Michael Neel’s horror short, It’s Me, Ma, runs a brisk four minutes and shows just what an impact four minutes can make….
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Michael Neel’s horror short, It’s Me, Ma,
Los bonos sin depósito constituyen una propuesta convincente en los casinos online españoles ppistolo.com. Pistolo Casino sobresale en este ámbito con ofertas únicas dirigidas a jugadores españoles. Este artículo no se queda en la superficie; evalúa el verdadero valor de estos bonos, detalla sus términos y evalúa cómo Pistolo se mide con otros operadores. La meta es evidente: darte datos útiles para que decidas con conocimiento y saques el mayor partido a tu juego desde el primer momento.
Visualiza poder probar un casino sin usar la cartera. Eso representa exactamente un bono sin depósito. Casas de apuestas como Pistolo Casino te ofrecen un saldo o giros gratis para que empieces a jugar sin poner tu dinero. Su valor es obvio: es una oportunidad sin riesgo. Te permite conocer el casino, probar las máquinas tragaperras, evaluar la fluidez del software y chequear la atención al cliente antes de depositar un euro de tu bolsillo. Para el jugador español, opera como una herramienta de prueba definitiva. Es también un gesto de confianza del casino, una forma de decir “te invitamos a conocer nuestro producto”. Cuando las condiciones son adecuadas, ese gesto tiende a crear jugadores fieles.
Conseguir un bono sin depósito en Pistolo Casino es un proceso directo, pero hay que seguir los pasos al pie de la letra. Lo primero es acceder desde la web oficial para España. Después, llega el registro: un formulario que requiere datos básicos y que contiene la verificación de identidad, un trámite legal exigido en nuestro país. Con la cuenta activa, algunos bonos se acreditan solos. Otros requieren un código promocional. Nuestro consejo es siempre el mismo: lee los términos de la promoción concreta. Si algo no queda claro, averigua al servicio de atención al cliente antes de seguir adelante.
Para evitar sorpresas negativas, conviene desglosar el proceso en pasos pequeños. Ser detallista en esta fase te puede ahorrar dolores de cabeza más tarde, sobre todo a la hora de cobrar posibles ganancias.
La ley española, a través de la Dirección General de Ordenación del Juego (DGOJ), exige a verificar la identidad. Pistolo Casino te exigirá una copia de tu DNI o pasaporte, y a veces un justificante de domicilio. El trámite puede ser pesado, pero es una garantía de seguridad para todos. Los casinos serios, como Pistolo, lo aplican sin excepciones. Si no lo completas, no podrás retirar dinero. Hazlo justo después de registrarte.
Aprovechar los bonos sin depósito de Pistolo presenta aspectos positivos. La fundamental es la oportunidad de riesgo cero. Por otro lado, su ajuste al mercado español consigue que todo sea más ágil y con menos malentendidos. Pero asimismo hay que tener los pies en la tierra. La gran consideración es la que comparten todos los bonos: los requisitos de apuesta, que resultan duros si no seleccionas bien el juego. También es fundamental no olvidar que, aunque el casino tiene licencia y es confiable, el juego debe ser constantemente ocio responsable. Las ventajas son superiores si el jugador se acerca con conocimiento y control, que es precisamente lo que buscamos facilitar.
Seleccionar el juego es solo el principio. Hay estrategias que te permiten a aprovechar al tope un bono sin depósito. La primera opción: administra tu saldo de bono separándolo en sesiones cortas. Esto prolonga el tiempo de juego y tus chances de triunfar. La segunda táctica: estudia las reglas y las tablas de pagos del juego que selecciones. La tercera táctica: fija límites de pérdida virtual (al fin y al cabo, no es tu dinero) y propósitos de ganancia alcanzables. Una estrategia cauta suele dar mejor rendimiento que pretender doblar el saldo de una sola jugada. Los análisis indican que los jugadores que planifican su sesión con el bono tienen más opciones de convertir esas ganancias en dinero real que puedan retirar.
Los detalles ocultos son la esencia del incentivo. Revisarlas con atención separa los bonos atractivos de las fraudulentas. En Pistolo Casino, hay que considerar en múltiples factores. El requisito de apuesta, o rollover, constituye el rey. Indica cuántas veces debes jugar el capital bonificado previo a poder retirar ganancias. Un multiplicador bajo, como x20, es bastante mejor que uno alto de x50 o más. Asimismo importa cuáles juegos contribuyen para cumplirlo. Generalmente, las tragamonedas suman al 100%, mientras que los juegos de salón representan un porcentaje más bajo. Otros factores claves incluyen el tope de apuesta máxima por giro mientras usas el bono, y el tiempo que tienes hasta que el bono y sus ganancias expiren. Evaluamos estos puntos para dar una valoración honesta.
Una vez cuentas con el saldo del bono en la cuenta, escoger juego es una decisión estratégica. Lo ideal es centrarse en opciones que permitan cumplir los requisitos de apuesta ágilmente. Las tragaperras online, sobre todo las de volatilidad media-alta y un porcentaje de retorno (RTP) superior al 96%, son la alternativa más común y eficiente. En Pistolo Casino, merece la pena explorar los slots de NetEnt, Play’n GO o Pragmatic Play. Para los que prefieren pensar, algunas variantes de blackjack o ruleta con reglas favorables pueden ser una posibilidad, aunque su contribución al rollover suele ser menor. El clave está en elegir juegos que te apasionen y que comprendas, así el bono se transforma en puro entretenimiento.
Para entender lo que propone Pistolo Casino, hay que observar alrededor. Nuestra comparativa con otros competidores en España supera de la cifra del bono. Consideramos el paquete completo:
Pistolo Casino suele sobresalir por su propuesta claro y sus términos competitivos, presentándose como una elección firme frente a gigantes globales y casas más pequeñas.
Pistolo Casino no copia y pega ofertas internacionales. Ha creado una estrategia de bonos diseñada para el público español. Eso se aprecia en los detalles: métodos de pago como Bizum o Paypal, una selección de juegos de proveedores que triunfan aquí, y un soporte al cliente que atiende en nuestro idioma. Su enfoque exclusivo se plasma en bonos sin depósito que cumplen con la normativa local, ofreciendo transparencia y seguridad jurídica. Al situar al jugador español como prioridad, Pistolo construye una propuesta que resuena con nuestras tradiciones y elecciones, un punto que marca una diferencia real.
Sí. Pistolo Casino trabaja con una autorización de la Dirección General de Ordenación del Juego (DGOJ), el ente regulador español. Esto significa que respeta pautas rigurosas de juego controlado, protección de datos y juego controlado. Las transacciones van protegidas y los juegos son auditados por laboratorios independientes para certificar su imparcialidad.
Para nada, por lo general no. Las beneficios logradas con un bono sin depósito presentan restricciones: los requisitos de apuesta o rollover. Tienes que jugar el monto del bono un conteo de veces concreto, que aparece en los condiciones, antes de que los saldo se desbloqueen para retirada. Cumplir este condición es la exclusiva forma de cambiar las ganancias en dinero real.
Varía de la promoción activa. Algunos bonos sin depósito en Pistolo Casino se aplican automáticamente tras el registro y la verificación. Otros requieren ingresar un cupón en la caja de bonos. Te recomendamos revisar la página de promociones oficial o nuestros informes actualizados para saber el código válido, si lo hay.
Las condiciones de Pistolo Casino acostumbran a enumerar productos o grupos que no aplican para el rollover o que son directamente prohibidos. Es habitual que determinadas tragaperras, partidas en vivo o apuestas deportivas posean restricciones. Verifica siempre el apartado de “Juegos Permitidos” en las condiciones de la promoción.
Todo bono tiene su propio plazo. Puede oscilar desde 24 horas hasta varios días. Superado ese tiempo, el bono y toda ganancia que no hayas reclamado o que no reúna los requisitos se perderán de tu cuenta. Actúa con prontitud cuando consigas el bono.
Sí. Cuando hayas satisfecho las condiciones del bono sin depósito, eres elegible para otras promociones de Pistolo Casino. Se trata de bonos de bienvenida por primer depósito, recargas semanales o torneos. Eso sí, cada una posee sus propias reglas, por lo que es necesario leer los términos de cada oferta nueva.
Pistolo Casino admite los métodos más habituales en España. Puedes llegar a usar tarjetas Visa y Mastercard, Bizum, Paypal, Skrill y transferencia bancaria. La gama para depositar y retirar es amplia. Los plazos para percibir el dinero en tu cuenta varían según el método que selecciones.
Los bonos gratuitos de Pistolo Casino son una entrada perfecta para el casino online en España. Proporcionan seguridad y la opción de comenzar sin peligro económico. Nuestra revisión revela una oferta bien estructurada, ajustada al mercado español y apoyada por un sitio regulado. El logro se basa en comprender los términos, elegir los juegos con prudencia y administrar el bono con astucia. Pistolo Casino se confirma así como una opción competitiva y segura, excelente para empezar o para disfrutar de una experiencia de juego diferente en nuestro país.
Los bonos sin depósito constituyen una propuesta
Saskatchewan Premier Scott Moe acknowledged the province’s shortcomings in managing the 2025 wildfire season, as outlined in a recently released report, saying the lessons learned will inform future wildfire management.
Last year, a report released Friday by accounting firm MNP revealed, the province was unprepared for the fire-packed season it experienced — one that saw 2.9 million hectares of its land burned. The report said the prevention methods used by the Saskatchewan Public Safety Agency (SPSA) were dated and not based on fire science.
“The 2025 wildfire season placed Saskatchewan’s wildfire and emergency management system under significant strain due to extreme, but reasonably foreseeable, conditions after consecutive (years) of extreme wildfire seasons in Canada,” it reads.
Last year’s record-breaking wildfire season in Saskatchewan was described as “the most significant fire season” in history by Moe, who spoke with reporters for the first time since the report’s release on Monday while in Paris, France, on a European trade trip.
“When we received the review, there’s a process the government went through to ensure that we had an adequate response to that review. And a response that, I think, would provide some level of confidence in people that live in communities across this province,” Moe said.
This year, the premier said he hopes fire-prone Saskatchewan communities can rest assured knowing “the government is taking action to ensure that our SPSA is always delivering a higher level of service.”
While reacting to the report’s release last week, Dustin Trumbley, who lives in Denare Beach, Sask., called for the resignation of the SPSA’s president Marlo Pritchard and vice-president of operations, Steve Roberts.
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“Marlo (Pritchard) and Steve (Roberts), you know you did wrong. There will be no apology – there never has been an apology on their behalf. The people in the north deserve better, clearly,” he said.
“Maybe it’s time for some of these guys to go to different positions where they’re capable of doing their jobs, in my opinion, because I don’t think they are very good at doing their jobs.”
During last year’s blaze in Denare Beach, Trumbley said he and his fiancé “lost literally everything,” including their home, side-by-side, and custom wedding decor, as well as other belongings.
In response, the premier said the decision isn’t his to make.
“Any changes with respect to staffing within the SPSA, which is an agency, that wouldn’t necessarily be changes that would be made by elected members of government,” Moe said.
He denied commenting on whether he agrees with Trumbley’s call for the resignations.
“Largely what I saw come out of the MNP report was a number of recommendations saying that we need to do better (at the) Saskatchewan Public Safety Agency, and we need to do better as a government supporting the work that they do,” he continued.
Moe and the minister responsible for the SPSA, Michael Weger, both said the province is working to implement the report’s 11 recommendations.
Both said its findings will help keep Saskatchewanians, their homes, and their communities safe. The premier also said he is interested in working with northern, fire-prone communities and First Nations in Saskatchewan to train volunteer firefighters and communities to be Firesmart through the Canada-wide program.
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Saskatchewan Premier Scott Moe acknowledged the province’s
Sean Evans has become one of the internet’s most recognizable interviewers thanks to the massive success of Hot Ones. Since launching the hit YouTube series in 2015, the host has transformed a simple celebrity interview concept into a global media brand, attracting A-list guests and millions of viewers. As his profile continues to grow amid renewed attention surrounding his personal life, many fans are wondering how much money the longtime Hot Ones host has made.
Learn more about Evans’ career, earnings and net worth below.
Evans became famous as the co-creator and host of the YouTube interview series Hot Ones, which launched in 2015 through First We Feast. The show’s unique format—having celebrities answer increasingly personal questions while eating progressively spicier chicken wings—helped it become a viral sensation.
Evans has said the spicy wings help break down the traditional celebrity press-tour format. As he told The Wall Street Journal, “The hot sauce is the disruptive element. It’s designed to knock our celebrity guests off their PR-driven flight pattern. I’m going up the mountain with you, so it’s a bonding experience. By Wing 6, we’re best friends.”
Known for his extensive research and thoughtful questions, Evans quickly earned a reputation as one of entertainment’s most skilled interviewers. His guest list has included stars such as Gordon Ramsay, Jennifer Lawrence, Kevin Hart, Margot Robbie and Keke Palmer, among many others. Over the years, Hot Ones has amassed billions of views and become a must-stop destination for celebrities promoting new projects.
That preparation doesn’t happen overnight. Evans told TheWrap that each interview typically requires about 10 days of work, including research, filming and editing. “There’s a lot of Googling late at night at home,” he said, explaining that he works closely with his brother Gavin Evans and co-creator Chris Schonberger to study guests’ careers and craft unique questions that go beyond the usual press-tour talking points.
Evans has an estimated net worth of approximately $8 million, according to Celebrity Net Worth. His wealth stems largely from the success of Hot Ones, along with sponsorships, advertising revenue, licensing deals and his ownership stake in First We Feast.
Evans’ exact salary from Hot Ones has never been publicly disclosed. However, the show generates revenue through YouTube advertising, sponsorships, branded partnerships, merchandise and hot sauce sales. Industry estimates place Evans’ net worth at around $8 million, and his ownership stake in First We Feast means he likely benefits directly from the show’s continued success. His financial profile also grew in 2024 when he joined an investor group that purchased First We Feast from BuzzFeed in a deal reportedly valued at $82.5 million.
Despite the show’s massive popularity, Evans has emphasized that he and his team remain focused on maintaining its quality. “We’re not complacent with the success that we have,” he told TheWrap in August 2024. “We’re just trying to week-in and week-out deliver the best possible episode for the fans who have supported us now for almost 10 years.”
