One of our favorite parts of the fall: Halloween. With spooky season approaching, deciding on everything from our Halloween nails and makeup to costumes and movies is a highlight of the season.
If you want to get into the spirit but aren’t totally into the idea of going all out on dressing up in a costume, Halloween nails are the perfect way to bridge the gap so you can still celebrate the holiday. Between Halloween press-on nails, nail stickers, and countless Halloween-themed nail art designs, there are plenty of ideas to choose from, whether you want to DIY your look or head to an appointment with your nail tech.
What can we expect from Halloween nail art ideas? According to Brittney Boyce, a celebrity nail artist known for her goth glam manis and founder of Nails of LA, you can expect darker nail colors this season. “Dark mattes will be popular,” she says. “Think dark green, black, and even a blood red.”
If you’re unsure about leaning into full-blown Halloween nail art look, Boyce suggests a chrome or matte finish to give a simple mani some extra edge. “I also love adding 3D metal jewelry at times,” she says. And if you do want to try some of the Halloween nail art ideas but don’t want to take a trip to the nail salon, you don’t have to: “For a DIY approach, I suggest using nail art decals. They’re pretty easy to use and look amazing,” she adds.
No matter how you’re dressing up this October, we have plenty of Halloween manicure ideas that you’ll love so much, you’ll want to wear them year-round. Scroll on for our best Halloween nail ideas that are perfect for fall.
We’re back in Tracker land, where everything mostly stays the same.
Colter is still in the airstream, living off coffee, eggs, and early morning runs, and someone needs rescuing.
There’s something nice about the predictability of it all, like meeting up with an old friend you haven’t seen in a while, but the minute you start chatting, it’s like no time has passed.
When I spoke to showrunner Elwood Reid ahead of the premiere, he did talk about some new things they were going to do this season, but Tracker Season 4 Episode 1 felt like the kind of hour we’ve become accustomed to over the years.
For a season premiere, it wasn’t particularly groundbreaking, nor did it really seem to set up anything for the rest of the season, save, perhaps, for Reenie’s love life, but Tracker also isn’t the kind of show that absolutely has to do that either.
With Tracker filming in Los Angeles now, rather than Vancouver, which it called home for the last three seasons, they immediately set a case in California with Sean, a missing single dad, who never made it home.
Most of Colter’s cases carry a sense of urgency, but this one felt especially daunting because of the kids. Two young kids were without their father, and they needed him home.
Sean seemed like a well-meaning guy from the outset, but it was clear he’d also gotten himself into trouble. It was easy to tell early on that he wasn’t in the wrong place at the wrong time or anything like that.
(Tyler Golden/CBS)
He got a mysterious text, lied to his kiddos, and was out the door in record time.
Props to Charlie for having the wherewithal to contact Colter, even though getting advice off Reddit could have been disastrous. He was lucky Colter was Colter, not some grifter random people on the internet recommended.
Our first pop-in with Randy saw him and Mel at some fancy new open-space office that looked extremely cold, sterile, and unwelcoming, which was a bit of a shock. Reenie’s old office had at least a little warmth, and fit Reenie’s vibe.
This place looked like one of those creepy office buildings set up in movies for fake companies, so it could be easily cleaned out when the police came knocking.
Finding out that Reenie and her crew are bunking at Maxine’s firm felt like an excuse for the series to bring Maxine back, which is fine, but what’s the goal here? Reenie’s a free agent, and she seems to like it that way, so why tie her to Maxine even more?
Reenie and Maxine’s friendship in Tracker Season 3 was cute, and it’s been nice to see Reenie do more than be Colter’s legal advice, so it feels odd to question this move, but I’m still doing it.
I’ve always been a huge advocate for the rest of Colter’s team to gain more depth, and perhaps this is the first step toward that by immersing them in a new world so they don’t feel so isolated.
Anyway, without Randy, Colter would literally be so lost, because the ability to click a few keys and find out who someone last texted and what those messages said is paramount to solving a case. And then to find out where that person is currently located is something even the cops seemingly can’t do that fast.
Whoever Colter speaks to first rarely has anything to do with it, but they’re usually the first real idea Colter gets about what’s going on.
Once Colter found out that Sean had a secret girlfriend and she was in some danger, things got a lot more dire.
I’ve always liked that Tracker doesn’t treat Colter like a robot, especially in the ways he connects with the people he’s trying to help. We’ve seen him bond with family members or significant others to find their missing people, and even with the missing people themselves when he finds them.
Colter is good at what he does, but part of what makes him so good is that he can get in his 1990s Steven Seagal bag and beat up ten men with guns without breaking a sweat, AND he can relate to almost anyone.
“You had a bad childhood? Well, let me tell you about Echo Ridge.”
“Your dad is keeping secrets? Well, you never met Ashton Shaw.”
Colter saw a lot of himself in Charlie, a kid whose world was likely shattered when his mom died and who felt a strong need to protect his younger brother. Throw in his dad clearly getting himself into some trouble, and it was like looking in the mirror for Colter.
That being said, Charlie really lost his mind showing up at that welding shop!
Once Colter got confirmation of the secret girlfriend, it became a race against time, and is an episode of Tracker truly an episode of Tracker if Colter doesn’t come upon a random dead body?
I know detectives get SICK of Colter when he dissects a crime scene better than they do, but the idea that Sean and Stephanie killed her ex-boyfriend, left her car and phone right out front, and fled into the night was a very weak theory.
Now, the police didn’t have the additional information Colter had about Sean, and I’m glad the show acknowledged that through a conversation between Colter and Randy.
(David Bukach/CBS)
Sometimes Tracker introduces law enforcement types who come across as arrogant and unnecessarily obtuse, but sometimes they don’t have a Randy and a Reenie on speed dial.
A conveniently located camera will forever be Colter’s best friend, so why didn’t he have Randy hack it like he’d done a million times before?? It would have saved him $50!
Sean and Stephanie were kidnapped by some pretty big dudes who were not afraid to get their hands dirty, and Stephanie’s ex also working at the port meant this was all connected somehow.
Everything was leading to the port, and I love it when Colter does really badass things that aren’t just killing people.
Now, is it a little fantastical that no one saw his head peeking out from the bottom of that tractor-trailer in broad daylight, but I’ll allow it because it was a really cool sequence.
We’re also going to ignore how easy it was for Colter to find Sean when I’m pretty sure the Port of Los Angeles is an extremely big place with lots of security. Still, we’ve all been watching this show long enough to know you absolutely cannot think too deeply about some of these things, or you’ll get upset.
It still wasn’t clear why Sean and Stephanie were being targeted until Sean told Colter the bad guys wanted Stephanie to erase a container from the system, which meant the trailer was holding something illegal.
The reveal that the container was filled with people being trafficked by the Russian mob felt like a massive reveal that got drowned out by everything happening around it.
The reveal carries such significant weight, but the story doesn’t give it enough emphasis for the audience to fully grasp the atrocity, or even how much it raises the stakes for Colter and the people he’s trying to save.
In the end, Colter Shaw did what he always does, which was impressively and single-handedly take out a small army of men and save not only Stephanie but a container of human beings who were moments away from being trafficked.
The subdued ending in Sean’s living room was a nice way to wrap this one up, with the boys being immediately accepting and happy to meet Stephanie, and Colter doing that thing where he acts like he’s going to settle up with someone down the line.
Colter’s never going to bleed someone dry, or demand payment someone doesn’t have, especially not from a young kid as desperate as Charlie was.
Colter was able to help, which he did, and seeing the joy on Charlie and Hank’s faces at having their family back together was payment enough.
(Sergei Bachlakov/CBS)
Tracker Notes
As previously noted, Reenie’s romantic life was put on Front Street during a brief conversation with Maxine, and she really doesn’t seem interested in this Adam guy, which likely means the two of them will become a thing sooner rather than later.
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No campo do entretenimento online a dinheiro real, a confiança é o bem mais precioso que uma plataforma pode conquistar solverdes.pt. No Solverde Casino, essa segurança não nasceu de uma estratégia de marketing de ocasião. Resulta de décadas de trabalho no setor do jogo em Portugal. Milhares de jogadores acedem nesta plataforma todos os dias com a garantia de que irão descobrir um ambiente seguro, transparente e preparado para oferecer uma experiência completa. Ao longo deste artigo, revelo-te as razões concretas que fundamentam essa reputação e o que te espera quando te registares.
Um Legado de Confiança com Presença Terrestre
O Solverde Casino não surgiu do acaso no mundo digital. O grupo Solverde administra casinos físicos em Portugal por décadas, com espaços de destaque em Espinho, Vilamoura, Monte Gordo e na Praia da Rocha. Esta herança concreta altera radicalmente a forma como sentes a segurança. Quando acessas na plataforma online, estás a interagir com uma entidade que já mostrou a sua seriedade no mundo real, que enfrenta um escrutínio regulatório exigente e que recebe milhares de visitantes todos os anos nos seus espaços físicos.
A passagem para o digital ocorreu naturalmente, trazendo os mesmos padrões de integridade para o ambiente virtual. A experiência adquirida na gestão de salas de jogo físicas nota-se na qualidade do serviço ao cliente, na manutenção de equipamentos modernos e na forma como os jogos são auditados. Saber que por trás do ecrã existe uma estrutura sólida, com pessoas reais e uma reputação a defender, elimina muitas das dúvidas que aparecem quando descobres operadores que só existem online e não têm rosto.
Além disso, a longevidade do grupo atua como um selo de confiança silencioso. Num mercado onde plataformas surgem e somem a toda a hora, o Solverde permanecer presente é um sinal de estabilidade financeira e de compromisso com o jogador. Essa continuidade deixa-te concentrar no que interessa: a diversão, sem medos quanto à segurança dos teus fundos ou à integridade dos resultados. A confiança, aqui, constrói-se passo a passo, dentro e fora da internet.
Opções de Pagamento Seguras e Descomplicadas
Administrar o teu dinheiro no Solverde Casino é um processo simples, suportado por métodos de pagamento que conheces do dia a dia em Portugal. bom saber É possível depositar com cartões de débito e crédito, transferência bancária, e-wallets e, de forma muito prática, através do Multibanco e do MB Way. Esta variedade tira as barreiras do caminho e permite-te escolher a opção que já empregas normalmente, sem necessitares de criar contas extra em serviços financeiros que ignoras.
Os depósitos ficam disponíveis na hora na grande maioria dos métodos, para dares início a jogar sem esperas. Já os levantamentos são submetidos por um procedimento de segurança que contempla a verificação de identidade, um passo obrigatório em casinos licenciados. Depois de finalizares essa verificação inicial, os prazos de processamento tornam-se mais rápidos. Normalmente, os levantamentos para carteiras eletrónicas conseguem ser concluídos em 24 horas, enquanto as transferências bancárias podem levar entre 2 a 5 dias úteis.
Os limites mínimos e máximos de depósito e levantamento são definidos para ajustar diferentes perfis de jogador, do recreativo ao mais regular. Antes de efetuares uma transação, o sistema mostra esses valores com transparência, bem como eventuais taxas, que na maioria dos métodos não se verificam. O meu sugestão é que finalizes o processo de verificação de conta logo a seguir ao registo, submetendo os documentos pedidos, para não enfrentares atrasos quando desejares levantar os teus ganhos pela primeira vez.
Promoções e Ofertas Desenhados para Utilizadores Autênticos
Os ofertas de entrada no Solverde Casino são criados para te dar um estímulo inicial sem criar esperanças que não correspondem à verdade. Habitualmente, descobres uma proposta que combina uma porcentagem de equivalência sobre o teu 1.º carregamento com um pacote de voltas grátis em slots selecionadas. Antes de aceitares, lê sempre os condições e condições: os requisitos de rollover, o tempo para utilizares o bónus e os jogos que contam para o rollover são dados que definem o real real da promoção.
O plano de fidelidade e as campanhas regulares são o verdadeiro motor de recompensa para quem aposta com regularidade. Há campeonatos de slots com tabelas de ranking, propostas de cashback em datas concretos e prémios de recarga que recompensam a persistência. O truque está em verificar a secção de ofertas com assiduidade e acionar as propostas que se adequam com os slots que já habituas jogar, em vez de correres atrás de bónus que te obriguem a abandonar do teu estilo habitual.
Um ponto que me satisfaz bastante é a clareza com que os condições são exibidos. Não encontrarás informação miúdas ocultas em secções difíceis de consultar; o síntese das regras principais vem com cada oferta. Isto permite-te calcular num instante se o bónus faz sentido para o teu valor e para a tua tática. Recorda-te de que não há bónus é fundos grátis direto, é uma vantagem com exigências que, bem usada, aumenta o teu divertimento e pode proporcionar oportunidades concretas de ganho.
Experiência Móvel: Jogar Qualquer Lugar, a Todas as Horas
A versão mobile do Solverde Casino foi desenvolvida para trabalhar logo no navegador do teu dispositivo móvel ou tablet, sem precisares de descarregar uma aplicação dedicada. Esta metodologia tem pontos fortes: não consome memória, mantém-se sempre atualizada e proporciona as mesmas funcionalidades da versão desktop. Basta acederes ao website oficial a do teu dispositivo e entrares com as tuas credenciais de sempre.
A interface ajusta-se de maneira inteligente ao dimensão do ecrã, reestruturando botões e menus para uma navegação tátil fácil. Usei a partir de um iPhone e de um Android de nível médio e, nos dois cenários, a resposta foi suave, com tempos de carga reduzidos e gráficos nítidos. A grande parte das slots e jogos de mesa está adaptada para displays táteis, com botões maiores que impedem toques involuntários em apostas incorretas, um aspeto que é importante em sessões mais longas.
O casino ao vivo em smartphone recebe uma menção especial. A qualidade do vídeo mantém-se elevada mesmo em redes 4G, e o conversa com o croupier opera na perfeição a partir do teclado do smartphone. Consegues adicionar fundos, levantar, falar com o apoio e participar em promoções, tudo a partir do teu dispositivo. Esta flexibilidade faz com que casino te siga para qualquer lugar que vás, transformando períodos de espera ou viagens em oportunidades reais de lazer controlado.
Autorização e Segurança: A Dedicação com a Legalidade
Operar de forma regulada em Portugal não é uma opção, é uma necessidade que o Solverde Casino observa com excelência. A plataforma tem autorização emitida pelo Serviço de Regulação e Inspeção de Jogos (SRIJ), o organismo público que controla toda a movimentação de jogo online no território. Esta permissão não é dada de forma leviana: exige auditorias periódicas, comprovação de estabilidade financeira e a adoção de normas rigorosas de proteção ao utilizador.
Do lado tecnológico, a garantia é providenciada por encriptação SSL de última geração, a mesma tecnologia empregada pelos instituições financeiras. Todos os registos individuais e monetários que submetes são criptografados antes de circularem pela web, tornando-se inacessíveis a terceiros. A plataforma online segue ainda padrões de defesa de dados em conformidade com o Regulamento Geral de Proteção de Dados (RGPD), certificando que as tuas informações não são compartilhadas sem o teu autorização explícito.
A honestidade dos entretenimentos é outro elemento crucial. Os geradores de números aleatórios (RNG) utilizados nas máquinas e nos jogos de mesa digitais são avaliados por entidades independentes e certificados. Isto quer dizer que cada jogada, cada partida de naipe e cada tirada de dados são de fato aleatórios e não sofrem manipulação. No casino ao real, a honestidade é ainda mais clara, porque podes ver toda a movimentação a decorrer em tempo real, sem intervenção de programas escondidos.
Jogo Consciente: Instrumentos para Assegurar o Controlo
O Solverde Casino encara a sua responsabilidade social com seriedade e oferece um grupo de ferramentas que te auxiliam a garantir o jogo como uma atividade de lazer saudável. Logo na área da tua conta, podes configurar limites de depósito por dia, semanais ou por mês, que não podem ser mudados para valores mais altos sem um período de análise. Esta característica é essencial para prevenires decisões repentinas e para preservares o teu orçamento de entretenimento gerido.
Também podes acionar limites de utilização, que te avisam quando alcanças um determinado tempo de jogo contínuo. Os alertas de realidade são lembretes discretos que surgem no ecrã, convidando-te a fazer uma pausa e a refletir se deves prosseguir. Para situações mais críticas, a autoexclusão possibilita-te impedir o acesso à tua conta por um período definido, que pode estender-se de alguns meses a vários anos, durante o qual não recebes comunicações promocionais nem tens permissão para efetuar sessão.
O site também oferece ligações imediatas para organizações de assistência, como a Linha Vida, e questionários de autoavaliação que te permitem a reconhecer sinais de perigo. Estas medidas não são meramente estéticas; são exigências normativas que o Solverde observa e incentiva de forma dinâmica. A honestidade nesta área mostra que a marca dá mais importância à sustentabilidade da relação com o jogador a longo período do que ao lucro instantâneo que poderia conseguir com comportamentos de perigo.
Razão pela qual Milhares de Jogadores Escolhem o Solverde Casino
A explicação a esta pergunta não encaixa num único fator. Encontra-se na união coerente de todos os elementos que referi até aqui. A história física do grupo, a permissão do SRIJ, a variedade de entretenimentos, os meios de pagamento locais e o suporte em português constituem um sistema onde o apostador português se percebe acolhido e estimado. Não se trata de uma plataforma genérica convertida à rapidez, mas de um serviço pensado para o nosso mercado.
A comunidade de utilizadores que se formou à roda da empresa também contribui para essa perceção de confiança. Em plataformas e plataformas sociais, é comum veres depoimentos de membros que destacam a confiança dos retiradas e a estabilidade do sistema. Esta validação social, somada à longevidade da empresa, opera como um indicador forte para quem considera registar-se pela primeira oportunidade. A credibilidade, no fundo, é contagiante quando assenta fundamentada em factos.
Outro ponto que marca a diferença é a ligação real entre o online e o terrestre. Os estabelecimentos terrestres do grupo realizam com assiduidade colaborações com a interface online, seja através de eventos únicos, competições partilhados ou vantagens recíprocas. Esta ligação consolida a noção de que te encontras a entrar num mundo de diversão integral, e não somente num plataforma de jogos. A capacidade de experienciar a marca em situações distintos consolida a conexão e confere um caráter humano ao passatempo online.
Ao inscreveres-te, não te encontras só a abrir uma conta de utilizador; se encontra a ingressar num sistema que reconhece a tua participação e dedica de forma contínua na otimização da jornada. A confiança de milhares de lusos não é um frase sem sentido, é a resultado natural de tempo de funcionamento responsável, auditada e focada no jogador. Investiga com sabedoria, define os teus fronteiras e descobre por ti mesmo o que faz do Solverde Casino uma referência incontornável no panorama local.
Uma Coleção de Jogos que Respeita Todos os Gostos
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Russell Crowe‘s jock strap is back in John Oliver’s possession once again.
This marks the third time the Last Week Tonight host has taken ownership of the undergarment that Crowe wore in 2005’s Cinderella Man.
Here’s the backstory: In 1028, Oliver bought the item at an auction Crowe called “The Art of the Divorce.” He put up more than 200 items for sale in the wake of his divorce from Danielle Spencer.
Following the auction, Crowe told Good Morning Britain that the jock strap turned out to be “one of the most popular items” leading up to the event.
“It was my jock strap when I won the heavyweight championship of the world as the character James J. Braddock in the film Cinderella Man,” he said. “I put it in the collection as a piece of whimsy and a bit of a gag. Funny enough, it’s garnered a lot of attention.”
Of course, it also drew the attention of Last Week Tonight, which purchased it for $7,000 (in addition to some other items). Oliver and his staff then donated it to the last remaining Blockbuster Video store in Anchorage, Alaska, to help boost their business. The store put it on display but then closed in the summer of 2018.
Meanwhile, Crowe said he donated the profits to the Australia Zoo, which said it would use the money to fund the “John Oliver Koala Chlamydia Ward.”
After the Anchorage Blockbuster closed, the jockstrap found its way back to Oliver toward the end of 2018. Crowe even appeared in a sketch with the item.
Last Week Tonight staffers then put it up auction again in 2025 to help raise funds for public TV and radio stations, with the item fetching $21,000 from an anonymous buyer.
It found its way back to auction again in August of this year, and the jock strap was purchased by an unknown buyer for $10,000 at yet another auction. It turns out that buyer was the Last Week Tonight team.
Oliver revealed this news on Sunday’s Last Week Tonight during a story on the Secret Service. Oliver explained the agency’s “zero fail” mission and compared that to his own show’s mission.
“If [they] fail, it can change the course of history, a level of pressure I truly cannot fathom,” he said. “I’m pretty confident the historical legacy of this show will be a few hundred thousand dollars for food banks, a koala chlamydia ward, and whatever the fuck is going on with Russell Crowe’s jockstrap right now.
“Because, quick update: After we auctioned the jockstrap off at the end of last year, in aid of public media, it was apparently put up for auction again in August, where, I’m happy to tell you: It sold for $10,000. And the reason I know that is, of course we fucking bought it back.”
He brought out the undergarment and then addressed it directly: “I cannot wait to find out where you’re gonna go next.”
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Harvey Keitel stars as a celebrated acting teacher in “The Method,” the first feature from director and co-writer Gaurav Bhardwaj, produced by “CTRL” banner Travelin Bone Entertainment alongside Imagination Infinite Motion Pictures.
Mina Sundwall (“Murdaugh: Death in the Family,” “Lost in Space”) also features, as do Rakshit Bhuchar and Rohan Maletira, both of whom make their feature debuts with the film.
The story plays out in New York’s cutthroat acting scene, where a talented Indian actor chasing his craft falls under the sway of Keitel’s teacher. As ambition, friendship and artistic ideals pull against one another, the mentor challenges every one of them to consider what they would give up to succeed.
Production has wrapped in the New York and New Jersey area, and the film is expected to release in 2027.
“‘The Method’ is not simply a film about acting,” said Bhardwaj. “It explores the journeys of four artists: an Indian actor, a Canadian actor, an American playwright and director, and a revered acting teacher portrayed by the legendary actor, Harvey Keitel. At its core, it is a film about aspiration and relationships.”
Bhardwaj added that every character and arc carried personal weight for him, since at some point in his own creative career he had stood where each of them stands. “The film explores the universal struggle to preserve our identities when our ambitions begin demanding that we sacrifice parts of ourselves. I want audiences to experience the same conflict our characters face – the tension between the relationships we value and the ambitions we choose to pursue.”
Travelin Bone was set up by Marc Sternberg, Steve Garrow and Naresh Malik. Its Netflix original film “CTRL” preceded “The Method,” and the company is building out a film and TV slate aimed at both Indian and global viewers.
“With ‘The Method,’ we are bringing together exceptional talent and creative teams from both countries,” said Garrow, the company’s co-founder and CEO. “It has been a wonderful experience working with Gaurav and witnessing the clarity and confidence with which he has approached his first feature film, particularly alongside an iconic actor like Harvey Keitel.”
