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The original incarnation of The Muppet Show lasted five seasons and 120 episodes, from 1976 to 1981, and in that time some of the biggest names in show-business lined up to take the stage alongside Kermit the Frog, Miss Piggy and Fozzie Bear. A notable exception was the late Elizabeth Taylor, who, perhaps realizing her mistake, provided her recipe for “Spicy Chicken”, to sit alongside John Travolta’s “Lobster with Three Sauces.” Ivana Trump’s “Beef Goulash,” General “Stormin’” Norman Schwarzkopf’s “Sour Cream Peach Pie” and Yo-Yo Ma’s “Barbecued Spare Ribs with Beer and Honey” in the 1996 cookbook, In the Kitchen with Miss Piggy.

At its height, Jim Henson’s series earned 21 Emmy nominations and 4 wins between 1977 and 1981 alone and spawned eight theatrically released movies. This year, The Muppet Show turned 50 with a one-off special guest-starring Sabrina Carpenter, Maya Rudolph and Seth Rogen, and, to celebrate this milestone, we take a look back at some of the stars who trod the boards of The Benny Vandergast Memorial Theater with Kermit and co…

1 — Rudolf Nureyev (1977)

Expectations were so high for the arrival of the world’s greatest ballet dancer that Sam the Eagle wore a tux for the occasion. Nureyev performed three musical numbers, including a pas de deux with a human-sized Miss Piggy, played by Graham Fletcher of The Royal Ballet (Wayne Sleep was not available). In the show, Kermit explains that this is an excerpt from “Swine Lake”, in which a beautiful princess has been turned into a pig by an evil magician. Sam later apologizes for all the indignities the Muppets have made the great artist suffer, but Nureyev won’t hear it. “I wanted to do them,” he replies. “And it was fun!”

Rita Moreno The Muppets Go Hollywood.

CBS via Getty Images

2 — Rita Moreno (1976)

Rita Moreno’s performance of the song “Fever,” made famous by Peggy Lee, remains a classic piece of Muppet comedy. Backed by Floyd Pepper on bass and Animal on drums, Moreno oozes sex appeal in a slinky red dress. Her sultry, finger-clicking turn is upstaged at every turn, however, by the increasingly out-of-control drummer, who she finally squashes between two cymbals. “I got my first Emmy for it, but it didn’t show in my career,” Moreno said later. “You know, once you have a Latino name, you’re sort of f*cked. But Frank [Oz] and Jim [Henson] loved it. They felt I was a Muppetess.”

Johnny Cash with Miss Piggy.

TV Times via Getty Images

3 — Johnny Cash (1980)

The Muppets faced a hostile takeover with the arrival of country legend Johnny Cash; the show is set to be a co-production with country radio station WHOG, but Kermit finds himself in the firing line from the radio show’s host Big Tiny Tallsaddle. Big Tiny plans to replace all the Muppets with his own cronies, bringing in comedian Wally Whoopie behind Fozzie Bear’s back. Cash sings several songs, including “Ghost Riders in the Sky” and, as part of a medley with Miss Piggy, “Jackson,” one of the few times he performed it with anyone other than his wife June Carter Cash.

Gene Kelly sharing his umbrella with new dancing partner Miss Piggy.

PA Images via Getty Images)

4 — Gene Kelly (1980)

Looking good at 68, Gene Kelly arrives at the Muppet theater expecting to attend the show as a guest, and for a time simply watches from the wings. When Miss Piggy points out that he hasn’t actually done anything, Kelly serenades her with “You Wonderful You,” but has to pivot to Gonzo when she is called off to appear in “Pigs In Space.” Kermit’s attempts to have Kelly perform “Singin’ in the Rain” fall on deaf ears, until the poignant finale, in which Rowlf plays the opening bars over and over again and Kelly wistfully croons a few bars before heading out into the street, brolly in hand.

Liza Minnelli with Kermit the Frog and Zoot.

Central Press/Getty Images

5 — Liza Minnelli (1979)

Featuring guest star Liza Minnelli as a film noir-style actress whose show is being plagued by a series of murders and Kermit as a Bogart-like ’40s gumshoe, this episode won a special Raven Award from The Mystery Writers of America. Beating the famous Moonlighting episode “The Dream Sequence Always Rings Twice” by six years, it plays like a meta-version of The Muppet Show itself, featuring a dance routine in heaven (with The Great Gonzo as the angel Gabriel), Minnelli singing a version of “Copacabana” in character, and the killers finally being unmasked as the grumpy Statler and Waldorf.

Liberace with Rowlf.

TV Times via Getty Images

6 — Liberace (1978)

Władziu Valentino Liberace gave his usual all to the Muppets, but after a brief intro in which the flamboyant musician is given a Muppet piano as a pet, he kept his powder dry for the first half of the show, giving the spotlight to Miss Piggy, smashing plates in a raucous version of “Never on a Sunday.” The second half sees him play a mini-concert especially for birds, with Liberace performing everything from “Chopsticks,” Liszt and Chopin and “shameless boogie-woogie” in a rhinestone-studded tuxedo. The show ends with Liberace hiring The Great Gonzo’s chicken act to be part of his Las Vegas set.

Glenda Jackson as a pirate on the The Muppet Show.

TV Times via Getty Images

7 — Glenda Jackson (1980)

A classically trained actress in her early years and a Labour MP for the last 20-odd years of her life, Glenda Jackson was nevertheless a dream guest for The Muppet Show, telling the writers, “You people know what you’re up to. I’ll do anything you write for me.” This they duly did, writing a storyline in which the guest star turns out to be the infamous pirate captain Black Jackson, with a fake penguin that turns out to be an evil pirate parrot. Miss Piggy is captured and sentenced to walk the plank as Black Jackson turns the Muppets’ theater into a pirate ship and sets sail to look for buried treasure.

Alice Cooper.

TV Times via Getty Images

8 — Alice Cooper (1978)

Alice Cooper had already appeared on Hollywood Squares and The Snoop Sisters when the Muppets came calling and was more than ready for it. Introduced by Kermit the Frog as “one of the world’s most talented and frightening performers,” Cooper plays himself with a twist: as well as a well-known rock singer, belting out the hits “Welcome to My Nightmare” and “School’s Out,” Cooper is also a sulphurous agent, working on behalf of a client who can offer “fabulous riches and world-wide fame” in exchange for a person’s soul — a Faustian deal that very nearly seduces Miss Piggy, who drops out at the eleventh hour.

9 — Vincent Price (1977)

Filmed just before Halloween and inexplicably not aired until the new year, this horror-themed episodes saw a riot of three-headed monsters, demons and ghosts in aid of special guest Vincent Price, deemed by Statler and Waldorf to be the scariest actor since Thudge McGerk. See-through specters haunt the backstage area of the Muppet theater, a Muppet News report warns of man-eating furniture, and Kermit turns the tables on Price during a long talk about acting by sprouting fangs and biting the horror icon’s neck.

Roy Rogers and Dale Evans with Kermit The Frog.

TV Times via Getty Images

10 — Roy Rogers and Dale Evans (1979)

The husband-and-wife duo known as the “King of the Cowboys” and the “Queen of the West” had been a wholesome staple of American TV since The Roy Rogers Show first aired in 1951. To make them feel at home, the show has a country makeover, with cows, horse- shoe-pitching, and a medley of Western songs including “Tumbling Tumbleweeds” and “Happy Trails.” Mysteriously, Miss Piggy is nowhere to be seen, but Kermit takes center stage in her absence and even throws in a reference to his own budding movie career after Rogers claims to have made 189 films: “Wow! You know, I’ve only made one. 188 to go…”

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The original incarnation of The Muppet Show

The singer has been inviting stars, from Lola Young to Bad Gyal, to share their deepest secrets onstage before her song ‘La Perla’

Rosalía has always carved out her own lane as a pop star, and that’s especially true when it comes to her Lux world tour. Every night, the Spanish singer delivers show-stopping visuals, ballet moves, and operatic vocals. In between these elements, Rosalía has also built upon the religious imagery all over Lux with a unique idea: Each night, special guests deliver a confession to the singer in a recreated gothic confessional booth, just before she performs the biting track “La Perla.” 

Since she kicked off the 57-date trek, Rosalía has invited a handful of famed stars, musicians and models alike, to unload their deepest, darkest secrets and sins related to their love lives. Here’s a list of all of the celebrity confessions, so far.

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The singer has been inviting stars, from

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Shen Yun is a well-known entertainment company whose goal is to carry on the traditions of ancient China and provide hope for international audiences. On a typical internet search, they are perceived as a corrupt organization. They are even labeled “far-right” and a cult by some. These conspiracies will be debunked in the insightful documentary Unbroken: The Untold Story of Shen Yun. Director Fiona Young, takes audiences into the company’s history, slice-of-life stories with its talented team, and a fight against the Chinese Communist Party (CCP). The documentary is part coming-of-age story and political thriller.

It is split between two storylines. Steve Lance, an independent journalist, investigates an ongoing sabotage campaign planned by the CCP. The CCP notoriously uses the New York Times (a proxy) and Michael Chu’s spy ring to paint a negative image of the company. Chu’s spy ring uses a familiar playbook typically associated with socialist organizations: paid protestors. The situation escalates to bomb threats on their various tour stops. These tactics are tied to religious persecution in China back in the late 1990s. Shen Yun is connected to the Falun Gong religion, one with ties to Buddhism. Many employees at Shen Yun have a shared connection to this tragedy in Chinese history.

The second storyline of Unbroken: The Untold Story of Shen Yun focuses on the young performers. Lucas and Jesse Browde are the primary figures. We follow the brothers during their training at Dragon Springs. Both go through rigorous dance training and become closer to their Chinese ancestry. The other students there gain community and purpose. The effects of the CCP’s sabotage campaign create fear and uncertainty for the performers. Lucas and Jesse’s father, Levi, even receives a threat from them. Their father is on the same mission as Steve Lance, to expose the CCP in their nefarious scheme.

Lucas Browde in Unbroken: The Untold Story of Shen Yun during a reflective close-up moment.

“…takes audiences into the company’s history, slice of life stories with its talented team, and a fight against the Chinese Communist Party…”

Young’s documentary feels timely because the threat of socialism continues to affect the lives of Americans and civilians in other nations. It is great to see this issue addressed and treated with a serious tone. There is far too much naivete and unawareness around socialism’s sinister undermining of countries with Western values. Hopefully, Young’s film reaches a wide variety of audiences and brings further awareness.

Her film is strengthened by Andrew Parker and Penny Zhou’s writing. Parker and Zhou tie Lance’s investigation and the Browde brothers’ arc in an emotionally satisfying way.  Other students are given moments to share what Shen Yun means to them. These scenes exemplify the familial bond and importance of honoring one’s culture. The film is also a celebration of the arts and acknowledges its optimistic power to inspire people. By showcasing this aspect of Shen Yun, it provides another perspective into the company’s ethos and appreciation for the production’s craftsmanship.

Unbroken: The Untold Story of Shen Yun delicately tacks political subterfuge and the grind of performing arts in an engaging use of the documentary format. The investigation storyline will enthrall true crime fanatics, while families will appreciate the kinship of the Browde brothers.

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Shen Yun is a well-known entertainment company

Prime Minister Mark Carney says the “strands” of a new world order could be woven at the G7 summit next week.

Carney made the remarks during a discussion at Trinity College Dublin while on a six-day trip to Europe.

In January, the prime minister delivered a speech in Davos calling on middle powers to band together in the face of great powers, which has received global reception.

He says this year’s G7, being held in Évian-les-Bains, will include more than just key members, as other countries from the Gulf states, Kenya, Brazil, Egypt and India will be at the summit.

Carney says other partners will bring a “broader perspective and a broader element of the solution.”

“It’s a recognition that the G7, if it ever did run the world, no longer runs the world or pretends to,” he said.

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Carney said there are a few issues that are moving “quite rapidly.” He noted that AI is effectively unregulated, which can cause a host of issues, including child safety and systemic risk to cyber attacks or hacking.

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“The importance of sharing the defences, having common standards, not releasing models that have that power before others are ready, that is an imperative. That is something I’m certain we will be discussing at the G7,” he said.

The government of France, who is leading the summit, says priorities at the G7 will include settling major geopolitical crises, including through G7 support to Ukraine, crime and online protection for children.

Earlier this year, French lawmakers approved a bill banning social media for children under 15, as the idea of setting a minimum age for use of the platforms gains momentum across Europe.

The Liberal government introduced its own online safety legislation this week, which would force social media to block access for kids under 16, though platforms will be able to obtain an exemption if they put sufficient safeguards in place.


Bill C-34, introduced Wednesday in the House of Commons, would also regulate the companies behind AI chatbots by imposing on them a duty to act responsibly. That includes measures to lower the risk of chatbots communicating harmful content and putting in place crisis intervention protocols for cases involving self-harm, suicide or violence.

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A Canadian government official said this week there will likely not be a comprehensive final communiqué from leaders at the end of the summit, but that people can expect to see issue-specific statements issued by leaders throughout the event instead.

Recent reports by the International Monetary Fund and France’s G7 presidency say global macroeconomic imbalances keep getting worse, and can’t be solved without China. The official said leaders are expected to talk about the future of the global economy and their discussions are likely also to cover China’s industrial overcapacity.

Carney is expected to hold meetings with world leaders at the summit, though it’s still not known if he will meet with U.S. President Donald Trump.

This report by The Canadian Press was first published June 13, 2026.

—With files from Anja Karadeglija in Ottawa

&copy 2026 The Canadian Press

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Prime Minister Mark Carney says the “strands”

Healthy girl summer is officially on the menu!

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“I stopped drinking in 2021, and what caught me off guard wasn’t the decision itself, it was how weird social situations suddenly felt,” Susman shares.

“You show up to a party and someone hands you a water or a Shirley Temple, and you feel like a footnote. I wanted something that actually belonged at the table and something you’d be excited to drink.”

The result is a line of functional mocktail blends in take-anywhere sachets that give everyone something festive to raise a glass with.

“As a chef and someone who cares deeply about wellness, I’m always thinking about what food and drinks can do for you,” she explains.

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Emily Susman/Instagram

When entertaining, her approach is equally relaxed.

“Have great food, great drinks, and make sure every person there feels included,” she recommends. “Set up a drink station with options for everyone and lean into simple, seasonal dishes. Summer produce is so good that you really don’t need to do much to it.”

For Susman, the secret to a great summer gathering has less to do with what’s on the table and more to do with who’s around it.

“The parties people actually remember aren’t about being perfect. They’re about the people.”

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Healthy girl summer is officially on the

If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

On the heels of Wednesday’s history-making comeback, the Knicks and Spurs head back to San Antonio for what could be the final game of the 2026 championship series. Broadcast live on June 13, at 5:30 p.m. PT/8:30 p.m. ET on ABC, Game 5 can also be livestreamed on any streaming service that carries said network, namely DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV.

For another option, in select countries outside of the U.S. — including the U.K., Ireland, France and Mexico — the 2026 NBA Finals are streaming exclusively on Prime Video, meaning U.S. basketball fans can use a VPN (ExpressVPN subscriptions start at $2.79 per month) and connect to a country’s server where Amazon holds the NBA Finals broadcasting rights.

At a Glance: How to Watch 2026 NBA Finals Game 5

  • When: Saturday, June 13, 5:30 p.m. PT/8:30 p.m. ET (see full NBA Finals schedule below)
  • Channel: ABC
  • Stream online: DirecTV, Fubo, Sling, Hulu + Live TV

While Spike Lee, Timothée Chalamet, Mariska Hargitay and the rest of Celebrity Row‘s courtside seats may not be an option, see below for more info on each online streaming service, along with their free trials and new subscriber discounts.

Where to Watch NBA Finals 2026: New York Knicks vs. San Antonio Spurs​

Like with the 2026 Stanley Cup Final, ABC is the exclusive U.S. broadcast home for this year’s NBA Finals, meaning games can be streamed live on any TV streaming service that carries the network, including DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV. More on each option below.

Five-day free trial; packages from $19.99 per month

ABC is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate or Premier. Plus, DirecTV offers a five-day free trial for its streaming service, meaning new subscribers can tune into games at no cost for a limited time.

Learn more about each plan option, including how to build your own channel lineup (starting at just $19.99 per month), at directv.com.

Fubo

Five-day free trial; packages from $55.99 per month ($45.99 for first month)

Watch the NBA Finals on ABC with a subscription to Fubo, which offers a five-day free trial for new subscribers. After the trial, plans start at $45.99 for the first month and $55.99 monthly thereafter.

Plans from $4.99

For sports fans, Sling offers one of the widest selection of cost-effective plan options.

For the 2026 Finals, ABC is included in Sling’s Blue Plan, starting at $45.99 per month, and Sling’s Orange & Blue Plan, starting at $60.99 per month. That said, please note that local channel availability depends on your TV market. Visit Sling.com to check station availability and package options, starting as low as $4.99 per day or $19.99 per month.

Three-day free trial; packages from $89.99 per month

Watch ABC for free with a three-day trial to Hulu + Live TV. Subscriptions come bundled with Disney+ and ESPN+, and start at $89.99 per month.

NBA Finals Score 2026

Heading into Game 5 on Saturday, June 13, the New York Knicks hold a 3-1 series lead over the San Antonio Spurs.

NBA Finals Schedule 2026

All games are set for 5:30 p.m. PT/8:30 p.m. ET. Since the NBA Finals is a best-of-seven series and the Knicks currently lead 3-1, games six and seven will only be played if necessary.

