. The paintings are hanging by gravity, so they’re actually, they look weird and off-kilter. The curtains are all weird and the light.
But when I first built the set—I didn’t tell Boots this—I saw it, I arrived, and I was like, “Oh, 15 degrees. It doesn’t look steep enough.” So I was like, “Oh no, what can we do? “
So I talked to my construction Ben Nichols and Troy Sizemore, my art director. I was like, “What can we do to make it just a little steeper?” And he’s like, “Well, we could raise the back end of it with a forklift and then prop it up, add more supports, and just raise it a little…”
So we tweaked it to 17 degrees. We got it to 17 … Stunts was cool with it. I had to tell everyone, of course, what we were doing, and I don’t think Boots ever realized it until later, but that’s where we arrived. At 17 degrees.
NFS: Is there a part of the film that you’re most proud of, or visually, you like the best?
CG: Good question. I mean, I love everything that we did. I mean, I’m really proud of what we did with the factory. I mean, I like a lot of the sets, like the slanted set and even Corvette’s place, where she’s squatting at the chicken restaurant, I thought is fun. And what’s a nice contrast with her place with the rest of the shoot is that it’s not monochromatic. There are colors galore, and it’s crazy, and it’s not minimalist, but I really liked the factory.
That was a unique opportunity to do something kind of nuts. And my big influences for that visually were Brazil and Who Framed Roger Rabbit. We wanted it to be candy-colored, and we could have gone with the dark, oppressive, bland factory, but the rest of the movie had so much color.
And then I did look at some references of actual factories that do clothing, and there’s a lot of lint or a lot of colorful lint that gets thrown around and starts covering everything, and there’s a scene where they’re outside, and there’s lint or fuzzy stuff all over the walls and things. That’s actually based on some real references of lint at these factories.
And then a lot of the time, dye just gets spilled into the environment, and it’s beautiful, but it’s also horrible because it’s poison, but it looks like these colors blending together and spilling out everywhere. So I wanted it to feel just a little fantastical, a little heightened because the entire movie is, and I feel like we achieved that, especially with just the color palette. And once again, I was working a lot with Shirley. I knew she was going to do pink costumes for the factory workers, so we played off of that with the greens and stuff like that.
I Love Boosters Credit: NEON
NFS: Is there one thing that you would say an aspiring production designer should learn to do?
CG: I didn’t come out of the traditional route to become a production designer. A lot of production designers, or most of them, I think, go through the art directing route, from sometimes they’re set decorators, and they become production designers, but I think a lot of production designers start as an assistant art director, and then they become an art director, and then become supervising art director. I think there is definitely still a huge value in that pathway. I would recommend that. I wouldn’t necessarily recommend becoming a storyboard artist first and then production designing. That’s sort of a non … I mean, it’s possible there are other production designers that do that, but that’s a very different pathway. I mean, I think there’s a big anxiety in general about AI and all this stuff.
I would just not ignore it, but I think you sort of have to learn what the tools are that exist, so you know what you’re up against in terms of technologies and these kinds of things. But I think traditional production design, like learning set design, learning even architecture, construction, those things are definitely still the key, I believe. And I didn’t come out of that background, as I said, and I had to learn it on the job, and I’m not so sure that’s the best way either. For some people, it is. For me, it worked, but I think I would try to go down the art directing route. Become an assistant art director, and that kind of thing. I think that’s still valuable.
Art directors are not going away anytime soon. There are too many things that have to do with actual objects and building. When you build a set, you have to build a real place that’s safe for the crew and for the actors and for everyone. And it’s a real thing, so you have to know how to build it and how to make these things.
NFS: Is there anything you want to add about the film or your experience?
CG: I’m super proud of this film. I think it’s one of the best things that I’ve ever done, and I just hope more people see it. I think it was a very close, collaborative, creative, crazy movie. It was not easy to make. I don’t want anyone to think this was an easy movie to make. It was not easy. It was very difficult, but it was a good type of difficult. When I say that, it’s like a challenge to figure out how to create things.