Garrow also credited Sundwall with real depth and presence on screen and said the two newcomers had delivered work beyond what he had expected.
“‘The Method’ reflects the philosophy of my company in many ways,” said Lalit Bhatnagar, founder of Imagination Infinite Motion Pictures. “We are at a moment when content is becoming increasingly global – and so is talent. The traditional boundaries between industries and markets are becoming less relevant, creating an extraordinary opportunity to bring together artists from different backgrounds to tell compelling stories.”
For 22 years, the disappearance of Frank Davis remained an unanswered mystery for his family.
Davis was 40 when he went missing from Creston, B.C., leaving behind loved ones who would spend years wondering what happened to him.
Now, a team of divers called Adventures with Purpose uncovered a discovery beneath the waters of the Kootenay River near Creston: Frank’s car, flipped upside down at the bottom of the river, with his remains inside.
Frank’s car was found upside down at the bottom of the Kootenay River. After more than 22 years underwater, much of his body had decomposed. The lead diver said it was difficult to determine whether there was even a body inside until he got closer.
Adventures With Purpose
The divers start by identifying a person’s last known location and using available information to map out potential areas where their vehicle may have entered the water. The team then uses sonar to scan beneath the surface, methodically ruling out locations until they find a lead.
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For Davis, the search stretched into its eighth hour before the team located his car on the opposite side of the river.
“The 11th search was where his car was on the other side of the river. We can work very fast,” said Bryon Leisek, a diver with Adventures With Purpose.
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Adventures with Purpose is an American dive team known for its YouTube channel, where it documents searches for missing people and vehicles believed to be underwater.
The team works with families and law enforcement to help bring answers to long-unsolved cases and doesn’t charge the families or police departments for its recovery searches.
For families who have spent years wondering what happened to a loved one, the team’s work can help provide answers and a sense of closure.
Adventures With Purpose is a team of professional divers equipped with high-tech equipment to help locate submerged vehicles and missing people underwater.
Adventures With Purpose
For Davis’ brother, Reid Davis, the discovery brought back a ton of emotions. After 22 years without answers, Reid says he had almost stopped believing he would ever know what happened.
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“It was numbing at first; after so long, you kind of think that you’re not going to have this moment ever, and then just a flood of memories again, all these things that you kind of put away over the years,” Reid said.
Now, Reid hopes the family can move forward by sharing stories about Frank, especially with his youngest son, who was just two years old when his father disappeared.
Frank’s niece, Lenelle Davis, remembers being young when he disappeared. But she has not forgotten the uncertainty that followed, especially for her grandmother, Frank’s mother, who died without knowing what happened to her son.
“How could you ever have any peace not knowing what has happened to your child?” Lenelle said. “I always felt heartbroken for her.”
While the discovery has finally answered where Davis was found, it has not explained exactly how he ended up in the river.
Kade Pigg, a producer with Adventures With Purpose, said the team believes the car went into the water near the abandoned ferry crossing.
“We just determined the where, not the why,” Pigg said.
Police say Davis’ death is not considered suspicious and foul play is not suspected.
For his family, the discovery means they no longer have to wonder where Frank was. As Lenelle put it, there is relief in knowing “he’s home and he’s resting and we’re just not wondering.”
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George Frank Davis went missing in 2004, Even though his first name is George everyone called him Frank.
“October is #breastcancerawarenessmonth and I never thought I’d be honoring it with my own story,” Zimmer, 55, wrote via Instagram on Sunday, October 4. “On March 13th when I was away from home — I heard these words from my doctor over zoom: ‘You have DCIS, also [referred] to as Stage 0 breast cancer.’ The silence was deafening.”
She continued, “Here I was surrounded by women sharing their secrets about their Midlife truths – and I was holding onto the biggest secret I’d ever held. First, I had to call my husband and get home to tell our daughter in person.” (Zimmer shares Colette with Russ Lamoureux.)
Zimmer reflected on the “mental toll that followed,” sharing it was “overwhelming on certain days” as she “began talking to many more doctors” than she would’ve preferred.
Many celebrities have spoken out about their personal battles with breast cancer over the years. Julia Louis-Dreyfus went public with her breast cancer diagnosis in September 2017 via Instagram. Nearly one year later, she had successfully beaten the illness and returned to work on Veep. “It sounds kind of corny, but there’s something about after […]
“Feeling like my options were limited and most suggested what was the quickest way to get this mass out ASAP, which was a mastectomy,” she wrote. “What if that’s not what I want? What if I want to save my boob instead? Thankfully, after talking with @drkristifunk, she said: ‘I think we can try a lumpectomy, I feel confident I can get it out.’ She was the first doctor to make me feel like what I wanted mattered and that made me weep with joy.”
She added, “It did take 3 surgeries – 3 weeks in a row, but she did it, she saved my breast and it looks good too!”
Amid the health battle, Zimmer shared that she was “on a very public press tour” for Love Story, while keeping her diagnosis and treatment private. (Zimmer portrayed Carolyn Bessette-Kennedy‘s mother,Ann Marie Messina, in FX’s series on John F. Kennedy Jr. and Carolyn Bessette-Kennedy.)
“I then followed my surgeries with radiation, while celebrating my Emmy Nomination. So, me and @welcometoheidi decided to have my breast surgeon on our podcast @talkfiftytome because I know talking about it can remind women to please not wait until you have symptoms to get yourself checked in all ways possible. You can listen on 10/6 to the whole story,” she wrote.
Grace Gummer is standing by her portrayal of Caroline Kennedy in FX’s controversial series Love Story two months after Jack Schlossberg criticized her performance. “All I can say is, I really can’t imagine what it’s like to see your life portrayed onscreen,” Gummer, 40, said in an interview with The Hollywood Reporter published Saturday, June […]
She continued, “I’m grateful to be CANCER FREE and thankful to @cathrinewhite for capturing me for the first time since my diagnosis, celebrating what my body got me through over the last 7 months: pure shock and fear alongside pure joy and gratitude. From hospital gowns to Emmy glamour this was one hell of a ride.”
Zimmer also shared several photos of her inside a hospital and image of her glammed up, while also posting a clip where she commemorated finishing one week of radiation.
“Super surreal,” she said in the video, adding that she was “just breathing through it literally and figuratively.”
Sister Wives is back for Season 21 on TLC this fall. The new season premieres Sunday, Oct. 4 at 10:00 p.m. ET/PT, though fans without cable can turn to several streaming services that carry the network, including options with free trials for eligible new subscribers.
Kody and Robyn Brown will not return for Season 21 of Sister Wives, according to TLC’s recently released trailer. While the network and couple have not shared a detailed explanation, reports suggest several possible factors. These include the show’s new focus on Kody’s former wives, possible contract and creative disagreements and Kody’s previously stated desire to step away from reality television and reduce public scrutiny. Sister Wives Season 21 will focus primarily on Meri, Janelle and Christine.
At a Glance: Where to WatchSister Wives Season 21 for Free Online
When: Sunday, Oct. 4 at 10:00 p.m. ET/PT
TV Channel: TLC
Stream: For those without cable, you can stream TLC on Philo, DirecTV, Hulu + Live TV and Sling TV during the premiere time or on demand later
Where to Watch Sister Wives Season 21
Sister Wives Season 21 will premiere on TLC for those with cable or satellite at 10:00 p.m. ET/PT on Sunday, Oct. 4, 2026.
Where to Watch Sister Wives Season 21 for Free Online
Sister Wives Season 21 airs live on TLC Sunday, Oct. 4 at 10:00 p.m. ET/PT, but fans can stream Season 21 through Philo, DirecTV, Hulu + Live TV and Sling during the premiere time or on demand after the initial air time. Philo offers a seven-day free trial while DirecTV and Hulu + Live TV have shorter trial offers for eligible customers.
Here’s a breakdown of the streaming platforms offering TLC for Sister Wives Season 21.
Philo
free trial
Philo
Seven-day free trial $25 per month 150+ channels
Philo includes TLC in its Essential plan, which currently costs $25 per month plus applicable taxes. New customers can try Essential for seven days before paying, provided they meet Philo’s eligibility requirements. The plan includes more than 70 live channels, more than 75,000 on-demand titles and one year of unlimited DVR storage. That gives eligible new subscribers a way to watch Sister Wives during the trial period and cancel before it ends to avoid the regular monthly charge.
DirecTV
free trial
DirecTV
Five-day free trial $64.99 per month 185+ channels
DirecTV carries TLC on channel 280 in HD, making it another option for watching Sister Wives live. TLC is included in multiple DirecTV packages, including Entertainment and higher-tier options. DirecTV currently advertises a five-day free trial for its streaming TV plans. Eligible new customers can use the trial to watch TLC and other included channels, but the service requires a payment method and converts to a paid subscription if it is not canceled before the trial expires.
Hulu + Live TV includes TLC, so subscribers can watch Sister Wives there when new episodes air. For a limited time, get Hulu + Live TV for $49.99 for one month instead of $99.99 per month, including Disney+, ESPN, 100+ live channels, and unlimited DVR. Eligible subscribers may also get a three-day free trial. Note that Sister Wives will be available to watch on Hulu + Live TV, not the standard Hulu subscription.
Sling
stream TLC
Sling TV
$19.99 per month 50+ channels
Sling offers TLC through its Blue package as well as its Orange & Blue package. The current Sling Blue lineup includes more than 40 live channels and TLC is among them. Sling Blue starts at $45.99 per month, while Orange & Blue starts at $60.99 per month. Sling does not offer a traditional free trial, although it provides short-term passes and a free streaming option with limited channels. TLC can be watched live through an eligible Sling plan, with DVR and on-demand options also available.
[This story contains major spoilers for the Lanterns season one finale, “Dirt and Stars.“]
For a Lanterns season one finale that ends with John Stewart taking flight as his own brand of Green Lantern, it’s a rightfully grounded affair until then.
There is no otherworldly threat for the sake of obligatory spectacle, a welcome change of pace from the superhero genre’s oft-reused playbook. Instead, it remains focused on the ever-evolving relationship between Hal Jordan (Kyle Chandler) and John (Aaron Pierre).
“There was never a version of the finale that was more action-oriented,” Lanterns showrunner Chris Mundy told moderator Mallory Rubin of The Ringer during the finale press conference, which featured the creative brain trust alongside stars Pierre and Chandler. “If we landed it emotionally with [Hal and John], we would’ve done our job. [Action for action’s sake] would’ve been distraction and incident instead of emotion.”
Structurally, co-creator Damon Lindelof considers episode five’s “Battle of Rushville” to be this series’ version of the CGI slugfest and sky-beam invasion we’ve seen time and time again.
“If we had to make a two-hour Lanterns movie, you would have to have a bombastic third-act action set piece — and then two or three minutes of coda,” Lindelof said. “We got to do that [coda] over the course of [the last] three episodes.”
Co-creator Tom King, who originally pitched the series’ earthy, True Detective-like spin on Green Lantern lore, added: “One of our sticking points from day one was to avoid clichés like they’re the plague. They make it boring and give you that superhero exhaustion we’ve seen a thousand think pieces about. So it’s not what you expect, and that’s entirely what this show has been.”
Getting into the weeds of plot, the finale begins with an addendum to episode five, as Sheriff Kerry Kane (Kelly Macdonald) arrives at Rushville’s demolished motel to find a defeated Hal Jordan still lying in the rubble following his confrontations with John and Zoe (Poorna Jagannathan). He has already accepted that he’ll be sent to prison for reckless endangerment, allowing the Guardians of the Universe to carry out their long-standing plan to permanently replace him as Earth’s Green Lantern.
The narrative then jumps forward to an earlier point in 2026 to track the burgeoning romance between Hal and Kerry. Hal’s decade’s worth of prison letters clearly had a profound effect on her, because she makes sure to pick him up after his 10-year sentence with a six-pack of Schlitz in hand. But Hal’s return to Rushville with Kerry is met with the coldest of welcomes, including ongoing acts of vandalism against his rental. After all, his selfish desire to retain his Lantern status not only got locals killed, but presumably also brought an end to the 30 years of good health and prosperity Zoe had provided in exchange for the townsfolk protecting her Manhunter identity.
Kelly Macdonald’s Kerry Kane and Kyle Chandler‘s Hal Jordan n Lanterns‘ season one finale.
John Johnson/HBO Max
During a hostile dinner date, Zoe stands up and tries to appeal to the fellow patrons’ better angels in regard to Hal. She points out that he’s trying to make amends every day by being of service to the community in any way he can. That plea falls on deaf ears, as Hal’s rental home — a different one from the one John later stays at — is eventually set ablaze by arsonists. Hal immediately grabs his extraterrestrial flower pet, Earl, and heads for an upstairs exit, but the staircase collapses, leaving the fates of Hal and Earl up in the air.
Hal suddenly wakes up on the floor of a slaughterhouse that now houses Zoe’s leftover Manhunter technology, which heals and regenerates damage done to still-living tissue. Her grandson, Noah Macon (Shea Pritchard), then steps forward to reveal himself as a Manhunter. He rehabilitated Hal’s charred body just as Zoe did for John following the burning car accident that Hal engineered. Noah asks Hal to keep the exchange secret, since his mother, Kerry, is still under the impression that he does not know his true nature as a Manhunter.
If you’re like me, then you probably wondered whether Noah also had to re-skin Earl following the house fire. We knew he somehow made it out alive since John reunited with him after Hal’s death. Fortunately, Rubin read my very specific question aloud to the panel for clarity. Apparently, many other journalists had submitted a similar query about their concern for Earl.
“That’s an excellent question that I’ve never considered. Someone went deeper than we did, and we thought we went deep,” Mundy said mid-laugh. “I don’t think Earl needed to be re-skinned. I don’t think Earl goes down that easily.”
Lindelof continued, “I think Earl is pretty resilient. The botanical creatures of the galaxy can grow their own skin, I would imagine. Earl probably has the thickest skin of anybody on the show.”
After the slaughterhouse, the episode cuts to Antaan’s (Paul Ben-Victor) home planet, which Zoe had annihilated prior to her Rushville arrival in 1986. The scene resumes episode seven’s cliffhanger involving Sinestro (Ulrich Thomsen), John and the holographic version of Hal, dubbed “Halogram.” The disgraced former Green Lantern had been recapping the same Hal-related events we’d just seen visualized so that John can continue piecing together the puzzle surrounding his mentor’s murder.
It was Noah who broke Sinestro out of his previous Oa prison so that he could forge the teen a ring-charging lantern while imprisoned on Antaan’s planet. After Noah saved his life and revealed himself, Hal still couldn’t resist surveilling the young Manhunter. He then discovered that Zoe had left him a portal to the aforementioned planet that had caused her so much guilt and anguish. Hal stepped through it to find Sinestro inside his newest island prison, and the two caught each other up to speed on the circumstances that led them there. It was the last time Sinestro saw his former protégé alive.
Sinestro posits to John that Noah killed Hal for not honoring their agreement to leave him alone, and while John deduces that Noah wants a ring and a lantern to kill the Guardians who ordered John to assassinate his grandmother, he isn’t fully satisfied with that rationale for killing Hal. He then departs with Halogram for Rushville, where Noah’s boot awaits him. In the process, Noah seizes the ring and lantern from John, acquiring everything he needs to go after the Guardians.
After giving him a beating, Noah has John drive him to his final high school football game. He wants to know why John killed his grandmother, but John reveals that she wanted that outcome. Her death would drive away all of the outside agitators and leave Noah’s secret identity in peace. Noah then tearfully takes the blame for killing Hal, fearing his mom would find out about his Manhunter activities from Hal. As Sinestro had also theorized, Noah admits to wrestling with his synthetic nature versus his human nurture. John relates to him by sharing how he’s dealt with overcoming his own unique programming.
Noah proceeds to weigh his two paths. There’s one where he plays college football at the University of Nebraska and gets married. Then he’s tempted with another where he maximizes his abilities to achieve fame, political power and military capabilities. However, he chooses neither. He relinquishes the ring and lantern, and asks John to euthanize him after he finishes playing his last game. Conflicted, John seeks Halogram’s counsel, but he’s not responding.
John then approaches Kerry at the game about Noah’s secret, prompting her to finally spill her guts after all this time. Hal had also confronted her at the football field about Noah’s true nature, forcing her to recount how, upon making her bargain with Zoe in episode five’s 2007 flashback, Zoe’s alien tech gave her far more than a new pinky finger. She walked away as the expectant mother of a baby Manhunter, believing she could love him enough to combat his innately dangerous wiring.
Aaron Pierre‘s John Stewart and Kelly Macdonald’s Kerry Kane in Lanterns‘ season one finale.
John Johnson/HBO Max
Hal blindsides her with the revelation that Noah does in fact know he’s a Manhunter and that he’s planning what we now know to be a revenge mission against the Guardians. Fearing for their safety, Hal says they must get out of Dodge before trouble comes, but Kerry doesn’t want to accept that her Rushville life is over — so much so that she draws her weapon in a panic and shoots Hal as he says, “Goddamnit, I love you.” Kerry immediately regrets the impulsive decision.
John can’t understand why she’d call him to investigate Hal’s murder if she’s the one who did it. She explains that what she really wanted was for him to assess whether Noah is as monstrous as the rest of his kind. John determines that Noah has fought off his intrinsic qualities because he sacrificed the ring and covered for his mom out of love. Kerry is then alarmed when John announces that he’s not going to kill Noah like he requested. He wants to believe this kid can fight the good fight against his worst self, but he knows deep down the jury is still out.
Kerry offers to turn herself in for Hal’s murder, but John refuses to honor her request out of deference to what Hal would’ve wanted. The last we see of the broken Macon family is them briefly reunited to celebrate Noah’s victory and his commitment to the Nebraska Cornhuskers.
John makes his way into town to signal Guy Gardner. Guy shows up to see Hal’s ring on John’s finger and protests that John removed it from Hal’s corpse after guilting Guy into stealing it from the Guardians. John clarifies that he needed it to solve the mystery of Hal’s heroic death. Guy takes further issue with John’s “unsanctioned” lantern, and John then informs Guy that he’ll be taking on earthbound Lantern responsibilities from this point forward. He proclaims himself to be a solo act who operates without a higher command calling his shots.
Guy stresses that the Guardians are going to send an army to deal with this matter, but John relays a coded message basically telling them to leave him alone. It’s likely a reminder that he did their dirty work by delivering Zoe’s crystallized heart, and that, as their first choice to replace Hal, he’s earned some grace. Guy flies off with his tail between his legs, insisting that their business isn’t settled.
At long last, Halogram reappears after Guy exits, admitting he’s been listening to everything that’s transpired since they parted ways after deserting Sinestro. (Notably, he didn’t gloat that he was right about Kerry being his real self’s killer.) Backup Hal first rattles John by pointing out the risky roll of the dice he’s taking with Noah. He then gives him some final reassurance that he’s going to be a better Lantern than he ever was and that it’s finally time to pair himself with the ring. John has been hesitating all episode because Sinestro confirmed that Halogram will cease to be once John syncs the ring with the new lantern. Halogram then spells out the theme of the season by saying, “Don’t be afraid to be afraid.”
Before they part ways, Halogram has one more joke up his sleeve. He lies to John and pretends that he glitched during the part of Kerry’s story in which she quoted Hal’s last words as she shot him to death. So John repeats those words, “I love you,” and Halogram milks the moment with, “And I love you too, Junior,” before winking goodbye. It’s a punchline, but an emotionally resonant and valid one, even if Halogram didn’t personally share as much history with John as his real counterpart did.
“It was painfully exposed. It was a purely honest, open moment, and it was a joyous thing to be able to do on screen,” Chandler recalled. “It was easy to do with Aaron, because, although I really don’t like him very much, I knew I was getting paid.”
As Chandler just showed, he and Pierre constantly ribbed each other throughout the filming and promotion of the show. But certain scenes, like the final goodbye, stopped them in their tracks because of the weight of the moment.
“Kyle believes he made me cry on that day, but I think I made him cry,” Pierre said. “We’ll have to let the episode air and see what the verdict is.”
Aaron Pierre’s John Stewart and Kyle Chandler’s Hal Jordan in Lanterns‘ season one finale.
John Johnson/HBO Max
In the end, John takes the leap to become his own Lantern, one who doesn’t answer to overlords of any kind. He even rewrites the Green Lantern oath to account for his newfound embrace of fear. Oddly enough, that advice didn’t just come from Hal. Sinestro also informed John’s decision to use fear to his advantage, unlike the traditional Green Lantern modus operandi. The lantern that John acquired from Sinestro is even infused with fear-based elements from Antaan’s planet. Last but not least, John also restores relations with his parents, allowing his mother, Bernadette, to exhale after years of estrangement.
Unlike the other major story points discussed so far, John’s revised oath was not decided on until the writers were breaking the finale in the room. Will purists object to John rewriting the oath in such a significant way? Mundy remembered the writers being “crazily nervous” about the choice until writer Justin Britt-Gibson put things into perspective by saying, “We’re not rewriting it; we’re remixing it.”
When you look at all the hierarchies John has served — his demanding parents, the Guardians, the Marines, the Green Lantern Corps — Lindelof stated that he has to finally exist on his own terms. “We were definitely nervous and scared about doing it, but we started to say, ‘If we’re not afraid of doing an idea, then we probably shouldn’t do it,’”he added.
Lindelof continued: “It just felt right, and we understood that it’s probably going to be the thing that divides the fandom, et cetera.”
King then followed Lindelof by explaining why the Green Lantern oath doesn’t technically apply to John. “John is not a hundred percent a Green Lantern anymore. He has an unsanctioned lantern that has a bit of yellow and a bit of fear in it,” King said. “So he’s not saying the same oath as every other Green Lantern — just like a Yellow Lantern or an Orange Lantern says something different. John is this utterly unique creation that he chose for himself. So getting his own unique oath seemed to line up very much with the lore and where we’re going from here.”
King believes such creative license ultimately honors the Green Lantern authors that preceded the Lanterns team. “None of them said, ‘I just want to copy the person before me.’ So to honor that legacy and creativity, you have to push the ball a little farther,” King said.
Certain corners of the internet did not react well to Hal Jordan, historically the most popular Green Lantern, being murdered in the series premiere. Personally, I never sweated the story choice because Halogram seemed like a permanently clever way of keeping Chandler employed in the DCU going forward. But now that Hal’s backup consciousness has been overwritten with John’s, many Hal Jordan fans will likely cling to Sinestro’s offer back on Antaan’s planet to bring him back to life “for real.” Still, it was likely a desperate gambit from a manipulative alien who would do or say anything to free himself from his newest prison.
Another question of mine made the cut at the press conference regarding what alternate routes and destinations were considered. “I don’t think there was ever really another ending,” Mundy said in response. He did recall writing some unfilmed material that enabled John to catch Bernadette up to speed on Hal, but then Lindelof chimed in to make clear what everyone wanted to know. There was never a resurrection in store for Hal, something a number of fans felt was signed, sealed and delivered based on the early 2000s comic Green Lantern: Rebirth.