  • Game 1: New York at San Antonio, June 3 (Knicks win)
  • Game 2: New York at San Antonio, June 5 (Knicks win)
  • Game 3: San Antonio at New York, June 8 (Spurs win)
  • Game 4: San Antonio at New York, June 10 (Knicks win)
  • Game 5: New York at San Antonio, June 13
  • Game 6: San Antonio at New York, June 16
  • Game 7: New York at San Antonio, June 19

Hollywood Hits the Finals: Which Celebrities Were Seen at Knicks vs. Spurs Games

For Games 1 and 2, Knicks superfans Ben Stiller, Tracy Morgan, Spike Lee and Timothée Chalamet made appearances at Frost Bank Center in San Antonio, Texas. All four of them were also at Games 3 and 4 at Madison Square Garden, in addition to Taylor Swift, Jay-Z, Josh Safdie, Larry David, Tina Fey and Pete Davidson, to name a handful. See The Hollywood Reporter‘s full list of famous fans in attendance, which will be updated throughout the series.

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    “It was a great beginning and great end,” All Her Fault EP and Emmy winner Nigel Marchant said about what attracted him to Andrea Mara’s novel; which upon reading he promptly sent to Meghan Gallagher to adapt.

    All Her Fault hits the never of every parent’s fear: What happens when their child is kidnapped? The series begins promptly with Sarah Snook’s Marissa Irvine arriving at a house where her little boy, Milo, is suppose to be having a playdate — but the woman at the house has no idea what she’s talking about. Starring Michael Pena (Detective Alcatraz), Jake Lacy (husband and father Peter Irvine), Dakota Fanning (Jenny), Daniel Monks (Brian Irvine), Abby Elliot (Lia Irvine), Sophia Lillis (Carrie Finch), and Jay Ellis (Colin Dobbs), All Her Fault sets up a mystery whereby you never know who the real culprit is.

    For EP and director of episodes 101-104, Minkie Spiro, “the first five minutes were key” when it came to grabbing the audience’s attention and setting the tone that plays out over eight episodes.

    “Because if I messed that up, then I was worried we’d lose the audience because those first five minutes is what I wanted audiences to feel: the utter panic and the gravity of what it’s like to potentially lose your child; that fear, dread and everything in between had to feel so visceral that you couldn’t turn away.”

    “You were going to stay and live through this with Marissa,” adds Spiro.

    In making everyone a suspect, what was key was capturing extra coverage of the actors.

    Said Spiro, “Megan and I had, a conversation with Sarah Snook and we were talking about, wouldn’t it be fantastic if we could play the audience so that if they watched it, and God willing, they will watch it a second time? Those looks which seem so innocuous and throwaway on the first watch, when you watch it again, you’re like ‘Oh, I see it now.’”

    While some TV creators on some cliffhanger series, avoid prepping the actors and actresses with their full storyline, when it came to playing the nuances of suspicion on All Her Fault, “they need to know their full stories,” Spiro adds. Funny enough, Lacy wasn’t acquainted with this until late in pre-production.

    But more than a mystery, All Her Fault delves into the plight of working moms, and the stresses and responsibilities they feel when leading the family.

    “This felt universal,” Gallagher tells us, “Unfortunately women are stretched thin in many countries.”

    On today’s Crew Call Live, the trio discuss adapting a novel, which was set in Ireland, for America, specifically Chicago, and then shooting Sydney Australia as a stand-in for the Windy City with a murderer’s row cast.

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    Summer has only just begun, but TV fans are already looking forward to the fall and the returns of their favorite shows. 

    Yes, there is nothing quite like summer, and it’s a time for many to unplug and enjoy added time with loved ones; however, for TV fans, it’s one of the quietest times of the year. This is because summer is the time when most of our broadcast originals take extended time off between seasons, with the broadcast airwaves being filled with reruns and unscripted originals like America’s Got Talent and Big Brother. 

    The good news is that most of these shows will return with new episodes once September begins to roll around; however, there are just as many beloved shows that will not arrive until 2027. The midseason lineup for the 2026-27 season is going to feature several major returning shows, including a handful of hit series that have historically kicked off their new seasons in the fall such as Matlock, High Potential, Murder in a Small Town, and Ghosts. 

    HIGH POTENTIAL on ABC. KAITLIN OLSON | (Disney/Raymond Liu)

    ABC shows that won’t return until 2027

    Starting with ABC, the network’s most shocking midseason addition comes in the form of High Potential, which will be sitting the fall out and moving to midseason this year. Given how successful the Kaitlin Olson-led drama has been since debuting in September 2024, many were shocked ABC opted to push the show’s return back to midseason. However, that is the plan, and fans will have to wait until 2027 for season 3 to arrive. 

    ABC has also slid the Tim Allen comedy Shifting Gears to midseason, pushing the show back to the midseason schedule after moving season 2 up to fall during the 2025-26 season. 

    Also returning at midseason are The Rookie and Will Trent, two shows that have enjoyed a lot of success since moving to midseason. And finally, 2027 will bring new seasons of The Bachelor and Bachelor in Paradise, marking the return of the beloved ABC reality TV franchise. 

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    “Planes, Shanes and Automobiles” – Pictured (L-R): Richie Moriarty as Pete and Rose McIver as Samantha. | Photo: CBS ©2025 CBS Broadcasting, Inc. All Rights Reserved.

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    Of the broadcast networks, CBS is making the biggest moves with its midseason slate by delaying the returns of three hit series. Matlock, Ghosts, and NCIS: Sydney are all on the move from CBS’s fall schedule to its midseason slate. The news took fans by surprise as all three shows have been part of CBS’s fall schedule since their respective starts. 

    Ghosts fans will technically get to enjoy a sampling of new episodes from season 6 in the fall courtesy of a Halloween and Christmas special, but the supernatural comedy has been delayed to 2027 for its regular run. Thankfully, Ghosts will still be getting a full 22-episode season.

    Matlock and NCIS: Sydney are not as lucky, though. CBS has cut the episode orders for both series with Matlock season 3 set to have just 13 episodes while NCIS: Sydney season 4 will consist of a mere 10 episodes. 

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    MURDER IN A SMALL TOWN: L-R: Mya Lowe, Rossif Sutherland and Fritzy-Klevans Destine in the “Prized Possesions” episode of MURDER IN A SMALL TOWN airing Tuesday, Oct. 15 (8:00-9:00PM ET/PT) on FOX. | ©2024 Fox Media LLC. CR: Kailey Schwerman/ FOX.

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    While ABC and CBS might have made some of the bigger moves with their midseason slate, FOX has the most returning shows on deck for a 2027 release. This is due in large part to the network having fewer spots on its primetime slate with just two hours of programming compared to the three hours of primetime programming ABC, CBS, and NBC produce. As such, FOX will be holding back new seasons of several hit comedies, dramas, and unscripted shows for 2027. 

    Perhaps the biggest move for FOX is delaying the return of Murder in a Small Town, which will be moving to midseason and therefore won’t return until 2027. This shift comes after FOX opted to bring Best Medicine back for its second season in the fall rather than keeping the show at midseason. 

    Also set to return in 2027 are animated comedies American Dad!, Bob’s Burgers, Family Guy, and Krapopolis; drama Memory of a Killer; and a wave of unscripted favorites including Beat Shazam, Crime Scene Kitchen, Don’t Forget the Lyrics, Extracted, Fear Factor: House of Fear, Gordon Ramsay’s Secret Service, Kitchen Nightmares, LEGO Masters, The Masked Singer, Next Level Baker, and Next Level Chef. 

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    DESTINATION X — “The Grand Finale” Episode 110 — Pictured: (l-r) Rick Szabo, Christian “Biggy” Bailey, Peter Weber | (Photo by: Sean Gleason/NBC)

    NBC shows that won’t return until 2027

    After making a number of cancellations this season with Brilliant Minds, Stumble, and The Hunting Party all axed, NBC didn’t have much movement in its fall slate. Most of the shows on tap for NBC’s midseason lineup are new series entering the mix with only one NBC show’s return being held for 2027. 

    The only returning NBC show that won’t kick off its season in the fall is Destination X, which will return at midseason sometime in 2027. The Jeffrey Dean Morgan hosted series will be joined by new NBC series The Rockford Files, Sunset P.I., and Wordle in the midseason schedule.

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    Gene Shalit, the fast-talking funnyman who reviewed films, plays and books for NBC’s “Today” show has died. He was 100.

    Shalit’s family confirmed the longtime critic’s death Friday, telling NBC that he “passed away peacefully after 100 years of an amazing life.”

    According to a 2010 interview with Guy Ludwig, Shalit’s producer for more than 20 years, Shalit was hired as a contributor at “Today” in 1968. He reviewed books once a month or so, but audiences were so fascinated by his eccentric personality and equally unconventional looks that NBC ramped up the critic’s on-air appearances.

    In January 1973, on the same day he was promoted to arts editor, Shalit debuted “Critic’s Corner,” the segment that would ultimately make him a household name. In 2010, Shalit retired as one of the last regular film critics on a major network.

    Ludwig referred to Shalit as the “foxy grandpa” of the “Today” show.

    While Shalit’s quirky film reviews cemented his TV star status, his interview style made him a favorite among Hollywood’s biggest figures. Warren Beatty, Barbra Streisand and Robert De Niro were among the A-listers whom Ludwig said “only would talk to Gene.”

    According to Shalit’s longtime former producer, Sophia Loren “so trusted Gene as a television personality” that after she’d gone through legal troubles and a scandal, she went to Shalit exclusively.

    “She knew her story would be fairly told but also that Gene would be sensitive to some of the things about it that were sensitive to her,” Ludwig said. “Gene was articulate and sensitive, but also got the story.”

    In March, “Today” posted a 100th birthday tribute to Shalit narrated by Al Roker, who said, “Even Sophia Loren couldn’t resist putting her hands into Gene’s hair. I mean, just a legend.”

    Eugene Shalit was born March 25, 1926, in New York City and grew up in Morristown, N.J. He launched his elementary school’s first newspaper, “The Spotlight,” and purchased a fedora to seal his fate as a journalist. In Morristown High School he wrote the school newspaper’s humor column “The Broadcaster.” In 1949, he graduated from the University of Illinois at Urbana-Champaign.

    Shalit cut his teeth in media as an entertainment columnist for McCall’s magazine, eventually landing the role of senior film critic for Look magazine in 1968 and writing a humor column for Ladies’ Home Journal. His quick wit, punchy puns and unique voice came through even on the page, and NBC took notice.

    “No one at NBC had seen him. They’d only read his stuff. So he walked into this executive’s office and the executive took one look at him and said, ‘Mr. Shalit, have you ever thought of radio?’” Ludwig told “Today.”

    “They didn’t know how the public would react to someone who looked so different from people who were typically on TV in 1967.”

    On “Critics Corner,” Shalit favored humor over the highfalutin. He was an everyman’s critic. Of 1997’s action-thriller “Face/Off,” he said, “Now, ‘Face/Off’ is a literal title, because both of their faces are taken off. Then each face is put onto the other’s head. Even their voices are switched with microchip implants. In other words, this is an entirely reasonable, rational movie!”

    During his tenure, he was known to bust up his colleagues, and “Today” anchors ranging from Edwin Newman, Barbara Walters and Jane Pauley to Tom Brokaw, Bryant Gumbel, Katie Couric, Meredith Vieira and Roker.

    But not everyone appreciated Shalit’s style. In 1989, a leaked in-house memo from Gumbel, then a “Today” show co-host, to Marty Ryan, the former executive producer of the NBC program, complained that Shalit’s film reviews “are often late and his interviews aren’t very good.”

    During an interview promoting his 1987 book “Laughing Matters: A Celebration of American Humor,” Eileen Prose asked Shalit who he respected as a reviewer.

    “Gene Shalit,” he responded.

    “I don’t think there’s any critic that believes a word that any other critic says, because you have to be so individualistic when you’re a critic,” he continued. “Sometimes you’ll read somebody else, but I rarely do.”

    While Shalit brought a sense of humor to his reviews and interviews with stars — some of which would go haywire because Shalit would keel over laughing — he took the critic gig seriously. He told Prose that while most people see only a handful of movies a year, and often only the buzziest ones, he sees “the stuff that’s the stuffing, that they wouldn’t want to see.”

    “I have to suffer through that, and I will never leave a movie before it’s over, no matter how bad it is,” he said, noting that he only does it because he loves it.

    Shalit’s larger-than-life persona was parodied in popular culture — not just by Jon Lovitz and Horatio Sanz on “Saturday Night Live,” but by Shalit himself, who voiced his own parody “Gene Scallop” on “SpongeBob Squarepants.” Eyebrow doppelganger Eugene Levy also took a crack at the critic on “Second City Television,” and Shalit was parodied in multiple episodes of “Family Guy.”

    Shalit was married to Nancy Lewis for 28 years until her death in 1978 and never remarried. The couple had six children: Peter, Willa, Emily, Amanda, Nevin and Andrew. Emily died from ovarian cancer in 2012.

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    Gene Shalit, the fast-talking funnyman who

    Marvel Studios changed one of its official Spider-Man: Brand New Day posters, and the new version drops a character who stood front and center the first time around. The artwork features a tight close-up of Tom Holland’s masked Spider-Man, with the New York City skyline shining in the lenses of his eyes. Brand New Day picks up four years after Spider-Man: No Way Home, where a spell wiped Peter Parker from the memory of everyone who once knew him. He now fights crime alone, protecting a city that has no idea who he is.

    The character pulled from the updated poster is MJ, played by Zendaya. On the original one-sheet, her face appeared inside the reflection of Spider-Man’s right eye lens, a quiet nod to the heartbreak driving Peter’s story. The new version removes her completely, leaving only the city skyline in the reflection. The swap is an interesting choice because that first poster made MCU history, and MJ’s presence told fans plenty about her role in the film.

    Marvel Studios

    Sony Pictures and Marvel Studios first showed the close-up poster during CinemaCon in April. The image stood out because it is the first teaser poster for a Marvel Studios movie to spotlight a love interest who is not the title character. 

    Spider-Man poster with MJ and Spider-Man poster without MJ.
    Marvel Studios

    The reflection also pointed back to the classic Spider-Man 2 poster, which placed Doctor Octopus in the lenses of Spider-Man’s mask. Marvel fans picked up on the callback right away.

    Aside from MJ being removed from the new poster, everything else about the composition looks the same, making the missing character easy to spot when the two versions are viewed side by side.

    MJ is a key piece of Brand New Day’s story, so it’ll come as a surprise for many fans to see her removed from arguably the film’s best poster. The trailers show Peter keeping tabs on her years after the spell, even though she no longer recognizes him. Zendaya returns as Michelle Jones-Watson, and her scenes point to an emotional reset for the couple. It’s not unusual for Marvel Studios to remove a popular character from an official poster; it has done so on several occasions and usually for good reason.

    In this particular instance, a new version of the poster omits Zendaya’s MJ, likely because it was designed for merch. This updated image appears on official Brand New Day merch, which focuses specifically on Peter Parker’s lenses. It makes sense for MJ to be omitted since the intent of the merch is to fully focus on Spider-Man.

    Marvel Studios History of Altering Its Movie Posters

    Marvel changing a poster is nothing new. Over the years, the studio and its partners often put out two versions of the same poster. Some swaps are small, while others sometimes take a character out completely.

    For example, the French poster for Captain America: The First Avenger dropped a villain like the way this Brand New Day poster omitted MJ. The American poster shows the Red Skull’s face glowing in the smoke above Captain America and his compatriots. The French version removes him and keeps the focus on Cap and his wartime allies.

     French poster for Captain America: The First Avenger alongside American poster.
    Marvel Studios

    Iron Man 3 had a crowded poster and a stripped-down one with fewer characters than the first. The busy version lines up the film’s main cast. You see Tony Stark in his damaged suit, Pepper Potts, the Mandarin, Aldrich Killian, and Rhodey in his armor. The other version keeps only Tony and Pepper, removing everyone else. Tony’s Iron Legion can still be seen in the background, though. 

    Iron Man 3 poster with multiple characters alongside another variation with less characters.
    Marvel Studios

    Avengers: Age of Ultron also made a small but interesting change to its original poster. The first poster shows Tony Stark’s bare face inside the Iron Man armor, right in the middle of the Avengers team. The second poster shows Tony fully wearing his Iron Man mask, but everyone else stays in the same spot.

    Avengers Age of Ultron posters featuring Iron Man without a mask and with one.
    Marvel Studios

    Captain America: Civil War did the same thing at the top of its poster. One version shows Captain America’s masked profile staring down Tony Stark’s bare face. The other swaps Tony’s face for the full Iron Man helmet. 

    Captain America, Iron Man and other Avengers squaring off in Civil War poster.
    Marvel Studios

    Thor: Ragnarok also gave Hela two distinct looks. One poster shows her in her huge spiked headdress. The other shows her without it, with her hair loose. Raganrok had many amazing-looking posters, and these two were among the standouts.

    Thor Ragnarok poster featuring Hela, Hulk, Thor and other characters.
    Marvel Studios

    Black Panther did something similar with T’Challa. One poster shows his face bare as he looks down at his claws. The matching version covers his face with the full Black Panther mask.

    T'Vhalla wears his Black Panther outfit in Black Panther poster.
    Marvel Studios

    Avengers: Endgame was the last of this pattern in the Infinity Saga. Its first poster puts Tony Stark’s face near the top, with Thor beside him and the rest of the hero lineup underneath. The second poster shows Iron Man in the same position, but this time with his helmet on. 

    Iconic Avengers: Endgame poster featuring Avengers and other hero groups.
    Marvel Studios

    Doctor Strange in the Multiverse of Madness also changed its layout for international markets. The American poster shows multiple characters around Strange. This includes Scarlet Witch, America Chavez, Wong, Baron Mordo, and Christine Palmer. The international poster moves those characters into the broken glass shards floating around Strange and Scarlet Witch. 

    Doctor Strange in the Multiverse of Madness poster featuring Doctor Strange, Scarlet Witch and other characters.
    Marvel Studios

    Black Panther: Wakanda Forever saved its biggest change for streaming. The theatrical poster shows Shuri out of costume, while the Disney+ poster shows her in the Black Panther suit. Marvel could finally reveal the new hero because the movie was already out.

