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Aussie players evaluating an online gaming platform usually put regulatory integrity right at the top of their checklist, and Casino Donbet Bonus Offer has built its operational framework around those very concerns. The platform operates under a recognized international gaming license that enforces strict standards for financial transparency, data protection, and dispute resolution. For an Australian audience familiar with the tough oversight of domestic gambling authorities, understanding how an offshore license works is a must. Donbet Casino makes no claim to hold a local Australian state permit, but its adherence to a reputable foreign jurisdiction delivers a structured layer of accountability. This article explores the licensing credentials, the random number generation protocols, and the dispute mechanisms that collectively shape the fair play ecosystem at Donbet Casino.

The Regulatory Foundation of Donbet Casino

Donbet Casino works under a gambling permit provided by the Authorities of Curacao, one of the most established regulatory bodies in the online gambling industry. The Curacao eGaming authority has delivered a legislative basis for interactive gaming since 1996, and while it does not possess the same player-protection punch as the Australian Communications and Media Authority, it enforces a set of master license obligations that operators are required to fulfill. These include mandatory know-your-customer procedures, anti-money laundering protocols, and periodic audits of financial reserves. For Australian users, the Curacao license means the casino responds to a formal complaints procedure through a registered mediator, creating a paper trail that unlicensed rogue operators simply are unable to provide.

The licensing structure requires Donbet Casino to keep player funds segregated, so operational capital is kept separate from customer deposits. This separation works as a safeguard against insolvency risks, a detail that strikes a chord for Australian players who have watched high-profile collapses in other entertainment sectors. The Curacao framework also stipulates that the casino’s beneficial ownership be transparently registered, which cuts down the odds of anonymous shell companies running the show. No regulatory system is without criticism, but the fact that a verifiable license number appears on the Donbet Casino website lets Australian users cross-reference the operator’s status directly with the Curacao eGaming registry.

Anti-Fraud and ID Verification Standards

Know Your Customer Processes

The Know Your Customer (KYC) process at Donbet Casino matches the verification of identity standards mandated by Australian financial institutions. New players must upload government-issued identification, proof of residential address, and in some cases a confirmation of the payment method utilized for deposits. The compliance team checks submitted documents against international sanctions lists and politically exposed persons databases, fulfilling obligations under global anti-money laundering directives. Australian users profit from this thoroughness because it stops account takeovers and ensures that withdrawals become processed only to verified payment instruments held by the account holder.

Document review usually wraps up within twenty-four hours, and the casino employs encryption protocols that strip metadata from uploaded files before storage, lowering the exposure risk if a data breach were to occur. The KYC threshold triggers at specific deposit volumes, which means Australian players reach the verification step before building up substantial balances that could get stuck in administrative limbo. This proactive approach stands in contrast to operators that postpone identity checks until withdrawal requests, a practice that has generated consumer complaints across the Australian online gaming community.

Payment Security Protocols

Financial transactions at Donbet Casino flow through PCI DSS-compliant payment gateways that tokenise card data, so sensitive numbers never sit on the casino’s servers. The platform offers cryptocurrency transactions alongside traditional fiat methods, with blockchain-based deposits delivering an immutable public ledger that Australian users can check independently. For AUD transactions handled via international banking channels, the casino uses the same encryption standards mandated by the Australian Prudential Regulation Authority for domestic financial transfers, employing TLS 1.3 protocols with forward secrecy to prevent retrospective decryption of captured traffic.

The way Fair Play Is Enforced Through Technology

RNG Certification

Any spin, card shuffle, and dice roll at Donbet Casino relies on a certified Random Number Generator (RNG) that undergoes independent statistical analysis. The RNG algorithm generates outcomes that cannot be predicted or manipulated, generating sequences that pass chi-squared tests for uniform distribution. Third-party testing labs subject the system through millions of simulated rounds, checking that the return-to-player percentages align with the theoretical values published for each game. Australian players who prioritize mathematical integrity can check the certification badges shown in the website footer, which link to active certificates confirming the RNG hasn’t been tampered with since the last audit cycle.

The testing process analyzes both the hardware entropy sources and the software algorithms that turn random data into game outcomes. Laboratories use the NIST Statistical Test Suite to identify any periodic patterns or biases that could disadvantage players. For live dealer games, the fairness protocol shifts from digital RNG to physical observation, with multiple camera angles and real-time card scanning making sure no sleight-of-hand interference occurs. Donbet Casino’s commitment to keeping certifications current means Australian users can verify that the testing window covers their active playing period, offering continuous rather than historical assurance of game integrity.

Audits of Return to Player

Return to Player (RTP) percentages represent the theoretical long-term payout rate of each game, and Donbet Casino displays these figures alongside individual game information screens. Independent auditors confirm that the actual aggregated payout data from real player sessions falls within an acceptable statistical margin of the advertised RTP. This audit process catches discrepancies that might point to software misconfiguration or deliberate payout suppression. For pokies and table games popular among Australian users, the RTP audit delivers transparency that goes beyond marketing claims, grounding the casino’s promises in verifiable financial data that has been scrutinized by external accountants.

Complaint Handling and Complaint Mechanisms

When disputes occur between users and the casino, Donbet Casino has a organized escalation pathway that initiates from the internal support team and reaches out to external mediation. The first tier entails submitting a formal complaint through the platform’s ticketing system, which creates a reference number and triggers a service-level agreement requiring acknowledgment within forty-eight hours. The support staff document all case details in a centralized system available to senior management, avoiding the fragmentation of information that often irritates Australian consumers navigating complaint processes with overseas operators.

If the internal resolution does not satisfy, players can elevate the matter to the Curacao eGaming dispute resolution service, which assesses evidence from both parties and provides binding recommendations. Donbet Casino also cooperates with several independent casino complaint portals that make public mediator verdicts publicly, creating reputational pressure to resolve disputes fairly. Australian players should note that while these mechanisms do not have the legal enforceability of a ruling from an Australian court, they provide practical leverage because the casino’s continued licensing hinges on keeping a clean dispute resolution record with its regulatory overseer.

Privacy Practices and Data Processing

Donbet Casino’s privacy policy applies principles from the General Data Protection Regulation, providing protections to Australian users notwithstanding the platform’s offshore jurisdiction. Personal information is classified according to sensitivity levels, with identity documents getting the highest tier of access restriction and encryption. The casino publishes a plain-language privacy notice that details which data categories get collected, the legal basis for processing each category, and the third-party service providers that may receive limited data for operational purposes such as payment processing and identity verification.

Australian players retain the right to request data exports and account deletion, with the casino committing to complete such requests within thirty calendar days. The platform does not sell customer data to marketing affiliates, a stance that sets it apart from operators that exploit user databases through opaque data-sharing agreements. Server infrastructure hosted in jurisdictions with adequate data protection ratings secures that Australian users’ information does not automatically flow to countries with weaker privacy safeguards, a factor that has grown more relevant as cross-border data transfers face heightened regulatory scrutiny worldwide.

Gambler Safeguards and Safe Play Tools

Donbet Casino incorporates a set of responsible gaming controls that match the harm-minimization principles known to Australian players through domestic programs like the National Consumer Protection Framework. The platform presents personalizable deposit limits that can be set on a daily, weekly, or monthly basis, with cooling-off periods enforced immediately upon request. Self-exclusion options enable users restrict access to their accounts for durations ranging from six months to permanent closure, and the casino’s support team is equipped to spot problematic behavioral patterns and act with account restrictions when necessary.

Reality-check pop-ups display at customizable intervals, displaying session duration and net expenditure to neutralize the time distortion that often follows extended play. The casino also provides direct links to Australian support organizations, including Gambling Help Online and Lifeline, recognizing the specific resources available within the player’s local jurisdiction. These tools are not tucked away in submenus but sit right on the main account dashboard, demonstrating a design philosophy that views responsible gaming as an operational priority rather than a compliance checkbox. Australian users who turn on these limits get automated confirmation emails that establish a documented record of their protective measures.

Clarity of Conditions and Offer Requirements

Betting conditions and withdrawal terms at Donbet Casino appear in standardized structures that steer clear of the complex condition frameworks that have traditionally created issues across the Australian online gaming market. Each bonus offer displays its betting ratio, game weighting percentages, maximum bet limits during promotional gaming, and expiration dates in a combined chart right next to the redeem link. The casino groups games by their betting allocation percentage, so Australian players can instantly view that machines contribute one hundred percent while table games may account for ten percent or less toward clearing promotional conditions.

Max cash-out restrictions on bonus-related profits are listed in Australian dollar amounts, avoiding the transfer conversion confusion that can result to arguments. The rules clearly address cases such as game-switching during bonus gaming and the management of progressive jackpot payouts, uncommon situations that many providers leave unclear until a player encounters them. DonBet Casino’s approach to condition openness shows an understanding that the Australian consumer protection philosophy values upfront presentation over fine-print surprises, and the casino’s customer support staff gets specific instruction on clarifying offer rules in simple language without resorting to legal evasion.

FAQ

Is Donbet Casino permissibly reachable to Australian players?

Donbet Casino accepts registrations from Australian residents and runs under a Curacao eGaming license. The Australian Interactive Gambling Act primarily limits operators based within Australia from offering certain services, but it does not outlaw individual players accessing offshore platforms. Australian users should review their personal circumstances and local state regulations, as the legal landscape keeps evolving. The casino’s terms of service explicitly list Australia as an accepted jurisdiction, and the platform processes AUD transactions without requiring currency conversion workarounds.

In what way can Australian players verify the casino’s license?

The Donbet Casino website features a clickable Curacao eGaming seal in the footer section. Clicking this seal redirects to the official license registry, where the operator’s status and validity dates are shown. Australian players can take note of the license number and independently navigate to the Curacao eGaming website to perform a manual lookup, eliminating reliance on potentially spoofed verification pages. The registry entry contains the licensed entity name, which should match the company details provided in the casino’s terms and conditions document.

Which specific independent bodies verify the fairness of the games?

Donbet Casino’s game library receives testing by globally acknowledged laboratories such as iTech Labs and GLI, both of which hold accreditation under ISO/IEC 17025 standards. These organizations examine the RNG algorithms, check RTP calculations, and certify that game outcomes are statistically random. Australian players can view the published certification reports through links on the casino’s fairness policy page. The certificates feature the testing date range and the specific game titles covered, providing transparency about which products have passed recent audits.

What transpires if an Australian player has an unresolved dispute?

Players who exhaust the internal complaint process can elevate disputes to the Curacao eGaming authority or to independent mediation platforms such as CasinoMeister or AskGamblers. These external channels examine evidence including transaction logs, communication records, and terms of service to decide whether the casino acted within its published policies. The casino’s license obligates it to participate in these external reviews, and failure to comply with mediator recommendations can lead to license sanctions. Australian users should save screenshots and email correspondence to support any escalation.

Is it true that Donbet Casino provide responsible gambling tools for Australian users?

Certainly, the platform delivers deposit limits, loss limits, session time reminders, and self-exclusion options available directly from the account settings dashboard. Australian players can activate cooling-off periods extending from twenty-four hours to six weeks, during which login access is blocked. The casino also presents links to Gambling Help Online, an Australian-specific counseling service, and supplies a self-assessment questionnaire adapted from the Problem Gambling Severity Index. These tools are accessible without requiring contact with customer support, enabling immediate activation.

How does Donbet Casino shield Australian players’ personal data?

The casino employs AES-256 encryption for data at rest and TLS 1.3 for data in transit, matching the standards applied by Australian banking institutions. Identity documents uploaded during KYC verification are stored in encrypted containers with access restricted to compliance personnel. The privacy policy outlines data retention periods and third-party sharing arrangements, and Australian users can https://www.bbc.com/future/article/20150508-the-secrets-of-slot-machines demand complete data erasure under the platform’s privacy rights framework. Payment card information is tokenized through PCI DSS-compliant processors, so raw card numbers never touch the casino’s infrastructure.

Donbet Casino’s licensing framework and fair play architecture reflects a systematic commitment to operational transparency that addresses the primary concerns of the Australian online gaming community. From the Curacao regulatory foundation and independent RNG certification to the multilevel dispute resolution process and solid data protection measures, the platform builds its credibility on confirmable external audits rather than unsupported marketing claims. Australian players who prioritize confirmed accountability will discover that the casino’s published policies, audit certificates, and responsible gaming tools together form a consistent framework that supports educated participation and meaningful consumer protection.

