EXCLUSIVE: The untitled Snowfall spinoff series is no longer untitled. The series, starring the mothership’s Gail Bean and Isaiah John, is named The Drop: A Snowfall Saga, Deadline has learned. It will premiere later this year on FX and Hulu and will be available on Disney+ internationally.
The series, from Malcolm Spellman and Snowfall producers, picks up shortly after the conclusion of the original show.
The spinoff was put in development in 2023 as Snowfall’s six-season run came to an end on FX. It was picked up to series in November 2025.
The mothership series ended tragically for the show’s central character, Damson Idris’ Franklin Saint, who spirals into alcoholism after Teddy McDonald, played by Carter Hudson, is killed by Franklin’s mother (Cissy Saint). Franklin loses his $73 million fortune as well as his wife and their unborn child. The final scenes see him homeless and wandering the streets.
Set in ‘90s Los Angeles, the new series follows Snowfall characters Wanda (Bean) and Leon (John) as they fight to take West Coast rap mainstream while gang wars erupt and record labels move to exploit hip hop culture for their own gain.
Asante Blackk, Peyton Alex Smith and Simmie “Buddy” Sims III also star.
Cast also includes Mykelti Williamson, Nicki Micheaux, Brandon Mychal Smith, Isidora Goreshter, Eric Balfour, Richard Portnow, Zaire Adams, Demetrius Grosse and Snowfall alum Quincy Chad.
The Drop: A Snowfall Saga is executive produced by Spellman, Dave Andron, Thomas Schlamme, Julie DeJoie, Michael London, Trevor Engelson and Paul Garnes. The series is produced by FX Productions
When Sterling Nasa, 21, woke up on Saturday he could not have imagined he would soon be performing in front of 2,000 people.
On that day — which he described as “run-of-the-mill” — he helped a friend with a student film and drove around town to run some errands. Later on, he was planning to watch the movie “La La Land” accompanied by live music at the Darling Harbour Theater at a convention center in Sydney, Australia.
But by the evening, this regular day had turned into a once-in-a-life time opportunity.
“I’ve obviously hit the algorithm to some degree,” he said of his newfound internet celebrity. “I don’t think I’ve fully rationalized it yet.”
The commotion started during an interval after the first half of “La La Land,” the 2016 musical that centers on the love story of the aspiring actress Mia (Emma Stone) who meets the ambitious musician Sebastian (Ryan Gosling).
The crowd was starting to realize that something was amiss when the interval went on for longer than they expected and Justin Hurwitz, the Academy Award-winning composer of the film’s score, came onstage.
“Is anybody like an amazing sight reader?” Mr. Hurwitz asked the crowd, adding that one of the musicians had fallen ill and had to go home. For the show to go on, he needed someone to step in.
The request, to perform with a professional orchestra with no preparation, was nothing short of daunting. And in this case, Mr. Nasa had to flip his own pages, working his way through the show with new challenges waiting at every turn.
It was the musical equivalent of the question “is there a doctor in the house?” Mr. Nasa said.
As a clutch of hands went up at Mr. Hurwitz’s request, Scarlett Pearce — the friend with whom Mr. Nasa was attending the performance — took charge.
“I was kind of a maniac,” she said in a phone interview on Tuesday, adding that she shouted into the 2,000-person crowd that Mr. Nasa was the man for the job.
“He was just like, ‘I don’t know, maybe,’” Ms. Pearce said, as her friend tentatively raised his hand. “I grabbed his hand and put it in the air for him.”
“I don’t think he was very happy with me at the start,” Ms. Pearce, 21, said. But, she told her friend: “You’ll thank me in 10 minutes.”
After some encouragement, Mr. Nasa got up from his chair and went toward the stage where Mr. Hurwitz and the orchestra were waiting, to applause from the audience.
“I just tried not to fall down the stairs,” Mr. Nasa said.
Once he got to the stage, Mr. Hurwitz asked him for his name and handed him off to the keyboard technician who gave him the briefest of rundowns.
Half a minute later, it was showtime.
“I was pretty nervous,” Mr. Nasa said in a phone interview. But about 10 minutes into his performance, Mr. Nasa said, he found his groove and started appreciating the moment. “When else are you going to have this opportunity? You just have to go for it.”
The performance included a solo on the keyboard during the song “Start a Fire,” which is sung and performed by John Legend in the film. Mr. Nasa improvised and received loud cheers from the audience.
For Mr. Nasa, his brush with fame came at a pivotal time. He is about to graduate from the University of Sydney where he is studying international relations.
His real passion, though, is music. Mr. Nasa said his impromptu performance gave him the confidence to consider pursuing it as a career. Holding his own among such skilled musicians, he said, shows that his goals were “not completely out of reach.”
South African girl band Jamali is gearing up to drop new music, after their last official release 13 years ago.
Jamali shared the news at an intimate reintroduction of Jamali to the South African music landscape through an exclusive EP listening party, in collaboration with LeLive Africa.
The experience marked their return after disbanding in 2019. Over the last few years, the band, which consists of Jacqui Carpede, Mariechan Luiters and Liesl Penniken, has been performing together.
Taking to social media, the “Coca-Cola Popstars” runner-ups reflected on the listening session and revealed that new music is on the way this June.
“Soooooo, we’ve been cooking new music, a new instalment titled “Full Circle” in the of name of music, sisterhood, 2nd chances, growth & glowing skin – our soft launch in collaboration with @lelive.africa set the tone for what’s to come in June and we wanna thank each & every person that came out to grace us with their presence & cheer…” read the post.
The new EP is titled “Full Circle” and the musicians thanked their fans for their support over the years.
“It was a FULLCIRCLE moment for ALL & we are so so blessed to have made some form of impact that gained us YOUR love & support over the years! We truly love you from the bottom of our hearts…
“Thank you to our elegant, eloquent, vivacious, 360 threat, BOMBASTIC African Queen @unathi.co – you are HER and you completed the circle ”
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MCU star Charlie Cox expressed his hope to see David Tennant’s villainous Kilgrave, aka Purple Man, get another chance at MCU glory. Kilgrave has not been seen in the MCU since Season 3 of Jessica Jones, even as other past Netflix villains like Vincent D’Onofrio’s Kingpin have made their returns under Marvel Studios’ watch. With Cox now helping lead the efforts for the former Defenders Saga heroes and villains to be further integrated into the MCU, he appears to have his sights set on Tennant, who played one of the saga’s most popular villains.