    Black Panther: Wakanda Forever's poster shows Shuri with and without her costume.
    Marvel Studios

    Thunderbolts also omitted one key character from its Disney+ poster. The theatrical poster shows the full team in a wrecked city street, with smoke and falling debris as they get into a brawl. The Disney+ poster, on the other hand, omits one key member from the initial six-character poster. The character removed from the lineup is Taskmaster, who died in the film. By the time Thunderbolts arrived on Disney+, she was long gone, so it made perfect sense to omit her from the streaming poster. 

    Thunderbolts team gets into a brawl in film poster.
    Marvel Studios

    Marvel Studios’ posters have evolved significantly since the Infinity Saga, with variations driven by diverse marketing needs. Some designs change to build hype, others alter details to avoid spoilers, and a couple are tailored specifically for platforms like Disney+.

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    En qualité de joueur, je ressens cette frustration : le moment où l’on demande un retrait et où l’on se met à attendre. L’excitation d’une grosse victoire se dissipe pendant cette période d’incertitude, entre le clic sur “retirer” et l’arrivée réelle des fonds. Bonuskong Casino a décidé de s’attaquer à ce problème en intégrant un système de retraits instantanés, une avancée notable sur le marché belge du jeu en ligne. Je vais vous montrer son fonctionnement, les moyens de paiement compatibles, et en quoi cette option modifie concrètement votre expérience de jeu. Vous allez explorer un environnement où vos gains vous reviennent sans attente superflue. Pour moi, cela différencie un service banal d’une plateforme qui prend au sérieux le temps et les succès de ses membres.

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    Comment marchent retraits instantanés ? Le mécanisme derrière ce fonctionnement

    Cette simplicité d’usage repose sur un socle technique robuste. Bonuskong collabore étroitement avec des acteurs majeurs du paiement et emploie des systèmes automatisés de traitement (API) qui échangent des données en continu. Au moment où vous soumettez une demande, de multiples vérifications essentielles mais très rapides s’enclenchent. Le système examine dans un premier temps automatiquement votre solde disponible et la conformité des conditions de mise attachées à un bonus. Il confronte ensuite vos informations à celles déjà validées lors de votre vérification de compte (KYC). Je précise que cette vérification doit être achevée à l’avance pour déclencher le retrait instantané. Si tout est conforme, l’ordre de paiement est transmis sans qu’un agent n’ait à intervenir, ce qui élimine les ralentissements manuels. Cette automatisation poussée est l’élément clé. Elle supprime les temps morts entre chaque étape de validation et garantit une exécution à la vitesse du réseau.

    Le KYC (KYC) : votre passeport pour la vitesse

    La bonne marche de ce circuit rapide exige une étape préalable indispensable : la vérification d’identité, ou KYC. C’est la pièce maîtresse. Lors de votre inscription, je vous suggère de transmettre sans tarder les documents requis (une pièce d’identité, un justificatif de domicile). Une fois cette procédure acceptée – elle est généralement rapide chez Bonuskong – votre compte obtient le statut “vérifié” pour la voie rapide. Ainsi, lorsque vous gagnez et demandez un retrait, le système détecte aussitôt votre profil approuvé et n’a pas besoin de effectuer de nouvelles vérifications, ce qui autorise un traitement en quelques secondes. Voyez cela comme un sésame permanent pour l’autoroute de vos gains. C’est un investissement unique de quelques minutes qui vous préserve des attentes répétées à chaque victoire. Une fois cette formalité terminée, vous pouvez jouer en toute quiétude, loin des soucis administratifs.

    La liste des documents à fournir

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    Pour une validation fluide, procurez-vous une copie parfaitement lisible de votre carte d’identité nationale ou de votre passeport valide. Pour le justificatif de domicile de moins de trois mois, une facture d’électricité, un relevé de compte ou une quittance de loyer fait l’affaire parfaitement. Un bon conseil : transmettez des fichiers de bonne qualité, où tous les textes sont nets, de préférence au format PDF ou JPG. Fuyez les photos floues ou tronquées. Cette petite préparation unique est le ticket d’entrée pour des retraits rapides à perpétuité. L’investissement en temps est minime comparé aux heures, voire aux jours d’attente que vous éviterez par la suite. N’oubliez pas que cette procédure vous prémunit également, en garantissant que vous êtes le seul à pouvoir disposer de vos fonds.

    Solutions de paiement éligibles pour les retraits express

    Sachez que, tous les modes de paiement ne offrent pas cette promptitude. Bonuskong privilégie les outils digitaux conçues pour le temps réel. Les leaders des retraits instantanés sont les portefeuilles électroniques comme Skrill, Neteller et MiFinity. Ces instruments sont créés à l’ère numérique et leur conception y est optimisée. Les virements bancaires instantanés (via Bancontact/Mr. Cash ou Sofort par exemple) sont aussi généralement acceptés, car ils exploitent les infrastructures modernes des banques. En revanche, les virements bancaires ordinaires ou les chèques, par leur nature même, ne peuvent pas être instantanés. Je vous conseille donc d’choisir, pour vos dépôts comme pour vos retraits, pour l’une de ces options express afin de assurer une expérience cohérente. Consultez toujours la rubrique “Banque” du casino pour consulter la liste à jour, les partenariats pouvant changer. Pour ma part, j’emploie un portefeuille électronique pour cette fluidité constante.

    Les bénéfices secrets des retraits éclairs

    Le profit le plus apparent est la rapidité, mais les retraits instantanés chez Bonuskong apportent davantage. Ils accroissent la sécurité : des transactions rapides réduisent les périodes où vos fonds sont “en transit” et potentiellement exposés. Ils offrent une transparence totale : vous maîtrisez le délai exact, sans mauvaise surprise. Cela simplifie aussi une gestion de bankroll plus saine, car vous avez un accès direct et prévisible à votre argent. Enfin, cela révèle une santé financière solide de la part du casino. Un établissement capable de payer instantanément détient des liquidités, un signe de sérieux et de fiabilité. Cela établit un cercle vertueux de confiance qui améliore tous les aspects de votre relation avec la plateforme, du jeu au service clientèle.

    L’offre Bonuskong vs. la concurrence belge : une comparaison révélatrice

    Quand je oppose l’offre de Bonuskong à celle de nombreux autres casinos actifs en Belgique, le contraste est évident. Beaucoup montrent encore des délais standards de un à cinq jours ouvrés, parfois expliqués par des “vérifications de sécurité” qui pourraient être automatisées. En plaçant l’expérience utilisateur au centre de son modèle, Bonuskong prouve qu’il appréhende les attentes des joueurs contemporains. Ce n’est pas une simple option supplémentaire, c’est un engagement structurel. En optimisant ses processus internes, l’opérateur convertit une contrainte habituelle en un atout déterminant. Pour un joueur, choisir un casino avec des retraits instantanés, c’est choisir le respect de son temps et de ses gains. C’est aussi un indicateur précis de l’orientation technologique et client d’un établissement, bien au-delà du seul choix de jeux.

    Mon tutoriel pour des transactions sans faille

    Pour que chaque retrait se déroule sans problème, voici mes suggestions. Remplissez d’abord votre vérification KYC avant même d’effectuer un premier dépôt conséquent. Adoptez ensuite la même méthode pour retirer que celle employée pour déposer ; c’est souvent une règle de sécurité qui simplifie le processus. Examinez aussi les conditions de mise liées à un bonus avant de demander un retrait, pour vous assurer d’avoir satisfait à toutes les exigences. Enfin, tenez vos coordonnées de paiement à jour dans votre profil joueur. Ces habitudes simples font de vous un joueur avisé et vous permettent de bénéficier pleinement des retraits instantanés sans problème. J’ajoute qu’il est prudent de vous déconnecter et de vous reconnecter avant un retrait important pour éviter tout éventuel bug de session.

    Changer votre état d’esprit de jeu

    Comprendre que vos gains sont disponibles en quelques clics change favorablement votre relation au jeu. Cela réduit le anxiété lié à la “valeur virtuelle” de l’argent placé sur un compte de casino. Vous jouez plus paisiblement, car vous savez que tout victoire sera immédiatement transformable. Cela aide aussi à mieux planifier vos sessions : vous pouvez opter de sortir une partie de vos gains pour sécuriser une session bénéfique, et continuer à jouer avec le surplus, une approche saine de gestion de bankroll. La quiétude d’esprit qui en découle est importante. Vous abandonnez l’attente stressante pour retrouver un contrôle complet sur votre argent et sur votre expérience de jeu. Cette calme impacte bien vos décisions, les rendant moins précipitées et plus réfléchies.

    L’univers Bonuskong : plus qu’un simple retrait rapide

    Il serait erroné de restreindre Bonuskong à son système de retraits rapides https://bonus-kong-be.com/fr-be/. Cette conception de promptitude et de transparence imprègne l’ensemble de la plateforme. Le service client intervient avec promptitude, souvent disponible en direct via le chat live. L’octroi des bonus est tout aussi rapide, les fonds étant crédités sans délai après un dépôt éligible. La navigation sur le site et le chargement des jeux sont optimisés pour limiter toute latence. Cet écosystème cohérent, où chaque interaction se veut fluide, construit une expérience utilisateur homogène et particulièrement agréable. Pour moi, c’est la vision d’un casino moderne : un environnement où la technique s’efface pour laisser place au seul plaisir de jouer, sans friction ni attente injustifiée à aucun stade.

    Foire aux questions

    Est-ce que les retraits instantanés sont réellement accessibles à tous les joueurs ?

    Affirmatif, à la condition que votre compte soit intégralement vérifié (procédure KYC validée) et que vous adoptiez un moyen de paiement éligible comme Skrill, Neteller ou un virement instantané. C’est une fonctionnalité de base pour tous les membres vérifiés, et non une offre promotionnelle limitée dans le temps. Vérifiez simplement que votre solde est disponible (en dehors des bonus en cours) et que vous avez respecté les conditions de mise le cas échéant. C’est un droit, et non un privilège, pour chaque joueur ayant finalisé son profil.

    Existe-t-il des coûts dissimulés pour les retraits immédiats ?

    Non, Bonuskong Casino n’applique pas de frais supplémentaires spécifiques pour la rapidité du retrait. Les éventuels coûts dépendent uniquement du moyen de paiement que vous sélectionnez. Certains portefeuilles électroniques ou réseaux de virement peuvent percevoir leurs propres commissions, mais le casino, de son côté, ne facture rien pour ce service. Je vous invite à consulter les conditions générales de votre méthode de paiement pour une information complète avant de l’utiliser.

    Quel est le scénario si ma demande de retrait instantané est rejetée ?

    Dans des cas très rares (une panne réseau passagère chez le fournisseur par exemple), la transaction risque d’échouer. Rassurez-vous, les fonds sont aussitôt reversés à votre compte joueur. Vous pourrez simplement soumettre à nouveau la demande quelques instants plus tard. Si le problème persiste, le service client réactif de Bonuskong pourra vous aider à en trouver l’origine, souvent du côté du fournisseur de paiement et non du casino. Vos fonds ne courent aucun risque.

    Peut-on annuler un retrait instantané une fois demandé ?

    Par définition, un retrait instantané se veut irréversible. Dès l’instant où la demande est acceptée et le paiement déclenché vers votre compte externe (ce qui ne nécessite que quelques secondes), il n’est plus possible de l’annuler depuis le casino. C’est la raison pour laquelle il est indispensable de vérifier le montant et la destination avant de confirmer. Pour changer vos plans, il vous faudra re-déposer les fonds depuis votre portefeuille, une opération habituellement très rapide également.

    Les limites de retrait sont-elles différentes pour les transactions instantanées ?

    Les limites, minimales et maximales, sont fixées par votre mode de paiement et par la politique générale du casino, et non par la rapidité du traitement. Vous trouvez les mêmes limites, que le retrait soit traité en immédiat ou, pour d’autres méthodes, avec un report. Reportez-vous à la section “Banque” de votre compte ou aux conditions générales pour savoir les limites exactes qui sont applicables à votre profil et à votre degré de vérification.

    Dois-jeutiliser un code promotionnel pour profiter des retraits instantanés ?

    Absolument pas. L’accès aux retraits instantanés n’est lié à aucun code promotionnel spécifique. C’est une particularité permanente de l’offre de Bonuskong Casino, disponible dès la vérification de votre compte. Les codes promo sont destinés habituellement à déclencher des bonus de dépôt ou des tours gratuits, qui, eux, possèdent leurs propres conditions de mise à accomplir avant tout retrait. La promptitude, elle, est offerte et incluse dans le service.

    Bonuskong Casino a parfaitement cerné la longueur des retraits comme une cause principale d’insatisfaction chez les joueurs. L’opérateur y a apporté une solution par une solution technique optimale et bien élaborée. En jouant sur les retraits immédiats, il ne se limite pas de récupérer du temps. Il rétablit la confiance et rend toute sa saveur au plaisir de triompher. Pour tout joueur belge cherchant une expérience contemporaine, sans accroc et considérée, cette approche place Bonuskong en très bonne situation. Il s’agit d’un revirement de perspective qui repositionne le joueur et son argent au cœur de l’action, là où ils devraient toujours se trouver. Après l’avoir testée, je considère désormais cette immédiateté non comme un privilège, mais comme le standard minimal pour une expérience de jeu de premier ordre.

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    It has been over three years since James Gunn announced the first ten projects of the DCU, called “Chapter One – Gods and Monsters.” While some titles like Superman, Supergirl, and Lanterns have made it through development, many projects have struggled. These include the Batman-led Brave and the Bold, and the announced The Authority seems to be all but canceled. Given the excitement surrounding the franchise, any project that doesn’t get significant updates over extended periods is assumed to be scrapped.

    One title rumored to be canceled, but which Gunn later said remained in development, was the Wonder Woman prequel Paradise Lost. After years of speculation, it appears that Paradise Lost may have finally found its head writers. According to the Writers Guild of America website, reported via Tech Times, Kira Snyder and Janet Lin are both attached to Paradise Lost. No official announcement has been made by James Gunn or DC Studios.

    Amazons from Wonder Woman in Paradise Lost
    Amazons from Wonder Woman in Paradise Lost
    DC Comics

    Gunn pitched Paradise Lost as Game of Thrones-inspired and as exploring the history of the Amazons on Themyscira before Wonder Woman’s birth. However, in February 2026, a rumor emerged that Paradise Lost had been canceled. James Gunn quickly debunked those rumors and, in April 2026, said the series was in “extreme development.” Gunn may have spoken with Snyder and Lin about joining the series during that period.

    Kira Snyder has served as a writer on The Handmaid’s Tale, The 100, and Alphas. She was also one of the writers on Pacific Rim: Uprising and served as a consulting producer on The Penguin. Janet Lin served as both a writer and producer on series such as Bones, Bridgerton, and The Orville. Together, Snyder and Lin have diverse lists of credits that make them ideal fits to shape a series like Paradise Lost.

    Wonder Woman is a big part of James Gunn’s DCU future. The island of Themyscira and the Amazons were teased in the DCU’s first project, Creature Commandos. Wonder Woman made her DCU debut in Creature Commandos — in a vision by Circe to Amanda Waller that showed Wonder Woman and many other heroes dead. In addition to Paradise Lost, a new Wonder Woman film is in active development. Supergirl screenwriter Ana Nogueira is set to pen the Wonder Woman reboot. Despite most sources saying that Adria Arjona is playing Maxima in Man of Tomorrow, many fans are still holding out hope that she is playing Wonder Woman in the upcoming DCU film. With San Diego Comic-Con fast approaching, it is likely that more news about Paradise Lost could be revealed at the event.

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    It has been over three years since

    Slot events have become popular across the UK, giving players structured thrills and a opportunity for leaderboard glory https://wildtoro3.uk/. But every season comes with planned intervals: gaps between rounds, daily resets, and maintenance windows. In those calm periods, a lot of players search for a solid standalone slot to keep the energy up. Wild Toro 3 is a perfect fit. Its bullfighting theme captures you, and it turns tournament downtime into a valuable part of the day, never feeling like you’re missing out.

    Adding Wild Toro 3 into a Tournament Player’s Routine

    Establishing a steady routine around tournament downtime converts a disjointed schedule into a fluid session. Some players start with a five-minute warm-up on Wild Toro 3 before a tournament, utilizing the base-game rhythm to find their groove. After the tournament window ends, an additional quick burst on the slot serves as a cool-down, lessening the mental jolt of an abrupt stop. That framing transforms the slot into a psychological bracket around high-intensity play, not just an afterthought.

    Practice Between Competitions

    No slot can entirely mimic tournament conditions, but Wild Toro 3 sharpens your eye for moving reel symbols and feature triggers. Observing how often Walking Wilds move or how coin scatters accumulate develops your detail-spotting. Over weeks, that pattern recognition can influence faster tournament decision-making, particularly in events that encourage steady bet sizing and quick spins.

    Leveraging Downtime to Recharge Decision‑Making

    Leaderboard pressure can erode your decision-making, resulting in rushed stake changes or emotional chasing. A calm session on Wild Toro 3, with its steady volatility and theme-driven immersion, clears your head. By engaging the part of your brain that processes story and music instead of data and rank, you often return to the next round sensing more refreshed and more disciplined, which supports long-term performance.

    Why Wild Toro 3 Slot Covers the Tournament Gap So Well

    Wild Toro 3 is built on a system that seems familiar but offers its own identity. The five-reel, 243-ways-to-win setup removes fixed paylines, so you can settle into a consistent spin tempo. In a fifteen-minute gap between tournament rounds, the game provides you ample feature triggers to keep the energy going without locking you into a long session. If you’ve ever stared at a countdown timer, this slot turns those idle minutes into captivating, stand-alone fun, far from leaderboard stress.

    UK players enjoy that the volatility rests in a balanced middle. You get consistent base-game returns to maintain the session active, with unexpected big bonus moments included. That mix dodges the harsh dry spells that could irritate someone already exhausted from a hard tournament. Instead, Wild Toro 3 works like a refresh button, offering you sufficient anticipation that downtime seems like a intentional break, not an frustrating interruption.

