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Ist es möglich als österreichischer Spieler die Oha Casino Rewards mit jedem Spieltyp verwenden?
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Welche Rolle spielen zeitlich begrenzte Missionen im Rewards-Programm?
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Wer die österreichische Online-Glücksspielszene länger beobachtet, merkt,
Clint Eastwood once said jazz music and western movies are perhaps the only truly American art forms, and he would know: He’s an expert in both. The two don’t just share their country of origin; both have also seen a precipitous decline in pop-culture ubiquity. Once upon a time, jazz dominated the airwaves and record charts, just as westerns filled movie theaters and production slates. That hasn’t been the case for quite some time, however, and without exposure and exploration of these forms, a simplicity of thinking has settled in — people who haven’t heard much jazz or seen many westerns are only aware of their clichés, seeing them as old-fashioned, monotonous relics.
But such misconceptions blow away with the tumbleweeds when people are willing to give themselves over to the genre, to grapple with the American western’s presumptions, implications and takeaways, and the Museum of Modern Art is providing just such an opportunity with its in-depth “Universal Westerns” retrospective. The series, screening over roughly a month, spotlights 28 features released over 65 years from just one studio, and in doing so underscores the vast shifts in how the genre was made and received.
The western has been an essential strand of Universal’s DNA since its inception. Three years after the 1912 incorporation of the Universal Film Manufacturing Company, when the studio opened the gates of its Universal City production facility, its first permanent set was a western street that still stands today. The decision makers at the studio had determined their pictures would be designed to appeal to rural and small-town audiences (as opposed to the more sophisticated entertainments, targeted to city-dwelling audiences, of their competitors), and westerns were immensely popular with those moviegoers.
Among their specialists was John Ford (then billed as “Jack”), whose first feature film and earliest extant western, 1917’s “Straight Shooting,” is the oldest title in the MoMA retrospective. In many ways, it’s a typical western melodrama, with such standbys as rowdy saloon scenes and a showdown in the center of town. But even in this earliest iteration, Ford is already complicating the genre. The homesteaders and cattlemen battling at the narrative’s center are drawn in the stark hero-and-villain, black-and-white terms. But Ford’s protagonist, a hired gun played by his frequent star Harry Carey, is drawn in shades of gray. “There are some jobs too dirty even for me,” he says of the work the cattlemen have hired him to do, “’n this is one of ’em.”
The following year’s Ford-Carey collaboration, “Hell Bent” (also part of the Universal retrospective), makes the tension between expectation and execution explicit. It uses a meta-textual framework, opening with a scene in which a western novelist receives a letter from his publisher requesting a hero who is “a more ordinary man, as bad as he is good.” The character arc that follows, with Carey again playing an outlaw whose inherent decency wins out (and wins him the love of a good woman), would become one of Ford’s favorites; its use in his 1939 classic “Stagecoach” helped make John Wayne a star.
Wayne himself turns up in Ray Enright’s 1942 barnburner “The Spoilers,” which teams him with another durable western hero, Randolph Scott, for a knock-down, drag-out, bare-knuckle brawl that remains one of the single best fight scenes in all of movies. They have several reasons to come to blows, chief among them the star Marlene Dietrich, who also toplines the delightful “Destry Rides Again” opposite James Stewart.
Universal’s 1946 merger with International Pictures prompted a push for more prestigious projects, resulting in westerns infused with a moral complexity typical of postwar cinema. One of their primary practitioners was Anthony Mann, whose landmark collaborations with Stewart in the 1950s broke new ground, navigating psychological terrain with the same deftness as the frontier landscape. (Three of their best — “Winchester ’73,” “Bend of the River” and “The Far Country” — are screening in the series.) The genre would continue to evolve in the following decade, as the so-called “spaghetti westerns” of the Italian director Sergio Leone and his star Clint Eastwood would redefine the style of their American counterparts, often with Eastwood himself as actor (“Two Mules for Sister Sara”) or director (“High Plains Drifter”).
The experimentation of international directors, combined with the freedom allowed by the new ratings system and the cynicism engendered by the war in Vietnam, led to a period of transgressive and often disturbing westerns. The unforgivingly brutal violence of “Ulzana’s Raid,” the sexual surrealism of “The Beguiled,” the bold lyricism of “The Hired Hand” — all called into question not only the tropes of the western, but of American exceptionalism itself. And many took pains to redress the issues of representation that dog the genre to this day, though the series also highlights several exceptions to the rule, including the sympathetic portrayals of Native Americans in Douglas Sirk’s “Taza, Son of Cochise,” Mexican “insurrectos” (and a rare gunslinging woman) in Budd Boetticher’s “Wings of the Hawk” and the Indigenous farmer at the center of Edgar G. Ulmer’s “The Naked Dawn.”
Westerns are produced infrequently in contemporary Hollywood, and the most recent film in the “Universal Westerns” series is Fred Schepisi’s 1982 effort “Barbarosa.” But it concludes on an appropriate note, with the title character’s protégé (Gary Busey) bursting into a celebration of Barbarosa’s death, astride his mentor’s horse and wearing his sombrero, terrifying his enemies anew. And the western similarly refuses to die; it merely shifts with the times, taking on new forms while donning old clothes.
“Universal Westerns” begins June 5 at the Museum of Modern Art. Viewers outside of the tristate area can find “Straight Shooting,” “Hell Bent” and “The Naked Dawn” on Tubi; “High Plains Drifter” on Netflix; and “Barbarosa” on Amazon Prime Video, Tubi and PlutoTV. “The Spoilers,” “Destry Rides Again,” “Winchester ’73,” “Bend of the River,” “The Far Country,” “Two Mules for Sister Sara,” “Ulzana’s Raid,” “The Beguiled” and “Taza, Son of Cochise” are available to rent or buy on major platforms.
Clint Eastwood once said jazz music and
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Brett, what gave you the confidence that Jennifer might say yes to this movie?
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The airline employees are either scared to breathe around Jackie or they agree with whatever she says. Is that how people default with you in real life?
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Brett, what gave you the confidence that
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When: Runs until Saturday, June 20, at 8pm.
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The show dives into iconic tracks from artists like Prince, Tina Turner, Bon Jovi, Michael Jackson, AC/DC and more, turning every song into a sing-along moment packed with energy and attitude.
Fronted by Sharyn Seidel, the five-piece band is known for sharp musicianship, strong vocals and high-voltage stage presence, with Josh Buchalter on guitar, Damian Rijkers on drums, Pamela Levesque on vocals and keys, and Colin Plit on bass.
Where: The Drama Factory.
When: Saturday, June 6, at 7.30pm.
Opening with a celebration of stagecraft and
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The next MCU Phase 6 movie, Spider-Man: Brand New Day, is just around the corner, and fans will get to see a character in the film who is going to replace the Lizard in terms of their role and dynamic with Peter Parker. Any other year, Spider-Man: Brand New Day would be the biggest release of the year, but 2026 is a bit of an outlier since Avengers: Doomsday (which could be the biggest film of all time) is coming out in December. Still, fans are more than excited to see a big screen solo outing (the first of Phase 6) about Tom Holland’s webslinger for the first time since 2021’s Spider-Man: No Way Home, and based on what has been revealed about the upcoming flick, it is going to be an important title.
A new action figure for Mark Ruffalo’s Hulk was recently listed on a French toy website called France Figurines, and it came with a bit of a description for what the character’s role will be in Spider-Man: Brand New Day. Fans have known for some time that Ruffalo would be in the Phase 6 film, and it has already been confirmed that he will be transforming into Savage Hulk at some point in the movie, but no one knew just what kind of character Bruce Banner would be, and how he would relate to Peter, especially since Banner does not know who Peter is, thanks to Doctor Strange’s spell.
In the description for the Spider-Man: Brand New Day figure, it revealed that Bruce is going to use “an inhibitor that keeps him in human form.” This inhibitor was previously revealed in the movie’s first official trailer, and could be seen on Bruce’s arm.
However, the description also revealed that, because Hulk will be returning “in his feral form,” Bruce and Peter will “find themselves in a narrative parallel at the heart of the film.” This part of the description is referring to Peter unknowingly blacking out and somewhat transforming into a human/spider hybrid (which is known as Man-Spider in the comics) in the film, and Bruce not being able to control turning into the fully enraged version of the Hulk.
The full description (which has been roughly translated from French) can be seen below:
“In ‘Spider-Man: Brand New Day,’ Bruce Banner uses an inhibitor that keeps him in human form since the events of Endgame. But this constraint has its limits: the film marks the return of the Hulk in his feral form, a departure from the Smart Hulk of previous films. Banner and Peter Parker, both grappling with an uncontrollable transformation, find themselves in a narrative parallel at the heart of the film.”
Notably, this description indicates that Ruffalo’s Bruce Banner will take over the same role that Rhys Ifans’ Curt Connors (aka the Lizard) had in The Amazing Spider-Man and Spider-Man: No Way Home.
In The Amazing Spider-Man, Dr. Connors served as a mentor to Peter Parker and was definitely not an evil person by any means. However, after he tested a formula on himself to see if it could make his missing arm grow back, it turned him into the Lizard. Being the Lizard also corrupted his mind, which then led to the Lizard becoming the primary antagonist of the movie as he tried to spread his formula across the city and turn everyone else into monsters.
This dynamic is similar to how Ruffalo’s Hulk will operate in Brand New Day. Once Banner’s inhibitor stops working, he will have no control over himself, changing into the Hulk, and Banner’s mind will no longer control his body. Instead, it will simply be Hulk carrying out his actions. Now, Hulk won’t be trying to spread a formula across New York City like Lizard was, but he will still be a danger to civilians and anyone else around him.
So, essentially, Marvel is replacing Curt Connors in the Spider-Man universe with Bruce Banner, as the two characters will have extremely similar character arcs once Brand New Day is released. They both will serve as mentors to Peter early on in their respective films, but will then unintentionally transform into a dangerous threat where they aren’t in control of their actions.
Many fans will remember Remy Hii’s Brad Davis in 2019’s Spider-Man: Far From Home. Essentially, in Far From Home, Peter was trying to strengthen his relationship with MJ, but Brad kept getting in the way. Brad never got with MJ officially, but he always leaped at the opportunity to be around her and shoot his shot when Peter was off being Spider-Man.