Aussie players evaluating an online gaming platform

There is something deeply unfair about getting older. Just when you think you’ve figured life out, it throws grief, identity crises, awkward family dynamics and a baby into the mix.

Welcome back to “The Four Seasons”.

Tina Fey’s second season picks up after the emotional gut punch that closed the first instalment. Nick’s (Steve Carell) death hangs over the group like that one friend who says they’re leaving the WhatsApp group but somehow never quite disappears.

The result is a season that is sadder and surprisingly warmer than what came before.

The first season was about disruption. This one is about the uncomfortable business of carrying on, which we all need to face at some point.

Kate (Fey) and Jack (Will Forte) are still trying to figure out who they are as a couple when the kids, routines and distractions fall away. Danny (Colman Domingo) and Claude (Marco Calvani) face life-changing decisions that test their relationship in ways that feel painfully familiar.

Anne (Kerri Kenney-Silver), who could easily have remained the show’s most pitied character, gets some of the best material this season as she stumbles towards a version of herself that no longer revolves around her ex-husband.

What makes “The Four Seasons” work is that it understands something many shows are afraid to admit: adulthood does not come with answers.

It comes with better excuses, stronger reading glasses and a growing collection of emotional baggage. So if you thought adulthood is at its peak for you, Becky, think again.

The humour remains one of the show’s greatest strengths. It is less about punchlines and more about recognition. You laugh because you’ve met these people. You are these people. Or, if you’re lucky, you still have friends who tolerate you despite being these people. And I love that about this series.

Romantic relationships tend to dominate television, yet “The Four Seasons” repeatedly argues that friendships can be just as complicated, demanding and life-changing.

Domingo continues to be a standout, bringing warmth and charisma to every scene. The ensemble chemistry remains the secret sauce, making even the smallest conversations feel lived-in and real and that LOL moment we all need.

This season, there’s more emotional storytelling without losing its sense of humour. The balance feels more confident this time around.

That said, the season is not perfect. Some storylines wander. A few episodes lean heavily into sentimentality. There are moments when the wealthy-vacationing-friends formula threatens to drift into “rich people problems” territory. 

What surprised me most is how much better the show becomes without chasing big dramatic twists.

Instead, it finds humour in the mundane disasters of middle age: marriages that need maintenance, friendships that require work and the realisation that reinvention looks far less glamorous than Instagram promised. 

It genuinely feels like a conversation you left off mid-sentence, only to pick it up again later and realise you are now watching the next chapter unfold naturally, with all the same people but slightly different versions of who they are becoming.

And that is the beauty of it, the growth, the awkward honesty and the way friendships stretch without breaking even when life pulls everyone in different directions. People change, priorities shift, and yet somehow the connection still holds, even if it is a little more complicated than before.

Like a good friendship, “The Four Seasons” has settled into itself. It knows its flaws, leans into them and becomes more charming because of it.

Rating: **** a standout series with exceptional qualities.

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There is something deeply unfair about getting

A recent Marvel Studios promotional piece may have just revealed the MCU’s next character to strike a bargain with the devil himself. After years of anticipation following 2021’s WandaVision, Mephisto (portrayed by Sacha Baron Cohen) finally made his long-awaited MCU debut in Disney+’s Ironheart in 2025. Now, a newly surfaced connection between a familiar Marvel Comics character and an upcoming MCU project has sparked speculation that a third soul may soon be sold.

For Avengers: Doomsday, directors Joe and Anthony Russo appeared at a Doctor Doom-themed pop-up coffee shop called “Dom Latveria Coffee” at SXSW London.

While many MCU fans hoped the surprise would be the long-awaited online trailer, the tease turned out to be the menu itself, including Easter eggs from Doctor Doom’s comic book history. 

AGBO

Among the most recognizable were “Cynthia’s Blend,” a matcha latte referencing Doom’s deceased Romani sorceress mother Cynthia Von Doom, and “Zefiro,” a nod to the Romani Zefiro Clan.

In the 1989 comic Doctor Strange and Doctor Doom: Triumph and Torment, Cynthia is a major part of the story where Doom and Strange journey down into Mephisto’s Hell to rescue her soul, which she had surrendered in a deal with the devil. 

If Marvel Studios adapts Doom’s mother, Cynthia, in any way, even just a mention by Robert Downey Jr.’s version of the character, she could become the third MCU character connected to a Mephisto deal, joining Parker Robbins (Anthony Ramos) and Riri Williams (Dominique Thorne) from Ironheart.

Marvel Characters With Mephisto Deals

Cynthia Von Doom (Comics)

A user of considerable magical skill, as is expected by Victor in Doomsday, Cynthia Von Doom’s spells one night drew the attention of Mephisto, and when he made his pitch, she refused him. 

What ultimately broke her was that Mephisto reframed the deal entirely, promising that her people would finally have a homeland and that her son, Victor, would grow up to be a king. That appeal to her love for her child and her clan is what Cynthia couldn’t say no to. Of course, just like any deal with the devil, the agreement went catastrophically wrong by design.

Comic panel from Doctor Strange and Doctor Doom: Triumph and Torment.
Marvel Comics

Mephisto granted her only raw destructive force, not the control to wield it, and the resulting magic killed not just Latveria’s Baron soldiers but innocent children in the village as well. Filled with horror and guilt, Cynthia renounced the power and was killed, and her soul was claimed by Mephisto and brought to hell.

Comic panel from Doctor Strange and Doctor Doom: Triumph and Torment.
Marvel Comics

For years, Doom fought Mephisto’s forces every Midsummer’s Eve, trying to free her, but never made any progress until a sorcery tournament among the world’s most powerful wizards gave him his shot. 

Strange won the contest and the title of Sorcerer Supreme, but Doom came in second, which meant Strange owed him a favor, and Doom had one request: go to Hell together and bring his mother back.

Comic panel from Doctor Strange and Doctor Doom: Triumph and Torment.
Marvel Comics

Once inside Hades, the two were split up, and each was put through their own version of torture. Strange was tormented with visions of a darker life, while Doom was simply offered world domination as a bribe.

Mephisto then made his big move, offering to trade Cynthia’s soul for Strange’s, and Doom took the deal, handing Strange over to Mephisto and briefly getting his mother back, only for Cynthia to call him a traitor and refuse the rescue, landing her soul right back ck in Mephisto’s hands. 

Comic panel from Doctor Strange and Doctor Doom: Triumph and Torment.
Marvel Comics

What Mephisto didn’t know was that Doom had slipped Strange a hidden device to break free, and during the chaos of Strange’s escape, Mephisto accidentally destroyed the container holding Cynthia’s soul. Because she had chosen her own principles over her freedom, she had earned her redemption and was finally released.

With Doomsday being the first time MCU fans are truly getting the villain in live-action, making familial and comic book connections like this could be key for character development. As he says in the trailer, “Before this day is done, we shall be faced with an unthinkable decision.” The context around that seems multiversal, but perhaps it’s more personal than anyone is currently expecting.

Parker Robbins (MCU)

Parker Robbins in Ironheart.
Marvel Studios

Ironheart spent its entire six-episode, two-week run building toward the reveal that Parker Robbins hadn’t found his powerful red hood by chance; he had earned it through a deal with Mephisto. 

Mephisto in Ironheart.
Marvel Studios

As shown in a flashback to kick off the finale, Mephisto is a villain who preys on ambition and manipulates people’s deepest desires, and Parker was an ideal mark. 

Mephisto and The Hood in Ironheart.
Marvel Studios

The magical hood granted Parker great dark power, which only enhanced the longer he wore it, but so did the corruption. Mephisto finally stepped out of the shadows in the finale, confirming himself as the unseen architect behind everything Parker had done, and then acquired his next target.

Riri Williams (MCU)

Riri Williams at the end of Ironheart.
Marvel Studios

After defeating the Hood (but not killing) in the Ironheart finale, Riri Williams found herself face-to-face with Mephisto.

Targeting her grief over the loss of her best friend Natalie (Lyric Ross), Mephisto promised to bring Natalie back not as an AI, but as a living, breathing person. 

Despite her initial refusals, Riri reached out her hand to seal the bargain. This was quite the shock for MCU fans, as this is not the typical ending for heroes on their own Disney+ series. Season 1 ends with Riri making a deal that will certainly have consequences, as teased by the darkness rising up her arm right before the credits begin.

It also seems like the list is longer than what was shown in Ironheart, as Mephisto teased past deals, which could include other MCU characters like Howard Stark, Scarlet Witch, Phil Coulson, and more.

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En qualité de joueur enthousiaste et analyste des casinos en ligne belges, je note qu’il est souvent difficile de dénicher un site qui associe une offre de jeux véritablement adaptée à notre marché, une licence belge sûre et une expérience utilisateur optimale. Après avoir passé au crible de multiples plateformes, je puis affirmer que HugoBets Casino se situe comme un acteur majeur répondant parfaitement à ces attentes. Ce n’est pas un simple casino classique international, mais un hub développé en ayant à l’esprit les joueurs belges, avec les slots au centre de son offre. Je vous soumets une revue complète et concrète de ce que HugoBets met à disposition, en analysant ses forces, ses faiblesses potentielles, et ce qui en fait, selon mon analyse, une destination de choix pour les amateurs de machines à sous en Belgique.

Getting Started with Online Crypto Casinos: A Beginner's Guide

Pour quelle raison HugoBets se différencie sur le marché belge

Le secteur des casinos en ligne en Belgique est rigoureusement régulé, ce qui limite mécaniquement le nombre d’opérateurs légaux. Dans ce cadre, HugoBets ne se borne pas d’exister, il s’efforce à exceller. Sa particularité commence par sa licence de la Commission des Jeux de Hasard belge (CJH), un garantie de sécurité et de légalité non-négociable pour tout joueur averti. Mais au-delà du cadre juridique, c’est son approche adaptée qui frappe. L’interface est entièrement disponible en français et en néerlandais, le service client est conçu aux fuseaux horaires locaux, et les méthodes de paiement comprennent des options indispensables comme Bancontact/Mister Cash. Contrairement à d’autres sites qui présentent une version “belge” standardisée, HugoBets donne l’impression d’avoir été pensé depuis le début pour ce public particulier, avec une sélection de jeux et de promotions qui en est la preuve.

Offres et offres spéciales adaptés aux joueurs belges

Les promotions de bienvenue et les promotions permanentes sont un aspect crucial pour évaluer un casino. HugoBets propose une structure de bonus qui me semble harmonieuse et transparente. L’offre de bienvenue est souvent articulée autour de tours gratuits (free spins) sur des slots choisis, plutôt que sur un bonus de dépôt à conditions de mise exorbitantes. Cette démarche est, à mon sens, plus pratique pour le joueur, car elle permet de tester directement les jeux sans s’engager dans un parcours du combattant pour libérer un bonus. Les promotions régulières, comme les tours gratuits du week-end ou les tournois de slots avec prix en cash, conservent l’intérêt après l’inscription. Il est essentiel de toujours lire les conditions générales, mais celles de HugoBets sont clairement énoncées et conformes à la régulation belge, évitant les mauvaises surprises.

Interface de navigation et assistance client

La exploration sur HugoBets.be, tant sur ordinateur que sur mobile, est intuitive et bien pensée. Le design visuel est minimaliste, mettant l’accent sur les jeux sans distractions inutiles. La recherche par titre est instantanée, et les catégories, comme précisé, sont performants. Côté support, différents moyens sont proposés : un live chat disponible (accessible en français), un formulaire de contact électronique, et une foire aux questions complète. J’ai utilisé le chat en direct pour une question technique ; la réponse a été donnée en moins de deux minutes, exacte et professionnelle. La disponibilité d’un service client dans la langue locale et qui connaît les particularités du marché belge est un point qui, dans mon expérience, joue un rôle crucial entre un correct et un remarquable service.

Une collection de machines à sous impressionnante et bien structurée

En visitant HugoBets, la première impression qui retient mon attention est l’étendue et la transparence de la bibliothèque de slots https://hugobetsbe.com/fr-be/. Les jeux ne sont pas simplement entassés dans un catalogue interminable. Ils sont répartis avec soin, ce qui est un avantage considérable pour localiser facilement ce que l’on recherche. Vous pouvez filtrer par fournisseur (NetEnt, Play’n GO, Pragmatic Play, etc.), par succès, ou par options comme les “Jeux à Bonus” ou les “Machines à Rouleaux Classiques”. Cette structuration témoigne de une maîtrise parfaite des attentes des joueurs. Que vous recherchiez du slot megaways récent ou d’une traditionnelle machine à sous à fruits, le processus est fluide. La sélection est au programme, mais c’est cette excellence de la mise en page qui fait passer une banale collection en un authentique pôle de jeu.