    Gaming Elements That Sustain the Action Rolling

    A slot meant for short breaks needs features that maintain you entertained often. Wild Toro 3 accomplishes that with a set of smoothly combined mechanics that trigger naturally and accumulate on each other. You seldom go more than twenty spins without some form of visual or mechanical reward, which renders it perfect for occupying gaps of any length.

    Matador Extra Spin and Moving Wilds

    When the Matador symbol lands, the game looks for a Toro symbol nearby. If they face off, you obtain a Matador Respin, an extra spin with the Matador held in place. At the same time, the Toro Walking Wild shifts the wild one reel left each spin, providing you respins until the bull moves off the grid. These features transform one spin into a little chain of events, the sort of evolving drama that turns a ten-minute break feel like something real.

    Five Coins Instant Win

    Gold coin scatters tally up during the base game, and if you land any five at once, you scoop the Cinco Monedas instant prize. It’s not a slow collection trail; it can hit right at the start of a session. For someone squeezing in a few spins between tournament entries, that instant payoff offers a nice mental lift and a hint that short sessions can still deliver genuine moments.

    Handling Your Budget During Extra Spins

    Downtime play should never appear like a financial free-for-all. Wild Toro 3 accepts a wide range of stakes, starting at pennies per spin in pounds. That allows you set aside a small, separate bankroll just for between-tournament sessions. Many UK players maintain tournament money and downtime money apart, and the game’s adjustable coin values make that easy. The trick is to regard these extra spins as a leisure top-up, not a mission to win back earlier losses.

    A few simple habits help you stay in control while filling gaps:

    1. Decide on a fixed number of spins before each break, regardless of results.
    2. Employ the autoplay loss limit function, available in most UK casino interfaces, to cap exposure.
    3. Establish a timer on a separate device so the session naturally ends when the next tournament round opens.
    4. Withdraw any standalone wins immediately after the break to protect them from tournament reinvestment.
    5. Examine weekly downtime spend as a separate line item in a gambling diary.

    Mobile-Friendly Design for Gaming on the Go

    Much of tournament downtime in the UK takes place away from a desktop. Waiting for a train, parked in a car park, or having a lunch break all become chances for a few spins. Wild Toro 3 was built mobile-first, so the reel grid adapts well to smaller screens and the touch controls feel natural. Stake and autospin buttons are placed right under your thumb, reducing accidental taps that break your flow.

    Cross‑Platform Session Syncing

    If you interrupt a session on your phone and pick it up later on a tablet, the game preserves your balance and history, as long as you’re using the same UK-licensed casino account. That continuity counts if you treat downtime as part of your overall routine. No progress disappears, and switching devices is seamless, so your tournament break can stretch naturally across different parts of the day.

    A Captivating Audiovisual Journey Through Spanish Tradition

    Wild Toro 3 wraps its mechanics in a vibrant Spanish corrida atmosphere that’s cinematic but not overwhelming. The backdrop is a warm evening plaza, with elaborate ironwork surrounding the reels. Each spin includes a confident acoustic guitar track that picks up when bonus rounds hit. That sensory detail is important during downtime because it creates a distinct mental space, drawing you away from the tournament grind and into a more discovery-led mood.

    The hues are clay, gold, and deep reds, hinting at the passion of a bullfight without being explicit. Even UK players who’ve never set foot in a Spanish arena can sense the cultural fabric. The design converts Wild Toro 3 into a little escape, allowing you retreat from the data-driven focus of leaderboard chasing and into something more story-focused.

    Understanding Tournament Downtime within the UK Slots Scene

    Tournament downtime is simply the time when a slot competition isn’t running spins. For UK players, that could occur between multi‑round qualifiers, during overnight leaderboard freezes, or when the casino runs routine backend updates. If you are without a decent fallback game, the sudden halt can shatter your focus and drain the buzz from a structured session. Recognizing these patterns is the first move toward converting dead air into something productive, maintaining your rhythm going without hunting results.

    Typical Causes of Interruptions Between Competitions

    Downtime isn’t one-size-fits-all. Knowing what causes it aids you plan. A few things often interrupt tournament flow at UK online casinos:

    • Planned daily reset points, often matched with midnight Greenwich Mean Time.
    • Lobby maintenance when new prize pools or sponsor games are introduced.
    • Inter‑round processing delays that confirm previous session results.
    • Pre‑registration windows for upcoming high‑stakes events.
    • Network‑wide cool‑off periods mandated by safer gambling protocols.

    How Downtime Affects Player Habits

    Veteran tournament players in the UK have grown to expect these gaps and rarely log out because of them. They fill the time with a secondary game that matches the pace they like. That habit maintains the comfort of continuous play without blowing the bankroll. It also creates a natural space to try new mechanics and bonus rounds that require a different kind of decision-making than a timed leaderboard climb.

    How to Locate the Best Wild Toro 3 Gameplay in the UK

    Few sites showcases the game identically. UK players are advised to use casinos with a full Gambling Commission licence, as it ensures audited random number generation and accurate RTP percentages. Additionally, the best sites load Wild Toro 3 without annoying pop-ups and let you deposit quickly in pounds. Some operators even feature the game in a ‘Top Slots’ collection, so you can jump straight to it during a tight break.

    Astute tournament players search for sites that tick these boxes:

    • UK Gambling Commission licence prominently shown at the footer.
    • Specialised mobile app or progressive web app for instant access.
    • Search function that pulls up Wild Toro 3 on the first keystroke.
    • Sensible wagering requirements on any welcome offer used for the slot.
    • Customer support available via live chat during typical UK evening hours.

    Frequently Asked Questions About Wild Toro 3 Slot

    How long does a typical Wild Toro 3 session go on during tournament downtime?

    That depends on the gap you have, but many UK players spin for five to fifteen minutes. Mechanics like Matador Respin and Walking Wilds tend to trigger fairly fast, so even a short burst can provide engaging moments without a big time commitment.

    Can you find Wild Toro 3 accessible at UK mobile casinos?

    Absolutely, it’s fully adapted for mobile and widely available at UK Gambling Commission-licensed mobile casinos. It works smoothly on iOS and Android, with touch-friendly controls and a clean interface that suits smaller screens. You can play through a mobile browser or a dedicated casino app if the site offers one.

    Does playing Wild Toro 3 affect tournament eligibility?

    No, it doesn’t, playing a different slot during downtime has no effect on your tournament entry or score. The two are entirely distinct in your casino account. As long as you satisfy the tournament qualification rules, you’re welcome to enjoy any other game without penalty. It’s just a way to stay engaged during the natural pauses in event scheduling.

    Are bonus features in Wild Toro 3 be triggered during short sessions?

    Definitely. The Cinco Monedas instant win can occur within a few spins, and Walking Wild respins often begin without a long grind. The mechanics are fair and based on random distribution, so a short session provides the same per-spin chance as a long one. That fairness renders the slot especially good for occupying unpredictable break lengths.

    Viewing tournament downtime as part of the rhythm of UK online slots converts a nuisance into a plus. Wild Toro 3 gives you the right mix of familiar structure and thematic escape, so you can sustain your pace without chasing losses or blowing your budget. Choose a safe, regulated platform, set clear boundaries, and treat every spare minute as a chance for controlled fun. The whole gaming experience becomes richer and more sustainable, long after the leaderboard lights go out.

    Slot events have become popular across the

    Microsoft’s potential options for the future of the Xbox brand reportedly include spinning it off into a separate company or operating as a “wholly owned subsidiary” rather than a division within Microsoft.

    According to The Information (via Reuters), these are just a few of the options Microsoft is considering. Xbox has struggled mightily in recent years, most recently losing millions of subscribers to its Game Pass subscription service after a major price hike. Game Pass has, at least partially, seen improvement following a price cut that also removed new Call of Duty games from the library.

    A spin-off would, on paper, make the Xbox brand free from the high-profit-margin expectations of Microsoft as a whole, though it would also no longer have access to the vast resources of such a large company.

    The Information’s report also said Microsoft is planning to increase investment in a few of Xbox’s biggest franchises, including Halo, The Elder Scrolls, and Fallout, in order to speed up development, but just what that means remains unclear. The Elder Scrolls VI and Fallout 5 were both technically announced many years ago, with very few updates on either, while Halo: Campaign Evolved will serve as a stopgap of sorts when it launches next month–for the first time on PlayStation 5 in addition to Xbox and PC.

    That PS5 release may be a one-off for Halo, however, as Microsoft looks to renew focus on console exclusives. Gears of War: E-Day, for instance, reportedly had a PS5 version in the works, but is no longer coming to the platform.

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    Microsoft's potential options for the future of

    Derrick Borte’s Russell Crowe L.A.-set action-thriller Bear County sent a frisson through Hollywood last year when it was announced the production was shooting on Australia’s Gold Coast.

    Russell stars as an ageing L.A. night club owner whose plans for a comfortable retirement are put on hold when he robbed by a masked gunman.  He is joined in the cast by Nina Dobrev, Aaron Paul and Daniel Zovatto.

    The movie is adapted from Thomas Perry’s 2010 novel ‘Strip’ which unfolded around Hollywood Boulevard and throughout the San Fernando Valley.

    A news item on Deadline announcing the start of shoot in January 2025, sparked a flurry of comments at the time, and criticism of California Governor Gavin Newsom for failing to stem runaway production.

    Responding to a question from Deadline at a news conference at the Taormina Film Festival where the film world premieres this evening, producers Mark Fasano of Nickel City Pictures, and Jeffrey Greenstein of A Higher Standard explained the rationale behind their decision to shoot in Australia.

    “It’s very expensive to shoot films in the United States these days and so many films are shot abroad because of that,” said Fasano.

    Quizzed if he felt “guilty” about leaving the L.A. for the shoot, at time when the production business is in crisis there, Fasano said emphatically: “No, because the legislation is intrusive actually… we want them to change the legislation there and make it more film friendly. So, we’re going to continue to shoot wherever we need to shoot to get our films made until they make it easier for us to come back.”

    Greenstein added: “The reality is, it’s not our doing. We didn’t create the system, we just work within it and we make the movies in the place creatively that fits and that make financial sense so until the unions and the tax credits in the U.S. can make it more conducive to shooting, we’re going to continue filming movies and we’ll welcome any and every crew that wants to work.”

    Director Borte, for his part, praised the quality of the crews and services on the Australian Gold Coast, adding that he had found locations that stood in well for the L.A. locations in the film.

    “Creatively it was just about finding places that would play as L.A. We knew we wanted to set most of this in Koreatown, which is a specific look really that a lot of people haven’t seen, but on camera, people that live in L.A. don’t think it’s shot in Australia, they think it was shot in L.A.,” he said.

    “And then we got Manhattan beach and a few like places in LA that don’t typically show up in movies,” he added. “On a practical note, the crews were amazing in Australia. The day player actors were great and outside of a hurricane, the weather was great.”

    Aside from the locations, crews and services, the feature also tapped into Screen Queensland’s incentive package.

    Bear Country will world premiere this evening to a 4,500-strong audience in an open-air screening at Taormina’s Ancient Greek amphitheater.

    Crowe, who will receive an International Achievement Award at the gala screening, has been joined Dobrev, Paul and Zovatto alongside the director and producer.

    The movie marks Borte and Crowe’s second collaboration together after 2020 road rage drama Unhinged.

    Speaking at an earlier press conference, Borte said it had been Fasano and Crowe who first brought Perry’s novel ‘Strip ‘to his attention.

    “Russell and Mark had the book, and we just knew there was something really great in there with these characters,” he said of the film’s genesis.  

    Crowe added: “Mark had the book. He sent it to me, I read it and he said, ‘Who should I send it to?’ And I said, ‘My mate Derrick’.”

    Borte added he had liaised with Crowe over the screenplay, which he co-wrote with with Daniel Forte (American Dreamer).

    “Typically, with the writing process, having done two films now with Russell, we do a draft,” he said. “He looks at it, we get together, we throw things against the wall, see what sticks, see what works with the characters, see what works with the story and refine it to get to the point where we’re ready to cast.”

    Tonight’s world premiere kicks off a summer preview tour across Italy for the film ahead of an August 26 release by 01 Distribution on behalf of Minerva Pictures with Rai Cinema.

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    Derrick Borte’s Russell Crowe L.A.-set action-thriller Bear

    Although Tom Hanks has popped up behind both the Oscars winner’s podium and the voice artist’s microphone more than once across his long and legendary career, he’s not moved by the idea that voice actors should have their own category at the Academy Awards. “I think they have enough categories,” Hanks noted drily in a recent interview for his upcoming Toy Story 5, when asked whether the Academy should follow groups like the Emmys in specifically recognizing voice work.

    Hanks’ case, as laid out to Gold Derby, is pretty straightforward: Any voice performance is already eligible for a Best Acting or Best Supporting Oscar, provided it’s convincing enough to a sufficient number of Academy voters. (That’s in contrast to, say, the movement to recognize stunt performers or choreographers, who—until the debut of the Oscars’ first stunt design category in 2028—don’t have any categories where they could even hypothetically be recognized.) The fact that said voters have not once, across 98 extant Academy Awards, availed themselves of the opportunity to nominate a non-physical performance—with the closest probably coming back in 2013, when Scarlett Johansson pulled in rave reviews, and a few festival wins, for her wholly vocal performance in Spike Jonze’s Her—doesn’t seem to bother Hanks: “If they are moved by a human being’s performance, that is all that’s required.” 

    Ironically, Hanks is not only busy promoting a voice role in a movie, but fresh off an Emmy nomination for this exact kind of work: He was nominated last year for Outstanding Narrator at the Emmys, for his work on NBC docuseries The Americas. (He lost to Barack Obama.) Hanks—who’s been nominated for six acting Oscars, winning two back-to-back for Philadelphia and Forrest Gump in the 1990s—also brought up, in the interview, the frequent questions about Andy Serkis’ motion capture performances in the Lord Of The Ring films; Serkis himself has argued that there’s no need to create a separate category for motion-capture performances, and that he’d much rather Academy voters simply become more open-minded about the amount of acting work that goes into creating characters like Gollum or King Kong‘s Kong.

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    Although Tom Hanks has popped up behind

    The revolving door of chief marketing officer (CMO) hires and marketing reshuffles continues.

    We’ve rounded up the U.S. and global marketing leadership moves you need to know about for the week ending June 12.

    – Canadian intimates and apparel brand Knix, known for body-positive and taboo-breaking marketing around period underwear, has a new CMO in Cyntia Leo. She brings more than a decade of experience from brands including Urban Outfitters and Nike.

    – Samantha Avivi has been promoted to the role of global CMO for Bayer’s consumer health division. She first joined as CMO in April 2024 from Advance Auto Parts.

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    The revolving door of chief marketing officer

    A comedy franchise starring Reese Witherspoon is returning with a new prequel series that will explore her character’s childhood. The upcoming Prime Video show focuses on the character’s teenage years and the experiences that helped shape her future. The series stars Lexi Minetree in the lead, playing the younger version of Witherspoon’s character.

    Elle arrives on Prime Video next month

    Prime Video’s upcoming series Elle is set to premiere on July 1, 2026. The prequel to the Legally Blonde films explores the early life of Elle Woods before her journey to Harvard Law School. Created by Laura Kittrell, the series stars Lexi Minetree as the younger version of the iconic character originally portrayed by Reese Witherspoon.

    The series is set in 1995 and follows Elle during her high school years. It examines her life as a teenager, including her friendships, relationships, family life, and the events that influence her outlook before she leaves for college.

    The recently released trailer begins with Elle enjoying a comfortable life in Bel-Air, where she spends her time with friends, attends parties, and embraces the lifestyle she has always known. That changes when her parents, Eva and Wyatt Woods, announce that the family is relocating to Seattle.

    The move forces Elle to leave behind her social circle and start over at a new school. Her first days at school are marked by awkward encounters and failed attempts to connect with classmates. While trying to adapt to the culture around her, she is accused of being a ‘poser.’ However, the trailer suggests that a controversy affecting the student body could change how others view her.

    Minetree leads the cast as Elle Woods. June Diane Raphael portrays Eva Woods, and Tom Everett Scott plays Wyatt Woods. The ensemble also includes Chandler Kinney as Kimberly, Jacob Moskovitz as Miles, and Gabrielle Policano as Liz.

    Elle marks the first television expansion of the Legally Blonde franchise.

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    A comedy franchise starring Reese Witherspoon is

    The 28th Shanghai International Film Festival launched Saturday at the city’s Grand Theatre, drawing a constellation of Chinese-language stars to its opening red carpet and centering its ceremony on cinema’s human core rather than the geopolitical flash that has marked other festivals this year.

    Tony Leung Chiu-wai, who serves as jury president of the Golden Goblet competition, appeared on the red carpet alongside his wife Carina Lau and fellow jurors Dora Bouchoucha, Guan Hu, Aktan Arym Kubat, Déa Kulumbegashvili, Fernanda Valadez, and Xin Zhilei.

    “I have acted in many movies and played many different roles, but cinema remains just as fascinating to me,” Leung said. “Through different characters, experiencing different lives and different stories.”

    The ceremony’s standout moment came with the Lifetime Achievement Award presentation to Lisa Lu, the “Crazy Rich Asians” actor who has already passed her 100th birthday by the Chinese calendar. She was introduced by fellow cinema legend Joan Chen, who recalled how Lu had gifted her dresses for red carpet appearances when Chen was first breaking into Hollywood. Lu arrived flanked by director Sherwood Hu and her two daughters, Lucia Hwong and Lorette Hwong.

    “Shanghai is my hometown, and it is also where my artistic journey began,” Lu said from the stage. “Looking at so many outstanding filmmakers present here today, if there is an opportunity in the future, please get in touch with me! I have not retired. I will continue to act!”

    Veteran Fifth Generation filmmaker Zhang Yimou received an outstanding contribution to Chinese cinema award.

    The ceremony opened with a performer hoisted on a robotic arm interacting with projections of environments drawn from international and Chinese films, setting the tone for a festival that is leaning into artificial intelligence while insisting on cinema’s irreducible humanity. Shanghai vice mayor Lu Shan, who officially declared the festival open, made that tension explicit.