Image Credit: Getty Images for YouTube Sean Evans
“Stranger Things” creators Matt and Ross Duffer, collectively known as the Duffer Brothers, now have a release date for their first film for Paramount. You can expect the “untitled event film” on Nov. 3, 2028.
And that’s literally all we know.
This is, of course, par for the course with the Duffers. Following the surprise success of the first season of “Stranger Things,” subsequent seasons were shrouded in layers of mystery so thick not even Eleven, with her telekinetic powers, could break through.
The untitled event film is the first project to stem from their new four-year deal with Paramount, which was signed last August. As part of the deal’s announcement, it was noted that “this new partnership calls on Matt and Ross Duffer to fulfill an ambition to write, produce, and direct large-scale theatrical films,” something that they would have been unable to do while still at Netflix.
Since “Stranger Things” wrapped up its fifth and final season on New Year’s Eve, there has been a flurry of activity from the Duffers and their Upside Down Pictures shingle, with the debut of “Something Very Bad is Going to Happen” and “The Boroughs,” along with the animated spin-off series “Stranger Things: Tales from ‘85” (with a second season already coming later this year).
There are additional projects within the “Stranger Things” universe that the pair are still working on, including an anime series and a spinoff of the mainline series, rumored to be about the mysterious rock introduced in the final season. There is also a fully decked-out “Stranger Things” complete series box set coming this summer from Arrow. The “Stranger Things” stage show was recently confirmed to close in England and Broadway later this year.
The untitled Paramount project will be the Duffers’ first feature film since 2015’s “Hidden,” which was shot years earlier and only given a cursory release from Warner Bros. (It only made $310,273.)
While details on their Paramount film are currently unknown, we can likely expect the kind of large scale pop entertainment that turned “Stranger Things” from cult streaming curio into a worldwide phenomenon.
“Stranger Things” creators Matt and Ross Duffer,
UFC CEO Dana White has denounced heavyweight fighter Josh Hokit’s joke calling former First Lady Michelle Obama “a man,” telling TIME that he is “completely against saying nasty and false things about people’s families.”
Hokit made his widely condemned comments Sunday at the UFC Freedom 250 fight night, which was held on the White House Lawn in honor of both President Trump’s 80th birthday and America’s 250th birthday this year. After defeating fellow American Derrick Lewis in the event’s fourth fight, Hokit said in his post-fight interview with podcaster Joe Rogan, “Shout out to Trump for having the balls to put on some s—t like this.”
The fighter, who is known for his exaggerated heel persona, concluded his post-fight interview by joking, “Michelle Obama is a man. Am I right, America?”
“I understand that the Obama’s are public figures but I’m completely against saying nasty and false things about people’s families,” White, who has previously stated he is not a fan of Hokit’s heel persona, wrote in a text message to TIME in response to Hokit’s comments. “Everyone knows my position on free speech but I hate that kind of nonsense.”
When reached for a comment about Hokit’s disparaging remarks toward the former first lady, White House spokesman Steven Cheung reportedly told CNN’s Jake Tapper of Hokit, “He had a great win last night. He showed toughness and the ability to pressure his opponent both on his feet and on the ground.”
President Trump sat cageside at the UFC Freedom 250 event, the same day that the president announced the U.S. and Iran have reached an agreement to be signed this coming Friday that will bring an end to the war between the two countries that began in late February. Hokit’s comments nonetheless garnered attention Sunday night, drawing incisive reactions from many online.
“The fighter yelling ‘Michelle Obama is a man,’ at an official White House event to honor America is utterly unacceptable and the administration should denounce it in no uncertain terms,” Fox News columnist David Marcus wrote on X. “I’ve defended the administration’s America 250 plans, because I trusted they really would be non-partisan, really would bring us together. But I was wrong.”
Democratic Texas Congressman Christian Menefee also torched the incident.
“They really let a UFC fighter call our only Black First Lady a man on the White House lawn at an official White House event … while thousands cheered and the biggest podcaster in the world smiled,” Menefee wrote on X. “There is no economic policy fix for this. Many of these people are just racist.”
“‘Michelle Obama is a man’ shouted on the White House lawn in a ring sponsored by Bud Light only available on Larry Ellison’s Paramount Plus,” commented MS NOW analyst and “Bulwark Podcast” host Tim Miller. “What a way to celebrate America 250 and the twilight of liberal democracy.”
Hokit, notably, was not included in the original UFC Freedom 250 lineup. Per TIME, the fighter was only added after Trump asked White in April why Hokit’s Sunday night opponent Derrick Lewis was not on any of the event’s match cards. Lewis was subsequently added to the Freedom 250 lineup and, following his defeat of fighter Curtis Blaydes in April, Hokit was chosen as Lewis’ opponent on the White House lawn.
UFC CEO Dana White has denounced heavyweight
Lin-Manuel Miranda has penned a new original song for Disney’s live-action “Moana” “Along The Way” with both “Moana” actresses leading the vocals.
The song is performed by Catherine Laga‘aia, who portrays Moana in the upcoming film; Dwayne Johnson, who reprises his role as the demigod Maui; and Auli‘i Cravalho, who voiced Moana in the animated films “Moana” and “Moana 2.”
Miranda said, “It was such a joy to drop back into the world of ‘Moana’ again and write ‘Along The Way.’ Auliʻi and Catherine’s voices blend so beautifully, and writing for Dwayne as Maui is just pure fun. I’m grateful that we were able to create something special for this brand-new version of our wayfinder’s story.”
In a featurette, Johnson said, “We all agreed that Lin-Manuel Miranda should write one more song.”
Laga‘aia explained that the song is “the perfect symbolism for this movie. Dwaye and Auli’i sing about finding me along the way, and our journey’s colliding.”
Miranda said, “What’s really wonderful is Auli’i is a producer on this film. So we thought, what if there’s a musical conversation between Auli’i Moana and Katie’s Moana? That became the idea for the song.”
Johnson added that the song was special to him because “it’s our OG Moana and your live-action Moana coming together, and then it’s your boy coming in.”
The film which opens on July 10 follows an adventurous teenager named Moana as she embarks on a quest to save her village on the island of Motunui.
The live-action adaptation features music by Mark Mancina, Miranda and Opetaia Foa’i; Mancina returned to score the film.
The film’s original soundtrack is out on June 26.
In addition to the soundtrack, an album inspired by “Moana” and the music of the Pacific, titled “Moana: Voices Across The Ocean,” will be available digitally. Executive-produced by Dwayne Johnson, Lauren Hashian, Tiana Nonosina Liufau and Kayla Fa‘amaligi, the album features 15 tracks (14 original songs plus one cover song) from Pacific artists representing seven islands and cultures, including Stan Walker, Dinah Jane, Iam Tongi, Paula Fuga, Maoli and Common Kings.
The track list for the “Moana” Original Soundtrack and Deluxe version is as follows:
“Tulou Tagaloa” – Performed by Olivia Foa‘i, Opetaia Foa‘i, Matatia Foa‘i
“An Innocent Warrior” – Performed by Olivia Foa‘i, Sulata Foai-Amiatu
“Where You Are” – Performed by John Tui, Frankie Adams, Emma Puahi-Shapazian, Amaya Masoli, Rena Owen, Catherine Laga‘aia, Te Vaka
“How Far I’ll Go” – Performed by Catherine Laga‘aia
“We Know The Way” – Performed by Moses Mackay, Opetaia Foa‘i, Te Vaka
“How Far I’ll Go (Reprise)” – Performed by Catherine Laga‘aia
“You’re Welcome” – Performed by Dwayne Johnson
“Shiny” – Performed by Jemaine Clement
“Along The Way (Malaga Ki Ei)” – Performed by Sulata Foai-Amiatu, Olivia Foa‘i, Te Vaka
“I Am Moana (Song of the Ancestors)” – Performed by Rena Owen, Catherine Laga‘aia
“Know Who You Are” – Performed by Catherine Laga‘aia, Olivia Foa‘i, Sulata Foai-Amiatu, Opetaia Foa‘i, Matthew Ineleo
“We Know The Way (Finale)” – Performed by Catherine Laga‘aia, John Tui, Frankie Adams, Te Vaka
“Along The Way” – Performed by Auli‘i Cravalho, Catherine Laga‘aia, Dwayne Johnson
Listen to “Along The Way” below.
Lin-Manuel Miranda has penned a new original
Graham has interviewed Madonna on his talk show on several occasions in the past, including on the promo trails for her film W.E. and her most recent album, Madame X.
Asked about his past interviews with Madonna in 2024, the Bafta winner recalled: “She’s done [my show]. And then, I think, she fell out with me, and then the next one she did was Jonathan [Ross, in 2015]. And then she came back to me [in 2019].”
“I like Madonna, but she doesn’t make it easy,” he then admitted. “I always thought that I might become her friend.
“[When I see] her Instagram posts, I like to look behind her at the house, and say, ‘I wonder which house she’s in? Is she in London?’. Sometimes I cycle past it and think, ‘I wonder if she’s in there now?’. But rest assured, I’m not her friend, so don’t be too jealous.”
Back in 2015, Graham was a surprise guest when Madonna brought her Rebel Heart tour to London’s O2 Arena.
Graham has interviewed
Jordan remains a beloved location not only because of its awe-inspiring cultural and geological sites but also due to a dynamic film industry and highly skilled crews honed over decades of hosting international productions.
The world heritage sites of Petra and the unique desert landscapes of Wadi Rum have been attracting major international productions since the early 1960s. The country’s grand vistas have provided epic backdrops for such films as David Lean’s “Lawrence of Arabia”; Steven Spielberg’s “Indiana Jones and the Last Crusade”; Ridley Scott’s “The Martian”; Gareth Edwards’ “Rogue One: A Star Wars Story”; Chad Stahelski’s “John Wick 4”; and Denis Villeneuve’s “Dune” films.
Earlier this year, Prashanth Neel’s upcoming Indian action saga “Dragon” shot key scenes Wadi Rum and in the port city of Aqaba.
Further bolstering the country as a prime location is the new Olivewood Film Studios, located in Amman. The first purpose-built complex of its kind in Jordan comprises two soundstages and a backlot.
Rana and Ahmad Al-Yaseer direct Maisa Abdel Hadi in ‘Grant Me a Son’ at Olivewood Film Studios.
Ahmad Al-Yaseer
One of the most recent domestic films to shoot at the facility was “Grant Me a Son,” by Jordanian sibling filmmakers Rana and Ahmad Al-Yaseer, the duo behind the acclaimed, award-winning short “Our Males and Females.”
Ahmad Al-Yaseer, whose credits also include the 2019 mystery series “Weapon Without Murder,” extols the local industry, stressing that Jordan “is an excellent hub for production services. Between the attractive rebate system, experienced crews, high-quality facilities, diverse locations, and favorable weather throughout the year, it has become a very strong destination for both local and international productions.
“The increased support and infrastructure are definitely creating more opportunities for Jordanian filmmakers while also helping attract major international projects.”
Indeed, Jordan’s filmmaking prowess left a strong impression on Gianluca Chakra, the Dubai-based producer of Zaid Abu Hamdan’s crime thriller “Boomah,” which world premieres in the Shanghai Film Festival’s Asian New Talent Selection.
“Jordan has spent decades building a filmmaking ecosystem that is often underestimated from the outside,” says Chakra, whose Front Row Productions produced “Boomah” along with Ahmad Abu Koush’s Bounce Productions. “Most people immediately think of the country’s extraordinary locations, but what impressed me most was the depth of experience within the local crews and filmmaking community.”
‘Boomah’
Front Row
“We had crew members who had worked on productions such as ‘Dune,’ ‘John Wick,’ ‘The Martian,’ ‘Prometheus,’ ‘Transformers,’ ‘The Hurt Locker’ and ‘Zero Dark Thirty.’ These are professionals who have spent years working alongside some of the best filmmakers in the world and who bring an extraordinary level of expertise, discipline and problem solving to every production. That is one of Jordan’s greatest strengths.”
Chakra points out that Jordan, through decades of servicing major international productions, “has developed a highly skilled workforce whose expertise is now sought after across the region. It is no coincidence that Jordanian talent is frequently recruited by emerging industries looking to build their own production capabilities.”
Chakra also praises Jordan’s strategic efforts to develop an internationally competitive film industry.
“The Royal Film Commission has also played a transformative role in supporting filmmakers, developing talent, attracting productions and creating an environment where local stories can be told.
“What makes that achievement even more impressive is the environment in which it has taken place. Jordan has spent decades navigating the economic, political and humanitarian consequences of instability across the region, yet it has continued to invest in culture, creativity and storytelling.”
‘Grant Me a Son’ in production at Olivewood Film Studios
Shooting his latest film, “Grant Me a Son,” at Olivewood proved a great experience for Al-Yaseer.
The upcoming feature, which centers on a woman who goes into labor following a tragic sexual assault, stars Maria Zreik (“All That’s Left of You”), Shafiqa Al Tal (“Weapon Without Murder,” “Our Males and Females”), Maisa Abdel Hadi (“The Alleys”) and Motaz Allabadi (“Weapon Without Murder,” “Our Males and Females”).
Al-Yaseer, who has shot countless productions at Olivewood, describes the studio as his “preferred location for any project, whether it’s a music video, a TV commercial or a film.
“When you shoot in a studio, you have much more control over the creative process and the surrounding circumstances. It elevates the work and gives you an incredible amount of freedom.”
With the film set entirely inside a house, the director was able to shoot it all at the studio, which allowed him complete control of creative elements that would not have been possible outside a studio environment.
“Building and shooting the house in a studio allowed us to work at a level of precision that is much closer to Hollywood-style filmmaking, where every wall, doorway, light source and camera position can be designed to serve the story. It gave us complete control over the visual language of the film and the freedom to execute creative choices that would have been extremely difficult, if not impossible, in a practical location.
“It was a fantastic experience,” he adds. “Olivewood has everything a production needs. The team is highly cooperative, the facilities are well maintained, and the overall environment makes the production process much smoother and more efficient.”
Jordan remains a beloved location not only
Avengers: Doomsday finally revealed the first LEGO minifigure of Robert Downey Jr.’s Doctor Doom, highlighting two key details from his costume. LEGO is infamous for leaking details from the biggest upcoming MCU blockbusters, although there hasn’t been much said about Avengers 5‘s sets yet. Fans know they can expect a bust of RDJ’s Doctor Doom and an all-new Avengers Tower build, but nothing spoilery has emerged for the time being.