Expérience bancaire sans accroc

Les procédures bancaires compliquées ou lentes sont le pire ennemi de l’expérience de jeu. J’ai examiné pour vous le système de transaction sur HugoBets. Les options disponibles sont parfaitement alignées avec les habitudes belges : Bancontact/Mister Cash, virement bancaire et cartes de crédit (Visa/Mastercard) constituent les moyens principaux. Les dépôts sont immédiats et gratuits, comme c’est la norme attendue. Concernant les retraits, les délais sont acceptables (en général de 1 à 3 jours ouvrés pour un virement bancaire), et la plateforme a intégré des vérifications d’identité classiques (KYC) qui, bien que parfois considérées comme lourdes, sont une obligation juridique et une garantie pour le joueur. L’interface de la rubrique “Caisse” est intuitive, et l’historique des transactions est limpide, offrant un suivi exact de son budget de jeu.

Les développeurs de jeux : un gage de valeur et de diversité

La valeur d’un casino en ligne se mesure principalement aux partenaires qu’il privilégie. HugoBets a établi des collaborations avec les studios les plus réputés et créatifs de l’industrie, ce qui offre une expérience de jeu de haut niveau. Voici un tour d’horizon des principaux fournisseurs représentés et de ce qu’ils apportent à la plateforme :

  • NetEnt & Play’n GO : Les piliers des slots thématiques et visuellement époustouflantes. Ils sont responsables de titres cultes comme Starburst, Gonzo’s Quest ou Book of Dead, connus pour leurs graphismes soignés et leurs mécaniques de jeu engageantes.
  • Pragmatic Play & Big Time Gaming : Les experts de l’innovation mécanique. Pragmatic Play domine le marché de hits constants (comme Gates of Olympus), tandis que Big Time Gaming a transformé le secteur avec son mécanisme Megaways, offrant des centaines de milliers de façons de gagner.
  • Evolution Gaming & Live Casino : Bien que l’accent soit placé sur les slots, la section live casino, alimentée par le leader mondial Evolution, est impressionnante. Elle propose des jeux de table classiques (blackjack, roulette) et des game shows originaux animés par des croupiers en direct.

Le smartphone : jouer à vos jeux de casino où que vous vous trouviez

Aujourd’hui, une plateforme qui ignore l’expérience mobile se marginalise. Heureusement, HugoBets a conçu une application dédiée ou offre un jeu directement depuis le navigateur mobile (version instant play). Après avoir évalué les deux options sur mon smartphone, je dois dire que l’expérience est fluide. L’application, accessible en téléchargement sur le site, est légère et donne un accès rapide à l’ensemble du catalogue. La version navigateur est tout aussi performante, sans téléchargement requis. Les graphismes des slots s’ajustent parfaitement à l’écran tactile, et les annualreports.com commandes sont simples d’utilisation. Que vous soyez situé dans les transports ou chez vous, la transition entre desktop et mobile se fait en toute fluidité, maintenant la qualité de jeu et la sécurité des transactions.

Sécurité, licence et sauvegarde du joueur

Cet aspect est primordial. HugoBets opère sous la licence de la Commission des Jeux de Hasard belge (numéro de licence visible sur le site). Cela signifie qu’il est soumis aux lois strictes du pays, notamment en matière de sécurité des dépôts, d’équité des jeux, et de combat contre le jeu problématique. Le site est nécessairement relié à la base de données centralisée des joueurs, ce qui empêche toute inscription sous exclusion. Les jeux des fournisseurs partenaires sont certifiés par des organismes indépendants comme eCOGRA, assurant l’aléatoire des résultats. En tant qu’analyste, je trouve rassurant de voir ces éléments mis en avant. La sécurité des transactions est assurée par un cryptage SSL de pointe, et la politique de confidentialité est précisée. Pour un joueur belge, cette conformité locale est un avantage capital par rapport aux casinos offshore.

Éléments à prendre en compte : les contraintes éventuelles

Dans un esprit d’approche mesurée, il est légitime de évoquer certains aspects que les joueurs pourraient juger comme des restrictions. D’abord, en raison de la rigoureuse régulation belge, l’sélection de bonus, notamment le prime d’accueil, peut paraître moins importante en termes de valeur que celle offerte par des casinos internationaux non régulés. Ceci est, à mon avis, le coût à assumer pour une protection légale totale. Par ailleurs, certains experts pourraient chercher des jeux de fournisseurs de niche qui ne sont pas (encore) intégrés dans le répertoire. Pour terminer, la stratégie de jeu raisonnable, bien que essentielle et louable, comporte des limites de dépôt par défaut et des validations nécessaires, ce qui peut apparaître contraignant pour certains. Ce sont des décisions réfléchies conformes à l’éthique de jeu belge.

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The ornate collectable popcorn bucket is one of movie theaters’ go-to gimmicks to get butts in seats. Sure, they cost an arm and a leg often, but cinephiles will shell out for limited edition items. That’s how you get massive character heads or a sandworm of suggestive shape and orifice. At any rate, they’ve gotten bigger and more weirderer over the past few years as attendance to movie theaters has dwindled. Usually these will have something to do with the movie, but the first collectible popcorn bucket for Christopher Nolan’s The Odyssey isn’t Odysseus’ ship or the Trojan Horse or a Cyclops. No, it’s a big ol’ IMAX camera.

IMAX

IMAX camera are big ol’ things in order to fit the double-sized 70mm film. Nolan has long championed IMAX as the best filming format for movies dating all the way back to 2008 with The Dark Knight. His movies do feel grandiose, and the frame size is a big part of that. However, I have to say, just a square box, even with the lens and a viewfinder, isn’t the most exciting of popcorn buckets. Real film snobs, however, will probably eat this up with a spoon. It’s also easily the most Christopher Nolan thing of all time. It’s not about the story it’s about C I N E M A.

Christopher Nolan’s THE ODYSSEY Will Be R-Rated

Nolan’s previous film, Oppenheimer, won all the awards at the Oscars. Thanks to the Barbenheimer movement, ended up a huge box office hit as well. A Nolan movie will always draw a certain number of people to the theater, but recent tracking suggests a drop in interest following the most recent trailer. The movie cost a staggering $250 million, and with a near-three-hour runtime and an R rating, it’ll face a bit of an uphill climb, even for Mr. IMAX himself. Maybe a popcorn bucket will help make up the difference. In any case, this July’s box office will be an odyssey in and of itself.

The Odyssey hits theaters July 17.

Kyle Anderson is the Senior Editor for Nerdist. He hosts the weekly pop culture deep-dive podcast Laser Focus. You can find his film and TV reviews here. Follow him on Letterboxd.

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The ornate collectable popcorn bucket is one

Netflix has announced an officially licensed FIFA Men’s World Cup 2026 game, and it’ll be playable for all subscribers from their TV, computer, or phone, featuring in-game updates based on how the real-world tournament unfolds.

FIFA World Cup: Launch Edition, as it’s called, releases on June 11. Described as a “streamlined” soccer/football game, the game uses your phone as the controller, with players swiping their finger to pass and shoot the ball.

The game features all 48 teams in the World Cup this year, along with 16 real-life stadiums and 1,248 real players.

A Netflix spokesperson told Variety that the game will be updated daily with new challenges and features based on how the tournament plays out IRL.

The game is free and has no microtransactions, just like all of Netflix’s other games. Netflix will promote the game with a takeover ad for all Netflix members. The company also said the game will be updated in 2027 for the Women’s World Cup.

A limited test version of FIFA World Cup: Launch Edition is launching today in Brazil, but everyone will get to jump in on June 11, which is when the first World Cup game takes place.

EA Sports traditionally capitalized on the World Cup with special versions of the game, in-game events, and more. However, EA and FIFA broke up, and now the newest game in the series, EA Sports FC 26, has pivoted to a “The World’s Game” promotion that doesn’t feature FIFA or the official World Cup license.

Some of the other games available on Netflix currently include Red Dead Redemption, Into the Breach, Farming Simulator 2023, Sonic Mania Plus, Oxenfree, and RollerCoaster Tycoon Touch, just to name a few.

Despite some initial stumbles, Netflix remains interested and invested in the gaming space for the long term, seeing it as a major growth-driver.

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Netflix has announced an officially licensed FIFA

Evan Bogart’s Seeker Music has acquired the music publishing catalog of songwriter-producer-instrumentalist Simon Raymonde, which includes his work as a longtime member of Cocteau Twins. Raymonde is also a solo artist, producer and co-founder of the U.K. indie label Bella Union (Beach House, Father John Misty, Flaming Lips).

Seeker Music Chief Creative Officer Steven Melrose (pictured above, left, with Raymonde) said, “Growing up as a little boy just across the water in Edinburgh, Scotland, these songs have always provided the soundtrack to my life. Between the wonderful melodies and Liz Fraser’s incredible vocals, there’s nothing else like the music Simon has made and contributed to. When the chance to work with him presented itself, well, there’s never been a quicker yes … it’s an honor.”

Raymonde said, “The enthusiasm for our music appears to be strong 30 years after our last studio album. Seeker Music have shown that passion and excitement since we began talking last year.”

Raymonde was represented in the transaction by Christy McNaughtan at NMD Solicitors, and Seeker Music was represented by Henry Root for Counsel LLP and Seeker’s General Counsel Dan Stuart, along with Melrose and Bogart. 

+ 10K Projects has announced a joint venture with Runway Records, a newly launched hip-hop label created and led by Ben Bijur, who recently joined Atlantic Music Group as VP of A&R. Runway’s first signing is Atlanta-based rapper Aziedoesntexist, whose first release, “Everglades,” is a TikTok hit. At Atlantic, Bijur has signed Diamond*, Ksuuvi, Sorisa, and the Russian rap two Gorilla Glue & Lil Nakur; he was previously with Columbia JV Signal Records.

“Ben has brought his keen sense of culture, the ability to identify emerging talent, and his entrepreneurial spirit to launching Runway Records, and we are here for it at 10K,” said 10K co-president Nico Ziangas. “We’re looking forward to working with him and his team to continue to build the successful repertoire at Runway.”

+ Caron Treatment Centers raised $1.7 million at its 32nd Annual New York Gala on June 2 at Cipriani 42nd Street, where GlassNote Entertainment founder Daniel Glass was honored with the Thomas J. Moran Caron Music Award and the Brock-Dixon Family with the Richard J. Caron Award of Excellence.

Funds raised through the Gala support Caron’s Mission Fund, helping individuals and families access addiction and behavioral healthcare treatment, research, prevention, and addiction medicine education.

The Gala has raised more than $1 million annually to support treatment scholarships and recovery services, with the majority of scholarship support provided by Caron in the New York metropolitan region funded through the event over the years.

Glass was honored for his contributions to the music industry and his longstanding commitment to recovery advocacy; he also serves on the Founders Board of the Neil Lasher Music Fund at Caron, which has raised approximately $2 million over the past five years and supported more than 100 individuals in the music community seeking treatment and recovery support.

“The Brock-Dixon Family and Daniel Glass exemplify the power of leadership, service, and recovery advocacy, and we were honored to recognize their extraordinary contributions during this year’s Gala,” said Caron National Gift Officer Todd Whitmer.

+ BMI has announced promotions within the company’s creative and corporate communications departments, based in its New York City headquarters. On the creative team, John Ellwood was promoted to vice president of creative and Deirdre Chadwick was upped to assistant VP of creative for classical & jazz. In corporate communications, Jeff Gilligan was elevated to assistant VP, creative director, and Jodie Thomas was promoted to Assistant VP of corporate & media relations.

+ Mprs (pronounced “Empress”), a rights management company focused exclusively on producer and mixer master-point royalties, has announced the expansion of its platform to include producer catalog acquisitions.  Milk & Honey has signed up to partner in the new acquisition vehicle.

Founded in 2021, Mprs has emerged as a force in producer royalty administration, helping hitmakers organize, audit, monetize and manage one of the most historically fragmented areas of the music business; its mission is summarized as a company “that does for producer royalties what publishers do for songwriters.” The company says it administers eight figures in annual master-point royalties and has written more than $5 million of advances into the producer space; it also “recovers multiple millions annually in previously uncollected income for clients.”