    “We all have to answer a question: On what basis is cinema irreplaceable?” Lu said. “From film reels to digital cinema, from live-action shooting to AI generation, the language of technology is constantly upgrading. However, the fundamentals of cinema have not changed. Humanity is always the core of creation.”

    Among the new tech initiatives is an AI Backlot section developed with Hailuo AI, pairing four traditional directors with four AI creators to produce short films, alongside a Tech Creation and Fabrication Unit featuring interactive virtual reality exhibitions.

    Academy Award winner Michelle Yeoh walked the carpet with the cast of her new project “This Is My Time” – directed by Bai Xue and produced by Muye Wen – alongside Liu Haoran, Bai Ke, Rina Sa, and Tian Yu. Bona Film Group CEO Yu Dong brought two productions tied to Hong Kong director Andrew Lau: “Crossing,” starring Liu Ye, Wang Zhifei, David Wang, Zhang Li, Li Chen, Cao Bingkun, and Wang Tianchen; and “Kashmir Princess,” with Chen Kun and Gao Yuanyuan.

    The opening night film was “Afterpiece,” directed by Keane T.K. Wong and produced by Derek Yee, led by Stephen Fung and Myolie Wu.

    Director Dong Runnian and producer Ying Luojia also brought the cast of “Make Zhonghe Great Again” – the August-slated sequel to “Johnny Keep Walking!” – to the carpet, including Zhang Ruoyun, Bai Ke, Gao Ye, Sun Yizhou, David Wang, Li Chen, and Tian Yu.

    The festival’s main program spans 420 films, including 41 world premieres across its competition sections – all entries in the Golden Goblet Awards competition and documentary units are world premieres. Sidebars range from retrospectives on Billy Wilder and Ken Loach to an Egyptian Film Week and a program marking the 105th anniversary of the founding of the Chinese Communist Party. Three animations are also set for summer release: Light Chaser Animation’s “Three Kingdoms: The Beginning,” “All Wishes Come True!,” and “Demon Agent.”

    On the youth development front, the festival is expanding its SIFF ING mobile filmmaking camp and opening SIFF NEXT incubation workshops to the public. Leung and Singapore director Anthony Chen will lead masterclasses for emerging filmmakers.

    The festival plays through June 22.

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    The 28th Shanghai International Film Festival launched

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    “I’ve been waiting for this moment,” says Anna Faris.

    The celebrated actress and comedian is on top of the box office once more, as “Scary Movie,” the sixth installment in the popular horror-spoof series, opened to a franchise-best $55 million last weekend. It all came to fruition thanks to Marlon Wayans, whose family was callously kicked off the films by Harvey and Bob Weinstein after the second installment.

    One of the first things Wayans did when he got back the keys to “Scary Movie” was recruit stars Anna Faris and Regina Hall to return as Cindy Campbell and Brenda Meeks, its two embattled protagonists who’ve once again found themselves in the crosshairs of Ghostface, a psycho killer who really has it out for them.

    “Scary Movie” was a blessing for Faris, who’d experienced a number of personal and professional hardships, from a public divorce to a career slowdown after exiting her CBS sitcom “Mom” in 2020 during COVID. But now, she’s never been in more demand. After “Scary Movie,” she’ll star in three more films out this year, including the screwball comedy “Spa Weekend” and the dark drama “Primetime,” opposite Robert Pattinson.

    In a candid conversation via Zoom from her cabin in the woods of Washington, Faris opened up about her highs and lows, and how the success of “Scary Movie” seems like “one big victory lap.”

    I see you’re in a lovely-looking cabin.

    I grew up north of Seattle, so me and my husband bought a house in Washington in 2019. It’s majestic here.

    Like “Twilight.”

    [Laughs] Totally, it is. But now I’m old enough to handle the depression!

    As someone who grew up watching your films, it’s so fun seeing you onscreen again in “Scary Movie.” The first film was way back in 2000 and really launched your career.

    I’m so happy I get to tell my story. The whole thing has been a reconciliation and a victory within myself. I know I’m Seattle cynical, but I guess L.A. infiltrated because I keep using the word “journey.” In 1999, I was graduating from the University of Washington with an English degree, I was going to go into marketing, but I wanted to be a novelist. Through a series of circumstances, I got an audition tape in front of Keenan Ivory Wayans. It all happened so fast, and was less of a dream of mine being realized and more of a dream being formed. I felt like someone blindfolded me, put me in a helicopter and dropped me in a strange land.

    Regina Hall, Jon Abrahams and Anna Faris at the premiere of “Scary Movie” in 2000.

    Getty Images

    That sounds surreal.

    I mean, I was a short kid growing up. That was my identity: “The short girl, and we think she’s a girl, but she could be a very tiny boy.” For me, it was as though suddenly everyone was telling me I was tall, especially with my relationship to comedy. I’d never identified as funny. So, Keenen giving me that gift of casting me was a 180 in my life. Then, the years after that, I felt frustrated at times with the headiness of the industry. Sudden fame was a heady experience, and I found myself getting swept up in ego and competition at times — things I didn’t like to recognize in myself. One time, I remember Keenen saw me and must have conveyed envy toward Shannon Elizabeth getting to look so beautiful and sexy, and I just fundamentally did not feel that I should be watched, as a person. I was a “back of the class” kinda kid. And Keenen told me, “There’s no vanity in comedy.”

    You came up in that weird Maxim/FHM era. It seems pretty antiquated now that up-and-coming actresses had to undress for these men’s magazines as a rite of passage.

    Yes! It was weird. I think at one point I was, like, No. 73 on Maxim’s Hot 100. It was weird as a quiet, average kid who liked the Dewey Decimal System. I also did not come from a family that took a lot of pictures, and suddenly, I had to have fun with it and look directly into the camera. Those were ideas that I did not understand, and I didn’t enjoy it. Everything was so new. I was used to rejection in my experience in Seattle. I had acted, and I loved it, but I did not think I could make a living off of it. And I was really naïve to the idea of the lack of imagination Hollywood had in terms of the categorization of comedy and drama. I never recognized the difference because I’d done mostly dramatic work and the preparation for it was the same, fundamentally. It felt really frustrating. Journalists would ask me, “Are you afraid of being typecast?” and I’d go, “Well, yeah.” I thought I was quickly losing options. I wanted to act and couldn’t believe I was able to support myself from it, but not as opulently as people would assume.

    How so?

    Well, I was not invited back for “Scary Movie 5.” And I think it was because of age and money. I don’t think I ever got a male-comparative paycheck — I know I didn’t, nor did Regina. We didn’t make money that you can hide away.

    Which is wild because you’re the star of this huge, blockbuster franchise.

    That was also part of my relationship to the “Scary Movie” franchise. I grew up with a deep sense of injustice being a short kid in a tall family, so there was a compounding. It was always gratifying to seee people come up to me and go, “Yo, that jacket is tight!” But because I felt the love around the world from different people, but not in Hollywood, I felt undervalued.

    Anna Faris and Regina Hall in “Scary Movie.”

    Paramount Pictures

    And the Wayanses were kicked off the franchise after “Scary Movie 2.”

    So, in 2002, that was the last time I’d talked to Keenen. He had called me and said that the franchise had been taken away from them, and he asked me to not do it. It was such a devastating moment in the sense that I admired Keenen so much, and he was asking me to do something, but I was under contract. He said, “All they can do is sue you!” and I’m thinking, “I’m living in a one-bedroom apartment by the farmer’s market!”

    You were living in a one-bedroom apartment after two “Scary Movie” films? Was that Weinstein accounting? Were you not compensated much for those?

    Uh-huh. When I got the role for “Scary Movie,” I got a three-picture deal. My new manager celebrated it, but I didn’t know what it meant. What it means is that they can lock you into a movie franchise and not pay you much. I got paid 65,000 Canadian dollars for the first movie, which quickly dissipated after taxes and manager’s fees. And then I wasn’t paid much for the second one or the third one. So, my feelings about the franchise were tough, and I felt so arrogant if I ever dismissed my massive stroke of luck in getting the role of Cindy Campbell. That made me feel grotesque, as though I’d been poisoned by the fame; but at the same time, I felt, fuck, if I’m good enough to compete, let me run with the champs! You know?

    And now you’re back in “Scary Movie.”

    It’s been a victorious feeling, the last year and a half since Marlon called in 2025. But my feeling at the time was that I was slowly fading out [of the industry]. Because I didn’t come to Hollywood with stars in my eyes, I just didn’t know what any of it meant, and I didn’t feel funny or confident in being funny at all.

    It’s interesting to me that you didn’t think you were funny because I did some research on you for this interview, and when I read about you making home videos in your bedroom as a child with your talking retainer, that sounds very funny to me.

    It was named “Simon.” And Simon was British. I loved talk shows growing up, like “Sally Jessy Raphael.” My mom didn’t let me watch a lot of television, so I had a radio and listened to a lot of Dr. Joyce Brothers and loved talk radio. I didn’t have a lot of friends, but I didn’t really need them. I liked being alone. We had woods in our backyard, and I was always out in the woods. I still think being a forest ranger would be a great profession for me. I enjoy solitude. But I was a very imaginative kid. I read a lot. And I never showed [the videos] to anybody, and it was only later how funny I realized it was.

    I did do odd things sometimes, like I did wear a Christmas tree skirt to school for a while. It felt like an offensive-defense, like starting to bleach my hair. I was very uncomfortable with being a sexual person by any means. I was a late bloomer. “The House Bunny” actually changed my ways, quite frankly! But that’s a longer discussion. I was an offbeat kid with a deep sense of injustice. I was convinced that I was going to be framed for murder.

    [Laughs] OK wait — you thought you’d be framed for murder?

    I really entertained the idea. So, I spent six weeks in the summer wearing these disgusting royal purple knitted gloves because I thought anytime I opened anything they were going to catch my fingerprints, as an eight-year-old.

    See, now I desperately want to watch you in a spoof of a Netflix true-crime docuseries where your character is framed for murder.

    [Laughs] Deep injustice! I like to think that Keenan saw something in me. Toward the end of “Scary Movie 2,” I had the courage to ask Keenan why he’d cast me. It was a little self-indulgent, and he knew it, too. And he smiled and said, “Because you didn’t know what you were doing.” And it’s true! But I was willing. When we were shooting the first “Scary Movie,” and I get shot to the ceiling by my boyfriend’s sperm, the other actors had left, and I’m hanging there by myself. It was a lot of firsts for me. I grew up without religion but a lot of sexual repression.

    Shawn Wayans, Anna Faris, Ghostface and Marlon Wayans.

    Getty Images

    You mentioned feeling as though Hollywood was pushing you out. After “Mom” ended, was that a period of uncertainty for you?

    Yup. Absolutely. When I’d felt this way before, which was probably around 2006, I had to be proactive in my career. And when the writers of “Legally Blonde” asked to meet me, I pitched them the character of Shelley, and we went on to have success with “The House Bunny.” But before that time, I thought, “I’m not hot enough to be the ‘bounce card,’ and I don’t think Hollywood knows what to do with me. So, I have to build my own house.” After “Mom” and quarantine and everything, I just felt like I didn’t have the energy and had a kind of depression. I was being asked to put myself on tape for stuff that I felt I wouldn’t have had to maybe a decade ago. I enjoy winning a role through an audition, but I really wanted to be up here in Washington and test how much I loved acting. “Am I going to go to the community theater again?”

    [Faris tears up] God, I’m getting emotional. Anyway, “Scary Movie” has felt like an opportunity to reframe my relationship [to Hollywood], and it’s felt like I have a lot more control. Getting to act with Shawn, Marlon and Regina again, it feels like I’m bringing something to the table that I’m acknowledging now, like, how great is this?

    When we talk about your trials with Hollywood and the end of “Mom,” going through a very public divorce seems incredibly difficult. Divorce can be hard enough on its own, but then you have all the media coverage of it.

    I was feeling sad. Sad. I do feel like I had enough gumption, enough of a core, and I have tried to be careful about how much Hollywood infiltrates, but now I’ve been on a spectrum of fame for 26 years, so I would be naïve to think that it hasn’t shaped who I am at this point. But, fuck. The scrutiny. I’m lucky that at that time I had my podcast [“Unqualified”]. That goes back to the talk radio. I wanted, like, four people to listen and to build my own secret community. I wanted an avenue outside of Hollywood as a way to connect with people.

    I used to do this thing on ski lifts where, if I was on a ski lift with a stranger, I’d say, “Do you want to have a really intense ten-minute conversation with me? And you can answer any question you want to.” And I’d ask them questions like, “When was the first time you fell in love?” I’ve had a constant desire to connect with people. I didn’t disclose a lot on the podcast, but I always felt like I could if I needed to. The podcast helped me a lot during that time, and it made me think: I know I could be happy if I’m writing, because I’ve always loved that, and maybe that’s an avenue to make money. I was thinking of a version of retirement. But now, I feel like the opportunities are more bountiful than they’ve ever been! I’m just overwhelmed with gratitude. When people see me, they usually smile and say, “Oh, I love ‘The House Bunny!’” or “Oh, I love ‘Scary Movie!’” or “‘Mom’ helped me through that hard time.”

    I am a BIG fan of “Smiley Face.”

    I knew it! There are three characters throughout my career that I’ve loved playing the most: Shelley from “House Bunny,” Samantha from “Just Friends” — I don’t know if you’ve seen “Just Friends.”

    [Singing] “Forgiveness… is more than saying sorry.”

    “To forgive is divine / So let’s have a glass of wine / And have make-up sex / Until the end of time!” And Jane [from “Smiley Face”] was an opportunity like no other. At that time, playing an asexual character at my age, and working with Gregg Araki on a low budget, it was so exhilarating. “Smiley Face” has its own little club. I love that you love “Smiley Face.”

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    Fertility rates have been declining for decades, but the drop has accelerated sharply over the past 20 years, and researchers are still trying to fully explain why.

    Now, new research suggests a device that has come to define modern life may be playing a role: the iPhone.

    The smartphone, first released in 2007, coincides with a turning point in birth trends in the United States and elsewhere. That timing prompted U.S. economist Caitlin Myers of Middlebury College in Vermont to investigate whether the two could be connected.


    Click to play video: 'Canada reports first annual population decline on record'


    Canada reports first annual population decline on record


    “It’s a fascinating question. Why are births plummeting?” Myers said in an interview. “In the United States, births have fallen by almost a quarter since 2007.”

    Story continues below advertisement

    Her research looks at whether increased screen time and the shift toward digital interaction may be reducing in-person contact, indirectly leading to fewer pregnancies.

    Receive the latest medical news and health information delivered to you every Sunday.

    Get weekly health news

    Receive the latest medical news and health information delivered to you every Sunday.

    To test the idea, Myers analyzed birth rates across U.S. counties in the early years after the iPhone’s release. At the time, the device was only available through AT&T, meaning some regions had access while others did not.

    By comparing those areas and controlling for factors such as income, education and contraceptive policy, she found birth rates dropped more quickly in places where the iPhone was available.

    “We observed that births fell much faster in the places where you could get an iPhone,” Myers said.

    The theory is simple: more time spent online could mean less time spent together in person. “It’s hard to get pregnant when you’re not in person with somebody,” she told Global News.

    Fertility rates are now well below replacement levels in many countries. In the United States, the rate sits at roughly 1.6 children per woman. In Canada, it is even lower, at about 1.25.

    And the trend is not limited to wealthy nations. Declining birth rates are being recorded around the world.

    Still, experts caution that smartphones are unlikely to be the sole or even primary cause.


    Story continues below advertisement

    The 2000s brought a number of major social and economic shifts that are widely believed to be contributing to the so-called “baby bust.” These include the global financial crisis, rising housing costs, higher levels of education and broader access to contraception.

    Celia Chandler, a writer who documents her experience being “childless by choice,” says it may be a stretch to draw a direct line between technology and people deciding not to have children.

    “I do think it might be a bit of a stretch to say that technology is preventing people from having children,” she said.

    Chandler argues one of the most important changes in recent decades is that more people, particularly women, feel empowered to choose whether or not to become a parent.

    “I feel very fortunate that I was born at a time when I had a choice,” she said.

    Researchers acknowledge that the iPhone itself is unlikely to explain such a complex global trend on its own, but say it may be part of a broader shift in how people connect, form relationships and structure their lives.

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    Fertility rates have been declining for decades,

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    Anthropic said on Friday night that the U.S. government had ordered the company to suspend access for all foreign nationals to its Fable 5 and Mythos 5 artificial intelligence models, citing national security ​concerns.

    The company revealed the order in a social media post, saying that it “must abruptly disable Fable 5 and Mythos 5 for all our customers to ensure compliance.” Foreign nationals who work for Anthropic are also affected by the suspension.

    The order to limit access to the new A.I. models came from the Commerce Department, said a person familiar with it who spoke on the condition of anonymity. It was unclear how long the restrictions would last.

    The limits on foreigners represent a new chapter in Anthropic’s often prickly relationship with the federal government and are a highly unusual example of federal authorities’ dictating how a technology company can operate.

    It is also the second time the Trump administration has targeted the company, which is based in San Francisco. In March, after tense talks over how Anthropic’s A.I. could be used in military and intelligence settings, the Pentagon said it had deemed Anthropic an unacceptable supply chain risk, potentially limiting its use by federal agencies.

    Government restrictions on selling key technologies such as computer chips to countries such as China are common. But the order limiting who can use Anthropic’s technology is unusually expansive, and could in theory block Anthropic employees who are citizens of allied nations like Canada or Britain from working on it.

    The order could also cause significant problems for technology development at Anthropic, which along with OpenAI is one of the most influential A.I. companies in the world. Though Mythos and Fable 5 are new, they were considered a significant improvement on earlier A.I. models.

    Anthropic declined to comment beyond its post, and the White House did not immediately respond to a request for comment.