A new LEGO leak unveiled the first look at the official minifigure for Robert Downey Jr.’s Doctor Doom from Avengers: Doomsday, which will be featured in the 379-piece bust set that is expected to be released in September. Interestingly, Doom’s brick-built body pays homage to Chris Hemsworth’s Thor and Brie Larson’s Captain Marvel, suggesting their potential significance to Doomsday.
As Marvel Studios still hasn’t released the Avengers: Doomsday trailer publicly, there is only one full look at the former Iron Man actor in green-cloaked Doom armor, which features symbols of Thor and Captain Marvel on his chest.
On the right clasp that ties Doom’s green cloak to his medieval-esque chainmail, there is a symbol that resembles Thor’s classic MCU hammer, Mjolnir, although the God of Thunder is primarily expected to wield Stormbreaker in Avengers 5.
Both Captain Marvel’s star and Thor’s Mjolnir-shaped emblem remain present on Doctor Doom’s minifigure, despite the limited opportunity for heavy detailing on a small 1.5-inch build, hinting that these symbols are of some significance.
Avengers: Doomsday lands in theaters on December 18, reuniting the MCU’s OG trio of Robert Downey Jr. (trading his red-and-gold armor for a green cloak), Chris Evans’ Steve Rogers, and Chris Hemsworth’s Thor. For now, Brie Larson’s Captain Marvel is among the biggest Endgame stars expected to sit out Doomsday.
Interestingly, back when Jonathan Majors’ Kang was the focus of Avengers 5 (then called The Kang Dynasty), Marvel Studios was eager to establish him as a threat by hinting at the Variants of Earth’s Mightiest Heroes that he had killed before.
By all accounts, Doomsday seems to be a completely different movie from The Kang Dynasty, but it’s easy to imagine that Marvel Studios kept some plotlines intact while switching out the time-traveling conqueror for Doctor Doom.
Out of all the Avengers’ symbols to wear on his clasps, Doom has notably chosen those of two of the MCU’s most powerful superheroes. If Victor von Doom were to take a page out of Kang’s book, perhaps he might have killed or beaten these heroes at some point in the past and be wearing their emblems as trophies.
That notion is a little confusing if Doom is indeed from Earth-828, the same world from The Fantastic Four: First Steps, which was famously clear that Marvel’s First Family were the only heroes on that world. Unless Doom is the reason for that absence, one could theorize that he had ventured across the Multiverse before.
Avengers: Doomsday‘s first trailer made it apparent that Thor is no match for Doctor Doom, as he caught Mjolnir’s strike between his fingertips. Perhaps, in that applause-worthy moment from the CinemaCon trailer, fans were actually witnessing a clash with an alternate God of Thunder that Doom defeated before.
Unlike Josh Brolin’s Thanos or what was planned for Majors’ Kang, Marvel Studios hasn’t had the luxury of building up Doctor Doom across multiple projects. Revealing Doom’s past of tearing down fan-favorite heroes and villains is just one way to quickly establish him as somebody to be feared.
Doctor Who is currently on an indefinite hiatus after the BBC announced that it was putting the iconic sci-fi franchise out to competitive tender “as part of securing the next phase of the show for future generations,” meaning independent production companies are being invited to pitch and bid for the rights to reinvent the series from the ground up, opening the door to a fresh creative team, a new showrunner, and a potentially longer gap before the next full season reaches our screens. Fans looking to fill the void in the interim might be pleased to learn that two former Time Lords are set to return to television in the near future.
David Tennant, who famously headlined Doctor Who as the Tenth Doctor and later returned as the Fourteenth Doctor, has joined the growing cast of Only Murders in the Building Season 6, alongside Jodie Whittaker, who is globally recognized for becoming the first female incarnation of the Time Lord, leading the show as the Thirteenth Doctor. They’re both stepping out of the TARDIS for a very different kind of adventure as Hulu’s Emmy-winning murder mystery shifts its setting from New York City to London for the first time.
The cast of Only Murders in the Building Season 6 features the return of the central crime-solving trio – Steve Martin’s Charles-Haden Savage, Martin Short’s Oliver Putnam, and Selena Gomez’s Mabel Mora – as well as a massive roster of high-profile British and Irish talent to coincide with the star-studded crime caper’s move across the pond. Other newly announced stars include Nicola Coughlan (Bridgerton), Jim Broadbent (Harry Potter), Richard Ayoade (The Phoenician Scheme), Adrian Lukis (The Crown), and Kathryn Hunter (Andor).
They join recurring newcomers Jennifer Saunders, Sean Teale, Simone Ashley, Amar Chadha-Patel, Rhea Norwood, Matthew Beard, Sharon Horgan, Martin Freeman, Geri Halliwell-Horner, Jamie Demetriou, Anjana Vasan, Jane Horrocks, Derek Jacobi, and Lesley Nicol, in addition to returning favorites Michael Cyril Creighton and Da’Vine Joy Randolph, reprising their respective roles as Howard Morris and Detective Donna Williams, as Charles, Oliver, and Mabel investigate the murder of podcast rival Cinda Canning (Tina Fey).
Character details and plot specifics for the new additions remain heavily under wraps while the season is actively in production in the UK. However, Only Murders in the Building Season 6 is expected to directly follow the events of the Season 5 finale, which solved the murder of Arconia’s doorman, Lester, but ended on a shocking cliffhanger: the murder of Cinda Canning. Prior to her death on the sidewalk outside the Arconia, Cinda had been overseas investigating a crime involving a woman accused of killing a British royal descendant – setting up the detour to London to unpack the interconnected web of mysteries.
Hulu has not yet announced an official premiere date for Only Murders in the Building Season 6, but it is highly expected to return in late 2026, adhering to the show’s strict annual release schedule that it has maintained ever since its premiere in 2021. It will almost certainly be back on our screens before Doctor Who, which is currently in a major period of limbo, giving fans an opportunity to catch up with two of the franchise’s most famous Time Lords in an entirely different setting to their sci-fi shenanigans – one that will likely see them swapping their sonic screwdrivers for microphones and magnifying glasses (or even murder weapons)!
August 31, 2021
Hulu
John Hoffman
Doctor Who is currently on an indefinite
While the new Xbox leadership team under CEO Asha Sharma has been on a charm offensive lately–while also promising a “reset” for the division that suggests layoffs are on the way–Microsoft CEO Satya Nadella got down to brass tacks recently. During a panel at the New York Times Hard Fork event, Nadella spoke about how Xbox will have to find a way to become more profitable as it enters a new era.
“No one can accuse Microsoft of not having invested for the last 25 years,” Nadella said. “And now we have to turn this into a sustainable business that delivers what is fundamentally one of the best sources of entertainment. The challenge we have is that we’ve not been monetizing that entertainment. In fact, if anything, we’ve been subsidizing that entertainment. There’s more monetization of Xbox games happening on YouTube than at Microsoft.
“And so that doesn’t mean we go do things that are unnatural. We want us to do what is really our job, which is to build great games, build great hardware, but we’ve got to do it in an economically sustainable way. I think Asha is really, 100 days in, and she put out a post saying in the next 100 days, she’s going to take a fresh look and make sure we deliver on what our fans expect of us both on the hardware side or on the publishing side.”
With gaming consoles and hardware experiencing a major spike in prices due to various global factors and hardware shortages, partly driven by the rampant investment in AI technologies, Nadella also remarked how Microsoft will have to find a way to “deliver the games in which it is economically relevant” to customers, although the Microsoft CEO didn’t have a solution for the dilemma.
Recently, Sharma confirmed that Xbox’s accountability margins only amount to a 3% profit, which isn’t exactly great considering how Microsoft has invested billions of dollars in acquiring studios and publishers over the last couple of years. The return on investment is not looking good, especially when games are becoming more expensive and are sold to a much smaller playerbase when compared to the PS5 and Nintendo Switch, while recent Game Pass price hikes saw millions of people cancel their memberships.
So what are Microsoft’s options to extract more profit from Xbox? One report claims that Xbox could be spun off into a separate company or a “wholly owned subsidiary” that would no longer operate as a Microsoft division. Microsoft is also said to be planning to increase investment in its biggest Xbox franchises–like Halo, The Elder Scrolls, and Fallout–and speed up development on new titles.
While the new Xbox leadership team under
In addition to the natural wonders that continue to make Jordan a unique filming location, increased government funding support and new partnership between the country’s Olivewood Film Studios and U.S. studio operator Shadowbox have provided a major boost to the country’s film sector.
Last year the country increased its cash rebate program to 45% of local spend and introduced additional tax exemptions, making location shoots for foreign productions particularly attractive.
Overseen by the Royal Film Commission (RFC), the tiered cash-rebate program returns up to 45% of local spend to filmmakers, alongside an automatic exemption from the country’s 16% value added tax and 10% withholding tax — amounting to total savings of up to 56% of eligible spend.
The scheme, which also halves the minimum-spend threshold to just $250,000, is capped at $5.25 million per project but higher caps may be considered on a case-by-case basis.
The country has also reduced bureaucracy for foreign productions, with the RFC facilitating rapid paperwork processing and necessary permits.
RFC’s chairman, Prince Ali bin Al Hussein, has described Jordan’s film industry as “crucial” to the country’s overall cultural strategy and stressed the leading role played by the royal family and King Abdullah II himself in championing the film sector.
Further bolstering the country as a prime location is the recently established Olivewood Film Studios in Amman, which last year entered into a partnership with U.S. studio group Shadowbox. The first purpose-built complex of its kind in Jordan, Olivewood comprises two soundstages and a backlot.
“Since its establishment in 2023, Olivewood has aimed to contribute to Jordan’s growing film and television industry by providing professional studio infrastructure and production support, while working closely with the Royal Film Commission to strengthen Jordan’s position as a regional and international production destination,” says Jumana Sharbin, general manager of Olivewood Film Studios.
As part of the agreement, Shadowbox Studios is helping manage Olivewood’s operations. The global expertise offered by Shadowbox, which operates the Shadowbox Atlanta site as well as Shinfield Studios in the U.K., is seen as key in scaling up major international productions in Jordan, according to Sharbin.
“Olivewood’s international outreach is not limited to Western markets,” Sharbin points out. “While we continue to engage with Europe and the U.S., we are placing strong emphasis on Asia and India as key growth markets. Last year, we participated in Korea’s industry circuit, including the Asian Contents & Film Market in Busan, and this year we look forward to engaging with companies from China during the Shanghai International Film Festival, the International Film & TV Market, and SIFF Project.
“For us, every market matters. Each country and each continent has its own stories, audiences, creative energy, and production ambitions, and Jordan has a great deal to offer as both a filming destination and a production partner.”
Over the past year, Olivewood has also hosted several series and productions shot at the studio, including MBC’s “The Voice” and “The Voice Kids.”
“These large-scale entertainment formats utilized Olivewood’s sound stages and production infrastructure, further demonstrating the studio’s ability to accommodate high-profile regional television productions with complex technical, operational, and audience-facing requirements,” Sharbin notes.
“And our current on-going negotiations looks very positive. At the end of July we are booked for an international game show.”
One of the most recent domestic films to shoot at the facility was “Grant Me a Son,” by sibling filmmakers Rana and Ahmad Al-Yaseer, the duo behind the acclaimed, award-winning short “Our Males and Females.”
In addition to the natural wonders that
The fact that Steven Spielberg never made a James Bond movie is actually kind of surprising—including, it sounds like, to Spielberg himself, who repeatedly petitioned former series producer and gatekeeper Cubby Broccoli for a shot at the superspy. (And not, like, Sugarland Express Spielberg, either; this was in the wake of Jaws, when there probably wasn’t a bigger box office sure thing on the planet.) As recounted by Spielberg—currently making the press rounds for his new film Disclosure Day—that wasn’t the only time Broccoli shot him down for the franchise, either: A few years later, the venerable producer reached out to the young wunderkind for permission to use the five-note sequence from Close Encounters Of The Third Kind for a gag in Moonraker, and Spielberg (per Variety) pitched him on a little quid pro quo: The song, in exchange for a chance to direct a Bond movie. Broccoli declined, and, nice guy that he is, Spielberg let him have the tune anyway.
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Anne Schedeen, who played the matriarch of a suburban family hiding a cuddly alien on “ALF,” died at age 77, her family announced Sunday on Facebook.
In a statement, Schedeen’s family wrote “She leaves behind an extraordinary legacy of creative energy, whip smart humor, delight in her family, adoration for little dogs, burning hatred for Trump, passion for second-hand thrifting, and love for a good story. We are bereft without her. We loved her so so much, as did all who met her.”
They added: “She was a force. And it is unimaginable to think about life without her in it.”
Schedeen got her start in summer stock theater, before scoring a recurring role on the NBC medical drama “Emergency!” and guest-starring as the daughter of the title character in ABC’s “Marcus Welby, M.D.” She also appeared opposite Rock Hudson and Diane Ladd in the 1976 sci-fi horror film
Embryo” and alongside Lucie Arnaz and Craig Wasson in 1983’s “Second Thoughts.” She would co-star in 1984’s “Paper Dolls” with Lauren Hutton and Morgan Fairchild, but the ABC soap opera was pulled after 14 episodes.
It was on “ALF” that Schedeen found fame as Kate Tanner, a no-nonsense mom trying to keep the government from discovering the extraterrestrial who has crash landed in their garage. The sitcom ran from 1986-1990 and was initially a ratings hit for NBC. However, because “ALF” relied on hand-operated puppets it was a technical challenge and after moving the series from its traditional Monday night slot to Saturday and then Sunday, it was cancelled due to declining viewership.
After the show ended, Schedeen’s career dialed down. She appeared in the 1996 Alec Baldwin thriller “Heaven’s Prisoners” and had a recurring guest-starring role on the legal drama series “Judging Amy.”
Schedeen is survived by her husband Christopher Barrett, daughter Taylor Barrett, daughter-in-law, Hilary Flynn, sister Sarabeth Schedeen, niece Minnie Schedeen, brother Roland Schedeen, and sister in-law Julieann Schedeen.
Anne Schedeen, who played the matriarch of
Nothing about Dionysios Tabakis’s appearance would suggest that he is a rising star of the experimental music scene. He is a 53-year-old Orthodox priest with a long white beard and flowing black robes, and has spent nearly three decades serving the same church in Nafplio, Greece. Yet beyond the church walls, Tabakis has found an unlikely following among hipster music aficionados.