“The ending of the pilot is that Hal Jordan is dead, and in the very early days, we knew that we didn’t want it to be a fake-out,” Lindelof said. “In order for all of the emotional progression to feel real and earned and lived, we were sticking to that, and there wasn’t going to be a rug-pull.”
As for other potential candidates to kill Hal, Mundy nominated Kerry during the early stages, and she stuck from then on. The more important issue was portraying Kerry’s wrongful act without the audience losing sympathy for her and her precarious situation as a loving mother to a Manhunter. “We wrestled early with the idea of not wanting her to feel duplicitous. Was there a way for her to love Hal and also kill him?” Lindelof said. “And as three married men [co-writing this show], we were like, ‘Absolutely! 1,000 percent.’ The show started to become less of a whodunit and more of a why-done-it.”
Mundy’s season-two writers room has been underway for several months now. He told THR during the August press junket that he’d soon be going in to pitch season two to DC Studios brass James Gunn and Peter Safran. But as of the evening of Oct. 4, no official green light has been announced, nor did the finale press event address the future. That said, a recent report that the series averages 19 million overall viewers per episode bodes well in this era where even renewed shows are no longer safe. Time will also tell how Skydance’s impending acquisition of Warner Bros. Television, HBO and DC Studios affects matters.
Perhaps the most impactful line of the series thus far was Hal’s final line in his self-written eulogy, which John read aloud at his funeral: “I hope I mattered.” As co-writer of that sixth episode, Lindelof adds further context that gets to the heart of what Lanterns season one hoped to accomplish. “What I think Hal is saying is, ‘I hope I mattered toyou.’ And that’s transmitting directly to John.”
Hal wasn’t intending to satisfy vanity or ego.
“It’s not, ‘I hope I mattered because I saved the world from a giant fucking alien starfish. It’s not, ‘I want there to be statues built of me. I need my name to be on an arch or monument,’” Lindelof explained from Hal’s perspective. “It’s just, ‘I hope I’m remembered and that I had a significant role in your life.’”
Lindelof concludes with a fitting sentiment: “I hope that the audience feels like the show mattered and that Hal mattered to them as well.”
*** Lanterns season one is now streaming in full on HBO Max.
Newsmoviesbollywood Diljit Dosanjh Announces 7 India Shows For Aura Tour: Check Dates, Cities And Ticket Details
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Diljit Dosanjh announced his Aura Tour will come to India for seven shows starting in November 2026.
Diljit Dosanjh brings Aura Tour to India, announces 7 shows
If you missed Diljit Dosanjh the last time he came touring across India, you might want to keep an eye on your city this time. The singer is set to return with another big concert run, and this one will take him to several parts of the country over the next couple of months.
Diljit is bringing his ongoing Aura World Tour to India, with seven shows planned across November and December. The announcement comes after the singer’s massive Dil-Luminati Tour in 2024.
The India leg will begin with Delhi-NCR on November 1. He will then head to Indore on November 15, followed by Ahmedabad on November 21. Mumbai fans can catch him on November 27, while Bengaluru gets its turn on November 29. The tour will continue to Lucknow on December 5. Chandigarh is also part of the line-up, although the date and other details for that show have not been announced yet.
BookMyShow, which is the official promoter, announced the India leg on Sunday. The tour expands on the Ahmedabad concert that had already been announced, including Diljit’s show at the Narendra Modi Stadium.
In a statement, the promoter said, “Ahmedabad marked the beginning of Diljit Dosanjh’s homecoming. Now, Aura is set to travel much further. Following the announcement of the world tour’s landmark debut at Ahmedabad’s Narendra Modi Stadium, the RuPay Aura India Tour 2026 will head to multiple cities across the length and breadth of India between November and December 2026.”
Diljit has spent much of the year taking the Aura World Tour through Europe and North America. He will now bring the show back to Indian audiences, something he says comes with its own feeling.
Speaking about the India tour, Diljit said in Punjabi, “Apne desh vich perform karan di vibe hi hor hundi aa. Iss tour de naal ik vaar phir Delhi ton Indore tak apne desh de shehraan vich apne fans de naal milan da mauka mil reha hai, te main is safar layi bahut excited haan. Tuhada pyaar hamesha mere naal reha hai, hun vaari aa tuhade shehar aaun di. November te December milde aan, poori vibe de naal. (Performing in one’s own country brings a completely different vibe. This tour gives me the chance to meet fans in cities across the country—from Delhi to Indore—once again, and I am truly excited about this journey. You have always showered me with love, and now it’s time for me to visit your city. See you in November and December—let’s bring the full vibe).”
Tickets will be sold exclusively through BookMyShow. The RuPay Credit Card Pre-Sale will open on October 6 at 12 noon. Details about when tickets will become available to the general public will be announced separately.
Diljit Dosanjh Aura Tour India 2026: Full Schedule
Delhi-NCR: November 1
Indore: November 15
Ahmedabad: November 21
Mumbai: November 27
Bengaluru: November 29
Lucknow: December 5
Chandigarh: Date to be announced
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The India leg of the Aura World Tour runs across November and December 2026, starting with Delhi-NCR on November 1, Indore on November 15, Ahmedabad on November 21, Mumbai on November 27, Bengaluru on November 29, Lucknow on December 5, and Chandigarh with dates to be announced.
Tickets will be sold exclusively through BookBookMyShow, which announced the India leg. A RuPay Credit Card Pre-Sale opens on October 6 at 12 noon, while general public ticket availability details will be announced separately.
The Ahmedabad concert, marking the beginning of Diljit Dosanjh’s homecoming tour, took place at the Narendra Modi Stadium.
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Pretoria is set for a nostalgic R&B takeover when multi-platinum-selling groups Dru Hill and Silk bring their timeless sounds to the SunBet Arena at Time Square, Menlyn, on Sunday, May 22, 2027.
The concert will mark the first-ever We Love R&B Concert Experience, promising fans a night dedicated to some of the voices and songs that have shaped generations of R&B lovers.
Known for their powerful vocals and string of classic hits, Dru Hill will perform favourites including In My Bed, Never Make a Promise, How Deep Is Your Love, Beauty and These Are the Times.
Joining them will be acclaimed quartet Silk, whose catalogue includes the enduring R&B anthem Freak Me, as well as If You and Meeting in My Bedroom.
But there is more to come.
Organisers Remoakantse Holdings have confirmed another major international name will join the line-up, though they’re keeping the act under wraps for now.
“We are extremely excited about what we are putting together for Pretoria. Dru Hill and Silk are incredible, multi-platinum-selling acts with catalogues that have stood the test of time, and we know their music has a very special place in the hearts of South African R&B fans,” said Remoakantse Holdings managing director Thabiso Mogashwa.
“But this is only the beginning. There is another very special announcement still to come, and we are looking forward to sharing that with audiences soon.”
Mogashwa said the decision to keep the next announcement under wraps was deliberate.
“We have deliberately kept this one under wraps because we want the announcement to be as exciting for the fans as it has been for us putting it together.”
With two multi-platinum R&B acts already confirmed and another major international name still to be revealed, the concert is shaping up as a celebration of the music, memories and voices that have defined generations of R&B fans.
Tickets are available exclusively through Webtickets and at Pick n Pay outlets nationwide.
When Shang-Chi and the Legend of the Ten Rings earned $450 million at the global box office at the height of the COVID-19 pandemic, it seemed Simu Liu was poised to become Marvel’s next breakout star.
Praised by critics and audiences alike, the Shang-Chi franchise was positioned as a key pillar of Marvel’s post-Endgame future.
Director Destin Daniel Cretton arrives for the world premiere of Marvels “Shang-Chi and the Legend of the Ten Rings” at the El Capitan theatre in Hollywood, California, August 16, 2021. Photo: VALERIE MACON/AFP via Getty Images
In the years since, however, Liu’s titular hero has been largely absent from the broader Marvel Cinematic Universe (MCU).
That will change later this year with the release of Avengers: Doomsday.
Shang-Chi Will Return
Not only will Shang-Chi return for the multiversal adventure, but it looks like he will also join Earth’s Mightiest Heroes.
Source: Marvel Studios
With just three months to go until Doomsday hits theaters, Liu has shared an update on his Marvel future.
“I have the same questions. I think soon. First Doomsday, then Secret Wars, and then Shang-Chi 2,” he said.
Liu’s comments were particularly interesting, as they seemingly confirm that Shang-Chi will survive the events of Avengers: Doomsday and return for Secret Wars.
Additionally, it sounds like Shang-Chi 2 may come to fruition after all.
Hopefully, Liu continues to anchor the Marvel Cinematic Universe moving forward.
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WARNING: This article includes MAJOR spoilers from Lanterns season 1, episode 8.The DC Universe drops a major new twist in James Gunn’s superhero franchise.
As the DCU’s Chapter 1: “Gods and Monsters” continues to expand on DC Studios’ live-action reboot, 2026 brought a bigger spotlight to the Emerald Knights, with the Lanterns TV show on HBO. Since August, viewers have been following the great journey of Hal Jordan and John Stewart, taking several unexpected turns along the way.
ScreenRant’s Andy Behbakht recently participated in the Lanterns season 1 finale conference where Kyle Chandler, Aaron Pierre, along with showrunner Chris Mundy, and executive producers Tom King and Damon Lindelof, broke down the events of episode 8. As the final installment of the first season saw John make his own oath as an Emerald Knight, it brought a major change to the comic canon, with him uttering these words:
“In Brightest Day. In Darkest Night. I’ll embrace my fear. I’ll do what’s right. I choose this ring. I choose this fight. In service to this lantern’s light.”
Mundy began by sharing when they knew that they were going to give John his unique oath that both reflected his character arc and tied to the Green Lantern Corps going forward.
He stated that “I would say we didn’t… that’s one that we did not know until very late, that was really as we were breaking the finale, that decision, that idea came up. And yes, of course, we were crazily nervous. I mean, I think- I think the key to us… and it’s funny because we kind of wrote it as like everyone kind of threw out various lines, I don’t know who’s are who’s at this point when we kind of put them all back together. I know Justin, one of the writers, was like, well, we’re not re-writing, we’re remixing it, but I think the idea was we sort of were taking a look back at what we had done with the season, and so John’s path was not the normal path, like, he was… the ring didn’t choose him, he was interviewed, he was kind of raised for it.”
The showrunner elaborated how John “was having to choose this thing, then he decided not to do it, and then decided that he needed to do it on his own terms. And so, it- it felt… We wanted it to be true to the original and respectful of the original, but his version is rooted, obviously, in the OG version of, but we also wanted to tweak it to talk about the themes that we talked about, and fear, and make it- make it be a choice that he was choosing this thing and not something he was like, oh, I’m doing it because my parents want me to do it, or I’m doing it because these things.” For Mundy, he felt that “I think at a certain point, you end- you end writing a season, you- you have a split second to look back on what you built and what was important inside of it, you hope, you know, you hope people will like it, and it was our way to reflect what we built.”
Lindelof elaborated on his perspecive about how they got to this point for John in the Lanterns finale, saying that, “Yeah, and I guess I would just echo that when you- when you watch the totality of John Stewart’s story, it’s really hard to get to the end of it and say that he is in alignment with the [Corps,[ with the Green Lantern [Corps,] and Lianna, and everything that it stands for, and for a man who pledged his loyalty to the- to the, you know, to the military, to his parents, that like this idea of saying “I’m kind of beyond doing that for other organisations, and in order for me to formulate an oath, it has to be on my own terms and in my own way.”
He stressed that, “again, echoing Chris, we were definitely nervous and scared about doing it.” Lindelof clarified that “it was one of those things, and- and Tom actually offered a lot of great insight, where he was saying, well, look, you know, every… there are all these alien species out there who have to recite the oath, but they don’t speak English, and some of them don’t even have site, and so when they talk about something ‘black as night’, they don’t even… that- that’s what they live in, perpetuity, and so, there’s a lot- there’s a lot of wiggle room for translation.”
According to the creative, who is no stranger to the world of DC, after running HBO’s Watchmen TV show, it was “more importantly, I think that, circling back to some of the things that Kyle and Aaron were saying about fear and- and how the show deals with fear, like we started to say, if we’re not afraid of doing an idea, then we probably shouldn’t do it.” Lindelof admitted that “We are… We have the baton, we are wearing the ring for this period of time, we get to make a season of this show, who knows what happens next, but if we’re not taking risks, and you can’t take a risk for risk sake, it has to be earned, and the way that it’s earned is the character starts to tell you what they will do and won’t do before- before the actor even gets to put on the costume of the character and make it their own.”
In the end, he thought, “It just felt right, and we understood that it’s probably going to be the- the thing that, like, the fandom… divides the fandom, etc. But, again, you- you just have to honour the characters at the end of the day, and it felt like it was a good thing, and obviously, Aaron’s performance speaks for itself, so.”
Sector 2814 · Ring Active How Well Do You Know Lanterns? “In brightest day, in blackest night…”
💍The RingPowered by will
🔦The Corps3,600 sectors
🌌OaThe Guardians
👮Earth BeatSector 2814
⚠Yellow PerilThe fear entity
01
Lanterns is one of the tentpole TV series launching James Gunn and Peter Safran’s rebooted DC Universe. On which streaming platform does it air?
✓ Correct! HBO Max — Warner Bros. Discovery’s flagship streamer and the natural home for DCU prestige TV alongside Peacemaker and The Penguin. Lanterns is positioned as the DCU’s high-end serialised drama counterpart to Gunn’s theatrical Superman relaunch, sharing canon with the films. Disney+ runs Marvel; Netflix and Apple are rival streamers.
✗ Ring malfunction! The answer is HBO Max. Netflix has had various superhero shows but not DCU. Disney+ is Marvel’s home. Apple TV+ doesn’t house DC. HBO Max is Warner Bros. Discovery’s streamer and the TV home of the Gunn/Safran DCU — Lanterns joins Peacemaker and upcoming DCU series there.
02
Unlike most Green Lantern adaptations, Lanterns pairs two Earth-based ring-bearers in a buddy-cop framework — a weathered veteran and a newer recruit partnered together on Sector 2814 duty. Which two Lanterns lead the show?
✓ Correct! Hal Jordan and John Stewart — two of the most beloved Earth-assigned Lanterns — are paired as the show’s central duo. Hal is the hot-shot test-pilot veteran, John the disciplined ex-Marine architect with a sharper sense of justice. The pairing draws heavily from the Geoff Johns comics era and lets the show explore two very different philosophies of what a Green Lantern should be.
✗ Ring malfunction! The answer is Hal Jordan and John Stewart. Guy Gardner (played by Nathan Fillion) is a separate DCU character who appears in the 2025 Superman film. Kyle Rayner is a beloved Lantern but not part of this show. The Lanterns duo is the Hal/John pairing — a pointedly contrasting veteran and recruit on Sector 2814 duty together.
03
The role of Hal Jordan — the weathered, test-pilot-turned-space-cop original Earth Lantern — went to a veteran actor best known as Coach Eric Taylor on Friday Night Lights and for leading Bloodline. Who plays Hal?
✓ Correct! Kyle Chandler — Emmy winner for Friday Night Lights, star of Bloodline, and part of the Monsterverse (Godzilla: King of the Monsters) — plays an older, weathered Hal Jordan. James Gunn wanted a seasoned, grounded presence rather than a rookie. Ryan Reynolds played Hal in 2011’s widely-mocked Green Lantern film (a different continuity); Nathan Fillion plays Guy Gardner in the 2025 Superman film.
✗ Ring malfunction! The answer is Kyle Chandler. Ryan Reynolds’ Hal was the 2011 film (a separate, mostly-disowned continuity). Nathan Fillion plays Guy Gardner in the 2025 Superman film — not Hal. Chris Pine isn’t in the DCU. Chandler’s weathered, Friday-Night-Lights gravitas is exactly the mature Hal energy Gunn wanted for the show.
04
John Stewart — ex-Marine sniper, architect, and one of DC’s most iconic Black heroes — is played by a British actor who broke out in Barry Jenkins’ The Underground Railroad and Jeremy Saulnier’s Rebel Ridge. Who is he?
✓ Correct! Aaron Pierre — the British actor who earned raves as Caesar in The Underground Railroad (2021) and carried Netflix’s Rebel Ridge (2024) with a performance frequently compared to early Denzel Washington. Gunn called his casting “a no-brainer.” Winston Duke, Sterling K. Brown and John Boyega are all great actors but not in the role.
✗ Ring malfunction! The answer is Aaron Pierre. Winston Duke is M’Baku in the Marvel universe. Sterling K. Brown (This Is Us, American Fiction) is Marvel-adjacent too. John Boyega famously played Finn in Star Wars. Pierre’s Rebel Ridge performance — playing a disciplined ex-Marine — is essentially his audition for John Stewart, and Gunn’s team cast him off it.
05
James Gunn has repeatedly pitched Lanterns as a grounded, small-town murder-mystery thriller — where the space-cop rings are secondary to a detective case on Earth. Which acclaimed HBO series is his go-to tonal comparison?
✓ Correct! Gunn has explicitly called Lanterns his “True Detective in the DCU” — a slow-burn, atmospheric, character-driven case with superhero elements layered over a grounded murder mystery. Showrunner Chris Mundy actually did True Detective: Night Country duties, bringing that DNA directly. Watchmen (Damon Lindelof) was also cited, and Lindelof has consulting writer credits, but True Detective is the primary comp.
✗ Ring malfunction! The answer is True Detective. Gunn has named it as the explicit tonal blueprint — a slow-burn, character-driven murder mystery with superhero elements layered over it. Chris Mundy, the show’s runner, worked on True Detective: Night Country, bringing the DNA directly. Watchmen was a secondary comp (Damon Lindelof consults), but True Detective is the primary pitch.
06
When James Gunn and Peter Safran took over as DC Studios co-CEOs in 2022, they announced a rebooted slate of interconnected films and TV shows — with Lanterns among the launch titles. What is this first DCU phase officially called?
✓ Correct! Chapter 1: Gods and Monsters — announced in January 2023 as the Gunn/Safran DCU’s opening slate. It includes Superman (2025), The Authority, Supergirl, The Brave and the Bold, Paradise Lost, Waller, Creature Commandos, and of course Lanterns. Crisis on Infinite Earths is a comics event; Flashpoint and Dark Knights are other DC storylines, not the chapter branding.
✗ Ring malfunction! The answer is Chapter 1: Gods and Monsters. Crisis on Infinite Earths is a famous DC comics crossover event (and Arrowverse crossover) but not a DCU chapter label. Flashpoint was referenced in The Flash (2023) from the now-defunct DCEU. The Gunn/Safran era officially named its launch phase Gods and Monsters — Superman 2025, Lanterns, and related titles.
07
Green Lanterns serve the Guardians of the Universe, an ancient race who created the Corps’ 3,600-sector peacekeeping force and charge the Lantern rings from a central Power Battery on their home planet. What is the Guardians’ homeworld called?
✓ Correct! Oa — the small blue-skinned Guardians’ home at the centre of the universe. It houses the Central Power Battery from which all Green Lantern rings draw their energy, and serves as the Corps’ academy and operational base. Krypton is Superman’s destroyed homeworld; Themyscira is Wonder Woman’s hidden Amazon island; Apokolips is Darkseid’s hellscape.
✗ Ring malfunction! The answer is Oa. Krypton is Superman’s homeworld. Themyscira is Paradise Island where Wonder Woman was raised. Apokolips is Darkseid’s grim world in the Fourth World mythos. Oa is specifically the Guardians of the Universe’s planet — home to the Central Power Battery that fuels every Green Lantern ring in all 3,600 sectors.
08
Every Green Lantern recites the same oath when charging their ring — a four-line rhyming incantation that’s become one of the most famous pieces of verse in comic-book history. How does it famously begin?
✓ Correct! “In brightest day, in blackest night / No evil shall escape my sight / Let those who worship evil’s might / Beware my power — Green Lantern’s light!” The oath dates back to 1940’s All-American Comics #16, was refined through the Silver Age, and is considered one of DC’s most sacred bits of verse. Every canonical adaptation includes some version of it.
✗ Ring malfunction! The answer is “In brightest day, in blackest night…” The full oath: “No evil shall escape my sight / Let those who worship evil’s might / Beware my power — Green Lantern’s light!” It’s been canon since 1940 and remains one of comics’ most instantly recognisable pieces of verse — recited in every major Green Lantern adaptation.
Ring Depowered · Report to Oa Your Corps Rank
💍
/ 8
Honor Guard veteran — or still in Corps training?
Finally, King also chimed in about the DCU’s newest Green Lantern, saying that “Chris and Damon spoke beautifully to the philosophy and thought behind it all. I’ll talk about the merit of it all. And, yeah, like Damon said, there’s a whole Alan Moore, Bill Willingham story where sort of Lantern has to make an oath, and that started. And for more modern readers, Geoff Johns done this thing with the spectrum of Lanterns that sort of each colour of Lantern had its own oath.” For them, he felt that “what we see at the end is that John is not a hundred percent a Green Lantern anymore, he has a Lantern that has a bit of yellow in it, has a bit of fear in it, and it’s not, you know, it’s an unsanctioned Lantern, as Guy says.”
According to the DC Comics scribe, who is bringing his Mister Miracle run to life in the DCU as an animated series, the executive producer explained that for John, “He’s not saying the same oath as every other Green Lantern because he’s not like every other Green Lantern. So, just like a Yellow Lantern says something different, or a Green Lantern says something different, or an Orange Lantern says something, this thing that John is, this utterly unique creation that he has not been given to him, that he is not chosen for but that he choose… he choosed himself? That’s the wrong verb somewhere, but he chose for himself – there it is, that he chose for himself, gets its own unique oath, seemed to line up very much with the lore and where we’re going from here.”
Lanterns season 1 is available for streaming on HBO Max.
Rockstar’s GTA 6 is priced at $80 for its standard edition. Another voice has come forward to say they hope other teams follow suit and charge more for new games to help the industry at a time when developers are closing up shop, cancelling games, and laying off developers on a regular basis.
Martin Klima, the co-founder of Kingdom Come developer Warhorse, told PC Gamer that raising unit prices would “help a lot,” but “everybody’s scared to death” to do it.
“Now, hopefully, GTA will blaze the trail, and it will allow us to increase the cost,” he said, adding that Rockstar and Take-Two are among the only companies who can “afford, or who can dare” to raise prices in this way.
He added that price increases for new games are “long overdue and also necessary for this business to survive.”
GTA 6 should kick off a trend of games costing more, Warhorse co-founder says.
Take-Two was among the first big publishers to drive prices up from $60 to $70, kicking this off with NBA 2K21 in 2020. Numerous other publishers followed suit, and now $70 is the norm. Defending the price increase, Take-Two boss Strauss Zelnick said production costs increased by 300%.