Charlie Cox addressed a major Daredevil comic storyline while discussing the Daredevil: Born Again Season 2 finale. In Daredevil (Vol. 5) #20 (2017), a group called the Purple Children use their powers to make the world forget that Matt Murdock is Daredevil by hooking their father, Purple Man/Kilgrave, up to a machine that amplifies their abilities, restoring Matt’s secret identity and allowing him to choose who knows the truth. Speaking with Empire, Cox said he hopes Born Again does not go in that direction. He did, however, express support for bringing back David Tennant to reprise his role as Kevin Thompson/Zebediah Kilgrave from Netflix’s Jessica Jones:
“I think Purple Man’s children in effect do Daredevil a solid and wipe the memories of New York or something. I don’t want to do that, although I’d be a huge advocate of having David Tennant on the show.”
Marvel Television
Additionally, Brad Winderbaum (Head of Marvel Television, Animation, Comics & Franchise at Marvel Studios) and Born Again showrunner Dario Scardapane discussed the possibility of a Purple Man return with IGN. Winderbaum praised Marvel Studios President Kevin Feige and co-president Louis D’Esposito as “amazing storytellers,” noting how easy it is with them to go to the comics and make arguments for what should happen in the MCU:
“Kevin and Lou are amazing storytellers, you don’t build the MCU if you’re not some of the greatest of all time, and very quickly they saw it was where the story needed to go,” said Marvel TV boss Brad Winderbaum. “And, of course, we could point to the comics. So as soon as you could point to the source material and show how it plays out and all the stories that are able to be told after the reveal of the identity, it becomes an easier argument to make.”
Scardapane said the story likely will not go to “Purple Man doing mass brainwashing of an entire city,” which happened in the comics. Now that Matt’s identity is known, it will help change the storytelling for Season 3 “in such a cool way:”
“But we’re probably not going to be doing Purple Man doing mass brainwashing of an entire city to buy it back. We’re not doing buybacks. If you’re taking that step, now everyone in the city knows Matt is Daredevil, which changes the storytelling in Season 3 in such a cool way.”
Continuing, Scardapane addressed the issue of how the team changes things around after the Netflix shows, explaining how Marvel “has been really good about not reiterating”things that have happened in previous seasons:
“Having been in and around the Netflix show, the thing everyone was talking about was, ‘How do we change things up next time?’ And I feel that Marvel has been really good about not reiterating. Season 1 is one thing. Season 2 is another. Season 3 is another. And the type of storytelling and where the characters are at is radically different every time.”
David Tennant was previously featured in all but two episodes of Jessica Jones Season 1 on Netflix, later reprising the role of Purple Man/Kilgrave in episodes of Season 2 and Season 3. Kilgrave was experimented on as a child to treat a neurological disease, but the treatment gave him the ability to control people’s minds by giving them verbal commands.
After exerting his command over multiple people on a dock, including Jessica’s best friend, Trish Walker (played by Rachael Taylor), Jessica grabs him by the neck and kills him. As of writing, there have been no signs pointing to Marvel bringing Tennant back to reprise the role after Jessica killed Kilgrave in the Jessica Jones Season 1 finale.
Could Kilgrave Return to the MCU After Dying in Netflix’s Jessica Jones?
Marvel Studios
As the saying goes, outside of a few exceptions, nobody is ever truly dead in a comic book movie or TV show. In the MCU alone, Tom Hiddleston’s Loki has been killed and brought back multiple times, Clark Gregg’s Phil Coulson was brought back after his Avengers death in Agents of SHIELD, and an alternate-timeline version of Gamora took over for her original variant after Avengers: Infinity War.
That being said, after Scardapane’s comments, the chances of David Tennant coming back to the MCU as Kilgrave seem slim after the villain met such a definitive end in Jessica Jones Season 1. While the MCU could have him return as a vision in Jessica’s head in future projects, as he did in Seasons 2 and 3, that may make the MCU feel slightly repetitive.
Jessica Jones is also likely returning to the MCU for Born Again Season 3 after appearing in Season 2, setting a pathway for a would-be reunion with Kilgrave if he were to somehow come back into the mix. Given Jessica’s new status as a mother and the popularity she and Kilgrave still have, many wonder if and when the MCU will revisit their rivalry.
Canadian-born reporter and editor Adam Symchuk has been writing on the topic of film, TV, and literature for over a decade. Starting with an emphasis on Asian film, literature and manga, his love of interntional cinema set the groundwork for decades of obsession with film.
HBO Max heads into June with one of the most anticipated new seasons of the year, with the third season of House of the Dragon. For film fans, HBO Max is also bringing a dark comedy led by Glen Powell onto the platform that you won’t want to miss. This is just a small sample, as the pristine streaming service is adding a plethora of new TV series and films, as well as some classic titles to streaming.
I have picked out a few titles that you need to check out when they land. After that, you will find a complete list of notable new movies and TV originals, as well as a complete list of everything coming to HBO Max in June 2026, along with when they will be available.
MovieWeb Staff Picks for What’s New to HBO Max in June 2026
Stoker (2013) June 1: Park Chan-wook’s first English-language film oozes atmosphere and dread as it delves into a dysfunctional coming-of-age thriller. A dysfunctional family drama with dark erotic undertones, the movie is layered in a way that invites contemplation and rewatching. Nicole Kidman is also at her best here, delivering one of the most spine-chilling lines ever (you’ll know it when it comes up). Mia Wasikowska is also phenomenal in the lead.
Hell or High Water (2016) June 1: Taylor Sheridan has become one of the most prominent figures in shaping the current landscape of television, but this deserved praise sometimes overlooks his cinematic works; Hell or High Water included. You get not only the tight, character-driven screenplay one would expect from Sheridan, but phenomenal performances by Jeff Bridges, Chris Pine, and Ben Foster set against the backdrop of the economically struggling West Texas town.
Undertone (2026) – A24 June 26: You have to respect the slow burn and minimalistic horror to really get behind Undertone, but if that sounds like your vibe, this is one of the most meticulously constructed and masterfully executed horror movies of all time. Much of it is in the sound design here, but it’s also building on internet culture, and podcasts work especially well, feeling authentic. Ian Tuason is definitely a horror director to keep an eye on.