His debut album, “Paradise Metal,” is a 32-minute, reverb-heavy flow of hypnotic Byzantine chants and wavering electric guitar, interwoven with pulsating electronic beats, birdsong and the twanging of traditional folk instruments. As its title suggests, it brings together the sacred and the alternative — although sonically it bears little resemblance to classic metal. Instead, it occupies a singular territory between Orthodox liturgical music, drone-inflected doom metal and hazy ambient.
It was first released this past spring in a small edition of 150 cassettes, and word spread like wildfire across music blogs and social media. The influential music website Pitchfork boosted the album’s profile with a glowing review, saying it deserved to be plucked from “dollar-bin obscurity for at least a chuckle, maybe an epiphany.”
Demand for physical copies of “Paradise Metal” is now so great that Elhellhel and Heat Crimes, the Greek labels that collaborated on its release, are pressing it as an LP for a rerelease later this summer.
“People have been saying so many nice things — it’s as if I’m paying them to do it,” Tabakis said in an interview at his church, a 15th-century landmark with gilded icons crowding the walls and saints gazing down from an elaborately painted ceiling. “I don’t consider myself a particularly talented musician,” he added. “I’m just doing what I love, what feels meaningful.”
Tabakis rarely travels outside Nafplio and has never been farther abroad than Turkey. But this September, he will be performing at Making Time festival in Philadelphia, sharing the bill with a big-name alternative and electronic acts like Kim Gordon, Theo Parrish and Bicep. “I’m in big trouble,” he said with a laugh. “I’ve never actually played a concert before.”
The only other person who has heard him play live, Tabakis said, is his wife, Fotini — who regularly tidies away his instruments and asks him to stop making so much noise.
Among Tabakis’s prized possessions is a fretless electric guitar, which is crucial to the sound of “Paradise Metal.” The instrument, Tabakis explained, allows him to bend into pitches that standard Western instruments can’t produce and hit the microtones used in Greek Orthodox liturgical music.
He has also mixed in the sounds of traditional instruments from the Anatolian peninsula, such as the zurna (a bell-shaped horn) and the kabak kemane (a violin-like instrument made from a hollowed-out gourd).
That region has a special resonance for Tabakis. Although he was raised in Piraeus, near Athens, he comes from a family that fled Smyrna, a once-thriving center of Greek life that is now part of Turkey, during the Greco-Turkish War in the 1920s. Hundreds of thousands of Greeks fled across the Aegean Sea at that time to an ancestral homeland where many had never before set foot.
“We were very poor, but we were always surrounded by music and refugees singing songs from the East,” Tabakis said of his childhood. “I’ve always felt, deep down, that my homeland is in the East.”
His household was deeply religious, and he knew by high school that his future lay in the church, Tabakis said. He trained in a seminary before joining the Church of Panagia in Nafplio, where he has stayed for nearly 30 years.
Making music has been a pastime throughout his life, Tabakis said, and in 2012 he started a YouTube channel to share his experiments with a wider audience. Alongside videos of him riffing on his fretless guitar and performing Byzantine chants, he also began testing unlikely genre mash-ups, like reading psalms over hip-hop beats.
It was on YouTube that Nikolas Rafael, the founder of the Elhellhel label, discovered Tabakis while down a rabbit hole searching for musical oddities. “I went into the channel, and I thought: ‘This is amazing. This needs to be a record,’” Rafael said.
Things moved quickly. Two weeks after making contact with Tabakis over email, Rafael had pulled together a selection of YouTube recordings and sent off the mix to be produced on cassette tape, which Elhellhel brought out in collaboration with Heat Crimes.
Rafael said it was the sheer strangeness of “Paradise Metal” that has driven its success. “There’s a kind of lighthearted naiveté to Father Dionysios’ work,” he said. “He’s created something very odd, and distinctly spiritual, that doesn’t sound like anything that’s come before it.”
In the interview, Tabakis was vaguely bemused — but ultimately extremely pleased — by the record’s success. He was touched by the broad range of people who had connected with it, he said. “I just want to create a big mix of everything,” he added: “Heaven and Earth, West and East, today and the past.”
Nothing about Dionysios Tabakis’s appearance would suggest
“KPop Demon Hunters” fans rejoice. Ahead of the film’s one-year anniversary, Lego will release a 825-piece set inspired by Derpy and Sussie Bird.
The set will be available for pre-sale globally on LEGO.com and will launch in stores starting Aug. 1.
In Netflix’s animated film, Derpy is a supernatural tiger from the underworld whose clumsy charm — knocking over flowerpots, unable to right them again. His character is based on the babo horangi, a recurring figure in Korean minhwa, a style of traditional folk painting that flourished during the Joseon era. The new set will let builders assemble the mischievous supernatural messenger and his watchful bird companion.
Last year, Mattel and Hasbro were named a global co-master toy licensees for “KPop Demon Hunters.” Themed products such as Uno, Monopoly, and dolls tied to the film have been released, with more to come.
The news comes as part of “KPop Demon Hunters” celebrates its one year anniversary. On June 20, there will be a Livestream Celebration on Netflix’s TikTok page, with fans being encouraged to put their “Light sticks up.”
The film was released on Netflix on June 20, 2025 and became one of the streaming platform’s biggest original film breakouts. Directed by Maggie Kang and Chris Appelhans, the film follows KPop girl group Huntr/X who lead double lives as demon hunters.
After its debut on Netflix in June, “KPop Demon Hunters” viewership went up, up, up. According to end-of-year Nielsen data, the Netflix title was by far the most-streamed movie of 2025 with a whopping 20.5 billion viewing minutes in the U.S. alone.
The accolades also poured in. Earlier this year, EJAE, Audrey Nuna and Rei Ami, the singing voices of Huntr/X won a Grammy award when “Golden” won best song written for visual media.
A few weeks later, “Golden” nabbed best original song at the Oscars while the film triumphed in the best animated feature category.
“KPop Demon Hunters” fans rejoice. Ahead of
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Jane Seymour has never been one to shy away from love, but she revealed there’s something “magical” about finding the right partner in her 70s.
Seymour, 75, exclusively told Us Weekly that she and fiancé John Zambetti couldn’t wait to start living together prior to him asking for her hand in marriage in June.
“He said, ‘I want to go out with you,’ and I want to go out with him,” the actress, who is promoting season 5 of Harry Wild, premiering on Monday, June 22, said of the couple’s decision to move in before their three-year dating anniversary. “I can’t imagine any other relationship that I’d ever want in my life.”
Seymour, who has been married four times, explained that because she and Zambetti are older, “We can’t wait around for years to decide, ‘Do we live together? What do we do?’”
The Dr. Quinn, Medicine Woman alum revealed that with the musician and emergency room doctor, she knew “it was right” very early on. (Seymour exclusively confirmed to Us on Thursday, June 11, at the Songwriters Hall of Fame that Zambetti had recently proposed.)
“Every day I am happier than the day before,” Seymour gushed, noting that the pair will celebrate their three-year anniversary on August 4.
The Emmy winner told Us that during their short time together, she has become Zambetti’s “muse,” which has made her feel even more loved.
Life in the bedroom has never been better for 72-year-old Jane Seymour and her boyfriend, John Zambetti. “Sex right now is more wonderful and passionate than anything I ever remember because it is built on trust, love, and experience,” Seymour, 72, wrote in an essay for Cosmopolitan’s “Sex After 60” issue published on Wednesday, January […]
“He’s done all this amazing music. He’s got four albums out since we’ve been together. I can’t stop him,” Seymour shared. “Literally every day he says, ‘Listen to this,’ and [in] the middle of the night, he’ll have an idea, and he said, ‘Don’t talk, I’m asleep.’ And then you go, and he’ll get the guitar out, and he’ll just start writing something.”
Seymour appeared to be giddy as she spoke about her partner, revealing, “I just love that I am, kind of, exciting him.”
She noted how happy it makes her to see that she’s been “some sort of inspiration for him, whilst he’s clearly an inspiration for me.”
“That is just magic,” Seymour said. “To be with somebody where you’re both at a certain time in your life, you know your kids already knew each other before we met, they’re getting married and having babies and all of that, we’re grandparents now to all kinds of children.”
Seymour was previously married to Michael Attenborough from 1971 to 1973 and to Geoffrey Planer from 1977 to 1978.
The actress married Dylan Flynn in 1981 and the pair welcomed daughter Katherine, 44, and son Sean, 40. The pair divorced in 1992. Seymour married James Keach in 1993 and they went on to welcome twin sons, John and Kristopher, now 30. Seymour and Keach, 78, split after a decade, finalizing their divorce in 2015.
Zambetti, for his part, has two children from a prior marriage.
Seymour told Us in early June that her “lot” wants to call Zambetti “grandpa,” which for her is “really magical.”
She noted that their love of family is just one way that the couple have bonded. “He loves adventure as much as I do,” Seymour said of her partner. “So if I say, ‘How’s Vietnam sound?’ We go, ‘Yep, let’s see where that takes us, that’ll be exciting.’”
Seymour’s magical romance is just one of the ways she feels her 70s are her best decade yet. She explained that her role as retired professor-turned-sleuth Harry Wild on AcornTV’s Harry Wild has made her feel professionally fulfilled as well.
“I consider it one of the greatest gifts of all time, because I honestly believe I’m in my prime now,” she shared with Us of the TV show, which is going into its fifth season. “I think I’m a better actress than I ever was when I was younger, but I also have had so much experience that I can bring with it. And at the same time, I’m doing something I’ve never done before, it’s new, and it’s exciting and it’s a stretch.”
Seymour added that being one of the producers on the project has made her feel like she’s “part of the whole rather than just [an] actress for hire.”
When it comes to what fans can expect from season 5 of the mystery series, Seymour told Us it’s “one of the best seasons we’ve had for a number of reasons.”
“First of all, Jo Spain and Dave Logan have come up with amazing stories, really good mysteries, ones that even I couldn’t solve,” she teased. “Some really kind of outlandish, different kinds of characters and concepts that you would never think of.”
Seymour added that bringing in her former Dr. Quinn love interest, Joe Lando, to play pathologist Pierce Kennedy will please fans old and new.
“It’s a wonderful character, and he’s in most of the six episodes,” she shared. “It’s been a lot of fun.”
Season 5 of Harry Wild premieres on AcornTV on Monday, June 22.
Jane Seymour has never been one to
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Turkish director Reis Çelik unveiled “Night of Blindness,” a Turkish-German co-production set during Turkey’s 1980 military coup, at the 28th Shanghai International Film Festival. The film is competing for the Golden Goblet Award in the main competition section.
The film centers on Fatma, a left-wing activist who goes into hiding in a cramped space between wooden planks at a construction site and must rely on a group of workers she has never met to evade capture. Çelik, who drew from personal experience in shaping the story, chose to place a woman at the center of the drama.
“Many countries are no strangers to political oppression, and most similar films feature male protagonists,” Çelik said. “By having a female protagonist, I hope to give voice to women in this genre.”
Shot in black and white, the film reflects Çelik’s view that color can obscure a story’s emotional core. He said at the film’s SIFF press conference that he wanted audiences to focus on the nakedness of the story and the eyes looking out through the narrow wooden gap.
“Night of Blindness” is the second entry in Çelik’s planned Night Trilogy, following “Night of Silence” (2012), which won the Crystal Bear at the Berlin International Film Festival. Çelik said at the press conference that the trilogy as a whole reflects his concern that humanity is moving toward a point where people no longer hear, see or understand one another. He added that a third film, tentatively titled “Sağır Gece” (Night of the Deaf) is also planned.
Çelik added that as a filmmaker he hoped to illuminate “certain aspects of reality that are being downplayed and ignored,” and said he expected Chinese audiences to connect with the material. “Turkey and China have a lot in common in terms of worldview and history,” he said.
Appearing alongside the director at the press event were lead actors İştar Gökşeven, who plays the military commander, and Aydin Orak, who portrays an inspector. Both were visiting Shanghai for the first time and described the experience as “very enjoyable.” Gökşeven said at the press conference that performing in near-total darkness forced him to rely on voice, posture and shadow to convey emotion, calling it a great gift for an actor.
The Shanghai International Film Festival runs through June 21.
Turkish director Reis Çelik unveiled “Night of
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A introdução do temporizador de sessão pelo Scored Casino é um avanço funcional e com relevância. Ele situa a gestão do tempo no centro da vivência de jogo responsável. Ao proporcionar uma ferramenta límpida e não intrusiva, o casino oferece aos seus clientes conhecimento essencial. Isto fomenta pausas conscientes e uma maior autorregulação. Incorporada num ambiente mais abrangente de controlos, esta característica mostra um empenho com o bem-estar do participante que ultrapassa as requisitos regulamentares básicas. Fixa, assim, um padrão favorável para toda a setor.
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Erin Foster was pretty much born into the business (her father is music legend David Foster), but it took a few swings before she finally found her sweet spot behind the scenes after an early career acting in shows including The O.C., Gilmore Girls, Judging Amy, Reno 911, Roswell and others.
Figuring she could flip to the creative side, she started working as a writer on shows like The New Normal, then jumping to creator with sister Sara of the VH1 reality series parody Barely Famous. She has also delved into the world of podcasts with World’s First Podcast, which she has done with her sister since 2021.
But in 2024 she really hit the jackpot with Netflix’s hit out-of-the-box hit comedy series Nobody Wants This, which scored an Emmy nomination for Best Comedy Series for the first season which became one of the most talked about new shows on television. Although it isn’t autobiographical, she took elements of her life and experience — especially as part of an intra-faith couple and in converting to Judaism after meeting her husband. Realizing there hasn’t been a huge demand for a comedy series centered on the romantic relationships of a rabbi, she came up with the ironically titled Nobody Wants This. It turns out people did want it, and it won stars Kristen Bell and Adam Brody Emmy nominations. Netflix renewed it instantly and have renewed it for a third season.
Foster joins me for this edition of my Deadline video series Behind the Lens to talk about the breakout hit, for which she is creator, writer and executive producer. She discusses how the search for the perfect “hot” rabbi came about and the casting of Brody, which Bell had something to do with as well; looking for the perfect sexy rabbi took a village. She also talks about the trials and tribulations of her career, especially in fitting in with the writers rooms at the beginning, and also her acting career which she tells me she will be reviving on Nobody Wants This as it tees up Season3. She also gives us details on where the show is headed in the new season.