Former PlayStation executive Shawn Layden said in 2025 that the price of new games should have gone up with every new console generation for the past 20 years. That largely did not happen, and now the industry is worse off for it, he said.
“I think it’s because everyone’s afraid,” he told GI.biz. “No one wants to be the first one to raise the price, because you’re afraid to lose traffic. So what you do is you just end up eating into your operating income, your profit margin.”
“There were more sports cars in the parking lot in the PS1 era than there were in the PS4 era, because if you’re selling 20 million units at $60 for something that only cost you $10 million to make, that’s different than selling 20 million units at $60 for something that cost you $160 million to make.”
In addition to the mountains of money Rockstar and Take-Two are due to make off GTA 6 game sales, the game is likely to eventually have some kind of new version of GTA Online, and that’s no doubt going to print money.
Reggie McFadden, best known for his run on In Living Color, has died. He was 57.
His sister, Bernice McFadden, confirmed his death to The Hollywood Reporter. She said the U.S. State Department notified the family that he died in Tanzania, where he had been living for several years. A cause of death is not known.
“Rest in peace, fellow comedian, Reggie Mcfadden,” comic Tony Luewellyn wrote on Facebook. “Another fallen veteran comedy brother!”
The Brooklyn-born McFadden played various characters on In Living Color from 1993-1994. His other TV appearances included roles on Martin, Hangin’ with Mr. Cooper, Coach, Moesha, Getting Personal and Curb Your Enthusiasm. His film credits include Jacob’s Ladder and Little Nicky.
McFadden had a comedy special on Comedy Central and was a regular performer in Las Vegas.
His Facebook page states he was the owner of a gold mining company and entertainment production company in Tanzania.
Hollywood fell so hard for “Obsession” that now it wants every new horror movie to look and act like that one. There’s a useful word for that kind of all-consuming romantic fixation: limerence.
Coined by psychologist Dorothy Tennov in 1979, limerence describes a state of extreme infatuation fueled by a prolonged yearning for approval or reciprocation. A little encouragement can go a long way for a person with limerence, and without help, they can wind up imagining an entire future with someone based on evidence that, at most, supports dinner. (No cat for me, thanks!)
Produced for a reported $750,000 and grossing more than $500 million worldwide, of course Curry Barker’s “Obsession” gave the industry so much to daydream about that it started to hear wedding bells. An original low-budget indie became a global hit. Who wouldn’t want another?
But yearning for the next “Obsession” is different from creating a theatrical market where more emerging artists with ambitious projects can thrive. And measuring every new release against Barker’s singular result risks not only overlooking what other movies have accomplished — but drawing the wrong conclusions about why some films fell short in ways that mattered to them.
Wide releases couldn’t rescue “Ice Cream Man” or “Onslaught,” but “Colony” offered a strong case for finding great movies beyond U.S. domestic grosses. Plus, thrillers, like “The End of Oak Street” and “Hope,” broadened the genre conversation, just as the hunt for YouTube’s next breakout filmmaker heads back into theaters this October — where new indie label, Hades Films, is already taking serious swings at connecting with Gen Z horror fans through offerings like “The Influencer Project,” starring Chiara King.
Considered together, the box office results from the last three months offer a view of the business that’s more complicated than finding Hollywood’s next dream date. Scary movies, by nature, demand room for experimentation that can draw out all kinds of different audiences. And the horror genre’s long-term well-being depends on decision-makers learning to love more than the exception to a rule they wrote.
Here are six lessons from the summer box office, and what they say about horror post-“Obsession.”
By September, “the next ‘Obsession’” was already an industry shopping brief; Gersh agent Julien Levesque, for example, told TheWrap that TIFF buyers were hunting for exactly that. But Q3’s biggest horror newcomer, “Resident Evil,” took a very different route to becoming a hit.
For Sony, Zach Cregger’s third horror feature opened to $60.2 million domestically. That’s more than triple the $17.2 million that launched Curry Barker’s dating nightmare for Focus Features back in May. And through its first 13 days, “Resident Evil” collected $110.6 million, whereas “Obsession” made just $73.5 million over the same stretch.
Cregger’s film was comfortably ahead at that stage judging by ticket sales alone. But the two titles’ trajectories diverged rapidly. “Resident Evil” fell 62 percent in its second weekend, when “Obsession” increased 39 percent — and then grew another 14 percent in weekend three.
Of course, Sony’s adaptation of a Capcom video game had two kinds of recognition working for it. First, it’s a familiar horror property that’s done massive numbers before. And second, it’s part of Cregger’s own developing reputation after “Barbarian” and the Oscar-winning “Weapons.”
The director’s name gave this “Resident Evil” installment a special identity beyond its historically tortured franchise, and effectively paired an established audience with the promise of something creatively fresh. “Obsession,” on the other hand, was praised precisely because it seemed to come out of nowhere. For filmmakers like Barker, Cregger’s career offers one possible path from an original horror film to a larger studio assignment. But those opportunities also bring different financial obligations; “Resident Evil,” for example, carried a reported $75 million production budget.
Neither opening-weekend grosses nor behind-the-scenes price tags can settle these films’ respective profitability right now. But they do show how horror buzz develops: either through the demonstrated value of anticipation or the shock and awe that comes from exceeding it.
2. “Buddy” Was a Huge Hit, Even Without Making History
“Buddy” didn’t need half a billion dollars to justify its existence; it was unicorn enough!
Casper Kelly’s fever dream set inside a terrifying children’s TV show finished September with $26.6 million domestically. That’s against a reported $3 million production budget, and nearly five times its $5.5 million opening — reflecting a remarkable run for a truly unusual and artfully surreal horror-comedy that never played more than 1,771 theaters.
The “Obsession” comparison is tempting here, too. After “Buddy” opened, Fangoria asked whether it could follow Barker’s film through strong word of mouth (while explicitly cautioning that nobody at the publication was predicting it would actually make $500 million). “Buddy” subsequently increased its second-weekend gross by 6 percent, spurring an expansion from its opening in 1,277 theaters. It also enjoyed the benefit of the Labor Day holiday (“Obsession” got Memorial Day, coincidentally), and fell a manageable 38 percent the weekend after that.
The film’s memorable marketing campaign also continued to give audiences a specific reason to be curious about “Buddy.” Distributors Roadside and Saban leaned into Kelly’s Adult Swim pedigree (he’s behind the programming block’s legendary “Too Many Cooks” short), using teasers that gradually exposed the sinister underside of a seemingly recognizable media format.
The pitch sold Kelly’s sensibility alongside his killer, orange mascot, and resulted in a kind of “Five Nights at Freddy’s”-type affection among audiences with more of an indie spirit. Production costs and ticket sales can’t establish profitability alone, but the scale does matter.
“Buddy” found an audience large enough to make its modest opening the beginning of a meaningful theatrical run, and treating that result as somehow lesser than “Obsession” misses what’s really important here: There is a viable business in giving distinctive indie horror movies room to grow without demanding that every effort become a once-in-a-decade event.
3. For Studio Sequels, Cost and Expectations Still Had to Match
Obviously, “Insidious” and “Evil Dead” had benchmarks that were way more relevant than “Obsession”: their own previous installments. And those comparisons reveal two very different degrees of franchise wear for the studios still stewarding them.
Sony’s “Insidious: Out of the Further” opened to $25.1 million domestically and reached $65.4 million by September 30. That opening was down 24 percent from 2023’s “The Red Door,” which ultimately collected $82.2 million domestically. That said, with a reported $18 million production budget and worldwide grosses reaching $168.3 million by October 4, the new installment still demonstrated substantial commercial strength.
“Insidious: Out of the Further” and “Evil Dead Burn”
From Warner Bros., “Evil Dead Burn” faced a much sharper contraction. Its $13.7 million opening led to $32.2 million domestically, and earned less than half of the $67.4 million pulled in by “Evil Dead Rise” (which fittingly also came out in 2023). Worldwide, “Burn” collected $72.4 million against $147.3 million for “Rise,” despite its reported production budget increased from $15 million to $20 million. In that sense, Warner Bros. was spending more to reach a smaller audience, and that’s a problem even without “Obsession” looming over it.
Neither sequel is a simple referendum on how audiences feel about familiar IP right now, but with the superhero machine starting back up after a rough few years for Marvel, it’s vital to remember that tentpoles produce hugely influential data — even when the stories of how they find their audiences are considerably less interesting.
4. Small Releases Needed Their Own Benchmark
“Obsession” forced Hollywood to recognize that original horror can mean blockbuster business. But that doesn’t mean every original horror film was built for the same audience, or given the same opportunity to reach one.
Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma” opened in only five(!)theaters, collecting $249,606 for a per-theater average just shy of $50,000. MUBI eventually expanded it to 1,036 locations, and its domestic run reached $6.8 million. That’s a far more impressive trajectory than simply observing that it made a fraction of “Obsession.”
Schoenbrun’s own filmography offers a useful comparison. Their last film, “I Saw the TV Glow,” earned $4.9 million domestically in 2024, and peaked at 469 theaters. Alternatively, “Camp Miasma” increased that gross by roughly 37 percent — with more than twice the maximum theater count. That suggests Schoenbrun found a much larger theatrical audience, but still raises legitimate questions about how the industry is reaching it.
Alex Ullom’s “It Ends” operated on a smaller scale still, making roughly $1 million domestically from a release that peaked at only 340 theaters. Its expansion was brief, with grosses falling dramatically as theaters dropped it. A different benchmark doesn’t mean immunity from scrutiny. Rather, the point is to ask useful questions about what worked and what didn’t.
How strongly did “Teenage Sex and Death at Camp Miasma” connect in its initial markets? How well did that interest survive expansion? What did the “It Ends” release actually cost? And could it have actually done better on streaming? “Obsession” may illustrate what a theatrical breakout can achieve, but it doesn’t get at the heart of specialized releases working on sustainable terms.
5. Wider Releases Couldn’t Save These Flops
Some films deserved better rubrics for success. These ones just needed people to buy tickets.
For A24, Adam Wingard’s “Onslaught” opened in 1,918 theaters, collecting just $1.9 million. That’s an average of just $998 per location for the entire weekend. In its second weekend, the release collapsed by 86 percent — although, it remained in 1,252 theaters. By the end of September, its domestic total was approximately $3.3 million against a reported $15 million production budget. Evidently, its initial bookings substantially exceeded demand.
“Onslaught” and “Ice Cream Man”
Similarly, for his self-proclaimed Horror Section, Eli Roth’s “Ice Cream Man” followed a painfully discouraging trajectory with $2.1 million opening across 1,592 theaters. That’s an average of $1,330 per venue. The following weekend, the theater count contracted to 660 and its gross fell 89 percent to $231,000. Neither the concept nor Roth’s name produced sustained business.
Here, it’s “Buddy” that offers the more helpful comparison. Kelly’s surprise hit opened in fewer theaters than either “Onslaught” or “Ice Cream Man,” and it still earned more than both openings combined. Then, it expanded. Grosses alone can’t explain what went wrong for Wingard and Roth, but those figures do establish that theatrical availability wasn’t enough.
6. Hollywood Hasn’t Found Its Next Big YouTuber Yet
Before Hollywood became obsessed with Curry Barker, Markiplier opened the year in a submarine full of blood. The wildly popular let’s play YouTuber independently released “Iron Lung” — which debuted to $18.2 million domestically in January and collected $51.2 million worldwide. All that against a reported $3 million production budget.
In the spring, Barker brought his own online apprenticeship to Hollywood via the comedy sketches he made with “Obsession” star Cooper Tomlinson on their channel, That’s a Bad Idea, where they also posted viral horror projects, “The Chair” and “Milk & Serial.” Barker told IndieWire YouTube gave him somewhere to practice filmmaking and to find viewers.
After Markiplier, Barker, and Kane Parsons’ YouTube-borne “Backrooms,” Q3 didn’t deliver another comparable arrival from the digital platform. October, however, will offer at least two striking tests of what online audiences can help build — both coming from the same new indie horror label.
Hades Films just opened “The Influencer Project,” starring content creator Chiara King, on October 2. Later this month, it will also partner with Dead Meat’s James A. Janisse and Chelsea Rebecca for “Fresh Meat”: a horror anthology featuring shorts selected from over 500 submissions with audiences voting for the winner. That’s a concrete investment in auteur discovery, using an established online community to help introduce unfamiliar faces to theaters.
They’ll share the Halloween runway with “Other Mommy” on October 9, “Whalefall” and “Crawlers” on October 16, and “Clayface” on October 23 — meaning, there’s plenty left to scare up and, if the situation warrants it, get obsessed with before the end of the year. Barker will also receive IndieWire’s inaugural Future of Filmmaking Award at its namesake event, an artistic summit, on October 17 in Los Angeles.
Last year, American Express marked its 175th anniversary with an intimate Brooklyn concert featuring Gracie Abrams. A year later, the company is taking the same idea of bringing card members closer to the artists they love, but stretching it across cities, tour dates, and even globally.
Harry Styles is the newest example of that strategy.
Amex has attached itself to nearly every part of Styles’ “Together, Together” tour and his album, “Kiss All The Time. Disco, Occasionally.” From album release events and exclusive merch to presale tickets for the tour and a global sweepstakes, the partnership is broad in both content and scale. The album pop-ups alone span 16 cities. In New York, the East Village pop-up will run alongside Styles’ 30-show Madison Square Garden residency through November 1.
The scale may be new, but the strategy isn’t.
Access that feels real
For several years, Amex has been building a music portfolio around artists attractive to Gen Z and younger millennials, including Olivia Rodrigo, Gracie Abrams, Billie Eilish, Kacey Musgraves, and Tate McRae. The format changes depending on the fandom, whether that be an intimate performance, a tour-bus activation, or an album pop-up, but the offer stays consistent: Amex gives fans ways to get closer to an artist they love.
The mission statement makes access feel less like a vague brand promise and more like an actual product.
“I believe in the power of fandom to connect Amex to our members,” said Bess Spaeth, executive vice president of global brand management and experiences at American Express. “We understand what they are most passionate about, whether that is music, sports, travel or dining, and we work hard to make those experiences more meaningful for them.”
For Amex, access is how that idea becomes tangible. It can mean getting a ticket before the general public, buying merchandise made for card members, or stepping inside an experience built around the release of a new album.
“We unlock access for members that only Amex can provide at the moments we know our members are most passionate about,” Spaeth said. “We meet fans where they are and create moments that feel more special.”
Styles gives Amex a useful canvas because his fan base is global, deeply engaged in pop culture, and likely even more committed after following him from his One Direction days until now. According to Amex, 92% of music fans want to feel a deeper connection to their favorite artist.
Fans don’t just want the concert; they want the merch, the feeling of getting something exclusive, and the chance to be there early.
Amex can naturally fit into those spaces, but the partnership still has to feel like it belongs. That means working closely with the artist’s team instead of simply placing a logo on an experience.
After 15 months of anticipation, MobLand has finally returned with new episodes! The second season of this Paramount+ favorite debuted last week, and bloody hell did we miss those crazy Harrigans. Season 2 begins with some familial strife between Conrad (Pierce Brosnan) and Kevin (Paddy Considine), with Harry (Tom Hardy) caught in the middle. The Harrigans will need to get on the same page if they hope to thwart Kat McAllister (Janet McTeer) and her dangerous new accomplice, Frankie Cooper (Johnny Flynn). The new season started with a bang (well, several bangs, actually) and we can’t wait to see what comes next.
New episodes of MobLand debut Friday mornings on Paramount+.
The Barbara Berlanti “Heroes Gala,” launched in 2018 by top TV producer Greg Berlanti in honor of his mom who had died of cancer, hit close to home this year after the disease recently claimed one of the actors on Berlanti’s first show, Dawson’s Creek.
Series creator Kevin Williamson received the Barbara Berlanti Hero Award at the event Saturday at the Barker Hanger in Santa Monica. Now in its third edition, the event raises money for F Cancer’s early detection, prevention, and psychosocial initiatives.
Williamson was presented with the award by Dawson’s Creek star Joshua Jackson and TV writer-producer Julie Plec, who worked with frequent collaborator Williamson, Jackson and Berlanti on Dawson’s Creek. Williamson was recognized for his role in the Dawson’s Creek table read held to support Van Der Beek following his cholesterol cancer diagnosis and benefit F Cancer.
“In the days before we went on stage to do this reading to support James, his health took a turn, and Kevin opened up not only his heart for making sure that everybody was okay, but also his wallet to make sure that we were able to honor James and honor his family at this event in truly the most amazing way possible, to allow his children to be in a room filled with people there to celebrate their dad as they had seen him go through what he was going through with humility and grace and to see the love for him that existed outside of their family,” Jackson said as he and Plec, a 2022 Heroes Gala honoree, both choked up while talking about Van Der Beek.
(L-R) Greg Berlanti, Joshua Jackson, Julie Plec and Kevin Williamson attend the Barbara Berlanti Heroes Gala Benefiting F Cancer at Barker Hangar on October 03, 2026
Chris Frawley/Getty Images
Williamson, who, like Berlanti, lost his mom to lung cancer, also fought back tears while remembering Van Der Beek’s journey on Dawson’t Creek, a series inspired by Williamson’s own coming-of-age.
“James Van Beek gave voice to my childhood, he was the soul of the show, and anyway, he was the ultimate upgrade,” Williamson said about the actor playing a character he had based on himself. “I had the great pleasure of knowing James over many years, I saw him go from a young kid to an extraordinary man — a husband, a father, and a friend.”
Williamson took a lighter note while recalling his and Van Der Beek’s dynamic early in the show’s run.
“James had a full character arc. He started out as a brat. He would get a script and he would call me, and he would be like, ‘Why do I have to say this word? Nobody knows what this word means.’ And I would say, ‘Well, don’t worry about it, the way you mumble, nobody is going to hear it anyway.’ That was our relationship — Dawson talking to Dawson.”
Van Der Beek’s death in February at the age of 48, “really knocked me over,” Williamson said. He called the September 2025 table read benefit “probably one of the most special nights of my life.”
“The only thing missing was James. He was meant to be there. We were holding down hope until the last second, the doctors just wouldn’t let him get on the plane, but he still showed up that night with his unshakable courage and his spirit,” Williamson said. “I think he’s here with us tonight. He’s going to be with us for always. He’s awesome, and so I can’t pretend I’m worthy of any award but I will accept it. I’ll accept it in memory of my mother. I will accept it in the memory of James Van Der Beek, and I will accept it for the entire Dawson’s Creek family.”
The Dawson’t Creek reunion also included Mary-Margaret Humes, who played Dawson’s (Van De Beek) mom on the show. She walked the red carpet with Jackson.
(L-R) Mary-Margaret Humes and Joshua Jackson attend the Barbara Berlanti Heroes Gala Benefiting F Cancer at Barker Hangar on October 03, 2026
Chris Frawley/Getty Images
The Emmy-winning The Pitt star Katherine LaNasa, who spoke about her diagnosis of breast cancer in early 2023 while struggling to find work during the post-pandemic industry contraction, received the Inspirational Hero Award. It was presented to her by The Pitt creator/executive producer R. Scott Gemmill.
“Katherine is more than a survivor. She is a warrior,” Gemmill said. “I think her spirit — I’m pretty sure — was shaped from coming from a long line of tough, ballsy, smart, funny Southern women. I see that every day. Sometimes it’s a lot to deal with.”
Gemmill spoke of how LaNasa’s strength during her cancer battle has influenced her Emmy Award-winning portrayal of charge nurse Dana Evans on The Pitt.
“That, along with her empathy and her grace, has shone new light on an entire profession, helping healthcare workers to be seen and heard from in a way that’s never happened to them,” Gemmill said.
(L-R) R. Scott Gemmill and Katherine LaNasa attend the Barbara Berlanti Heroes Gala Benefiting F Cancer at Barker Hangar on October 03, 2026
Chris Frawley/Getty Images
He referenced one of LaNasa’s most memorable storylines on the HBO Max medical drama.
“She portrayed a sexual assault nurse examiner last year with such honesty and rawness for Tina Ivlev, who is also here, that it affected so many people’s lives,” Gemmill said. “But it also affected policy to the point where Allegheny General Hospital is now getting $20,000 more to train additional sexual assault nurse examiners, and those men and women will go on to change people’s lives in such a positive way. That’s just because she was willing to use what she went through and tap into it and give it to others, and that is a hero. That is an inspiration. That is impact. That is change. That is overcoming adversity, using your gift to help others. And that is my friend and my muse, Katherine LaNasa.”
(L-R) Greg Berlanti, Octavia Spencer, Brunson Green and Robbie Rogers attend the Barbara Berlanti Heroes Gala Benefiting F Cancer at Barker Hangar on October 03, 2026
Photo by Chris Frawley/Getty Images
Actress-producer Octavia Spencer presented the Memorial Hero Award to trailblazing former NBA player Jason Collins, the first openly gay athlete to compete in one of America’s top professional sports leagues, who died of glioblastoma in May. The honor was accepted by Collins’ husband, Brunson Green.
Among those who attended the gala, co-chaired by Berlanti and Robbie Rogers, were LaNasa’s The Pitt co-stars Noah Wyle, Patrick Ball an Shawn Hatosy, as well as top executives from The Pitt studio Warner Bros. Television, where Berlanti is under an overall deal, and HBO Max: Casey Bloys, Sarah Aubrey, Joey Chavez, Clancy Collins White, and Brett Paul. (Both companies sponsored the event.)
Other notable guests included Paramount TV Studios President Matt Thunell, former longtime head of Warner Bros. TV Peter Roth, Danielle Panabaker, LaNasa’s husband Grant Show, Jim Rash, who emceed the auction, Lisa Ann Walter, Matthew Lillard and Sarah Shah.
Most of them took to the dance floor when Seal closed out the night by performing some of his biggest hits.
Knowing how to style Mary Jane shoes isn’t complicated, exactly. With its delicate foot strap and timeless appeal, the shoe style has always been loved for its versatility. But in fall 2026 we’re seeing the somewhat traditional flat be reimagined in totally new ways. Animal print, embellished buckles, mesh fabrications, higher vamps, softer leathers that fit like a glove, and other variations are now what the fashion pros reach for instead.
More options means more styling potential, sure, but also more confusion. That’s where we come in. Ahead, you’ll find how to style Mary Jane shoes for fall 2026.
Instead of classic black Mary Janes, try an animal print.
TORONTO INTERNATIONAL FILM FESTIVAL 2026 REVIEW! Darlene Love: I Know Where I’ve Been was the winner of the People’s Choice Documentary Award at TIFF this year, and that’s really saying something given the competition.
You may not know the name Darlene Love, but you certainly know her voice.You may remember her from her perennial hit single Christmas (Baby Please Come Home), which was performed every year on David Letterman’s shows.Or you may know her as the lead singer on He’s a Rebel, or He’s Sure the Boy I Love, though maybe not, because Phil Spector credited them to another group.Or you may remember her as Roger Murtaugh’s wife in the Lethal Weapon series.And you’ve heard her on the Ronettes’ Be My Baby, Bobby “Boris” Pickett’s Monster Mash, Frank Sinatra’s That’s Life,, or plenty of other songs.