And I think that’s another [piece of] advice for up-and-coming production designers and concept people is just leaving open the ability or to want to challenge yourself to create something and to make something new. And not everything is going to be something like I Love Boosters, where it’s all crazy.
Sometimes, some of the best production design is not that crazy-looking. It kind of fades into the background, and you don’t notice it as much. I would throw out a movie like Manhunter from Michael Mann. The production design is amazing, but it’s not like screaming at you or even Marty Supreme, which is a recent movie that Jack Fisk did. He did an incredible job production-designing it, but he made it look realistic. I think it wasn’t hyperreal or anything like that. I think he really researched how things looked back then. And I think that’s the fun part of this job, production designing, is researching and almost transporting yourself because you want to transport the audience, and it all comes back to story, and where’s the story supposed to be? And I’ve done a lot of different types of movies. I’ve done war movies.
I’ve done superhero stuff. I did this movie, and they’re all very different, but I think the common thread is trying to transport the audience, and every story has its own need. I think just trying to figure out how to get to that point, that’s the fun of the journey. That’s the challenge, I guess, that’s enjoyable.
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Celebrity Autobiography, the Broadway specialty production in which bold-face names read the read the published memoirs of other bold-facers to more or less comic effect, will play its final performance at the Shubert Theatre on Sunday, June 21, about two months earlier than previously expected.
The show has been struggling to find an audience after opening to poor reviews, or, at many publications, no reviews at all.
Celebrity Autobiography began performances on Saturday, May 16, with an opening night on Monday, May 18. At the time of its closing, the show will have played 3 preview performances and 40 regular performances. When it opened the production was selling tickets through Sunday, August 16.
The producers say they will announce future plans for Celebrity Autobiography soon.
The production’s weekly grosses have been unsustainable through the run, maxing out at $74,437 for the week ending June 7. That figure reflects an attendance of 3,300, just 37% of the Shubert’s capacity. The average paid admission was an anemic $22.56.
On various audience chat sites, many attendees complained that the material was well-worn from previous international and regional stagings of the show going back years and had not been updated for Broadway. One extended segment focused on the musty romantic entanglements of Elizabeth Taylor, Richard Burton, Eddie Fisher and Debbie Reynolds, hardly fresh stuff.
The Broadway production has not announced a recoupment of its capitalization, or the amount of that capitalization.
The final list of rotating cast members who will have appeared in Celebrity Autobiography include Caroline Aaron, Brooke Adams, Pamela Adlon, Scott Adsit, Lewis Black, Matthew Broderick, Danny Burstein, Mario Cantone, Bonnie Comley, Katie Couric, Mikey Day, Frank DiLella, Tate Donovan, Alexander Dreymon, Gina Gershon, Mickey Gooch Jr., Kathy Griffin, Jeff Hiller, Jackie Hoffman, Christopher Jackson, Gayle King, Leslie Rodriguez Kritzer, Stewart F. Lane, Robert Sean Leonard, Ralph Macchio, Ben Mankiewicz, Andrea Martin, Eric McCormack, Bobby Moynihan, Eugene Pack, Dayle Reyfel, Phil Rosenthal, Daphne Rubin-Vega, Tony Shalhoub, Molly Shannon, Kenan Thompson, Nia Vardalos, Bruce Vilanch, Kate Walsh, Allison Williams, and Rita Wilson.
Celebrity Autobiography is produced on Broadway by Rita Wilson, Eric Falkenstein and Douglas Denoff and the show’s original producer Angelo Fraboni, along with EP Productions, Peter Martin, Willette Klausner, Ken Schur, Mickey Gooch Jr., Danielle Druz, Ben Frimmer, Bruce Robert Harris, Leah Lane, David Moore-Strictly Business Entertainment, Roni Jacobson/Jeffrey Bank, Mark F. Kaplan, Jordan Scott Gilbert, Playhouse Capital/Beth Rudin DeWoody, Alexander “Sandy” Marshall & Susan Palmer Marshall/The Broadway Investors Club, Catherine Adler, Chris Bolan, Robert Zimmerman, Barry Kohn, Meister Leonard Addiss Hirschhorn/Jamie deRoy, Matt Finkelstein, Michael Cuomo/Vic Cairl, Julianne Hoffenberg, and Tisha Fein.
