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(L to R) Mark Hamill, Carrie Fisher, and Harrison Ford in ‘Star Wars: Episode IV – A New Hope’. Photo: Lucafilm.

A long time ago in a galaxy far far away…

That is one of the most iconic lines in movie history. The ‘Star Wars’ franchise began in 1977 with the release of ‘Episode IV – A New Hope‘ and since has spawned twelve feature films, and countless TV series, video games and animated series.

Now, after seven years, the Disney+ series ‘The Mandalorian‘ is bringing ‘Star Wars’ back to theaters with ‘Star Wars: The Mandalorian and Grogu‘, which is full length feature film directed by Jon Favreau (‘Iron Man‘) that opens only in theaters on May 22nd.

“If you’re searching for new adventure, “this is the way.””

Release Date: May 22, 2026

Run Time: 2 hr 12 min

Budget: $165,000,000

In case you want to rewatch the entire ‘Star Wars’ film series before viewing ‘Star Wars: The Mandalorian and Grogu’, here is a list of all the movies in chronological order, including where the new film fits in.

Let’s begin Padawans!

Related Article: Jude Law Talks ‘Skeleton Crew’ and Joining the ‘Star Wars’ Universe


Ray Park as Darth Maul in 'Star Wars: Episode I – The Phantom Menace'. Photo: Lucasfilm.

Ray Park as Darth Maul in ‘Star Wars: Episode I – The Phantom Menace’. Photo: Lucasfilm.

Anakin Skywalker (Jake Lloyd), a young slave strong with the Force, is discovered on Tatooine. Meanwhile, the evil Sith have returned, enacting their plot for revenge against the Jedi.

“Every saga has a beginning.”

Release Date: May 19, 1999

Run Time: 2 hr 16 min

Budget: $115,000,000


Yoda in 'Star Wars: Episode II – Attack of the Clones'. Photo: Lucasfilm.

Yoda in ‘Star Wars: Episode II – Attack of the Clones’. Photo: Lucasfilm.

Following an assassination attempt on Senator Padmé Amidala (Natalie Portman), Jedi Knights Anakin Skywalker (Hayden Christensen) and Obi-Wan Kenobi (Ewan McGregor) investigate a mysterious plot into the heart of the Separatist movement and the beginning of the Clone Wars.

Star Wars: Episode II - Attack of the Clones

“A Jedi shall not know anger. Nor hatred. Nor love.”

Release Date: May 16, 2002

Run Time: 2 hr 22 min

Budget: $120,000,000


Hayden Christensen in 'Star Wars: Episode III – Revenge of the Sith'. Photo: Lucasfilm.

Hayden Christensen in ‘Star Wars: Episode III – Revenge of the Sith’. Photo: Lucasfilm.

The evil Darth Sidious (Ian McDiarmid) enacts his final plan for unlimited power — and the heroic Jedi Anakin Skywalker (Hayden Christensen) must choose a side.

“Every story has a hero. Every hero has a destiny. Every saga has an end.”

Release Date: May 19, 2005

Run Time: 2 hr 20 min

Budget: $113,000,000


Alden Ehrenreich in 2018's 'Solo: A Star Wars Story.' Photo: Lucasfilm.

Alden Ehrenreich in 2018’s ‘Solo: A Star Wars Story.’ Photo: Lucasfilm.

Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo (Alden Ehrenreich) meets his mighty future copilot Chewbacca (Joonas Suotamo) and encounters the notorious gambler Lando Calrissian (Donald Glover).

“Never tell him the odds.”

Release Date: May 25, 2018

Run Time: 2 hr 15 min

Budget: $250,000,000


(L to R) Diego Luna and Felicity Jones in 'Rogue One: A Star Wars Story.' Photo: Lucasfilm.

(L to R) Diego Luna and Felicity Jones in ‘Rogue One: A Star Wars Story.’ Photo: Lucasfilm.

A rogue band of resistance fighters unite for a mission to steal the Death Star plans and bring a new hope to the galaxy.

“Empires are built on fear. Rebellions are built on hope.”

Release Date: Dec 16, 2016

Run Time: 2 hr 13 min

Budget: $200,000,000


Carrie Fisher as Princess Leia in 'Star Wars: Episode IV - A New Hope'. Photo: Lucasfilm.

Carrie Fisher as Princess Leia in ‘Star Wars: Episode IV – A New Hope’. Photo: Lucasfilm.

Princess Leia (Carrie Fisher) is captured and held hostage by the evil Imperial forces in their effort to take over the galactic Empire. Venturesome Luke Skywalker (Mark Hamill) and dashing captain Han Solo (Harrison Ford) team together with the loveable robot duoC-3PO (Anthony Daniels) and R2-D2 (Kenny Baker) to rescue the beautiful princess and restore peace and justice in the Empire.

“A long time ago in a galaxy far, far away…”

Release Date: Jan 31, 1997

Run Time: 2 hr 1 min

Budget: $11,000,000


James Earl Jones as the voice of Darth Vader in 'Star Wars: Episode V – The Empire Strikes Back'. Photo: Lucasfilm.

James Earl Jones as the voice of Darth Vader in ‘Star Wars: Episode V – The Empire Strikes Back’. Photo: Lucasfilm.

The epic saga continues as Luke Skywalker (Mark Hamill), in hopes of defeating the evil Galactic Empire, learns the ways of the Jedi from aging master Yoda (Voice of Frank Oz). But Darth Vader (Voice of James Earl Jones) is more determined than ever to capture Luke. Meanwhile, rebel leader Princess Leia (Carrie Fisher), cocky Han Solo (Harrison Ford), Chewbacca (Peter Mayhew), and droids C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker) are thrown into various stages of capture, betrayal and despair.

“The Star Wars saga continues.”

Release Date: Jun 20, 1980

Run Time: 2 hr 4 min

Budget: $18,000,000


Mark Hamill in 'Star Wars: Episode VI – Return of the Jedi' Photo: Lucasfilm.

Mark Hamill in ‘Star Wars: Episode VI – Return of the Jedi’ Photo: Lucasfilm.

Luke Skywalker (Mark Hamill) leads a mission to rescue his friend Han Solo (Harrison Ford) from the clutches of Jabba the Hutt, the Emperor (Ian McDiarmid) prepares to crush the Rebellion with a more powerful Death Star, and the Rebel fleet mounts a massive attack on the space station. Luke Skywalker confronts Darth Vader (Voice of James Earl Jones) in a final climactic duel before the evil Emperor.

Return of the Jedi

“Return to a galaxy far far away.”

Release Date: May 25, 1983

Run Time: 2 hr 12 min

Budget: $32,350,000


(L to R) The Mandalorian and Grogu in Lucasfilm's 'The Mandalorian and Grogu'. Photo courtesy of Lucasfilm. © 2026 Lucasfilm Ltd™. All Rights Reserved.

(L to R) The Mandalorian and Grogu in Lucasfilm’s ‘The Mandalorian and Grogu’. Photo courtesy of Lucasfilm. © 2026 Lucasfilm Ltd™. All Rights Reserved.

The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu.

“If you’re searching for new adventure, “this is the way.””

Release Date: May 22, 2026

Run Time: 2 hr 12 min

Budget: $165,000,000


Daisy Ridley as Rey in 'Star Wars: The Force Awakens'. Photo: Lucasfilm.

Daisy Ridley as Rey in ‘Star Wars: The Force Awakens’. Photo: Lucasfilm.

Thirty years after defeating the Galactic Empire, Han Solo (Harrison Ford) and his allies face a new threat from the evil Kylo Ren (Adam Driver) and his army of Stormtroopers.

“Every generation has a story.”

Release Date: Dec 18, 2015

Run Time: 2 hr 16 min

Budget: $245,000,000


Mark Hamill in 'Star Wars: The Last Jedi.' Photo: Lucasfilm.

Mark Hamill in ‘Star Wars: The Last Jedi.’ Photo: Lucasfilm.

Rey (Daisy Ridley) develops her newly discovered abilities with the guidance of Luke Skywalker (Mark Hamill), who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order.

Release Date: Dec 15, 2017

Run Time: 2 hr 32 min

Budget: $300,000,000


(L to R) Adam Driver and Daisy Ridley in 'Star Wars: The Rise of Skywalker.' Photo: Lucasfilm.

(L to R) Adam Driver and Daisy Ridley in ‘Star Wars: The Rise of Skywalker.’ Photo: Lucasfilm.

The surviving Resistance faces the First Order once again as the journey of Rey (Daisy Ridley), Finn (John Boyega) and Poe Dameron (Oscar Isaac) continues. With the power and knowledge of generations behind them, the final battle begins.

Release Date: Dec 20, 2019

Run Time: 2 hr 22 min

Budget: $489,900,000

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(L to R) Mark Hamill, Carrie Fisher,

Paramount‘s acquisition of Warner Bros. cleared a major hurdle on Friday afternoon. The Antitrust Division of the U.S. Department of Justice has released a statement saying that it has completed its review of the deal and will not challenge the merger.

“The legacy of these transactions illustrates the challenges that arise when the commercial rationale for a deal lacks clear alignment with competitive incentives of the acquiring firm or the competitive evolution of the marketplace. In technology-driven industries, the disruptors of the recent past may quickly become the entrenched monopolists of the present day,” the statement read. “It is with this historical experience and present enforcement sensitivity to the contestability of dynamic markets that the Division conducted a thorough investigation of the proposed transaction to assess whether the proposed transaction presented any harm to competition.”

The statement goes on to say that not only did the investigation conclude that the merger, which would see two of Hollywood’s largest legacy studios combine, would not form a monopoly — it also predicts that the outcome will be an improvement over current conditions.

“The extensive investigatory record reviewed by the Division suggests that the impact of the transaction will be to increase competition across the media and entertainment ecosystem, with benefits for American consumers and workers,” the statement read.

The lengthy statement cites a review of three major categories — streaming, linear television, and theatrical films — for potential anticompetitive behavior if the deal closes. In all three categories, the department concluded that there is nothing to worry about.

On the streaming side, the statement explained that consumers will benefit from the stronger alternative to Netflix that will presumably be formed by the combining of HBO Max and Paramount+.

“Following Netflix’s pioneering role in the emergence of SVOD almost twenty years ago, large tech firms like Amazon, and later legacy media firms like Disney, entered and built SVOD platforms to compete for and meet shifting consumer preferences for scripted content and digital distribution. By comparison, the Parties are historically late entrants into SVOD with less customers subscribing to Paramount+ and Warner Bros.’ HBO Max and discovery+ offerings, compared to those of the three largest streamers today,” the statement reads. “The evidence reviewed and carefully analyzed by the Division indicates that, post-merger, competition in SVOD is not likely to be harmed. To the contrary, the combined firm is likely to increase competition by offering consumers a more robust competitive alternative to the larger SVOD offerings.”

The statement goes on to cite alternatives like YouTube and TikTok as other offerings that consumers can turn to that Paramount would not control after the merger.

On the film side, the report cites the recent success of independent films at the box office as evidence that the market for films is competitive and not controlled by legacy studios.

“Recent box office successes since the announcement of the transaction show that a studio’s legacy does not determine whether it can succeed at developing, producing, or distributing in the domestic box office today: including, for example, Amazon MGM (‘Project Hail Mary’), A24 (‘Backrooms’), Lionsgate (‘Michael’), Blumhouse (‘Obsession’),” the statement read. “These disruptive industry developments suggest a potential inflection point in the evolving competitive landscape for theatrical production and distribution, supporting the Parties’ incentive to continue to generate and distribute content.”

While the deal is not officially closed, a regulatory battle was seen as one of the last major obstacles after Paramount shareholders approved the deal in April.

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Paramount‘s acquisition of Warner Bros. cleared a

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Michael Jackson’s biopic, Michael, has dethroned Bohemian Rhapsody to become the highest-grossing music biopic of all time, crossing $911.9 million worldwide as the Jaafar Jackson-starring film continues its global rollout.

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Directed by Antoine Fuqua and written by John Logan, the Lionsgate and Universal co-production has surpassed Bohemian Rhapsody‘s total gross with $358.6 million at the domestic box office and $553.3 million internationally — with Universal generating $540.5 million of the international total after acquiring foreign theatrical and ancillary rights. The film arrives in Japan today, a territory that could push Michael past $1 billion worldwide, which would make it only the second film to cross that threshold at the 2026 global box office after Universal’s Super Mario Galaxy Movie.