To watch our conversation and go :behind the lens” with Erin Foster, watch the video above.
Join me every Monday and Friday this season for a new episode of Behind the Lens and every Tuesday and Thursday for a new The Actor’s Side.
Erin Foster was pretty much born into
Mae Martin is to narrate Hare of High Park, a 3D animation and live action preschool school series from Little Engine Moving Pictures and TVOkids, it was announced at the Banff World Media Festival on Monday.
Martin created and stars in the Netflix series Wayward, the thriller-drama revolving around the inner workings and dark secrets of a fictional school for troubled teenagers. Now they is turning to a feel-good preschool series that follows best friends Hare and George and their community of animal friends as they discover nature, friendship and everyday adventures in a setting inspired by Toronto’s High Park.
Hare of High Park creators Tarun Padmakumar and Joanna Fishbein in a statement timed for the Banff World Media Festival welcomed Martin to the series: “Mae brings warmth, humor, authenticity and a little cheekiness to the series, making them the perfect guide for our young audience.”
Hare of High Park, showrun by Ben Mazzotta, has in its Canadian cast Baeyen Hoffman, Skylaa Balogh, Bruce Dow, Stephany Seki, Isabel Kanaan, Rodrigo Fernandez-Stoll and Taha Arshad. Martin narrating the series comes as Canadian preschool and kids series have seen a dramatic drop in funding support owing an ad recession for legacy broadcaster and U.S. streamers and social media platforms being in a standoff with the country’s regulators and federal government over being forced subsidize local indie production via the Online Streaming Act.
Financing for Hare of High Park has come from local funders like Knowledge Kids, Canada Media Fund, Ontario Creates, Rocket Fund Canada, National Bank of Canada and TVOkids. After Ottawa caved to U.S. pressure and backed down on its so-called foreign streaming tax, it announced it will provide $600 million annual funding to the country’s media and music sectors.
That new taxpayer support is expected to be divided between traditional funding agencies, go directly into Canadian indie film and TV production and into challenged sectors like kids TV and documentaries.
Also Monday, Canadian pubcaster CBC, the largest investor in local documentaries, announced in Banff $7 million for two new non-fiction programming funds, The CBC Creator Catalyst Fund and the CBC Co-Production Fund, to support emerging producers and international documentary partnerships.
Mae Martin is to narrate Hare of
A good way to celebrate Pride is by heading to Audible, which has a well-curated L.G.B.T.Q. selection. New this month is Hunter Bird and Mason Alexander Park’s “The Pansy Craze” — a series of shows presented live at the Minetta Lane Theater last year and now being released in six chapters. Park (who has played the lead character in “Oh, Mary!” in London) and various guests proceeded to tell fairly obscure queer stories from the Victorian era to the more recent past. An episode, for example, is dedicated to the 1970s “gender illusionist” Jim Bailey (with guest Jesse Tyler Ferguson) and another covers glam rock (with guest Evan Rachel Wood).
Audible’s catalog also features two large-scale plays with gay themes. Tony Kushner’s “Angels in America” is available with the cast of the National Theater revival (which was on Broadway in 2018), including Andrew Garfield, Nathan Lane and Lee Pace. Matthew López’s “The Inheritance” (on Broadway in 2019) follows gay men’s lives across generations and is in conversation with both “Angels in America” and E.M. Forster’s “Howards End.”
Stream it on Apple Music or Spotify.
As the Encores! series prepares for its production of this Harvey Fierstein and Jerry Herman musical on June 17-28, you can prep by listening to the original Broadway cast recording, from 1983, with George Hearn as the extroverted Albin (the role to be played by Billy Porter this month) and Gene Barry as his patient partner, Georges (that will be Wayne Brady). If you prefer a relatively more recent take, the 2010 revival starring Douglas Hodge and Kelsey Grammer is also easily available.
If you can’t make it to Shakespeare in the Park’s new production of the greatest doomed love story of them all (through June 28 at the Delacorte Theater), adaptations of the play are plentiful on various platforms. Franco Zeffirelli’s pageant of a movie (available on most major platforms) is faithful to the text, with a lushness that transcends the decades — it came out in 1968. A more recent, more singular take on the play is Simon Godwin’s hybrid of stage and film for the National Theater, starring Josh O’Connor and Jessie Buckley. Shot during the pandemic, this slimmed-down version moves at a fleet pace that underscores the sense of youth hurtling headlong into tragedy.
On June 25 at Carnegie Hall, the Transport Group company is celebrating Liza Minnelli with the one-night-only song-and-dance celebration “Liza! at 80.” This is as good an excuse as any to revisit some of Minnelli’s classic performances in filmed concerts. Tubi alone has three of them available for free: the dynamite “Liza With a ‘Z’” (1972), which was directed and choreographed by Bob Fosse; “An Evening With Liza Minnelli” (1980), recorded live in New Orleans; and “Liza in London,” which was recorded at the Palladium and aired on HBO in 1986.
As Emerald Fennell’s divisive movie adaptation of this Emily Brontë novel hits HBO Max, you may want to check out a rather different version by the imaginative director Emma Rice (“Brief Encounter”): a theatrical staging that was filmed in 2021 at the Bristol Old Vic in Britain. In her review of the Brooklyn run for The New York Times, Laura Collins-Hughes described the production as “a feat of storytelling that wraps itself around the audience, pulling us into its silliness and sorrow.”
Richard Thomas — a recent Tony Award nominee for his performance in the David Lindsay-Abaire comedy “The Balusters” — has had a long stage career, and thanks to YouTube we can explore some of his past performances. One of them was a production of the Neil Simon play “Barefoot in the Park” that was recorded in front of a live audience then broadcast on HBO in March 1982. Thomas and Bess Armstrong play the newlywed Paul and Corie Bratter, who have just moved into the bohemian (read: in poor shape) top floor of a Manhattan walk-up and learn to figure out their new life together — he is a junior lawyer and she is a proto-manic pixie dream girl. Even in less than optimal viewing conditions, you can see that Thomas and Armstrong have believable, and very funny, chemistry — though the secret sauce is Barbara Barrie, impeccably droll as Corie’s mother.
A selection of queer storiesA good way
Moments after proudly representing South Africa at the Fifa World Cup opening ceremony in Mexico, Tyla received another major career co-sign, this time from global superstar Shakira.
The Grammy Award-winning singer has been announced as a special guest on the US leg of Colombian superstar Shakira’s “Las Mujeres Ya No Lloran” world tour.
Shakira shared the news with fans on social media shortly after the pair crossed paths during the Fifa World Cup festivities.
“Okay, I think this is somehow unexpected, but I just couldn’t wait to share the news with you because I’m gonna be performing with Tyla at one of my shows on my US tour, and I’m so excited because I love Tyla.
“I love her as an artist and as a human being. I think she’s just incredible, and I think that this performance is gonna be just iconic, and I’m so lucky to have her with me on stage during my second US run.
“Um, so yeah, I can’t wait. I can’t wait. I can’t wait. Thank you, Tyla. I love you,” said the Colombian icon.
The announcement comes after the two stars were spotted backstage embracing one another during the FIFA World Cup celebrations, further fuelling excitement among fans who have long hoped to see them collaborate.
Tyla’s latest achievement follows a busy few days at the World Cup. The Johannesburg-born star first captured global attention when she performed South Africa’s national anthem alongside the Mzansi Youth Choir during the opening ceremony at the iconic Estadio Azteca Stadium in Mexico City.
The emotional performance marked a proud moment for South Africans as Tyla represented the country in front of a global audience at football’s biggest tournament.
Unfortunately, the feel-good moment before kick-off wasn’t matched by the result on the pitch as Bafana Bafana began their World Cup campaign with a 2-0 defeat to Mexico.
However, the World Cup celebrations did not stop there for the “Water” hitmaker.
The following day, on June 12, Tyla returned to the tournament stage in Los Angeles, where she joined American rapper Future to perform their official World Cup hit, “Game Time”, ahead of the United States’ clash against Paraguay.
She later gave fans a glimpse into the fun behind the scenes when she shared a video of herself and American actor and singer Jamie Foxx taking part in the viral “Gang Gang” trend, a video that made the rounds on social media and impressed fans.
For many fans, Shakira’s announcement feels like another full-circle moment in Tyla’s rapid rise to global superstardom.
“Shakira has shown Tyla nothing but love and respect, and I feel like she actually understands Tyla and sees herself in her.
“Shakira is considered the most successful crossover artist, and she faced a lot of rejection and misunderstandings, too, in the US. She understands Tyla,” wrote one fan on X.
The two artists have previously been linked to collaboration rumours; this marks the first confirmed project that will see them share the stage.
Moments after proudly representing South Africa at
Marvel Studios shockingly changed the identity of the superhero widely considered Netflix’s best, shaking up the character ahead of an upcoming crossover movie that will bridge the MCU’s theatrical side with its street-level. Daredevil was the biggest part of the Defenders Saga’s move into the MCU, and with Daredevil: Born Again now two seasons deep on Disney+, Charlie Cox’s Matt Murdock has been pushed somewhere the Netflix series never took him.
Daredevil: Born Again Season 2 closed with Matt outing himself as Daredevil in open court during Karen Page’s trial. He testified under oath, threw his cane across the courtroom, and caught it with perfect precision in front of everyone, then finished the episode in handcuffs and was eventually put in prison. Showrunner Dario Scardapane and Marvel Television boss Brad Winderbaum have now confirmed there is no plan to walk it back. Matt’s identity is out, and Season 3 will be built on that.
This reveal precedes the next time that Marvel’s Netflix universe will interact with the core MCU storyline, which will take place in Spider-Man: Brand New Day. The film is already set to feature a mainstay of Marvel’s street-level heroes, The Punisher, though rumors of Daredevil making a quick appearance have run rampant.
If the Devil of Hell’s Kitchen does rear his cowl, his identity being out in the open is sure to have implications on his relationship with Spider-Man after they last interacted in No Way Home.
Speaking on the official Daredevil: Born Again podcast, Winderbaum laid out how the decision to expose Matt came together. He noted that it was a creative decision that Marvel Studios leadership quickly bought into once they “could point back to the source material”:
“Kevin and Lou are amazing storytellers, you don’t build the MCU if you’re not some of the greatest of all time, and very quickly they saw it was where the story needed to go. And, of course, we could point to the comics. So as soon as you could point to the source material and show how it plays out and all the stories that are able to be told after the reveal of the identity, it becomes an easier argument to make.”
Scardapane then jumped in and made it clear that there will be no cosmic reset, telling fans, “we’re not doing buybacks,” and that everyone in the city now knows Matt is Daredevil.
“But we’re probably not going to be doing Purple Man doing mass brainwashing of an entire city to buy it back. We’re not doing buybacks. If you’re taking that step, now everyone in the city knows Matt is Daredevil, which changes the storytelling in Season 3 in such a cool way.”
The Purple Man reference is to a comic where Kilgrave undoes Matt Murdock’s reveal. Marvel Studios used a very similar trick with Peter Parker at the end of Spider-Man: No Way Home, where Doctor Strange’s spell pulled Peter’s identity out of the world’s memory and gave the character a clean slate. Matt is not getting that. The Hell’s Kitchen vigilante has been outed, disbarred, and locked up beside the evil people he helped put away.
Whether this narrative symmetry between Peter Parker and Matt Murdock could be addressed in Brand New Day remains to be seen, but could make for some interesting conflict for Spider-Man given his sacrifice being the polar opposite of Daredevil’s.
Daredevil is not the only Netflix hero Marvel Studios has rewritten. Krysten Ritter’s Jessica Jones returned in Daredevil: Born Again Season 2 after a seven-year absence, and her introduction immediately repositioned the character. She is now a mother to a young daughter named Danielle, and the show confirmed that Luke Cage is the father, which lines up with the comics. One of Jessica Jones’ major scenes in Season 2 had her defending Danielle from Mr. Charles’ men.
Jessica’s powers also work differently now. After Danielle was born, Jessica’s strength has not been the same, and Episode 6 showed her struggling to land a clean punch without hurting her own hand. The Jessica Jones who closed out her Netflix series in 2019 was a lone wolf private investigator allergic to attachment. The Jessica Jones the MCU reintroduced has a child to protect and a body that no longer cooperates the way it used to.
There’s also Mike Colter’s Luke Cage, who made his MCU return in the Daredevil: Born Again Season 2 finale. The version that walked back through Jessica’s door is not the Luke Cage who ended his Netflix series as the new sheriff figure of Harlem. He spent the time since doing overseas missions for Mr. Charles, the CIA fixer played by Matthew Lillard, in exchange for the safety of Jessica and Danielle. Luke comes home as a father, a partner, and a man doing some very shady stuff to keep his family safe.
Marvel Studios effectively skipped the Harlem chapter that the Netflix show closed on and pushed Luke into a new role. With Finn Jones’ Iron Fist also reported for Season 3, the show is putting the pieces together for a proper Marvel Studios-era Defenders reunion, but each of those characters is showing up in a different place than where Netflix left them.
Jon Bernthal’s Frank Castle is in a different place, too. The Punisher: One Last Kill, a Marvel Television Special Presentation, released on Disney+ on Tuesday, May 12, and picking up with Frank after his Season 1 Born Again arc, where he was arrested by Kingpin’s Anti-Vigilante Task Force but eventually broke out.
Frank needed to land in a place that lines up with his appearance in Spider-Man: Brand New Day this summer, which is another new terrain for the character. It marks his first theatrical MCU appearance. One Last Kill gave Frank Castle his biggest test yet as he faced one of his deadliest foes from the comics.
After the fallout with Ma Gnucci and her crime family, Frank was fully formed as The Punisher once again. The Punisher mantle has somewhat been in flux across Frank’s appearances, so having him embrace the title for the entirety of Brand New Day will creating an interesting dynamic, particularly in contrasting his methods against Spider-Man.
Should Daredevil make the jump over to the big screen as well, Spider-Man: Brand New Day could be primed to take some of Marvel’s Netflix characters in daring new directions.
AMC’s The Vampire Lestat pulls many scenarios and moments straight from Anne Rice’s Vampire Chronicles. Naturally, the series mainly pulls from book two, The Vampire Lestat, but also borrows from other titles in Rice’s 13-book series. Here, we detail where the AMC series draws direct inspiration from Rice’s prose, episode by episode, but especially where it deviates from the books in a big way. Let’s check out the biggest references and most major changes that The Vampire Lestat makes to Anne Rice’s books.