Darlene Love belts out one of her classic hits in a scene from Darlene Love: I Know Where I’ve Been.
Put simply, Darlene Love is one of the best singers in rock and roll history…
I happened to know more than most about Darlene Love from Andrew Hickey’s astounding podcast A History of Rock Music in 500 Songs, which, if you’ve never heard it, you must rectify immediately.But I also remembered her as one of the main characters in 2013’s 20 Feet From Stardom, which told the fascinating and varied stories of backup singers and earned director Morgan Neville an Academy Award Best Documentary.There’s so much more to Love’s story that I didn’t know, and I’m delighted that with Darlene Love: I Know Where I’ve Been, director Barry Avrich has told it with the style, panache, and depth that it deserves.
Put simply, Darlene Love is one of the best singers in rock and roll history, as evidenced by her 2011 induction in the Rock and Roll Hall of Fame.Still, while she’s known and respected by people in the industry, her name recognition with the general public is not in proportion to her talent.She’s just missed achieving breakout stardom many times for a variety of reasons, and instead has slowly added to her reputation and recognition through relentless perseverance.
Experts from around the world, including Canada, say the scale of digital technology use by children and youth is a public health issue that needs immediate action to prevent further harm.
A series of papers published by the Lancet on Sunday say the responsibility for keeping young people safe from problematic use of social media and other digital technology must shift from young people and their families to big tech companies and governments.
“It’s easy to think about how technology impacts our health as being about our individual choices. And one of the things that we really want to get across in this series is that that’s not the right way to think about it,” said co-author Jay Shaw, the Canada Research Chair in responsible health innovation at the University of Toronto, in an interview.
Efforts by parents, such as screen-time limits, as well as individual willpower by young people, aren’t enough to address the “digital determinants of health” that are now part of their everyday environment, the papers say.
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“We need to think about the design choices and business models of big technology companies that have built these platforms that are designed for engagement and (to) keep us on (them),” Shaw said.
“That’s partly what drives the health-related consequences of the digitization of our lives.”
Jay Shaw, Canada Research Chair in Responsible Health Innovation at the University of Toronto, seen in this undated photo. Shaw says the scale of digital technology use by children and youth is a public health issue that needs immediate action to prevent further harm.
Tim Fraser handout via The Canadian Press
Digital technology itself isn’t good or bad, Shaw said, but the way social media companies make money is to keep people on their platforms for as long as possible and to collect data about their likes, what they share and what posts they come back to — information that can be used for advertising opportunities.
“A perfect example is the bottomless scroll or infinite scroll. If the page you’re looking at has no end, it makes it much more difficult to close off that sort of session or that activity,” he said.
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Targeted algorithms through social media and AI chatbots are designed to promote and recommend tailored content, which keep young people interacting with the platform. For many, those properties make it addictive and lead to problematic use, Shaw said — including not being able to stop scrolling even if it doesn’t feel good anymore.
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Depression, anxiety, sleep disruption and limited physical activity were documented harms to young people associated with problematic digital media use in an “umbrella review” of 2,790 studies, the Lancet papers say.
The review also found some health benefits, including a feeling of well-being, associated with “moderate” digital media use and active video gaming.
That shows the importance of considering “the patterns of our engagement with the technology and the kind of content that we’re looking at” when assessing benefits and harms of digital media use, Shaw said.
Big tech companies have often countered claims of mental health harm by citing insufficient causal evidence, the authors say.
While the authors acknowledge it is difficult to establish cause, they say the sheer scale of digital media’s presence and the fact some people are more vulnerable to harms than others justifies taking “precautionary public health action.”
That action includes government regulation and reforming digital platforms’ business models to prioritize the well-being of young people, they say.
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Australia has already imposed regulations limiting social media access to people 16 years of age and over — and dozens of other countries, including Canada, are considering similar measures, Shaw said.
Canada’s proposed policies — Bill C-34, the Safe Social Media Act and Bill C-36, the Protecting Privacy and Consumer Data Act — have “got (it) pretty much exactly right” if they pass into law, he said.
The legislation would create a Digital Safety Commission to oversee tech companies. It would also restrict young people under the age of 16 from using social media platforms.
But the legislation would also allow exemptions for companies that show “adequate safeguards in the regulated social media service for the protection of children,” according to the Parliament of Canada website.
“It’s that logic of incentivizing digital media companies to demonstrate safety that is the key, I think, to all of this,” Shaw said.
There are many positive uses of social media and other digital platforms, including education and recreation, he said, so a total ban for younger teens isn’t ideal.
“At the same time, I don’t see another effective way to encourage digital media companies to enhance the safety of their platforms for young people.”
Instagram’s age restriction is 13 and owner Meta says users under 16 have default account settings that allow parents to set screen time limits and see who their kids are messaging.
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The default settings also block younger teens from messages from people they aren’t connected with and minimizes exposure to sensitive content, such as violence or promotion of cosmetic procedures.
The Lancet series drew on the lived experiences of six young adults between 23 and 30 who formed a youth advisory group.
Yifan Zhou, smiles in this undated handout photo. Zhou was a member of a youth advisory group for The Lancet papers on digital media as a public health issue.
Yifan Zhou handout via The Canadian Press
Yifan Zhou, a 30-year-old Canadian in that group, said she agrees that social media can do a lot of good, including connecting with friends and peers over long distances and easier access to educational information.
But she has also talked with other young people about the darker side of digital platforms, including loneliness from reduced in-person connection and anxiety stemming from frequent comparison of what others are posting online to your own life.
Zhou said she also has a family member who was in their teens and exposed to online predators.
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“It persisted for years before almost any of us really found out because they also felt that it wasn’t something that they wanted to discuss. They felt ashamed,” Zhou said.
“They also didn’t know that it wasn’t the way it’s supposed to be, but the kind of regulations and also the education and a lot of things weren’t in place.”
Dr. Michael Cheng, a psychiatrist at the Children’s Hospital of Eastern Ontario and the CHEO Research Institute, said he frequently sees the addictive nature and mental health harms of social media.
Years ago, when he was caring for children and youth at CHEO, “their question if they were being admitted was ‘can my parents visit? When are visiting hours or when can I call my mom or dad?’”
Now, the first question is often, “do I get to keep my cellphone?” he said.
Cheng, who was not involved in the Lancet series, said it’s important to see “a convergence that we are all around the globe becoming increasingly concerned about the same issue.”
“I remember 10, 15 years ago, those that were concerned, it felt like we were yelling and crying into the wind,” he said.
“Maybe the pendulum will swing back towards a safer side when we can design safer technologies.”
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Zhou said even though digital technology has developed faster than government regulations, she believes change is possible.
“The release of this paper is something that gives me hope, and I am also quite active in the youth scene and I see that young people are more and more taking agency in terms of co-creating our own futures.
Celebrity stylist Allison Bornstein knows that some of the best things in fashion come with a little history.
While browsing Poshmark’s Poshfest 2026 at City Market Social House in Los Angeles, California, on Oct. 2, alongside over 1,000 fellow shoppers including Tori Spelling and Lucy Hale, Bornstein shared her secrets for scoring hard-to-get gems with ET.
Courtesy of Poshmark / Ashley Jane Glasson
For starters, the wardrobe consultant, who’s worked with Katie Holmes, Gigi Hadid, and Isla Fisher, suggests giving pre-loved pieces a chance before splurging on the latest trends.
“I’m a vintage lover. I love secondhand. I feel like anything you can find, you can kind of find it better, or even the original version. Everything is a reference, so I think it’s fun to go to the source.”
As for what’s in right now, Bornstein is ready to make a statement.
Allison Bornstein/Instagram
“On the runways and in general, I’m seeing more faux fur. I’ve been seeing boas, vests, ostrich feathers, and things that are a little bit more ‘look at me.’ There was a while where we were all being very refined, but I’m into glamorous looks,” she explains.
But before adding anything to your cart, the Wear It Well: Reclaim Your Closet & Rediscover the Joy of Getting Dressed author has a few tricks up her sleeve.
“If you’re shopping online, I always like to go to the highly curated expensive places, find things I like, and then go on Poshmark and find them for less expensive. Another really good tip is sometimes sellers don’t know exactly what they have, so dumb down the description. Describe what you want like your friend’s husband would describe it to you. I was looking for a tiger’s eye necklace, and I just typed in ‘brown beaded necklace’ and I found really good options,” she says.
Allison Bornstein/Instagram
Another rule of thumb is to pay attention to the fabric label versus the designer one.
“I look at materials, which is great because a lot of the Poshmark sellers put the composition in their listings. I think that’s really important. Sometimes it’s more about the way something’s made than the designer that’s on the label,” she notes.
“People can get obsessed with the label, but with vintage, that’s less important because Banana Republic and Gap had amazing pieces in the ’90s. You don’t have to get something from Armani. It can still be an incredible leather jacket that has really stood the test of time.”
Allison Bornstein/Instagram
In fact, Bornstein believes some items only get better with age.
“I like vintage leather and suede because I know I’m going to mess it up a little bit, so I feel less precious when things are already worn in. When things are too new, even if they’re not, they will look cheap. When things are broken in, it gives it that character.”
Of course, no wardrobe is complete without some classic denim.
Allison Bornstein/Instagram
“If you can find some good vintage jeans, God bless you. Get them. It’s a hard find, but I have two pairs of vintage Levi’s that I’ll never get rid of and always stay in my wardrobe,” she shares.
Once you’ve struck gold, a little upkeep goes a long way.
“I love the Rowenta AeroSteam Twist Steamer because it’s nice to give a little refresh to things that have been pre-owned. It makes it feel more like it’s yours and gives it a little freshness. … Some vintage things are really delicate, so you actually don’t want to dry clean them. I have so many vintage pieces that have beading and details and you can be a lot more precise with a steamer. This one has iron-like results, but without ironing it.”
Rowenta
And while everyone loves a throwback, keeping one foot in the present is key to a look that feels timeless rather than stuck in the past.
“I never want to look like I’m in a costume. … If you’re wearing a cool 1930s tap short, pair it with a sweatshirt, or do it with a really nice structured white t-shirt, as opposed to doing it with a lace white cami. I don’t want to take things all from one era and like to mix it up with something that feels modern. It’s just kind of about the contrast and the tension.”
A new NYT Strands puzzle appears at midnight each day for your time zone – which means that some people are always playing ‘today’s game’ while others are playing ‘yesterday’s’. If you’re looking for Sunday’s puzzle instead then click here: NYT Strands hints and answers for Sunday, October 4 (game #945).
Strands is the NYT’s latest word game after the likes of Wordle, Spelling Bee and Connections – and it’s great fun. It can be difficult, though, so read on for my Strands hints.
Want more word-based fun? Then check out my NYT Connections today and Quordle today pages for hints and answers for those games, and Marc’s Wordle today page for the original viral word game.
SPOILER WARNING: Information about NYT Strands today is below, so don’t read on if you don’t want to know the answers.
Latest Videos FromTechRadar
NYT Strands today (game #946) – hint #1 – today’s theme
What is the theme of today’s NYT Strands?
• Today’s NYT Strands theme is… Oh well, too bad, what a shame
NYT Strands today (game #946) – hint #2 – clue words
Play any of these words to unlock the in-game hints system.
BONE
SCUM
HOOD
TREAT
CURB
TURN
NYT Strands today (game #946) – hint #3 – spangram letters
How many letters are in today’s spangram?
• Spangram has 11 letters
NYT Strands today (game #946) – hint #4 – spangram position
What are two sides of the board that today’s spangram touches?
• First side: bottom, 3rd column
• Last side: top, 4th column
Right, the answers are below, so DO NOT SCROLL ANY FURTHER IF YOU DON’T WANT TO SEE THEM.
NYT Strands today (game #946) – the answers
(Image credit: New York Times)
The answers to today’s Strands, game #946, are…
ALAS
BUMMER
SUCKS
BOOHOO
UNFORTUNATE
SORRY
SPANGRAM: SADTROMBONE
My rating: Hard
My score: 1 hint
I was thrilled to get a Spangram First yesterday but there was absolutely no chance of spotting it today — congratulations if you were smart enough to see it.
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I was totally puzzled by the theme, so I took a hint — but ALAS didn’t help me much.
Fortunately, I managed to connect BUMMER (not a word I was expecting to see in a game of Strands) and from here managed to make my sad SORRY way around the board. BOOHOO me.
Yesterday’s NYT Strands answers (Sunday, October 4, game #945)
PONG
FROGGER
ASTEROIDS
CENTIPEDE
SCRAMBLE
SPANGRAM FIRST: ARCADEGAMES
What is NYT Strands?
Strands is the NYT’s not-so-new-any-more word game, following Wordle and Connections. It’s now a fully fledged member of the NYT’s games stable that has been running for a year and which can be played on the NYT Games site on desktop or mobile.
I’ve got a full guide to how to play NYT Strands, complete with tips for solving it, so check that out if you’re struggling to beat it each day.
As the ABC workplace sitcom enters its sixth season, premiering Wednesday, Oct. 7 at 8:30/7:30c, the Golden Globe nominee imagines it catching up to Grey’s Anatomy’s 23-season run.
“I look at it like this: If Grey’s Anatomy could be on for 20 years, why can’t we?” said Ralph to People.
After premiering back in 2005, Grey’s Anatomy returns to ABC with Season 23 on Oct. 15 at 10/9c, maintaining its position as the network’s longest-running scripted primetime show.
With five seasons under her belt as the no-nonsense elementary teacher Mrs. Howard in Quinta Brunson’s sitcom, Ralph said, “I love Barbara Howard so much. I’m not going to tell you I’m tired of her because I’m not tired of her. I want to take this journey with her.”
“If this show lasts for five more seasons — that would be 11 seasons now — I would love to still be with her, and just as I continue to grow, I really hope Barbara Howard continues to grow, but it’s all in the hands of Quinta Brunson in the writers’ room,” she added.
Before Abbott Elementary received a Season 6 renewal in March, Brunson noted that she’s “looking forward to moving away” to other projects beyond the sitcom.
“We are so fortunate and blessed to be on a network TV show for five seasons, and for people to still be fans,” Brunson told Bustle last year. “That being said, I have cast members who would love to pursue other projects, and our show is very time-consuming. We shoot about seven months out of the year. That can stop people from being able to do a lot of other things.”
LAS VEGAS, NV. — Metallica had a tender moment at Sphere on Thursday, just after a wretched sea monster mangled the Las Vegas skyline.
On the opening night of its “Life Burns Faster” stand, Metallica had a 16k-resolution arsenal to match the bombast of its music. While the quartet — the first metal band to perform at Sphere — tore through the instrumental deep cut “The Call of Ktulu,” that drippy leviathan swatted at life-sized fighter jets on the screen.
When the leathery beast slunk off, singer James Hetfield dedicated the track to the band’s former bassist, who died in a tour bus crash in 1986. “In honor of our fallen brother, Mr. Clifford Lee Burton,” Hetfield said to a bellowing crowd. “We love you, and we miss you, brother.”
Metallica, the biggest band in metal, thrives in that tension between the genre’s outrageous grandeur, grimy nihilism and outlaw camaraderie. At “Life Burns Faster,” a series of two-night engagements that stretches into March next year, they stayed fleshy and ferocious as a band beneath the digital carnage.
Metal, even when siloed off from broader music culture, has always been a commercial powerhouse. Metallica remains its flagship live act. In 2023 alone, they closed out the all-star Power Trip festival at the Empire Polo Grounds, and still played two in-the-round nights at SoFi Stadium.
They’ve been enormous for generations, and made no bones about their ambitions. The band’s ongoing “M72” tour is hovering around the 10 highest grossing tours ever. So it was only a matter of time before the band — Hetfield, guitarist Kirk Hammett, bassist Robert Trujillo and drummer Lars Ulrich — got curious about the rare venue that could go toe-to-toe with them for sheer firepower. (Onstage and at the box office, Metallica knows counterculture can be both sincere and extremely lucrative).
“We’re grateful you’ve taken the time, energy and the cash” to attend opening weekend, Hetfield said onstage on Saturday. Nice of him to acknowledge the table stakes.
By day, there was much charm in seeing nearly 20,000 metal fans swarming the Vegas strip in Metallica gear, flying in with buddies, spouses, kids and grandkids no matter the four-figure tickets and obligatory crates of merch. (The old adage that metal fans are nice people pretending to be mean held up). On Sphere’s escalators, gray-bearded lifers hugged in shredded battle jackets; tween girls in “Master of Puppets” hoodies drummed along to every fill; accents came from Eastern Europe, Latin America and all the world over. My cab driver effusively recounted sneaking in to see Metallica at Ruthie’s Inn in Berkeley in 1983.
Classic rock and jam bands like the Eagles and Dead & Co. largely use Sphere’s A/V capabilities as a psychedelic background to stately tunes. Metallica is larger-than-life as is — they need little more than a Hetfield snarl or Hammett solo to feel tectonic. On Thursday and Saturday nights, they were nasty and resonant as a live band, even beneath 160,000 square feet of LED mayhem.
Metallica has one of the deepest catalogs and intensely attached fandoms in rock. Sequencing the first Sphere shows would be a global statement, and the band played stellar ones on Thursday and Saturday. From the howitzer of opener “Battery” through the white-knuckle turns of “Creeping Death,” they knew they were still playing to the faithful, albeit in a whole new sort of arena.
As with all Sphere acts, that visual wattage can absolutely grip you, or it can feel like using a flamethrower to grill. (I texted some “Ktulu” footage to a serious metalhead friend, who replied “Lol,” then “Sick,” which seemed apt).
Some backdrops were creepy set dressing, while others had tactile brutality — Sphere often had the rumble-seat effect blaring. Metallica locked into the martial imagery around “The Shortest Straw,” “Sad But True” and the MTV-era hit “The Memory Remains.” “Wherever I May Roam” used gulp-inducing hairpin turns, and fans flinched when the statue from “…And Justice For All” collapsed in pieces (an apropos image, these days!)
While the band surely didn’t intend this coincidence, for anyone watching the Christa Pike saga, it was surreal to hear Hetfield scream, ”Death in the air, strapped in the electric chair / This can’t be happening to me” on “Ride the Lightning” inside a gigantic execution chamber.
The set snaked through freewheeling Hammett and Trujillo jams, the recent single “Lux Æterna” and the ballad “Nothing Else Matters” (Metallica writes aching melodies and forlorn guitar lines, too). They closed Thursday with “Seek & Destroy,” a roiling cut from their 1983 debut “Kill ‘Em All,” and “Master of Puppets,” given new life as a major plot point in the horror-thriller series “Stranger Things.”
On Saturday, the band reprised its recent two-nights/no-repeats gambit with a completely different set list. Equally rangy, if perhaps more ruminative.
Peeling out of the gate with “Blackened,” framed as massive silhouettes on a white field, they roared through “Fuel” and lurched into “Leper Messiah” and “Welcome Home (Sanitarium),” each great, grinding cuts from “Puppets.” “Devil’s Dance” and the reicide-themed visuals of “King Nothing” framed their controversial “Load”/”Reload” period as a core transition. Newer cuts “72 Seasons” and “Hardwired” channeled the old viciousness.
They played a lovely “The Unforgiven” and dedicated an exploratory take on “Orion” to Cliff Burton again, followed by Thin Lizzy’s “Whiskey in the Jar,” a major influence on their riffing. But the set came into its full power with a duel of “For Whom the Bell Tolls” and “One,” framed around WWI-era bombing footage and parades of mangled skeleton soldiers. Metallica’s always been more existential than topical, but haven’t we all scrolled our feeds recently and muttered, “Darkness imprisoning me / All that I see, absolute horror.”
They closed on “Enter Sandman,” the only real choice for their inaugural Vegas weekend. Two perfectly tuned sets, retrofitted for this decadent monolith.
Is it a little weird that metal is now welcome as an elite Las Vegas entertainment commodity? Perhaps. But the genre’s been a cunning spectacle since Ozzy’s first crucifix (or Venom getting in league with Satan). Metallica’s generations of disaffected dirtbags — this writer among them — were primed for this gig. Metal’s always been escapist, even at its grittiest. Now it’s a five-star vacation destination too.
Marvel Studios is celebrating Chris Evans’ return as Steve Rogers with a movie-accurate Avengers: Doomsdayfigure from Hot Toys. While Avengers: Endgame closed a chapter in Steve Rogers’ story by featuring his happy ending with Hayley Atwell’s Peggy Carter, Avengers: Doomsday (premiering on December 18) will bring him back in a major capacity after his decision to be with the love of his life affected the Multiverse. Marketing for Doomsday made it clear that Steve already has a son, and he has completely abandoned his Captain America mantle. Avengers: Endgame Encore‘s altered ending made the link to Doomsday even more obvious after Tom Hiddleston’s Loki interrupted Steve and Peggy’s dance, seemingly pulling him out of that life due to the Multiversal anomaly he created.
Hot Toys officially revealed a brand-new 1/6-scale Avengers: Doomsday Steve Rogers figure, depicting the everyday family man version of the MCU hero without the star-spangled suit. The latest figure provides fans with the most detailed look yet at Steve Rogers and Mjolnir’s major redesign.
Hot Toys
The 12-inch figure showcases a newly sculpted Chris Evans head with rolling eyeballs, beard, and brushed-back brown hair. The figure also highlighted Steve Rogers’ civilian outfit: charcoal-brown jacket, black T-shirt, olive-brown pants, and black shoes. It’s also interesting that his left hand has his wedding ring, further cementing his dedication to Peggy Carter.
As part of the preview, Hot Toys also included a promotional image of Steve Rogers standing alongside Chris Hemsworth’s Thor, strongly hinting that the pair of original Avengers will spend the majority of Avengers: Doomsday together as they find a way to save the Multiverse and defeat Robert Downey Jr.’s Doctor Doom.
Hot Toys
Hot Toys is also releasing a Deluxe Version of the figure that includes a Sentinel-themed diorama base with LED lighting. This Sentinel base appears to be the same one from the previous deluxe version sets of the previously announced figures of Cyclops, Gambit, and Magneto.
Hot Toys
The inclusion of the Sentinel-themed diorama base is important because it signifies that the Sentinel battle is a key part of the narrative and could be crucial to Doctor Doom’s plan to eradicate some of the heroes involved in Doomsday.
Hot Toys
A special edition of the Steve Rogers figure will also be unveiled soon, featuring a life-size metal ring as an accessory.
Will Steve Rogers Receive a New Costume In Avengers: Doomsday?
Hot Toys
Hot Toys’ latest press release about Steve Rogers’ movie-accurate Avengers: Doomsday figure cements the idea that this “regular guy” aesthetic is his only battle-ready costume in the upcoming MCU crossover. While this is an odd choice, it makes sense given the character’s narrative trajectory after Avengers: Endgame.