Major New HBO Max Originals & Returning Series in June 2026
Bring Me the Beauties: A Model Cult (limited series) June 1: A three-part HBO Original docuseries that traces male supermodel Hoyt Richards’ decades inside the New York Cult Eternal Values, led by self-proclaimed “alien walk-in” guru Frederick von Mierers. The group would recruit models and young professionals by appealing to a belief system that blended astrology and New Age spirituality. However, what they got was financial exploitation, sexual coercion, and manipulation.
Pillion (2026) June 5: A BDSM dark comedy/romance adapted from Adam Mars-Jones’ novel Box Hill, the A24 drama follows a timid and sheltered man, Colin, who is swept off his feet by a handsome biker named Ray. Ultimately, Ray takes on Colin as a submissive. Pillion is written and directed by Harry Lighton and stars Harry Melling and Alexander Skarsgård.
How to Make a Killing (2026) June 19: Going after the family inheritance one step at a time, blue-collar worker Becket Redfellow, who was disowned at birth, begins taking out his relatives.A pitch-black comedic thriller written and directed by John Patton Ford of Emily the Criminal fame and starring Glen Powell, Margaret Qualley, and Ed Harris.
House of the Dragon (season 3) June 21: The Targaryen civil war erupts in full as Rhaenyra seems poised for victory, with Aegon II fleeing the capital. Arguably, the most anticipated returning series of June, House of the Dragon, promises to further raise the stakes. The first episode airs June 21 with new episodes weekly.
Life, Larry, and the Pursuit of Unhappiness (season 1) June 26: The Obama family sets out to celebrate America’s 250th anniversary, but is interrupted by Larry David, who brings his own irritated worldview to exploring the country’s history. The limited-sketch comedy series features various comedians and David regulars re-enacting historical moments.
Full HBO Max June 2026 Calendar
Every Movie Coming to HBO Max in June
June 1
A History of Violence (2005)
Contagion (2011)
Hell or High Water (2016)
Isle of Dogs (2018)
Mid90s (2018)
Midsommar (2019)
Room (2015)
Stoker (2013)
The Rock (1996)
June 3
June 5
June 11
June 19
How to Make a Killing (2026) – A24
June 26
Every TV Show Coming to HBO Max in June
June 1
Bring Me the Beauties: A Model Cult (limited series) – HBO Original
June 5
The Topurias (season 1) – HBO Original
June 7
Earth, Wind & Fire: To Be Celestial vs. That’s the Weight of the World (documentary) – HBO Original
June 12
Proud (season 1) – HBO Original
June 14
My Adventures with Superman (season 3)
Rick and Morty (season 9)
June 19
Ultras: Passion and Death – HBO Original
June 21
House of the Dragon (season 3) – HBO Original
June 23
The Welcome Table (documentary) – HBO Original
June 26
Life, Larry, and the Pursuit of Unhappiness (season 1) – HBO Original
June 30
Bang My Box: The Robin Byrd Story (documentary) – HBO Original
Team17 and Expression Games have announced that Hell Let Loose: Vietnam has been delayed, and is now set for release on August 13. The game was previously set to launch on June 18.
“We have identified several areas where additional development time will allow us to deliver a stronger launch experience,” the developers said. Delaying the game will allow players to experience a version of Hell Let Loose: Vietnam that is at the “quality level we expect and you deserve,” the statement added.
“We understand that many of you have been waiting patiently for this next installment in the Hell Let Loose franchise and we are deeply appreciative of your patience. We will continue to keep you updated on our progress.”
The delay came after the game’s latest open beta period this past weekend. Team17 and Expression said they were excited to welcome players into the beta and and receive their feedback.
Hell Let Loose: Vietnam is a 50v50 first-person shooter set during the Vietnam War. A follow-up to 2021’s Hell Let Loose–which was inspired by the conflicts of World War 2–players will have to once again rely on tactical teamwork to survive.
There will be six maps at launch, and in addition to infantry combat, the game supports vehicles like helicopters for air superiority.
Hell Let Loose: Vietnam is coming PC, Xbox Series X|S, and PS5.
Martin Scorsese is the latest Oscar-winning director to hop on the AI wagon, joining the AI firm Black Forest Labs as an adviser in a bid to “push the bounds of creativity to create deeper and richer experiences for audiences.”
“Cinema is a young medium, only around 125 years old, so we have to be open to how it can evolve,” Scorsese said in a statement posted on Black Forest Labs’ website. “I utilized 3D with ‘Hugo’ and de-aging technology for ‘The Irishman.’ Now, with this tool, I can share what I’m visualizing more clearly and efficiently to my creative team — the production designer, art designer, and cinematographer — for them to build on to enrich cinematic intelligence.”
In a video filmed at Scorsese’s New York City office that accompanied the partnership’s announcement, the “Goodfellas“ director uses the firm’s FLUX generative-AI model to help storyboard a scene. He then discusses staging the crime film’s famous Steadicam shot, which tracks mobster Henry Hill (Ray Liotta) as he makes his way through the Copacabana nightclub, and notes how each “vignette” through the scene had to be intricately staged.
“If you have a tool like this, you could figure it out much much quicker and you could save production time, and also less wear and tear on the crew,” Scorsese said in the video.
Black Forest Labs CEO Robin Rombach, who co-founded the Freiburg, Germany-based firm in 2024, told the New York Times that Scorsese’s partnership represents “a great proof point that this works.” The director’s spokesperson said he was introduced to the firm through the investment firm BroadLight Capital, an investor in Black Forest Labs that was co-founded by Rick Yorn, Scorsese’s manager. CAA co-founder Michael Ovitz, who has also invested in the AI firm, also helped seal the partnership, according to the Times.
It was unclear whether Scorsese himself has invested in the firm, and Black Forest Labs did not respond to an immediate request for comment. Scorsese’s rep declined to comment.
Scorsese, one of the most accomplished directors in film history, joins a host of fellow Acadamy Award-winning colleagues in the adoption of AI — though to varying degrees.
“Avatar” director James Cameron is on the board of directors for Stability AI, the maker of the text-to-image model Stable Diffusion and where Rombach is an alum. “Lord of the Rings” director Peter Jackson also said at a Cannes Film Festival masterclass last month that “I don’t dislike” AI, comparing it to “a special effect.” Not all agree: “Pan’s Labyrinth” director Guillermo Del Toro last month slammed those who believe “art can be done with a fucking app” and last year the filmmaker said he would “rather die” than use generative AI in his films.