Similarly, Brand New Day will introduce Eman Esfandi’s character as someone new who is trying to get with MJ. As the trailer suggested and the official clip at CinemaCon proved, Esfandi’s character will actually be MJ’s boyfriend, and since MJ doesn’t know who Peter is, it will be much harder on Peter mentally to see MJ with someone else.
In Spider-Man: Brand New Day, Tramell Tillman will portray Bill Metzger, who is reportedly a secondary antagonist who will directly go against Spider-Man. Bill isn’t expected to fight Spidey physically, but reports indicate that he will be tied to the Department of Damage Control (DODC) and will be a publisher trying to smear Spider-Man’s name.
Notably, it seems as though Bill will be replacing J. Jonah Jameson, a publisher and/or editor-in-chief of the Daily Bugle. Jameson has historically been anti-Spider-Man and has always tried to lead campaigns to get the web-slinger brought to justice.
One of the primary antagonists of Spider-Man: Brand New Day will be Michael Mando’s Scorpion, a villain who was first introduced in Spider-Man: Homecoming. In Brand New Day, Scorpion will directly oppose the web-slinger by using his mechanized Scorpion suit.
Scorpion’s role in Brand New Day will likely feel similar to Vulture’s role in Homecoming, as that character also used a mechanized suit and directly fought Spider-Man.
One of the most exciting aspects of Brand New Day for many fans is that Jon Bernthal’s Punisher will make an appearance in the film. Punisher and Spider-Man are vastly different in terms of characterization, and, as the trailer suggested, they will likely butt heads multiple times throughout the film, as Punisher is much more extreme than Peter.
Punisher’s role in Brand New Day feels somewhat similar to Aaron Davis’ (Donald Glover) in Homecoming, as, like Punisher, he was a morally ambiguous character whom Spider-Man worked alongside. Notably, though, Punisher will seemingly have a much bigger role in Brand New Day than Davis did in Homecoming.
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These days, if a Netflix series makes it to three seasons, we have to consider that a win. And it looks like the Netflix anime series Devil May Cry will indeed make it to three seasons, and then call it a day. The news comes via Polygon. The adult urban-fantasy anime series, based on the popular Capcom video game franchise, premiered its first season in 2025, with a second season dropping this year. The final season will hit the streaming giant probably in 2027. The series follows a mercenary demon hunter named Dante as he tries to stop a demonic invasion of Earth. Series showrunner Adi Shankar had this to say in a statement about Devil May Cry coming to an end:
For those of you who have been paying attention to the episode names, I have been showing you the structure the entire time. This was always Dante’s Divine Comedy with guns and a red coat. Season 1 was ‘Inferno.’ Season 2 was ‘Purgatorio.’ Season 3 will be ‘Paradiso.’ These three seasons make up ‘The Force Edge Saga.’ Since inception, ‘The Force Edge Saga’ was designed as a movie trilogy disguised as a television series.
The Devil May Cry series has attracted a sizable viewership on Netflix since it came out last year. But if they always designed it as a three-season arc, it’s best to let it end on the creator’s terms. Big hit for Netflix or not, the series was not without controversy. A character on the show was allegedly based on right-wing streamer Zack “Asmongold” Hoyt, who was banned from Twitch.
This was not the first Devil May Cry animated series, of course. A previous anime series came out in 2007, and ran for 12 episodes. The video games first appeared back in 2001. Capcom credited the show’s popularity with helping the game Devil May Cry 5 surpass 10 million in sales. Johnny Yong Bosch will return for season three to voice Dante, with Robbie Daymond returning as Vergil, and Scout Taylor-Compton as Lady. An exact premiere date for season three is still unknown.
Anime ⚡ Quick Take The anime adaptation of the popular
Atari and Digital Eclipse have announced Barbie Rewind.
The game consists of a retro compilation, as well as a new Dreamhouse design game, all in one package.
The Dreamhouse game has players decorating Barbie’s home by choosing from a selection of furniture, decor and accessories inspired by actual Barbie playsets released over the past 65 years.
In order to unlock some of these items, players will have to play classic Barbie games, which is where the retro compilation aspect comes into play.
A total of 16 Barbie games from the 1990s and 2000s, spanning the NES to the PlayStation, are included in Barbie Rewind, and by completing tasks in these games new items will be unlocked for the Dreamhouse mode.
One of these games, Barbie: Vacation Adventure, is a Genesis / Mega Drive and SNES game that was never released, and is therefore officially playable for the first time here.
The list of games confirmed for the package so far consists of:
The game will be released later this year on PS5, Xbox Series X/S, Switch 2, PS4, Xbox One, Switch and PC, priced $29.99 digitally.
Physical editions will be released for PS5 and Switch priced at $29.99, while the Switch will also get a $59.99 Deluxe Edition which includes an exclusive Barbie doll wearing an Atari t-shirt.
“We are excited to bring a new Barbie DreamHouse game and this wonderful collection of historic titles to a new generation of players,” Digital Eclipse studio head Mike Mika said in a statement.
“Barbie Rewind celebrates Barbie’s contributions to 65+ years of fashion, decor and more through the unique lens of video games, connecting with longtime fans and modern audiences with an unmistakable pink charm.”
Atari and Digital Eclipse have announced Barbie
Patrick Godfrey, an English actor who played Leonardo da Vinci in the 1998 fantasy film “Ever After: A Cinderella Story,” died on Thursday. He was 93.
Godfrey’s death was announced on June 5 via a statement from his talent agency, Markham Froggatt & Irwin. The statement read, “It is with great sadness that we can confirm Patrick Godfrey passed away last night. He died peacefully at home surrounded by his family. Paddy was an exceptionally talented actor and a remarkable individual, and we will miss him greatly.”
Godfrey starred as the Italian polymath in “Ever After” alongside Drew Barrymore, who played Cinderella stand-in Danielle. Other cast members include Anjelica Huston, Dougray Scott, Megan Dodds, Melanie Lynskey, Timothy West and Judy Parfitt.
Some of Godfrey’s other notable film credits include “A Room with a View,” “Clockwise,” “Maurice,” “The Count of Monte Cristo,” “Oliver Twist,” “Les Misérables” and “Mowgli: Legend of the Jungle.” On the TV side, Godfrey appeared in “Compact,” “Dixon of Dock Green,” “Doctor Who,” “Z Cars,” “The Life and Adventures of Nicholas Nickleby,” “Blott on the Landscape,” “Screenplay,” “Dandelion Dead” and dozens more.
Godfrey was born in February 1933 in Finsbury Park, England. In 1956, he broke into entertainment by joining the BBC’s Radio Drama Company. Then, in 1972, he made his film debut as a house servant in a televised production of John Glenister and Robin Phillips’ “Miss Julie” by the Royal Shakespeare Company. His next film role came in 1981, when he played Kulighin in Trevor Nunn’s “The Three Sisters.”
Patrick Godfrey, an English actor who played
John C. Reilly recently told Ted Danson on the “Where Everybody Knows Your Name” podcast that he tried to convince Leonardo DiCaprio to turn down “Titanic” and instead star in “Boogie Nights,” written and directed by his good friend Paul Thomas Anderson.
Reilly said he and Anderson were “thick as thieves” after collaborating on Anderson’s 1996 directorial debut “Hard Eight.” Reilly worked with DiCaprio in 1993’s “What’s Eating Gilbert Grape,” and he told Anderson he was confident he would get the young star to sign on for “Boogie Nights.”
“I met him when he was 17,” Reilly explained. “And I was like, ‘Give me the assignment, Paul. I’ll get this guy to do your movie. I’ve known him since [he was] a kid.’”
Reilly recalled telling DiCaprio, “’Listen, Leo, let me tell you something. That movie ‘Titanic’ is about a boat that sinks. Everyone knows the boat sinks. No one’s going to give a shit about who’s on the boat.’”
He also said of Anderson at the time, “‘This guy, this director, is going to be one of the most talented film directors going forward, and you should not miss this opportunity.’”
Reilly remembered DiCaprio leaning toward doing James Cameron’s “Titanic,” since his agents were convinced it was destined to be “a really big movie.”
Still, Reilly pressed on: “And I was like, ‘I’m telling you, man. I’m telling you, I wouldn’t give you a bum steer here. It’s about a boat that sinks.’”
Despite Reilly’s persistence, DiCaprio went on to star in “Titanic,” which grossed $1.84 billion by the end of its original run. Mark Wahlberg stepped into the role of Eddie Adams, aka Dirk Diggler, a young dishwasher who is catapulted into adult film stardom in the 1970s. Reilly starred in the film as fellow performer Reed Rothchild.
John C. Reilly recently told Ted Danson
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Scott Pelley took to Instagram on Saturday to express gratitude for those who have supported him amid his controversial firing from 60 Minutes.
“To all of you who have been so kind, you are the wind in my sails,” the former correspondent wrote in the caption of the post, which featured a photo of himself behind the wheel of a sailboat. “So deeply grateful.”
Pelley was fired on Tuesday after an intense meeting with 60 Minutes‘ new executive producer, Nick Bilton, on Monday. In that meeting, Pelley argued that CBS News editor-in-chief Bari Weiss is “murdering 60 Minutes. She does not love this place; she was brought in to kill it and is doing exactly that.”
After the news was announced that he was let go from the flagship newsmagazine, Pelley released a statement where he accused Weiss of “incompetence and unprofessionalism,” and claimed that CBS News management “instructed me to inject falsehoods and bias into a politically sensitive story.”
“60 has been the number-one program in America for decades because our beloved audience finds integrity, quality, and humanity in our stories,” Pelley wrote. “Now, the new owner of our network is casting this legend aside, apparently to curry a moment of favor with the Trump administration.”
During a Wednesday morning call with staff, Weiss pushed back against Pelley, arguing that he broke “trust and mutual respect.”
Pelley’s firing followed the dismissal of EP Tanya Simon and correspondents Cecilia Vega and Sharyn Alfonsi. The dismissal of so many mainstay 60 Minutes producers and correspondents led many to question if Lesley Stahl, Bill Whitaker and Jon Wertheim, the three remaining correspondents at the show, would also step away.
On Friday, Stahl, Withaker and Wertheim confirmed that they would not be exiting 60 Minutes.
“We feared that our returning might be construed as an endorsement of the existing power structure. That is simply, categorically not the case,” they wrote in a memo to staff. “Here’s why we’re are staying: We don’t want to see 60 Minutes die.”