Lestat living adjacent to a garage band named Satan’s Night Out, who convince him to join their band, is all from how Anne Rice’s novel opens. This takes place in the chapter “Downtown Saturday Night in the 20th Century: 1984.” However, in The Vampire Lestat book, this all occurs in New Orleans, not Montreal.
Also, Lestat learns from the band that Louis has detailed their lives together in book form. In the AMC series, Lestat finds out the book via an email alert. He has already reunited with Louis in the AMC series, and the book serves to break them up again. This also marks a major change from The Vampire Lestat, which barely features Louis at all. In fact, in the book, Lesat forms a rock band partially to lure Louis back to him. Also, all of this takes place in the present day in the The Vampire Lestat series, and not in 1984.
In episode one, the Detroit vampires attack Lestat in the boutique hotel called Dracula’s Daughter. This references the vampire covens attacking him at his Halloween night concert in the climax of Rice’s The Vampire Lestat. However, in the book, Dracula’s Daughter is a bar in San Francisco, not a hotel.
Lestat’s flashbacks to his mortal life in 18th-century France are how he begins his story in Rice’s The Vampire Lestat. All the details about his cruel older brothers and father tormenting him as a child are from the opening portions of the novel, “Lelio Rising.” Lestat de Lioncourt, taking on the task of killing the wolves attacking the local village, is also from this section of the novel. So is his close relationship with his mother, Gabriella.
However, Lestat’s struggles with stuttering as a young child, which The Vampire Lestat spends a great deal of time on, are an invention of the AMC series.
The name of the Detroit vampires, the Fang Gang, comes from the third Vampire Chronicles novel, The Queen of the Damned. But in the Anne Rice novel, the Fang Gang were not against Lestat for exposing the secrets of the undead to the world. Instead, they wanted to join him. The Fang Gang in the AMC series, meanwhile, is attempting to kill Lestat for breaking “The Great Laws.”
This is what most vampires were threatening to do at the start of the novel, The Queen of the Damned. Additionally, in the novels, Baby Jenks is a newly created vampire who is a part of the Fang Gang. She is killed by Queen Akasha when she rises. In the show, that has yet to occur, marking another change between The Vampire Lestat series and Anne Rice’s books.
When Daniel Molloy and Louis talk about Daniel’s publishing of Interview with the Vampire, Louis says he didn’t like how he came across in it. He says he was a liar, and not just a “Lying to myself kind of liar, a f#%*ing liar.” Daniel says Lestat claims an entire scenario described in Interview with the Vampire, with Lestat attacking them on a train, flat out never happened. This tracks with Lestat’s revelations in the opening chapter of The Vampire Lestat. This is where he says some of Louis’ confessions about him were complete fabrications. In the TV series, it remains unclear if either one of them is telling the full truth.
Lestat’s recollections of making his dying mother into a vampire come from the section of The Vampire Lestat titled “Viaticum for the Marquise.” Gabriella’s decision to become a vampire right away is from this section of the book. One big deviation is that in the AMC series, Lestat and Gabriella return to Lestat’s ancestral home and kill Lestat’s brothers. Gabriella then kills her now-blind husband, and they leave their bodies for their children to find. In the novels, Lestat’s blind father survives, escapes the French Revolution, and flees to New Orleans. In Rice’s Interview with the Vampire, Lestat asks Louis to kill his father, because he can’t bring himself to do it. This is a major change to the text and in Lestat’s story in The Vampire Lestat.
We are quite certain the series will make even more changes to Rice’s text as the The Vampire Lestat continues. So keep checking back here for new updates. In the meantime, you can watch The Vampire Lestat and Interview with the Vampire on AMC and AMC+.
⚡ Quick Take AMC’s The Vampire Lestat pulls many
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Ultimate Marvel vs. Capcom 3 is widely regarded as one of the best fighting games ever made, but it has largely been left behind in the modern era, lacking features like crossplay and rollback netcode, with no signs of ongoing support from CAPCOM.
Today, CAPCOM pushed out a surprise update for the PC version of Ultimate Marvel vs. Capcom 3 on Steam to improve Windows 11 compatibility and fix unspecified bugs. However, it appears to have introduced a few notable issues in the process.
The small 12 MB update for Ultimate Marvel vs. Capcom 3 is fairly light on patch notes and only lists two changes:
The patch notes don’t explain what those “miscellaneous bug fixes” include, but the SteamDB changelog has more detail, pointing to added support for Ogg and Vorbis audio formats as well as modifications to three files, including the main executable.
As a result, mods that rely on the previous executable are now broken and will need to be updated by their respective authors. This is fairly common for older PC titles, where even small changes to the game executable can cause compatibility issues with existing mods.
However, more noticeable and concerning issues appear to affect gameplay. Several active players in the Ultimate Marvel vs. Capcom 3 community have reported that Phoenix (Jean Grey) can no longer activate Dark Phoenix mode during matches.
This is a core mechanic of the character, and it appears to no longer trigger even outside of practice mode. The inability to enter Dark Phoenix mode was not intended behavior and appears to be a bug introduced by the update. A few other players on X have also reported additional gameplay changes, including the inability to perform a Kubota escape (which, to be fair, is a bug).
Some of these gameplay bugs are clearly unintentional, and a hotfix should be able to address them. The fact that Ultimate Marvel vs. Capcom 3 received an update at all is pretty surprising, but it likely ties into broader Windows 11 compatibility adjustments seen in other older CAPCOM titles. The last time UMvC3 was updated was back in 2017.
Ultimate Marvel vs. Capcom 3 is still one of the most beloved fighting games of all time, and a modern remaster with features like rollback netcode and crossplay could bring it back into the spotlight for a new generation of fighting game players.
It still has an incredible roster of fun characters, an excellent stylized presentation, and a host of neat mechanics that don’t feel outdated in the slightest. CAPCOM has already bundled several previous releases in the series into modern collections, and I really hope that Ultimate Marvel vs. Capcom 3 is the next one to get the remaster treatment.
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In this episode of the No Film School Podcast, GG Hawkins speaks with BAFTA-winning director Marc Munden about directing the new Netflix adaptation of Lord of the Flies, written by Jack Thorne.
Munden discusses revisiting William Golding’s novel, shaping the series’ visual language, filming on a remote island in Malaysia, working with 36 young actors, and how limitations around child actors’ schedules helped inspire the show’s hallucinatory nighttime look.
In this episode, we discuss:
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In this episode of the No Film
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Put two icons of modern-day fashion together, and of course the result is a success: Birkenstock Arizona sandals and wide-leg jeans.
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Critic’s Rating: 4.4 / 5.0
4.4
A trip into the past reveals more about Lestat than we’ve arguably learned throughout all of Interview with the Vampire, which feels fitting for a series now centered on his perspective.
Through glimpses of his pre-vampiric life and his deeply complicated relationship with Gabriella, the hour offers valuable insight into the experiences that shaped him.
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As someone who hasn’t read the Anne Rice books, I’ve mostly entered each season without a ton of preconceptions about much of anything, basing my thoughts on what the show has given me on-screen.
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My main criticism of the flashback was how quickly they seemed to come and go, but it also seems fairly obvious that this won’t be the only foray the season takes into the past.
It’s also apparent to us that, in the retellings of his past, his childhood may not be one he wishes to spend much time remembering.
Lestat’s childhood was marked by abuse, surrounded by a callous and cold family of men who looked down upon his stutter and his very existence, leaving Lestat to feel only a modicum of comfort in the form of Gabriella, who was only marginally warmer in a house that was slowly sucking her soul dry.
Their inside jokes seemed to quell something in Lestat, and he held onto that.
The scene in which Gabriella pushes back against her brutish sons and husband, with Lestat chiming in at her side, gives us a moment to see the pair as a twosome standing up to the bullies, as if they’re on the same team.
But when Lestat’s brothers start to physically harm him, Gabriella does nothing.
She sits stoically behind her book, not even sparing Lestat a glance, when he’s looking to her like a son looks to his mother, overwhelmed, scared, and in need of the balm of affection that only a mother can provide.
It’s a perfect encapsulation of their dynamic, as we see in the present day, where Gabriella holds him at a distance, evoking the power over him that she knows she possesses, as someone he desperately needs but she’s rarely willing to be.
Lestat’s killing of the wolves is mostly shown off-screen, but it came about as Lestat seemingly tried to show Gabriella, especially, that he could be the man to actually do something and be something, in a way his father and brothers refused to be.
In a way, it seemed like she wished that she could.
When Lestat said that the killing of the wolves defined him for a time, it’s easy to understand why the experience, which left him on the brink of death, would have such a profound effect.
It was courageous and almost spellbinding to kill eight wolves single-handedly and live to tell the tale, but when he was sitting on the floor, unwilling to even accept help, a darkness enveloped him, and Gabriella didn’t use that opportunity to comfort him but instead to prey upon his vulnerability.
Nothing about the experience left Lestat feeling positive. If anything, he was trembling with the notion of what he was capable of, as well as mourning the loss of his horse and dog in the aftermath.
Gabriella took that opportunity to speak about her own desires, after Lestat confided in her, culminating in a frankly uncomfortable exchange.
What struck me most was how unabashedly honest Lestat was about these raw desires to murder his family and strip himself of that cruelty, only for Gabriella to not only make it about herself but also leave him with the parting gift of her impending death.
Gabriella was wrapped up in this entirely unfulfilling, stagnant existence, and it was apparent that the one thing she craved more than anything was freedom and a form of independence she could never attain in either her life or her body.
It makes her eventual turn at Lestat’s hand later, and the way in which she subsequently comes in and out of Lestat’s life, even more devastating because of the callousness and selfishness with which she treats Lestat.
It’s often masked with a seductive smile and a shallow warmth that Lestat seems almost powerless to fully excise due to his own complex feelings and idolization of her.
For her part, Gabriella recognizes her power over Lestat and exploits it at every turn. It’s such an odd mixture of wanting to control and possess her son, and at times, wanting to be him. Or at least have the freedom to be someone like Lestat.
The interactions between Lestat and Gabriella in the present day are marked by an odd mixture of reverence and fear: more than once, Lestat asks whether she will be staying, and it’s clear from what he’s not saying that he’s afraid she’ll abandon him again if he can’t give her what she needs.
Because their dynamic revolves around Gabriella.
Gabriella remains a deeply manipulative presence in Lestat’s life, constantly giving him just enough affection but not the emotional reciprocity he craves.
And wasn’t it interesting to see Lestat put up a firm boundary with her after they had sex in the motel, only for Gabriella to trample over it the same evening?
It highlights how little respect Gabriella has for Lestat’s limits, while also showing that she’s staying for him, but only if she can get what she wants in return.
It was wildly uncomfortable to see his conflicted face on whether to give in and please her, or stay firm in what he wanted, knowing she might then leave again.
Lestat presents as a man in control, but with Gabriella, she holds all the cards. It is Gabriella who dictates the terms of their relationship, leaving them trapped in this back-and-forth volley of emotional devastation.
On the opposite end of Lestat’s reconnection with Gabriella, or Sophia to everyone else, he had to deal with the fallout from the boutique hotel massacre in The Vampire Lestat Season 1 Episode 1, involving both his band and the mysterious owner of the hotel.
The comedic beats in this hour were mostly centered on the band’s bus meeting, with a bevy of truly laugh-out-loud moments as Lestat’s fellow bandmates and team tried to come to terms with a new reality in which the ruse they were participating in was actually real.
Lestat, on the defensive, trying to quell fears but also unwilling to let his guard completely down, was at his very best.
He kept trying to bring the conversation back to the music and the small success they were receiving, while everyone else was unwilling to forget what they had just seen.
Each mention of Louis or Armand made Lestat a little more impatient and desperate. It took every bit of placating to get them to stay, and even that wasn’t enough, so he had to bring in the big guns: mind-reading.
I thought the band dynamics would be a bigger story this season, but perhaps with the first two hours being almost introductory, that will come later as the season progresses.
It almost feels like the series decided the first two hours had to be balls-to-the-walls Lestat-focused, but I don’t mean that in a bad way.
If you’re telling Lestat’s story, you have to start at the beginning because his human life informed the vampire he would become.
And we haven’t even touched on his turning at Magnus’s hands or his relationship with Nicky. Those two events are seminal moments in Lestat’s life that the series would do well to explore more deeply.
But anyway, this hour marked the start of Louis’s journey, and it’s very obvious where things are heading.
First off, Thomas Pitts being Louis and owning the boutique hotel in Detroit was peak television, even if the reveal was basically spoiled by the way we’ve seen that mediation confrontation between Louis and Lestat for months now.
Here’s the thing about Louis and Lestat: theirs is a history marred by half-truths, trauma, anger, uneasiness, resentments, and all the things. But buried beneath all that pain is love.
It’s confusing, but it’s also unbridled.
Louis loves Lestat. Lestat loves Louis.
That’s not controversial or up for debate. It’s not as white-picket-fence as people like to see romance in, but nothing in a vampire world will ever be that way.
Did I believe Louis when he said he came because he was concerned about Lestat? I do believe that.
But I also think Louis was somewhat spiteful during their exchange, needling Lestat in ways he knew would prick him. And maybe even in ways that were unfair.
In Interview with the Vampire Season 2 Episode 8, during their emotional New Orleans hurricane reunion, Louis said what happened to Claudia wasn’t all on him, but here he was once again placing blame on Lestat, which felt odd.
The two throwing their sexual activities in each other’s faces was peak toxicity, but also not unlike the kinds of bombs they lobbed at each other in the past.
None of that changes the underlying truth of their relationship.
The fact that Louis still ingratiates himself in Lestat’s life says more than words ever could, but I don’t think Lestat’s at a place to genuinely hear what those actions say, and Louis is content enough where he is.
The concert scene in which Lestat sang to Louis, with the crowd morphing into a muted sea of beings and Lestat flinging the book at Louis, was one of my favorite moments in the entire series.
“I tried to write you the prettiest song in the world. But I got distracted.”
How crushing is that line?
That book, which they both hated, by the way, is currently the unmovable object between them, but it will never negate their bond or erase the connection that keeps pulling them back into each other’s orbit.