Scenic design and costume design are by Derek McLane, lighting design by Ed McCarthy, and sound design by Palmer Hefferan.
Sheryl Crow has slammed President Donald Trump and his administration for staging the UFC Freedom 250 event last night at the White House, describing it as “disgraceful and void of decency.”
The singer-songwriter, who has been very outspoken against Trump in the past, shared a post on Instagram Stories that decried the event for being tone-deaf in the face of those who may be struggling across America.
“What happened last night on the lawn of the White House was disgraceful and void of decency,” she wrote. “Powerful, rich people filled the lawn to watch a violent sport that ended with a vile and racist comment. All while the average American cannot afford healthcare, gas, and cost of living.”
Regarding the “racist comment,” Crow was referring to a statement made by UFC winner Josh Hokit, who ended a post-match interview by saying, “And lastly, Michelle Obama is a man. Am I right, America?”
She continued by putting the administration in the crosshairs and encouraging Americans to see past the theatrics of a UFC event. “Do not be fooled. This administration is corrupt and does not give a damn about the American people,” she wrote. “It only cares about making money hand over fist at the expense and in spite of our democracy. If we continue to support this kind of distraction from reality, we are no better than them. Let’s be better, America.”
The White House did not immediately respond to Variety‘s request for comment.
This is far from the first time that Crow has spoken out against the administration. Last July, Crow released the song “The New Normal” about the current political climate that referred to Trump as the “leader of the free world” and compared reality to George Orwell’s dystopian “1984” novel. Earlier this year, she called for Trump to be “impeached and imprisoned” for his alleged ties to Jeffrey Epstein.
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Thursday, June 11, 2026, ratings — New episodes: Surviving Earth, Scrabble and Trivial Pursuit.Special: Daughter of the Bride. Sports: 2026 Stanley Cup Finals. Reruns: The Americas, Law & Order: SVU, Georgie & Mandy’s First Marriage, Ghosts, Matlock, and Elsbeth.
NOTE: Ratings posted using Fast Affiliate Numbers.
Note: If you’re not seeing the updated charts, please try reloading the page or go here.
The percentages represent the change since the previous original episode. (Percentages aren’t given for reruns or specials.) To see past ratings for a particular show, click the show’s link. The show pages are updated with the daily final ratings when they become available. Those pages include season averages to date.
If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.
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The connection between human and machine lies at the heart of riding a motorcycle. The machine brings you places, physically, and emotionally that you alone could never reach alone. The same is true for independent filmmakers. The machines (cameras, recorders, computers) allow us to capture a vision, shape a story, and, if we’re lucky, move someone.
But harmony between humans and machines is what gives each their power.
When the balance is right, we humans reach further and the machine carries us faster. When the balance tips too far toward the machine, as we’re seeing with AI, something essential is lost. It becomes like riding a motorcycle on autopilot. You arrive, but you weren’t truly there.
And yet rejecting the machine isn’t the answer either. If we refuse the tools of our time, we move too slowly for the world we’re trying to reach. We get left behind. What we’re reaching for is balance, harmony, and soul.
Nowhere is that tension between independent filmmaking and motorcycle, between human and machine more clearly captured than in this Raindance Seven. Here are two cultures that quietly share the same DNA. One rides the open road, the other rides the open screen. Neither ask for permission. Yet both embody the notion that freedom is earned.
On the surface, motorcycles and indie films seem worlds apart, one smells of petrol and leather while the other smells of coffee, printer paper, and late nights. But scratch beneath the aesthetics and you’ll find something deeper: a shared philosophy of earned freedom.
That’s why the brand values of Royal Enfield align so naturally with Higher Calling, the powerful documentary by Ben Forman. In fact, the Royal Enfield motorcycle was a mission-critical ingredient to the story. The vessel for the story. Neither the motorbikes or film are about speed but both are about presence, purpose, and the long road.