By comparison, the Freddie Mercury biopic Bohemian Rhapsody — which won four Oscars including Best Film Editing and earned Rami Malek a Best Actor win — grossed $216.6 million domestically and $694.3 million internationally for a $910.9 million global total. Both films were produced by Graham King, meaning King has now broken his own all-time box office record for music biopics.

The film has set a string of records in addition to its overall gross — among them the largest global opening weekend ever for a music biopic, the highest-grossing domestic biopic of all time, and the most successful biopic ever in France, surpassing La Vie en Rose. Forty international markets surpassed Bohemian Rhapsody‘s lifetime gross, including Brazil, France and Mexico. It is also Lionsgate’s highest-grossing theatrical release ever worldwide.

The road to release was not without turbulence. Lionsgate was forced to undertake $50 million in reshoots after the Jackson estate identified a key issue with a plot point in the screenplay concerning one of Jackson’s accusers, who was not meant to be dramatised in the film. The film stars Jaafar Jackson — Michael Jackson’s nephew — in the title role.

Michael Jackson remains one of the most commercially successful recording artists in history. He has sold an estimated 350 million records worldwide, scored 13 No. 1 singles on the Billboard Hot 100 as a solo artist — including “Billie Jean,” “Beat It” and “Black or White” — and holds the record for the best-selling album of all time with Thriller, which has sold more than 70 million copies worldwide.

Thriller spent 37 weeks at No. 1 on the Billboard 200. Jackson was inducted into the Rock and Roll Hall of Fame twice — once as a member of the Jackson 5 in 1997 and once as a solo artist in 2001.

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Michael Jackson’s biopic, Michael, has dethroned Bohemian

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The New York Knicks are the 2026 NBA champions.

The Knicks defeated the San Antonio Spurs by a score of 94-90 Saturday, winning the NBA finals series 4-1 and lifting the Larry O’Brien Trophy for the first time since 1973. Now, fans can take home a piece of the action with official Knicks NBA winners merch dropping online.

OFFICIAL T-SHIRT

Nike New York Knicks 2025-26 NBA Champions T-Shirt

Nike has this official Knicks champions T-shirt, which is a replica of the tee worn by the players on the court and in the locker room during their post-game celebrations. The 100% cotton tee is available in a classic fit and sizes small to XXL.

Jalen Brunson 2025-26 NBA Finals MVP T-Shirt

You can also pick up this official Jalen Brunson MVP T-shirt from Nike, celebrating Captain Clutch’s “all-time championship showing,” as a product description teases. This unisex tee features a slightly oversized fit designed with draped shoulders.

SIGNED MERCH

Jalen Brunson New York Knicks Autographed Wilson Champions Logo Basketball

The merch and collectibles site, Fanatics, meantime, is selling a limited run of Jalen Brunson autographed basketballs online. Available for $900, Brunson’s signature is set on a gold Wilson basketball stamped with the NBA finals logo, Knicks logo and 2026 NBA Champions crest. Each basketball is individually numbered with a tamper-evident hologram to prove authenticity.

The autographed basketball is sure to sell out quickly as a coveted collector’s piece so you’ll want to add this to cart while it’s still in stock.

LIMITED EDITION

New York Knicks Autographed 2026 NBA Finals Champions Wilson Basketball

You can also spring for this basketball, which is hand-signed by Brunson, Karl-Anthony Towns, Josh Hart, OG Anunoby, Mikal Bridges, Miles McBride and Landry Shamet. Only 500 of these autographed basketballs is being released and each one comes with a hologram that can be authenticated and verified online at fanatics.com/fansecure.

New York Knicks Autographed Jalen Brunson #11 Icon Edition Swingman Jersey 

The same seven players also signed this Brunson jersey, which has been framed for easy gifting and display. This is an official Knicks Nike jersey with Brunson’s number 11 on the back. The frame, meantime, measures approximately 40 x 32 inches in size. This autographed jersey is also limited to just 500 units.

OFFICIAL BOBBLEHEAD

Jalen Brunson NBA Finals Champions Player Bobblehead

Fanatics is also selling Brunson’s official bobblehead doll, which features an eight-inch bust of the point guard holding his NBA championship trophy while standing on a resin base inspired by the basketball court. Each bobblehead is hand-painted and hand-finished, ensuring that no two are exactly the same. You can find more Knicks player bobbleheads for sale here.

OFFICIAL HAT

New York Knicks New Era 2026 NBA Finals Champions Locker Room Hat

And you can pick up this official Knicks NBA Finals champions hat, which is the same one seen on the players in the locker room. This is a New Era hat that features a flat brim, slightly higher crown and an adjustable snapback closure. You can see more Knicks merch options here.

The NBA finals series has been a big ratings win, with ABC reporting more than 23 million viewers for Game 3 of the Knicks vs. Spurs last week. That’s the largest audience for a Game 3 matchup since Michael Jordan and the Chicago Bulls defeated the Utah Jazz in the NBA championship series in 1988.

The Knicks have been big a celebrity draw too, with everyone from Timothee Chalamet to Taylor Swift being spotted courtside. The Knicks’ win is only the third championship title in the team’s storied NBA history.

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Tyra Banks is one of the most iconic figures in fashion and television, rising from supermodel status in the 1990s to media mogul with a lasting cultural footprint. Banks transitioned behind the camera in 2003 when she created and hosted America’s Next Top Model, a reality competition that became a global phenomenon and solidified her status as a force in entertainment.

Now in 2026, Banks is back in the spotlight with Reality Check: Inside America’s Next Top Model, a new three-part Netflix documentary that re-examines the legacy and controversies of the long-running series. In it, Banks reflects on her role in shaping the show’s cultural impact, revisits some of its most talked-about moments and faces candid conversations about its more problematic history.

Alongside her media resurgence, Banks has built a multi-faceted career spanning television hosting, business ventures and real estate, and she continues to leverage her brand well beyond the runway. Here’s where her net worth stands today.

How Did Tyra Banks Get Famous?

Banks first rose to prominence in the early 1990s as a high-fashion model. After signing with Elite Model Management as a teenager, she quickly booked major runway shows in Paris and became one of the most in-demand models of her era. She broke barriers as one of the first Black women to land the cover of Sports Illustrated Swimsuit Issue and became a Victoria’s Secret Angel from 1997 to 2005.

Banks later transitioned into television and film, appearing in movies like Higher Learning, Life-Size and Coyote Ugly. However, her biggest career pivot came in 2003 when she created and hosted America’s Next Top Model, which became a global franchise and cemented her status as a media mogul. She expanded her empire with The Tyra Banks Show, which won two Daytime Emmy Awards, and later hosting roles on America’s Got Talent and Dancing with the Stars.

What Is Tyra Banks’ Net Worth Now?

As of 2026, Banks’ estimated net worth is $90 million, according to Celebrity Net Worth.

NEW YORK, NEW YORK - DECEMBER 10: Tyra Banks attends Tyra Banks Hosts "SMiZE & DREAM" Hot Ice Cream First Taste at Artechouse NYC on December 10, 2025 in New York City. (Photo by Manny Carabel/Getty Images)
(Photo by Manny Carabel/Getty Images)

How Much Money Did Tyra Banks Make From America’s Next Top Model?

While exact figures have never been publicly disclosed, reports estimate that Banks earned millions per cycle of America’s Next Top Model as both host and executive producer. At the height of the show’s popularity, she was reportedly making between $5 million and $10 million per year from the franchise through salary and production profits.

Because Banks retained significant ownership and producer credits, she benefited not just from her hosting paycheck but from international licensing deals, syndication and brand extensions tied to the show. The long-running success of ANTMremains one of the largest contributors to her overall net worth.

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  • NHS England is deploying M365 Copilot to 505k staff after pilot success
  • The scheme targets 43 saved minutes per worker per day
  • 200k initial rollout and extensive training promised

NHS England has announced a major AI expansion which will see it give more than half a million clinicians and support staff access to Microsoft 365 Copilot.

The move follows what Microsoft and NHS England described as the “largest AI trial of its kind globally in healthcare,” where 30,000 NHS workers got earlier access to M365 Copilot.

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NHS England is deploying M365 Copilot to

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    For a show that regularly depicts traumatic injuries, emergency surgeries and life-or-death medical procedures, The Pitt Season 2 crew has honed in on the fact that audiences aren’t necessarily disturbed by the big stuff. Instead, it’s the intimate moments that make viewers recoil.

    “You can do a whole thoracotomy. We can clamshell a chest cavity. We can show the heart and the guts, and people will watch leaned in,” says EP, writer and star Noah Wylem who directed Season 2’s sixth episode, on Deadline’s The Process. “But you take somebody’s fingernail off, or you take a needle and put it into somebody’s knee — those tend to be the most squeamish moments on our show.”

    Keeping that in mind helped shape some of episode 6’s most memorable sequences, from a close-up knee procedure requiring multiple custom prosthetics to a blood-soaked opening resuscitation that pushed the practical effects team to new levels of realism. For Wyle and makeup department head Myriam Arougheti, the goal was never shock value for its own sake, but creating medical moments authentic enough to place audiences directly inside the trauma bay.

    Every case on The Pitt begins with executive producer and medical advisor Dr. Joe Sachs, who walks the makeup department through the medical realities of each injury before Arougheti meets with the episode’s director to determine exactly what needs to be shown on camera. For Episode 6’s motorcycle accident patient Brandon Li (John Squires), that process led to weeks of preparation and multiple prosthetic builds.

    Initially, the team created a blended prosthetic that could be applied directly to the actor’s leg for examination and suturing scenes. But when Wyle decided he wanted viewers to see a fluorescein injection used to determine whether the wound had entered the joint space, the original appliance wasn’t enough.

    “This is when I went back to Myriam and said, the blended piece is not going to work for what I want to do,” Wyle recalls. “I really want to show a needle going into the knee.”

    The request led to the creation of a fully fabricated prosthetic leg that matches the actor’s limb down to the smallest details. Hidden beneath surgical drapes, the duplicate allowed the production to film extreme close-ups of the procedure while maintaining complete realism.

    For Arougheti, authenticity was only half the challenge. “Because it was a two-level closure and it needed to be sutured deep first, the piece had to have structural integrity,” she explains. “When you make those suture bites, it’s super easy to tear through latex.”

    The episode’s opening moments presented a different challenge altogether as it kickstarts with doctors fighting to save Louie Cloverfield’s (Ernest Harden Jr.) life after blood begins pouring from his airway during resuscitation attempts. To achieve the effect, Arougheti’s team collaborated with special effects coordinator Rob Nary on a practical rig that synchronized bursts of blood with chest compressions, creating the illusion that Louie was hemorrhaging from his lungs.

    Wyle credits actor Ernest Harden Jr. for helping sell the sequence, enduring lengthy takes while remaining completely still amid the controlled chaos. Beyond the practical effects, the sequence also gave Wyle an opportunity to spotlight another often-overlooked aspect of emergency medicine. “Nurses are the backbone of emergency departments,” he says. “They do the work that is angels’ work.”

    To learn more about behind-the-scenes make-up procedures and more technical insight into Wyle’s The Pitt episode, watch the video above.

    ​

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    For a show that regularly depicts traumatic

    Celebrity Skin is less about those in the spotlight than those who get lost in the shadows along the way: the sold-out sluts, self-destructive pop boys, and “might-have-been”s, all the “beautiful garbage” littering US 101. The dedication reads, “To all the stolen water of Los Angeles and to anyone who ever drowned,” while the back cover pays homage to a doomed Ophelia. The album opens with three jet-engine chords and a wink at Love’s own notoriety. “Oh, make me over/I’m all I wanna be,” she snarls over a buzzing riff. “A walking study/In demonology.” Full of “yeah-ah-ahs” and glittery blown-out guitars, “Celebrity Skin” offers a backstage tour of Hollywood. Love plays the wilted starlet whose soul was her price of entry: “You want a part of me?/Well, I’m not selling cheap.”