Following his mission to return the stones and passing of the torch moment with Sam Wilson, Avengers: Doomsday will feature a new incarnation of Steve Rogers, a husband and father pulled out of the life he chose with Peggy and thrown into a Multiversal war without ever putting the suit back on. The high-stakes nature of the incoming war explains why Steve didn’t have time to put the suit back on, underscoring the urgency of the situation.
It is unknown whether Steve Rogers will receive an upgraded or new costume at some point in Avengers: Doomsday, but his decision to abandon his Endgame suit could be seen as a sign of respect toward Sam Wilson, mainly because he is the current (and only) Captain America in the post-Infinity Saga timeline.
Whatever the case, it’s clear that Steve Rogers is a man who is willing to help and sacrifice everything, walking away from the life he fought to have if the people and the worlds beyond it need him to.
DC Studios co-CEOs James Gunn and Peter Safran are almost two years into their work on the new DC Universe, which is rebooting the comic franchise’s biggest names in a massive new story. After Creature Commandos‘ debut on HBO Max in Dec. 2024, Superman became the saga’s first theatrical release in Jul. 2025, introducing David Corenswet as the face of DC’s new cinematic universe. Peacemaker returned for its second season weeks later, and 2026 has since been a roller-coaster with the releases of Supergirl and Lanterns, adding to the Chapter 1: Gods and Monsters slate.
From here, Clayface will close out the year in theaters on Oct. 23, and the rest of the confirmed schedule is light after this new horror movie. After this movie, the only project from the main DC timeline with a confirmed release date is Gunn’s Man of Tomorrow, although Matt Reeves’ The Batman — Part II and the animated Dynamic Duo are both in development as well. Although multiple new movies and TV shows have been teased, none of them currently have release dates, leaving the DCU’s future in the dark. Thankfully, Gunn has confirmed he is not going anywhere anytime soon.
DC Studios co-CEO James Gunn confirmed that he is currently writing his next movie for the DC Universe after the release of Man of Tomorrow on Jul. 9, 2027. Asked by a fan on Threads if he was “ready to write [his] next film yet,” Gunn quickly replied that he was “Already in it.” He added that he had “to do something while [he] was waiting for the assembly,” but he did not reveal any other specific information on which movie he is now writing.
Dying Light: The Beast has been out for a year, and to celebrate its anniversary, Techland has shared some fun stats from player data over the past year. Some of them are expectedly massive, but one in particular caught my attention: players have killed over 6,500 Volatiles with pitchforks.
Raising Pitchforks Against Volatiles
Volatiles are the super zombies from the Dying Light series that emerge at night and are extremely tough to take on, forcing players to flee in most cases. They were a huge part of what made the original Dying Light so memorable, and their terrifying presence remains one of the series’ defining features. While I still think they’re at their scariest in the original game, they’re pretty damn scary and powerful in The Beast as well.
Some extremely brave players, however, have literally raised pitchforks against these mutated beasts and managed to kill over 6,500 Volatiles with them. Compared to the millions and billions in the other stats, these few thousand kills genuinely make me proud of the Dying Light community. Whether they delivered the final blow or just stabbed them enough times to get the kill, bringing a pitchfork to a fight against a running nuclear tank takes some serious guts.
It’s no surprise, then, that Volatiles are also responsible for more player deaths than anything else in Dying Light: The Beast, killing players a total of 39 million times over the past year.
Some Other Fun Stats From Dying Light: The Beast
Techland’s anniversary data includes plenty of other interesting numbers. Players have completed over 1 billion quests, killed 8.6 billion enemies, and activated Beast Mode 345 million times. The community has also logged 52 million sessions, totaling over 11,000 years of gameplay.
Image via Techland
Co-op has accounted for more than 4,000 years of that time, with 1.7 million players joining forces across the year. When it comes to survival, the Repair Kit was the most-crafted item, while beverages were the most-consumed. Players also recharged their flashlights over 6 million times.
Physical Editions Are Also Coming to PS5
As part of the anniversary celebrations, Dying Light: The Beast is also getting physical PS5 editions through Super Rare Games. There are three versions available:
Contents
Retail Edition
Definitive Edition
Anniversary Edition
PS5 Disc
✓
✓
✓
Interior Art
✓
✓
✓
Full-Colour Manual
✓
✓
✓
Outpost Digital Extras Insert
—
✓
✓
Slipcover
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✓
✓
Exclusive Sticker
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✓
✓
SRG Sticker
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✓
A4 Hardcover Artbook
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✓
Double-Disc Full Soundtrack
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✓
A2 Double-Sided Poster
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—
✓
Physical Castor Woods Map
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—
✓
Dying Light Pins (2x)
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✓
Bloody Postcards (6x)
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Castor Woods Woven Patch
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✓
Stickers (2x)
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Glow-in-the-Dark Sticker Sheet
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✓
All Game-Specific Content on Disc
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—
✓
Image via Techland
I usually roll my eyes whenever I see these stats posted after a while. Of course the playtime is going to be in the millions, but the pitchfork figure got a good chuckle out of me and felt worth sharing.
In response to a comment that asked, “Are you ready to write your next film, James, or not quite yet?” Gunn wrote, “Already in it. I had to do something while I was waiting for the assembly!”
“Superman: Man of Tomorrow” is the sequel to 2025’s “Superman,” with David Corenswet returning as the Man of Steel. In the sequel, Superman is forced to team up with his adversary Lex Luthor (Nicholas Hoult) as they work to defeat an even bigger threat: the superintelligent antagonist Brainiac (Lars Eidinger).
Rachel Brosnahan is back as Lois Lane. Other returning cast members include Skyler Gisondo as Jimmy Olsen, Sara Sampaio as Eve Teschmacher, Isabela Merced as Hawkgirl, Nathan Fillion as Guy Gardner and Edi Gathegi as Mister Terrific. Milly Alcock, who cameoed as Superman’s cousin Kara Zor-El, returns for “Man of Tomorrow” after headlining this summer’s DC tentpole, “Supergirl.” The sequel will also introduce Aaron Pierre to the big screen as John Stewart, who is debuting in the HBO Max series “Lanterns.”
Along with writing and directing his “Superman” films, Gunn began running DC Studios alongside Peter Safran in 2022.
“Peter’s the best,” Gunn told Varietyin January. “He does everything I don’t do well. He keeps the ship steady, keeps everyone aligned, connects us with Jim Lee and the comics side and unifies departments that used to operate separately. What we share is a genuine love for these characters. We know what a privilege it is to help shape how people see them now — and that responsibility is something we take seriously.”
In case you haven’t noticed, ’70s hair trends are back in full force and influencing some of our favorite modern hairstyles for 2026. We’ve seen chops inspired by Stevie Nicks, Jane Birkin, Diana Ross, Cher, and Farrah Fawcett enjoying modern revivals recently, which proves the fashion world’s infatuation with ’70S styling is only growing deeper.
There’s something just so delicious about a decade that brought us both uninhibited boho style and uproarious disco flair. The 10 years that followed the Swinging Sixties gave us bell bottom jeans, the Equal Pay Act, and Fleetwood Mac’s Rumors. A pretty formidable era, if you ask us. Fashion has been so inspired by the decade that ’70s blouses, flared jeans, pendant necklaces, clogs, and other hallmarks of the time period have all made a comeback in recent seasons.
Of course, it was only time until that extended to hair inspo too. The ’70s was all about undone texture with disco-inspired oomph or a rocker’s edge. From choppy shags to fluffy ’fros and swooshy lash-skimming bangs, ’70s hair trends are all about liberated hair with a whole lot of attitude.
Below, we’ve rounded up the best ’70s hair trends making a comeback right now. Just find some flared jeans and a folksy fringed jacket to go with them, and you’ll be the most stylish girl in the group chat.
The shag
The shag became a symbol of the ’70s among hippies and rockers. The mussy, choppy, layered cut was a favorite with famous musicians like Stevie Nicks and Blondie. Today it has recruited new muses like Suki Waterhouse and Mika Abdalla.
“I’m a big fan of the shag; it’s such an iconic ’70s look,” says hairstylist George Northwood. “This style adds lots of volume and texture to the hair, which is great for those finer hair types. It’s a very cool-girl cut and can really update your whole style. To give it a bit more of a modern edge, I would ask your hairdresser to stay away from too many layers as that can make it feel quite dated. Instead, make it all about that big statement sweeping fringe.”
Bryan wore a “Free Palestine” shirt during his Friday and Saturday night shows for his With Heaven On Tour. He reportedly did not address the shirt or comment further onstage about Palestine.
“Tonight, Zach Bryan broke the Gillette Stadium attendance record with 73,538 fans!” Gillette Stadium wrote on his official Instagram page Saturday.
The Hollywood Reporter previously reached out to Kraft’s rep for comment.
Bryan’s “Free Palestine” shirt comes amid controversy surrounding Macklemore after the rapper was dropped as an opener for Sheeran‘s Loop Tour last month after making headlines for his pro-Palestine speeches during his performances. At the time, the tour promoter stated that upcoming venues hosting shows, including Gillette Stadium, threatened to pull out if Macklemore remained on the lineup.
In response to being dropped from the tour, Macklemore alleged that Kraft “rallied some of the other stadium owners and collectively they gave him an ultimatum: if Macklemore stays on the tour, you will not be allowed to play in our venues.” Sheeran’s tour was slated to play at Kraft’s Gillette Stadium in Massachusetts at the end of September (the shows were ultimately canceled last minute due to severe weather).
Kraft defended his decision, writing in his own statement at the time, “Gillette Stadium has a longstanding commitment to providing a welcoming environment for all guests and ensuring that events held at our venue do not provide a platform for hate speech. Based on Macklemore’s recent actions, material shared from the stage during Ed Sheeran’s shows in New Jersey, and a broader history of antisemitic rhetoric and imagery that we believe has been deeply offensive and hurtful to the Jewish community, we determined that his participation in the September 25th and 26th concerts at Gillette Stadium would cross that line.”
Macklemore later invited Kraft to match his $1 million donation to support Palestinian people. In response, the New England Patriots owner said he plans “to commit $2 million to match his donation to aid in the region to fight this humanitarian crisis.”
Sheeran previously released his own lengthy statement on the matter, saying in part, “Macklemore coming off tour was the promoter’s decision, it was not mine. Macklemore’s contract for the tour was with the promoter, not me.”
The “Shape of You” singer added that he also “spoke with the venues at length all week to try and build a bridge” and “was also involved in direct talks with promoters along with activists on both sides to try and find a mutual resolution for all, but the venue’s and promoter’s decision was final.”
Sheeran further addressed the backlash during his concert in Philadelphia at Lincoln Financial Stadium on Sept. 19. “I am trying in my career not to be a political commentator of any kind because I want my music and shows to be about unity, not division. About humanity, not politics,” he told the crowd. “But, this is a humanitarian issue, and I cannot hide how I feel about it anymore.
“What happened in Israel and at the Nova Music Festival on October 7th was horrific and compounded centuries of Jewish pain. What is happening in Gaza is catastrophic and unjustifiable, and disproportionate,” the artist added.
Amid the fallout, Finneas, Danish pop band Lukas Graham and Irish singer Aaron Rowe, who were all expected to open for Sheeran on tour, also dropped out in solidarity with Macklemore.
The rapper also later announced his own “Free Palestine” Tour, revealing last week that “all three shows sold out immediately.”
It’s a “new day” for Austin Creed and Kofi over in AEW, as they’re currently wrestling with Swerve Strickland as “New Level.” With the ex-WWE wrestlers officially working with the competition, their former tag-team partner Big E responded. And all in all, this was exactly the kind of response I expected from the veteran pro wrestler.
While his buddies spend the rest of the 2026 TV schedule wrestling under Tony Khan’s company, Big E continues to be a face for WWE on the commentary team and other philanthropic efforts. He spoke to OzarksFirst and thankfully, confirmed that nothing had changed in his relationships with Kofi and Creed, despite their exits:
We built a bond that I really believe is bigger than just a job or a company. And more than anything, I will always root for those guys in whatever path they take, and I’m so proud of them.
Despite WWE storylines suggesting Big E was at odds with his cohorts, he appears thrilled to see Kofi and Austin (formerly Xavier Woods) continuing their career elsewhere. He remains happy for them and will be their supporter wherever they end up, and as a fan, I couldn’t be happier to hear those sentiments.
For those not watching AEW, Austin, Kofi and Swerve are the current AEW World Trios champions. It’s not surprising to see them get the rub so soon in the company, as one of WWE’s winningest tag teams of all time. Plus, the claims about Triple H and company allegedly giving the group a lowball offer to extend only drew more attention to their exit, years after they were relegated to the lower ranks of the main roster.
I’m not sure the door is closed for New Day to return to the WWE down the road, though one might question why they’d want to, as more former superstars from the brand find a home in AEW. Despite rumors that Chris Jericho return, he seems to prefer the rival company, as does Adam Copeland, previously known as Edge.
Now, with free agent Sheamus seemingly also on his way to the company, I’m once again wondering if the WWE and AEW rivalry is back in a big way. As criticism of the WWE and its creative decisions grows, one can’t help but wonder if fans aren’t more incentivized to ignore tribalism and simply watch whoever has the better product.
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Whether that’s AEW or WWE is certainly up for debate, as there are pros and cons to both. I’ve said it a lot over the past few years: there’s no better time to be a fan of professional wrestling, and no issue with rooting for whoever you want.
Here’s hoping Kofi and Austin continue to thrive over in AEW, and Big E continues support them and while embracing his role in WWE as one of its commentary faces. I’d love to see him continue to evolve in that role, and maybe even get to call a future Monday Night Raw at some point.
Sass Jordan, the singer, songwriter and longtime “Canadian Idol” judge, died on Oct. 2. She was 65.
Her family confirmed her death, noting that she “died peacefully” and was “surrounded by those who loved her most.” They remembered her as “an inimitable force of nature” and “an irreplaceable being of light and joy.”
Jordan began her recording career in 1986 as co-lead vocalist on “Come On (Baby Tonight)” from Bündock’s album “Mauve.” She quickly became a sought-after session singer in Montreal, most notably on The Box’s breakthrough “L’Affaire Dumoutier (Say To Me…)”, and appeared in the band’s video for “Closer Together.”
She was also a prominent songwriter. Michael Breen took her composition “Rain” onto the Canadian charts in 1987.
In 1989, Jordan won the Juno Award for Most Promising Female Vocalist of the Year after her debut album, “Tell Somebody.”
After moving to Los Angeles in Jan. 1990, she released “Racine” in March 1992. It became the defining album of her career, selling an estimated 450,000 copies worldwide and 100,000 in Canada on the strength of “Make You a Believer,” “I Want to Believe,” “You Don’t Have to Remind Me” and “Goin’ Back Again,” with “Who Do You Think You Are” following in 1993.
“Make You a Believer” climbed to #11 on Billboard’s Mainstream Rock chart, and Billboard named her its top female rock artist of 1992.
She joined “Canadian Idol” as a judge in 2003, the only woman on the panel, and stayed for all six seasons. She continued performing and releasing music for two decades.
“If you love music and you’ve been around as long as I have, you pretty much do what you got to do,” Jordan once said. “But I love music. I am a huge, gigantic fan.”
Born Sarah Jordan on Dec. 23, 1960, in Birmingham, England, she was the daughter of French literature professor Albert Jordan and former English ballerina Jean Lanceman. She began singing with friends at a young age and, by 16, was fronting bands in downtown Montreal clubs; later, she became singer and bassist for local favorites The Pinups.
She is survived by her husband, Derek Sharp, daughter Stella Jordan-Sharp (Daniel Yepes), stepdaughter Brianne Sharp and brother Daniel Jordan (Isabelle Courville).
Last year, I started keeping a list of the fellow Lilys I met at parties, gigs, and grocery stores with the goal of one day hosting a Lily Party—a proud gathering for our shared name, inspired by the Ryan Meetup, the Naomi picnic, and the 178 Hirokazu Tamakas who linked up in Tokyo. To keep things intimate, I limited myself to Lilys I’d met in person, but now there’s one exception: songwriter Lily Konigsberg. I don’t know her, but her music makes me feel like I do.
Konigsberg first made waves for her off-kilter bedroom-pop solo albums and her work with experimental punk trio Palberta, but I first discovered her through My Idea, her duo with This Is Lorelei and Water From Your Eyes’ Nate Amos. My Idea’s first and only album, CRY MFER, was on heavy rotation during my final semester at college, a time I spent frequently drunk and/or in a haze of weed smoke—reportedly the same state in which Konigsberg and Amos made the record, right before they each got clean. Muchof the press around Amos’ new solo album has detailed his journey to sobriety, but these accounts rarely mention CRY MFER—an alt-pop chronicle of Konigsberg and Amos’ mutual, codependent slide toward bottom—as the turning point the artists acknowledged it to be in a 2022 interview. Amos has been everywhere since then. What about Konigsberg?
“Let’s talk about it,” sings Konigsberg on the first line of “Free Byrd,” her first song released since CRY MFER, “I’ve been meaning to say/I know that you want me but I’m going away.” What hasn’t gone away in the four years Konigsberg last released new music is her sense of humor (“Play ‘Free Byrd’!” is a great bit already), tight harmonies, penchant for talky asides, and ear for catchy refrains—I’ve been humming the guitar-doubled melody she sings over the hook (“You’re my baby and I love you/But that couldn’t be me”) all week. What’s new is the sunshine. Konigsberg’s eclecticism has previously led her towards art-punk and Auto-Tune and a cappella arrangements, but “Free Byrd”—a peppy folk-rock song that sounds like Liz Phair’s take on Sheryl Crow—is the closest she’s come to an easygoing, windows-down hit. “I’m cautiously hopeful,” Konigsberg sings; she sounds earnest, too. “Free Byrd” is a bittersweet introduction to a new chapter—the sound of what it’s like to trade emotional car crashes for open roads.
Gypsy-Rose Blanchard is speaking out following the death of her partner Ken Urker and urging fans to support Kenan’s Law, a petition aimed at holding social media platforms accountable for how online harassment is handled.
While a cause of death has not yet been released, Blanchard wrote that before Urker passed, the two repeatedly reported harassment and cyberbullying he received across platforms including TikTok, Instagram, YouTube and Reddit. She wrote that they believed such content “crossed the line from criticism.”
“Ken was a public figure and experienced an enormous amount of public scrutiny,” she wrote. “Ken made reports. I made reports. Videos were reported. Comments were reported. Posts were reported. And many times, the answer we received was: ‘No violation.’ That is the problem I want to change.”
Blanchard continued: “Being a public figure does not mean you stop being human. Public figures read the comments. They see the videos. They have children. They have parents. They have families. They experience the consequences of what happens online. Fame does not erase humanity.”
Urker, who also fathered a baby girl, Aurora, with Blanchard, was found dead Thursday in Raceland, Louisiana. He was 34. Captain Brennan Matherne of the Lafourche Parish Sheriff’s Department said in a statement to Variety, “We responded to a residence at 107 Double H Drive, Lot 4, in Raceland today after receiving a call at 6:15 p.m. Kenan Urker, 34, was found dead upon arrival. At this time, we are continuing the death investigation.”
“Ken recently died following a suspected overdose,” Blanchard wrote in the petition. “At this time, we do not know whether the overdose was intentional, and I will not speculate about circumstances that have not been determined.”
Urker appeared on the reality series “Gypsy Rose: Life After Lockup,” which ran for two seasons on Lifetime.
TOKYO (AP) — Japanese police arrested a U.S. Marine in the alleged robbery and murder of a woman on Okinawa, officials said Sunday, the latest criminal case on the southern island where the heavy American troop presence has remained a sensitive issue.
The Okinawa prefectural police said they arrested a 20-year-old Marine stationed at the Futenma Air Station on suspicion of killing a 39-year-old local woman at a hotel in Naha, Okinawa’s capital city, and taking her wallet and backpack in the early hours of Saturday.
Kyodo News agency, citing the police, reported the woman’s body was found in her hotel room and she appeared to have been strangled to death.
Police said security camera footage showed the man believed to be the suspect entering the hotel with the victim and coming out alone. An officer arrested the suspect after spotting him walking alone on a street in Naha’s entertainment district late Saturday, Kyodo said.
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“The case deals a major shock and adds fear to the Okinawans who have already been forced to live next to U.S. bases,” newly elected Okinawa Gov. Genta Koja told reporters. “It is absolutely unforgivable and we are outraged.”
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“I must say, discipline and troop education are not working at all,” said Koja, referring to the U.S. military’s measures taken in response to past criminal cases.
Some 50,000 U.S. troops are deployed in Japan under a bilateral security pact, about half of them on Okinawa, whose strategic role is seen as increasingly important for the Japan-U.S. military alliance amid growing tensions with China.
Japan’s southwestern shift in its military focus centers heavily on Okinawa and its nearby islands.
Okinawans have long complained about noise, pollution and crime related to U.S. bases, with crimes involving U.S. service members on Okinawa complicating ties between Japan’s central government and the Okinawa administration.
The latest case comes as Prime Minister Sanae Takaichi’s cabinet pushes to further fortify its Japanese military presence on Okinawa and work more closely with the U.S. military.
“The occurrence of the heinous crime is extremely regrettable,” Takaichi said in her message on X. She said her government has strongly protested to the U.S. side and demanded maximum cooperation with the Japanese authorities in the investigation, as well as tougher discipline for U.S. service members and preventive measures.
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Foreign Minister Toshimitsu Motegi summoned U.S. Ambassador to Japan George Glass to his office and conveyed “outrage,” the ministry said in a statement.
Glass, on X, expressed condolences to the victim’s family, adding that the United States is cooperating with the Japanese national and local governments.
The U.S. Marine Corps said in a statement the suspect is assigned to the III Marine Expeditionary Force on Okinawa and that it is fully cooperating with Japanese authorities. “The Marine Corps takes these allegations very seriously and expects every Marine to adhere to the highest standards of behavior.”
Futenma base, located in a densely populated area in central Okinawa, has been a sore spot for many Okinawans for decades, who demanded its relocation. Despite protests, the central government greenlit construction to relocate the base to Henoko on Okinawa’s eastern coast, though the project has faced massive delays.
A high-profile 1995 rape of a 12-year-old girl by three U.S. service members sparked massive protests against the heavy U.S. troop presence on Okinawa. The number of arrests related to U.S. service members and their families exceeded 100 last year, according to prefectural police. Repeated occurrence of sexual crimes and some of their delayed disclosures have also sparked outrage on Okinawa in recent years.
Dakota Johnson turned 37 half an hour into her “SNL” hosting gig, and bestie Taylor Swift was on hand to provide the greatest gift of all — some (hilarious) support!
Dakota, who is the star of Taylor’s current “Patient Zero” music video, was ravishing in red latex by Versace, while Taylor, who walked out for the end of her show-opening monologue, rocked chic plaid by Simkhai, a chain belt, and Burberry boots.