    Anthropic unveiled Claude Mythos in April, but said it could not share the A.I. system with the public because it could become a powerful tool for hackers looking for ways to break into computer networks.

    Mythos quickly became a security concern in Washington and Silicon Valley because it could represent what experts had worried about for several years: that A.I. represented a new and far more dangerous threat to computer networks.

    Anthropic shared the Claude A.I. system with about 40 organizations that maintain critical computer infrastructure so they could use the system to patch security vulnerabilities before hackers exploited them.

    Reactions from researchers who have had access to Mythos have varied. Some agreed that Mythos was a new and alarming threat. But others said that it was more evolutionary than revolutionary, and that they could use it to protect their networks just as hackers could use it to break into them.

    In its brief statement on Friday, Anthropic seemed to indicate that it considered the government’s decision an overreaction. “We apologize for this disruption to our customers,” the company said. “We believe this is a misunderstanding and are working to restore access as soon as possible.”

    After Anthropic unveiled Mythos, the White House started considering new oversight of A.I. systems. Last week, in a significant shift in policy for an administration that had taken a very hands-off approach to A.I., President Trump signed an executive order that asked companies to voluntarily give the government oversight of new systems before releasing them to the public.

    Earlier this month, Anthropic said it would share the system with about 150 other organizations. Then, on Tuesday, the company unveiled a straitjacketed version of Mythos called Claude Fable 5.

    The Fable system, the company said, included additional guardrails designed to block responses in areas like cybersecurity, biology and other sensitive topics. The guardrails may prevent malicious hackers from using the technology to attack computer networks. But the guardrails may also prevent companies and cybersecurity experts from using the system to defend against attacks.

    Most queries that it deemed risky, Anthropic said, would instead be shuttled to an older A.I. system called Opus 4.8.

    Anthropic’s Opus 4.8 and other older A.I. models were not affected by the government’s order on Friday, the company said.

    Cybersecurity experts have disagreed on whether Anthropic was right to limit the release of Mythos, pointing out that this kind of system can be used to both attack and defend computer networks. Other companies, most notably the Anthropic rival OpenAI, offer similar technology.

    Former U.S. cybersecurity and technology policy officials said they were surprised by the news, calling it highly unusual and out of step with other moves by the Trump administration, such as allowing some advanced A.I. chips to be sold to China.

    “I have no words,” Dean Ball, a senior fellow at the Foundation for American Innovation and a former adviser for A.I. under Mr. Trump, said in a social media post. He added that the decision was “baffling.”

    A week after Anthropic unveiled Mythos, OpenAI said that it would also limit the release of its latest system, called GPT-Cyber 5.4. But OpenAI shared its technology with a larger group, initially sharing the system with hundreds of experts before opening it up to thousands.

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    Anthropic said on Friday night that the

    For five seasons, Principal Ava Coleman (Janelle James) has strutted through the halls of Abbott Elementary as if they were her own personal runway. Equal parts administrator, influencer and self-appointed fashion icon, Ava’s wardrobe has become as much a part of the character as her razor-sharp one-liners. But according to costume designer Hachy Mendez and star Janelle James, creating Ava’s signature style is a collaborative process built on color, texture, storytelling and a healthy dose of excess.

    “Principal Ava always owns the room,” Mendez tells Deadline during an interview on The Process. “She has very main character energy, so we always tap into that, whether it’s color, texture, silhouette and structure. We always make sure we hit all points within her costumes.”

    While Mendez establishes the foundation, James often takes the look a step further once she arrives on set. “I always enjoy seeing what Janelle comes to set with because she does all the last touches in terms of accessories,” Mendez says. “She always finds a way to just take it just that much more over the top.”

    James laughs, adding: “People have to see my accessory closet.” The actor revealed that her dressing room is stocked with shoes, belts and earrings that help transform a costume into something unmistakably Ava. “Hachy will bring the outfit, and then I turn it up.”

    That collaboration extends beyond aesthetics. Throughout Season 5, Mendez used Ava’s wardrobe to subtly communicate story beats and character relationships. In Episode 3, titled “Ballgame,” where the teaching squad head out to see a Phillies game, for example, Ava and O’Shon’s (Matthew Law) coordinated looks were designed to signal that their relationship had solidified after a rocky Season 4 ending. “It’s the first time you see O’Shon and Ava since Season 4,” James says. “So, I thought it was cute that we matched. Right away, you see that even though things were left in Season 4 a little tumultuous, over the summer we’ve been chilling.”

    Another example comes from Episodes 9-11, where the teachers and students have to occupy an abandoned mall while the school is being fixed. Mendez leaned into the emotional functions of Ava’s hardworking personality during a time of great upheaval for the Abbott crew and the students’ parents. 

    Mendez explains how she deliberately dressed Ava in a structured orange suit to ensure she stood apart from the unsuitable environment. “The inspiration that I tapped into for this episode was making sure she still stood out as Principal Ava amongst the chaos,” Mendez says. “Orange is Ava’s power color. When she wears orange, she’s the ringmaster of a scene.” 

    As Ava’s wardrobe has grown more iconic, fans have increasingly associated specific looks with the character, from a custom “Baby Girl” Snuggie to bold ruffles and matching sets. For James, that response is proof that Ava’s costumes have become inseparable from James herself. “Once people see it once, it’s become synonymous with me,” she said. “You see a denim two-piece, you see a ruffled thing, they’re like, ‘Oh, Principal Ava.’”

    To unpack more behind the scenes looks at Abbott Elementary’s costume design and favorites. Watch the video above.

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    For five seasons, Principal Ava Coleman (Janelle

    About The Author

    Justin Anderson joined Realscreen as senior staff writer in 2021, reporting and writing stories for the newsletter and magazine. During his 20-year career he’s filled a variety of roles as a writer and editor at a number of media organizations, covering news and current affairs as well as business, tech, the film and music industries and plenty in between. He’s also spent time behind the scenes in television production, having written everything from voiceover scripts for documentaries to marketing copy. He has a degree in Journalism from Toronto Metropolitan University (formerly Ryerson University).

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    Wow! And I remember the people at my company being like, “Why are we meeting with a 16-year-old?” And I was like, “Trust me, this kid is very talented.” Ever since our phones had cameras on them, that has become my default advice to people. And now with Blender and visual effects, you can make a thing literally on a laptop that when I was growing up would have cost you tens of millions of dollars.

    Hollywood always seems to be in the middle of an angsty crisis. Variety called what just happened with these two YouTubers a “tectonic shift in Hollywood that sent shock waves through the industry.” [Rogen laughs]

    Is that overstating it? Because I guess what I think is so alluring to executives is that YouTubers, as you just mentioned, have cheap technology that they can use to get millions of eyeballs. They can workshop an idea and then have a built-in audience. So I guess it takes the guesswork out of selling tickets? I don’t know if online engagement necessarily translates into ticket sales. But to the first part of your question, I think it’s overstating that it’s a “tectonic shift” if your assumption is that these shifts don’t happen constantly in Hollywood. That’s something me and Evan talk about a lot. I always think of that line in “Network” where Robert Duvall is like, It’s a volatile industry, and the investors are like, Why are we financially invested in a volatile industry? I think by definition it is a volatile industry. The one defining feature of Hollywood from my experience is that every few years there’s a tectonic shift. Thank god it’s not really my job to be overly invested in these trends. I’m able to keep my head down, and we’re aware of them, and we’ll ride the waves if it fits in with our own creative ambitions.

    To me, it’s not that shocking that something like this happened. There’s a whole generation of people who have access to essentially professional filmmaking equipment for a price that, again, when I was young was completely unobtainable. They’re making their own stuff, and studios are making tons of money off of it, which is not that different from when Lonely Island and those guys made YouTube videos and people hired them, or when the “Broad City” girls made their show on YouTube and people hired them, or Nathan Fielder.

    Just as an aside, what makes a good pitch? I think a good pitch is short. If the idea is genuinely good, the pitch is easy. The quintessential pitch I’m used to hearing is from a nervous comedy writer who has terrible people skills. When someone comes in too slick and flashy, I get a little suspicious. But I’m just looking for the idea. I know myself, I’ve had so many ideas that are so hard to pitch. I remember trying to pitch “Pineapple Express,” and them just looking at us like we were insane. When we pitched “The Studio,” our only thought was to way overdeliver. What makes it easy for these people whose entire job is, like, risk mitigation to say yes?

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    Wow! And I remember the people at

    Workers began the process of prying “Donald J. Trump” off the facade of the Kennedy Center in the early morning hours on Saturday, after a court found the president’s renaming of the Washington, D.C., landmark was illegal.

    After crews set up scaffolding Friday in front of the Kennedy Center, they started pulling off the letters from the building at just past 3 a.m. Saturday behind “heavy white tarps” that obscured views of the removal, according to the New York Times. They ended the work and departed the site about an hour later, the Times reported.

    Crowds had gathered Friday in the plaza in front of the Kennedy Center, breaking into cheers and chants of “Take it down,” per CNBC.

    In a May 29 ruling, U.S. District Judge Christopher Cooper ordered Kennedy Center officials to remove Trump’s name from the building (as well as from its website and wherever else it appeared in connection with the center) within two weeks, with a June 12 deadline. The judge also blocked Trump and the center from taking any further steps to close the institution for repairs, after the president had said the Kennedy Center would shut down for two years starting July 4, 2026, to undergo a “complete rebuilding.”

    The judge found that the Kennedy Center’s board of trustees — who were hand-picked by the president — had acted illegally in voting to add Trump’s name to the facility. The renaming, Cooper determined, was a clear violation of a 1964 federal law establishing its name as “The John F. Kennedy Center for the Performing Arts” and explicitly prohibiting the board from adding any other name to the building.

    Earlier this week, the Kennedy Center had purged Trump’s name from its website, social-media accounts and other areas. The Trump-appointed director of the center had requested a 12-hour extension to the June 12 midnight deadline to take Trump’s name off the physical building citing delays caused by storms in the area.

    In ordering Trump’s name wiped from the Kennedy Center, the court ruled in favor of Rep. Joyce Beatty (D-Ohio), who in December sued Trump and the Kennedy Center’s board seeking to force the removal of Trump’s name from the center.

    In a statement released Saturday morning, Beatty said, “Today’s victory is the beginning of returning the Kennedy Center to the American people. The rule of law prevailed, and that is worth celebrating. Let this send a message across the country: when we stand up, fight back, and defend our democracy, we can win. This is just the beginning.”

    Shortly after last month’s ruling, Trump slammed Cooper (“appointed by Barack Hussein Obama”) and said the judge should “be ashamed of himself,” because the center is “structurally dangerous” and a threat to public safety. At the same time, Trump said he would order the Commerce Department to “transfer this failing Institution” back to Congress “so they can make a determination as to what to do with it.”

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    Workers began the process of prying “Donald

    The Fantastic Four will be well-represented in Avengers: Doomsday when it hits theaters on December 18. Along with the Avengers from Earth-616 and the legacy X-Men from an undesignated universe, Earth-828’s version of Marvel’s First Family is finally set to join the greater MCU.

    Seven characters from The Fantastic Four: First Steps are confirmed for roles in Avengers: Doomsday. New Rockstars’ Eric Voss reported on the Doomsday trailer shown at CinemaCon 2026 in Las Vegas, Nevada. In it, he noted that HERBIE is next to Reed Richards at the X-Manstion, confirming the fan-favorite robotic assistant’s return to the MCU.

    Marvel Studios

    Introduced in The Fantastic Four: First Steps, HERBIE (Humanoid Experimental Robot B-Type Integrated Electronics) is the titular team’s assistant, created by Reed Richards. He debuted in Marvel Comics in Fantastic Four #209, released in August 1979. Similarly depicted in the MCU, HERBIE assists the Fantastic Four with everyday needs at the Baxter Building and on their missions, accompanying them to outer space when they face Galactus.

    HERBIE will be one of several Fantastic Four-related characters involved in Doomsday. Next up is Pedro Pascal’s Reed Richards/Mr. Fantastic (expected to play a major role in the movie), described as the smartest man in the universe. Along with elastic abilities that allow him to stretch and morph his body, he is the brains behind the team’s technology, using his smarts to protect his family and the world from danger.

    Right beside him is the team’s main leader, Sue Storm/Invisible Woman, played by Vanessa Kirby. Known for her ability to become invisible and create force fields, Sue is also the team’s public leader, working with the Future Foundation and informing the public in Earth-828 about the team’s missions.

    Pedro Pascal as Reed Richards and Vanessa Kirby as Sue Storm floating in their spaceship in 'The Fantastic Four: First Steps.'
    Marvel Studios

    Sue’s brother, Johnny Storm (played by Joseph Quinn), will also play a big role in Avengers: Doomsday after his debut in The Fantastic Four. Along with his pyrokinetic superpowers, Johnny is an accomplished astronaut and scientist in his own right, while still being the classic ladies’ man fans know and love from the comics.

    Rounding out the core Fantastic Four team is Ebon Moss-Bachrach’s Ben Grimm/The Thing, giving the actor his second MCU role after playing David Leiberman/Micro in Season 1 of The Punisher on Netflix. Ben is the team’s best pilot, and with his body made entirely of rock, he is also the team’s strongest member physically.

    Ebon Moss-Bachrach as Ben Grimm/The Thing in 'The Fantastic Four: First Steps.'
    Marvel Studios

    Given the Doomsday title, it is no surprise that the movie’s villain will be Victor von Doom, played by Robert Downey Jr. (best known for playing Iron Man). While Downey only made a short cameo in The Fantastic Four: First Steps (which did not show his face), he will be the main character in Doomsday, threatening to end the multiverse and everyone in it.

    unknown actor as Franklin Richards in 'The Fantastic Four: First Steps.'
    Marvel Studios

    Finally, The Fantastic Four introduced the first live-action version of Franklin Richards, who was a baby for half the movie and about four years old in the post-credits scene. Doom is expected to try to use Franklin to accomplish his goals in Doomsday, as Franklin is regarded as potentially the most powerful being in the entire universe. While the full extent of his powers has not yet been shown, in the comics, he is known to be able to warp reality on a cosmic scale, create pocket realities, and use telepathy.

    The Fantastic Four’s Expected Role in Avengers: Doomsday

    Fantastic Four 2 Reportedly in Early Development at Marvel Studios
    Marvel Studios

    The Fantastic Four are expected to be major players in Doomsday‘s plot, especially with Downey’s Doctor Doom serving as the movie’s main character. The fourth trailer for the new movie teased the team’s introduction to Earth-616, showing Ben Grimm shaking hands with Winston Duke’s M’Baku somewhere in Wakanda after the Four come over from their own universe.

    The movie’s CinemaCon trailer also revealed that Sue Storm is in Wakanda with Ben Grimm, along with Bucky Barnes, Joaquin Torres, and potentially other Avengers. While it is still unclear how Johnny Storm and Reed Richards fit into the greater story, it seems clear that Doomsday will do everything it can to integrate this quartet with the already-established Avengers.

    Also in question is how the relationship between Reed Richards and Doctor Doom will be depicted, as they are known for having one of the most complex relationships in all of comics. That bond is sure to be a major focal point of the plot, even with so much else going on, meaning Pascal and Downey should share plenty of screentime together.

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    Miten erilaiset pelivalmistajat vaikuttavat markkinoihin?

    Verovapaa pelaaminen on yksi nettikasinoiden suurista eduista. Suomalaiset pelaajat voivat nauttia voitoistaan ilman lisäverotusta, mikä tekee pelaamisesta entistä kannattavampaa. Tämä etu on yksi syy, miksi monet valitsevat pelata suomalaisilla kasinoilla, joissa pelivalikoima on laaja ja voitot ovat verovapaita.

    Ilmaiskierrokset ovat erinomainen tapa kokeilla uusia kolikkopelejä ilman taloudellista riskiä. Monet nettikasinot tarjoavat ilmaiskierroksia bonuksena, jolloin voit voittaa oikeaa rahaa ilman omaa panosta. Tämä on erityisen houkutteleva etu, joka houkuttelee uusia pelaajia liittymään.

    Verovapaus ja bonukset ovat tärkeitä tekijöitä, kun valitset nettikasinoa. Suomalaiset kasinot tarjoavat usein näitä etuja, mikä tekee pelaamisesta houkuttelevampaa. Varmista, että olet tietoinen kaikista tarjolla olevista mahdollisuuksista ja hyödynnä ne hyväksi.

    Kasino Pelikehittäjät RTP (%)
    Kasino A NetEnt, Microgaming 95%
    Kasino B Play’n GO 96%

    Maksutapojen tehokkuus ja hyödyt

    Verovapaat voitot ovat yksi syy, miksi suomalaiset pelaajat valitsevat nettikasinot. Tämä tarkoittaa, että voit nauttia voitoistasi ilman ylimääräisiä veroja. Huomioi kuitenkin, että maksutavat voivat vaikuttaa siihen, miten ja milloin voitot saadaan. Varmista, että valitset luotettavan maksutavan, joka takaa sujuvan pelikokemuksen.

    Maksutapojen valitseminen voi olla hämmennystä aiheuttavaa, mutta se on myös tärkeä osa pelaamista. Ennen kuin aloitat pelaamisen, varmista, että tunnet kaikki käytettävissä olevat vaihtoehdot. Tällä tavoin voit tehdä tietoon perustuvan päätöksen ja nauttia pelaamisesta ilman häiriöitä.

    Pelaajat, jotka etsivät parhaita maksutapoja, huomaavat, että e-lompakot voivat olla nopein vaihtoehto nostojen suhteen. Ne tarjoavat yleensä suurempaa joustavuutta ja nopeutta verrattuna perinteisiin pankkisiirtoihin. Tämän vuoksi monet pelaajat suosivat e-lompakoita, kun he haluavat saada voittonsa nopeasti.

    Loppupäätelmät maksutapojen tulevaisuudesta

    Yhteenvetona voidaan todeta, että parhaat nettikasinot tarjoavat unohtumattoman pelikokemuksen. Valitsemalla huolellisesti voit hyödyntää bonuksia, nauttia laajasta pelivalikoimasta ja pelata turvallisesti. Muista aina pelata vastuullisesti ja nauttia pelikokemuksesta.