    On Celebrity Skin, Hole cranked the dial on their “internal AM radio” and channeled 1970s California AOR tunes. Grunge was on its way out, and besides, Hole had always been proud pop fans. Back in 1989, Erlandson responded to an ad Love placed that read, “I want to start a band. My influences are Big Black, Sonic Youth, and Fleetwood Mac.” Hole had spent two albums wiping the muck away until Celebrity Skin emerged, as polished as they would ever get.

    Love initially struggled to get the record off the ground and needed someone to light a creative (and competitive) spark in her, so she called up Billy Corgan. (In addition to being Love’s ex-boyfriend, the Smashing Pumpkins frontman had recommended Auf der Maur after seeing her band play in Montreal.) Corgan has co-arrangement credits on five songs, including the title track, and was initially announced as the album’s executive producer. But he left the project to work on the Pumpkins’ Adore, and Hole hired Michael Beinhorn, known for his work with Soundgarden, Red Hot Chili Peppers, and Ozzy Osbourne.

    Though Hole’s sound had expanded, their bite remained razor sharp. Case in point: “Awful,” a Trojan horse critique of the music industry. Atop a power-pop interpolation of “Swing Low, Sweet Chariot,” Love calls out executives eager to exploit “all the girls like you.” Bubbly like cherry cola—and are those notes of Neil Diamond or Unrest?—the song’s carbonation goes flat ahead of the final verse, as Love growls, “Oh, just shut up, you’re only 16.” But “Awful” ends with rousing defiance: “If the world is so wrong/Yeah, you can break them all with one song.” “Reasons to Be Beautiful,” co-arranged with Charlotte Caffey of the Go-Go’s, comments on vanity and self-loathing. “Miles and miles of perfect sin/I swear, I said, I fit right in,” Love chants. “I fit right in your perfect skin/I cannot breathe.” Delivered with pinkprick precision, each shifting verse seems to pirouette on the head of a needle.

    On the title track, Love describes a woman who has obliterated everything she kissed, and indeed, desire is a corrosive force on Celebrity Skin. “The one I love, I should destroy/My sweet tooth has burned a hole,” Love croons on the dreamy “Hit So Hard.” The conflation of violence and ecstasy echoed by the chorus—“He hit so hard/I saw stars/He hit so hard/I saw God”—evokes “He Hit Me (And It Felt Like a Kiss),” a song Hole had covered. Sublime obliteration is a recurring theme. “Our love is quicksand/So easy to drown”; “I look at him and drown.” “When the water is too deep/You can close your eyes and really sleep tonight,” goes the siren song “Boys on the Radio,” a twinkly homage to troubled musicians Evan Dando, Brian Wilson, and Jeff Buckley after the latter drowned in 1997. “Down by the sea/Is where you drown your scars,” Love sings on “Malibu,” and she sounds radiant atop washes of golden guitars singed with melancholy. “Malibu” pleads with a bright burnout to find salvation, but he’s already doomed. As the sun sets over an ocean of angels, Love’s protagonist walks into the Pacific, the differences between self-destruction and salvation washed away by waves.

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    Celebrity Skin is less about those in

    “Where in LA do you live? You have a 310 area code,” Martin Landau says.

    “I moved — to Orlando,” I say. “Strange, but I’m flying to LA tomorrow. A producer friend is helping me fund scholarships for film students.”

    I explain that a lot of my students are not wealthy, but they’re amazing. I tell him about one student who pitched a short film about her mother in Ghana, who suffers from schizophrenia. The only time the voices are quiet is when she sings. We raised money for her to film in Ghana. A Venezuelan student pitched a story about posting pictures of her cousin, who was lost to trafficking. 

    This all resonates with Landau. Despite a storied career in stage and cinema, he is most excited about his current students. He teaches at the Actor’s Studio West in Los Angeles.

    “You should see these kids act,” he says with immense pride. “They are wonderful.”

    His students have made him feel hopeful for the future of arts — storytelling. The importance of narrative.

    “I would love for you to see them perform. They’re doing a reading in September,” he says. 

    I ask if I can take him to dinner when I arrive in LA the next day. 

    “I would really enjoy that. You know, Eric Fleming, I don’t know how this happened… But I think it was meant to be. For some reason, we were supposed to talk to each other, today.”

    “I think so, too. I’ll call you.”

    “You have my number,” he jokes.

    Martin Landau passed away that night.  

    My phone rang one more time from his number a few weeks later. I grabbed it quickly, hoping it might have been a family member. I could tell them about our conversation. Our unusual connection.

    “Hello?”

    No one responded.

    A few years have passed. I traveled to LA — to 310 — several more times. I worked on the script for Piragua and cast the film with Michael Keaton. We were scheduled to go into production in June 2020. A global pandemic shut the production down.

    I still don’t understand how Martin Landau and I ended up talking to each other. A quiet call without applause and golden confetti. Synchronicity.

    Perhaps he needed to talk with someone with the same name as an old friend before he passed. And maybe I needed to realize that regardless of the area code I was in, I was finally where I belonged.   

    Eric Fleming has spent nearly 30 years writing, directing and developing film and television projects, collaborating with major studios including Paramount, United Artists, Warner Bros., NBC, MTV and Fox. As an educator, he redesigned Valencia College’s film production curriculum and Florida’s statewide framework to center narrative as the foundation of technical craft. He has secured over $2 million in grant-funded film equipment, established endowed scholarships, championed diverse voices, and helped lead the design of a $15M production facility. Fleming is currently in post-production on a TV pilot, “American Kindness.”

    This article originally appeared on HuffPost in May 2026.

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    “Where in LA

    Amy Adams said during a recent appearance on “Late Night With Seth Meyers” that while hosting “Saturday Night Live” in 2008, she turned down a “graphic” sketch idea from Andy Samberg to protect the young fans of her fairytale comedy, “Enchanted,” which hit theaters four months earlier.

    “I’ll give you the gist without telling you the punchline,” Adams said. “It was this couple [and] he got bit by a spider in the park, and she’s like, ‘Honey, I love you so much, and now that you’re dying, is there any last wish?’ And he’s like, ‘Yes, I never got a chance to…’ And then said what could only be described as the most graphic thing that he wanted to do with me.”

    Having just starred in the family-friendly “Enchanted,” Adams explained that she couldn’t bear the thought of her young fans seeing her in such a lewd sketch, so she had to shoot it down.

    “I was so keenly aware of all the young girls that were watching ‘Enchanted,’” she explained. “And I didn’t want to be the princess singing about that particular act, you know?”

    In 2024, Samberg also told Meyers about the cut sketch. He told his former “SNL” castmate that he was “really impressed” that Adams had the forethought to take responsibility for her image.

    “Within five minutes, a mother and her little girl walked up and the look on the little girl’s face upon seeing Amy Adams, I was like, ‘Oh, she was so right,’” Samberg remembered. “And it was very instructive for me. It’s not something I even ever thought about in our line of work, you know what I mean? Like, she actually has an obligation and a responsibility to those kids, and she took it really seriously. And I remember being really impressed by that.”

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    Amy Adams said during a recent appearance

    Marvel Studios just replaced the final TV show on its official MCU timeline, and the shake-up involves two of its most recent Disney+ series. The studio keeps a chronological watch order on Disney+, ranking every movie and series by when its story takes place rather than by premiere date. Fans naturally treat the list as the definitive word on canon placement, and Marvel adjusts it whenever a new project debuts.

    The latest version of that timeline moves Daredevil: Born Again Season 2 past Wonder Man, making Matt Murdock’s series the final TV show in MCU continuity. This update is interesting because it means the two shows have now swapped spots. When Marvel first slotted Born Again Season 2 into the order in late March, days after its Disney+ premiere, Wonder Man closed out the list as the furthest story in the franchise’s chronology. 

    Marvel Television

    Marvel republished its complete timeline guide this month, and the closing bit of the chronology looks different from how it did in March. Thunderbolts and The Fantastic Four: First Steps lead into Wonder Man, which now precedes Daredevil: Born Again Season 2. The Punisher: One Last Kill, the Jon Bernthal special that debuted on May 12, follows them both and caps the entire order.

    One Last Kill is a one-off Marvel Television Special Presentation, the same format as Werewolf by Night, so Born Again keeps the distinction of final TV series on the list while Frank Castle’s mature-rated special stands as the last entry overall.

    Born Again‘s Season 2 placement aligns with what showrunner Dario Scardapane established on screen. The new episodes pick up six months after the Season 1 finale, which takes place in early 2027 within the MCU’s internal calendar. That math places Wilson Fisk’s citywide crackdown around fall 2027, after the events of Thunderbolts.

    Wonder Man prison break out scene.
    Marvel Television

    The probable reason for the swap comes down to how much in-universe time Wonder Man actually covers. In-show dates put the first six episodes around April 2027, after the Born Again Season 1 finale but before the six-month jump to Season 2. The final two episodes then skip ahead a few months, presumably about two, unfolding during principal photography of Simon Williams’ movie. So far, all of that comfortably predates Fisk’s fall 2027 crackdown.

    The complication is the finale’s closing phases, which jump to the finished film’s Hollywood premiere with no date attached. A real blockbuster needs around a year of production and post-production before it reaches theaters, and applying that standard schedule pushes the premiere into summer 2028, long after Born Again Season 2. That logic explains the original March order. Marvel ranked the show by where its ending fell, not where most of its story happened.

    The new placement points to one of two conclusions. Either Marvel now considers the premiere to happen far sooner, compressing the movie’s entire production into roughly six months, a turnaround almost unheard of for a film that size, or the studio simply decided the timeline should reflect where the bulk of a story happens instead of its final scene. 

    What Are the Implications of Marvel’s Latest Timeline Swap?

    If Marvel genuinely shortened Wonder Man’s window, the likeliest motive involves Season 2. Marvel already renewed the Yahya Abdul-Mateen II-led series, and a sophomore season needs to fit somewhere in the timeline. The Thunderbolts post-credits scene jumps 14 months toward Avengers: Doomsday, parking the crossover around the end of 2028 in-universe. 

    A Season 1 finale set in summer 2028 would leave Season 2 almost no breathing room before Doomsday rewrites the board. Pulling the ending back toward October 2027 opens up a full year of story space, which becomes essential if the new season arrives in 2027 ahead of Avengers: Secret Wars and needs to play out before the crossover begins.

    The timeline order will keep changing, and it’ll be interesting to see if Marvel makes another swap of this kind again. Daredevil: Born Again Season 3 is in production ahead of a 2027 premiere, Bernthal’s Punisher returns in Spider-Man: Brand New Day on July 31, and each arrival will influence how the timeline looks. Below is the current full MCU timeline: 

    • Eyes of Wakanda
    • Captain America: The First Avenger
    • Marvel Studios One Shot: Agent Carter
    • Captain Marvel
    • Iron Man
    • Iron Man 2
    • The Incredible Hulk
    • Marvel Studios One Shot: A Funny Thing Happened on the Way to Thor’s Hammer
    • Thor
    • Marvel Studios One Shot: The Consultant
    • The Avengers
    • Marvel Studios One Shot: Item 47
    • Thor: The Dark World
    • Iron Man 3
    • Marvel Studios One Shot: All Hail the King
    • Captain America: The Winter Soldier
    • Guardians of the Galaxy
    • Guardians of the Galaxy Vol. 2
    • I Am Groot S1
    • I Am Groot S2
    • Daredevil S1
    • Jessica Jones S1
    • Avengers: Age of Ultron
    • Ant-Man
    • Daredevil S2
    • Luke Cage S1
    • Iron Fist S1
    • The Defenders
    • Captain America: Civil War
    • Black Widow
    • Black Panther
    • Spider-Man: Homecoming
    • The Punisher S1
    • Doctor Strange
    • Jessica Jones S2
    • Luke Cage S2
    • Iron Fist S2
    • Daredevil S3
    • Thor: Ragnarok
    • The Punisher S2
    • Jessica Jones S3
    • Ant-Man and the Wasp
    • Avengers: Infinity War
    • Avengers: Endgame
    • Loki S1
    • What If…? S1
    • Marvel Zombies
    • WandaVision
    • Shang-Chi and the Legend of the Ten Rings
    • The Falcon and the Winter Soldier
    • Spider-Man: Far From Home
    • Eternals
    • Spider-Man: No Way Home
    • Doctor Strange in the Multiverse of Madness
    • Hawkeye
    • Moon Knight
    • Black Panther: Wakanda Forever
    • Echo
    • She-Hulk: Attorney at Law
    • Ms. Marvel
    • Thor: Love and Thunder
    • Ironheart
    • Werewolf By Night
    • The Guardians of the Galaxy Holiday Special
    • Ant-Man and the Wasp: Quantumania
    • Guardians of the Galaxy Vol. 3
    • Secret Invasion
    • The Marvels
    • Loki S2
    • What If…? S2
    • Deadpool & Wolverine
    • Agatha All Along
    • What If…? S3
    • Daredevil: Born Again S1
    • Captain America: Brave New World
    • Thunderbolts*
    • The Fantastic Four: First Steps
    • Wonder Man
    • Daredevil: Born Again S2
    • The Punisher: One Last Kill

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    Free Spin Casino No Deposit Bonus Codes: Winport Casino

    Wenn Sie den Chicken Coin Slot beginnen, erwartet Sie ein Spielerlebnis der Extraklasse. Die lebendige Grafik und die stimmungsvollen Soundeffekte ziehen Sie sofort in ihren Bann, während die einzigartigen Features bei jeder Drehung für Spannung bieten. Haben Sie schon einmal darüber nachgedacht, wie diese Elemente Ihre Strategie verändern könnten? Die Erkundung der Spielkomponenten kann Ihre Gewinne steigern und Ihr Spielverständnis könnte Ihre Strategie an diesen faszinierenden Slot grundlegend verändern. Was erwartet Sie außerdem in der Welt des Chicken Coin Slots?