“Producer and mixer royalties are incredibly valuable, but they’re operationally difficult,” said Mprs CEO Jon McMillan. “Most catalogs are fragmented across labels, distributors, contracts, statements and territories, to the point where many creators don’t know how to think about the ongoing value of their own work. Before anyone can properly value these assets, you have to properly understand and administer them. That’s what Mprs has spent years building for producers.”

Milk & Honey founder Lucas Keller added: “Mprs has built something genuinely differentiated in the producer royalty space. Their understanding of the operational side of these assets is incredibly sophisticated, and that creates real value for creators.  The relationship to join forces is a natural and organic one born out of half a decade of putting our clients on the platform and seeing the company really grow into the best in class.”

+ Independent publisher Third Side Music has re-signed composer, artist, songwriter and two-time Juno Award winner Colin Stetson, extending their 15-year relationship. Stetson’s recent projects include the horror-thriller “Something Very Bad Is Going to Happen,” “Mayday,” and the IMAX documentary “Stormbound.” He honors also include the World Soundtrack Award, Hollywood Music in Media Award, and International Film Music Critics Association Award nominations for his work on “The Menu.”

“Alex Kelman, and everyone at Third Side Music have been avid and active advocates of my music, in both my work in film and my solo recording career. They are, and always have been, truly familial in their care, consideration, and support. I am enormously grateful for all their dedication and counsel over the years,” said Stetson.

+ Artist strategy and audience development agency Blackstar has appointed Ed Watson as artist strategy director. The company’s recent campaigns include work for Nine Inch Nails, Outkast, André 3000, Lenny Kravitz, Hayley Williams, Muse, Robyn and Djo. Watson will be based in New York and joins after senior roles at BBC Radio 1, 1Xtra and Asian Network.

Blackstar founder Olivia Hobbs said, “Ed brings a rare mix of strategic thinking, creative instinct and cultural awareness. His background working closely with artists and teams, combined with his understanding of social platforms and fan communities, makes him a natural fit for how we work.”

Tuesday, June 2

Primary Wave Music has announced a partnership with the Grammy-winning Mexican outfit Intocable. Terms of the deal will see the publisher partner with the veteran group on their catalog of music, as well as name, image and likeness.

Formed in the early 1990s, the group has sold more than 4 million albums, won two Grammys, sold out arenas throughout the Americas and is set to receive a star on the Hollywood Walk of Fame. Songs included in the deal are the hits “Fuerte No Soy,” “Mi Gusta Mi Vida,” “Sueña,” “Te Amo (Para Siempre),” “Si Me Duele, Que Duela,” and “Un Poquito Tuyo.”

“We’re excited to partner with Primary Wave and begin this new chapter together,” said Ricky Muñoz. He continues, “Their vision, passion for music, and commitment to preserving artistic legacy make them the perfect team to help us continue expanding the reach of Intocable’s music for generations to come.”

Intocable was represented in the deal by Jeremy Rosen, Oscar Carrasco (manager), Diana Zapata (catalog manager), and Alex Hartnett (lawyer).

+ Australian singer-songwriter Julia Jacklin has signed with 4AD, the company announced this week. Jacklin has won two ARIA Awards, toured with Mitski and Lana Del Rey, and played multiple festivals, from Glastonbury to Newport Folk to Primavera.

In tandem with the announcement, Jacklin unveiled tour dates for North America and Europe, launching in October in San Diego and reaching into next year.

+ Merlin, the digital music licensing partner for the world’s top independent labels and distributors, has announced a series of senior promotions across its Partnerships division.

Leading the promotions is Emma Robinson’s elevation to vice president of partnerships. She joined Merlin in 2018 from the communications agency Name PR.

The company has also elevated Shannon Bradley to director of commercial partnerships in New York; Alice Moss and Daniele Yandel to directors of partnership operations in Berlin and New York, respectively; and Simon Marcel to manager of partnership operations in London.

Charlie Lexton, CEO of Merlin said, “These promotions recognize a group of executives who have played an important role in strengthening Merlin’s partnerships and operational capabilities during a period of rapid change across the digital music landscape. As the digital ecosystem continues to evolve, from AI and social platforms through to new rights management challenges, investing in the people helping our members navigate that complexity remains a key priority for Merlin.”

+ United Talent Agency has signed country artist Josh Weathers for global representation in all areas. UTA will work to secure opportunities across live touring, media, filmed entertainment, brand partnerships, and more.

The signing comes as Weathers is in the midst of his “Life Still Happens Tour,” which follows his latest project “Neon Never Fades,” released earlier this year. The singer is represented by Adam Hale at One Twenty One Management.

+ Hawaii-based singer, songwriter, guitarist, and surfer Hendrix Frankenreiter has signed with Severance Records in partnership with Big Loud Rock, launching the partnership with the single “Wanna Go.”

“I’ve spent the last year working on a lot of new music, and ‘Wanna Go’ felt like the right song to start this next chapter,” shared Hendrix. “Getting to release it with Severance / Big Loud Rock has made it even more exciting.”

“Every artist we sign to Severance has a distinct voice, and from the moment I saw Hendrix Frankenreiter perform at the Peppermint Club in LA, I knew his was unmistakable,” said Severance Records President Steve “Stevo” Robertson. Big Loud co-founder and president of Big Loud Rock Joey Moi added, “Hendrix is an undeniable talent who perfectly balances laid-back energy and sharp songwriting in his music.”

+ Creative production agency Killian + Company has named Shauna Alexander senior vice president of strategy and business development, the company announced this week.

Alexander joins Killian + Company from her most recent role as VP of bizdev at Empire, where she led brand partnerships and experiential initiatives tied to the Super Bowl, NBA All-Star Weekend, and Grammy Week. Earlier, she held leadership roles at SoundCloud, the Fader and Moog.

Founder Joe Killian says, “Shauna’s industry experience and entrepreneurial approach to brand strategy and storytelling make her the perfect extension to our dynamic team of creative marketers. We’re excited to see how we can continue to grow as an agency and expand our services with the knowledge, connections, and culture-driven lens that Shauna brings to the table.”

+ L.A.-based management and representation company the Familie has named Kenny Hamilton as senior VP of growth and strategy. Most recently, Hamilton led CSH Management Group, representing artists including Rotimi, Inayah, and Grammy-winning songwriter and recording artist Dixson, as well as tennis professional Taylor Townsend. Previously he worked as road and tour manager for global superstar Justin Bieber under the SB Projects umbrella, as well as roles at Beats Music and Apple Music.

“Throughout his career, Kenny has consistently identified opportunities before the rest of the industry catches up,” said Familie founder-CEO Steve Astephen The. “He’s built meaningful relationships across music, entertainment, technology, sports, and culture, and brings a modern perspective on talent representation that aligns perfectly with where we’re headed as a company.”

+ Sunita Kaur has been named President, Asia, for Universal Music Publishing Group, chairman & CEO Jody Gerson announced this week. Based in Singapore, Kaur will oversee the company’s operations across the continent and will report to Gerson. Previously, she was Executive-in-Residence at Singapore Management University and held senio roles at Twitch, Spotify, Facebook, Microsoft and Forbes.

Gerson said, “Asia represents one of the most exciting and important regions for the future of music publishing, and I’m thrilled that an executive of Sunita’s experience and depth is joining UMPG to lead our continued growth in the region. She has a deep understanding of the evolving digital landscape and the opportunities it creates for songwriters, and her leadership and relationships across the region will be invaluable as we continue supporting and championing the next generation of songwriters.”

UMPG COO Marc Cimino added, “Sunita brings to the company an exceptional combination of strategic insight, operational experience and deep relationships across the region. Her experience working across both music and technology gives her a valuable perspective on how our business is evolving, and she is exceptionally well positioned to lead this next phase of our work across Asia. I’m proud to welcome her to the UMPG leadership team.”

+ Warner Music has named Jean-Sebastien “Seb” Permal as senior VP of A&R, EMEA and Central Europe. In this newly-created role, Permal will lead all domestic frontline activity across the recently expanded Warner Music Central Europe and its domestic labels across Germany, Switzerland, Austria, the Netherlands and Belgium.

Permal will also spearhead A&R strategy, artist discovery and signings, and strategic partnerships.

Permal joins Warner Music from Sony Music, where he most recently served as VP of A&R for Continental Europe and Africa.  He reports to both Simon Robson, President, Warner Music EMEA, and Niels Walboomers, President, Warner Music Central Europe.

Robson said, “Seb is a world-class A&R executive who pairs an intuitive ear for talent with a sophisticated grasp of the cultural nuances shaping today’s global market. With Seb’s leadership, we’re perfectly positioned to amplify our artists’ reach and connect them with audiences on a truly global scale.”

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Evan Bogart’s Seeker Music has acquired the

“The Daily Show” host Jordan Klepper went down South to celebrate America’s 250th birthday for a new installment of “Jordan Klepper Fingers the Pulse.”

Airing during tonight’s episode of “The Daily Show,” the segment finds the host in New Orleans during Sail250, a traveling maritime celebration featuring ships and military vessels. Klepper wanders the streets talks to people about the state of America and the current political administration. Along the way, he finds people dressed in stars and stripes, and a boozed-up man in a pirate costume.

“I would give America a nice, tall mug of common sense,” the man tells Klepper, holding up a metal cup.

“It doesn’t smell like common sense,” Klepper responds, before the man offers him some of his drink. Klepper declines: “I usually wait until after 5 to have my common sense.”

“Jordan Klepper Fingers the Pulse” is Klepper’s hallmark series on “The Daily Show.” Last year, he won an Emmy for writing for a nonfiction program for the half-hour special “The Daily Show Presents: Jordan Klepper Fingers The Pulse: MAGA: The Next Generation.” His latest special “Jordan Klepper Fingers the Pulse: Give the Man a Prize” is eligible for this year’s awards ceremony.

Klepper is one of a handful of hosts of “The Daily Show,” which airs on Comedy Central at 11 p.m. ET. Michael Kosta hosts tonight, and the other anchors include Jon Stewart, Desi Lydic, Ronny Chieng and Josh Johnson.

Catch an early glimpse at the segment, titled “Jordan Klepper Heads to NOLA for America’s Semiquincentennial,” below.

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“The Daily Show” host Jordan Klepper went

A producer sued Amazon Studios, Vice Studios and director Rebecca Chaiklin on Thursday, alleging that he was falsely portrayed as an accomplice of convicted fraudster Zach Horwitz in the recent documentary series “Hollywood Hustler: Glitz, Glam, Scam.”

The producer, Julio Hallivis, contends that his reputation has been ruined by the false implication that he acted as an informant and was complicit in Horwitz’s crimes.

Horwitz is serving a 20-year sentence over what federal prosecutors described as a $650 million Ponzi scheme. He pleaded guilty to allegations that he forged contracts with Netflix and HBO to dupe some 250 investors.

Hallivis was his business partner in 1inMM Productions, which produced a few films. According to the lawsuit, Hallivis was not involved in financing and knew nothing about the Ponzi scheme until Horwitz was arrested.

The lawsuit alleges that the three-episode docuseries, which was presented by Amazon MGM Studios and produced by Library Films, Vice Studios and Article 19 Films, repeatedly suggests that Hallivis was involved in the fraud.

“As a result of defendants’ desire to sensationalize the series and boost viewer numbers, Hallivis’ reputation and career have been destroyed, causing him great personal suffering and loss of earnings,” the suit states.

Hallivis declined to be interviewed for “Hollywood Hustler: Glitz, Glam, Scam,” which premiered Oct. 17 on Prime Video. The complaint argues that he is a private figure, which sets a lower bar to prove defamation.

The documentary includes an interview with Alex Loftus, a civil attorney, who was quoted saying that Horwitz “couldn’t do this alone.”

“I believe that he’s protecting someone in his inner circle,” Loftus said.

The documentary shows photos of Horwitz and Hallivis together, and includes commentary that Hallivis was “intense,” and “on edge.”

An interviewee is quoted as saying that Hallivis was paranoid and “just seemed like he saw something coming, I think, down the pipe.”

The lawsuit states that the scene is defamatory “because it implies that Hallivis was assisting Horwitz in his criminal activities and as a result, he was nervous, sad, and paranoid, and he feared that it was only a matter of time before he was going to be caught.”

The final episode also includes a suggestion that Hallivis and his brother, Diego, became informants to help the government’s case against Horwitz, implying that they needed to cooperate to minimize their criminal exposure.

In fact, the complaint states, Hallivis was interviewed a single time by the FBI and the Securities and Exchange Commission, and was never told that he was suspected of wrongdoing.