Scott Pelley took to Instagram on Saturday
This week delivered some of TV’s most compelling and unforgettable characters and moments.
Whether it was Euphoria and Your Friends & Neighbors or Off Campus, these characters reminded us why we become so emotionally invested in fictional lives.
From heartbreaking losses and hard-won triumphs to raw vulnerability and messy humanity, these are the TV characters who proved impossible to ignore this week.
Watching Rue’s journey throughout three seasons of Euphoria has been difficult at times. As an HBO show about a young woman struggling with addiction, the series didn’t give her much happiness.
So, you can only imagine my surprise when it became apparent that Rue had died after taking one of the fentanyl-laced drugs that Alamo gave her. Rue was chasing happiness – or her version of it – during her final scenes.
And it was especially tear-jerking that she reunited with Fezco in that version of happiness. Zendaya knocked it out of the park, and I just felt a sense of emptiness after Rue died.
It crossed my mind that she would when the series progressed, and I just can’t believe how many bad things she went through just to get such an unfortunate ending. Rest in peace, Rue! – Paul Dailly
Patricia spent most of Widow’s Bay Season 1 carrying the weight of the world on her shoulders. Grief, guilt, family baggage, supernatural baggage, probably some other baggage she didn’t even know she was dragging behind her. The woman had a lot going on.
But by the time Widow’s Bay Season 1 Episode 8 rolled around, Patricia had quietly transformed into the show’s ultimate final girl.
Oh, it’s not just because she was running from the Boogeyman again or even that she set this world’s version of Jason on fire before ushering him off to the crematorium, shotgun barrel directed at his face until it was no more.
Nope; Patricia earned the title because she finally stopped letting the past control her future.
“Our Baggage” was all about taking ownership of your story, and nobody embodied that better than Patricia. Instead of being defined by what happened to her, she started defining what came next.
It’s the ultimate triumph.
Sure, she’s had her hands full this season, inadvertently leading residents to a near water death, helping dispatch of the centuries-old town founder to a real watery grave, and even looking for a little connection with the mean girls from high school.
By the end of the latest hour, she wasn’t just surviving Widow’s Bay, she was reclaiming her life. That’s final-girl energy if I’ve ever seen it.
Patricia didn’t outrun the darkness. She confronted it, learned from it, and ultimately refused to let it tell her who she was anymore.
If Patricia’s story on Widow’s Bay was about reclaiming control, Coop’s journey on Your Friends & Neighbors has been the exact opposite.
Every time it looks like he’s learned something, he finds a new way to make things worse.
And somehow, that only makes his character more fascinating.
For a brief moment, Coop seemed to believe he’d finally outrun the consequences of his recent adventures. He was setting things straight. He had his family by his side. Hen realized he may be lonely, but he’s not really alone.
Then reality came crashing through the front door. Again.
Coop isn’t compelling because he’s a hero. He’s compelling because he’s constantly trying to convince himself he’s the hero while making increasingly questionable decisions.
The man keeps telling himself he’s protecting the people he loves, but every move seems to drag them deeper into the mess he’s created.
And yet, you can’t turn away from him because underneath the charisma and rationalizations, he is desperately trying to hold on to the life he lost.
Coop thinks that maintaining the pretense and lies will spare him and those he loves the consequences. Instead, it creates more, and they’re personal.
Your Friends & Neighbors Season 2 Episode 10 was another reminder that consequences don’t disappear just because you’ve managed to avoid them for a while. It’s a lesson we all need to learn.
Because what’s coming for Coop and his pals in Season 3 might be more than any of them can handle. – Carissa Pavlica
Allie Hayes may be Hannah’s best friend and roommate, but she’s certainly not relegated to the sidelines of Off Campus Season 1’s narrative. Within moments on screen, Allie cemented herself as a protagonist in her own right.
Bold, independent, and confident, Allie knows how to be a rock for the people she loves – but underneath her bright exterior lies real vulnerability and uncertainty about what she needs for her future.
Her fierce loyalty to Hannah was unwavering throughout the season, but by the finale, Allie had officially begun her own journey of learning to be loyal to herself.
Throughout Season 1, we saw Allie learn to break free from a toxic relationship that ultimately restrained her growth.
Her budding relationship with Dean may have fans sweating over their chemistry, but what I loved most about their dynamic was the story underneath: that of a young woman learning to take risks, explore her own desires, and trust her intuition.
I can’t wait to see where Season 2 takes her next. – Maggie Harriman
The Black Sands Finale is a powerful, riveting experience that is buoyed by fantastic performances.
But none more than Aldís Amah Hamilton as Aníta.
The entire season, we see her quietly spiraling in many ways. One of them concerns figuring out what’s next for her inheritance, Gullsander Home, when her uncle is an imposing figure with ulterior motives.
As the finale reveals the shocking twist of who is really behind Davíð’s death, we see the cracks fully show in Aníta, as she has visions of Salómon as a manifestation of her darkness and trauma, all the while not navigating motherhood with baby Erla.
One moment, we see Aníta’s steely resolve as she makes a choice she believes could end her family’s vicious cycle of pain. The Aníta that emerges feels like an equalizer, except there’s no hailing her a hero when she makes a disturbing decision as her post-partum depression fully consumes her.
It’s the complete disengagement she exudes when others find her and Erla, how she walks into Gústi’s anger as if seeking his retribution, as if the punishment and pain would be a release, and completely shuts down despite the devotion and support of Fríða and others — it’s all so raw.
Aníta is this open wound, and Black Sands delivers one of the most uncomfortable but real depictions of Post-Partum Depression yet.
It also gives us that great Aníta momenet of her finally crumbling, breaking down, sobbing in the arms of someone completely unexpected, Steffí.
Frankly, Steffí deserves an honorable mention as well.
All season, she went from a woman angry at Aníta and what she represented to one who offered Aníta forgiveness and a release from her guilt.
She also offered the type of compassion and empathy that only comes from someone who can see the core of someone with clarity and chooses kindness.
Steffí telling Aníta that she was a good mother and that she wasn’t a bad person with such emotion is one of the most powerful scenes I’ve watched in a while.
Over to you, TV Fanatics.
Days of Our Lives spoilers for the week of 6-8-26 promise a predictable tragedy, but we still might get strong drama from it.
Euphoria Season 3 ending was painful, divisive, and necessary after Rue’s death, Nate’s fate, Angus Cloud’s tribute, and HBO’s final call.
Grey’s Anatomy is struggling with storylines for the new interns, but with the way Season 23 ended, there’s a chance for something exciting.
Sheriff Country Season 1 did Mickey and Travis dirty. We need to see the two characters attempt to change during Season 2.
If you take a closer look at the Chicago Fire Season 14 Finale, there’s a clue as to who is more likely to die in that structure fire.
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Arguably no major gay-themed film has ever been as polarizing within the queer community as 1980’s Cruising, the gritty William Friedkin crime thriller set against the backdrop of New York’s leather-bar scene. Documentarian Jeffrey Schwarz takes a three-pronged approach to the subject in Mineshaft: The Cruising Murders, examining the real-life homicide that inspired the story, the development and filming on New York locations, and the controversies that dogged the shoot, with massive protest crowds of LGBTQ rights activists disrupting production and rattling the star, Al Pacino.
Schwarz has an excellent track record as a chronicler of queer pop culture — the Hollywood hunk both pre- and post-coming out in Tab Hunter Confidential; John Waters’ muse in I Am Divine; gay activist and scholar Vito Russo, author of The Celluloid Closet, the definitive study of queer representation in movies, in Vito; and Wrangler: Anatomy of an Icon, a portrait of gay porn hall-of-famer Jack Wrangler. That’s just to name a few.
Mineshaft: The Cruising Murders
The Bottom Line
Still a lightning rod almost half a century later.
Venue: Tribeca Festival (Spotlight Documentary)
With: Dan Savage, Michael Musto, Randy Jurgensen, Don Scardino, Robert Geary, Pamela Verrill Walker, Andy Humm, Charles Kaiser, Dennis Dermody, Frank Henenlotter, James Polchin, Jim Hubbard, Matt Foreman, Richard Berkowitz, Richard Goldstein
Director: Jeffrey Schwarz
1 hour 24 minutes
The lore around Cruising proves somewhat harder to distill, making the new film discursive, its focus shifting throughout in ways that are not always fluid. Schwarz (also serving as editor) is careful to contextualize Friedkin’s thriller in a time when gay men rarely saw themselves portrayed by Hollywood with any kind of complexity. That no doubt heightened sensitivities, causing gay activist groups to speculate that depicting the allure of danger and violence within the S&M subculture of the 1970s might provoke homophobic hate crimes.
Another area deemed problematic was the ambiguity of the film’s ending, over which questions linger about the effect on Pacino’s character, undercover cop Steve Burns, of being immersed in the world of hardcore, sexually aggressive leathermen for a prolonged period. Had he developed same-sex urges? Was he himself a killer? Just the veiled suggestion that exposure to the underground gay scene might somehow make it contagious rankled many, notable among them Russo and openly gay Village Voice columnist Arthur Bell.
A “mole” on the production was believed to have leaked the script to Bell, who began publishing columns urging readers to protest what he wrote “promises to be the most oppressive, ugly, bigoted look at homosexuality ever presented on the screen.” Some who were present remember that movement as an extraordinary coming together of the entire queer community — “A party” for some, “a battleground” for Friedkin, his cast and crew.
While Cruising has become less of a hot potato over the decades, particularly once a much fuller spectrum of queer representation became available, it remains an uneasy blip on the timeline of LGBTQ cinema.
Friedkin maintained that it was never intended to represent the entire “homosexual world,” just one small subculture, which fits with what an observer notes is the director’s interest in closed societies — the police, the priesthood, the gay fetish scene. “I’m just making a thriller that’s not meant to oppress anybody,” he says here, seeming to think gay men should be grateful for the visibility.
But disclaimers aside, queer people back then were so unused to seeing themselves in three-dimensional screen depictions that the very fact of Cruising being one of the first gay films to target mainstream audiences — Friedkin had The French Connection and The Exorcist under his belt, Pacino had done The Godfather and its first sequel, Serpico and Dog Day Afternoon — inevitably meant it would be interpreted to some degree as an indictment of homosexuality.