Joking about her propensity for dating rockers (Role Model, Chris Martin), Dakota summoned her by mentioning, “I have really good friends. They don’t judge me for dating these men. They’re actually really supportive.”
As Taylor took the stage, Dakota cracked, “Ladies and gentlemen, my literal therapist.”
Wordsmith Taylor playfully took issue with that, noting, “I’m not your therapist, actually. You just show up once a week at my house with an empty bottle of wine and ask if I want some.”
She went on, “And then you flop on my couch and overshare, and every so often I just say, ‘Damn, that’s crazy.’”
“And then I go, ‘Well, [yawning] it‘s getting late, I should probably go to bed…’ and then I give you a Pedialyte and my security drives you home.”
Informed that is definitely not the definition of a therapist, the “Verity” actress told viewers, “I’m doing a public service by dating them because ladies, I am saving you a lot of money on Zoloft. So, you’re welcome, America! And also England and parts of Ireland and Cleveland, allegedly.”
Taylor could not stifle a “WHOOT!-WHOOT!” over the mention of her husband’s hometown.
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Swift was back at show’s end to gift Johnson with a blue-and-white birthday cake.
The two have been close for years, with Johnson among the guests at Taylor’s July wedding to Travis Kelce at Madison Square Garden.
Most recently, it was Johnson who presented Swift with the first-ever Artist Director Honors Award at the VMAs.
It all kicks off on Sunday, with the return of “Marshals” and “Tracker.” Though the bulk of the networks Fall slate is made up of returners, there are also three brand new series premiering as well. That includes “Eternally Yours,” a new vampire comedy from the creators of “Ghosts” — perfectly timed for the beginning of the Halloween season.
Here are all the shows debuting or returning during CBS Premiere Week.
Jefferson White in “Marshals.” (Credit: Cam McLeod/CBS)
Marshals
Airs on Sundays
“Marshals” returns for its second season on Sunday, October 4 at 8:30 p.m. ET. The series follows Luke Grimes reprising his role as Kayce Dutton from “Yellowstone,” as he joins an elite unit of U.S. Marshals, combining his skills as a cowboy and Navy SEAL to bring range justice to Montana.
In season 2, Jefferson White will reprise his role as fan-favorite Jimmy Hurdstrom, “a good-hearted yet rough-around-the-edges ranch hand who evolved from a troubled criminal into a resilient, proud cowboy,” in a recurring role.
“Marshals” will return to its typical 8 p.m. ET time slot on October 11.
Justin Hartley as Colter Shaw in “Tracker” (Tyler Golden/CBS)
Tracker
Airs Sundays
Immediately following “Marshals” is the Season 4 premiere of “Tracker,” starring Justin Hartley. In the first episode of the season, “Colter’s search for a teenage boy’s missing father leads him to a dangerous criminal operation at the Port of Los Angeles.”
“Tracker” returns to its 9 p.m. ET time slot on October 11.
CBS
FBI
Airs Mondays
“FBI” returns for Season 9 on Monday, October 5 at 8 p.m. ET. Per the official logline of the premiere episode: “After a young traveler is found shot dead in a state park, the team discovers she was witness to an execution of a person involved in a top-secret government-sponsored project. Meanwhile, Maggie struggles to bond with her new partner, Isaiah Green (played by Roland Buck III), and OA adjusts to a new role.”
Tom Ellis and Nick Gehlfuss in “CIA.” (Zach Dilgard/CBS)
CIA
Airs Mondays
“CIA” is the next branch of televised government to return on Monday, kicking off Season 2 at 9 p.m. ET. In the episode, “When a known cartel fixer arrives in N.Y.C., the team tracks him down and discovers the body of a DEA agent. After it becomes clear the case is not what it seems, the team must work quickly to prevent additional murders. Meanwhile, Bill makes a shocking discovery when he returns to work after the death of his father and the team enlists the help of FBI Special Agent Stuart Scola (John Boyd).”
Harlan Coben (Pip Cowley)
Harlan Coben’s Final Twist
Airs Mondays
“Harlan Coben’s Final Twist” rounds out CBS Mondays, returning to start Season 2 at 10 p.m. ET.
“When church-going mother Betsy Faria is found stabbed to death in her quiet Missouri home, police initially suspect suicide … she’d tried it before,” the synopsis teases. “But multiple stab wounds and the surrounding evidence point to her husband. It seems like an open-and-shut case: trial, conviction, done. But then, more dead bodies and strange twists lead back to Betsy’s murder … unraveling a story everyone thought they understood.”
Michael Weatherly in “NCIS: Tony & Ziva.” (Credit: Jason Bell/Paramount+)
NCIS
Airs Tuesdays
“NCIS” is the veteran kicking off Tuesdays for CBS this fall, as it returns for Season 24 on October 6 at 8 p.m. ET. The premiere is also bringing back a familiar face for fans.
“While dealing with the fallout from the shooting involving McGee’s son, the team investigates a mysterious new threat to the Secretary of the Navy and receives help from an unexpected source: Tony DiNozzo (Michael Weatherly), newly arrived in D.C. to open a satellite office of his private security firm.”
Scott Caan and LL CooL J in “NCIS: New York.” (Cara Howe/CBS)
NCIS: New York
Airs Tuesdays
Next up on Tuesdays is a new “NCIS” spinoff, “NCIS: New York,” premiering October 6 at 9 p.m. ET.
In this series, Special Agent Sam Hanna (LL COOL J) returns to his hometown of New York City. When his friend and Navy reservist Jack Halloway is found dead, he requests permission to investigate. Sam gets paired “with roguish agent Nick Schaeffer (Scott Caan), who introduces him to the rest of the team: clean-cut Wyatt Sellers (Shane Harper), bright-eyed Addy Ross (Jacqueline Byers) and hacker-turned-computer guy Sean Sullivan (Devin Druid). As the team investigates Jack’s death, they work together to gather key information that can help find the culprits.”
Mariel Molino in “NCIS: Origins.” (Erik Voake/CBS)
NCIS: Origins
Airs Tuesdays
Rounding out “NCIS” Tuesdays is the Season 3 premiere of “NCIS: Origins” at 10 p.m. ET. In the premiere, fans will do a bit of time jumping back and forth.
“In the present day, ghosts from Leroy Jethro Gibbs’ (Mark Harmon) past finally catch up to him, shattering his peaceful retirement in Alaska,” the logline teases. “In 1992, the team races to rescue a kidnapped Randy (Caleb Foote) while Gibbs (Austin Stowell) and Lala (Mariel Molino) deal with the aftermath of their kiss.”
Montana Jordan as Georgie and Emily Osment as Mandy (Sonja Flemming/CBS)
Georgie & Mandy’s First Marriage
Airs Thursdays
On Thursday, October 8, the “Big Bang Theory” universe returns to broadcast once more, with the Season 3 premiere of “Georgie & Mandy’s First Marriage.”
Fans will see a bit of family feuding in the premiere, as Georgie fights with Mary — and “tensions rise when Mandy and the family side against Georgie.” Meanwhile, Connor turns to Georgie when he gets himself into trouble.
Ed Weeks, Allegra Edwards and Jaren Lewison in “Eternally Yours.” (Bertrand Calmeau/CBS)
Eternally Yours
Airs Thursdays
At 8:30 p.m. ET on Thursday, spooky season kicks off on CBS with the series premiere of “Eternally Yours.”
From the creators of “Ghosts,” this series centers on a pair of vampires who got married hundreds of years ago, only to realize that “eternity” is a really long time to be with someone. Fortunately, they have their coven, but problems arise when they meet their daughter’s new boyfriend.
Wendell Pierce, Carrie Preston and Carra Patterson in Elsbeth.” (Michael Parmelee/CBS)
Elsbeth
Airs Thursdays
Next up on Thursdays is the Season 4 return of “Elsbeth” at 9 p.m. ET. Here’s what to expect in the season premiere: “Elsbeth crosses paths with renowned marriage counselor Serena Collyer (Nicole Scherzinger), whose cool demeanor hides a murderous and messy passion. Also, Teddy sets a wedding date.”
Mike Colter, Ella Stiller and Rachel Keller in “Cupertino.” (Elizabeth Fisher/CBS)
Cupertino
Airs Thursdays
Thursdays are getting a double dose of newcomers, as the series premiere of “Cupertino” airs at 10 p.m. ET.
The series stars stars Mike Colter and Rachel Keller as lawyers Michael Price and Olivia Siffre, who are wrongfully terminated from a tech start-up, and team up to start their own law firm. Together, they “represent those taken advantage of by the tech elite and fight back in a high-stakes battle against the Goliaths of Silicon Valley.”
Ben McKenzie as Sheriff Jim Wade and Morena Baccarin as Sheriff Mickey Fox in “Sheriff’s Country” (Credit: John Medland/CBS)
Sheriff Country
Airs Fridays
CBS Fridays kick off at 8 p.m. ET with the Season 2 premiere of “Sheriff Country,” starring Morena Baccarin. The premiere also brings her real-life husband Ben Mackenzie as a guest star.
“As Sheriff Mickey Fox struggles to process a shocking revelation about her family, she races to save a troubled young woman whose descent into a dangerous criminal operation uncovers a growing threat to all of Edgewater,” the synopsis says. “Ben McKenzie guest stars as Sheriff Wade, a neighboring sheriff who is called in to assist Sheriff Mickey, and has a few secrets of his own.”
“Fire Country” (Credit: CBS)
Fire Country
Airs Fridays
“Fire Country” returns October 9 as well, kicking off Season 5 at 9 p.m. ET.
Per the synopsis: “As Edgewater celebrates its annual Founders’ Day festival, a catastrophic sinkhole opens beneath Main Street, trapping residents underground and forcing Station 42 into a high-stakes rescue. Meanwhile, a mysterious former firefighter arrives in Edgewater.”
Donnie Wahlberg reprises his role as Danny Reagan in “Boston Blue.” (John Paul Filo/CBS)
Boston Blue
Airs Fridays
Fridays finish up with “Boston Blue,” kicking off Season 2 at 10 p.m. ET.
To start the season, Danny and Lena must race to stop a copycat killer emulating the Boston Strangler: “As panic grips the city, Jonah and Sean, fresh off their rookie year, as well as Henry Reagan, jump in to help Danny and Lena track down and arrest the killer. Also, Danny faces a career-defining promotion while Lena uncovers a lead that could link the attack on Detective Rodgers to a powerful figure.”
CBS News “48 Hours”
48 Hours
Airs Saturdays
Rounding out the Fall slate over on CBS is “48 Hours,” which returns for season 39 on Saturday, October 10, at 10 p.m. ET. The series takes true crime fans into real cases and investigations, and uncovers real secrets.
The combination of your writing and Florence’s performance makes your interpretation of Cathy particularly hard to pin down, because she is so mercurial by nature, especially toward the final years of her life as this madam of a brothel. How did you think about scripting Cathy’s descent into madness?
Steinbeck kept a journal while he was writing this book. He wrote longhand on these big ledger books. He wrote his pages for the day on the right-hand side, and he would write letters to his friend and editor, Pascal Covici, on the left-hand side. Those letters were published, and I weirdly had read them already when I started adapting this, but I used those letters as a real North Star for me in understanding Steinbeck’s intentions. One of the things that’s really clear to me is that his viewpoint of her changed as he wrote. He goes from saying, “Oh, I’m going to write a monster unlike any you’ve ever seen,” to saying, “I think we all have a little monster blood in us, and people will hate her not because she is foreign, but because she is familiar.”
I don’t have any proof for this, but I think he didn’t know what to do with that empathy. I think it surprised him — maybe it crept up on him. One of the things I see in the second half of the book is that he starts to really punish her. It’s like he doesn’t know what to do with her, really. He starts being really mean about her physical appearance, which I get is a manifestation of her evil. But because he’s filled with empathy and understanding for her by this point in the book, it felt to me a little bit underdeveloped. I was curious about: What’s the more fully embodied version of what happens to Cathy? Why does she kill herself? How do we get there?
One of the things that really struck me was that this character is operating from the viewpoint that the world is full of folly and evil. This is a person who’s really isolated herself, who has run from love, who has thought of love as a trap, and who has done everything in her power not to be trapped. And here she is in her 30s, and she has no one she can trust because of how she’s built her life. In the book, she builds a little gray room with no windows that she can go in and close the door. For budget reasons, I had to not have her build this little room, but I tried to turn her whole bedroom into that room for herself. I thought about a world in which this person is carrying trauma and has had no access to anyone helping her with her mental health. I was also thinking about the morphine use that is implied in the story — she carries this little bottle of morphine around her neck — and I stepped off from there.
We have all felt that moment when a quick ten-minute flutter transforms into a lost evening, making us wonder where the time went https://betalrightcasino.eu/. Session management is not about sucking the fun out of the experience; it is about structuring your play so that the excitement lasts longer and the regrets are fewer. At Betalright Casino, we see players transform their relationship with gaming simply by embracing a structured approach to every login. This guide will walk you through the mechanics of time banking, deposit discipline, and psychological triggers that keep you in the driver’s seat. Whether you are playing the latest video slots or joining a live blackjack table, applying a session mindset separates the focused player from the impulsive punter. We are going to explore how to set hard boundaries that feel liberating rather than restrictive, ensuring that every visit to our platform remains a source of genuine entertainment rather than fatigue. By the end of this read, you will have a practical toolkit that turns session management from a buzzword into a seamless habit.
The reason Unstructured Play Drains Your Bankroll
Lacking a defined session structure, your bankroll becomes susceptible to what behavioural economists call the “sunk cost fallacy.” You might recognise this as the nagging voice that tells you to chase a losing streak because you have already invested time and money. At Betalright Casino, our game library spans thousands of high-RTP slots, progressive jackpots, and immersive live dealer tables, and the sheer variety can entice you to hop from one vertical to another without pausing to assess your position. When you lack a finish line, your brain defaults to chasing the next dopamine hit rather than making calculated decisions. This often leads to accelerating your bet sizes in an attempt to recover, which statistically deepens the variance against you. We see unstructured play as the primary culprit behind deposit fatigue, where a perfectly healthy budget evaporates simply because there was no pre-committed stop signal. By recognising that continuous play without checkpoints is a design flaw rather than a feature of the casino environment, you begin to see the value in the frameworks we are about to discuss.
Game Selection and Risk Level Adjustment
Your game selection must mirror the timeframe of your planned session and the size of your sprint pockets. High-risk slots, which we host in large numbers, are built to deliver infrequent but huge payouts. If you start a 30-minute sprint with a small pocket on a high-volatility title, you risk a zero-return session that ends in disappointment. Conversely, low-volatility games provide frequent, smaller wins that maintain your balance ticking over, making them ideal for extending playtime and fulfilling wagering requirements. Our live casino section, offering real-time blackjack, roulette, and baccarat, functions at a far swifter pace than most digital slots when tables are not full. You must adapt your stake sizing downward in live dealer environments to compensate for the fast hand resolution. We recommend our community to align the game’s mathematical profile to the immediate task: use low-variance games for survival and wagering completion, and allocate a smaller, gambling portion of your pocket to high-variance jackpots if you are chasing a life-changing win.
Mindset Recovery Strategies Between Sprints
The five-minute break between pockets is not merely a pause; it is a physiological reset that influences the result of your next sprint. When you are on a losing streak, your adrenal glands pump cortisol, narrowing your cognitive focus to a tunnel-vision state where chasing feels logical. You must break this chemical cycle before heading back to the lobby. We suggest a defined reset process: stand up, step away from the monitor, drink a full glass of cold water, and fix your gaze on a faraway object for 60 seconds to minimize eye discomfort. If the loss was significant, perform a quick breathing exercise—breathe in for four seconds, retain for four, breathe out for four. This engages the parasympathetic nervous system and removes you from fight-or-flight mode. Refrain from checking your balance during this rest. The objective is to go back to Betalright Casino as if you are accessing it for the first time that day, with your next pocket being a totally separate event. Players who master this reset ritual report significantly higher satisfaction with their overall experience, even during sessions when the mathematical variance did not favor them.
Employing Platform Tools for Personal Management
Modern online platforms feature automated safeguards that function like a co-pilot for your session plan. We have built our environment to support responsible play without creating a monitored atmosphere. You will discover deposit limit tools that let you restrict daily, weekly, or monthly inflows, preventing impulsive top-ups after a losing sprint. this report Reality check notifications can be set up to pop up at intervals you choose, giving you a visual record of how long you have been logged in and your net position for that session. We also feature a time-out feature that allows you lock your account for a short cooling-off period if you notice the early signs of tilt. These are not punitive measures; they are precision instruments for implementing the strategy we outlined earlier. If you struggle to manually enforce the three-pocket system, establish a deposit limit that matches exactly one pocket. When the funds are gone, the platform imposes the break that your willpower might skip. Using these tools changes Betalright Casino from a passive gaming library into an active, user-controlled experience.
The impact of Equipment and Setting
Where and how you access Betalright Casino greatly influences your commitment to a play strategy. Mobile gaming delivers unparalleled convenience, but it also introduces the danger of “micro-sessions” that bleed into your regular activities without proper structure. We recommend limiting mobile play for brief, structured sessions, such as a 20-minute slot session during a commute, where the endpoint is automatically imposed by your stop. For advanced, thoughtful sessions like live blackjack or poker, a desktop environment with a larger screen allows you to better monitor statistics, manage your bankroll spreadsheet, and escape the distraction of other mobile notifications. Irrespective of device, your physical environment matters. Playing in a dark room late at night is linked to weakened decision-making. A well-lit space where you can rise and move aside easily supports the break discipline we covered earlier. Our platform’s responsive design guarantees a seamless transition between devices, so you can begin a session casually on your phone and, if you opt to extend it into a serious sprint, switch to your laptop without interrupting continuity.
Setting a Hard Time Budget Prior to You Deposit
The best session management tool is a countdown clock that you set before a single penny leaves your wallet. We advise treating your gaming session like a cinema ticket: you decide the duration upfront, and when the credits roll, you leave. A standard sweet spot for maintaining sharp decision-making sits between 45 and 90 minutes. After this window, cognitive fatigue sets in, and your ability to calculate probability or stick to a strategy diminishes sharply. full breakdown At Betalright Casino, our platform is completely optimised for mobile and desktop, meaning you can easily set a timer on the very device you are playing on without disrupting the experience. The key is to make this non-negotiable. When the alarm sounds, you log out regardless of whether you are up, down, or exactly even. This practice prevents the “just one more spin” mentality that turns a winning session into a losing one. It also respects the mathematical reality that the longer you play against a house edge, the more likely the theoretical return converges towards the operator’s favour. Time boundaries are your first line of defence against variance fatigue.
Planning Your Deposit Sprints
Rather than viewing your deposit as a single lump sum to be burned through, we encourage you to divide it into distinct “sprints” that align with your time budget. This technique stops the emotional rollercoaster of watching your balance swing wildly from the first minute. By partitioning your capital, you create multiple fresh starts within a single evening, which psychologically resets your patience and discipline.
The Three-Pocket Method
We are proponents of a simple division strategy that needs minimal maths but delivers maximum control. Imagine you have settled on a 90-minute session. You separate your total deposit into three equal pockets. You play the first pocket for 30 minutes. If you lose it, you take a mandatory five-minute screen break to stand up and hydrate. You then enter the second pocket with a clear head, not a desperate one. If you increase the first pocket significantly, you still stop to bank a portion of the profit, moving only the original pocket amount forward. This system works brilliantly across our entire Betalright Casino suite, whether you are grinding low-stakes blackjack or playing high-volatility slots. It compels you to lock in wins and creates a physical barrier against tilt. The beauty is in its simplicity; you are never risking more than a third of your session budget at any given moment, which drastically lowers the pressure on any single bet or spin.
Winning Targets and Loss Limits
Apart from time and pocket divisions, you must define a numeric exit point. A common mistake is establishing a loss limit but forgetting to set a win goal. We recommend a pragmatic ratio: aim to stop if you lose 50% of your total session budget or if you increase your total session budget by 100%. For example, if you add £100 for the evening, you walk away the moment you reach £50, or you cash out when your balance hits £200. This asymmetric risk-reward structure assures you are safeguarding your capital more aggressively than you are chasing upside, which is the hallmark of a savvy player. At Betalright Casino, our cashier supports rapid withdrawals across a wide range of UK-friendly payment methods, including debit cards, e-wallets, and bank transfers, so reaching a win goal and actually obtaining those funds is a seamless process. Do not get into the trap of raising your loss limit mid-session; that is your emotional brain ignoring your logical plan.
Understanding Bonuses During a Managed Session
Special promotions can either enhance a managed session or totally derail it, depending on how you approach the wagering requirements. At Betalright Casino, we showcase headline bonuses that commonly include deposit matches and free spins, each carrying specific playthrough conditions. The insider approach is to interpret these terms not as an afterthought, but as the key blueprint for your session length. If a bonus requires a 35x wagering requirement on a £50 bonus, you are dealing with £1,750 in total turnover before funds become withdrawable. Trying to clear this in one unmanaged sitting is a path for reckless bet sizing. Instead, we advise treating a bonus as a long-term project that spans multiple tightly managed sessions. Check the game weighting percentages; slots usually account for 100%, while table games like roulette or blackjack often contribute significantly less, sometimes as low as 10%. If your goal is to complete the wagering, stick exclusively to high-contribution games during that specific sprint to avoid getting nowhere without making progress toward unlocking your real-money balance.
Reviewing Your Session Data Impartially
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Newsmoviesmovie-reviews Batwara 1947 Review: Sunny Deol And Shabana Azmi Anchor A Sincere Partition Drama With A Beating Human Heart
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Batwara 1947 Movie Review: Sunny Deol, Shabana Azmi and Preity Zinta headline Rajkumar Santoshi’s sincere but uneven Partition drama about humanity and brotherhood.
Batwara 1947 movie review starring Sunny Deol, Preity Zinta and Shabana Azmi.
Batwara 1947A
3/5
14 August 2026|Hindi, Pubjabi2 hrs 25 mins | Action Drama
Starring: Sunny Deol, Shabana Azmi, Preity Zinta, Ali Fazal, Karan Deol, Abhimanyu Singh, Kanikka Kapur, Khushi Hajare, Ira SandhirDirector: Rajkumar Santoshi Music: AR Rahman
Batwara 1947 Movie Review: 2026 has been a pivotal year for films returning to one of the darkest chapters in South Asian history: Partition. After Imtiaz Ali’s moving ode Main Vaapas Aaunga, Rajkumar Santoshi now arrives with his cinematic interpretation of Asgar Wajahat’s celebrated play Jinne Lahore Ni Vekhya Woh Jameya Hi Nahi. Headlined by Sunny Deol, Preity Zinta, Ali Fazal, Karan Deol, Abhimanyu Singh and others, this Aamir Khan production may not be perfect and does carry uneven edges in its adaptation, but at its core, the film feels authentic, earnest and painfully human. It offers a poignant, classically mounted take on a play that has been performed by thespians across stages for years.