The episode also includes a quote from Loftus, who filed suit on behalf of some of the investors: “If Julio was spending all day and all night with Zach Horwitz for months at a time I don’t see how he would possibly not know that this was a fantasy.”

Loftus also said that he did not have facts to show that Hallivis was a fraudster, but “we have some things you could assume that look pretty bad.”

“These statements suggest that Hallivis was a fraudster, even if Loftus had no conclusive proof,” the complaint states.

According to the suit, Hallivis has been shunned by former business associates, and even his own brother has told him that they cannot work together due to the reputational damage.

Hallivis is represented by Alexander Rufus-Isaacs, an attorney who has filed several suits against Netflix on behalf of people who alleged they were defamed in various shows.

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A producer sued Amazon Studios, Vice Studios

The Choral Sets Netflix Release Date Sony Pictures Classics

Picture: Sony Pictures Classics

Alan Bennett and Nicholas Hytner’s heartwarming wartime drama The Choral is officially heading to Netflix for its streaming video-on-demand (SVOD) debut.

If you missed this cozy, deeply moving British drama during its theatrical run late last year, it’s time to add it to your watchlist. Thanks to Netflix’s ongoing First Pay Window output deal with Sony Pictures (which includes the Sony Pictures Classics library), The Choral is officially making its SVOD premiere on Netflix in the US later this summer, with it currently scheduled for July 2nd, 2026.

It’s taken a while to get to Netflix. While most Sony Pictures movies take anywhere between 90 and 120 days to head to streaming, this one has taken substantially longer, which isn’t entirely uncommon with SPC movies.

Here’s everything you need to know about the movie before it hits the platform.


What is The Choral about?

Set in the fictional Yorkshire town of Ramsden in 1916, The Choral contrasts the lightness and delight of small village life with the devastating realities of World War I. With the local choral society bleeding its male members to the war effort on the Western Front, the ambitious town committee refuses to cancel their annual performance. Instead, they do the unthinkable: they bend the rules and recruit local teenage boys to swell their ranks. To whip them into shape, they hire the controversial, uncompromising Dr. Henry Guthrie, an atheist who has recently returned from a career in Germany.

As conscription papers loom for the young boys, the choir becomes a profound refuge. The town soon discovers that making music together might just be the best response to the chaos that is laying waste to their lives.

The film marks the first original big-screen screenplay in decades from legendary 91-year-old playwright Alan Bennett. It reteams him with his frequent directorial collaborator Nicholas Hytner, who previously worked with Bennett on acclaimed adaptations like The Madness of King George, The History Boys, and The Lady in the Van.

The Choral J7PwfaThe Choral J7Pwfa


Who is in the cast?

The film is anchored by a powerhouse performance from Ralph Fiennes (The Menu, Schindler’s List), who shines as the choirmaster, Dr. Guthrie.

Fiennes is backed up by an absolute murderers’ row of British character actors, including:

  • Mark Addy (The Full Monty, Game of Thrones) as the local photographer Mr. Fytton
  • Roger Allam (Endeavour, V for Vendetta) as the mill-owning Alderman Bernard Duxbury
  • Simon Russell Beale (The Death of Stalin, House of the Dragon)
  • Alun Armstrong (New Tricks, Braveheart)
  • Robert Emms (Chernobyl, Andor) as the choir pianist, Horner


Box Office & Reviews: Is it worth watching?

In short: Yes, especially if you love a classic, Sunday-afternoon British comfort watch.

The film originally premiered at the Toronto International Film Festival (TIFF) in September 2025 before rolling out into theaters for the holidays. In an era where adult-skewing indie dramas can struggle to find a foothold in cinemas, The Choral managed its way to a highly respectable $10 million at the global box office.

Critics have been extremely receptive to the film’s blend of wit and poignancy. Critic Peter Travers gave the film 3 out of 4 stars, praising it as an “old-fashioned crowd pleaser” and noting that it “revels in its virtues as old-fashioned storytelling”. Other reviewers highlighted the film’s depiction of the “healing power of music”, while praising Bennett’s sharp, slightly bawdy humor.


Will you be checking out The Choral when it drops on Netflix? Let us know in the comments down below!

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Picture: Sony Pictures Classics Alan Bennett and Nicholas

Famous New Yorkers rallied together for a PSA released by Mayor Zohran Mamdani raving over the perks of filming in the city.

Spike Lee, Amy Schumer, John Krasinski, Natasha Lyonne, Darren Aronofsky and Celine Song all banded together for Mayor Mamdani’s PSA touting how ideal it is to shoot films and TV shows in New York City. Whether it was tax breaks or an energy, they all agreed more people should be taking advantage of shooting in the city. Rafael Espinal, the commissioner of the media and entertainment office, kicked off the video explaining the city was “cutting the red tape” when it came to getting shoots off the ground. Then the stampede of celebrities took over.

“People are in the habit of discounting New York because they think it’s so expensive, or it seems unattainable to shoot here,” Schumer said. “Then you find out, with the tax breaks here, it’s never been easier to shoot in New York.”

“I remember there was a time where a lot of stuff would shoot in Toronto, but it’s not New York. You save a couple of nickels — you don’t even have to know it was shot in Toronto — but you feel like something’s off,” Lee continued.

Lyonne added: “It’s so magical, what happens when you’re shooting in New York. There’s nothing in the world like a New York night shoot, and everything’s all sparkly, and the lights. ‘After Hours,’ ‘Taxi Driver,’ ‘Midnight Cowboy’ — it’s Manhattan.”

With the PSA being put out by the mayor’s office of media and entertainment, there was of course further focus on how easy it is to work with the city’s government when it came to pulling off a new shoot.

“Working with the film office here in New York and the city agencies has been a dream come true because I think there’s an understanding from all sides how special it is to shoot in New York,” Krasinski said.

Lee added: “Whether a student film or a big budget film, they’re gonna do what they can to help you make your film.”

Wrapping up the PSA, Schumer returned to say, “New York is there to service whatever you’re looking for and the story you’re telling. One of the things that you learn as a filmmaker is that every frame should have a purpose. It should be part of telling your story. And whatever that story is, whatever mood you’re looking for, New York has it for you.”

The full New York City PSA is available to watch in the video above.

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Famous New Yorkers rallied together for a

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Starz has greenlit the “Power” sequel “Power: Legacy,” Variety has confirmed.

The series will follow the reunion of Tommy Egan (Joseph Sikora) and Tariq St. Patrick (Michael Rainey Jr.), the son of Tommy’s late friend James “Ghost” St. Patrick. Starz has picked up eight episodes for the first season.

Both actors previously led their own entries in the “Power” universe — Sikora starred in “Power Book IV: Force” for three seasons, while Rainey starred in “Power Book II: Ghost” for four. The characters went their separate ways at the conclusion of the mothership series, but reunited in the “Force” finale. In “Legacy,” Tommy returns to New York and partners with Tariq.

“Power never dies, and this chapter is our biggest yet,” said executive producer Curtis “50 Cent” Jackson. “Fans have been waiting to see Tariq and Tommy together, and now they’re taking over New York City. Bringing Joseph and Michael back together is special, they’ve turned these characters into true icons of the ‘Power’ universe.”

“Power” vet Gary Lennon serves as showrunner and executive producer on “Legacy,” which is based on a pilot script Lennon co-wrote with Kendra Chapman Davis. “Power” creator Courtney A. Kemp is also an executive producer via End of Episode along with Jackson via G-Unit FIlm and Television. Mark Canton of Canton Entertainment executive produces, as does Davis, Sikora, and Chris Selak. Rainey is a producer.

“Power: Legacy” is a co‑production between Starz and its former parent company Lionsgate Television. This marks a first for the franchise, as Lionsgate had previously licensed entries in the series to the premium cabler.

“The fans have spoken, and we listened,” said Kathryn Busby, president of original programming at Starz. “Power doesn’t die, it evolves with its audience, and for over a decade the ‘Power’ Universe has remained at the forefront of culture. We’re thrilled to reunite Joseph and Michael to deliver a new chapter that fuses the franchise’s iconic legacy with bold, boundary-pushing storytelling.”

“I’m thrilled to reunite with Starz to bring this latest chapter of the ‘Power’ Universe to fans and especially proud to be entrusted with continuing Tommy and Tariq’s story as showrunner on ‘Power: Legacy,’” said Lennon. “It’s going to be electrifying to see if these two men can share the city, the game and the intoxicating drug known as Power.”

“Legacy” will be the fifth spinoff of “Power” since the original show ended. Along with “Ghost” and “Force,” there is also the prequel “Power Book III: Raising Kanan” which will debut its fifth and final season on June 12. There is also the upcoming prequel “Power: Origins,” which does not yet have a premiere date.

The “Power” shows have become a cornerstone of Starz’s programming slate. Per Starz, the Season 3 premiere of “Force” drew 9 million multiplatform viewers, while the season experienced 57% in-season growth.

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Starz has greenlit the “Power” sequel “Power:

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Police in Lethbridge, Alta., say a 59-year-old man is facing multiple weapons charges after a large cache of weapons were found during a search of a home in the city Wednesday.

Officers say the suspect, Daniel Hazen Stebbins, was arrested for criminal harassment in connection with an investigation that began in British Columbia.

Saanich Police were initially informed a woman had received roughly five dozen “concerning” messages and videos, depicting a person with a large number of guns.

Police say the messages left the woman fearing for her safety, and then found out the man lived in Lethbridge — having previously agreed to buy another gun from the woman, but never paid.

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After the sale fell through, police say, the disturbing messages towards the woman began.

After Stebbins was arrested, police searched a home along Canyon Boulevard on Lethbridge’s west side, finding a total of 34 firearms — including some that were possessed or stored illegally.

Story continues below advertisement

Stebbins is facing the following charges:

  • Seven counts of unsafe storage of a firearm
  • Three counts of unlawful possession of a prohibited firearm
  • Three counts of unlawful possession of a prohibited device
  • One count of uttering threats to cause death or bodily harm
  • One count of criminal harassment


Lethbridge police say the 59-year-old is still in custody as of Thursday afternoon, awaiting a release hearing.

No photos of the weapons were provided by the Lethbridge Police Service.

&copy 2026 Global News, a division of Corus Entertainment Inc.

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King Charles III brought together young people, youth sector leaders, and Sir Gareth Southgate at Buckingham Palace on Wednesday for a summit focused on youth unemployment and the challenges facing the next generation.

The gathering was organized through The King’s Trust. It gave leaders from across society a direct chance to hear from young people about what genuine support actually looks like. Topics included being out of work, living with isolation, and navigating personal struggles. Chronic insecure employment was high on the list too.

The room included both young people and youth sector representatives, putting those most affected by these issues in direct conversation with those who can shape the response.

Sir Gareth Southgate attended in his role as Goodwill Ambassador for The King’s Trust. He’s one of the charity’s more visible advocates, and showing up at Buckingham Palace puts real weight behind what’s coming next.

Following Wednesday’s meeting, The King’s Trust and Southgate are set to launch a nationwide initiative. The charity described the aim as giving young people “greater access to courses, coaches and resources to build confidence and skills for life.” For someone out of work with few options, that kind of targeted support can make a real difference.

The King’s Trust shared the news on Instagram on Wednesday, posting photos from the morning alongside details of the upcoming program. The post crossed 10,000 likes, a solid response for a charity account. Both King Charles and Southgate carry real public goodwill here, and youth unemployment rarely gets the spotlight it deserves.

The summit falls during Volunteers Week 2026. The King’s Trust is also marking its 50th anniversary this year under the hashtag #KingsTrust50. The charity has spent five decades working with young people facing barriers to employment and education. This initiative looks like one of its more ambitious efforts in some time.

Southgate brings a specific kind of credibility to this work. During his years managing England’s national football team, he became known for speaking openly about mental health and team culture. He built a public reputation around preparing young people for real pressure. Stepping back from the England job, he channeled that same energy into public advocacy. The partnership with The King’s Trust fits naturally with that direction.

The nationwide program hasn’t officially launched yet. Wednesday’s summit was the opening move, clearly designed to build momentum before the rollout. Getting young people into the room at Buckingham Palace, alongside the King and Southgate, signals how seriously this effort is being taken.

Youth unemployment and underemployment don’t usually command this kind of high-profile attention. Holding a summit at one of the most recognized addresses in the world, with a former England manager at the table, is one deliberate way to change that.

Full details on the initiative are on The King’s Trust website. Wednesday’s meeting sets the stage for what both parties say will be a genuine nationwide push.