Scorsese’s endorsement of Black Forest Labs comes as Hollywood enters a new wave of AI adoption. The Tribeca Festival will host the world premiere of “Dreams of Violets,” a 75-minute fully AI-generated docudrama focused on the Iranian civilian resistance. “Rogue One” director Gareth Edwards also said at Amazon’s AI on the Lot event last week that he wants to create a hybrid generative AI film.
For his part, Scorsese said in his statement that he tested out Black Forest Labs’ tools to help storyboard a scene on an upcoming film and claimed the AI tools helped him better express the image he had in his head.
“During the pre-production process, time costs money, and this allowed us to move faster without sacrificing quality or craft,” Scorsese said.
Robert Pattinson recently spoke to GQ magazine as part of the publication’s summer cover story on “The Odyssey” and revealed he had a home gym installed in order to pack on muscle ahead of filming “The Batman: Part II.” The actor was doubling down on his fitness schedule after some viewers of 2022’s “The Batman” found his superhero physique underwhelming.
“[Everyone was like], ‘You didn’t work out at all.’ I worked out every fucking day,” Pattinson quipped. “Even after that, I still look like I didn’t work out. I worked out twice a day at, like, three o’clock in the morning. I’m like, It’s just because I said it in an interview [once that exercise was uncool]. I was trying to sound cool!”
Pattinson is returning to the role of Bruce Wayne/Batman in director Matt Reeves’ long-awaited sequel, which will also star the likes of Sebastian Stan and Scarlett Johansson. The filmmaker teased last month that production on “The Batman: Part II” was imminent by posting a first look photo of the Batmobile racing down a snowy street. Not that Pattinson knew any details of the sequel’s filming schedule when he spoke to GQ.
“I just heard from the stunt guy the other day. He said, ‘Ooh, 11 weeks of nights.’ I’m like, ‘Excuse me?’ I’m like, ‘No one’s even sent me a schedule,’” Pattinson said.
Training for “The Batman: Part II” was probably easier for Pattinson after filming Christopher Nolan’s “The Odyssey,” which he told GQ magazine was one of the most exhausting sets he’s ever worked on. The actor filmed many of his scenes alongside Anne Hathaway and Tom Holland at the Castello di Santa Caterina on the island of Favignana in western Sicily. The shooting location required the cast and crew to walk up a path 900 feet in the air every day. Those who were not able to walk used a helicopter, which also transported the big pieces of film production equipment.
“In the middle of our shoot, we had a location for two weeks where the crew had to start at the bottom of this path at call, go 900 feet up in the air, at whatever pace they could manage,” Nolan told the publication.
Pattinson remembered sitting at a hotel bar during a day off filming “and then people started drifting in [after set], and I’ve never seen people look so exhausted. And this was only a third of the way. I started a third of the way through the movie, and they’d already been to [two] countries by that point and people just looked like…. I mean, at the end of every day people were broken.”
Head over to GQ magazine’s website to read “The Odyssey” summer cover story in its entirety.
COVID-19 is a contagious disease caused by the coronavirus SARS-CoV-2. In January 2020, the disease spread worldwide, resulting in the COVID-19 pandemic.
The symptoms of COVID‑19 can vary but often include fever,[7] fatigue, cough, breathing difficulties, loss of smell, and loss of taste.[8][9][10] Symptoms may begin one to fourteen days after exposure to the virus. At least a third of people who are infected do not develop noticeable symptoms.[11][12] Of those who develop symptoms noticeable enough to be classified as patients, most (81%) develop mild to moderate symptoms (up to mild pneumonia), while 14% develop severe symptoms (dyspnea, hypoxia, or more than 50% lung involvement on imaging), and 5% develop critical symptoms (respiratory failure, shock, or multiorgan dysfunction).[13] Older people have a higher risk of developing severe symptoms. Some complications result in death. Some people continue to experience a range of effects (long COVID) for months or years after infection, and damage to organs has been observed.[14] Multi-year studies on the long-term effects are ongoing.[15]
COVID‑19 transmission occurs when infectious particles are breathed in or come into contact with the eyes, nose, or mouth. The risk is highest when people are in close proximity, but small airborne particles containing the virus can remain suspended in the air and travel over longer distances, particularly indoors. Transmission can also occur when people touch their eyes, nose, or mouth after touching surfaces or objects that have been contaminated by the virus. People remain contagious for up to 20 days and can spread the virus even if they do not develop symptoms.[16]
Testing methods for COVID-19 to detect the virus’s nucleic acid include real-time reverse transcription polymerase chain reaction (RT‑PCR),[17][18] transcription-mediated amplification,[17][18][19] and reverse transcription loop-mediated isothermal amplification (RT‑LAMP)[17][18] from a nasopharyngeal swab.[20]
Several COVID-19 vaccines have been approved and distributed in various countries, many of which have initiated mass vaccination campaigns. Other preventive measures include physical or social distancing, quarantining, ventilation of indoor spaces, use of face masks or coverings in public, covering coughs and sneezes, hand washing, and keeping unwashed hands away from the face. While drugs have been developed to inhibit the virus, the primary treatment is still symptomatic, managing the disease through supportive care, isolation, and experimental measures.
Hulu is welcoming the summer months with series premieres, new movies, and more. This month, be sure to tune in to the final season of The Bear, the premiere of Mindy Kaling’s new series Not Suitable for Work, and dozens of new movies streaming on demand.
On June 4, the IndieWire Honors Spring 2026 ceremony will celebrate the creators and stars responsible for crafting some of the year’s best television series. Curated and selected by IndieWire’s editorial team, IndieWire Honors is a celebration of the creators, artisans, and performers behind shows well worth toasting. In the days leading up to the Los Angeles event, IndieWire is showcasing their work with new interviews and tributes from their peers.
There’s a moment early in Rhea Seehorn‘s career on “Better Call Saul” that she still thinks about. She was filming an argument scene with Jimmy McGill (Bob Odenkirk), and at the very end of the take — instinctively, without realizing it — she smiled.
Showrunner and director Peter Gould came over afterward and said, gently, that he’d loved the way she ended it in rehearsal, without the smile.