Gay rights had only just begun to make headway with visibility, acceptance and social standing, so this return to an older narrative — one that confirmed all the worst prejudices of sordid homosexual depravity — was seen as a step backwards. For many of us, the poorly reviewed Cruising was just not a great movie, creepy, but at times borderline ridiculous and riddled with inauthentic dialogue. The assertion of some queer pundits that it has since been re-evaluated as a gay classic seems spurious and Schwarz fails to mount much of a persuasive case for that reassessment.
Friedkin, who died in 2023 and is seen only in archival interviews, now seems disingenuous in some of his denials that the film was exploitative, especially with regard to the murder that inspired it. (Pacino distanced himself from the movie even before its release, refusing to do press.)
The director read about the killing of Addison Verrill, a 36-year-old film reporter and reviewer for Variety, in a Voice column by Bell. Friedkin never approached Bell or the victim’s family while developing the script. Former entertainment lawyer Bob Geary, who had been romantically involved with Verrill, still appears traumatized that a filmmaker would feed off his former partner’s tragedy for entertainment. Geary’s interview snippets are among the doc’s most emotionally resonant moments, along with those of the victim’s sister, Pamela Verrill Walker.
One of the more startling nuggets the doc reveals concerns Paul Bateson, the former radiological technician convicted of Verrill’s murder. They had met the night before at West Village leather bar the Mineshaft. According to Bateson’s account, they went home to Verrill’s apartment and had sex that he felt was nonreciprocal. Since the journalist had fulfilled neither his physical nor emotional needs, Bateson killed him on impulse the following morning while he was still sleeping, banging him over the head with a cast iron frying pan and then stabbing him.
In an uncanny coincidence, Bateson had played a small role as an assistant in an NYU medical center scene in The Exorcist five years earlier.
Friedkin was also intrigued by Bateson becoming the sole suspect in what were known as “The Bag Murders,” in which dismembered bodies, seemingly cut up by someone with medical experience, were fished out of the Hudson River in trash bags. The victims remained unidentifiable, through remnants of their clothing indicated they were gay men from the leather scene. Bateson boasted of his responsibility while awaiting trial, but lack of hard evidence meant he was never charged with those crimes.
Schwarz has gathered a surplus of fascinating information, sharply packaged as always and accompanied by a period-evocative synthwave score by Makeup and Vanity Set (Nashville-based musician Matthew Steven Pusti). But a binding point of view remains frustratingly elusive, suggesting the material might have been better served by a three-part limited series. The tripartite focus — real-life murders, movie, protests at the time vs. how it’s viewed today — feels disjointed. At a little under 90 minutes, the film also feels cramped.
Nonetheless, for anyone interested in queer history, both social and pop-cultural, there’s a lot here to chew on. Just the extent to which Friedkin and former undercover cop Randy Jurgensen, who served as an advisor, immersed themselves in the gay fetish milieu while developing the project makes for juicy insights.
Friedkin says they even followed the dress code for theme nights at the Mineshaft, though he claims he was seldom bothered by sexual advances: “I was just another fat Jew in a jockstrap.” The fact that the director was casting porn actors and leather daddies and the location (a reconstruction of the Mineshaft in a different club) was serving shots and drugs feeds into the idea that Friedkin was going for a heightened, more sexually charged reality that might be read as sensationalistic.
Ultimately, the film’s biggest takeaway dovetails with the way in which Cruising is viewed at almost five decades’ distance. It’s a window, however skewed, into the hedonistic party of post-Stonewall sexual freedom before the terror of the AIDS crisis struck and shut everything down; a time when hookups started with eye contact rather than apps, when New York City was jumping with leather bars — the Anvil, Badlands, Sneakers — not to mention the sexual playground of the Meatpacking District (“the Trucks”) and West Side piers. As such, Friedkin’s film has taken on a social-history aspect that dilutes its toxicity.
Arguably no major gay-themed film has ever
“2 Late,” “Wrong Number,” and “Mint Car” among the rarities at Robert Smith and company’s first concert since Nov. 2024
The Cure played their first show in 18 months Friday at Barcelona’s Primavera Sound, where the band performed a handful of deep cuts live for the first time in years.
During their massive 29-song headlining set, Robert Smith and company played their usual stable of hits and fan favorites before first deviating to give the “Lovesong” B-side “2 Late” its first performance since 2019.
The Cure later unearthed “alt.end” and Wild Mood Swings’ “Mint Car” live for the first time since 2018 and 2016, respectively. One more surprise arrived during the encore, where the band busted out “Wrong Number” for the first time since 2019.
The band’s Primavera Sound set was their first since a November 1, 2024 gig at London’s Troxy, a gig that featured a full-album performance of their then-new LP Songs of a Lost World; perhaps to mark a movement toward their next era — and rumored new album — the Cure’s Primavera set only featured two songs from Songs of a Lost World, “Alone” and “End Song.”
The Cure have booked a summer’s worth of European concerts and festival gigs, including stops at Belgium’s Rock Werchter, Denmark’s Roskilde, the Netherlands’ Pinkpop, and the U.K.’s Isle of Wight.
While the Cure have not yet announced their rumored follow-up to Songs of a Lost World, the band has been back in the news lately thanks to their influence on Olivia Rodrigo’s upcoming LP, which includes a song name-checking the Cure (“Drop Dead“) as well as a track appropriately titled “The Cure.” (Rodrigo, who announced Saturday that she would perform a surprise set at Primavera Sound, did not take part in the Cure’s set.) Smith will also appear on the Rolling Stones’ upcoming album Foreign Tongues.
"2 Late," "Wrong Number," and "Mint Car"
Unemployment looks good on former “60 Minutes” correspondent Scott Pelley, who took to Instagram on Saturday to thank his fans for their support after the program’s new executive producer, Nick Bilton, fired him after an explosive confrontation.
“To all of you who have been so kind, you are the wind in my sails. So deeply grateful,” Pelley wrote, along with a photo of him looking elated at the helm of his sailboat.
Pelley, a well-respected veteran of “60 Minutes,” was fired from the newsmagazine after he lashed out at Bilton during a staff meeting on May 25. He reportedly told the former NYT technology columnist that he had “slender qualifications” to steer the ship at “60 Minutes.” Bilton was inserted into leadership by CBS News editor-in-chief Bari Weiss, whom Pelley accused of “murdering” the show during the same meeting.
Shortly after reports of the spat went public, Bilton released a letter revealing that Pelley and CBS leadership failed to find common ground, and that Pelley was fired from “60 Minutes.”
“Your antipathy to the future of the show has come through loud and clear,” Bilton wrote. “And I have heard you. I therefore write on behalf of CBS News to inform you that your employment with CBS is terminated effective immediately.”
Hours later, Pelley fired back with his own letter: “For my part, new management has instructed me to inject falsehoods and bias into a politically sensitive story. I’ve been told to include assertions that are unverified. To date, in every case, I have managed to ignore these instructions or refuse them. Recently, politicians have been invited to choose correspondents for interviews on the broadcast. Giving politicians control over 60 Minutes interviews is not how this is done.”
Bilton was tasked to run the show after a bombshell announcement from Weiss, who fired longtime executive producer Tanya Simon and correspondents Cecilia Vega and Sharyn Alfonsi. “60 Minutes” has been under intense scrutiny since Paramount-Skydance CEO David Ellison named Weiss as top brass at CBS News. Some have accused Weiss of trying to infect one of the most respected brands in broadcast news with political bias.
Unemployment looks good on former “60 Minutes”
Quebec Liberal Leader Charles Milliard is pitching his party as the only resolutely federalist option in Quebec as it will likely face off against the separatist Parti Québécois in the general election scheduled for October.
“On the referendum issue, the (Coalition Avenir Québec) is indecisive. Some say they are in the ‘No’ camp. Others are proud sovereigntists,” he told the few hundred Liberal faithfuls gathered at the party convention in Sherbrooke, Que.
Labour Minister Jean Boulet recently said he would vote “No” in an independence referendum, while Culture Minister Mathieu Lacombe said he would vote “Yes.”
“On an issue as fundamental as the future of our nation, there can be no ‘Noui’ camps,” Milliard quipped.
He also took a swipe at the PQ leader, accusing him of being “completely out of touch with the realities of Quebecers” and saying the Liberals “do not want to separate Quebec, we want to fix Quebec.”
“We are proudly regionalist, nationalist and federalist. Fully, clearly and unambiguously,” he added.
Get breaking Canada news delivered to your inbox as it happens so you won’t miss a trending story.
The separatist PQ, which currently holds seven seats at the Quebec legislature, has been at the top of the polls for months, with the Liberals coming in a close second.
The Liberal party held its convention on Friday and Saturday to lay out its electoral priorities.
Most of those priorities revolve around the economy, with Milliard promising tax cuts for small and medium-sized businesses, as well as cutting red tape and ending “over-regulation.”
Milliard also promised to tackle the housing crisis with 100,000 new housing starts per year.
Though his plan to protect French has not yet been made public, Milliard says it’s “better” than those of the governing Coalition Avenir Québec’s and the Parti Québécois’.
Benoît Dubreuil, Quebec’s French language commissioner, said earlier this week that current language laws are not enough to stabilize the status of French in the province.
“I’m not proposing the same recipe and we’re going to have different results,” Milliard told journalists on Saturday.
Some of Quebec’s language laws, including the law beefing up the Charter of the French Language known as Bill 96, have been challenged in court.
Liberal members of the legislature voiced their opposition to a bill expanding French language laws to vocational training and adult education tabled earlier this week.
Liberal Jennifer Maccarone said she also believes that the cap on enrolment in English-language CEGEPs under Bill 96 should be lifted. The law also requires all students to take three French courses or to complete three courses from their program in French.
A few weeks ago, Milliard wavered on the use of the clause overriding Charter rights for Bill 96. He initially said he was in favour of retaining a clause to protect the law from legal challenges, breaking a 2022 election promise made by the Liberal party.
His stance caused a stir within his caucus and among the anglophone community. He then said he would amend Bill 96 and then determine whether the use of the clause was still necessary.
© 2026 The Canadian Press
Quebec Liberal Leader Charles Milliard is pitching
Charlie Puth took to his Instagram Story to announce that he’s sick and must cancel his Saturday show in Orlando, Fla.