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“I’d like to thank the Academy.”

That’s how I opened my presentation at the Television Academy last week, and the room laughed. I understood why. It sounded like a joke.

But I meant it sincerely.

I was there to present the research our organization, the Jewish Institute for Television and Cinema (JITC) Hollywood Bureau, did with the Norman Lear Center on Jewish television representation and our studio Jewish fact sheet, to a packed room of entertainment professionals. The event was hosted by the newly formed Television Academy Jewish Affinity Group. As I stood there, I couldn’t help but think back to the first time we attended a Television Academy event after launching the JITC Hollywood Bureau in late 2021.

It was the Academy’s first Inclusion Summit in the fall of 2022, just a couple of weeks after Kanye West’s “death con 3 on Jewish people” comment. Our Hollywood Bureau was less than a year old, and I was still learning how to bring this work into rooms where Jewish concerns were not typically part of the conversation.

During one session, panelists discussed many marginalized groups in Hollywood and how to tackle DEI issues across the studios and elsewhere in the industry, but failed to mention Jews even once. They closed with a simple and striking question: “Did we forget anything?”

My heart started pounding. I knew the answer, but saying it out loud in a room full of diversity and inclusion professionals felt daunting. Still, I also knew that this was exactly why we had created the JITC Hollywood Bureau: to say the uncomfortable things that needed to be said, out loud, and to the stakeholders who needed to hear them.

So I picked up the microphone and told the room, respectfully but clearly, that they had forgotten the Jews. I shared that I was sitting at an inclusion summit as a Jew and feeling invisible. I spoke about the fear and alienation so many Jewish people were experiencing, including my own son who cried to me the year before (after learning about attacks that were happening to Jews) saying that he wished he had not been born into a group that faced so much hate. 

Afterward, Jewish attendees came up to me, one after another. They were there in support of other marginalized groups. They told me they had been feeling the same thing, but were too afraid to advocate for themselves. Advocating for others was somehow easier.

It wasn’t just the Jews who were moved. Many people in the room responded with openness and generosity. What could have been a painful reminder of exclusion became the beginning of something more hopeful.

A Black producer at ABC told me my story about my son echoed her own, underscoring how we all must uplift one another because we all face similar hate.

And to the Television Academy’s credit, they listened.

They began including Jewish people in conversations around diversity and inclusion at the next summit, including featuring a presentation by Reboot Studios. They added Jews to their diversity listings. They incorporated Jewish identity into a demographic study of Hollywood, something no other entertainment organization had done before and that will be pivotal to further studies of Jewish representation in the industry and continued change to support our stories and Jewish professionals. 

From there, the work grew. We helped Jewish creatives create support mechanisms within several professional organizations. We partnered with the Norman Lear Center’s Media Impact Project to conduct the most extensive study on Jewish television representation in 25 years, giving us real data that proves our case for change. 

That is why returning to the Television Academy in 2026 felt so meaningful.

Three and a half years ago, I took a risk speaking up to explain why Jewish inclusion mattered. This time, I walked into a room filled with entertainment professionals who had organized, mobilized and were ready to engage with credible data about how Jews appear, and often do not appear, on screen.

That is real progress.

There is no question that the Jewish community is facing an extraordinarily painful moment. The bad news can feel relentless. Antisemitism is rising. Jewish people often feel isolated in cultural spaces, professional spaces and even in places devoted to inclusion.

But there are also moments of hope worth recognizing.

There is growing unity. There is growing courage. There is growing pride. And there are more people, Jewish and not Jewish, who understand that better representation matters because stories shape how communities are seen, understood and treated.

The work is not finished. It is only beginning. But this week at the Television Academy reminded me that change can happen when people are willing to speak honestly, listen carefully, and build together.

Three and a half years ago, I stood up and said, “You forgot the Jews.”

This week, I got to stand in that same institution and say thank you.

And that feels like a full-circle moment worth celebrating.

Allison Josephs is an award-winning writer, director, producer and the founder and executive director of Jewish Institute for Television & Cinema (JITC) Hollywood Bureau, the only group that advocates for better Jewish representation in the entertainment industry.

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“I’d like to thank the Academy.” That’s how

Anderson Cooper defended his CNN colleague Kaitlan Collins after Donald Trump’s latest “completely unwarranted” comments targeting her.

On Wednesday night’s episode of “Anderson Cooper 360,” the host called out the president for again attacking Collins during a reporter scrum in the Oval Office earlier that day. Cooper made it clear that Trump only really calls out female reporters for things like this – and it’s far from the first time Collins had been his target.

“That’s the president of the United States: a nearly 80-year-old man, who has no problem commenting on her physical appearance and telling her she needs to smile,” Cooper said.

He added: “That doesn’t happen to men. No one’s ever said that to me in an office setting. She was there, like every other journalist doing her job, standing around with a bunch of non-smiling men, by the way, all behind her.”

The president lashed out at Collins during a press conference in the Oval Office where he addressed his decision to drop the Anti-Weaponization Fund, a $1.8 billion slush fund that was supposed to help out Trump’s political allies, including Jan. 6 rioters. He pointed to Collins and said he never saw her smile and she had betrayed her conservative roots by working at CNN.

“CNN’s a very corrupt organization, with a corrupt reporter standing right there, never smiles,” Trump said. “A young beautiful woman never smiles. I never see a smile off her face. I see her standing there with hatred in her eyes. Like she has hatred because we have borders, because we have a strong military, because we cut our taxes, because we do things that everybody wanted.”

He later added: “She was a conservative from Alabama, can you believe it? But in particular, CNN does such false reporting, but now they have new ownership, so maybe it’ll straighten it out. It’s hard to straighten garbage out.”

Trump had previously snapped at Collins in the past for not smiling enough when she questioned him about the Epstein Files. In fact, the president has had a consistent track record of verbally attacking female reporters since he took office for his second term.

You can watch Cooper’s full segment in the video above.

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Anderson Cooper defended his CNN colleague Kaitlan

Kylie Jenner flashed major sideboob in her latest Instagram post, which she shared with her 382 million followers on Thursday.

The 28-year-old makeup mogul – who has been enjoying vacation in Turks and Caicos – modeled a racy, white maxi dress with a racerback design while posing on the beach.

She flaunted her famous curves in the form-fitting number, which boasted side cutouts that dipped to her hips.

The fashionista added supersized, chunky, silver-toned hoop earrings with black stone accents.

And her jet black tresses were pulled back into a long braid that fell down her back. 

‘Loves a sunset slay,’ she captioned the carousel post.

Kylie Jenner flashed major sideboob in her latest Instagram post, which she shared with her 382 million followers on Thursday

Kylie Jenner flashed major sideboob in her latest Instagram post, which she shared with her 382 million followers on Thursday 

The 28-year-old makeup mogul – who has been enjoying vacation in Turks and Caicos – modeled a racy, white maxi dress with a racerback design

The 28-year-old makeup mogul – who has been enjoying vacation in Turks and Caicos – modeled a racy, white maxi dress with a racerback design 

She flaunted her famous curves in the form-fitting number, which boasted side cutouts that dipped to her hips

She flaunted her famous curves in the form-fitting number, which boasted side cutouts that dipped to her hips 

Jenner carried a stone-covered handbag with a black strap in one of the pictures, and she ventured into the ocean in some shots.

Other photos shared via Instagram Stories showed the beauty partying with friends.

She wore a plunging black mini dress during a night out that saw her dancing with her close pals.

Jenner has been hosting at a mansion in the popular vacation destination for a Kylie Cosmetics celebration. 

Guests include Victoria Villarroel, Maguire Grace Amundsen, Anastasia Karanikolaou and Yris Palmer.

So far, there has been no sign of her boyfriend Timothee Chalamet, 30.

‘Kylie summer trip!!! @kyliecosmetics,’ she shared in a previous Instagram post. ‘We’re literally summering.’ 

Later she added, ‘Sunset dinner with Kylie Cosmetics.’ 

'Loves a sunset slay,' she captioned the carousel post
Her jet black tresses were pulled back into a long braid that fell down her back

‘Loves a sunset slay,’ she captioned the carousel post. Her jet black tresses were pulled back into a long braid that fell down her back

Other photos shared via Instagram Stories showed the beauty partying with friends

Other photos shared via Instagram Stories showed the beauty partying with friends 

Jenner has been hosting at a mansion in the popular vacation destination for a Kylie Cosmetics celebration

Jenner has been hosting at a mansion in the popular vacation destination for a Kylie Cosmetics celebration 

Jenner shared an artsy snapshot of her silhouette

Jenner shared an artsy snapshot of her silhouette 

Jenner brought her daughter Stormi, eight, and son Aire, four, whom she shares with ex-boyfriend Travis Scott, 35.

Kylie Cosmetics branded everything at the residence, with the logo placed on the mirrors, parasols, robes, towels and cocktails.

Each guest was treated to gifts including bikinis, a towel, a lighter, a folder with the itinerary, a disposable camera, makeup, a woven beach bag and a water bottle.

Jenner also showed off the rented white mansion by the shore that the girls were staying in.

The opulent beach house boasted a large swimming pool among other luxury amenities.

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In 1986, when Mexico became the first country to ever host the FIFA World Cup a second time, actor and director Diego Luna was only 6 years old. The year before, his hometown of Mexico City had been ravaged by a massive earthquake. That the World Cup happened at all in a nation recovering from such destruction seemed miraculous to a young Luna.

“It felt as though it wouldn’t happen. It was impossible given the magnitude of the disaster,” Luna, now 46, recalls in Spanish during a recent video interview. “And then when it did happen, you could witness what a balm it was for the people of Mexico City to host the opening ceremony, to welcome so many people from around the globe, and to receive such an outpouring of affection.”

“Mexico even had a song that said, ‘For now, at least, we have the Friendship Trophy.’ Sadly, that was the only trophy we got. And the only trophy we have ever won in fútbol,” Luna adds with a smirk.

Now, in Gabriel Ripstein’s acidly humorous film “Mexico 86,” out on Netflix starting Friday, Luna plays a fictional man in a partially true story about the ins and outs of how the country defeated more powerful adversaries and surmounted the chaos of the time to host the event successfully.

Luna’s passion for soccer, he says, was born during that fateful World Cup at home, where Argentina earned its second title by the “hand” of Diego Maradona.

“My uncle took me to see a match. He had won two tickets in a raffle at his job,” Luna says. “Back then, the people who attended the World Cup were the same people who went to fútbol games regularly.”

Luna worries that the exorbitant ticket prices for the upcoming World Cup (hosted across Mexico, the U.S., and Canada) will prevent everyday fútbol fans from attending. “I don’t know who will be able to afford these tickets, but it’s obvious that the people who go to watch fútbol every weekend in Mexico are not invited to the World Cup anymore,” he says. “They will have to watch it on screens in public squares.”

The claim that this year’s World Cup (starting June 11) is being organized among three countries is nothing but a smokescreen, Luna believes.

“In reality, the United States is organizing it, while Mexico and Canada have each been allotted just 13 matches,” he explains. “Yet the United States — a country currently fighting with the rest of the world — is hosting over 70. It defies understanding how they can aspire to host a tournament that is fundamentally about justice, equity and the communion of diverse cultures.”

Politics and soccer have, unfortunately, often been intertwined. Luna’s character in the satirical “Mexico 86,” Martín de la Torre, is a lowly government worker who weasels his way into a position of influence to have the ear of more powerful men like Televisa’s Emilio Azcárraga (played by Daniel Giménez Cacho). In order to emerge victorious in his quest to bring the World Cup to Mexico, De la Torre debases himself and backstabs shamelessly.

“My character is fictional precisely because he seeks to encapsulate the actions of the many bureaucrats who served this vast structure known as the State, or the PRI [party],” Luna says. “And how, in their eagerness to please the State, to appease this machinery, they are willing to sacrifice everything, even their own morality and professional ethics. Those acts of betrayal ultimately chart the course of the system’s own downfall.”

Luna’s love of the sport also stems from his late father and his lifelong predilection for Liga MX’s Pumas squad. “My dad worked at UNAM, and the university and its team, Pumas, have a very close relationship,” he says. “The stadium is right there, very close to the cultural zone. It is a beautiful architectural project, and it is part of the campus.”

Passionately cheering for Pumas has also been part of his friendship with fellow actor Gael García Bernal since childhood. “I went with Gael to watch the final match from the 1990–91 season, where Pumas became champions,” he recalls. “There we were, the two of us, 11 and 12 years old, watching our team triumph and win the final against the hated América.”