“I realized I had done that to soften it,” Seehorn said. “Because I got very hot in the arguments and instinctively, because of things we’re told in this business as women, I softened it when it came time to film. And I hadn’t even realized it.”
It was, she said, the beginning of something. “That was the beginning of me starting to trust that they just want me to play this role. It is not my business to worry about whether people like her or not.”
That trust — built scene by scene, script by script, over more than a decade with Vince Gilligan and most of the same crew — is the invisible architecture of “Pluribus,” the show Gilligan built around Seehorn and for which she’s receiving an IndieWire Honor.
The series asks her to carry nearly every frame, including long passages with no dialogue at all. It is, by any measure, an extraordinary piece of work. And Seehorn will tell you, with complete sincerity, that she couldn’t do it alone.
“I am not alone,” she said. “I have 250 people doing a dance with me with lights and sound and dolly and all of that stuff.”
Collaboration is not a word Seehorn deploys casually. It is the organizing principle of how she thinks about her work, rooted in her theater background. The knock on stage actors, she said, is that they’re “too big” for camera. “Then you’re watching bad theater,” she said.
What theater actually taught her is the same thing that makes “Pluribus” work: how to hold a space, how to breathe with an audience, how to invite people in without telegraphing where you’re going. “I’m just thinking the thoughts,” she said of the silent passages in “Pluribus.” “And I’m kind of trying to invite this audience through the lens to go down this rabbit hole with Carol.”
Rhea Seehorn in ‘Pluribus’Courtesy of Apple TV
When Gilligan first told her he’d written something for her, he offered almost nothing by way of pitch. It has nothing to do with the “Breaking Bad” world, he said. It has a slight sci-fi bent. He wasn’t ready to send the script yet. That was it.
She waited a month on pins and needles. When she finally read it, she went through the same experience she imagines viewers did — funny, then strange, then mysterious, then suspenseful, then deeply upsetting. “I thought: ‘This wily monster. I would be obsessed with this show if I watched it,’” she said. “And then I’m like, ‘Oh, wait — I’m gonna be in it.’”
Being number one on the call sheet — in almost every scene, first up and last up, day after day — is a different kind of obligation. Seehorn describes it in almost athletic terms: the prep, the sleep, the discipline required to show up with ideas rather than just open eyes. But she also describes it as a responsibility to the crew whose names are unlikely to appear in awards coverage.
She tells a story about the show’s sound mixer, Phil Palmer, who figured out a way for Seehorn to speak to another actor through a television screen in real time — the actor standing just offstage, connected by phone, while the camera rolled — because he thought it would free her performance.
“I just wanted to cry,” she said. “He’s doing that so my performance could be as great as it could be, and he’s never going to get credit for that. There’s not going to be any footnote at the end of the episode. That’s just him going the extra mile because it might help tell the story better and give me the chance to soar.”
She learned this model, she said, from watching Odenkirk on “Better Call Saul” and from theater, where the ensemble was always the point.
“One of my favorite things about my job is that it’s a collaborative art form, not a solo art form,” the actress said. “Whenever I can invest in that, my work gets better and the joy in it grows bigger.”
Gilligan, for his part, has a strict no-asshole policy on his sets and means it. Seehorn endorses it with the fervor of someone who has seen both sides. The rare times she has witnessed genuinely bad set behavior, she said, her first instinct is always to laugh — not because it’s funny, but because she assumes it can’t be real.
‘Pluribus’
“I always think it’s a joke first,” she said. “Because it’s like, ‘Are you a character in a movie about bad actors?’ I never think it’s real first and then I’m like, ‘Holy shit.’”
She’s thought about why behavior like that persists, and why it gets rewarded. “Don’t tell me you can’t be successful and a brilliant genius without being a dickhead,” Seehorn said. “Obviously that’s not true.”
She’s been contacted recently by people she worked with decades ago, people who wanted to say they were glad to see hard work and decency recognized. “It’s really great to see people work their ass off and get rewarded for it,” she said, “rather than the people we all know where you’re like, ‘Hmm, why did that person get rewarded for that behavior?’”
The practical case, she argued, is pretty simple. Scream at people and you might get compliance. Treat them like partners and you get something else entirely. “Your crew and your cast — they will go to the mat for you,” she added.
The bar, she acknowledges with some weariness, is not actually that high. “We are three-dimensional humans with ideas and bad days and breakups and people go through everything,” she said. “It’s sad that that has to be the line we shouldn’t go below, but really, that is the line. Just don’t be an asshole.”
For Seehorn, it circles back to the same place everything does: the 250 people who set their alarms, showed up, and are waiting. “I still ran away with the circus,” she said. “And I know so many people out of work right now. I owe it to the spirit of all of that to be aware that this is still icing on the cake.”
It shouldn’t sound radical. In 2026, somehow, it still does.
Season 1 of “Pluribus” is now streaming on Apple TV.
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The Black Crowes got into it with a segment of their fans, who started booing after frontman Chris Robinson rebuffed their “U.S.A.” chants at a May 31 show in Tampa, Florida.
According to various reports, the flare-up occurred near the end of the Black Crowes‘ set, after they flashed their Black Crowes mascot on the big screen, dressed as Uncle Sam. This being Florida, a chunk of the crowd apparently took that as their cue to launch into a patriotic chant.
To be fair, the Black Crowes have never been an overtly political band, so this isn’t like a “U.S.A.” chant breaking out at a Rage Against the Machine concert. But Robinson was nevertheless compelled to make his feelings known. According to TMZ, he responded to the chants by quipping, “Thanks for the geography lesson,” followed by, “I don’t know what you have to be so proud of right now.”
While neither of those remarks appeared in any of the videos of the incident shared online, a few fan-shot clips captured the mix of boos and cheers that followed. They also showed the end of the exchange, during which Robinson stated, “For those of you fucking booing us, some of us are not afraid. And we most assuredly are not fucking ignorant!”
While some of the crowd walked out, the Crowes continued with their set, launching into their 1991 hit, “She Talks to Angels.” A rep for the Black Crowes did not immediately return Rolling Stone‘s request for comment.
Trending Stories
Robinson’s clapback really was a rarity for the Black Crowes frontman, who’s made the occasional quip about Donald Trump over the past decade, but has otherwise kept his politics to himself. In a recent Mojointerview, he stated, “I’m not interested in politics. I’m more interested in poetry and art and people and experience.”