“I am so devastated to do this, but I have to cancel tonight’s show,” Puth wrote. “I’ve been sick for the last few days and am now being instructed to rest or else risk canceling more dates on this tour. Performing for you all each night means everything to me, and you all deserve the best. I’m heartbroken, but I physically am unable to perform. Without a voice, I can’t give you guys the show you all deserve. I’m so sorry, this was not an easy decision to make but I hope to see you all soon when I am well again.”
Puth, a four-time Grammy nominee, is currently on his “Whatever’s Clever!” world tour, which shares a name with his fourth studio album. The tour kicked off on April 22 in San Diego and finishes on July 30 in Warsaw, Poland. His last remaining U.S. dates are June 9 in Nashville, June 11 in Austin, June 12 in Irving, Texas and June 13 in Houston.
Variety’s senior music writer Steven J. Horowitz, who was at Puth’s April 29 show at Los Angeles’ Kia Forum, penned of his performance, “If his ‘Whatever’s Clever!’ world tour is any indication, Puth is now, in fact, a bigger artist — not quite dominating the cultural zeitgeist, per se, but cultivating a dedicated fan base that swells with each release. That much was clear at his stop at Los Angeles’ Kia Forum on Wednesday night, where he played to a robust audience familiar with the nooks and crannies of his discography, from his puppy dog beginnings (’One Call Away’) to his biggest hits (’Attention’).”
Charlie Puth took to his Instagram Story
One of pop’s best-kept secrets of 2026 out, as the news is out that Olivia Rodrigo and the Cure‘s Robert Smith have a full-on duet on her forthcoming album, which is less than a week away from release. The reveal came in the form of Rodrigo bringing Smith out at the Primavera Sound festival partway into the live premiere of the song, “What’s Wrong With Me.”
“It’s really special to me for so many reasons, primarily because it’s the first song I’ve ever had a feature on,” Rodrigo said in introducing the new song to the crowd, without immediately letting on who did the feature or whether they were there.
The presence of Smith as a full vocal partner on the tune had been known to some industry insiders who were invited to a recent listening session for the album weeks ago in L.A., but attendees were sworn to secrecy until Rodrigo revealed the news herself.
Her love for the Cure recently evidenced itself in Rodrigo first releasing “Drop Dead,” which includes a mention of the band in the lyrics, and then releasing a second single from the new album that was actually called “The Cure” — neither with hint that Smith would be putting in a prominent cameo on an entirely different third track.
It was not the first on-stage collaboration between the two mutual admirers, as they got toether to perform “Just Like Heaven” and “Friday I’m in Love” at the Glastonbury festival last summer in the U.K.
Rodrigo’s third album, “You Seem Pretty Sad for a Girl So in Love,” comes out next Friday. The track list had previously been revealed, but without mention of Smith’s appearance in the title of “What’s Wrong WIth Me.” The breezy pop song falls into the “You Seem Pretty Sad” half of the album, despite its upbeat musical tone. The lyrics describe a crystallizing moment in which the narrator realizes that her relationship is the thing that’s not working in her life, despite the best hopes and intentions.
Sample lyrics: “Went to the doctor and she said I was fine / Tried meditation with a bottle of wine / It’s like somebody put a weight on my chest / I should talk to a friend, but I can’t get out of bed / My head is spinning, and my stomach is sick / Say I’m in love, so it’s hard to admit / I can’t eat, I can’t sleep / I think you’re what’s wrong with me.”
The entire Rodrigo performance was close to a surprise, as her set at the Spanish festival was unknown till she let the cat out of the bag on her Instagram Stories Saturday morning.
One of pop’s best-kept secrets of 2026
Grace Van Patten, who plays the title role in the Hulu limited series The Twisted Tale of Amanda Knox, joins me in conversation for a special edition of my Deadline video series The Actor’s Side as we go on location to Soho House Holloway in West Hollywood for Disney’s Toast to TV, an awards-season event spotlighting all Disney brands.
The Twisted Tale of Amanda Knox is inspired by the story of how Knox was wrongfully convicted in Italy for the murder of her roommate Meredith Kercher. It details a 16-year odyssey to set herself free. Knox is an executive producer on the series, as is Monica Lewinsky, who like Knox knows what it is like to be unwillingly caught up the spotlight in ways that will never quite go away.
Van Patten, a frequent presence on Hulu with her series Tell Me Lies and another project Nine Perfect Strangers, really threw herself into playing Knox and telling the story truthfully, rather than through a tabloid eye. We talk about how she approached playing Knox, her interactions with Amanda, the responsibility of playing a real-life person still living, what she hopes audiences take away from the series and much more.
To watch our conversation and get the “actor’s side” of making The Twisted Tale of Amanda Knox from Grace Van Patten, watch the video above.
Grace Van Patten, who plays the title
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A federal judge in Washington on Friday tossed a lawsuit filed by the John F. Kennedy Center for Performing Arts against a jazz musician who canceled a performance at the venue’s annual Christmas Eve concert last year after the center’s board added President Trump’s name to the building.
In an order throwing out the breach-of-contract case, the judge, Tanya M. Jones Bosier, wrote that the Kennedy Center failed to prove that Chuck Redd, a jazz musician and a host of the institution’s holiday program, had signed a contract to perform as he had in years past.
The dispute arose after the Kennedy Center’s board voted to rename the institution The Donald J. Trump and John F. Kennedy Center for the Performing Arts, according to court papers.
Following the decision, Mr. Redd said that he would not participate.
The Kennedy Center sued, accusing Mr. Redd of breaking an agreement to appear at the concert. He argued that no enforceable contract existed.
“It is undisputed that Redd did not sign the 2025 Agreement that the Center provided,” the judge wrote.
According to court papers, the center said it sustained damages “from lost good will with the public, wasted marketing expenses, and sunk costs preparing for a concert that did not occur.”
However, the judge noted the center did not lose any ticket sales because the concert was free, “and the entire performance was canceled as a result of multiple artists canceling, so the center did not incur costs for staff or other performers.”
The Kennedy Center did not immediately respond to a request for comment on Saturday.
The ruling was another setback for the institution stemming from the same renaming dispute that prompted Mr. Redd’s withdrawal.
On Thursday, the center’s general counsel in a memo directed staff to “immediately” remove President Trump’s name from official material after a federal judge ruled on May 29 that the board of trustees lacked the authority to rename the institution.
The memo also instructed employees to replace indoor and outdoor signage bearing the disputed name by June 12.
In a 94-page opinion, Judge Christopher R. Cooper, of the Federal District Court in Washington, determined that “Congress gave the Kennedy Center its name, and only Congress can change it.”
Kennedy Center officials have indicated that they are planning to appeal Judge Cooper’s ruling.
Susan C. Beachy contributed research.
A federal judge in Washington on Friday
It was an interesting time
Start sending out “Smoke Signals.” Phoebe Bridgers finally announced her upcoming phone-free arena tour, and it includes two spooky nights in the Los Angeles area.
Bridgers shared details about the Lost Tour on Friday morning, following a sold-out concert the previous night at Madison Square Garden in New York City and a series of secret pop-up shows across the United States.
The tour will kick off in Indianapolis in September and cap off the North American run with back-to-back shows at Inglewood’s Intuit Dome on Oct. 30 and 31, fitting dates for the skeleton suit-wearing singer-songwriter. A European leg will follow in November.
All tickets for Bridgers’ surprise acoustic show at Madison Square Garden were sold for $20 or under, and proceeds were donated to the Community Justice Exchange’s Immigration Bond Freedom Fund, which provides bail support to ICE detainees. For the Lost Tour, Bridgers will donate $1 from every ticket sold for North American concerts to RAINN, the nation’s largest anti-sexual violence organization and operator of the National Sexual Assault Hotline.
A phone ban was also instituted at the MSG show and Bridgers’ previous pop-up sets, with attendees storing their devices in Yondr bags, which physically lock using magnets. The same policy will be in effect throughout the upcoming tour.
At the Intuit Dome, home of the Los Angeles Clippers, guests may not need their phones at all to access tickets or purchase concessions, since the arena is equipped with “GameFace ID” facial recognition technology.
The Lost Tour is Bridgers’ first full-band solo tour since Reunion Tour, in support of her 2020 album “Punisher,” wrapped in April 2023, though she has since toured as a member of the supergroup Boygenius. Her debut album with Boygenius, “The Record,” was released in 2023.
Though she debuted eight new songs at Thursday’s MSG show, she has yet to announce a new album.
Singer-songwriter Alex G will provide support on the tour’s North American leg, including the Inglewood dates, while former Black Country, New Road frontman Isaac Wood will support in Europe. The tour’s eerie imagery was created in collaboration with fine art photographer Gregory Crewdson.
In an effort to get tickets in the hands of fans, rather than scalpers or bots, there will be two days of presales before the general sale. Fans can register from now until midnight Sunday for lottery access to the Day 1 presale taking place Tuesday. There will be another presale Wednesday. Tickets go on sale to the general public June 12.
Bridgers last played in L.A. as part of a secret show at all-ages venue the Smell in February 2024, where Boygenius announced its hiatus.
In addition to touring, Bridgers has a role in the upcoming A24 feature “Primetime,” directed by Lance Oppenheim, which hits theaters in September.
Bridgers, who grew up in Pasadena and attended the Los Angeles County High School for the Arts, told The Times in 2022 that her music taste was shaped in part by her upbringing in L.A., where she attended massive music festivals and local Día de los Muertos celebrations alike.
“I learned that there can be fun in the darkness,” she said.
Start sending out “Smoke Signals.”
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Spider-Man: Brand New Day‘s new promotional art revealed Ned Leeds’ major upgrade that could prove crucial to Peter Parker’s lone wolf storyline. The upcoming Tom Holland-led Spider-Man movie is set to bring back Jacob Batalon’s Ned Leeds and Zendaya’s MJ as a way to explore Peter Parker’s emotional stakes in a post-No Way Home world. Spider-Man: Brand New Day‘s marketing has emphasized Ned’s importance to the movie, laying the groundwork for the former best friend’s reunion while also setting up subtle tension in Peter Parker’s isolation.
Official artwork for Spider-Man: Brand New Day (via X) revealed the first look at Ned’s Spider Tracker app in the movie, confirming the character’s massive upgrade because he was able to build the Spider Tracker by himself.