Louis and Daniel’s dinner was lowkey awkward, if only because there was a slight thrumming of tension, but knowing that this was Lestat’s version of an event he wasn’t actually privy to gave it a slightly different context.
Like Daniel admitting that he feels Armand in this almost spiritual way, and Louis immediately said “No” when Daniel asked if he felt Lestat that way.
Lestat would think Louis would respond that way because he doesn’t know or believe Louis loves him.
Their conversation took a disastrously solemn turn when Louis told Daniel about seeing someone who looked like Claudia, and the absolute, resigned, wretched look on Louis’s face made me feel many things.
Claudia’s death remains the defining event of Louis’s life, a wound that never truly healed and perhaps never can. And at this point, it feels larger than grief alone.
It’s become a permanent fixture within him, a solid mass of guilt, regret, and self-loathing he can’t escape.
There’s a before and an after with vampires. There’s a before life, the human one. And then there’s life after the turn.
For Louis, he has that, sure, but there’s also a pre-Claudia and a post-Claudia existence, and he’s currently living in the memory of her absence.
Ragland swooping into the dinner felt cruel for various reasons, but his handing Louis a nuclear bomb, complete with the codes, was every idiom you could think of.
Like taking candy from a baby.
Ragland knew Louis would take the bait, and now Louis’s mission is set, but will it provide him any form of relief? Any form of satisfaction?
Louis only comes for those who come for him, but Bruce would always be the exception to that rule.
Lestat’s Liner Notes
There was a lot to unpack with this one, and this is only the beginning of Lestat’s story.
How are you liking the season?
What do you think is next for Louis?
Let me know all your thoughts in the comments below!
You can watch The Vampire Lestat on Sundays at 9/8c on AMC and AMC+.
Whether it’s isolation, history, trauma, or systems that fail people, the fear always comes from something deeper, and The Terror: Devil in Silver continues that tradition in unsettling ways. Dan Stevens stars as Pepper, a man who finds himself trapped inside New Hyde psychiatric facility while trying to understand whether the horrors unfolding around him…
The Terror: Devil in Silver uses horror to explore the unsettling reality of institutional life. Christopher Cantwell and Victor LaVelle talk about it.
IT: Welcome To Derry has been sensational in terms of storytelling, but has to stop relying on age-old crutches.
Lucy Schulman really does not have much going on. Her life is not particularly special, and it could even be argued that she was not worth making a film about. But it takes longer than it should to come to that realization, because “Lucy Schulman” is so pleasant to watch.
Comedian Ellie Sachs writes and directs this Tribeca premiere, which is deeply rooted in the stereotypical indie film tropes about creative types who can’t quite get their lives together. There’s nothing catastrophically wrong with her eponymous protagonist: Lucy seems nice enough, has a distinct sense of style, and is witty enough to keep up with her very New York friend group that contains a healthy mix of genuine achievers and very cool posers.
She doesn’t have many outwardly toxic traits of delusions of grandeur, but her world is quite small. She knows that she likes literature, but she spends a lot more time dating writers than actually writing. She works in an independent bookstore, but she’s hardly a model employee. And her friends are always inviting her to things, but she tends to blow them off for whoever she’s dating at the moment.
Keyboard muscle memory makes it tempting to write that her life “comes crashing down” after she suffers a bad breakup with a cheating author (Hasan Minaj) in the opening scene. But given how little she already had and how much of a support system existed below her, her fall from grace was less of a crash than a stumble down two or three steps.
That support system largely consists of her father Peter (David Cross), who raised Lucy by himself and now shares the kind of loving (if codependent) relationship that most parents dream of having with their adult children. Every time Lucy goes through a breakup, she moves back into her childhood bedroom, and Peter is always there to pick up the pieces. Cross plays Peter as a man without a single rough edge; he’s endlessly loving, accommodating of every fuck up and understanding of outburst that Lucy throws at him. No matter what the day throws at them, he’s so happy to be spending time with his daughter that it’s impossible to shake his good mood.
The plot of “Lucy Schulman” is incredibly simple. Lucy falls for a new guy, temporarily alienates her friends and father in the process, and realizes that she can’t start figuring out what she wants to do with her life until she learns that it’s okay to be alone. The film is most notable for its tone, which treats these manageable first world problems with all the seriousness they deserve — which is to say, almost none.
Anyone whose media diet will lead them to a film like “Lucy Schulman” will have already seen these plot points dozens, if not hundreds, of times before. Sachs refreshingly seems to understand that, and while the film is too sincere to ever be considered a subversion of these artist-comes-of-age-in-New-York tropes, it has the decency to not lie to us about their severity. “Lucy Schulman” unfolds in a world where misunderstandings are easily clarified, tummy aches are seen as real problems, everyone understands when you have to cancel plans, and fathers unconditionally love their daughters who appreciate them right back. What the film lacks in ambition, it makes up for with pleasant vibes and wholesome entertainment.
Films like this primarily exist as showcases for their leads, and Sachs demonstrates plenty of comedic charisma that makes it easy to visualize a future that’s filled with roles on premium cable sitcoms and guest essays in The New Yorker. And her admirable restraint as a director suggests that she’s as in on the joke as the rest of us: nobody needed another movie like “Lucy Schulman,” and it’s even getting harder for their protagonists to convince themselves that their situations are unique, but some of us still love watching them.
That bubbly self-awareness ensures that cinephiles who grew up watching “Frances Ha” will be as comforted by “Lucy Schulman” as rom-com lovers are by Hallmark Christmas movies. The stakes of each scene feel so low that you could comfortably walk out of the room for any half-hour period and not miss much, but you’ll undeniably enjoy whatever scene you walk back into.
“Lucy Schulman” premiered at the 2026 Tribeca Film Festival. It is currently seeking U.S. distribution.
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Lucy Schulman really does not have much
If you’re just now following Ester Expósito because of her alleged relationship with French soccer star Kylian Mbappé, then you just don’t know ball. And by ball, we’re talking fashion It-girls.
The 26-year-old actor and influencer made a name for herself as an original cast member of the hit Spanish teen drama Elíte on Netflix back in 2018. Her star only continued to rise from there, with Expósito leading multiple fashion and beauty campaigns for luxury brands like Bvlgari, YSL Beauty, and the Barcelona-based fashion house Desigual.
Amid gathering 24 million followers on Instagram, acting remained a top priority for the international star, who most recently took home the International Golden Nymph for most promising talent at the prestigious Monte-Carlo Television Festival on June 12.
On June 16, Expósito’s rumored boyfriend Kylian Mbappé will kick off his bid for the 2026 FIFA World Cup title when France takes on Senegal in New Jersey. Soccer fans, cinephiles, and fashion lovers alike will surely be casing the stadium for a glimpse of Expósito, either hoping to confirm the relationship rumors that sparked earlier this year or take notes on what the stylish actor wears to the game.
When she’s not hitting the red carpet in glamorous gowns, she keeps her aura romantic and breezy by relying on her secret style weapon: A matching set. For years, the actor has stepped out in various coordinated looks, proving the chicest summer outfits are also the easiest to pull together with the right accessories on hand. If Expósito does attend the match (and does not show up in a Mbappé soccer jersey) you can probably bet she’ll pull up in a sporty polo set with an elevated twist.
If you’re stuck in a style rut, here are four ways Ester Expósito styles a matching set for some quick and easy summer outfit inspiration.
If you're just now following Ester Expósito
As Cinema and Digital Gaming unite, Slot Games become another link in the chain, and the art of modern Slot Game design sees the influence of Film structure, Film characters, and Film genres. Data from 2025 suggests a burgeoning appetite for themed, interactive entertainment. This article looks at the impact of Cinema on the modern Slot Game.
There are many crossovers between the many types of entertainment, and Cinema has influenced a lot of them, but the crossover between Cinema and Digital Games has been more notable in the last few years. Slot games of the current era have incorporated elements of Cinema, such as Pacing, Sound Design, and Framework, to build a more satisfying experience.
Film Game Design is based on the principle that players’ visual and thematic requirements are as important as the Game Mechanics. This article looks at how Film Game Design is used in modern Slot Game Design and the reasons that it has become more prevalent on Digital Platforms.
Movie-style storytelling helps connect otherwise separate gameplay segments. Even in chance-based systems, storytelling gives developers the ability to create a sense of progression and build anticipation over time.
In 2025, Statista forecasted that, compared to non-themed gaming, themed gaming would draw users 20% more. The growth of themed gaming suggests that logical storytelling constructs and user engagement are directly correlated in themed online experiences.
Techniques borrowed from screenwriting, like pacing and act structure, are now used in game design. Gameplay is often divided into acts, with bonus rounds serving as game tension peaks followed by a resolution. Similar to cinematic gaming, timed edits are used to direct the focus of players.
Old school mechanical Slot Games relied on symbols and repetition to define Game Mechanics. There was no scope for Film Game Design. Digital Gaming has evolved to provide Cinematic Game Experiences that integrate a series of connected spins.
Some platforms that offer the chance of playing online slots feature catalogues of video slot games that deliver cinematic gaming and film-inspired design through high-definition graphics, layered sound, and animation. These Slot Games Design Experiences are inspired by Streaming Services, and their Game Play Mechanics are replaced by Genre, Mood, and Visual Game Design Classifications.
With the improvements in broadband and mobile tech, along with the rise in gambling apps and the development of complex audiovisual systems, there has been an interesting development in online gambling design. Sessions in online gambling are starting to feel more and more like short-form digital cinema.
Heroic archetypes are drawn from film and are increasingly becoming a standard feature of online gaming character design. Developing characters who become animated and who are no longer static symbols has now become a standard feature of design.
Characters are also now increasingly dynamic and are upgraded by developers through the design of motion-capture gaming elements that give film actors a quality of modern character design. Characters may progressively reveal new story elements and undergo various changes in their visual appearance. This method implements progression seen in franchise films, where development and evolution draw in the audience and provide cohesion and familiarity through the discrete offerings of the franchise.
Development and design in the fast-paced, competitive environment of digital casinos now largely revolves around narrative slots. Game developers create construction frameworks for gameplay and design elements based on several cinematic genres, including crime, thrillers, science fiction, and fantasy.
The evolving narrative slots are extending the thematic universe and construction orders of multiple genres of gameplay from mythology and fantasy to full horror. Merging films and slots allows game developers to derive multiple narrative construction frameworks from cinema to create and engage audiences.
Synchronized film scoring and layered game soundtracks merge to create atmospheres, moods, and narratives that are continuously developed and interwoven throughout gameplay.
Several construction frameworks and design elements derived from cinema and game interactivity have become popular in modern slots, and are now the standard for game developers and design teams to engage players.
Themed content for digital casinos, from H2 Gambling Capital’s 2026 forecast, shows that over 70% of new registered games are narrative-dominated. This shows that the game development and design are focused on the narrative as much as the gameplay.
With the progression of technology, the relationship between the consumer and the media is becoming more united, thanks to real-time rendering and adaptive audio systems. The separation of a consumer watching a movie and a consumer playing a video game is becoming more and more difficult, because the processes of making a movie and making a video game are converging.
This integration of systems means that the importance of film will not diminish in the continued evolution of gaming. Film will continue to greatly influence the aesthetics of video games, as well as the rhythm and organization of a video game, and how a consumer will interact and engage with a video game.
As Cinema and Digital Gaming unite, Slot
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Shopping for an outdoorsy dad is a special kind of impossible. Ask him what he wants and he’ll say “Nothing, I’m good!” which is a lie, because the man has been using the same fraying camp chair since 2009. The trick isn’t buying him more stuff. It’s upgrading the things he already loves doing outside, courtesy of brands like Birdfy, LG and even Dyson. Here’s my Father’s Day list for the dad who’d rather be in the yard, on the water, or at the BBQ than just about anywhere else.
Gardening is wonderful right up until the moment you have to stand back up. This garden kneeler and seat is a two-in-one: kneel on the padded side to save your knees, then flip it over and it’s a sturdy stool for when you’d rather sit. It comes with a clip-on umbrella for shade, little tool pouches on the sides, and handles that help you push yourself back up off the ground. It holds up to 330 lbs and folds flat for the shed. If the dad in your life gardens but groans every time he gets down to the soil, this is the gift for him.
Somewhere along the way, many dads develop strong opinions about birds. This bird feeder with a built-in camera leans all the way in: it snaps close-up photos and video of every winged visitor, uses an app to identify the species, and pings his phone when someone lands. It’s birdwatching with a side of tech, and it’s definitely the thing the grandkids will fight over. A lovely gift for the dad who already keeps the feeder stocked and narrates the action through the kitchen window.
A regular flying disc is just a promo item you’d get from your dentist, but a flying disc that lights up is the gift that keeps on giving. This 175-gram disc is regulation weight, so it actually flies straight and it’s built with 108 bright LEDs that flick on the second you throw it and shut off to save battery. A 30-minute charge gets you about a thousand throws(!!!). It’s waterproof, it floats, and the glow-in-the-dark rim makes it easy to spot after dark. Dads will love playing this with their friends and kids in the backyard, on the beach, and at the campsite.
Spikeball is the round-net game you’ve probably seen at the beach or a friend’s yard. It’s become a craze because it’s genuinely fun, mildly competitive, and gets everyone off their phones. It packs up into a small bag for the lakehouse, beach or the campsite, but it does come with a small warning: he might take it too seriously.
Screens plus cool technology plus the outdoors? Big win for the dads out there. The LG CineBeam Q is a palm-sized 4K laser projector that throws a picture up to 120 inches onto the side of the garage, a hung sheet, or the fence. It focuses and squares itself up automatically the second you set it down and the rotating handle doubles as a stand, so he can aim it anywhere, even straight up at the ceiling. The best part for outdoors: it runs off a USB-C power bank, so there’s no cord wrangling across the lawn.
This one’s a splurge, but hear me out. The LG StanbyME 2 is a 27-inch wireless touchscreen TV that rolls around on a stand, rotates horizontally or vertically and the screen lifts right off to carry like a tablet. With up to four hours of battery, that means the game follows him out to the patio, a movie plays on the deck, and the recipe sits close to the kitchen counter or outdoor prep area, all without a single cord. It can even turn into a digital gameboard. Like a lot of tech these days, t’s portable, not weatherproof, so think deck-and-patio, not leave-it-in-the-rain. But for the dad who likes his entertainment wherever he happens to be, this is a favourite..