“But,” he continued, “I know right and wrong. The world’s teetering on the edge with all this bullshit, but if there’s a street fighting man out there, he’d got to be a young man, right? But these kids don’t seem to give a fuck. I get it, I guess their phone is their interest. I don’t know, though, I still go to bookstores and read books and all the lyrics on this album were written in pen. I’m a mid-20th century product.”
Forget the fantasy. This is not Cannes with yachts and sunglasses pretending to be cinema. Your first time at Raindance 2026 is going to be a lot different.
This is where filmmakers, screenwriters, actors, producers, obsessives, and future collaborators collide in dark cinemas, noisy bars, packed Q&As, and late-night conversations that can genuinely change your life.
If it’s your first time attending Raindance Film Festival, here’s what to expect:
1. Expect to feel overwhelmed for the first 24 hours
Good. That means you’re awake. There are screenings every 15 minutes at the festival screening hub at VUE Piccadilly.. Conversations everywhere. People carrying lanyards, laptops, coffee, panic, ambition.
You will realise very quickly that independent cinema is not dead. It is just hiding from algorithms.
Raindance attracts filmmakers and audiences from around the world and specialises in discovery and first-time filmmakers.
2. Do not just watch films
This is the beginner mistake.
The real festival happens:
in the queues
after the screenings
in the foyer
at the bar
during the awkward conversation you nearly avoided
That nervous filmmaker beside you? Could direct the next breakout hit.
That exhausted producer? Might need exactly your skillset.
Raindance regularly attracts industry professionals, buyers, distributors, journalists, and filmmakers into central London.
3. You will discover films before everyone else
This is one of the great pleasures of Raindance.
You will see films with no stars. No giant marketing budget. No franchise logo.
And occasionally you will sit there thinking: “How the hell has nobody heard of this yet?”
That is the point.
Raindance 2026 built its reputation championing discovery cinema and early-career filmmakers.
4. The Q&As matter more than people think
Stay after the screening. Always.
You’ll hear:
how films were financed
what went wrong
how scenes were stolen without permits
which actor quit
why the ending changed
how impossible independent filmmaking actually is
This is a live masterclass disguised as a film festival.
5. Wear comfortable shoes and carry less stuff
You are in central London.
You will walk.
You will queue.
You will move between venues.
You will survive on coffee and adrenaline.
Do not carry your entire screenplay collection in a backpack like a hostage negotiator.
6. Nobody cares about your “networking strategy”
Please stop trying to “work the room.”
Real relationships at Raindance 2026 begin with:
“What did you think of the film?”
“What are you making?”
“How did you pull that off?”
Independent film people can smell fake networking instantly. Be curious instead.
7. You may leave slightly changed
This happens every year.
Someone attends thinking: “I might make a short someday.”
Then they see ten dangerous, raw, imperfect independent films and realise: “Oh. We are actually allowed to do this ourselves.”
That shift matters. Because the real purpose of Raindance Film Festival is not celebrity worship. It is permission. Permission to begin.
The 34th edition runs in central London from 17–26 June 2026.
browse the 34th edition of Raindance here
But don’t wait – films are already selling out
Over 80 ground-breaking features from 39 countries, plus 17 shorts programmes. what is more to see?
Explore the Indie Film Forum Here
Every day talks and interviews with filmmakers who have made it
Want more Raindance?
Nobody is coming to discover you. Build your filmmaking career with Raindance now.
Experience fearless cinema, bold storytelling, and unforgettable discoveries at Raindance Film Festival June 17-26, 2026
Launch your filmmaking career with practical training designed for real-world industry survival. Stop talking about filmmaking. Take a course and make something before next Monday arrives.
Stop scrolling endlessly. Meet filmmakers, collaborators, financiers, audiences, and future partners at Raindance.
Photo Credit: Bertie Watson I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out. I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand.It started as a rebellion — film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global — Toronto, Vancouver, New York, LA, Berlin, Brussels — because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival. In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems Check out my new Substack for in depth Free Articles:
Ca entuziast de tehnologie și jocuri online, am remarcat un lucru simplu: performanța unui casino online nu se rezumă la numărul de jocuri. Ține și de cum se manifestă platforma în fundal, pe dispozitivul tău. Am intenționat să aflu dacă Fridayroll Casino este doar plăcut la exterior sau și bine gândit în interior. Așa că am realizat ce face orice om curios cu prea mult timp liber: am monitorizat consumul său de memorie RAM în diferite situații. De ce memoria? Pentru că atunci când un site utilizează prea mult RAM, totul se îngreunează. Jocul se blochează, rotirile se prelungesc, iar distracția se schimbă în nervi. În articolul de mai jos, îți arăt exact ce am aflat. Am notat cifrele când operez un singur slot, când am zece file active și când las jocul să ruleze ore în șir. Vei observa cum se comportă platforma pe desktop și pe telefon, cu numere concrete și concluzii evidente pentru jucătorul din România care intenționează doar să se distreze fără complicații.
Metoda testului: Cum am măsurat memoria consumată
Am intenționat să fiu cât mai precis, așa că am lucrat sistematic. Toate testele le-am făcut pe un laptop Windows cu 16 GB RAM, asigurându-mă că orice consum în plus rezultă de la browser și nu de la sistemul cu resurse reduse. Am folosit Managerul de activități din Windows și unealtă pentru dezvoltatori din Chrome pentru a vedea datele. Înainte de fiecare sesiune de teste, am șters cache-ul și cookie-urile browserului, pentru a avea o stare inițială curată. Fiecare test a durat 20 de minute, iar am notat consumul la minutul 1, 5, 10 și 20. Obiectivul a fost să observ nu doar un instantaneu, ci și evoluția. Aceasta este procedura detaliată:
Sesiunea de bază: Doar pagina de start a Fridayroll Casino deschisă, fără jocuri active.
Joc unic: Lansez un singur slot popular (Book of Dead) la pariuri obișnuite.
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Sesiune lungă: Rulez același slot pentru peste o oră, urmărind acumularea de memorie.