1. Freedom Isn’t Where You’re Going, It’s How You Go
Modern motorcycling culture is often sold as horsepower and acceleration. Royal Enfield rejected that narrative decades ago. Their bikes aren’t designed to win traffic-light drag races but instead are designed to take you somewhere that doesn’t exist on a map… somewhere in your heart.
Indie filmmaking is the same. True independence isn’t about churning out content faster than the algorithm can blink, it’s about choosing why you’re making something and who you’re making it for. Direction and purpose beats velocity.
Likewise, Higher Calling doesn’t rush. It’s a meditation and observation whose meaning emerges over many, many miles… not minutes.
2. The Machine Must Serve the Journey
Royal Enfield bikes are famously “understated.” There is an intentionality and approach that is engineered into serving the riding experience. Enfield’s don’t seek to dominate roads or mountains but offer an invitation to collaborate with them.
Indie filmmakers learn this lesson the hard way. Cameras, lenses, drones, AI tools – none of them are the point. The point is the journey you’re taking the audience on. Stories come from inside and when the machine becomes the star, the story dies.
Higher Calling uses the simplest tools possible, because the human experience is the engine.
3. Independence Is a Daily Practice
Buying a bike doesn’t make you a rider. You become a rider by riding, by learning, by falling, and getting back up. You ride through bad weather, wrong turns, mechanical headaches and all.
Not dissimilarly, indie filmmaking isn’t a label you wear. It’s a set of daily choices: not waiting for permission, not polishing the soul out of your work, not outsourcing responsibility for your voice.
Ben Forman didn’t make Higher Calling to fit a commissioning brief. He made it because the story demanded to be told. And he did not quit until it was. That’s independence.
4. Community Beats the Crowd
When Royal Enfield riders wave at each other, there’s a quiet nod that says: you chose this road too.
Indie filmmakers thrive in the same way: Not through mass audiences (see Harley-Davidson) at first, but through communities. People who understand why you made the thing, even if it’s imperfect.
Higher Calling resonates because it doesn’t shout. It speaks directly to those already listening.
5. Authenticity Leaves the Scars In
Royal Enfield bikes carry history. Weight. Imperfections. They feel lived in the moment you ride them.
Too much indie cinema today is terrified of rough edges. Colour-graded to death. Sound-designed into sterility. The result is films that look expensive and feel empty.
Higher Calling leaves the scars in. The road dirt, the emotional fatigue, the unpolished truth of loss… that’s where authenticity lives.
6. The Long Road Is the Point
Royal Enfield motorcycles are built for endurance. They are designed to carry you further than you thought possible. While many view their bikes as sparring partners, Enfields are like dance partners. You can go further together.
Indie filmmaking is a long road too. Forgive the trope, but the destination is the journey. There is no finish line where someone hands you a crown and says, “You’ve made it.” There is only the next project, the next audience, the next honest attempt.
Higher Calling understands this deeply. The journey doesn’t resolve into a neat third act. It simply continues, because that’s life.
7. Meaning Comes From Motion
A motorcycle parked in a garage is just an object. A film sitting on a hard drive is just data. Purpose only arrives through motion: through riding, through screening, through sharing.
Royal Enfield’s philosophy is simple: ride more. Raindance’s philosophy is the same: make more, but make it mean something.
Ben Forman didn’t wait for the perfect moment to start Higher Calling. He moved… and meaning followed.
Why This Matters for Filmmakers Now
We’re living through an era of “make it and maybe” filmmaking:
Make the film
Submit it everywhere.
Wait and hope somebody with power notices.
That isn’t independence. It’s roulette.
The motorcycle world understands something filmmakers often forget.
Build something solid.
Know where you’re headed.
Expect rough weather.
Keep riding anyway.
Real freedom, whether it’s on the open road or on a cinema screen, comes from taking responsibility for your own direction. The moment you stop waiting for permission, your work changes. So do you.
That’s the spirit behind Royal Enfield. It’s also the spirit running through Higher Calling. And maybe that’s where independent filmmaking goes next, if enough filmmakers are willing to stop chasing approval and start creating their own road forward.
Raindance CTA
If this way of thinking resonates, don’t just nod… move.
Freedom is a choice and it’s built mile by mile.