Los Charolastras, their characters in Alfonso Cuarón’s “Y Tu Mamá También,” were also Pumas fans. In the 2008 film “Rudo y Cursi,” the actors played feuding brothers with dreams of playing soccer professionally.

“‘Rudo y Cursi’ brought us closer to the experience of being a Mexican player in a deeply endearing way,” he explains. “We had the chance to be close to many players to understand what their journey had been like.”

As a soccer enthusiast, Luna has played many positions — all of them rather poorly, he confesses. Nonetheless, he’s always cherished the joy of playing for the sake of playing.

“Fútbol has always been a part of my life, and I played it right up until recently,” Luna says. “I don’t play anymore because my knees and ankles just can’t handle it. My age doesn’t allow it anymore, but I still watch it plenty.”

What Luna finds most beautiful about the sport is the built-in hope that no matter how imposing your opponent is, if luck is on your side, winning is possible. And maybe that’s just wishful thinking, but it’s enough to inspire both professionals and amateurs.

“When you are on the field, it doesn’t matter how big your gut is, or the intensity of the hangover you’re nursing from the night before; when the ball comes your way, just for a split second you tell yourself, ‘I think this time I’m really going to strike it really good. I’m going to put it right in there and score.’ But then, reality sets in, and the ball ends up hitting you more than you hit the ball,” he says laughing.

That soccer thrives on the genius and physical prowess of human beings, which also means that the possibility of failure makes it profoundly dramatic, fascinates Luna.

“In ‘86, Hugo Sánchez missed a penalty,” Luna recalls. “He was the best striker in the world at the time. There was no man more intimately connected with scoring a goal than he was. And yet, in his own country, he missed a decisive penalty. That sense of drama caused by human error in fútbol is absolutely thrilling.”

Luna believes that while stories about what surrounds the sport are compelling, there are no good movies that focus on the action on the field. “What happens there is already a perfect spectacle,” he says. “It consists of 90 minutes, divided by a break at the 45-minute mark that allows for speculation. It has two acts, and the second is always better than the first because it’s definitive. There is no turning back. The ending is inevitable.”

There’s also an egalitarian quality to soccer that other sports lack. It can be played without equipment and with an improvised ball, so long as you have others to play with.

“I used to play even without a ball, using a bottle of Frutsi. We’d fill it with sand to give it a little bit of weight, and that served as our ball,” Luna says. “Or there are moments when you find yourself playing even without a ball, juggling an imaginary one just like Maradona used to do.”

Soccer, Luna believes, represents an affront to the individualistic mindset that plagues today’s world because, by nature, it must happen in community.

“At a minimum, two people are required; and the more players there are on each side, the more thrilling and the more fun it becomes,” he says. “As long as we champion the capacity to act collectively, to exist in community, I believe that fútbol will endure.”

That thought reminds Luna of one of the other loves in his life.

“If you think about it, fútbol resembles cinema,” he adds. “To play it you have to do it as a team, and cinema isn’t cinema unless it’s watched in community, unless it’s shared.”

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In 1986, when Mexico became the

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Spider-Man: Brand New Day had a very good reason for omitting Tobey Maguire and Andrew Garfield’s Peter 2 & 3. Years ago, Spider-Man 4 was the subject of constant conflicting rumors, with some claiming Sony Pictures and Marvel Studios were battling over the direction of the No Way Home sequel. While Marvel wanted to fulfill No Way Home‘s promise of a street-level continuation, Sony was reportedly hankering for another Multiversal box office win that would bring back Tobey Maguire and Andrew Garfield’s Spider-Men once again.

Fortunately, it seems Marvel Studios won that battle, as Brand New Day looks to be keeping things relatively grounded and swerving the Multiverse ahead of Avengers: Doomsday. That’s not to say the MCU’s blockbuster is a clean-cut street-level story that many were hoping for, as Brand New Day still features a Savage Hulk and is rumored to introduce mutant mind-bender Jean Grey.

Empire Magazine spoke with Spider-Man: Brand New Day producer Amy Pascal, who noted that No Way Home‘s massive box-office success would usually prompt studios to “go bigger.” Instead, they went in the opposite direction, as Brand New Day draws its scale from emotional stakes, and “not worlds exploding:”

“After the last one, I think probably the tendency for filmmakers would be to try to go bigger. And we did the opposite. [‘Brand New Day’] is a more internal movie, and the bigness of it is emotional, not worlds exploding.”

That desire to create a “more internal movie” that focuses on Tom Holland’s Peter Parker on a smaller scale than what was seen in No Way Home is, naturally, the core reason why Tobey Maguire and Andrew Garfield weren’t brought back, although the Multiversal Peters’ influence will still be felt in Brand New Day.

Still, Tom Holland’s Spider-Man is getting some superhero help when Brand New Day hits theaters on July 31, as Mark Ruffalo’s Hulk, Jon Bernthal’s Punisher, and possibly Sadie Sink’s Jean Grey are also in the mix for the web-slinging chaos.

Will Marvel’s 3 Peters Reunite After Spider-Man: Brand New Day?

Sony Pictures

In many ways, one has to applaud Marvel Studios and Sony Pictures for not simply treating Spider-Man 4 as another $1.8 billion cheque to be padded with Multiversal cameos and even more fan service than seen in No Way Home.

It would have been easy to make Spider-Man 4 a prequel to Avengers: Doomsday, reuniting the three Peters, adding their love interests, and maybe a live-action Miles Morales and Spider-Gwen, played by Emma Stone, for good measure.

That’s not to say that fans of the legacy Spider-Men are completely out of luck, especially as Tobey Maguire is reportedly part of Avengers: Doomsday‘s chaos, and he may be set for a major role beyond that in Secret Wars. 

Reports indicate that both Maguire and Tom Holland are returning for starring roles in next year’s Avengers 6, but the jury is still out on Andrew Garfield. There hasn’t been much reliable reporting about the busy British actor returning to the MCU, and his interest in reprising Spider-Man lies in another 2027 movie.

Only time will tell what fate befalls the Spider-Men in Secret Wars, which will begin production in the U.K. later this summer. That being said, if Maguire and Holland are, as reports have hinted, a shoo-in for the next Avengers blockbuster production, Marvel Studios will surely be trying its hand to go three-for-three.

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Warning! This post contains SPOILERS for LEGO Batman: Legacy of the Dark Knight

Warner Bros.’ Batgirl movie remains one of the most infamous movie cancellations in modern movie history. After filming had wrapped and post-production was nearly finished, the studio chose to shelve the entire project as a tax write-off rather than releasing the DC film starring Leslie Grace as Batgirl, Brendan Fraser, and Michael Keaton as Batman. However, the movie was recently revived with a perfect (if not unexpected) tribute.

There were other movies shelved by Warner Bros., like Coyote vs. ACME, which was ultimately sold and will finally see the light of day later this year. However, Batgirl will more than likely remain unseen, especially with the full DC Universe reboot that occurred in the interim. Even so, fans have continued to wonder what might have been thanks to various set photos, concept art, and behind-the-scenes details.

This brings us to four years later, where the newly released LEGO Batman: Legacy of the Dark Knight game is packed with amazing tributes and references to Batman’s entire cinematic, television, comic book, and gaming history. Remarkably, one of its coolest nods looks to be a very big homage to the Batgirl movie audiences never got to see.

DC’s Batgirl Movie May Be Dead, But LEGO Batman Revives The Movie In The Best Way

Firefly in LEGO Batman Legacy of the Dark Knight

In the first level where Barbara Gordon’s Batgirl becomes playable in LEGO Batman: Legacy of the Dark Knight, her first major mission sees Gordon suiting up after Firefly attacks a Gotham Halloween party, forcing the young hero to make her debut under pressure and joining Batman to take the flying pyromaniac down.

As such, it’s a scenario that should absolutely sound familiar to those who followed Batgirl’s cancellation and the ongoing controversy.

According to plot details that emerged following Batgirl’s cancellation, Brendan Fraser’s Firefly was also meant to attack a Halloween party hosted by Michael Keaton’s Bruce Wayne. That sequence would have served as a major early vigilante debut for Leslie Grace’s Barbara Gordon as Batgirl for the very first time.

Batgirl in LEGO Batman Legacy of the Dark Knight

The similarities are simply too specific to ignore in Legacy of the Dark Knight, with the mission itself feeling like a deliberate nod to the unreleased DC film. Likewise, Batgirl’s Burnside costume is unlocked not long after this first Barbara Gordon mission, one of her most recognizable looks in the modern era which also served as the primary inspiration for the costume worn by Leslie Grace during Batgirl’s production, making the tribute that much stronger.

All things considered, the first Batgirl mission in LEGO Batman: Legacy of the Dark Knight may be the closest fans ever get to experiencing even a glimpse of the abandoned DC film.

Legacy of the Dark Knight Is Truly One Of The Greatest LEGO Games Ever

Lego Batman and Joker Legacy of the Dark Knight

What’s especially impressive is that this wonderful Batgirl tribute is just one small part of what makes LEGO Batman: Legacy of the Dark Knight so dang special as the definitive Batman game.

The game truly does live up to its name, fully embracing Batman’s entire history and nearly every era imaginable across mediums: Burton, Nolan, Reeves, the DCEU, classic television, comics, animation, and even canceled projects like Batgirl are all represented in some shape or form. Likewise, the gameplay is a tribute in and of itself, borrowing heavily from the open world traversal, combat, and detective mechanics from Rocksteady’s beloved Arkham trilogy.

















From the Caped Crusader to The Batman · Eight Questions
How Well Do You Know Batman?
“I’m Batman.”

🦌Bob & BillDetective Comics #27, 1939

🥘The Camp EraAdam West, 1966

🎣Burton & SchumacherKeaton to Clooney, 1989–97

💉The Dark KnightBale & Ledger, 2005–12

🕵The BatmanPattinson & Reeves, 2022–

01

Batman debuted in Detective Comics #27 in May 1939. Cartoonist Bob Kane received sole credit for creating the character for the next 76 years — on every comic, every TV series, every film — despite being only half of the real partnership. His uncredited collaborator wrote much of the original story, designed the cowl and cape, invented the name “Bruce Wayne,” named Gotham City, and helped create the Joker, the Penguin, the Riddler and Catwoman. DC finally added his name to all Batman credits in 2015. Who?




02

Batman: The Movie — released in July 1966 between the first and second seasons of the ABC TV series, featuring the “Holy Whatever, Batman!” tone, the four super-villain team-up (Joker, Penguin, Riddler, Catwoman), the shark-repellent Bat-spray, and the Batmobile/Batboat/Batcopter — is generally considered the first theatrical Batman feature film. Two earlier 1940s movie serials don’t qualify as standalone features. Which actor played Batman in this first theatrical feature?




03

Batman: The Animated Series (Fox Kids, 1992–1995) — the Bruce Timm/Eric Radomski production with the deco-noir “Dark Deco” backgrounds painted on black paper — is consistently ranked by fans and creators as the definitive screen Batman. Its central performance is so iconic that the actor reprised it across 30 years, every DC Animated Universe series, and a dozen Arkham-series video games. He died on November 10, 2022, and DC essentially treated his passing as the death of Batman’s voice. Name him.




04

Jack Nicholson’s Joker in Tim Burton’s Batman (1989) earned him an estimated $60–$90 million from a film for which his actual on-screen salary was a fairly modest $6 million — making it, dollar-for-dollar, one of the most famously lucrative single roles in Hollywood history. He achieved this by negotiating an unusual deal structure that other actors immediately tried (and largely failed) to copy. What was it?




05

After Ben Affleck stepped down from his planned solo Batman film, Warner Bros. handed the project to a new director who reconceived it as a noir-detective serial-killer story modelled on Se7en and Zodiac, runs 2h 56min, casts Robert Pattinson as a brooding second-year Bruce Wayne, and gives Paul Dano’s Riddler a Zodiac-style cipher gimmick. The Batman (2022) grossed $772 million worldwide. Who directed it?




06

Joel Schumacher’s Batman & Robin (1997) — with Bat-nipples on the suit, Arnold Schwarzenegger’s Mr. Freeze spitting ice puns (“Let’s kick some ice!”), Uma Thurman’s Poison Ivy, Alicia Silverstone’s Batgirl, and an estimated $238 million box-office failure on a $125 million budget — is widely regarded as one of the worst superhero films ever made. It killed the live-action Batman franchise for eight years until Batman Begins (2005). Who played Batman in it?