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Primul semn bun a apărut imediat. Homepage-ul a Fridayroll Casino este bogată de animații și banner-uri care se în mișcare. Mă așteptam să încarce mult. Dar s-a stabilizat repede la un consum de doar 450-500 MB pentru întreaga filă. Este o sumă rezonabilă, sub ce văd de obicei pe site-uri de divertisment. Am pornit să navighez. Am accesat pe meniuri, am sortat jocurile după provider, am intrat în secțiunea de promoții. Utilizarea nu a avut creșteri. Suprafața de lucru a fost menținută reactivă, fără întârzieri. Asta arată că asset-urile grafice și codul sunt optimizate cum trebuie. Acest moment inițial este crucial. Dacă homepage-ul ar fi fost un devorator care mănâncă RAM, atunci jocurile ar fi avut o sarcină prea mare de la început. Am petrecut vreo 15 minute doar navigând, iar memoria alocată a fost menținută o linie dreaptă. Datele se descarcă când nu mai sunt folosite, un indiciu clar de sănătate tehnică.
Testul cu doar un joc activ: Automatele analizat
În acest moment e punctul în care multe platforme încep să se plimbe. Am lansat Book of Dead. Consumul de memorie a a sporit, firește, de la 500 MB la aproximativ între 750 și 800 MB. Dar aici e punctul crucial: cifra s-a oprit acolo sus. S-a stabilizat imediat și a persistat aceeași pe toată sesiunea de 20 de minute. Am efectuat rotiri standard, am pornit funcții speciale, am pândit rotiri gratuite. Nu au apărut explozii care să determine consumul peste 1 GB, iar fluctuațiile au fost de niște megaocteți. Un asemenea comportament constant certifică că motorul jocului și modul în care este înglobat în platformă sunt gestionate cu grijă. Jocul a rulat fără cusur, fără segmente ratate sau îngreunări. Pentru un utilizator care se axează pe un singur slot o perioadă lungă, eficiența aceasta înseamnă tihnă. Cunoști că browserul tău nu va se bloca din neprevăzut pentru că a utilizat prea multă memorie.
Testul de multitasking: 3 jocuri active simultan
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Summer House newbie KJ Dillard is detailing the “good, bad and ugly” of being in a public relationship with costar Dara Levitan.
“A lot of people are supportive, and I’m thankful for them,” KJ, 28, said during the Tuesday, June 2, episode of the “More Life With Carl Radke” podcast. “But then, a lot of people are hating.”
Fans watched KJ and Dara, 33, get together during Summer House season 10 after they were introduced by West Wilson. While things are frosty between the two men, KJ said that he’s “grateful” to West, 31, for introducing him and Dara.
“We do a good job at not letting [the public] tear us apart. It affects us individually, of course, but the relationship, we both know what we want and what we’ve gone through together,” KJ said on Tuesday. “It was gnarly. It’s, honestly, some love story s*** that we’re not gonna let outside influence affect that.”
Dara Levitan and KJ DillardDimitrios Kambouris/Getty Images for Vulture
Elsewhere in Tuesday’s podcast episode, KJ revealed that he and Dara took a brief break after Summer House season 10 while he was experiencing mental health struggles.
“Pre-show, nothing was really going on for me. Modeling was slow. I’d taken a break during the summer to focus on the show,” he explained. “Financially, I was in a terrible place. Me and Dara were struggling because I was taking out what I was going through out on her. I wasn’t even aware of it.”
KJ shared during part 1 of the Summer House season 10 reunion — which aired May 26 — that he was diagnosed with borderline personality disorder late last year after being hospitalized for self-harm.
“I also was not in therapy [at the time],” KJ continued. “I was only on one medication for my anxiety and depression, but I didn’t realize that I had another diagnosis.”
KJ referred to this as his “rock bottom” moment. He explained that Dara “broke up” with him “because she had to.” In fact, Summer House costar Mia Calabrese told Dara to break up with KJ so he could heal.
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“Dara, I think, was gonna hang on … but that wouldn’t have been good for either of us,” KJ said. “I needed the time, because after the hospital, I went to recovery … and that’s when we broke up.”
He continued, “Looking back, if me and Dara were dating when I was in recovery, it would have been a mess. I would have been focused on saving the relationship rather than focusing on my health. Recovery changed my life.”
If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.
Smartphone shipments could drop by 13.9% this year
That would bring them to the lowest levels since 2013
The fall is largely thanks to rising memory prices
2026 looks set to be a bad year for the smartphone industry, as it’s predicted that shipments will fall 13.9% year-on-year. That would mean 1.08 billion units shipped, which is the lowest annual volume since 2013.
That’s a huge drop and a massive change in direction for the industry, which, prior to 2026, had seen nine consecutive quarters of growth.
This 13.9% drop prediction comes from Counterpoint, which is revising its previous forecast of a 12.4% drop. So, in other words, things are getting even worse than previously predicted.
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This downward trend is largely driven by the ongoing memory supply crisis, with AI gobbling up much of the available RAM, leading to steep price rises. As a result, Counterpoint predicts that “the sub-$150 segment faces an effective permanent removal in some markets.”
With cheap phones disappearing, brands that focus on low-end devices and emerging markets will particularly struggle, which is part of why Samsung and Apple are reportedly the “most insulated” brands — that and the fact that they have integrated supply chains.
Smaller drops and even some increases
Xiaomi is one of the brands that’s really struggling this year (Image credit: Future | Alex Walker-Todd)
As a result, iPhone shipments are expected to remain broadly flat this year, according to Counterpoint, and to grow by 5% next year. Samsung, meanwhile, could see a 4% drop this year, which is far less than the industry as a whole.
The only other brand that Counterpoint highlights as being in good shape is Huawei, which actually managed to grow 1% in the first quarter of the year. This was apparently achieved by it keeping its prices static in order to grow its market share.
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Conversely, Xiaomi’s shipments dropped more than any of the other top five phone brands in quarter one, with a 19% drop.
The big winner of all this, though, looks to be the refurbished market, which is predicted to grow by 13% this year, as new phones become too expensive for many buyers.
Counterpoint predicts that the market won’t rebound until 2028, but the landscape could be very different by then if some brands fail to weather the storm.
EXCLUSIVE: Marla Mindelle is riding the iceberg all the way to the Tony Awards with three nominations for Titanique, including Lead Actress, Book, and Best Musical.
“I’m the first woman to be triple-nominated… which is making her-story,” she tells Deadline.