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    After making her debut at the end of 2025’s Superman, Milly Alcock’s Kara Zor-El is set to take center stage in Supergirl, bringing one of DC’s most powerful heroes fully into the new DCU franchise. However, which of the Kryptonian cousins is the more powerful of the two?

    Thanks to Earth’s yellow sun, Clark and Kara share the same baseline powers as all Kryptonians under the same conditions. As a result, this raises an interesting question about which hero might be stronger in the new DC Universe. However, the answer is less straightforward than one might think.

    Trailers for the new Supergirl movie suggest a version of Kara who’s rougher around the edges compared to her cousin and is far less interested in directly following Superman’s example as a hero. Although Superman may currently have the advantage of experience, there are some good reasons to argue that Supergirl may possess even greater raw potential than her Kryptonian cousin.

    Milly Alcock’s Supergirl Powers (And Kryptonian History) Explained

    Supergirl Using Heat Vision n Supergirl Trailer

    Like Superman, Kara Zor-El’s extraordinary abilities are derived from a yellow sun. This includes super strength, flight, invulnerability, enhanced senses, super speed, heat vision, freeze breath, and accelerated healing. These are the core powers fans have come to expect from Kryptonians, as seen in the original comics and on-screen.

    Based on what we’ve seen so far from Kara in the DCU with her Superman cameo and trailers for the upcoming Supergirl movie, it’s been confirmed that Supergirl does possess the full repertoire of traditional Kryptonian powers. That said, the key difference between Kara and Clark’s strengths likely lies in their respective origins.

    In light of Krypton’s destruction, Superman was sent to Earth as an infant by his parents, meaning his time on his homeworld was extremely limited. Conversely, Kara spent her entire childhood on Krypton before the planet was destroyed. Not only does this mean that she remembers far more than her cousin about Kryptonian society, language, and culture, given her firsthand experience, but it also means that the loss of Krypton and everyone she ever knew and loved undoubtedly weighs heavier.

    Milly Alcock as Supergirl with guns pointed at her
    Milly Alcock as Supergirl with guns pointed at her

    The upcoming Supergirl film is drawing heavily from the iconic Supergirl: Woman of Tomorrow comic series, so much so that the movie originally had the same name before the subtitle was dropped. Portraying Kara as someone struggling to manage their intense trauma and loss, Kara’s background as a survivor undoubtedly influences how she uses her power compared to Superman. Case in point, Supergirl’s trailers have already teased that Kara will be more impulsive than her cousin and will have far less restraint with her powers.

    Likewise, there’s also an interesting biological argument to be made, as Kara spent more time under Krypton’s canonically heavier gravity before arriving on Earth. Since Superman arrived as a baby, his body adapted to Earth’s environment much earlier. Conversely, Kara spent years growing and developing under Krypton’s conditions before benefiting from Earth’s yellow sun like her cousin.

    As a result, it’s been suggested in the comics that Kara’s physical potential may actually be higher than Superman’s, a concept that could easily be explored in the new DCU.

    David Corenswet’s Superman Powers & Experience Explained

    David Corenswet suited up as Superman in the Supergirl movie
    David Corenswet suited up as Superman in the Supergirl movie

    As seen in James Gunn’s first DCU movie, David Corenswet’s Superman has already demonstrated why he’s considered one of the most powerful heroes in the DCU. Possessing the full range of Kryptonian abilities, audiences have already witnessed Clark Kent’s incredible strength, flight, heat vision, super speed, and more impressive powers.

    While Kara has those same powers, what separates Superman and gives him the advantage is undoubtedly his experience. Clark has spent nearly his entire life on Earth learning how to live with his abilities. He grew up understanding their limitations, ceilings, and how to use them responsibly with careful restraint. For a Kryptonian, that matters quite a bit.




















    Metropolis · Daily Planet Edition
    Superman
    Trivia Challenge

    🌏OriginsLast son

    ☠VillainsKneel!

    ⚡PowersInvincible

    🎥FilmsBelieve

    💫LegacyHope

    01

    Before he was Clark Kent, Superman was born Kal-El on a distant planet doomed to destruction. His parents Jor-El and Lara placed him in a rocket ship as an infant, sending him across the cosmos to Earth. What is the name of Superman’s home planet?




    02

    Superman’s greatest love is a fearless, Pulitzer Prize-winning journalist who works alongside Clark Kent at the Daily Planet. She’s known for her relentless pursuit of the truth and for being one of the few people who sees both the hero and the man. Who is she?




    03

    Despite being nearly invulnerable under Earth’s yellow sun, Superman has one famous weakness — a radioactive mineral from the remnants of his destroyed homeworld. Exposure to it drains his powers and can even kill him. What is this substance called?




    04

    In 1978, a then-unknown actor donned the cape and made the world believe a man could fly. His portrayal of Superman became the gold standard for superhero films and he starred in four Superman movies. Who is this legendary actor?




    05

    Superman’s greatest enemy isn’t a superpowered alien — he’s a brilliant, ruthless human billionaire who believes Superman is a threat to humanity’s potential. This bald-headed genius has been Superman’s archenemy for over 80 years. Who is he?




    06

    After crash-landing on Earth as a baby, Kal-El was found and adopted by Jonathan and Martha Kent, a kind farming couple. They raised him with strong moral values in a small rural town. Where did Clark Kent grow up?




    07

    As Clark Kent, Superman disguises himself as a mild-mannered reporter working at Metropolis’s most famous newspaper, alongside Lois Lane and photographer Jimmy Olsen. Their editor-in-chief Perry White runs the newsroom. What is the name of this newspaper?




    08

    This Kryptonian military commander was banished to the Phantom Zone for treason before Krypton’s destruction. He escaped and came to Earth seeking vengeance, famously demanding that others “Kneel before” him. His iconic portrayal by Terence Stamp cemented him in pop culture. Who is this villain?




    Mission Complete
    Your Kryptonian Record

    / 8

    Are you the Man of Steel — or still stuck in a phone booth?

    Superman’s greatest strength isn’t necessarily that he can punch harder than everyone else. It’s that he understands exactly how much force to use, calibrating his actions to avoid unnecessary harm or damage. Keeping that in mind, Superman’s best advantage over Supergirl likely isn’t physical strength, but skill and mastery.

    While Kara Zor-El Supergirl is still fairly new to Earth and is figuring out exactly who she wants to be, Clark has already spent years refining what it means to be Superman.

    Superman May Have More Experience, But Supergirl Has Higher Potential

    Supergirl Movie Poster DC Studios

    While there may not be a fully definitive answer one way or the other, you can certainly argue that Superman has the upper hand over Supergirl, given his greater experience and skill with their shared powersets. He knows how to maximize his power and ability. That said, overall potential power output feels like it would be a win for Supergirl.

    Historically, Supergirl has often been portrayed as someone with fewer psychological barriers than Superman, meaning she operates quite differently from her cousin when it comes to using their powers. Hopefully, the new Supergirl movie will depict this key distinction well, portraying Kara in a season of her life where she’s indeed more aggressive/impulsive, and less concerned with limiting herself as she travels the galaxy.

    Seeing how Kara will be searching for an antidote to save Krypto the Super Dog in the new Supergirl movie (mirroring the Woman of Tomorrow comic), one can imagine that Kara won’t be demonstrating very much restraint once she gets her hands on the one who poisoned her dog: Krem of the Yellow Hills and his Brigands.

    To that end, it seems like the DCU is leaning into this distinction if Supergirl’s trailers are any indication: “My cousin and I have very different ideas about what it means to be a hero.” Combined with the possibility that Kara’s Kryptonian upbringing gives her a higher physical ceiling, there’s a strong argument that Supergirl could ultimately be the more powerful of the two, at least in theory.

    Regardless of who’s stronger/more powerful, it’s that distinction of character that makes Kara and Clark so uniquely compelling. Despite having the same Kryptonian abilities, Superman and Supergirl have typically wielded their powers very differently based on their respective origins and backgrounds.

    Supergirl releases in theaters on June 26th from DC Studios.


    unnamed-2.jpg


    Release Date

    June 26, 2026

    Runtime

    110 Minutes

    Director

    Craig Gillespie

    • Headshot Of Milly Alcock In The Premiere Of The Series House Of The Dragon

    • Heasdshot Of Matthias Schoenaerts

      Matthias Schoenaerts

      Krem of the Yellow Hills

    • Headshot Of Eve Ridley

      Eve Ridley

      Ruthye Mary Knolle

    • Headshot Of Jason Momoa In The Los Angeles special screening of 'Common Ground'


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    After making her debut at the end

    Ninja Theory had a brand-new Hellblade title to debut during the Xbox Games Showcase 2026, simply called Senua. It’s a departure from the highly cinematic sequel, with a greater focus on action-adventure gameplay.

    That’s not all the studio did in the last 24 hours, however, as it also updated the title of the second game in the series to make it more consistent with the original.

    Senua’s Saga: Hellblade II Title Updated

    The first game starring Senua is called Hellblade: Senua’s Sacrifice, so it was always a bit strange that the sequel ditched that naming convention in favor of Senua’s Saga: Hellblade II. It wasn’t a confusing change, but it did feel somewhat unnecessary to reverse the subtitle. It also meant that the title wasn’t properly ordered when browsing your game library.

    Whatever reasoning Ninja Theory had back in 2024, they’ve now gone ahead and rectified it to bring the sequel’s title in line with the naming convention of the original release. You can see the update in the changelist on SteamDB (spotted by –R on Resetera). Here’s a screenshot just in case:

    The title change isn’t just reflected on Steam but Xbox and PlayStation Store pages as well, even if the URLs still follow the original naming convention.

    However, if you head over to the landing page for the title on Xbox’s website, it still says Senua’s Saga: Hellblade II.

    You have to wonder what prompted this change all of a sudden. It’s not like most people didn’t already call the sequel Hellblade II in the first place, but, interestingly, they decided this was the right time to do it. Maybe it has something to do with Xbox now being called XBOX? We can’t know for sure, but it was mildly amusing enough that I felt the need to report it.

    Senua, the Third Entry

    The third title in the series, planned for 2027, is called “Senua” and completely ditches the naming convention of both titles. Ninja Theory actually addressed this change in their interview on Xbox Wire, explaining that the new game is fresh and meant to be different from the previous titles and serves as more of an additive entry in the series.

    Here is the relevant bit from the interview:

    The title feels telling – why is this simply Senua and not “Hellblade III”? 
    The title of just Senua really reflects that this is something fresh and new and different. It is a different style of game. I think Hellblade I and Hellblade II had an intention that we delivered on – but this is a different intention. I think of it as being additive – we’re taking all of that goodness and adding the types of things that people expect from a premium action-adventure game.