    Kannattaa myös seurata nettikasinoiden bonustarjouksia, sillä ne voivat muuttua nopeasti. Aktiivinen pelaaja voi löytää erinomaisia tarjouksia, jotka parantavat pelikokemusta ja lisäävät voittomahdollisuuksia.

    Nettikasinot tarjoavat laajan pelivalikoiman, mikä tarkoittaa, että jokaiselle pelaajalle löytyy jotakin. Voit nauttia niin uusista kuin klassisista peleistä, mukaan lukien live-kasinopelit. Tämä monipuolisuus tekee pelaamisesta entistä mielenkiintoisempaa.

    Kuinka nettikasinot toimivat? Kasinon luotettavuus on tärkeä seikka,

    DC Studios’ upcoming Lanterns series earned a first-of-its-kind rating, marking a milestone for the collaboration between HBO and DC Studios. The show stars Aaron Pierre as John Stewart and Kyle Chandler as Hal Jordan, taking a gritty, grounded approach to the Green Lantern Corps. Set to debut on August 16, it’s also the first live-action Green Lantern project in over a decade, but this time it won’t be aimed at young audiences.

    With Lanterns earning a TV-MA rating, it becomes the third consecutive live-action DC Studios series to land there, following The Penguin and Peacemaker Season 2. Three R-rated or TV-MA-rated live-action DC projects releasing in a row has never happened in the franchise’s history.

    DC Studios

    That’s a long way from where DC TV series stood not too long ago. For most of the 2010s, DC’s live-action identity was largely built around its CW slate. The vast majority of those shows carried a more typical TV-14 rating. A few lighter entries, like Supergirl, dipped down to TV-PG fairly regularly.

    The balance of having different maturity levels across all projects clearly shifted under James Gunn. The DC Studios co-CEO has been vocal about wanting each DCU project to have its own distinct identity, even if that means some of them aren’t aimed at younger audiences. 

    On October 23, DC is putting out a full-blown R-rated, body horror film with Clayface. Directed by James Watkins and written by Mike Flanagan, Clayface stars Tom Rhys Harries as an up-and-coming actor who turns to a radical, experimental treatment after being disfigured, only for it to tragically mutate him into the shape-shifting Batman villain.

    At the same time, 2025’s Superman and this year’s Supergirl land at PG-13, keeping the door open for wider audiences, more in line with the status quo of Marvel Studios’ rivalry franchise. Disney finally let Marvel make an R-rated comedy in 2024 with Deadpool & Wolverine, which went on to earn $1.3 billion.

    So the formula is there; the past DC regime even saw it with 2019’s R-rated Joker film, which earned $1 billion despite its incredibly dark theming.

    What makes the new DCU’s wide range of ratings especially fun is seeing shared characters be placed in wildly different tonal worlds. Hawkgirl (Isabela Merced) and Guy Gardner (Nathan Fillion), first introduced in the family-friendly Superman, then popped up in a swear-heavy Justice Gang recruitment scene in Peacemaker Season 2. 

    This also happened during a surprise Peacemaker cameo by Nicholas Hoult as Lex Luthor, who vulgarly described his prison experience at Belle Reve to Frank Grillo’s Rick Flag Sr.

    Lanterns sets up a similar dynamic in reverse. John Stewart will debut in a serious, adult HBO drama before crossing over into Man of Tomorrow in 2027, a colorful film that will be chasing much broader audiences as Gunn’s follow-up to Superman. Watching the same character shift between those two different (metaphorical) worlds will be one of the more fascinating things to track in the DCU going forward.

    Lanterns is, at its core, an HBO show. Mature storytelling is built into its DNA, and based on what has been shown so far, the darkness here feels more serious than even Peacemaker.

    Why DC’s Lanterns Is TV-MA

    Mature Content

    Garret Dillahunt as William Macon in Lanterns.
    DC Studios

    Comparisons to True Detective are not to be taken lightly. Lanterns is being sold as a murder mystery built around sinister, unsettling crime and the kind of dark, twisted storytelling that is simply not made for all ages. 

    Gruesome details, on-screen depictions of death, and disturbing crime elements could all factor into the rating. 

    Beyond the mystery itself, the path to becoming a Green Lantern in this series does not look heroic or inviting. The second trailer’s entire marketing angle was built around the question “Are You Afraid?” That is not a tone calibrated for younger viewers holding their Green Lantern action figures at home.

    Language

    Kyle Chandler as Hal Jordan.
    DC Studios

    The trailers have already made this one obvious. Chandler’s Hal Jordan drops an F-bomb, calling someone “a f—ing substitute teacher,” and fires off another reacting to “one of them is a f—ing squirrel.”

    Kelly Macdonald’s sheriff Kerry draws a hard line, saying, “Stay the f— out of my way,” directed at John and Hal, who are clearly looking into the same small-town crime. The second trailer added to Hal’s foul-mouthed nature, with the hero growling, “over my dead f—ing body.” 

    That is four separate NSFW moments pulled from just a handful of marketing clips, making the coarse language a key part of the series’ DNA, with many more expected across Season 1’s eight episodes.

    Violence

    John Stewart being held down in Lanterns.
    DC Studios

    Lanterns aims to go further than something like Superman in what it actually puts on screen. Though the moment where Lex killed Mali in Superman was dark, it didn’t show much. In Lanterns, a similar scene will likely display the full gore of gun violence.

    The use of weaponry is evident throughout the marketing, and the second trailer leaned heavily on flashback sequences of John’s time as a US Marine.

    One standout moment in the second trailer shows John Stewart being forcibly restrained and potentially tortured with an unidentified weapon.

    Despite conjuring glowing green shields and dollar bills, the show is ready to depict real, physical danger in a visceral and unflinching way. The cosmic clash of the Power Ring and the real-world danger make for a truly one-of-a-kind series, though some fans are worried that this adaptation isn’t comic-book-accurate.

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    I don’t want to reminisce too much about the good old days when games came with physical manuals full of instructions, secrets, and advanced techniques. Still, I didn’t think I’d see the day when a digital game manual would be locked behind a premium edition.

    Xbox Game Studios has, for some reason, decided to gate the digital manual for Halo: Campaign Evolved behind its premium edition, and it’s an incredibly odd decision.

    Game Manuals Are Now a Premium Feature

    Digital game manuals aren’t exactly a new thing, and plenty of digital releases still include them. For most modern games, though, almost everything is already available in-game through tutorials or a glossary you can pull up at any time. That’s why it feels so odd that a remake of such an old, widely familiar game not only includes a manual but also locks it behind the $60 Premium Edition.

    Halo: Campaign Evolved is a $40 release, which already makes it a compelling purchase, and I think most people would even consider buying the $60 Premium Edition to support the studio. But gating something as basic as a manual behind the more expensive edition just feels needlessly stingy. Here’s a complete description of what comes in the manual:

    A lovingly crafted modern homage to the original Halo: Combat Evolved game manual, this digital edition blends classic presentation with contemporary detail. Featuring updated gameplay information, controls, and background lore, the Halo: Campaign Evolved digital game manual is a nostalgic companion for longtime fans and a helpful introductory guide for newcomers stepping onto Alpha Halo for the first time.

    I don’t think most people will even bother opening the digital manual, just like most people don’t care about the mini digital artbooks that come with these expensive editions. So why do this? If you’re going to honor the classic with a homage to the original’s manual, at least make it accessible to everyone, as it was back in 2001.

    Evidently, a lot of people are completely fine with advanced access being offered as an incentive, but in the case of Halo: Campaign Evolved’s Premium Edition, you’re able to start playing a full five days early, which isn’t something to shrug off either. That’s the case with every upcoming title published by Xbox Game Studios, and they’re able to capitalize on FOMO quite easily, considering the successful early-access numbers of Forza Horizon 6.

    Here is everything else that comes with the Premium Edition:

    • Halo: Campaign Evolved game
    • Alpha Halo Armory Pack, featuring 5 Master Chief Armor skins & 6 weapon skins
    • Art of Halo: Campaign Evolved Digital Artbook
    • Halo: Hungry Buzzards Digital Short Story
    • Digital Game Manual
    • Up to 5 days of early access

    Halo Campaign Evolved Release Date

    Halo: Campaign Evolved is coming to PC, Xbox Series S|X, and PS5 on July 28, 2026. Premium Edition owners can start playing on July 23, 2026.

    These strange decisions aside, Halo: Campaign Evolved looks like a strong remake, all things considered. It stays faithful to the original’s art direction despite the graphical upgrade thanks to Unreal Engine, and the added missions are a welcome bonus. It also includes full co-op support with crossplay across all platforms, along with shared progression between systems.

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    The best and brightest driving teams from around the world, such as Ferrari AF Corse, Cadillac Hertz Team Jota, Toyota Gazoo Racing, BMW M Team WRT and others, travel to France to compete during the 94th running of 24 Hours of Le Mans. It takes place at the Circuit de la Sarthe in the city of Le Mans.

    The all-day endurance motorsports race airs live on truTV and livestreams on DirecTV, HBO Max and other streaming services. If you want to catch the race, there are a number of ways to watch online.

    At a Glance: How to Watch 24 Hours of Le Mans Online

    When Is the 2026 24 Hours of Le Mans?

    Race day for 24 Hours of Le Mans is scheduled for Saturday, June 13, with a start time of 10 a.m. ET/7 a.m. PT. It ends 24 hours later on Sunday, June 14 at 10 a.m. ET/7 a.m. PT.

    How to Watch the 2026 24 Hours of Le Mans Online: Livestream Without Cable

    Even without cable, you don’t have to miss any of the 24-hour race action. You can access the race live online with a variety of platforms, such as DirecTV, Sling TV, Hulu + Live TV and others. These services offer truTV, as well as free trials (with the exception of Sling) that you can use to livestream the race online for free.

    DirecTV

    DirecTV’s “Choice” Package is one of the best ways for cord-cutters to access live sports and TV from home. At $64.99 for the first month of service ($94.99/month afterward), a subscription to DirecTV gets you access to more than 125 channels. For 24 Hours of Le Mans, you’ll get access to the endurance race, which airs on truTV.

    Sling TV

    Sling is one of the best options for affordable live channel streaming with its Blue plan, which is priced at $45/month. The plan includes truTV, while fans can add the Orange plan for $60.99/month to get access to MotorTrends for even more motorsports action. Please note: Pricing and channel availability are subject to your local TV market.

    Hulu

    Starting at $89.99/month, Hulu + Live TV is a great option for live channels with access to truTV, along with more than 95 other channels, as well as access to hit originals on Disney+, Hulu and ESPN Unlimited.

    HBO Max

    Although HBO Max doesn’t offer a free trial, the streaming service starts at $10.99/month for the ad-supported plan. To go ad-free, prices jump up to $18.49/month, or $22.99/month for ad-free programming in 4K Ultra HD. However, you can also get HBO Max bundle with Hulu and Disney+ starting at $19.99/month.

    Sign up to watch 24 Hours of Le Mans online, along with other TV shows, like “Euphoria,” “House of the Dragon,” “Last Week Tonight with John Oliver,” “Half Man,” “Hacks,” and “Curb Your Enthusiasm” and hit movies, like “Weapons,” “They Will Kill You,” “Sinners,” “The Bride!” and others. You can access live sports for pro leagues, like NASCAR, MLB, MotoGP, All Elite Wrestling and others.

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    If you purchase an independently reviewed product

    17 Movie Plot Holes And Inconsistencies That People Say Ruin The Whole Film

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    17 Movie Plot Holes And Inconsistencies That

    I’ve got a text!

    Prepare to recouple with Love Island USA for season eight — Peacock has revealed the initial group of Islanders who will be searching for love this summer as well as the first few bombshells.

    Peacock’s hit reality dating series, which has become a cultural phenomenon over the last two years, centers on a group of single Islanders in search of love in a stunning Fijian villa. Throughout their stay, they will couple up, while also facing challenges, temptations and plenty of twists and turns, including new “bombshell” Islanders.

    Last year, the show became the streamer’s most-watched original series, with season seven accounting for 18.4 billion minutes of watch time over its six-week run. At the end of the season, Amaya Espinal and Bryan Arenales were crowned the winners, in addition to Olandria Carthen and Nicolas Vansteenberghe, Huda Mustafa and Chris Seeley and Iris Kendall and Jose “Pepe” Garcia-Gonzalez also making it to the finale.

    Ahead of season eight, Peacock also issued a reminder to fans, asking them to “keep it kind, keep it positive” on social media throughout the upcoming season.

    Love Island USA season eight premiered June 2 at 6 p.m. PT / 9 p.m ET and saw Vanderpump Rules alum Ariana Madix return as host for the third time, as well as narrator Iain Stirling.

    New episodes will drop every day during premiere week and then Thursdays through Tuesdays thereafter, with Love Island Aftersun (hosted by Ciara Miller and content creator Tefi Pessoa) also returning every Saturday starting June 13. Viewers will also again be able to vote for their favorite couples via the Love Island USA app.

    See season eight’s castmembers below, and check out Peacock’s “Meet the Islanders” video here. The Hollywood Reporter will continue to update this list as more Islanders and bombshells enter the villa each week, and check out all the season eight coverage and interviews here.

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    I’ve got a text! Prepare to recouple with

    On Friday nights, IndieWire After Dark honors fringe cinema in the streaming age with midnight movies from any moment in film history.

    First, the BAIT: a weird genre pick, and why we’re exploring its specific niche right now. Then, the BITE: a spoiler-filled answer to the all-important question, “Is this old cult film actually worth recommending?”

    The Bait: Drag on a Dime (Wait, What’s That in Clitoral Gems?)

    When “RuPaul’s Drag Race” premiered in 2009 on Logo, with the titular legend of the queer art form searching for America’s Next Drag Superstar via an ultimately triumphant unscripted series, it kicked off a slow but steady shift in drag’s broader reach into the mainstream.

    Sure, conservative legislature has attacked drag performers via bans and censorship with particular intensity in recent years, but these days, drag queens (or at least, the drag queens who make it on “Drag Race”) can also become major media personalities — parlaying their fame into brand deals, red carpet appearances, and even casting spots on other reality series, scripted TV shows, and films.  

    This week sees the “Drag Race” franchise reach its natural big screen evolution with “Stop! That! Train!”, a theatrical release that rests almost entirely on audience familiarity and existing buy-in with queens who the show has already platformed. Sure, there are plenty of celebrity cameos in the comedy (Sarah Michelle Geller, Lisa Rinna, and Joel McHale appear among others), but its actual stars are RuPaul herself and prior “Drag Race” super stars Jujubee and Ginger Minj.

    It’s not the first mainstream studio comedy about drag, of course. The ‘90s saw some classics like “To Wong Foo, Thanks for Everything! Julie Newmar” and “Priscilla, Queen of the Desert.” Plus, men disguising themselves as women is a staple plot point in major Hollywood comedies ranging from “Some Like It Hot” and “Mrs. Doubtfire” to “Tootsie” and “The Birdcage.”

    VEGAS IN SPACE, Doris Fish, 1991. © Troma Entertainment /Courtesy Everett Collection
    ‘Vegas in Space‘ (1991) ©Troma Films/Courtesy Everett Collection

    But those films didn’t star professional drag queens (an iconic cameo from RuPaul herself in “To Wong Foo” as the Confederate Flag-wearing Rachel Tension notwithstanding), instead seeing actors like Guy Pearce and Patrick Swayze rock heels and wigs to cosplay as fabulous divas. Drag films centering actual professionals of the once underground craft had lower budgets and were rougher around the edges than the new “Stop! That! Train!,” which even today is nobody’s idea of an especially expensive production.

    Just take “Vegas in Space,” a cult classic that doubles as a significant snapshot of San Francisco’s drag scene during the late 1980s. Distributed by Troma Entertainment in 1991, it took eight years for the movie’s main creative team — director Phillip R. Ford and star Doris Fish — to raise the money they needed to actually make the project happen. The result is something like a low-budget send-up of “Buck Rogers” sci-fi movie that’s set in a campy, utterly fabulous gender-bending world. The pair spent 18 months shooting it with almost all of the film’s production taking place in a single apartment.  

    VEGAS IN SPACE, Ginger Quest, 1991. © Troma Entertainment /Courtesy Everett Collection
    ‘Vegas in Space’ (1991) ©Troma Films/Courtesy Everett Collection

    The DIY, scrappy nature of Ford and Fish’s queer indie film is readily evident. Set on the planet Clitoris (really), a glamorous resort planet where only women are allowed to visit, “Vegas in Space” creates its luxurious environment using some obvious miniatures, light projections, and several sets that amount to cheap drapes arranged creatively. That charming and shaggy approach is fitting for such a campy and irreverent comedy, ultimately substituting polish for an equal mixture of artistic grit and careless joy.  

    Taking place in the vague distant future, “Vegas in Space” follows Fish’s Captain Tracy as he and his lieutenants Mike (Ramona Fisher) and Steve (Lori Naslundmale), three male space explorers from an Earth ruled by a benevolent empress, take sex reversal pills to become women themselves and sneak onto the fearsome nearby planet ruled by their leader’s supposedly evil sister. Once there, the spies are investigate the disappearance of “Girlinia,” a rare gem stolen recently stolen from their home.

    The investigation soon brings them into a twisted conspiracy theory playing out under the noses of the Planet Clitoris’ shady government. But the plot is just a loose framework for the film’s real appeal, which is its sly sense of fun, fabulous costumes, and genius use of its limited indie resources.