The film opens with Sikandar Mirza, played by Sunny Deol, preparing to celebrate India’s very first Independence Day. Despite the danger of being caught in the crossfire of violence, Sikandar remains optimistic that no harm will come to him or his family. He believes, with almost childlike conviction, that Mahatma Gandhi would never allow a riot-like situation to unfold. More than that, he is determined to stay in the country whose freedom he fought for. He owns a factory and is preparing for Independence Day, unaware of the peril that is beginning to sharpen its teeth around him.
Back at Sikandar’s house, his wife Hamida, played by Preity Zinta, his daughter Tanno, played by Khushi Hajare, and his son Javed are equally unaware of the storm gathering in their village. Sikandar’s friend Rashid pleads with him to leave for Lahore along with his family, but Sikandar refuses to abandon Meerut.
However, as night begins to draw closer, the situation in the city worsens, with mobs targeting Muslims in the neighbourhood. Seeing danger now standing at his doorstep, Sikandar goes around knocking on doors, asking for refuge. But nobody comes forward to help him. With the mob advancing, Sikandar, along with his family, Rashid and Rashid’s family, leaves for the railway station, where a train to Lahore is expected to depart any moment. Even in that terrifying situation, Hamida assures her daughter that she can leave her books behind, because they will return once the violence subsides. But to their horror, as they make their way towards the station, they see a violent mob setting their house on fire.
At the railway station, the anxious and terrified crowd is desperate to get onto the train, which is already overflowing with people. Amid the commotion, a mob armed with swords and petrol bombs attacks and brutalises people on the train. They even barge into the engine room to kill the driver, but Sikandar fights them off valiantly. While Hamida and Tanno manage to get on the train, Sikandar’s son Javed, as well as Rashid’s family, are left behind.
Once they reach Lahore, we see Sikandar taking care of his family at a relief camp while trying to find a roof over their heads. However, with refugees pouring in from all corners, approximately 40 lakh Muhajirs, the allocation of houses is taking a great deal of time. That is when Habib Anwar, played by Ali Fazal, a poet and presenter at Lahore Radio, steps up to help Sikandar by offering him the haveli allotted to him.
Finally, Sikandar has a roof for himself and his family. His son is still missing, but he is relieved that at least he now has a house. The sprawling mansion has a lovely courtyard, with the traditional Tulsi plant standing in the middle of it like a remnant of another life. Sikandar’s daughter even remarks that this house is far bigger than their previous home in Meerut. As she goes about exploring the mansion, she finds an old woman already living inside.
It is then revealed that the old woman, played by Shabana Azmi, is the mother of Ratan Lal Jauhari, a jeweller who used to live in the house. He had gone to his wife’s maternal home, and ever since then, she has been waiting for her son, daughter-in-law, and granddaughter to return.
Initially, both Sikandar and Hamida are displeased with this new development. They want the old woman to leave the mansion somehow, even though she shows them nothing but affection. She has a calm, caring demeanour, which comes through beautifully in her interactions with Hamida and Tanno.
Sikandar and Hamida try their best to convince her that the mansion no longer belongs to her and that she should immediately leave for India. While Sikandar threatens to approach the custodian office if she refuses to go, Hamida tries a different route by telling her that she will need to convert to Islam if she wants to continue living in Pakistan.
But none of these tactics work on the old woman. Slowly but surely, Hamida begins to develop empathy for her and starts referring to her as Mai instead of “budhiya”, the word she earlier used with disdain. Sikandar, however, remains on edge.
Meanwhile, Lahore is trying to gather its broken bones and stand again after Partition. An anti-Muhajir sentiment lingers among some people, and a rowdy goon named Yaqoob Khan, played by Abhimanyu Singh, fans this flame even further by terrorising people. He is also unhappy that the Jauhari mansion has been allotted to Sikandar Mirza. His temper worsens when he learns that an old Hindu woman is still living inside the premises and refusing to leave.
Around the same time, Sikandar and Hamida are reunited with their son Javed, who has made an arduous journey to Lahore. He informs them that while he managed to escape, his father’s friend Rashid and his family could not make it. Javed is further infuriated when he learns that an old Hindu woman is still living in the mansion. He threatens her unabashedly, as if every vein in his body is now carrying hatred and revenge.
To get this job done, he approaches Yaqoob, who agrees to help him, provided he is paid Rs 6000. Sikandar is initially on board but seems conflicted by the idea of throwing an ailing old woman out of a mansion that originally belonged to her, and that too at the hands of a goon. He asks Hamida, who immediately refuses to be part of it. She even urges Sikandar not to take such a dire step.
The next day, when Yaqoob Khan arrives at the mansion with his lackeys, Sikandar becomes acquainted with Yaqoob’s true intentions. Yaqoob not only wants Rs 6000, but also one floor of the mansion for one of his minions, saying that it is better to have someone from one’s own religion living there instead of sharing space with a “kaffir.” But by this point, Sikandar has already made up his mind. He refuses the offer outright. He says Mai will live with him and that nobody can remove her from the house.
Yaqoob Khan, his ego badly wounded, swears that he will not let the old woman live in the city, let alone in the mansion. Whether Sikandar succeeds in protecting Mai, and how Yaqoob schemes to evict and possibly harm her, forms the major crux of the film, with Sikandar’s son Javed forced to choose a side.
Batwara 1947, in its intent and purpose, is as sincere and authentic as it can possibly be. The film captures the horrors of Partition in a balanced manner, without falling prey to the temptation of taking religious sides. It portrays the bloodshed that happened on both sides of the border, driven by hatred and rage among misguided people who twisted their respective religions to justify their bloodlust. This poignant dichotomy acts like a soothing balm on wounds that have festered because of religious enmity. It fosters a secular worldview rooted in brotherhood and harmony.
The film depicts this beautifully across several scenes, whether it is Mai wanting to conduct a pooja on Diwali and Sikandar’s family stepping up to facilitate it, sensible Muslims coming together to make it happen, or Mai wilfully and anonymously granting Sikandar a place to set up his workshop when he is struggling to find one himself. This Rajkumar Santoshi directorial has several such tender moments, all of which underline that humanity is larger than any religion. The film yearns for a world where brotherhood and tolerance are not ornamental ideals, but ordinary habits.
Besides this, the set pieces of Lahore in 1947 lend the film an added layer of realism. The outfits, buildings, cars, bullock carts, and alleyways recreate the period with an old-world charm that feels lived-in rather than merely assembled. Since the film is adapted from a play, one can sense the theatre-like treatment in several scenes, whether through the dialogues, the backdrop, the lighting, or the performances. It is interesting to see how the qualities of stagecraft are carefully woven into the canopy of a cinematic film. The film has several emotional high points where one might feel a lump quietly rise in the throat.
As for the flaws, Batwara 1947 struggles in several departments. The simplistic treatment of the screenplay begins to feel redundant and dull quite early in the film. On top of that, the linear storytelling method, interspersed with occasional flashbacks that serve as exposition for certain characters, feels unimaginative and predictable. At times, the film feels like it has wandered in straight from the 90s or early 2000s.
Some of the character tropes also feel rather outlandish, especially Yaqoob Khan, who comes across as a caricatured 90s villain. The action sequences too feel over-the-top and not entirely necessary in the larger scheme of things. They break the momentum and leave behind a somewhat tacky aftertaste. While the background score is good, the magic of AR Rahman that we previously witnessed in Main Vaapas Aaunga seems to be missing here, with only a couple of songs leaving any real impression.
On the acting front, Sunny Deol delivers a balanced performance, where he gets to be a good mixture of emotive and loud. His inherent style of dialogue delivery, juxtaposed with his action scenes, will surely mesmerise die-hard Sunny Deol fans. Shabana Azmi as Mai once again proves that she is a versatile actor who can pull off any character with ease. Here, she plays a kind and generous old woman pining for the return of her son, and she does so with aching restraint. Preity Zinta as Hamida brings poise and grace to the story. Karan Deol as Javed is good, considering the role he gets. Abhimanyu Singh as Yaqoob Khan comes across as menacing and evil. Despite the caricaturish writing, the actor tries his best to make the character appear genuine. Ali Fazal as Habib Anwar delivers another performance that leaves you impressed. Besides them, Kanikka Kapur as Nishat, Khushi Hajare as Tanno, and Ira Sandhir as Tabassum are among the other actors who play their parts well.
To sum it up, Rajkumar Santoshi’s Batwara 1947 may be far from perfect, but its heart is firmly in the right place. In a world fuelled by hatred, violence and religious disharmony, the film arrives as a beacon of light for those consumed by such corrosive emotions. It entertains, but it also leaves behind an important message of peace and brotherhood. Most crucially, it makes a persuasive case for the old warning that an eye for an eye only makes the whole world blind.
Yatamanyu Narain is a Sub-Editor at News18.com with a passion for all things entertainment. Whether he\’s breaking the latest Bollywood news or chatting with rising stars in the OTT world, he’s always…Read More
First Published:
August 14, 2026, 15:27 IST
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In “Digger,” Tom Cruise portrays a powerful oil tycoon who is bracing for an ecological disaster of epic proportions. But nothing could have prepared him for the catastrophe that’s unfolding at the box office, where “Digger” has collapsed with an embarrassing $8 million from 3,321 North American theaters. Rivals believe the figure will be closer to $7.5 million when the final numbers are tallied on Monday.
With a production budget of $160 to $180 million, “Digger” will wind up as not just one of the biggest bombs of the year but potentially of all time. Warner Bros. was hoping the combination of Tom Cruise, one of the biggest movie stars in the world, and director Alejandro González Iñárritu, whose critical and commercial wins include “Birdman” and “The Revenant,” would at least propel initial grosses to $18 million to $20 million. And even those ticket sales would have been financially disastrous for the mega-budgeted satirical film. Box office experts say a movie of this size would have needed a debut near $40 million to justify its price tag. Those projections were revised down (and revised down again) after a deluge of bad buzz. The R-rated satire opened in fifth place behind another newcomer, Anne Hathaway and Dakota Johnson’s psychological thriller “Verity,” and three holdovers, including “Resident Evil” and “Heart of the Beast.”
“For a black comedy, the numbers are not bad. But black comedies are small films, and this isn’t a small film. It’s a Tom Cruise movie,” says analyst David A. Gross of Franchise Re. “The comedy walks a fine line, and when it misses, it misses.”
Reviews and word-of-mouth for “Digger” have been so negative that Warner Bros. tried to embrace the unfavorable press. In a recent ad, the studio told moviegoers to “decide for yourself” after critics bashed the movie as “unpleasant” and “baffling.” Another marketing spot suggested that only American audiences disliked “Digger.” However the movie was equally rejected at the international box office with a tragic $12 million from 73 international markets for a global start of $20 million.
“Digger” was always a gamble as the rare big-budget, star-driven R-rated original comedy. Warner Bros. greenlit the film for $125 million, but the price tag soared after production ran long. Since the studio spent another $100 million on global marketing efforts, “Digger” has a theatrical break-even point of roughly $350 million globally, according to executives with knowledge of similar films. A Warner Bros. spokesperson pushed back, saying the film’s break-even point is $300 million. Either way, “Digger” is primed to lose at least $150 million to $200 million theatrically. (Theater owners keep roughly half of ticket sales.) Profitability for the studio will take even longer because Cruise gets first-dollar gross, meaning he earns a percentage of revenues before the studio recoups any costs.
“Even with respectable ancillary income based on the film’s pedigree,” says Gross, referring to revenue streams like digital rental, sales, streaming and TV licensing, “the movie is going to lose a lot of money.”
“Digger” extends a dismal year for Warner Bros. — having fielded such misfires as “The Bride” and “Supergirl” — and the timing was terrible. Paramount’s acquisition of Warner Bros. is set to close next week. News broke on Friday that Warner co-chief’s Mike De Luca and Pam Abdy are leaving the studio when the merger closes on Oct. 6. The duo enjoyed a terrific box office run in 2025, with a stellar string of hits including “Sinners,” “A Minecraft Movie” and “Weapons.” But after pushing a number of big swings into 2026, not a single film has managed to cross $100 million domestically.
This time last year, few in Hollywood would have expected “Verity” to prevail over “Digger” at the domestic box office. Amazon MGM’s adaptation of Colleen Hoover’s best-seller has landed in first place with a solid $32.6 million from 3,510 theaters. It ranks as Hathaway’s third No. 1 opening of 2026 after this summer’s blockbusters “The Devil Wears Prada 2″ and “The Odyssey.” A very pregnant Hathaway has recently joked that she’s now going to disappear for the rest of the year.
“Verity” collected another $30 million at the international box office, bringing its worldwide tally to $62.5 million.
Directed by “The Big Sick” filmmaker Michael Showalter, “Verity” centers around famed author Verity Crawford (Hathaway) who gets badly injured in a car accident, leaving her husband (Josh Hartnett) to hire a struggling writer (Johnson) to complete the remaining books in the popular series. Reviews and word-of-mouth has been negative; the film was saddled with a “C+” grade on CinemaScore and 34% on Rotten Tomatoes. However, “Verity” was produced for $40 million and is expected to turn a profit for Amazon MGM.
“This is an excellent opening,” Gross says. “The reception is not hurting the film. Audiences are showing up in big numbers.”
Hollywood has been eager to mine Hoover’s novels for the big screen because her work caters to an underserved female demographic, and the film adaptations carry modest production budgets, making them low-risk bets for studios. Opening weekend crowds for “Verity” were 78% female, while the largest age demo (38%) were between 25 and 34 years old. Among Hoover’s adaptations, “Verity” registers the second-biggest debut behind Sony’s 2024 sleeper hit “It Ends With Us” ($50 million) and ahead of Paramount’s 2025 film “Regretting You” (13.6 million) and Universal’s 2026 movie “Reminders of Him” ($17 million). “It Ends With Us” is the highest-grossing of the trio by far with $350 million globally.
With general audiences rejecting “Digger,” Sony’s video game reboot “Resident Evil” remained in second place with $12.5 million in its third weekend of release. So far the R-rated movie, directed by “Weapons” filmmaker” Zach Cregger, has generated a strong $124.8 million domestically and $215 million globally against a $75 million budget.
“Resident Evil” is the second consecutive box office win for Sony following “Spider-Man: Brand New Day,” which has now generated a staggering $954 million in North America and $2.5 billion globally. It’s the third-highest grossing movie in history behind “Avengers: Endgame” ($2.925 billion) and “Avatar” ($2.923 billion). Thanks to Disney’s recent re-release of “Avengers: Endgame,” which has collected a huge $126 million in two weekends, the Marvel behemoth once again ranks as the biggest release of all time. Disney reissued the blockbuster (with extra footage) to generate hype for “Avengers: Doomsday,” which lands on the big screen in December.
Third place went to “Heart of the Beast” with $11 million in its sophomore outing, a 45% decline from its debut. So far, the Brad Pitt-led survival thriller has grossed $38.3 million in North America and $98.6 million worldwide and will imminently cross the $100 million mark. Since Paramount spent $82 million to produce the well-reviewed film, “Heart of the Beast” will rely on staying power and interest at the international box office to recoup in its theatrical run.
“Primetime,” a psychological drama starring Robert Pattinson as “To Catch a Predator” host Chris Hansen, landed at No. 4 with $8 million in its second weekend. That’s a steeper 58% drop from its strong $19 million opening. So far, “Primetime” has amassed $34 million in North America against a modest $15 million budget. The movie, backed by A24, has yet to open in most international territories.
Through this weekend, the domestic box office stands at $7.95 billion, up 19% from the same point in 2025, according to Rentrak. Now the market is roughly $50 million away from crossing $8 billion — a milestone the industry didn’t cross last year until December.
“September certainly did its part,” says Rentrak’s head of marketplace trends Paul Dergarabedian, referring to releases like “Resident Evil” and “Primetime.” “For a month that has often been viewed as something of a transitional period on the theatrical calendar, that is another strong indication of the depth and durability of the 2026 marketplace.”
Sony is leaning toward the second series, which would focus on Ben Reilly.
Source: Marvel
He’s the Scarlet Spider in the comics, which makes him an interesting choice for a series.
Neither Sony nor Amazon would speak on record about the project.
Source: Marvel “The Amazing Spider-Man #400”
Still, someone leaked info that this series would veer from the comic’s storyline.
I take that to mean, “We know some of you hated the resolution. We’ll fix it.”
Source: Marvel/ Marvel Studios
This project remains speculative until Amazon confirms its existence.
Even then, we all saw how poorly the streaming service treated Spider-Noir.
Spider-Man Noir Concept Art. Marvel.com
As such, I’m keeping my hopes modest for this project.
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Seven years ago, Lanternsstar Aaron Pierre starred in a totally different DC TV show where he even fought Brainiac before Man of Tomorrow. The world has recently been waking up to the talent of the 32-year-old British actor Aaron Pierre after his breakout role in Netflix’s Emmy-winning flick Rebel Ridge. Pierre has since voiced the titular lead in Mufasa: The Lion King and will soon join the galaxy far, far away in Star Wars: Starfighter, but he is currently the talk of the town thanks to HBO and DC Studios’ eight-episode detective drama Lanterns.
The actor beat out competition from Beacon 23 actor Stephan James and F1 star Damson Idris to become John Stewart, aka Green Lantern, in James Gunn’s DCU. Having had his superhero origin story recounted on HBO in Lanterns, Pierre is gearing up to join the big-screen Superman saga next year in Man of Tomorrow, with Stewart expected to team up with other DCU superheroes against Brainiac.
But, strangely, Man of Tomorrow won’t be Pierre’s first go at fighting Brainiac, as he was previously instrumental in the villain’s defeat in Syfy’s Krypton. Created by Batman Begins writer David S. Goyer, Krypton took place 200 years before Kal-El’s birth and centered on his grandfather, Seg-El. Pierre featured in all 20 episodes of Krypton as Dev-Em, a military commander in Kandor City’s Sagitari police force who was intended to marry Lyta-Zod (yes, that Zod family).
Syfy / HBO
The two-season DC epic was a major viewership win for Syfy in Season 1; however, it suffered a major decline in Season 2 and was ultimately canceled after a short-lived run from 2018 to 2019. Sadly, Krypton was overshadowed by the Arrowverse on the DC TV front and has largely been forgotten in recent years amid the rise of blockbuster-scale superhero TV shows like Lanterns and Peacemaker.
Coming from a long bloodline of dedicated Kryptonian soldiers, Dev-Em found himself in a love triangle with Lyta-Zod (to whom he was betrothed) and Seg-El (with whom she was secretly involved). He found himself fighting the terrorist group Black Zero and even came under Brainiac’s mind control before breaking free and allying with Seg-El, who managed to trap the android villain in the Phantom Zone.
Syfy
By the end of Krypton, Pierre’s loyal Kryptonian soldier left the Sagitari behind and joined the resistance against General Zod’s fascist dictatorship, as the Superman villain had traveled back in time to the Syfy series’ timeline. Zod not only enslaved and mass-murdered his own people but also set out to conquer the cosmos and form an intergalactic Kryptonian empire, even utilizing Doomsday to do so.
The Future Is Bright for Aaron Pierre in James Gunn’s DCU
For now, fans still have a few weeks of Lanterns left to enjoy, unraveling the tail-end of its mystery of who killed Kyle Chandler’s Hal Jordan. Solving that murder is bound to be a right of passage for Aaron Pierre’s John Stewart to finally become a full-time Green Lantern, hopefully with a more comic-booky suit than his mentor.
That ascension will set the course for July 2027’s Man of Tomorrow, where Stewart will be an active space-cop before Lars Eidinger’s Brainiac lands on Earth. As the Superman sequel is written and directed by James Gunn, unlike Lanterns, audiences may see a lighter take on the Green Lantern, akin to the Justice League animated series, possibly even complete with an emerald ring construct suit.
Many have theorized that Stewart, the Justice Gang, and Blue Beetle, all of which are returning, will play minor roles compared to Nicholas Hoult’s Lex Luthor, David Corenswet’s Superman, and Milly Alcock’s Supergirl. The superintelligent Brainiac has a history of collecting superheroes in his quest to collect all knowledge, meaning that he could take DCU icons like Stewart off the table early.
Regardless, Man of Tomorrow will be an important step in establishing the Justice League as Brainiac pushes Superman to form his own superhero team to better prepare for future larger-than-life villains. The newbie Green Lantern is bound to be a founding member, although the DCU still lacks crucial heroes like Batman, Wonder Woman, Flash, Aquaman, and Martian Manhunter to complete the roster.
Beyond that, DC Studios is early in development on Lanterns Season 2, with a writers’ room now open to craft the narrative for a potential renewal. The HBO series’ success may allow for a bigger budget return that leans more into the sci-fi side of Green Lantern, which was underexplored in the grounded Season 1.
Lanterns marks DC’s first major project for the Emerald Knight since Ryan Reynolds’ 2011 disaster, Green Lantern, put the space cop on ice. If Lanterns and the DCU can successfully restore the character’s brand image, audiences could one day return to theaters for a new Green Lantern movie starring Pierre that has the budget to travel the cosmos and deliver something more action-heavy.
Jagex has announced a fourth RuneScape MMO, built in Unreal Engine and still years from release. The project uses RS4 as a working title, but Jagex has not confirmed its official name.
A Dragonwilds Expansion Became a New MMO
The project’s roots are in RuneScape: Dragonwilds: PC Gamer reports that RS4 began as a planned expansion before growing into a full MMO. That origin connects the new game to Jagex’s recent work in Unreal Engine and to Ashenfall, the setting where the sequel will begin.
Jagex confirmed that RS4 will take place in Gielinor during the Sixth Age, starting in Ashenfall, a landmass northeast of Gielinor first explored in Dragonwilds. The story is set years after the events of that game and the destruction of the Dragon Queen Kuldra, with Ashenfall changed by the time players arrive.
The studio’s stated ambition is to take the adventure beyond Ashenfall over time, into both familiar parts of Gielinor and new locations. Jagex also plans to build on technology developed for Dragonwilds and the community co-development approach established through RuneScape and Old School RuneScape.
RS4 Will Sit Alongside Existing RuneScape Games
Jagex says RS4 is not intended to replace RuneScape, Old School RuneScape, or Dragonwilds. Each has a dedicated team and will continue to receive investment, with the new MMO planned as another way to explore the world.
“The ambition isn’t to replace the RuneScape games you love. It’s to make the RuneScape universe bigger,” Jagex said.
An Animated Adaptation Is Also in Development
RuneFest also brought news of a RuneScape animated adaptation. Jagex is developing it with Charlie White, known as MoistCr1TiKaL, and Los Angeles-based production company Lyrical Media.
RS4 remains in early development, with no confirmed release date and a launch not expected for at least a few years. Jagex has not announced platforms or other launch details; for now, the clearest picture is an Unreal Engine MMO beginning in Ashenfall and intended to grow across Gielinor.