    Given how Hellblade II largely lacked traditional gameplay in favor of a highly cinematic experience, Ninja Theory is now expanding on the original’s combat, exploration, and puzzles in Senua, aiming to recapture the gameplay style that resonated with many players back in 2017. Senua is headed to PC, Xbox Series S|X, and PS5 in 2027, and you can read more about its many new systems in the Xbox Wire interview.

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    The World Cup is off to a record-breaking start for both Fox Sports and Telemundo. According to ratings from Fox Sports, Friday’s U.S. Soccer Men’s National Team win over Paraguay scored nearly 16 million viewers — making it the most-watched USMNT World Cup telecast in English-language history.

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    That U.S.-Paraguay match (in which the U.S. won 4-1) was up a whopping 106% from the first Men’s World Cup 2022 USMNT group stage telecast on Fox (7.76 million viewers on Nov. 21, 2022, when the team faced off with Wales).

    Friday’s U.S.-Paraguay faceoff also broke the Spanish-language record books on Telemundo, Peacock and Telemundo’s streaming platforms, averaging 8.9 million viewers. That makes it the most-watched USMNT World Cup match ever on Spanish-language TV. It’s also the most-watched World Cup group stage match not featuring Mexico ever on Spanish-language TV.

    Like Fox, Telemundo saw a huge jump vs. that Wales match in 2022: Up a staggering 156% (3.5 million viewers back then).

    As for Thursday’s Mexico vs. South Africa match, in which Mexico won 2-0, not only was it the most-watched World Cup game in Spanish-language history, but it was the most-streamed Mexico World Cup match and most-streamed group stage match in Spanish-language history.

    Also, this repped the most-watched World Cup opening game, regardless of language, ever. And it was the most-watched World Cup group stage game not featuring the U.S. team ever, regardless of language.

    World Cup coverage continues Saturday night with Haiti vs. Scotland at 8 p.m. ET / 5 p.m. PT and Australia vs. Türkiye at 11 p.m. ET / 8 p.m. PT.

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    The New York Knicks are NBA champions for the first time in 53 years.

    After scoring just 37 points in the first half of the game, New York ground the San Antonio Spurs down in the second half with tough defense and timely baskets. That effort was led by Knicks point guard Jalen Brunson, who scored 45 points, often over the Spurs’ 7’5″ superstar Victor Wembanyama.

    The Knicks took their first lead of the game with about 2 minutes left. A series of missed free throws brought the game down to a one possession game with just 7.7 seconds.

    The Mike Brown-led team won 94-90 at the Texas team’s Frost Bank Center home arena, marking the Knicks’ first championship since 1973. The Game 5 win was just the latest in a series of comeback wins for the gritty New York team, including the greatest single-game comeback in NBA Finals history, clawing back from a 29-point hole to win Game 4.

    While Knicks fans might have liked to clinch the championship tat Madison Square Garden, they’ll take it.

    A good number of them flew down to San Antonio for the game and most of those stayed in the arena to savor the victory.

    Brunson, stoic throughout the entire championship run, broke down in tears as his father Rick, who’s a Knicks assistant coach, celebrated on the sidelines. In the post-game interview, asked how the victory felt to share with his father, Brunson paused shaking his head, too overwhelmed to speak. He was later named the series MVP.

    Jalen Brunson of the New York Knicks lifts the Bill Russell NBA Finals Most Valuable Player Award trophy after defeating the San Antonio Spurs in Game Five of the 2026 NBA Finals (Gregory Shamus/Getty Images)

    The Knicks’ grit in the Finals was not a fluke. After losing two games against the lowly, 6th place Atlanta Hawks in the first round, the team didn’t lose for another 53 days, winning 15 of 16 games on the way to tonight’s clincher.

    Much of the difference in the series against a young, talented and determined Spurs squad came down to the closing minutes. Brunson knew his spots on the floor and had ice in his veins. The 22-year-old Wembanyama, who will surely play a giant role in the future of the league, often seemed tired at the end of games and didn’t have a go-to shot to get his team points when it needed them most.

    Others in attendance included Timothée Chalamet, Prince Harry and, a plus for Knicks fans, their beloved former power forward Charles Oakley, who was banned from the Garden by owner Charles Dolan.

    And given game recognizes game, former President Obama, the biggest hoops fan to ever inhabit the White House, was quick with congratulations.

    After all the trophy presentations and the interviews were over, NBC ended its broadcast with a montage of fans and players accompanied by the song that the Knicks faithful sang in the arena after their miraculous Game 4 comeback: Frank Sinatra’s New York, New York.

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    • Alice & Steve: Complete Season 1

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    • It Ends With Us (2024)
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    June 10

    • Dragon Striker: Complete Season 1

    June 11

    • Abraham Lincoln: Complete Season 1
    • After the First 48: Complete Season 7
    • Aftershock: Beyond the Civil War: Complete Season 1
    • America’s Book of Secrets: Special Edition: Complete Seasons 1 & 2
    • Mountain Men: Complete Season 14

    June 13

    • Bobby’s Triple Threat: Complete Season 4
    • Body Cam: Complete Seasons 6 & 7
    • Four Weddings: Complete Seasons 4 & 5
    • The Golden State Killer: It’s Not Over: Complete Season 1
    • On the Red Carpet Presents: “Toy Story 5”
    • Tiny House Hunters: Complete Season 4
    • The Home (2025)

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    Seth Rogen and James Franco spent years as friends and close collaborators on the short-lived TV show Freaks and Geeks and movies like Pineapple Express, This Is The End, The Disaster Artist and The Interview.

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    He recalls learning of her death the first week of filming season two of The Studio.

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    Rogen told the U.K. Times in April that he and The Studio team are “acknowledging” her death with co-creator Evan Goldberg calling dealing with her absence an “unbelievable challenge.”

    Teasing season two to the NY Times, Rogen said it was “far more ambitious than the first season.”

    “There have been many times I’ve been on set this season and been truly amazed — in a way that has offered me a lot of gratification and pride — in what we’ve been able to pull off and the people we’ve been able to talk into doing the show,” he says. “I’ve watched the episodes, and I really feel as though I’m pushing myself more and more creatively. I’m in the middle of it right now, but I’m excited and nervous for people to see it. We tried to up our game, and there are moments where I really feel like we are doing something that I’m very proud of.”

    One thing, though, that viewers shouldn’t expect see on The Studio, though, is romance, Rogen revealed.

    “Truthfully I haven’t made a romantic thing in a long time. It’s not that creatively interesting to me to show two people falling in love. When we were first coming up, every movie had a romantic story line or, like, conflict between the main couple that had to be resolved,” he said. “We’re making “The Studio” now, which has no romantic story lines on the show.”

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    Seth Rogen and James Franco spent years

    Madonna has spent the last few days up to her normal tricks—performing a Grindr-sponsored set in Times Square and showing up hours late to the Tribeca Premiere of her 10-minute music video film accompanying her new album Confessions II. That short is now on YouTube and it’s awesome in the truest sense of the word. How else is one meant to respond to footage of Madonna running through a maze of lasers all emanating from people’s crotches and buttholes than with an expression of awe, as defined by Merriam-Webster as “an emotion variously combining dread, veneration, and wonder”? 

    The lasers are just in the first couple of minutes of the clip, which then features an impressive but occasionally random assortment of special guests. Sabrina Carpenter shows up to perform “Bring Your Love,” the song she performed with Madonna at Coachella. This makes sense. So do the appearances of Madonna’s daughter Lourdes Leon, of scrapped Madonna biopic/potential Netflix limited series star Julia Garner, her longtime friend Debi Mazar, and musicians Arca and Shygirl. But what’s really throwing us for a loop is Benedict Cumberbatch hitting some dance moves during a party in a public restroom that is apparently also sponsored by Grindr. Also featured in the scene are actors Odessa A’zion, Richard E. Grant, Archie Madekwe, and Gwendoline Christie. Happy Pride Month to us all. 

    Confessions II, a sequel album to Madonna’s 2005 album Confessions On A Dancefloor, will not be out in time for Pride Month, but it will be out in time for the nation’s 250th birthday, which could mean anything. The album is out on July 3. In the meantime, we can expect to find Madonna in this labyrinthine, Backrooms-esque set, constantly pursued by a team of scantily-clad steadicam operators.

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    Madonna has spent the last few days

    Horror is no longer a side genre whispered about by outsiders. Horror is independent cinema. It is where filmmakers take risks, break rules, invent styles, and say the things polite cinema is often too frightened to say. And appointing Catherine Corcoran as the new horror ambassador for Raindance sends a very clear message: this festival intends to champion filmmakers who still have nerve.

    1. Catherine Corcoran Comes From True Independent Horror

    There is a difference between actors who visit horror and actors who are built by it. Catherine Corcoran earned her reputation through fiercely independent productions like Terrifier and Return to Nuke ‘Em High — films that exploded not because studios pushed them, but because audiences could not stop talking about them.

    That matters.

    Raindance has always stood for filmmakers creating culture from the margins outward. Catherine understands exactly what it means to build an audience without permission.

    2. Horror Fans Trust Her

    Horror audiences are not passive consumers. They are communities. Tribes. Evangelists.

    When horror fans connect with someone, they stay loyal for decades. Catherine Corcoran has become part of that modern horror conversation through conventions, interviews, podcasts, genre appearances, and her ongoing relationship with horror fandom.

    Bringing her into Raindance is not just symbolic. It tells horror audiences worldwide that the festival understands the culture surrounding the genre — not just the films themselves.

    3. She Represents the New Generation of Multi-Hyphenate Filmmakers

    Actors today cannot simply act. Independent cinema demands producers, writers, creators, marketers, podcasters, collaborators, and entrepreneurs.

    Catherine embodies that new reality. Beyond acting, she has produced projects, written content, hosted genre programming, and developed creator-led work.

    That makes her especially relevant to emerging filmmakers attending Raindance. She represents the future: creators who build careers across multiple disciplines instead of waiting for permission from gatekeepers.

    4. Horror Is the Most Important Genre in Independent Film Right Now

    Let’s stop pretending otherwise.

    Horror consistently launches careers, creates profitable independent films, builds loyal audiences, and generates global conversation faster than almost any other genre. From The Blair Witch Project to Terrifier, horror repeatedly proves that bold ideas matter more than giant budgets.

    Raindance understood this years ago.

    By appointing Catherine Corcoran, the festival is doubling down on something filmmakers need to hear: you do not need permission to make dangerous, strange, unforgettable cinema.

    5. The Raindance Horror Strand Is Becoming Essential Viewing

    The horror lineup at this year’s festival looks gloriously unhinged — exactly as it should.

    Films like MODEM, Corporate Retreat, Jackalope, Nameless, and Pinocchio: Unstrung are the kinds of titles that remind audiences why independent horror matters: original voices, dangerous concepts, and filmmakers willing to swing wildly instead of making algorithm-friendly sludge.

    Catherine Corcoran fits this strand perfectly because she represents the same spirit. Smart horror. Risky horror. Fearless horror.

    6. Raindance Still Believes Cinema Should Surprise You

    Most festivals now feel overly programmed, overly safe, overly polite.

    Raindance has survived because it still believes audiences want discovery.

    You go to Raindance to see the film everybody will talk about six months later. You go because you might discover the next cult director, the next breakout horror filmmaker, the next midnight movie phenomenon.

    Catherine Corcoran’s appointment reinforces that identity. She comes from films audiences discovered passionately and organically — not from pre-manufactured franchise machinery.

    7. Filmmakers and Film Lovers Need to Wake Up and Attend

    Independent film culture only survives if audiences physically show up.

    • Not scroll.
    • Not “like.”
    • Not promise to watch later.

    Show up.

    The 34th Raindance Film Festival is exactly the kind of event cinema desperately needs right now: crowded bars, nervous filmmakers, packed screenings, arguments at midnight, accidental discoveries, strange encounters, and audiences hungry for something unpredictable.

    And horror fans especially should pay attention.

    Because horror is where independent cinema still feels alive.

    And with Catherine Corcoran joining the festival as horror ambassador, Raindance is making a statement loud enough for the entire film industry to hear:

    Independent horror is no longer underground.
    It is the underground.