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Everyone knows that one dad who shows up to the campsite with a headlamp and the latest and greatest in gear that makes everyone else reconsider their choices. Well, this inflatable solar lantern is right up his alley: it charges in the sun (or by USB), collapses flat to pack, and inflates into a soft, waterproof lantern that emits a surprising amount of light. It’s perfect for camping, the cottage, power outages, or just giving a softer glow on the patio for a nice night in.
If he fishes, paddles, boats, or just hovers near the lake or ocean, this gift will quell that low-lying anxiety of losing the his phone in the water. A waterproof phone pouch will solve that issue. The touchscreen works right through, so he can still take the photo without risking the phone. I have the floating case and have taken it paddleboarding in Mexico, it worked like a charm; zero phone-loss angst and great photos to remember. It now comes on all trips with me. It’s insurance for an expensive device, and the kind of gift he’d never buy himself.
Keep Dad’s essentials safe and dry with this IP68-rated waterproof dry bag. Designed for everything from kayaking and boating to camping and beach days, it features a secure roll-top closure that protects against water, sand, dust and dirt. A built-in waterproof phone compartment with touchscreen access lets you stay connected without exposing your device to the elements.
For the cycling dad, a waterproof bike frame bag is the small upgrade that makes every ride just a little easier. It straps onto the frame and holds his phone, keys, and a snack. It’s got a clear top window so he can follow his navigation without holding the phone or constantly reaching for a pocket. It’s waterproof, compact and super useful whether he’s commuting downtown or out on a weekend trail ride.
This is the brand-new gadget on the list and I had to make it an option for Father’s Day. Dyson’s first handheld fan has just landed in Canada. A definitely upgrade from the dollar store handheld fan he might use in desperate times, the Dyson HushJet Mini Cool is bladeless, about the size of a bottle of sunscreen, and runs up to six hours on a charge. Hold it, stand it on a table, or wear it around your neck hands-free. This is perfect for the dad who spends 5 hours on a golf course, cheers the kids on at a ball game, or gets overheated at the thought of being outside for 5 minutes.
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© 2026 Global News, a division of Corus Entertainment Inc.
By Melissa Maker The Curator Team Posted June 14,
Lindsay Lohan and Ciara attended The One Party by Uber held in NYC to kick off the summer of soccer at Pier 36. Backstreet Boys performed at the star-studded event!
Lindsay Lohan and Ciara attended The One
Jane Fonda gave a passionate speech defending the First Amendment on Sunday night at the star-studded Rise Up, Sing Out: A Concert for the First Amendment.
The event, held at The Town Hall in New York, was organized by the Committee for the First Amendment, a group that originally formed in 1947 during the McCarthy era but was recently revived by Fonda.
“Right now, the government and its cronies [are] routinely violating its First Amendment to silence artists,” she said onstage. “Shuttering institutions like the Kennedy Center, efunding museums and the National Endowment of the Arts, and banning books, canceling TV, hosts who speak out. It’s really bad. And it’s being allowed by cowardly corporations. I’m not gonna name names right now. But I am honored now to pass the mic to artists and activists who continue to speak up and sing out so that we might be inspired to rise up.”
Fonda also thanked the audience for showing up and supporting the committee’s mission to “defend free expression against government repression, industry complicity and intimidation,” according to its website.
“Showing up is an act of hope, and you all give me hope,” she said. “Those rights are for everyone, everyone. And we must defend them for everyone. Even if we don’t agree with them. You know, it’s not about Democrat or Republican, or left or right. It’s about right or wrong. And it is wrong. It is wrong for people to be attacked and called terrorists for exercising their rights and freedoms. It’s time for Americans all across the country, all across the political spectrum, who care about these freedoms, to stand up, creatively, nonviolently, to defend these rights, while we can. And we must do this now. Because if we don’t, we’re not gonna have any rights to descend.”
Fonda went on to explain why she revived the Committee for the First Amendment, a group that originally boasted several Hollywood luminaries, including her father, Henry Fonda, along with Humphrey Bogart, Lauren Bacall and Danny Kaye, among its ranks.
“The committee was relaunched last October to bring together the entertainment industry,” she said. “At this moment, when our democracy is in peril. In the face of what’s happening, we need our industry to be unified, activated and unwilling to engage in anticipatory obedience. We stand together in defense of our right to free expression. They come for one of us, by God, they come for all of us.”
Also on the bill at Sunday night’s event were Julia Roberts, Robert De Niro, Tessa Thompson, Ayo Edebiri, Bette Midler, Ms. Rachel, Joy Reid, Lily Gladstone, Patti Smith and others.
Jane Fonda gave a passionate speech defending
At Paramount+’s All Trails Lead Here event, Deadline chatted with the cast of two Emmy-contending Taylor Sheridan shows — Landman and The Madison.
The Madison holds the record for Sheridan’s biggest series debut ever. It follows the story of Stacy Clyburn (Michelle Pfeiffer), a New York matriarch, who, when faced by the sudden and shocking death of her husband Preston (Kurt Russell), finds herself considering a family move to the place he loved most: Montana.
Beau Garrett, who plays Stacy’s daughter Abby on the show, gathered at the All Trails Lead Here event with some of her on-screen family: Elle Chapman, who plays Abby’s sister Paige, and Amiah Miller, who plays Abby’s daughter Bridgette.
“The first season was a lot of grief and upheaval,” Garrett told Deadline. Of the upcoming next season she teased: “Now we’re settling into Montana in Season 2, and I think that there’s a lot that comes with that… There’s going to be stuff that comes up as time goes on.”
On the show, we’ve seen Miller’s teenage character of Bridgette leaning into Montana life — something that will continue next season. “She meets a lot of new people,” she said. “She finds her footing, and I think Montana really forces her to reconnect and rebuild and bond with her family, and also be open to new connections, so I’m excited for people to see it.”
In order to bond as an on-screen family in the beginning, Chapman said, “We did a lot of family dinners. Beau’s a great host, she’s good at organizing things. We went shopping. We did some damage!”
Kevin Zegers, who plays Montana ranchman Cade Harris, said of working with Sheridan on the show, “I just felt fortunate that Taylor was open to me doing it. His writing’s so descriptive that it was enough that I felt like I understood what was required to play him. It’s such a great role.”
Joining Zegers was Daniella Vasinova, who plays Cade’s wife Kestrel. She said of finding her character, “It’s really a story of when two worlds collide. Michelle is the matriarch of her family, a socialite family coming from New York City, and I’m the matriarch of my family, and I represent more of a natural way of of life and of doing things.”
For composer Breton Vivian, creating the score was about “trying to do justice to those gorgeous shots,” he said. “And having these textural moments with the music that reflect the beautiful landscape.”
Another key component of The Madison is of course its production design by Charisse Cardenas. “We very much stick with bringing Taylor’s vision to life,” Cardenas said. He’s very specific about where he wanted the barn and placement, so he went out there with us. I’m kind of intuitive, I just saw things that I liked and then brought together, like in the [New York] townhouse we did a lot of raw materials — real marble, real stones, to incorporate Montana.”
Both The Madison and Landman have been renewed for new seasons, with Landman heading into its third and The Madison getting a third season ahead of its Season 2 premiere.
To watch the interviews, watch the video above.
At Paramount+’s All Trails Lead Here event,
Microdrama platform ReelShort and Korean studio Showbox have entered into a content co-production agreement to develop and produce original short-form dramas for global audiences.
Under the terms of the deal, Showbox will co-produce short-form dramas based on ReelShort’s popular IPs, with plans to expand the partnership to include original short-form content developed by Showbox.
Content produced through the partnership will be distributed exclusively on ReelShort, bringing Korean storytelling to ReelShort’s global audience. The initial lineup of Korean microdramas includes Tell Me Not To Love You, My Secret Lover Is His Brother and Queen Never Cry.
Showbox plans to use the partnership as a springboard to accelerate its expansion into the global short-form drama market. The company took its first steps into the space in December 2025, when it began production on the short-form dramas Bridal Shower: The Missing Bride and The Fallen Idol Is Possessed!
“By combining ReelShort’s global platform competitiveness with Showbox’s content development and production capabilities, which have been at the forefront of K-content, we will deliver high-quality short-form dramas and use them as a foundation to expand into a wider range of genres and formats,” said Showbox in a statement.
“We will use this collaboration as an opportunity to create new success stories in the global market and further strengthen our content competitiveness.”
Showbox is on a roll this year with its theatrical long-form content, with titles including The King’s Warden, which grossed $108M to become the biggest Korean film of all time, and the number two and three films at the Korean box office this year – Yeon Sang-ho’s Colony and horror film Salmokji: Whispering Water.
Founded in 2022 by Crazy Maple Studio, ReelShort microdramas reach more than 70 million monthly active users in over 100 countries. The company recently pacted with Thai telco AIS in its first Southeast Asia telco distribution deal.
Microdrama platform ReelShort and Korean studio Showbox
No, "White Christmas" was not written for
Seth Rogen and James Franco were once an inseparable comedic duo.
But following several women’s allegations of sexual misconduct by Franco in 2018, the pair has been publicly estranged. Rogen recently told the New York Times that he hadn’t spoken to Franco “in a long time” and didn’t plan to work with him.
“Nothing has changed since the last time I talked about all this,” Rogen said, “and I haven’t worked with him in a really long time and I have no plans to.”
The actors got their start in Hollywood on the cult classic TV show “Freaks and Geeks.” At the time, Rogen was 16 and Franco was 21. As they continued to make their way through the industry, they became known for a string of well-loved early-2000s and 2010s comedies including “This Is the End,” “The Disaster Artist” and “Pineapple Express.”
Franco’s illustrious movie career came to a halt when five women, including several of his acting students, accused him of sexual exploitation. Some of the allegations included removing protective plastic guards covering actresses’ vaginas during the filming of intimate scenes, and Franco getting angry when actresses didn’t want to go topless.
Two of the accusers filed a class action in 2019, claiming sex discrimination, sexual harassment, fraudulent business practices and intimidation. Franco settled the case in 2021 for $2.2 million.
Rogen and Franco’s friendship has been a point of contention for the actor, as Rogen continues to climb the ranks in Hollywood. Just last year, “The Studio,” a show that Rogen created, writes, stars in, directs and produces won 13 Emmys and is currently filming its second season.
Rogen previously said he regretted saying that he could work with Franco again after the allegations surfaced.
“What I can say is that I despise abuse and harassment and I would never cover or conceal the actions of someone doing it, or knowingly put someone in a situation where they were around someone like that,” Rogen said in 2021, in an interview with the U.K.’s Sunday Times. “I also look back to that interview in 2018 where I comment that I would keep working with James, and the truth is that I have not and I do not plan to right now.”
The actor is still hesitant to detail the nuances of his friendship with Franco. He told the New York Times that it’s “a very personal thing.”
“There’s the public-facing side of it, which I’ve spoken about, and I have the same stance publicly that I’ve had, and I think the proof is in the pudding — I have not worked with him in years,” Rogen said. “But the personal side of it is just so nuanced, and it involves people that I don’t know if I should be dragging into this.”
Seth Rogen and James Franco were
Two different versions of a major hero from Avengers: Endgame will be heavily featured in the MCU’s next movie, Spider-Man: Brand New Day, on July 31. Marking one of two MCU movies being released this year, Brand New Day will team Tom Holland’s Peter Parker up with a few of the biggest names from the greater Marvel universe. This includes one of the main characters from Endgame.
X user @Spider_Blox_809 shared a look at new collectible bag clips showing off characters from Marvel Studios and Sony Pictures’ Spider-Man: Brand New Day.
These bag clips are available in stores in small packages showcasing about a dozen versions of characters from Brand New Day, with the final toys being random once fans open the bags.
One of the clips is of Mark Ruffalo’s Savage Hulk, who will return to the MCU for the first time since 2018’s Avengers: Infinity War in Brand New Day. This version is shirtless and uses the Hulk’s classic ripped brown pants.
Additionally, Ruffalo’s Bruce Banner gets a second clip showing off the Smart Hulk version of his enormous green rage monster. This version shows the Hulk wearing glasses and a white collared shirt under a blue sweater. The sweater also has a couple of rips, as do the brown pants on the bottom.
This makes Brand New Day the first in MCU history to feature multiple versions of the Hulk, as Ruffalo’s Bruce Banner has only used his human form and Smart Hulk form since 2019’s Avengers: Endgame.
The last movie to prominently feature Bruce Banner’s Savage Hulk form was 2017’s Thor: Ragnarok, which picked up with him after he had been in his Hulk form for two years after the end of Avengers: Age of Ultron.
Ruffalo’s Smark Hulk was then introduced in 2019’s Avengers: Endgame, which took the character “18 months in the gamma lab” to create after he merged his brain with the Hulk’s body. Interestingly, for Brand New Day, Smart Hulk seems set to dive into battle at some point, as indicated by the rips in his clothing.
Ruffalo will make his 10th live-action appearance as Bruce Banner in Brand New Day, and it will be the first one with all three of his personalities (Bruce Banner, Smart Hulk, and Savage Hulk) featured heavily.
Spider-Man: Brand New Day will be the fourth Spider-Man movie in Marvel Studios’ franchise. Starring Tom Holland, Zendaya, Jacob Batalon, and more, the story will focus on Peter Parker as he acclimates to a world unaware of his existence, while multiple terrifying villains threaten the safety of New York.
Brand New Day will be Ruffalo’s first live-action appearance in the MCU since 2022’s She-Hulk: Attorney at Law. While that story ended with Banner revealing he had a son and returning to Earth in his Hulk form, Brand New Day will bring him back to his human form and show him using the same wrist inhibitor to keep him that way.
In the first trailer for the movie, fans see Peter Parker go to Bruce Banner for help with his own genetic problem after an unknown force begins altering his biological makeup. After this change, he can shoot webs organically from his wrists (similar to Tobey Maguire’s Spider-Man).
For Banner, it is still unclear what will force him to change back into his Savage Hulk form, but he seems set to give Peter another round of problems after he is unleashed on New York City again. This will force two of the smartest minds in the MCU to unite and work through their individual issues, especially with Bruce likely struggling to keep his Smart Hulk form in check and his Savage Hulk form contained.
Also teased for a potential appearance in this movie is the Grey Hulk version of Bruce Banner, typically portrayed as a much sadder version of the iconic Marvel hero. While the details on the different Hulks’ roles in this movie are still unknown, it might be the deepest dive into this character in years.