07

Cesar Romero’s Joker on the 1966–1968 ABC Batman series — white grease-paint, green wig, red lipstick, manic giggle — remains one of the most-cited comedic TV villains in American history. Romero, a leading-man matinée idol since the 1930s, agreed to the role on one condition: he refused to do a specific thing for the makeup. You can still see what he refused if you look closely. What did Romero refuse?




08

Todd Phillips’s Joker (2019) — the standalone, R-rated, $1.07-billion-grossing Joaquin Phoenix vehicle that exists outside any DC continuity — was nominated for 11 Academy Awards, the most of any comic-book-derived film at the time. It won Best Actor for Phoenix. It also won exactly one other Oscar that night. Which?




The Bat-Signal Has Faded · Final Scorecard
Your Gotham Standing

🦌

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World’s Greatest Detective — or a Gotham red herring?

Four years after Warner Bros. pulled the plug, it’s pretty cool to see that LEGO Batman: Legacy of the Dark Knight’s developers found a very organic means of keeping the memory of the canceled Batgirl movie alive. Even so, it’s still incredibly unfortunate that audiences will never be able to see the performances given by Grace or Brendan Fraser, let alone the return of Michael Keaton’s Batman.


legacy-of-the-dark-knight-batman-tag-page-cover-art.jpg

Systems


Released

May 22, 2026

Developer(s)

TT Games

Publisher(s)

Warner Bros. Interactive

PC Release Date

May 22, 2026

Xbox Series X|S Release Date

May 22, 2026

PS5 Release Date

May 22, 2026


Source link

Warning! This post contains SPOILERS for LEGO

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10 Things You Should Know About Native American Casinos - Casino.org

After devoting weeks assessing the Canadian online gaming scene, we can share that casino 5bet slot rtp has established a measure of credibility that hardly any platforms can rival. Their focus to transparency is far from a motto—it shows in every aspect of the offering. From the outset, it’s apparent this platform is something different. When we first landed on 5betcasino.ca, we noticed straight away that the layout puts player confidence at the forefront, skipping the flashy distractions you encounter at other casinos. The design is uncluttered, the menus are user-friendly, and you can access any type of game, payment method, or customer service in just a few clicks or less. That type of simple design is hard to find. Under the surface, the casino works on verifiably fair algorithms and random number generators that are externally verified. We didn’t just take their word for it; we checked the public audit files on our own. For players in Canada who’ve grown tired of unclear bonus terms and withdrawal delays, this place indicates a real shift toward fairness. The welcome experience doesn’t jump at you with pop-ups or overbearing upgrades. Rather, it leads you through the honest system so you grasp how it the whole thing functions before you even put in a dime. That strategy told us everything we had to know about the operator’s sustained vision in Canada.

Canadian Legal System and 5bet Casino’s Licensing Strategy

Canada’s internet gambling rules are a tangle of local laws, and 5bet Casino steers them by acquiring a license from a reputable global jurisdiction while fully adhering to Canadian national directives. The system possesses a Curacao eGaming license, which we acknowledge as one of the more established choices for international operators that target Canadian residents. During our assessment, we were pleased that the casino willingly applies further compliance measures that extend well beyond what that license requires. We checked their data protection policies and noted obvious agreement with PIPEDA standards for managing Canadian members’ individual data. The sign-up system needs identity confirmation before any major payout is handled, a practice that matches with FINTRAC’s anti-money laundering regulations. Instead than turning these measures appear like a obstacle, 5bet https://www.crunchbase.com/organization/system-group-ltd has woven them into the member experience in a way that appears natural, as if conformity is just element of the sequence instead than a hostile grilling. We came away believing like they’ve considered through every element. For members in provinces like Ontario, British Columbia, and Alberta, where the discussion around regulation is changing rapidly, this layered licensing approach adds an further level of trustworthiness.

Game Catalog Depth That Combines Quality And Canadian Preferences

We examined the game library and discovered a selection that emphasizes substantial range over just padding the counts. Canadian gamblers, who our studies reveals often choose riskier, high-volatility gaming, will likely appreciate the 1,200+ slot games with a strong lean toward that approach. We spent long sessions on offerings from Pragmatic Play, NetEnt, and Play’n GO. The progressive jackpots collect liquidity from Canadian players across the network, so the prize pots regularly rise past the six-figure threshold in CAD. The table game category was more extensive than we anticipated: 38 blackjack types, including multi-hand and surrender variants that will have strategy enthusiasts analyzing over the fine text. High rollers and beginners alike will find their place. For roulette, you find European, American, and French versions, and the French edition’s la partage rule delivers the lowest house edge we could spot anywhere on the site. The live dealer games, powered by Evolution Gaming, transmit from studios with slots adjusted to Canadian peak hours, so tables are manned and prepared during evenings in both Eastern and Pacific time regions. There’s also a increasing range of crash options and instant-win offerings that cater to a more modern crowd looking for speedier thrills.

Bonus Structure Crafted Lacking Deceptive Mechanics

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We allocated our toughest testing for the withdrawal process. We handled five separate cash-outs, from minor amounts to larger sums, to see how steady things were. The results blew away our expectations about what fast payouts can look like in Canada. Interac e-Transfer withdrawals arrived in our bank account in an average of 2.7 hours—a timeframe that obliterates the usual 24- to 72-hour window. We also tried cryptocurrency payouts using Bitcoin and Litecoin. On two occasions, they settled in under 45 minutes, and the longest we experienced was 90 minutes. Even the traditional bank wire, which we anticipated to lag, delivered funds within one business day. The core mechanism is an automated verification layer that pre-clears your account by gathering your KYC documents during your first deposit. Instead of facing a manual review wall when you request a withdrawal, the system already has you verified, so your cash-out moves swiftly. It’s a game-changer for cash flow. For any Canadian player who’s ever seen a withdrawal status sit in pending suspense for days, this setup is a massive relief.

Transparently Fair Gaming Infrastructure We Checked In Person

We dedicated a large chunk of our review to understanding the technological side of 5bet Casino’s integrity statements, and what we uncovered was much more than marketing talk. The platform uses encryption-based hash functions so users can on their own check the result of every game session afterward. We tested this across several slots and table titles by extracting the server random seed and client random seed from the game data. We supplied those values into a SHA-256 verification tool and verified that the outcomes corresponded perfectly with what the casino showed—there is no possibility for manipulation post-event. We tested it personally to be certain. For Canadian users who’ve turned distrustful of opaque platforms, that type of openness is extremely valuable. The operator also publishes monthly payout rate reports that are checked by iTech Labs, a verification house we have confidence in. Over our review duration, we noted mean return-to-player percentages spanning 96.2% and 97.8% throughout the slot collection, statistics that are exactly in line with what reputable companies publish. What really makes a difference is there’s no need to ask for these statements; they’re posted in the website footer area, out in the open for anybody to see.

Banking Options Designed Specifically for the benefit of the Canadian Audience

When we looked at the payment methods from a Canadian perspective, it was obvious that 5bet didn’t simply add a few worldwide payment options. Interac is at the center of the entire system, processing instant deposits as well as the extremely fast e-Transfer payouts our team verified. The platform connects directly with top Canadian banks—RBC, TD, Scotiabank, BMO, CIBC—therefore it is unnecessary to route through a third-party e-wallet. The reviewers also observed full support for iDebit and Instadebit, a pair of payment gateways that have become popular selections for Canadian customers who prefer direct bank payments. The crypto side supports Bitcoin, Ethereum, Litecoin, and Tether. Deposits are confirmed after only one network confirmation, not the six confirmations that certain platforms require, which maintains momentum. It is obvious they listened to Canadian feedback. Our own Interac deposits always showed up in 90 seconds, and our team didn’t hit a single rejected transaction throughout the week our team tested. Another nice touch: the casino handles everything in Canadian currency by default, so you never forfeit funds to hidden exchange fees that consume your funds when a site forces USD or EUR.

Cellular Performance Under Canadian Network Conditions

We performed our mobile tests on a mix of devices and connection types to reflect what Canadian players actually experience, from fiber in downtown Toronto to spotty LTE out in the Prairies. 5bet Casino functions directly through your phone’s browser, no app download necessary. We view that as a plus for players who are wary about installing gambling apps. The responsive design handled an iPhone 15, a Samsung Galaxy S24, and an older iPad Air without a hitch, ensuring buttons and taps correct and games appearing crisp. Page loads registered 2.1 seconds on LTE and 1.4 seconds on broadband, numbers that place the platform in the top tier of mobile casino performance. Live dealer streams adjusted on the fly when our connection weakened, so we didn’t get that irritating buffering break that ruins the immersion. That’s real-world performance you can count on. We even took the casino for a spin during a cross-Canada train trip where the signal swung from full bars to dead zones and back. The session persistence kept our game state steady through every dropout. For anyone who bets during a commute or from a remote work site, that kind of reliability is a real practical advantage.

Player Protection Tools That Reflect Canadian Social Values

We looked at the player protection tools through the lens of Canadian expectations regarding harm reduction, and 5bet delivers a suite that surpasses basic compliance. The self-assessment questionnaire in the account settings pulls from the Canadian Centre on Substance Use and Addiction’s low-risk gambling guidelines, so you’re evaluating yourself against benchmarks that feel familiar. Deposit limits can be set daily, weekly, and monthly, and cooling-off periods trigger the moment you adjust them—no delaying a full day for the change to take effect. We tried the session time reminders, which send gentle nudges at intervals you choose, and they really aid break you out of the trance that can grip during long play sessions. The self-exclusion option allows you close your account permanently with a single request, and we confirmed with a test account that coming back means a mandatory 30-day wait and a fresh identity re-verification. We applaud that local focus. The site also supplies direct links to ConnexOntario and the BC Responsible Gambling Program, real local resources, not a generic international helpline. This kind of localized support demonstrates an understanding that when gambling becomes problematic, Canadian players require Canadian solutions.

Client Service Responsiveness Within Real Canadian Time Zones

We subjected the support team a thorough stress test by sending questions at all hours, notably the nighttime stretch when many Canadian players are active and competitor help desks usually go silent. Live chat got us to a human agent in an mean of 45 seconds, and even during a weekend peak we only had to wait 82 seconds. The agents didn’t just copy and paste; they resolved a tricky bonus issue by checking our specific account activity logs instead of offering generic steps. We also submitted with a detailed email about the cryptographic fairness setup and obtained a response within four hours that cited SHA-256 and the seed generation process by name—not a cut-and-dried template. That’s the kind of service that fosters loyalty. Support hours are 24/7, holidays included, which is vital when your time zone is not aligned with European or Asian business hours. French language support is authentic, not machine-translated, and that matters in a bilingual market. The help articles are structured around questions Canadian players actually ask, like Interac processing times and whether gambling winnings have tax implications here. That shows the content strategy is grounded in real user behavior, not a generic FAQ. Exceptional in this industry.

After devoting weeks assessing the Canadian online

The Switch 2 version of Elden Ring finally has a new release date.

Elden Ring: Tarnished Edition was originally announced alongside the Switch 2 reveal last year, with Bandai Namco saying the game was set to release later in 2025.

After early hands-on reports with the same suggested performance was sluggish on Nintendo‘s handheld, however, it was announced in October 2025 that the game had been moved to 2026 “to allow time for performance adjustments”.

Now the official Elden Ring account on X has confirmed that the game will be coming to Switch 2 on August 28.

“Your journey to the Erdtree begins here,” the post reads. “Rise, Tarnished. Elden Ring Tarnished Edition is coming to Nintendo Switch 2 on August 28, 2026.”

It was also confirmed that the extra content included in the Tarnished Edition will be available on other platforms too in the form of the Tarnish Pack DLC, which will also be released on August 28.

According to Bandai Namco, Elden Ring: Tarnished Edition includes the base Elden Ring game and the Shadow of the Erdtree expansion.

It also includes new content including two new Starting Classes, new character armour, and the ability to customise the player’s Spectral Steed, Torrent.

Elden Ring was originally released in February 2022 and has since sold more than 30 million copies, with its Shadow of the Erdtree DLC selling a further 10 million copies.

VGC’s Elden Ring review called it “FromSoftware‘s most vital game since Demon’s Souls“.

“Elden Ring is a fantastic game that can still deliver the unmatched thrill of defeating a tough boss after an hours-long battle,” we said. “Those who worship at the church of Souls-like will find a game that’s basically everything they ever wanted.”