    Three ways to attend:

    Book a Horror pass

    Enjoy all the horror films

    Book a day pass 

    Choose your poison

    Book Jackalope where Catherine  plays the lead

    seat belts not provided

    The post 7 Reasons Catherine Corcoran Is the Perfect Horror Ambassador for Raindance appeared first on Raindance.

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    Horror is no longer a side genre

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    Upon arriving at a casino site, the first thing we look at is the licensing footer. BetBuffoon Casino functions under a Curaçao eGaming licence, which instantly distinguishes it from UK Gambling Commission-regulated brands. For British players familiar with the strict protections of the UKGC, this is a crucial difference. It doesn’t imply the site is a scam, but it does mean you will not have access to the same dispute resolution services, deposit limits, or affordability checks that UK-licensed casinos must provide by law.

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    A Curaçao licence enables the operator to accept UK players without breaking domestic advertising rules, but it also indicates the UK Gambling Commission cannot step in if something goes wrong. We observed the terms and conditions reference the laws of Curaçao, not England and Wales. This can affect how complaints are handled. Plenty of international casinos use this licence legitimately, but we always urge UK players to understand that the safety net they are used to simply is not there.

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    Getting money in and out is where many offshore casinos fall short, so we carefully examined the banking page. BetBuffoon accepts a variety of payment methods that UK players will know, including Visa, Mastercard, e-wallets, and cryptocurrencies. We tested deposits and withdrawals personally to see if the process was seamless or problematic. All in all, it functioned, but a few points caught our attention regarding speed and transparency.

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    Payouts are where the actual trial lies. We requested a cashout via bank transfer and an e-wallet. The processing time took nearly 48 hours before being handled, which is more extended than the immediate payouts UK players often look for. Once accepted, the funds arrived within three working days. We also noticed that certain withdrawal methods have a small fee after your first free monthly payout. Here is what we documented during our test:

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    • A fee of £2.50 was charged to our second withdrawal of the month, which was not well highlighted.
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    Tools for Responsible Gambling – Does BetBuffoon Treat Player Protection Seriously?

    Given the lack of UKGC oversight, we wanted to see how BetBuffoon handles player protection on its own terms. The section on responsible gambling exists, but it is limited. You are able to set deposit limits, loss limits, and session reminders, which is encouraging. We found the process for setting these limits quite tucked away in the account settings, and the options are not as granular as what UK-licensed sites provide. There is no compulsory reality check pop-up, and the self-exclusion request requires emailing support rather than an instant account closure button.

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    We set out to give UK players an honest review at BetBuffoon Casino, and the picture is one of a showy, game-heavy casino that operates outside the UK’s regulatory umbrella. The slots and live casino are genuinely entertaining, and payments were processed eventually, but the delayed payouts, greater wagering requirements, and weaker player safeguards mean you should be cautious. If you decide to deposit, start small, read every bonus term, and never play with money you cannot afford to lose. We trust this candid review helps you determine whether BetBuffoon fits your play style or if a UKGC-licensed alternative is the better option.

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    Noah Beck and his dad Tim are creating new father-son memories as legal dramas continue to engulf other members of their family.

    The pair attended a 2026 FIFA World Cup game on Friday, June 12, with Noah documenting the occasion via his Instagram the following day on Saturday, June 13.

    “And so it begins…” Noah, 25, captioned a carousel of images featuring himself and his dad in the crowd at Los Angeles Stadium as USA faced off against Paraguay.

    Tim, 55, played an influential role in Noah’s soccer journey, helping pave the way for him to join Major League Soccer club Real Salt Lake’s youth academy during his final two years of high school.


    Related: Noah Beck’s Family Guide: Meet His Parents and 2 Siblings

    Noah Beck has been open about his relationship with his parents and two siblings through the years. “Every time I come home, I have this feeling of grounding and normalcy because my parents have lived in the same house I grew up in for 28 years now, even before they had me,” Beck told American […]

    After graduating, Noah continued his career at the University of Portland, where he played collegiate soccer.

    Tim worked as a high school teacher and soccer coach before retiring in 2025.

    “Growing up, my dad was my coach, so he was always pretty tough on me and instilled certain non-negotiables when it came to training,” Noah told GQ in December 2025. “He instilled a lot of things that live with me today.”

    The outing comes amid several Beck family scandals. Noah’s mother, Amy, was embroiled in controversy after a video of her appearing to simulate oral sex on Noah resurfaced online.

     

    Amy, 55, was then placed on “paid administrative leave” in April from her job as an elementary school teacher in Arizona.

    A spokesperson for the Peoria Unified School District shared that the letter that was sent to the parents of students in Amy’s class, saying that her leave came “out of an abundance of caution.” The letter, obtained by Us Weekly, noted that an investigation has been launched by the school district into the alleged incident. The school noted that “this matter does not impact the safety of our students.”

    Noah Beck Returns to Instagram Amid Family Scandals


    Related: Noah Beck Returns to Instagram, Shares 1st Post Since Family Scandals

    Noah Beck returned to Instagram after both his mother and sister made headlines for separate public scandals. “Quarter of a century🤍#25,” Back wrote via Instagram on Wednesday, May 6, while celebrating his 25th birthday. His post included a mirror selfie, a photo from the beach, a sign that read “gentle is best,” photos of him […]

    The following month, the school allowed Amy to return to her job after the school and district claimed they had “addressed concerns regarding videos that were published in 2020.”

    Noah’s sister Haley is also facing issues. Weeks before Amy’s own leave of absence, news broke that Haley was accused of allegedly grooming one of her students last year. Haley, 27, was put on administrative leave from Centennial High School in 2025 as she was investigated for grooming allegations.

    While the investigation began when the student was 18 years old, the alleged grooming took place when he was underage. Haley was later fired for having a sexual relationship with a student.

    Us previously reached out to Haley and Amy’s representatives for comment.

    If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). If you or someone you know is experiencing child abuse, call or text Child Help Hotline at 1-800-422-4453.

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    Noah Beck and his dad Tim are

    Seth Rogen recently told The New York Times that he hasn’t spoken to James Franco in a “long time” and has “no plans” to work with him in the future.

    When asked about where his relationship stands with Franco after he faced allegations of sexual misconduct, Rogen answered, “I honestly think the nuance of it is too personal for me to get into right now. It is 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. 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. I don’t know what I would benefit from getting deeply into it. Nothing has changed since the last time I talked about all this, and I haven’t worked with him in a really long time and I have no plans to.”

    NTY’s Lulu Garcia-Navarro then asked Rogen if he still talks to Franco, and Rogen replied, “I haven’t talked to him in a long time, no.”

    Rogen and Franco were once a potent one-two punch in Hollywood. Their collaboration history started on Paul Feig’s short-lived coming-of-age series “Freaks and Geeks,” which ran for one season on NBC in late 1999. Rogen was 16 at the time, and Franco was 21. They went on to appear together in several beloved comedy films from the 2000s and 2010s, such as “Knocked Up,” “Pineapple Express,” “This Is the End” and “The Interview.”

    Franco’s career was derailed in 2018 after five women, four of them his acting students, accused him of sexually exploitative behavior. Two of the women in 2019 filed a class action lawsuit against Franco, claiming that he “engaged in widespread inappropriate and sexually charged behavior towards female students by sexualizing their power as a teacher and an employer by dangling the opportunity for roles in their projects.” Franco settled the case in 2021 for $2.23 million.

    This isn’t the first time Rogen shut down the idea of reteaming with Franco. In a 2021 interview with The Sunday Times, Rogen said he regretted saying in 2018 that he could work with Franco again, and put the possibility of a reunion to bed.

    “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,” Rogen said.

    Franco told Variety in 2024 of his relationship with Rogen, “No. I haven’t talked to Seth. I love Seth, we had 20 great years together, but I guess it’s over. And not for lack of trying. I’ve told him how much he’s meant to me.”

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    Seth Rogen recently told The New York

    LuckyLand Casino game Wolf Blitz with 56 Free Spins! BS Results! - YouTube

    Buffalo Blitz Megaways Slot energizes the online casino scene with its immense 117,649 paths to victory https://buffalo-demo.com/buffalo-blitz-megaways/. This game isn’t just about spinning the reels; it’s a strategic adventure where gamers accumulate valuable experience through every feature and bonus. Knowing how to gain these ‘experience points’ is essential to unleash the game’s full, thunderous potential and maximizing thrilling payouts.

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    Oscar Isaac and Carey Mulligan have a long history of collaborating together on screen after both starred in Nicolas Winding Refn’s Drive and the Coen Brothers’ Inside Llewyn Davis, but when the two actors signed on for the second season of Netflix’s Beef, they stepped into a space with new emotional volatility. 

    Isaac and Mulligan play the unhappy married couple Josh and Lindsay. Josh is the struggling general manager of an exclusive country club while Lindsay is the interior designer from a privileged English background who is confronting a midlife crisis set against the backdrop of her failing marriage. The season’s central conflict is set in motion when two younger employees – Ashley and Austin – witness an explosive argument between the couple.  

    Speaking at Netflix’s FYSEE Unplugged, Isaac and Mulligan dissected the importance of that scene, the pressure in getting it right and how trust in each other assisted in them delivering the best result. 

    “We felt this onus on us to get that bit right,” said Mulligan. “And it was a tricky thing because you are meant to meet them at that point where it could be like a fork in the road. It could have been the end.” 

    She said that they performed different versions of that pivotal scene, one where Josh throws his wine glass first, but when that didn’t feel right because “statistically, a woman will just shut it all down and back off” if a man makes the first violent move. “It felt like it had to be Lindsay who throws the wine glass first,” she said. 

    Isaac pointed to the immense gratitude he had in trusting Mulligan as his scene partner, in that they were both able to carry each other through safely. “It’s a humiliating thing to do this stuff,” he said. “That’s kind of the live wire act and so, to have someone you can trust so completely and there’s no judgement…it’s incredibly valuable and it’s freeing and it allows for a lot of fun.” 

    Mulligan agreed that trust was a huge part of the process because parts of the scene were “uniquely humiliating.” 

    “There were so many elements to this that were risky and more embarrassing, and I did feel like we were taking swings here and there and this is hard to do with someone you don’t completely trust.”

    The pair, who are both gearing up for potential Emmy nominations in the Leading Actor and Leading Actress in a Limited or Anthology Series or Movie category this year, also discussed their commitment to telling an authentic story about falling out of love. When looking at the “full circle moment” of Ashley and Austin taking up the mantle at the country club for Josh and Lindsay, Isaac remarked that “it felt kind of sad.” 

    “These cycles they repeat, and they repeat over again and you do become, in some ways, the thing you are railing against,” he said. 

    Mulligan added: “I always find stories about the passage of time so interesting and what we do with the time we have and the mistakes that we repeat and the ones that we learn how to steer ourselves away from.” 

    Check out the full conversation above. 

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    Oscar Isaac and Carey Mulligan have a

    Law & Order: SVU star Mariska Hargitay is opening up about the palpable shift that occurred on the set of the hit crime procedural once the show secured its first woman to serve as showrunner.

    “I had a secret fantasy of having a female showrunner for … a few years,” Hargitay, 62, told Variety in an interview published on Saturday, June 12, commenting on the hit NBC show hiring Michele Fazekas as the show’s season 27 showrunner. (Fazekas, 49, worked in the show’s writers’ room for seasons 3 through 7.)

    “Michele and I always connected. She was so smart, and those years on SVU were some of my favorites,” the actress continued. “Her episodes during that time were the best ones.”

    Fazekas had just finished working on Prime Video’s Gen V when she became the first woman to showrun the Dick Wolf series. While also speaking with Variety, Fazekas said there is a “great synchronicity with how we all think” on- and off-set, which only benefits the show’s overall culture.

    “We were all rowing in the same direction,” Fazekas told the outlet. “There’s no toxicity. Having worked in really toxic environments, it’s like, oh my God, I don’t know what to do with myself! We all just want to make a good show and not make it harder than it needs to be.”

    Hargitay added that with Fazekas now steering the ship, so to speak, things feel both “old and new” on the show.