Dont miss Higher Calling at Raindance
Photo Credit: Bertie Watson I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out. I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival. In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems Check out my new Substack for in depth Free Articles:
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Barack Obama and Michelle Obama are marking a twelve-year milestone today. The Obama Foundation honored the occasion with a tribute on Instagram, commemorating the couple’s June 14, 2014 visit to the Standing Rock Sioux tribe in Cannon Ball, North Dakota. Young people, tribal leaders, and community members were all there that day. Most news cycles moved on fast. The work didn’t.
That visit produced real results. It triggered reforms at the Bureau of Indian Education. That agency oversees K-12 schooling on tribal lands across the country. Federal investments followed in the years after. Job training programs and tribal college funding both got a push. So did broadband access and energy projects on reservations. Those aren’t talking points. Those are real changes with real effects on people’s daily lives.
Here’s the part that makes today more than a routine anniversary. The Obamas recently sat back down with some of those young people from 2014. The Obama Foundation shared video of that conversation. More than a decade has passed since that afternoon in North Dakota. Their stories, twelve years later, say something real about what can happen when a presidential visit leads somewhere. Follow-through from the federal government isn’t guaranteed. In this case, it came through.
The Obama Foundation’s caption put it plainly: “Stories like Cannon Ball are the story of America, and it’s a reminder that when we invest in our young people, they will carry us forward.”
That’s a line worth sitting with. Not every presidential trip to a Native American community produces actual policy change. This one did. The Bureau of Indian Education isn’t a glamorous agency. It doesn’t get a lot of coverage. But it’s responsible for the education of thousands of Native students. Reforms at the agency matter to real kids.
The timing is also worth paying attention to. The Obama Presidential Center is getting close to its opening. The foundation has been in storytelling mode, lifting up lesser-known moments from the Obama years. Cannon Ball is one of those moments. It’s not Washington, D.C. It doesn’t make the usual highlight reel. But the foundation is making a strong case that it belongs in the record.
For some background, the Standing Rock Sioux community drew major national attention in 2016 over the Dakota Access Pipeline protests. That was two years after Obama’s 2014 visit. The federal investments from that trip were already in motion by then. The two moments are separate chapters in the same community’s story. It’s easy to conflate them without knowing the full timeline.
The foundation’s Instagram post crossed 80,000 likes, a solid reach for a foundation account focused on civic legacy rather than pop culture.
Barack Obama has had no shortage of retrospective moments lately, with the Presidential Center approaching. But the Cannon Ball reunion stands out from the usual anniversary content. It’s concrete. It shows results. Not every federal visit to a community produces lasting change. This one did. Some communities rarely see that kind of sustained attention. Cannon Ball did.
The online gaming landscape in the UK has evolved significantly. Platforms now offer more than just a way to spend time. The Game Zeppelin Crash experience serves as a prime example, functioning as the core of a wider gaming network. This ecosystem blends the game itself with a strong community and ongoing updates, building a lively and engaging environment for players.
Understanding the Zeppelin Crash Game Mechanics
The Zeppelin Crash Game offers a multiplayer mode. Users place a wager as a virtual airship begins to climb. A multiplier ticks upward with the zeppelin’s altitude. The goal is to cash out and secure your profits before the craft crashes. Though the rule is basic, the gameplay is intense. It combines fast risk assessment with split-second timing.
Every round feels unique, brimming with the group’s suspense of everyone playing. A provably fair algorithm determines the crash point, making each flight’s end random and verifiable. This openness fosters trust. The ascending zeppelin offers a visual anchor, transforming each round into a brief, thrilling narrative. The mechanic offers instant excitement and serves as a gateway to the rest of the platform’s offerings.
Mobile Optimisation and Accessibility
The Zeppelin network knows players want flexibility, so it operates perfectly on mobile. The game maintains all its features and visual impact on a smaller screen, with touch controls crafted for natural use. UK players can join a round or chat with friends from anywhere, without having a computer.
This mobile focus includes performance. Load times are rapid, and the connection stays stable. Key features like chat, wallet controls, and game history are simple to find and use on the go. Focusing on mobile play addresses a basic reality of how people use digital services today. It makes the ecosystem accessible to a wide audience across the UK.