The promo art shows a modern map interface, complete with real-time sighting alerts, live timers, terrain overlays, spider icons, and quick-access buttons for chats and archives. This user-friendly Spider Tracker cements how truly brilliant Ned is, even without Peter Parker’s help.
This stands in sharp contrast to Spider-Man: Homecoming. In the 2017 movie, high school Ned didn’t invent any tracking tech of his own. Instead, he played a crucial role in helping figure out how to disable the built-in tracking device that Tony Stark implanted into the Spider-Man Stark Tech suit.
As shown in Spider-Man: Brand New Day‘s CinemaCon 2026 footage, Ned explains to “stranger” Peter that he created the Spidey Tracker to log public sightings, map Spider-Man’s activity, and hopefully uncover his secret identity:
Ned: “Yeah, yeah. Ever since I’ve been trying to figure out who he is. Not to unmask him to the world or anything. Just to know, you know? And to hopefully thank him face-to-face. I actually created this app that logs his sightings.”
Peter: “Wait, you created Spidey-Tracker?”
Ned: “You’ve heard of it! Nice. Ooh, the shadow of him right there, haha. Now, we know he’s definitely from Queens. Not the biggest revelation, but I have been able to narrow him down to two prime suspects… (shows Peter the suspects) Yeah, if you knew who they were, we wouldn’t really blew your mind.”
This revelation ties back to a heartbreaking Ned and MJ detail in Spider-Man: Brand New Day‘s trailer, where the pair are trying to figure out Spider-Man’s identity, indicating that there are still remnants of their memory of their shared history with Peter Parker.
Ned’s evolution (or upgrade) in Spider-Man: Brand New Day cements him as far more than Peter Parker’s former “guy in the chair.” Ned now becomes a more proactive sleuth and inventor who is doing everything he can to track down Spider-Man.
Directed by Destin Daniel Cretton, Spider-Man: Brand New Day arrives in theaters on July 31.
Ned Leeds’ “upgrade” in Spider-Man: Brand New Day goes far beyond building a cool app; it represents a profound evolution in emotional depth and thematic resonance for the character rather than a simple fan-service tech.
By creating an original, functional tool like the Spidey Tracker without any help, it delivers a message that Ned is claiming narrative agency in this new trilogy, allowing him to become a more active player in the world of street-level heroism rather than a mere cheerleader for Spider-Man.
The official Spider-Man: Brand New Day footage from CinemaCon 2026 also revealed that Ned’s invention of the Spidey Tracker was not rooted in fame or exposure. Ned invented it as a way of trying to send gratitude to Spider-Man after the web-slinger saved them in the past.
Ultimately, the Spidey Tracker app represents a symbol of lingering soul-deep bonds that Doctor Strange’s spell couldn’t fully erase. It also reinforces the idea that Ned is no longer defined by Peter; instead, he is forging his own path, which actually fits Brand New Day‘s tone of “rebirth” but in a different context.
One of DC Studios’ major Wonder Woman projects finally gets its most exciting update yet.
The official Writers Guild of America West directory recently revealed that Janet Lin and Kira Snyder are seemingly attached to the Paradise Lost TV show that is in the works. Their respective pages list them as writers on the DC Universe drama with the following listings:
The project is listed for the 2027-2028 TV season, which could mean that filming may take place next year, while it might be released in 2028. It’s key to take into account that the Paradise Lost series has not gotten a pilot order yet, meaning there is no decision on how many episodes season 1 would have, as they would need to get fully picked up first.
As of writing, James Gunn, DC Studios, or Warner Bros. Discovery has not made any official statements about Lin and Snyder’s involvement. While no confirmations have arrived yet, the latest development would make sense given Gunn’s recent comments.
The DC Studios co-CEO stated on April 27, 2026, to a user on Threads that the Themyscira-centric series was in “extreme development.” The “extreme” part could have perhaps been related to Lin and Snyder’s being attached to the highly anticipated project.
The prequel was first announced to be in the works at DC Studios back in January 2023 when the DCU’s Chapter 1: “Gods and Monsters” slate was first revealed. However, development has been slow on Paradise Lost over the last three years, until 2026.
Gunn recently had to debunk rumors earlier this year that Paradise Lost has been cancelled, following reports that DC Studios had quietly scrapped it. However, the potential prequel has been one of the crucial parts for Wonder Woman’s big reboot in the DCU franchise.
Lin’s credits include Netflix’s Bridgerton, while Snyder has worked on The Handmaid’s Tale, The 100, and Star City. While their directory doesn’t state it, the duo could potentially be the ones who will serve as the showrunners.
If Paradise Lost is going forward, it will center on Themyscira’s early days long before Diana Prince was even born. When initially announcing the project, Gunn described it as being Game of Thrones-inspired, exploring the politics of the DC island.
As it was initially eyed to be an HBO Max original, Paradise Lost could likely receive the Lanterns treatment by airing on HBO, while also being released on the streaming platform at the same time. That would give the DCU drama another big outlet while getting more viewers introduced to the Wonder Woman lore of Gunn’s franchise.
DC Studios is also developing a Wonder Woman reboot movie, with Supergirl writer Ana Nogueira penning the script. While a director hasn’t been tapped yet, Diana’s solo film is one of the big priorities for the franchise.
Gal Gadot, who played Wonder Woman in the DCEU movie timeline, will officially not be returning to the role, as a new actor will be taking on the role. Hopefully, there will be more clarifications on what is going on with Paradise Lost.
One of DC Studios' major Wonder Woman
Vampire Survivors developer Poncle Games had some big news to share at the Future Games Show Summer Showcase, starting with the announcement of a new chapter for its hit game. Called Legacy of the Bloodmoon, this new expansion will be released later in the Summer season, and Poncle has described it as an “evil twin” to the previously released Legacy of the Moonspell add-on.
The new DLC adds 10 new characters, 16 new weapons and evolutions, a new extra-large stage, and more music tracks. Legacy of the Moonspell will also be expanded with new content and will be available at a reduced price, and an upcoming patch adds a new stage, characters, weapons, and Darkanas. Rolling out to PC via Steam first, it’ll go live for other platforms at a later date, Poncle says.
The other big news was the formation of Survivaton, a new label at Poncle dedicated to its Survivors-like projects, and a Japan branch of the studio. Short for “survive a ton,” the label focuses on internal projects built on the foundation of Vampire Survivors, including collaborations like Warhammer 40,000: Survivors. “Each project will aim to introduce major gameplay changes, content expansions, or genre twists exploring ideas substantial enough to stand as their own games,” Poncle said.
Lastly, Poncle Japan will oversee local development initiatives and strategic partnerships across the region, serving as a bridge between Poncle’s global operations and Japanese players, creators, and industry partners under the guidance of studio head Sawaki Takeyasu.
Since its launch a few years ago, Vampire Survivors has become a massive success story in games. The early-access PC release became a huge hit thanks to its easy-to-learn gameplay and deep systems, growing with new expansions, and even crossing over with popular Konami IP like Contra and Castlevania. Earlier this year, Poncle released Vampire Crawlers, a survivor-like spin on roguelike deckbuilders that was also well received by players and critics.
Vampire Survivors developer Poncle Games had some
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Quentin Tarantino loves movies. The man would tell you that himself, either through films that serve as extended love letters to the medium, like 2019’s Once Upon A Time… In Hollywood, or his semi-recent book of film essays, Cinema Speculation. And, sure, the former takes place in 1969, while the latter cuts off its film appreciation in 1981, but that can’t mean anything about the director’s attitude toward recent films, right? Not so much, as Tarantino revealed in a new essay for Sight And Sound this week, in which he formally declared that, actually, modern movies kind of suck. “These days,” he writes, verging on the kind of filmic blasphemy normally reserved for true foes, like Paul Dano, “I’d rather read a book.”
Patrick Godfrey, the actor known for roles in Ever After (1998) and Les Misérables (2012), has died. He was 93.
The actor’s London-based agency Markham, Froggatt & Irwin announced that Godfrey “died peacefully at home surrounded by his family” on Thursday.
“It is with great sadness that we can confirm Patrick Godfrey passed away last night,” they said in a statement, adding: “Paddy was an exceptionally talented actor and a remarkable individual, and we will miss him greatly.”
Born Feb. 13, 1933 in London, Godfrey won a Carleton Hobbs Bursary Award in 1956, earning him a six-month contract with BBC’s Radio Drama Company. He made his onscreen debut in a 1959 episode of Sunday’s Child.
Godfrey appeared in multiple TV shows over the decades, including Doctor Who, Midsomer Murders, Doc Martin and His Dark Materials.
His film credits include roles in A Room with a View (1985), Ever After (1998), The Count of Monte Cristo (2002), The Importance of Being Earnest (2002), Oliver Twist (2005), The History Boys (2006), The Duchess (2008), Breathe (2017) and Mowgli: Legend of the Jungle (2018).
Also a stage actor, Godfrey starred in Broadway’s The Life and Adventures of Nicholas Nickleby in 1981, followed by the West End’s As You Like It in 2016 and Witness for the Prosecution in 2021.
Additionally, he provided voiceovers on the video games BioShock 2 (2010), Red Dead Redemption (2010) and Red Dead Redemption 2 (2018).
Godfrey is survived by actress wife Amanda Walker and their two children.
Patrick Godfrey, the actor known for roles
Doug Liman followed up his cult favorite Swingers with yet another ’90s classic: Go. The 1999 ensemble crime comedy is the epitome of ’90s cool. Starring Katie Holmes, Sarah Polley, Timothy Olyphant, Scott Wolf, Jay Mohr, Taye Diggs, and Desmond Askew, the film centers around three different plots that eventually intertwine as a drug deal unfolds…
‘Go’ By Josh Sorokach Doug Liman followed up his cult
EXCLUSIVE: Executive producers Margaret Cho and Lilly Wachowski have wrapped production on transgender comedian Nina Nguyen‘s debut stand-up special.
Directed by Nicole Blaine, Margaret Cho Presents Nina Nguyen: Dreams serves as part one-woman show, part stand-up special, aimed at advocating for trans youth, following Nguyen as she travels back in time to tell jokes for her younger closeted self.
“It’s the representation I never got growing up as a trans kid,” said Nguyen of the special, which is adapted from her original play Sleepover.