    VEGAS IN SPACE, Miss X, 1991. © Troma Entertainment /Courtesy Everett Collection
    ‘Vegas in Space’ (1991)©Troma Films/Courtesy Everett Collection

    A passion project for the late Fish, who was one of San Francisco’s biggest drag queens at the time, “Vegas in Space” carries the artist’s fingerprints all over it. In addition to writing the screenplay with Ford, Fish designed the sets, costumes, and miniatures, while also doing the hair and makeup for the all-Drag cast. Sadly, Fish didn’t live to see the movie receive its well-earned cult appreciation, dying from AIDS mere months before her movie premiered. But for celebrating Pride Month in 2026, “Vegas in Space” endures as a testament to a truly great artist’s legacy and a reminder that drag had real value long before “Drag Race” put the community on global marquees. —Wilson Chapman

    The Bite: Watching “Vegas in Space” in Las Vegas, Nevada

    As a bisexual woman with a spotty dating record, Pride Month can sometimes make me feel less like a beloved community member and more like a secret double agent. In that sense, Princess Angel and I could kiki far, far too well.

    That’s because every June, while all the full-time lesbians and gays I know are out celebrating their queerness seemingly around the clock, I often find myself distracted by whatever golden retriever man I’m currently dating. It doesn’t happen every year, but it happens a lot of years. Which is precisely how I found myself watching “Vegas in Space” while visiting a dude in Las Vegas… Nevada.

    There I was, working on After Dark from his apartment while he finished his shift, taking in the ambiance of a legendary American city that somehow manages to feel both aggressively straight and aggressively gay at the exact same time. Vegas is full of bachelor parties, drag revues, Elvis impersonators, wedding chapels, showgirls, leather daddies, casino grandmas, and enough sequins to blind Liberace.

    VEGAS IN SPACE, 1991. © Troma Entertainment /Courtesy Everett Collection
    ‘Vegas in Space’ (1991)©Troma Films/Courtesy Everett Collection

    The real Las Vegas is a crusty fantasyland built on diehard commitment to performance, and so is Ford and Fish’s “Vegas in Space.” Still, I knew this free-on-streaming cult classic would have an uphill battle winning me over with a stale-sounding premise — seemingly caught halfway between the sexual politics of 1956’s “Forbidden Planet” and the disappearing genitals scene from that “Star Trek”-inspired episode of “Black Mirror.” If I wanted a babes-only cosmic adventure from the ’90s, I figured I’d rather watch “Spice World.” (Hey, that’s got aliens too!)

    But somewhere between the “Pee-wee’s Playhouse”-like miniatures and the reveal that our heroes are traveling aboard the USS Intercourse (!!), “Vegas in Space” transformed into “an oasis of glamour in a universe of mediocrity.” You don’t need official LGBTQ status or a “special Clitorian intelligence alert” to understand why this gender-bending sex comedy is funny. And if you stop evaluating its script according to conventional (read: heterosexual) Hollywood standards, you’ll find yourself believing in Ford and Fish’s dream completely.

    VEGAS IN SPACE, Doris Fish, 1991. © Troma Entertainment /Courtesy Everett Collection
    ‘Vegas in Space’ (1991) ©Troma Films/Courtesy Everett Collection

    What made me fall for “Vegas in Space” wasn’t the filmmakers’ ambition so much as the cast and crew’s overwhelming sincerity. Even while striving to make Planet Clitoris feel otherworldly enormous, the team nevertheless commits to rendering a world that’s unendingly playful and warm for audiences who may or may not see what they do as entertainment already worthy of mainstream veneration.

    The fact that Ford and Fish attempted this with such limited resources only makes their ambition more moving. It’s genuinely difficult to be earnest and empowered at the same time. Most people choose irony, but “Vegas in Space” displays an absurd level of conviction. What’s more, the power of the creativity and inspiration on display here did indeed help me understand a lot more about the culture that I’ve spent years admiring through “Drag Race.” I could see the DNA of so many series challenges on screen in Ford and Fish’s movie, but more importantly, I could also see why this style of comedy always has such a giddy impact on me.

    The subject is a slam dunk for me, too. I’ve always been drawn to stories about bizarre all-female societies, whether they’re found in sci-fi cartoons, “Rick and Morty,” or old-school British comedies like “Monty Python and the Holy Grail.” (Note: Yes, I know that’s BOY MEDIA. I’m a BOY sometimes!!)

    Mostly, though, I found comfort in watching people embrace both their masculine and feminine sides with such unapologetic imagination. (Even if the male-to-female transformation sequence occasionally had the cast sounding like that scene from “The Substance” and a farm animal mid-orgasm.)

    VEGAS IN SPACE, Tippi, 1991. © Troma Entertainment /Courtesy Everett Collection
    ‘Vegas in Space’©Troma Films/Courtesy Everett Collection

    By the time the credits on “Vegas in Space” rolled, the guy I was seeing was headed back from work and I was no longer alone on Planet Clitoris. It’s strange to spend part of Pride Month accidentally cosplaying as a Vegas housewife. Maybe that’s why Fish and Ford’s movie landed so hard. “Vegas in Space” isn’t really about escaping reality. It’s about refusing to let other people define the role you’re supposed to play in the world you never asked to inhabit.

    Then again, actually having spent some time in the Nevada desert, I’m not entirely convinced there’s a meaningful distinction between the so-called Beaver System and the Vegas Strip. Gay or straight, everybody loves slot machines. —Alison Foreman

    “Vegas in Space” is streaming free on Fandango at Home via Prime Video.

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    On Friday nights, IndieWire After Dark honors fringe cinema

    Discover the Top Casino Games at 21bit: Your Ultimate Guide | Vuesol ...

    The latest overhaul of navigation at casino 21bit online gambling is illegal marks a significant change in how Canadian players interact with the platform. With a concentration on intuitive design and easier access to popular games, the casino aims to improve the entire experience. Additionally, the integration of regional payment options and personalized recommendations speaks to a better understanding of player needs. Yet, the complete scope of these modifications and their effect on user interaction is yet to be examined.

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    ▶ Listen on Spotify, Apple Music or YouTube

    The Album Leaf is Jimmy LaValle’s longtime instrumental project, but its next album, scheduled for October, embraces guest vocals. Nicole Miglis, of Hundred Waters, promises support and reassurance in “Turns,” but there’s a condition: “I believe in you — if you believe in me,” she sings, adding, “I’ll be there to catch you/We can take turns.” The track accompanies Miglis with metronomic beats, glimmering electronics and a patiently repeating ascending scale, even as she wonders, “Can we break this cycle?”

    ▶ Listen on Spotify, Apple Music or YouTube

    Some of Britain’s most atmospheric, open-ended music has emerged from Bristol, England, the home of Massive Attack, Tricky and Portishead. Tara Clerkin Trio, a Bristol group named after its singer and lyricist, joins that heritage with a penchant for loops, spaces and silences in its studio constructions. An unhurried bass vamp, subtle syncopated percussion and occasional guitar strums carry “Lazy Daisy” from the trio’s new album, “Somewhere Good” — a song that hints at drudgery and alienated labor, impassively observed. “Broke your back dragging your dreams/down the same old street,” Clerkin sings. “No surprise to see you cry.”

    ▶ Listen on Spotify, Apple Music or YouTube

    The centuries-old Korean tradition of pansori — epic stories in now-archaic Korean, performed by a singer and a drummer — gets a newer, funkier beat in the music of Leenalchi. It’s the latest history-warping group created by the composer Jang Young Gyu, who also led SsingSsing and has written scores for major Korean films. The lyrics to the title track of Leenalchi’s first U.S. release, “Here Comes That Crow,” are a fragment of a pansori saga. Between high and low riffs from two basses — Jang plays one of them — and hovering synthesizer tones, three enthusiastic singers share rhythmic, venerable poetry.

    ▶ Listen on Spotify, Apple Music or YouTube

    The country singer and songwriter Riley Green has three songs in the Hot 100. “Change My Mind” from his 2024 album, “Don’t Mind if I Do,” is at No. 24, while two songs from his next album, slated for September, are at No. 70 (“My Way”) and No. 91 (“Think as You Drunk”). In the country-rock “Change My Mind,” he not-so-reluctantly invites a seduction; in “My Way,” a wistful ballad with a serpentine guitar line, he pines for a second chance with an ex. His newest — and most fun — single is “Think as You Drunk.” It borrows a Toby Keith tune (“As Good as I Was”) to set a different barroom scene. With garbled syntax, the narrator is protesting a cutoff that’s probably way too late: “I know I can’t stand or sit/But if I was hammered could I dance like this?” A woozy fiddle and some splashy piano stoke the honky-tonk spirit, and a sampled vocal from Keith reclaims his song at the end.

    ▶ Listen on Spotify, Apple Music or YouTube

    In 2009, the saxophonist and flutist Charles Lloyd visited India to perform with his skeletal trio, Sangam: just Lloyd, the Indian tabla virtuoso Zakir Hussain and the American jazz drummer Eric Harland. Indian musicians sat in and joined Sangam for recording sessions in Mumbai that will be released July 24 as “Sangam & Friends.” But this advance track is just the trio at its most buoyant and percussive. Lloyd delivers the traditional melody and some cartwheeling extensions, while the drummers generate crackling, sputtering, exuberant variations on rhythms that connect Mumbai to New Orleans.

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    Looking forward to the new Resident Evil movie, stumbling with undead groans into UK theatres later this year? Nina Romain looks at the appeal of zombies over the last few years and how Brit undead measure up against American ones

    If Resident Evil can prove one thing, it’s probably that the undead don’t give up easily. After the success of the first movie in 2002, featuring the games’ heroine Alice brought to celluloid life by Milla Jovovich, the franchise was spawned. Over two decades later, the upcoming RE movie, coming out in the UK this September, is written and directed by Weapons’ Zach Cregger and stars Austin Abrams, rather than the previous director/screenwriter Paul WS Anderson and Alice (his protagonist-partner Jovovich). 

    British zombies tend to live a long way from the underground glamour of the fictitious Hive or elegantly-destroyed Raccoon City of their American counterparts, and are likely to be found looking decayed in less photogenic surroundings. 

    UK undead films are also frequently comedy-based, such as the famous rom-zom-com Shaun of the Dead (2004) and Cockneys vs Zombies (2012). When they’re not playing the undead for laughs, they often take more of a realistic look at what zombie-ravaged life would be like. Dead Set (2008) a British zombie horror miniseries, sees the heroes trapped inside by the undead with no access to flush their toilets and therefore facing the nightmarish future of “taking turns sh*tting in a wastepaper basket” until their imminent deaths.

    Although the Zombieland movies tap into the comedy possibilities of a deserted world (going around fun fairs, killing the undead with banjos in supermarkets, searching for Twinkies), Resident Evil: Extinction (2007) sees post-apoc life more realistically. Here the survivors are on a permanent search for tinned food, batteries for power and anything else they need to survive.

    Lee Alan Donaldson, whose zombie short Dead Zero will feature on Horror-on-Sea’s Take Over Day on Saturday 6 June, thinks the appeal of the undead, whether in Resident Evil or UK comedic horror, is straightforward. Pictured below in Dead Zero as the undead scientist, and kneeling in the centre of the group shot, he says:

    “I feel the audience is fascinated with how the survivors tend to turn on one another, despite daily challenges and struggles of zombie threats. The humans still fight amongst themselves, as opposed to working together for better outcomes. Human psychology is always the biggest downfall within these types of films.

    “Everyone loves to see how people cope and adapt to living among the undead. When your fellow – infected – human is your predator, it makes you wonder how these people keep going. Most would surely just give up. I also know that we all love to see some good old fashioned gore.”

    He adds of his own short: “[Dead Zero] isn’t set in a global threat, but a contained zombie risk that has been deliberately manufactured to allow one man to conduct his illegal experiments, on his staff and those he lures into his trap. My inspiration for it came from a love of action, horror and zombies.”

    Resident Evil’s Alice fortunately didn’t have any bathroom concerns to worry about while dealing with the undead, but her replacement in Austin Abrams is going to have his work cut out for him this September to fill her zombie-slaying boots.

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    Looking forward to the new Resident Evil

    The 28th Shanghai International Film Festival opened on June 12 with the launch of a new Technology Creation and Fabrication Unit and a parallel press conference for the Shanghai High-Tech Films and Televisions City, held in the city’s Songjiang district.

    The event drew senior officials and industry figures to mark what organizers billed as a new phase in Shanghai’s drive to merge film production with advanced technology.

    Fang Shizhong, executive vice minister of the Publicity Department of the CPC Shanghai Municipal Committee and director of the Shanghai Film Bureau, framed the initiative around three priorities: building a stronger industrial ecosystem using AI and ultra-high-definition tools; nurturing new forms of cinematic aesthetics through technology; and applying AI responsibly rather than letting it override artistic and creative judgment. Wang Huajie, secretary of the CPC Songjiang District Committee, cited the G60 Science and Technology Innovation Corridor and Songjiang University Town as key drivers of the district’s growing AI-driven ecosystem for film production.

    Cao Jun, member of the Party Leadership Group and deputy secretary-general of the China Film Association, speaking on behalf of Deng Guanghui, secretary of the Party Committee of China Film Association, pointed to the upcoming 15th Five-Year Plan period as a critical window for China’s film industry to assert itself in technology development. He called on practitioners to use new tools to upgrade creative workflows, expand the industrial ecosystem through a “film plus” model, and strengthen copyright protection.

    The event served as a showcase for the Shanghai High-Tech Films and Televisions City’s newly launched full-chain digital and intelligent ecological matrix – five service platforms spanning copyright trading, interactive short drama production, content incubation, AI-powered creative production, and film-and-cultural-tourism integration. The platforms include the Shanghai International Short Drama Copyright Exchange Center, the AI Interactive Short Drama Creation Public Service Platform, Senyu SPACE MCN AI Full-chain Empowerment Platform, AIGC All-in-One Integrated Creative Platform, and the Huace Yangtze River Delta International Film and TV Center AIGC All-scenario Cultural Tourism and Film Empowerment Platform.

    SFC Haopu Smart Industrial Community launched its AI+ Digital Content Industry Innovation Platform at the ceremony, debuting a lineup of AIGC short dramas and announcing the first investments under the Haowen Film Technology Fund. The community also signed cooperation agreements with KPS, the Institute of Language Sciences of Shanghai International Studies University, AltStory, and Kuaizi, with the partnerships focused on data sets, linguistic corpus building, and research into AI agents.

    Multiple cross-regional partnership deals were signed at the event. SFC Haopu and the Bund FTC formalized an industrial tie-up to collaborate on digital content production, AIGC technology application, and online content creation. Shanghai and Film Paradise Co., Ltd. separately signed a strategic cooperation agreement with Anhui Film Group to jointly pursue the restoration of classic films in 4K and the innovative exploitation of film and television IPs.

    The opening events drew more than 300 guests, including representatives from culture and tourism authorities across the Yangtze River Delta G60 Alliance, the Film Art Center of China Federation of Literary and Art Circles, and industry bodies including the Shanghai Radio, Film and Television Production Industry Association. A SIFFORUM session on the theme “Smart Tech, Immersive Worlds, the Next Film Revolution” followed immediately after the ceremony.

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    The 28th Shanghai International Film Festival opened

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    KitchenAid KF4: two-minute review

    The KitchenAid Fully Automatic Espresso Machine KF4 is a new addition to the company’s lineup, and though it looks very similar to earlier models like the KF3 and KF6, it’s considerably smaller and a great choice for compact kitchens. It also offers particularly good noise shielding, and during my tests it proved quieter than its siblings when grinding and brewing.

    It has the same Intelligrind system as KitchenAid’s larger machines, making it easy to achieve the correct dosage for your chosen coffee. With just a few manual tweaks of the grinder (which can be adjusted via a dial), you’ll soon be enjoying consistently delicious, well-extracted espresso.

    The KF4’s automatic milk system lets you use that espresso in delicious lattes and cappuccinos, and while it’s optimized for dairy, it worked perfectly well with barista-style oat milk as well, producing foam that was almost as thick and creamy, and just the right temperature.

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    KitchenAid KF4 espresso machine dispensing coffee into macchiato

    The KF4 brews a mean macchiato and works well with plant milk despite not having a dedicated mode for it (Image credit: Future)

    It’s a shame, then, that the KF4’s ‘iced’ espresso and coffee options didn’t deliver the results I’d hoped. Many espresso machines offer cold extraction, which takes longer to brew but delivers a drink with a mellow flavor that’s easily turned into an iced latte or enjoyed on its own. The KF4 brews its ‘iced’ drinks at a lower temperature than usual, but the resulting coffee is still hot enough to melt ice within a minute or two, leaving you with a drink that’s diluted and lukewarm.

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    If you’ve uploaded a song to YouTube, Google almost certainly considers your video fair game for training its Lyria music AI, it just won’t admit it right now.

    Their lawsuit is based on the unsupported hypothesis that Google trained on their specific works. Even accepting their untested allegations as fact, the Complaint cannot stand. Plaintiffs each granted YouTube, and Google — which provides the service—a broad license to use the uploaded content. That license, present in YouTube’s Terms of Service, authorized the conduct alleged in the Complaint.

    This is standard hedging for a legal filing: “you can’t prove we did it, and even if we did, we’re allowed to.” When asked directly if Google was using YouTube videos to train its Lyria 3 AI music model, the company declined to comment. But based on past public statements, it seems safe to assume the answer is yes.

    In an interview from April 2024 with Bloomberg, YouTube CEO Neal Mohan said that “some portion” of YouTube videos may be used internally to train models like Gemini. Later that year, a blog post about creator tools confirmed as much, saying “we use content uploaded to YouTube to improve the product experience for creators and viewers across YouTube and Google, including through machine learning and AI applications.”

    The company even confirmed to CNBC that it was using YouTube uploads to train Gemini and Veo. What Google hasn’t done is specifically confirm that it’s also using YouTube uploads to train Lyria.

    However, in its motion to dismiss, Google says that by uploading content directly to YouTube, the plaintiffs agreed to the terms of service, which grants the company the right to “reproduce, distribute, [and] prepare derivative works,” based on the upload.

    With all of that considered, it might seem odd that Google won’t just admit the obvious. But right now, the company has little to gain by going on record. And with litigation pending, maintaining plausible deniability is a calculated move.

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    If you’ve uploaded a song to YouTube,