    Mariska Hargitay
    Getty Images

    “It’s new and coming home at the same time,” she explained. “There are emotional beats and comedy beats that are so specific to me and to the origins of the character. Obviously, it was time. It’s what SVU needed more than anything, and it was the perfect fit. It’s all the elements coming together in a perfect way.”

    She continued, “I want to highlight that word: Team. That is the difference now. There’s such a sense of lock arm, ladies. Let’s do this together — and, at the same time, push each other to be excellent, to be great, and we know that we can do it and we will figure it out.”

    While the on-set collaboration and non-toxic work environment certainly aided everyone on- and off-set, Fazekas couldn’t help but point out how hard Hargitay continues to work since making her SVU debut back in 1999.

    “She does not phone it in,” Fazekas told Variety of Hargitay’s work ethic. “She is not just collecting a paycheck. She makes everyone better.”

    After wrapping season 27 — yes, Fazekas did write the season’s finale — Hargitay told Variety she couldn’t help but grow emotional when considering all she has accomplished on the show.

    “Twenty-seven years in and I’m thinking, that’s one of my favorite episodes — that Michele could dig in and write this story that’s haunting me,” Hargitay said of the season’s finale. “Brenna is elevating details and tweaking constantly. We all play hard and play our best.”

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    Law & Order: SVU star Mariska Hargitay

    Eye of Horus Slot > Free Demo and Review

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    The crowd hushed as the black Escalade pulled curbside in the afternoon Toronto sun.

    Robbie Graham-Kuntz, the Canadian actor who plays Kip in the ubiquitous hockey drama “Heated Rivalry,” emerged from the giant SUV.

    The crowd screamed and tried to get closer to him, as a security guard stretched out his arms to hold fans at bay.

    “I’m so sorry I’m in your private space,” a young woman clasping a copy of “Heated Rivalry” said shyly after brushing against his chest in the fray.

    The security guy smiled and let her inch a little forward.

    It was a genuinely Canadian moment at the start of a night celebrating the growing powerhouse that is the country’s screen industry, at a critical moment in its history.

    Canada is home to a thriving television and film scene that generates billions of dollars in revenue and employs hundreds of thousands of people. Many favorite shows were filmed here, made by Canadian crews, a part of what’s often referred to as “Hollywood North.”

    But in the past year, the domestic industry has thumped its chest a little harder, particularly after the phenomenal global success of “Heated Rivalry,” a homegrown series for the local streamer, Crave, based on the romance books by the Nova Scotia author Rachel Reid.

    As relations between Canada and the United States deteriorate, with President Trump regularly claiming Canada should become the 51st state, the screen industry has found itself at once wanting to assert its Canadianness and trying to grow its American business.

    At the Canadian Screen Awards last month, representatives from U.S. streamers like Netflix celebrated alongside their local counterparts, regardless.

    Some 700 film and television stars, producers, costume designers and all kinds of industry workers gathered on the 10th floor of the Canadian Broadcasting Corporation in downtown Toronto for a night that has been described as Canada’s Emmys and Oscars rolled into one, but felt more like a large, extended family gathering.

    The actor Mike Myers, who was honored for his lifetime of contributions to Canadian film and television, walked from his hotel 10 minutes away and arrived with his two brothers, reflecting the casual and understated energy that characterizes the event, and the city.

    “I wanna thank my mum and dad for moving to Canada,” he said clutching his statue onstage, his voice cracking. Eventually, he gave up holding back tears: “Canada, I don’t know what to say, dude, I’d literally be nothing without you.”

    The emotion did not abate, as the actor Eugene Levy eulogized his frequent co-star, Catherine O’Hara. Known as Canada’s honorary mom, she died earlier this year.

    “She made us proud to be Canadian. Her email handle was ‘sorryeh,’” Mr. Levy said to uproarious applause, a reference to two of Canada’s most pervasive conversational idiosyncrasies.

    But alongside the heartwarming moments, the tension the industry is experiencing in Canada was also on display, and on people’s minds.

    There are a number of longstanding questions about how U.S. companies like Netflix compete here. Should the Canadian government tax them to fund the making of Canadian content known as “CanCon,” or demand that a certain portion of what they create be distinctly Canadian? These have in recent months become an extension of fraught trade negotiations between the two countries.

    “A country that doesn’t tell its own stories in its own way is just a market for someone else, and we’re better than that,” said George Stroumboulopoulos, one of the country’s most renowned broadcasters, before presenting the actor Hudson Williams with the award for best lead performer in a drama series, for his portrayal of Shane Hollander in “Heated Rivalry.”

    Mr. Williams, who is from British Columbia, has become a global star, and his rapid ascent is seen as evidence of Canada’s hidden gems. He said he wanted to split the award with his co-star Connor Storrie, a Texan Mr. Williams labeled an “honorary Canadian.”

    The show, which streamed on HBO in the United States, was partly subsidized by the Canadian taxpayer through a system that helps fund movies and television productions that are predominantly, visibly Canadian.

    “Heated Rivalry” is unabashedly that, both technically, with its creators, crew and most of the cast coming from Canada, but also in its display of Canadian places, symbols and imagery. This stands in contrast to some other major Canadian shows, including the hit “Schitt’s Creek,” which are produced as generically North American, rather than specifically Canadian.

    Another big winner on this night was “North of North,” a co-production of CBC, Netflix and the Aboriginal Peoples Television Network that streamed on Netflix and has been renewed for a second season. The show is set in a Canadian Arctic community and is almost wholly created, acted and produced by Indigenous people from Canada, and has built a solid audience globally.

    The measure of Canadianness is more than the sum of storytelling and the emotional and cultural need of Canadians to see themselves represented in film and on television.

    It’s also about money.

    Last month, the Canadian Radio-television and Telecommunications Commission, the industry regulator, announced that it would apply a 15 percent tax on revenue generated in Canada for major streaming companies like Netflix, to help fund domestic and Indigenous content. But the decision was blocked by the government, upsetting the entertainment industry.

    “We are concerned that the federal government has sold out Canadian culture in favor of big U.S. tech interests,” the Canadian Media Producers Association, an industry group, said in response to that decision. “The free ride for the big U.S. tech giants must end.”

    At the awards ceremony, the Academy of Canadian Cinema and Television acted as neutral ground: Its members include representatives from both U.S. and domestic streamers, as well as Canadian screen workers.

    “We’re kind of like Canadian Switzerland,” said the Academy’s chief executive, Tammy Frick, in an interview.

    She added that the intense debate unfolding over funding, taxes and content requirements in Canada was necessary. “Streamers are reinvesting in local content in France, Germany, other countries,” she said. “What we’re asking is, what’s the right model for Canada? And there’s going to have to be some concessions.”

    As that fight continues, the one over defining Canada’s artistic and storytelling identity seems to be more settled. It is, in great part, distinct from that of the United States.

    “Canadians are champions of the outsiders, the overlooked,” said Mae Martin, an acclaimed Canadian comedian and actor who stars in the Netflix drama Wayward. “And that outsider status is a gift to creativity.”

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    The crowd hushed as the black Escalade

    There is a moment during a live jazz performance when the room falls silent and the music simply takes over.

    That exact transcendent magic hit the Artscape Theatre during the recent Artscape Youth Jazz Series.

    Coming hot on the heels of a massively successful Cape Town International Jazz Festival (CTIJF) which was held in The Mother CIty in March, the buzzing energy in the room was a living, breathing testament to the raw wealth of local talent.

    Friday night was a high-energy intersection of Cape Town culture, local talent and musical heritage. The crowd – a stylish mix of cultural insiders,m veteran jazz cats and young trendsetters – gathered to witness an emotional masterclass.

    Sitting in the audience, the sheer gravity of the talent on display was enough to give you goosebumps.The CTIJF has since 2007 been involved with the Artscape’s Youth Jazz Series as an official partner to launch the Festival Classroom.

    The Artscape originally started this premier mentorship initiative in 2003. It is built on a simple truth: the most meaningful learning happens outside school walls, where aspiring artists sit face-to-face with industry icons.

    By pairing raw Mzansi talent with world-class masterclasses, the program fuels the local lifestyle scene while empowering the next generation with musical excellence, core confidence and unapologetic cultural pride.

    By taking raw Mzansi talent and plugging it into a professional, world-class ecosystem, the program actively democratizes access to music education for local schools.

    Meanwhile, audiences on Friday night were treated to rich, classical renditions of South African jazz standards alongside breathtaking original compositions.University of Cape Town (UCT) jazz student Talicia Mariti set an incredibly high bar.

    She delivered a deeply moving performance of her original piece, “Move On”, leaving the crowd completely captivated by her emotional maturity.When Sibabalwe Gobe-Gysman took the stage, the emotional pull was undeniable. The 20-year-old Stellenbosch student completely overtook the space with her vocals and flute.

    All you could do was sit there, feel the raw human energy, and let it wash over you.Other unforgettable highlights included: A vibrant tribute to legendary guitarist Louis Mhlanga with What Happened to Love, featuring the brilliant guitar stylings of Paul and Daniel (a second-year UCT student).

    The modern remix

    During the show, there was a stirring, evocative rendition of Nduduzo Makhathini’s “Ithemba”.

    It was featured as part of a flawless execution by Henco Bester and Franco von Wielligh. Additionally, there where moving interpretations of works by Letta Mbulu and Caiphus Semenya by 16-year-old vocalist McKenzie Hendricks.

    The line-up reflected the diverse richness of the Western Cape. The stage beautifully blended seasoned UCT prodigies with the absolute youngest powerhouse of the night: 15-year-old drummer Ethan Herman.

    Representing the Mitchells Plain Academy of Music, his flawless rhythm set the evening.

    The future of our sound is in incredibly safe hands. If you want to feel the true heartbeat of Cape Town’s entertainment scene, look no further than these kids.​

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    There is a moment during a live

    Robert Downey Jr.’s Doctor Doom will find an unlikely ally inside Avengers: Doomsday, according to a new report. The fifth Avengers film is set to cram Earth’s Mightiest Heroes, the X-Men, the Fantastic Four, the Thunderbolts, and the Wakandans into one Multiverse-wide crisis, and most of them will spend the runtime trying to take Doom down. One of them, however, will reportedly be cooperating with him, at least at some point in the film. 

    Per scooper Daniel Richtman on his Patreon, that hero is Pedro Pascal’s Reed Richards. Richtman reports that Doom and the Fantastic Four’s leader will join forces in Avengers: Doomsday to stop Incursions by building “special cannons”: 

    “I can confirm that in Avengers Doomsday, Reed and Doom’s plan to stop the Incursions is to build special cannons on every Earth to repel the worlds from one another.” 

    Marvel Studios

    It is a strange position for Doom, given everything else Richtman has reported about him. The insider has previously said Doom enters the film on a revenge quest and a “vendetta against the Multiverse”. Working with Reed to save the Multiverse is, on paper, the last thing this version of Doom should want to do, especially taking another look at the Doomsday trailer Marvel Studios premiered at CinemaCon 2026 in Las Vegas. The Latverian is shown to be very ruthless and very keen on destroying the heroes.

    Pedro Pascal's Reed Richards in Fantastic Four: First Steps.
    Marvel Studios

    In the footage, Doom is shown kneeling, in full armor, green-hooded and metal-faced, speaking in a heavy Latverian accent. His big line in the trailer is, “Before this day is done, we shall be faced with an unthinkable decision,” which gives the villain an even more menacing vibe.

    His biggest moment in the trailer, though, comes when Chris Hemsworth’s Thor throws Stormbreaker at him. Doom stops it in mid-air with one hand. Thor follows it up with a speech to the rest of the heroes, ending on the line, “Everything they sacrificed will be for nothing, if we don’t stand together,” before adding, “We’re going to need a miracle.” 

    The trailer then reveals a miracle in Chris Evans’ Steve Rogers, now with long hair and a beard. He walks up behind Thor and says, “Hey, pal.” Thor responds, “It’s not possible,” with a look of disbelief, and Mjolnir flies out of his hand into Steve’s. 

    Pascal’s Reed Richards also pops up in the trailer, but only briefly. He’s spotted in the X-Mansion alongside the other heroes. He doesn’t get much of a spotlight, but he’s definitely going to be central to the movie.