Cho (Dying for Sex, Fire Island), who signed on as an EP and presenter after Nguyen opened for her at Largo at the Coronet, called the special “truly necessary and groundbreaking work. It will save lives, I know.”
Wachowski (The Matrix, Sense8) joined the project as an EP after discovering Nguyen’s crowdfunding campaign on Seed&Spark.
Nina Nguyen in ‘Margaret Cho Presents Nina Nguyen: Dreams’
Filmed at Blaine’s Santa Monica comedy club The Crow, on a Y2K set designed by Kendall Iler, executive producers also include Nguyen, Blaine and Caramel Velez. The production’s legal representation is handled by Erin Einstein Dale.
Nguyen began her stand-up career in her hometown of Houston, Texas, before relocating to Los Angeles, where she was a finalist on StandUp NBC and a sketch writer for CBS Showcase.
EXCLUSIVE: Executive producers Margaret Cho and Lilly
Laurie Metcalf arrived for the first day of filming Netflix’s “Big Mistakes” with something she needed to get off her chest. She doesn’t recall where she said it, but it was probably in the hair and makeup trailer sitting next to series co-creator and her co-star Dan Levy.
“We had just barely met at that point, but I told him, ‘I have extremely big shoes to fill, and I know that in my heart because I’m playing your second TV mom,’” Metcalf tells Variety.
She, of course, was referring to Levy’s previous TV mom, played by the late comedy legend Catherine O’Hara in “Schitt’s Creek.” In O’Hara’s hands, the character of Moira Rose was a larger-than-life presence in her son’s life, learning to love him more than she loved the spotlight — or at least just as much. In “Big Mistakes,” Metcalf is tasked with playing a similarly oversized onscreen role, and she wanted Levy to know she understood the weight of that responsibility.
“We never talked about comparisons or anything like that, and I think he wanted dynamics to be different,” Metcalf says. “But I wanted to be there for his character, just as much as Moira Rose was for him in ‘Schitt’s Creek.’”
As frenetic mayoral candidate Linda Morelli, Metcalf is both a blessing and a curse to her son Nicky (Levy) and daughter Morgan (Taylor Ortega). The siblings definitely don’t need the level of stress she brings, as they unintentionally descend further into a world of organized crime. Linda is brash, carries her moral superiority as a badge of honor and fiercely protects her children, whether they like it or not. She’s a force in the Morelli family, but she’s hardly the only difficult mother in Metcalf’s recent filmography.
Metcalf plays an entirely different mother in “Monster: The Ed Gein Story,” with Charlie Hunnam.
Courtesy of Netflix
Also on Netflix this year, the Emmy-winner tackled the role of Augusta Gein, the mother of infamous serial killer Ed Gein (Charlie Hunnam) in “Monster: The Ed Gein Story.” Augusta is a deeply religious woman who haunts her son’s psyche even before she dies — and he “resurrects” her with the exhumed body of another woman. It is perhaps the darkest role Metcalf has ever played, at least since 1997’s “Scream 2,” when she was cast as the mother of another serial killer, Billy Loomis (Skeet Ulrich), and ended up breaking bad herself.
But in “Monster,” Metcalf wasn’t interested in playing an evil mom who was cruel to her child just for the sake of it. She needed depth, something more to grab onto.
“The challenge for me was that the darkness came from their dysfunctional relationship, and knowing that her influence on him is part of the reason why his life went in a certain direction,” she says of playing Gein’s mother. “That’s a huge responsibility to accept, to know that your character is responsible for steering him into the darkness. That, and, of course, his mental disorder. The challenges can’t just be black and white. She can’t just be pure evil and he’s pure good, and she just beats him down and beats him down. So Charlie and I tried to find, in each scene, a little bit of heart in there, a little connection, and a little bit of how he did look up to his mother, no matter how she treated him.”
In choosing any role, the Tony-winning actress — who was nominated again this year for “Death of a Salesman”— is always looking for the exhilaration of being on a stage. She said both “Big Mistakes” and “Monster” gave her that opportunity.
In the case of “Monster,” Metcalf’s scenes with Hunnam are essentially a two-hander play. Their interactions are bound to the home, where he is haunted by the ghost of her influence, criticism and ill will, before and after her death. Director Max Winkler worked closely with the two actors to create a rapport that could inform their face-offs, which operate on rage and fear.
“Any scene in film or TV that has any kind of length to it, I really appreciate because that’s where you can find some traction,” Metcalf says. “That’s where you can, as an actor, get some momentum going and really lock in with your scene partners and start to find a pace. It was really just me, Charlie and Max on set. We explored a lot. Nothing was set in stone on the page, and anybody’s idea was welcome. The best idea wins, and that’s a really comforting way to work.”
Becoming Augusta Gein was a leap of faith for Metcalf, who says there were no scripts available when the role came up. “I didn’t know what to expect walking in the door,” she says.
“Big Mistakes” was a different kind of leap. Levy and co-creator Rachel Sennott’s fast-paced pilot script came with lengthy scenes and a lot of moving parts, Metcalf says.
“I think the more we rehearsed them, the more all the actors got into the groove and found our own rhythms,” she says. “We found where we could overlap, and cut each other off and cross the camera in front of each other. It was very organic, very present like theater is. I am intimidated by cameras being in the room, but less so in working that way.”
Metcalf says she immediately figured out how Linda was supposed to come barging into the lives of her children. “Dan wrote my first line of the whole series in all caps,” she says, laughing. “I knew what to do with that. It immediately got loud, and we just built from there.”
Trusting the process paid off. Metcalf’s entire “Big Mistakes” family came to see her in Broadway’s “Death of a Salesman” on opening night.
Navigating the darkness and the light of both roles brought back memories of her ”Scream 2” experience. As Debbie Salt, a fake journalist-turned-vengeful killer, Metcalf got to play in the meta sandbox of Kevin Williamson’s humor-laced horror. Nearly 30 years later, she looks back on that production as even more challenging than the dreary depths of “Monster.”
Laurie Metcalf and Courteney Cox in 1997’s “Scream 2”
©Miramax/courtesy Everett / Everett Collection
“I was very new to film back then, so the ‘Scream’ experience, for me, was a huge learning curve,” she says. “It was intense, and there were days where there wasn’t really what I would call a lightness around the set because we’re doing such heavy stuff.”
After three decades, Metcalf briefly reprised her role this year in “Scream 7.” And just like mamas Gein and Morelli, her “Scream” matriarch still has something to say.
“I find super opinionated people really funny and fun to play, because they are giving 110 percent no matter what,” she says. “Right, wrong, can’t read the room, whatever’s happening. They are giving their all.”
Just like Laurie Metcalf.
Laurie Metcalf arrived for the first day
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Independent cinema does not survive by accident.
Every breakthrough filmmaker, every daring first feature, every unforgettable screening experience exists because somewhere, someone decided that new voices matter. Independent film has always depended on communities of artists, audiences, mentors, donors and believers willing to support storytelling before the rest of the world catches up.
For more than three decades, Raindance Film Festival has championed independent filmmakers from around the world. Alongside the festival sits the Independent Film Trust, the registered charity dedicated to expanding access to filmmaking, education and cultural opportunity for emerging and underrepresented voices.
Whether you are a film lover, an industry professional, a philanthropist or simply someone who believes culture matters, there are many meaningful ways to help support the future of independent cinema.
The most direct way to help is by donating to the Independent Film Trust.
The Trust exists to remove barriers that prevent talented people from entering the film industry. Contributions help fund scholarships, bursaries, outreach initiatives, mentoring opportunities and access programmes designed to support filmmakers who may otherwise never have the opportunity to develop their voice.
Independent film has always been strongest when it reflects a broad range of experiences, perspectives and communities. Your support helps ensure that independent cinema remains open, diverse and accessible to the next generation of storytellers.
You can learn more or make a contribution here:
Donate to the Independent Film Trust
Some supporters prefer to connect their contribution to a tangible outcome.
Raindance and the Independent Film Trust regularly develop initiatives that directly impact filmmakers and audiences, including festival access programmes, educational workshops, mentoring schemes, talent development opportunities and social impact projects.
Supporting a specific programme allows donors and partners to see the direct results of their involvement. Whether helping fund filmmaker scholarships, youth outreach projects or audience access initiatives, targeted support creates immediate and measurable cultural value.
If you are interested in supporting a specific area of impact, the Raindance team can help identify programmes aligned with your interests or organisation.
More information is available here:
Social Impact and Investment Opportunities
One of the most effective ways to support independent film is simply to become involved.
Raindance membership helps sustain year-round activity including screenings, educational events, networking opportunities and filmmaker support initiatives. Membership also offers benefits including festival discounts, industry events and access to the wider Raindance community.
Independent cinema thrives when audiences and filmmakers actively participate in the ecosystem rather than simply observing it from a distance. Membership is a practical way to help strengthen that community while also gaining access to the people, ideas and conversations shaping the future of film.
You can explore membership opportunities through the Raindance website.
Raindance offers unique partnership opportunities for brands, organisations and philanthropists seeking meaningful engagement with the creative industries.
Unlike heavily commercialised entertainment platforms, Raindance has built its reputation around discovery, originality and independent voices. This creates opportunities for mission-aligned organisations to support culture in an authentic and visible way.
Partnerships can support festival activity, talent development, educational outreach, diversity initiatives, social impact filmmaking and audience engagement programmes. The Independent Film Trust’s charitable status also allows for a broader range of philanthropic collaborations focused on long-term cultural impact.
Organisations interested in supporting independent cinema while engaging with a global creative community are encouraged to contact the Raindance team directly.
Sometimes the simplest forms of support are the most important.
Buying a festival pass, attending screenings, participating in masterclasses or supporting Raindance events all contribute directly to sustaining independent film culture. Festivals survive because audiences choose to show up, discover new work and champion filmmakers early in their careers.
At a time when independent film festivals around the world face increasing economic pressure, audience participation matters more than ever. Every ticket purchased helps create space for new stories, emerging talent and global cinematic discovery.
The Raindance Film Festival has always been about more than red carpets. It is about discovery, conversation, connection and the excitement of seeing tomorrow’s filmmakers before the rest of the world notices them.
Not all support needs to be financial.
Many filmmakers benefit enormously from access to mentorship, professional guidance and industry knowledge. Producers, distributors, lawyers, financiers, marketers, technologists and educators all have valuable expertise that can help emerging filmmakers navigate the realities of the industry.