Safety and Equitable Protocols
Security is a primary concern for UK players, and the Zeppelin Crash Game network treats it that way. Robust encryption safeguards all personal details and every financial transaction. The objective is to create a protected space where players can concentrate on the game, not on concerns about their data or money.
Honest gaming is baked into the system. The provably fair technology enables anyone confirm the randomness of a game round, verifying the results are authentic. The platform submits to regular audits and works with open practices. This devotion to security and fairness is crucial. It establishes the enduring trust necessary to establish the network a esteemed name in the UK market.
Rewards and Bonus Systems
The system uses a thorough rewards system to attract newcomers and reward regulars. Sign-up promotions give new players a stronger starting position, letting them try with less upfront risk. These bonuses come with clear terms that match UK expectations and adhere to rules about promotions.
Ongoing schemes keep players engaged. Loyalty points, weekly challenges, and achievement badges establish a sense of progression. Every action on the platform can add to a player’s standing. These incentives do more than just reward bets; they add a deeper narrative to the gaming experience. This layered approach encourages deeper investment in the whole platform.
Community Features and Social Interaction
The Zeppelin Crash Game network grows through its community. Built-in chat rooms let players communicate, exchange tips, and root for each other’s wins as they happen. This social dimension converts a solo game into a shared spectacle, creating a sense of camaraderie among UK players. Watching when others decide to cash out adds a fascinating layer of group psychology to each round.
Leaderboards and personal profiles give players recognition for their achievements. The network regularly organizes tournaments and special events, turning individual play into a team sport. These elements help build a loyal following. People come back not only for the game’s thrill but for the connections they make. This community becomes a powerful, self-reinforcing part of the entire ecosystem.
Future Developments and Roadmap
The Zeppelin Crash Game network is designed to grow. Its development roadmap features plans to expand the ecosystem. This could mean adding new game styles that complement the core crash game, offering fresh challenges within the same trusted space. Expansions like this ensure the content remaining engaging for a community that appreciates diversity.
The team is also exploring tech upgrades, including ways to utilize new trends and upgrade social tools. They give great focus to feedback from UK players to steer these decisions. This forward-thinking stance ensures the network keeps growing and adjusting. It reflects a commitment to creating a leading gaming ecosystem that matures right along with its players.
The Architecture of the Zeppelin Game Network
The Zeppelin Game Network represents the framework that keeps everything connected. It connects player activity, data, and social features into a single environment. UK players can get started from a desktop computer or a mobile phone with similar convenience. Ensuring the service stable and available is a key priority, allowing the community grow around a reliable platform.
The network takes care of practical elements like wallet connections, live chat, and real-time game stats. It’s designed to scale, handling thousands of players at once during busy periods. This foundation ensures every component, from the main game to the social leaderboards, works flawlessly. The technology runs in the background, making the player’s journey feel seamless and responsive.
Transaction Methods Designed for the UK
A smooth financial process is crucial to the network’s appeal. It accommodates the payment methods UK players are familiar with. This features major debit cards from Visa and Mastercard, plus e-wallets like PayPal and Skrill. Offering these trusted options makes getting started easier for new players.
Transactions are rapid, with a special stress on fast withdrawals. The system is clear about processing times and any potential fees, though the platform itself usually charges none. This tailored approach to payments shows an appreciation of the local market. It positions the network as a user-friendly ecosystem designed for British gamers.
Safe Gambling Structure
Operating in the UK necessitates a rigorous approach to responsible gaming. The Zeppelin network constructs key tools within the platform. Players can set their own deposit restrictions, loss limits, and time limit notifications from their account preferences. These tools place control in the user’s hands, enabling them to play within their individual limits.
The platform supplies direct links to professional support groups like GamCare and GamStop, presenting a clear path to help if it’s needed. Materials on identifying the indicators of problem gambling are readily on hand. This framework constitutes the ethical backbone of the ecosystem, aiming to keep entertainment healthy and lasting. It aligns with both compliance norms and a real commitment for player welfare.
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