    Why’s Avengers Doomsday’s Villain Working Alongside a Hero?

    Robert Downey Jr.’s Doom and Reed working together comes as a surprise, given that Doom is the villain of the movie and Reed is one of the heroes trying to stop him. But it’s actually not uncommon for them to team up in Marvel lore. In the comics, Reed and Doom have been forced into uneasy alliances plenty of times. A typical one being Jonathan Hickman’s 2011 FF  comic run, where the two would close ranks against a larger cosmic problem, the Council of Reeds.

    In the MCU, a cosmic problem like Incursions is reason enough for Robert Downey Jr.’s character to team up with Reed. Stopping the Incursions is not something Reed can solve on his own. He is the smartest person in the Fantastic Four’s reality, but he has only just arrived in the wider MCU and probably has no real experience with universes colliding. Doom likely can’t figure it out either, which makes a team-up between the MCU’s biggest minds plausible. 

    Building cannons on every remaining Earth is also not the kind of job one person can pull off. It takes resources, manpower, and access to multiple realities, which is why splitting the heroes into teams and sending them out to plant the cannons could be a logical plan. Reed brings the science and the connections to the rest of the heroes, while Doom brings the firepower and the will to actually see it through.

    The bigger question is what happens once the cannons are built, though? Doom is not the type of villain to settle for saving the day and walking away, and any plan that puts a weapon of that scale on every Earth at the same time is going to look very different depending on who has their hand on the trigger. This is most likely where the cracks in the alliance start to show, and where the beef between Doom and the heroes happens.

    It’s also worth noting that Doom is a master manipulator who frequently repurposes advanced technology for his own gain, a recurring twist in his comic book history that could likely be what’s playing out here. It wouldn’t be a surprise if Robert Downey Jr.’s version of Doom tricks Reed and the other heroes into building what they think is a tool to save everyone, but is actually a weapon for his own selfish plans.

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    Back in 2021 when Supergirl: Woman of Tomorrow was first released as an 8-issue mini series, I happily bought, read and reviewed the series right here for DC Comics News.  So with the Supergirl movie that’s based on this comic right around the corner coming to theaters on June 26, 2026 it shouldn’t be a surprise that like others I’ve gone back and re-read the series for the first time since that original experience.

    However, it’s not a simple re-read at this point.  There’s been a lot of discourse around the comic in the four years since its original release.  It’s gotten a lot of critical praise (myself included at the time), and I’ve been able to discuss it with others and read reviews, including some genuine Supergirl fans.  Not fans of Woman of Tomorrow, or Tom King, but rather longtime fans of the character.  I will admit, upon first mention of the subject…I was surprised that others didn’t like it.  I mean…REALLY didn’t like it.  As discussion went on, I began to see that they were seeing something that I wasn’t?  Had I missed something important?

    Revisiting My Own Reviews

    I went back to my reviews with an open mind.  What had I written?  How much did I remember?  What details had impacted my overall impression…as positive.  I already knew there were a couple of points I had to look out for, and the first was in the first part of the first issue- drunk Supergirl.  The second was a Supergirl “who had fallen into hopelessness and nihilism.”  I thought that I would find these things together in that first issue, because I wasn’t really getting the depression and nihilism vibe from anywhere else in the story…at least in my reading of the story.  

    As for drunk Supergirl, I knew what I though about that.  I’ve got two daughters.  People go through lots of things.  There are times when one feels lonely, time when one feels misunderstood.  It’s not a hard jump to imagine a young woman having a moment that would lead her to some self-isolation.  This seemed reasonable on my part.  I’m pretty sure part of it was influenced by it being her 21st birthday.  It’s not like she’s the only person that’s wanted to go drinking on their 21st birthday.  Of course she wants to do it alone.  Or rather, no one wants to celebrate with her.  This doesn’t quite ring true in hindsight.  Why aren’t Clark, Lois and others there for a birthday celebration? 

    However, it’s a moment, it’s not her baseline characterization in the series.  It’s the only time she’s seen drinking in the series and certainly the only time she’s drunk.  If there’s anything the story lacks on this point it’s what gets her to this point.  Why at this particular point in her life is she depressed?  Why her 21st birthday?  There’s a missed opportunity here for tying the 21st birthday to some sort of Kryptonian rite of passage.  Perhaps on Krypton at 21 something important happens, like the choosing of a Guild as seen in the Sterling Gates run on the character.  This would have given Kara the impetus to think long and deeply about what she missed because of the destruction of Krypton.  It would be something she’d never be able to experience, a palpable loss.  This would have allowed readers to see why she was particularly upset for her birthday instead of a supposed lasting trauma that she’s not moved beyond and dealt with.

    This series seems to both acknowledge and ignore the fact that she’s an established character and has a long history at this point in her life.  Ruthye already knows who she is, other people they meet know her reputation.  So why does her 21st birthday become this moment of loneliness?

    The Re-Reading

    When I finally reread Woman of Tomorrow, I found something I missed the first time through.  A genuine theme and storytelling technique that is actually pretty important.  As Supergirl and Ruthye travel together in search of Krem of the Yellow Hills, they spend a lot of time talking.  A lot of time.  Parts of Ruthye’s book are also shared through the narration boxes.  And amongst these words we get a parallelism.

    King aligns Ruthye’s trauma of her father’s murder with the destruction of Krypton.  I can’t say I recall this being obvious the first time through, so it’s not part of my reviews.  It may be because I’ve never thought of Kara as a “traumatized” character, or rather a character whose trauma continued on with her.  However, it’s pretty clear that King wants the reader to associate these two ideas, because it ends up being critical to the interpretation of the ending of the series.

    Something that really becomes apparent in a rereading is how uninteresting the whole series is when you know how it ends.  The series has a couple things that keep the reader going on the first read- 1) Will Krypto be saved? (I mean, you know he will, right?  Wait, this guy killed Alfred, so maybe not!), 2) Will they find Krem (probably)? 3) Will Supergirl be able to convince Ruthye that revenge is wrong (hopefully?) ?  And, that how I read things  the first time…with the knowledge from previous experience with the character that she’s a positive, bright spot.  A character whose story is somewhat different from Superman, but who’s found her own place on Earth and adjusted, and become a daughter to Earthlings.  She’s established as a hero, and as this series shows, her reputation as a formidable hero is known.  

    Supergirl Woman of Tomorrow 4 DC Comics News

    But, when you reread the series and you already know how it ends, the journey becomes a bit tedious because King doesn’t connect the dots very well on how this is supposed to impact Kara.  Furthermore, the narration is overwritten and annoying.  The first time through you almost need all the information King gives, but after you know the ending it has a feeling of “can’t we just get on with it?”  There are still some powerful moments that showcase Supergirl’s compassion and strength of character, and some moments of social commentary that remain impactful, but the main thrust of the story loses its urgency.  You know the Krypto thing is a ruse, and you know Krem’s fate.  The journey isn’t that interesting because you know the end is not that well executed.  Or, perhaps it’s just not clear, or even believable given the knowlege of the character the reader brings to the series.  Oh, wait, are we at the end already?

    The Best Part of Supergirl: Woman of Tomorrow

    I don’t think it should come as a surprise to anyone that the art by Bilquis Evely and Matheus Lopes is the one part of this series that is truly outstanding and is the thing that is really special about this series.  But, that’s sort of how all Tom King DC Comics go isn’t it?  The story/ characterization because it’s just downright bad or polarizing just wastes the art.  Do you really want to reread Strange Adventures just to see Adam Strange as a villain?  Maybe if your a masochist….

    Supergirl Woman of Tomorrow 4 DC Comics news

    It’s nice at least in Woman of Tomorrow there are many pages that can simply be enjoyed for the art.

    SUpergirl WOman of Tomorrow 4 DC COmics News

    The Ending

    So, with this rereading, I finally “got” the ending.  In my review of issue #8, I use the term “pitch perfect” in reference to Supergirl’s dialogue, especially in reference to how she “convinced” Ruthye that they shouldn’t kill Krem.  As I absorbed those pages on the reread, I realized that the speech that Supergirl gives as she holds Krem at sword point…is supposed to be genuine.  The first time, I took it as hyperbole.  Supergirl wasn’t really tempted to murder Krem ( as a proxy kill against the forces that destroyed Krypton).  Supergirl’s not a killer, she isn’t tempted to kill…she isn’t that type of character. But, actually that’s what King is going for.  It’s a classic King-ism in his comics.  He writes characters out of character on purpose to tell the story he wants to tell whether or not it fits the character or not.  So far from my experience, he’s only gotten Superman right in Up in the Sky, and Guy Gardner in The Human Target.  

    As mentioned above, he made Adam Strange the villain in Strange Adventures, Wonder Woman is a complete mess in her monthly series penned by King and the JLI in The Human Target are so unrecognizable that it feels as if they are playing roles in a movie or tv show.  So with Woman of Tomorrow, it turns out that King’s writing of Kara is so far off: it’s nearly impossible to believe that she’s really about to kill Krem and is only stopped by Ruthye’s entreaties because she’s learned the lesson.  There’s also  the sense that she can’t “let” Supergirl kill Krem, not because she herself wants to, but because she can’t allow Kara to damage Supergirl’s inter-galactic reputation .

    The end then jumps to many years later when Krem is to be released from the Phantom Zone.  The final page shows Ruthye striking Krem on the head after which he falls to the ground seemingly in pain.  Then Supergirl and Ruthye walk away in opposite directions in silence.  My initial understanding of this was mainly confusion, and it’s reflected in my review of the final issue.  It’s an ending that’s unclear.  Sometimes an open ending can be effective, but in this case it doesn’t work…

    The Meaning of the Ending

    Let’s say that all Ruthye has done on the final page is to give Krem a little bop on the head, and we can assume that Krem will get up and walk away if there were another panel.  But there’s not.  If this is supposed to be a lighthearted ending, it’s a complete reversal from the tone of the series and completely incongruent with the seriousness of the social commentary and the theme trauma we are supposed to believe Ruthye and Kara are dealing with, trauma that’s brought Supergirl to the brink of murder.  Talk about confusing endings.  This interpretation is also utterly meaningless.

    But, if Ruthye DOES kill Krem….  The final page of issue #8 parallels the first page of issue #1 on which Krem kills Ruthye’s father.  Despite what one can find online from King about the ending, it seems obvious that Ruthye kills Krem.  Firstly, the paralleling of the two deaths is a classic technique in filmmaking and comics.  Additionally, you’ve also got the paralleling of Kara and Ruthye’s traumas.  From a craft standpoint, once you see these parallelisms, they work.  I don’t think you can argue successfully against that.

    Secondly, if Ruthye doesn’t kill Krem, our main character, Supergirl, hasn’t gone through any change.  Even though it’s not a change I agree with from a characterization standpoint.  When Ruthye kills Krem and Supergirl does and says NOTHING after she’s given the Phantom Zone warden’s report of Krem’s penitence and impeccable behavior as a model prisoner AND his own contrite speech it demonstrates EXACTLY how Supergirl has changed.

     

     

     

     

     

     

     

     

     

     

     

     

     

    When Ruthye kills Krem it again becomes a proxy kill for Kara against the forces that destroyed Krypton.  In this final moment Supergirl acknowledges the fact that revenge was necessary for Ruthye to have closure.  By saying nothing when Ruthye kills Krem, she also acknowledges that she has indeed descended into nihilism and hopelessness and is unable to move beyond the destruction of Krypton and will forever be defined by it. 

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    122 Back in 2021 when Supergirl: Woman of

    Our First Play series returns with a look at the newly released NBA The Run.

    Available now on PS5, Xbox Series X/S (the version tested) and PC, NBA The Run is a three-on-three street basketball game.

    It boasts more than 30 real-life NBA players, official team licenses and a bunch of unlockable dunks, rookies and uniforms.

    With no apparent single-player more to speak of though, is there enough here to justify dropping $30 on a game that only offers online multiplayer? Check out our video as we play the first 20 minutes.

    You can view our video either embedded at the top of this story, or on our YouTube channel.

    As the name suggests, our First Play series has us playing a game for the first time, with our capture device and microphone running to get our initial reaction in real-time.

    First Play was introduced last year as our way of covering a wider range of games that we may not necessarily have the time or resources to give a full review to.

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