Throughout its history, Raindance has connected filmmakers with professionals willing to share experience, encouragement and practical advice. These relationships often become as valuable as funding itself.
If you believe in supporting the next generation of filmmakers, your knowledge and network may be one of the most powerful contributions you can offer.
Independent cinema has always depended on people willing to protect creative risk.
Large commercial systems rarely prioritise unusual voices, unconventional stories or first-time filmmakers. That responsibility increasingly falls to independent festivals, educational organisations and charitable initiatives committed to discovery and cultural access.
For more than thirty years, Raindance has championed filmmakers working outside traditional systems. The Independent Film Trust extends that mission by helping ensure talent is not excluded simply because of financial, social or educational barriers.
When you support Raindance and the Independent Film Trust, you are not simply supporting a festival.
You are helping create the future of independent cinema.
Bless.
Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand.It started as a rebellion — film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global — Toronto, Vancouver, New York, LA, Berlin, Brussels — because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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Independent cinema does not survive by accident. Every
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Iran fired ballistic missiles and drones toward Bahrain and Kuwait early Saturday, Bahrain’s government said, adding that they were intercepted. It called on Tehran to immediately cease attacks on Gulf neighbors that it deemed a “serious escalation.”
Iran’s foreign ministry said the U.S. early Saturday attacked surveillance facilities on Qeshm Island and near Sirik that it said were used to protect borders and “ensure the security of navigation in international waters.” Tehran called the attack a violation of the fragile ceasefire.
The latest exchange of fire came as the Trump administration pressed Iran to make a deal to end the war that has strained the global economy and threatened a hunger crisis in some of the world’s most vulnerable countries.
Iran said it targeted the U.S. military
The U.S. military earlier said it shot down several Iranian missiles and drones launched toward the Strait of Hormuz and Gulf Arab allies, and struck some of the Islamic Republic’s coastal surveillance radar sites in response.
“The attack drones posed an immediate threat to regional maritime traffic,” U.S. Central Command said on social media. It confirmed it hit radar sites, including an island in the strait, “to defend against further attacks.”
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Iran’s Revolutionary Guard said it targeted the Ali Al Salem air base, which hosts U.S. forces in Kuwait, and the U.S. Navy’s 5th Fleet in Bahrain, according to the state-run IRNA news agency. The U.S. military said there were no reports of harm to U.S. personnel.
Earlier in the week, Iranian drones heavily damaged a passenger terminal at Kuwait’s main airport, killing one person and wounding dozens.
The U.S. military kept up its blockade on Iranian ports in response to Tehran’s chokehold on the crucial corridor for global oil and natural gas shipments, which has sent energy prices spiking and posed political problems for President Donald Trump’s Republican Party ahead of midterm congressional elections.
Trump promises a quick end to US-Iran conflict
Despite concerns that the ceasefire could collapse, Trump told reporters Friday that “the situation with Iran seems to be going quite well.” He told an event that “we’re going to come out of Iran very quickly and it’s going to be very strong one way or the other, whether it’s a piece of paper or the very tough way.”
Trump increasingly appears to be boxed in on the war. U.S. and Iranian negotiators reached a tentative agreement a week ago to extend the ceasefire by 60 days and start a new round of talks on Iran’s nuclear program. But Trump has called for unspecified changes and Iranian officials have shown no public sign of agreeing to the deal.
Asked on Friday why it was taking so long, Trump told NBC’s “Meet the Press” it was because “it’s a very hard thing for them.”
He added that the Iranians still have 21% to 22% of their missiles. One of the war’s stated aims was destroying Tehran’s missile program.
The ongoing fighting in Lebanon, where Israeli forces have seized large swaths of the south while saying it targets the Iranian-backed Hezbollah militant group, also challenges efforts to end the Iran war and reopen the Strait of Hormuz. Iran has demanded that any lasting truce extend to Lebanon.
The Trump administration has touted the latest ceasefire agreed to earlier in the week by the Lebanese government and Israel after U.S.-brokered talks in Washington. However, Hezbollah has rejected the agreement.
Israeli airstrikes on southern Lebanon on Saturday killed nine people including three members of the Lebanese military, the Lebanese army and state media said. Israel’s military said it was reviewing the incident and that it operates against Hezbollah and not the Lebanese army.
© 2026 The Canadian Press
Iran fired ballistic missiles and drones toward Bahrain
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Who you gonna call? Netflix and Sony Pictures Animation have revealed the official title and logo for their upcoming Ghostbusters series.
Celebrating Ghostbusters Day on Saturday, marking the anniversary of the original 1984 film’s release, showrunners Ben Hibon and Elliott Kalan were joined by Ghost Corps executive producers Jason Reitman and Gil Kenan to announce Ghostbusters: Night Shift as name of the upcoming series, set to premiere on Netflix in 2027.
Amid the success of Ghostbusters (1984) and Ghostbusters II (1989), the animated series The Real Ghostbusters ran from 1986-’91 on ABC and in syndication, followed by the sequel series Extreme Ghostbusters in 1997.
Taking place at the FDNY’s Hook & Ladder 8 firehouse, where the first two movies were filmed, Reitman and Kenan also recognized the fans for surpassing their ‘Ghostbusters Give Back’ initiative’s $500,000 donation goal over the past year, presenting the ‘Golden Trap’ awards to the Ghostbusters chapters in Buffalo, Los Angeles and Virginia, for raising the most money.
Additionally, Reitman, Kenan and Jay Levine, EVP, Chief Strategy Officer & Business Operations of Sony Pictures presented a $150,000 match donation check on behalf of Sony to Starlight Children’s Foundation, for a grand total of $666,000.
Ghostbusters: Afterlife and Ghostbusters: Frozen Empire star Celeste O’Connor also visted Maimonides Children’s Hospital in Brooklyn with Starlight, delivering hospital gowns and toys to pediatric patients.
Meanwhile, the Buffalo Ghostbusters hosted a special presentation and live auction benefitting the FDNY Foundation, for which the Ghostbusters in Concert National Fall Tour also teamed up with Black Ink to donate a portion of ticket sales.
Who you gonna call? Netflix and Sony
Who you gonna call? Ghostbusters!
In honor of Ghostbusters Day, which celebrates the June 8 release of the original 1984 film, Sony Pictures held an event in New York City on Saturday at the Fire Department of the City of New York’s (FDNY) Hook & Ladder 8 firehouse. The location has served as the Ghostbusters’ recurring headquarters and real-life filming location since the first film.
There, showrunners Ben Hibon and Elliott Kalan, along with Ghost Corps executive producers Jason Reitman and Gil Kenan, announced the official title and logo for Netflix and Sony Pictures Animation’s upcoming animated Ghostbusters series: Ghostbusters: Night Shift, expected to release in 2027.
Reitman and Kenan also recognized the charitable efforts of the yearlong “Ghostbusters Give Back” initiative, which surpassed its $500,000 fundraising goal. “Golden Trap” awards were presented to the three chapters that raised the most money for local causes: Buffalo Ghostbusters ($67,000), Los Angeles Ghostbusters ($65,000) and Ghostbusters Virginia ($30,000).
A $150,000 matching donation check was also presented by Jay Levine, EVP, Chief Strategy Officer & Business Operations at Sony Pictures, alongside Reitman and Kenan, to Adam Garone, CEO of Starlight Children’s Foundation, on behalf of Sony Pictures, Starlight Children’s Foundation and “Ghostbusters Give Back.” Additionally, all proceeds from the event benefited the FDNY Foundation.
Ivan Reitman’s classic starred Bill Murray, Dan Aykroyd, Harold Ramis and Ernie Hudson as a team of parapsychologists who launch a ghost-catching business in New York City. The film earned nearly $300 million at the global box office and spawned four follow-up films: Ghostbusters II (1989), Ghostbusters: Answer the Call (2016), Ghostbusters: Afterlife (2021) and Ghostbusters: Frozen Empire (2024).
Who you gonna call? Ghostbusters! In honor of
Gwyneth Paltrow says her husband, “Glee” co-creator and TV personality Brad Fulchuk, is so progressive that he might believe that “I’m a Republican.” The Marvel actress clarified that she’s not – but admitted she’s currently occupying a kind of in-between political space these days.
Paltrow and Trae Stephens, co-founder of the AI defense company Anduril Industries, were discussing the “charged” relationship that they believe many Americans have with the defense industry this week on “The Goop Podcast.”
“Without that sort of open respectful dialogue, I’m not sure we can fix any of these problems that we’re seeing in the country,” Stephens commented.
“I couldn’t agree with you more,” Paltrow answered. “I noticed with my own husband too, who’s the best person ever in the world. And he’s so progressive. Like he has such a sweet heart and he wants to, like, make sure everybody’s looked after.”
“And I think in this climate, you know, sometimes I’m like, ‘Can you just listen to this?’” she continued.
Paltrow then added, “It’s become so binary, I think. And I am trying to, in my journey through being an American right now, trying to, I don’t know, I guess sort of weave together lots of different points of view, and also to get out of that place of, like, righteousness and anger and fear. And I mean, I’m pretty centrist and my husband thinks I’m a Republican. But I think it’s, which I’m not a Republican. I don’t feel anything right now to be totally honest with you. I feel like I’m completely an independent.”
The actress also recalled a trip to Nashville she and Falchuk took together. The pair were watching a singer onstage and Paltrow was vaguely worried because she “had, like, completely different points of view than my husband” and that he might react.
“And I just thought, no, but this is so beautiful to see somebody who clearly is such a good person coming from such a different place,” Paltrow said.
Last March Paltrow admitted she didn’t know what an intimacy coordinator was while filming “Marty Supreme.”
“There’s now something called an intimacy coordinator, which I did not know existed … We said, ‘I think we’re good. You can step a little bit back,’” Paltrow total Vanity Fair. After the coordinator in question attempted to set up rehearsal of the scenes, Paltrow said she told her, “I was like, ‘Girl, I’m from the era where you get naked, you get in bed, the camera’s on.”
“I don’t know how it is for kids who are starting out, but … if someone is like, ‘OK, and then he’s going to put his hand here,’ I would feel, as an artist, very stifled by that,” she also said.
Gwyneth Paltrow says her husband, “Glee” co-creator
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