For the latest episode of On The Go, Mindelle invites us inside her dressing room, otherwise known as the Diva’s Cabin, a backstage retreat she designed with the help of friend and interior designer Guillaume Coutheillas.
The space, tucked away inside the St. James Theatre, helps Mindelle channel her inner Celine Dion eight shows a week. “I feel rich,” she says, taking in the room’s elegant details, while Coutheillas reminds her just how dramatic the transformation has been.
“When we got here, it looked like a prison cell,” says Coutheillas, the founder and creative director of design firm frenchCALIFORNIA. “We wanted it to stay in the theme [of the show], so we integrated vintage objects and cool items. Her awards are everywhere — just look.”
For Mindelle, one piece stands above the rest. “The chaise lounge… where he can draw me like one of his French girls,” she jokes, referencing the movie Titanic. “We do eight shows a week here and I need to rest and recover all the time, so I’m always on this.”
The result is a space that feels equal parts dressing room, sanctuary and extension of the larger-than-life performer audiences see onstage each night. Between the awards, personal touches and playful nods to Titanique, the Diva’s Cabin reflects both the show that has become a Broadway phenomenon and the artist at the center of it as she heads into one of the biggest nights of her career.
Paz Fábrega, the first Costa Rican filmmaker to scoop a VPRO Tiger Award in Rotterdam, for her debut “Cold Water of the Sea (“Agua fria de mar”) in 2010, has secure further funding for her fourth feature “To the Future” (“Al Futuro”) from PUA-the Uruguayan Audiovisual Program, via co-producer Federico Moreira of La Mayor Cine (“Utama,” “Aurora”).
The hybrid doc in post, produced by Fábrega’s Temporal Films in Costa-Rica, will be pitched at the curated Last Push session of ECAM Forum co-production market unspooling June 9-11 at Madrid Matadero. Joining the strong Latin American partners is Guatemalan producer Pamela Guinea (“Tesoros”), as well as Spain’s Carla Sospedra Salvadó of Edna Cinema attached to award-winning pics such as SXSW’s “Mamífera” by Liliana Torres, “Correspondences” by Carla Simón and Dominga Sotomayor and the upcoming “Memorial” by Sergi Lopez which scooped a Filmin Award at ECAM Forum 2024.
Additional financing comes from Costa Rica’s El Fauno Fund and the Catalan government’ ICEC cultural agency.
Distinguished for her craft in filming human intimacy with naturalism, Fábrega returns here to the topic of motherhood featured in her earlier films “Restless” and “Aurora.”
The latter, highlighted in Variety review for the helmer’s “deep respect for the characters coupled with the performers’ inner warmth,” had a strong festival run in 2021, taking in Rotterdam, San Sebastian, Mar del Plata and Göteborg.
With “To the Future,” in a daring turn, Fábrega captures her own experience of raising two kids, while navigating financial pressure and her artistic cravings. Invited to enter the filmmaker’s intimate space, we get acquainted to her young boys Kai (3) and Matti (5).
“While Paz searches for a job, she rents out a room in her house to tenants who come and go at the fleeting pace of Airbnb tourism. The children’s overwhelming emotions clash with the weight of financial pressure, and the days blur into one another,” reads the logline. As the kids fight harder for their mother’s attention, Matti discovers a talent for prolonged apnea, dangerously holding his breath for longer and longer stretches of time.
“When my kids were born, it felt like a secret world opened up, very different from what I thought it would be,” confessed the filmmaker who felt an urge to tell the world “how kids really are-wild, intensely violent, completely fragile,” and to portray her own morphing into motherhood. “Suddenly the [kids] behaviour which drove me crazy also fascinated me. I didn’t want to tame them, but rather ask myself when I became so tame. As if I myself had to become wilder to be able to live together.”
Sospedra, who was introduced to Fábrega through filmmaker Natalia Cabrera, praised “To the Future”’s inspiring themes. “One of its central themes is demystifying motherhood and showing the reality of how difficult it can be to raise future human beings – especially if you have a career in the film business! Then at its core, and equally important to me, is how children become independent through the development of their imagination.”
“The film is also about creativity and the legacy Paz is passing on to her children,” added the Catalan producer. “Through the process of making a film together, she is giving them the power to create, to imagine, and to envision the future they want to build for themselves.”
For Fábrega, due to the personal subject matter, shaping the narrative was “the hardest part.” “When it’s your life and especially things that you’re going through, you don’t have the distance to help you see,” she admitted. She therefore put together a strong team around her who helped her build the scenes out of her everyday life with her kids, and shot “in a very intimate way, not typical to documentaries, to make the material alive and free.”
The group of photographers included Roberto Murillo – Fábrega’s own life partner, Emiliano Zúñiga, Adrianne Robert and Karin Porley.
On the editing team are Aina Calleja (credited for Aina Clotet’s Cannes Critics’ Week winning film “Viva”), Clea Eppelin, and Magdalena Schinca who scanned more than 45 hours of footage filmed over two years. Fábrega, who says the title was suggested by her eldest son Matti, sees her pic as “as sort of letter to the future.” “The future is something I think about a lot, what kind of world will my kids have. I feel like, if there is any hope ahead, it has to do with turning our attention back to birth and death; for the important things that shape our lives and see them as they are; raw, complex, miracles. And taking care of each other.”
At ECAM Forum, Fábrega and Sospedra will be looking for sales agents and distributors. “I’m really looking forward to having feedback on the film. This film doesn’t follow any traditional structure, so it will be very interesting to see what it does to people,” said Fábrega.
“To the Future,” which scooped the Music Library & SFX Award at the Mecas market in Las Palmas in early May, will be vying for the ECAM Forum Last Push €15,000 ($17,500) prize.
I’m extremely single, and as of late, that’s basically my brand on the internet. But at the same time, I’m a massive fan of vintage rom-coms; they’re especially fun to watch as a single person. There’s nothing quite like a night of sitting in bed with some chocolate and watching some comforting, classic films, amirite?
But how well do you really know the greatest romantic comedies of the 20th century? You know, the ones your parents and grandparents definitely grew up with? Let’s find out! If you can score 75% or higher, let’s just say you’re an expert in the beauty of vintage romance in Hollywood.
How did you do? Let us know in the comments below! Full permission to brag.
Sit at a table with a bunch of actors and it inevitably becomes an impromptu acting class, one in which even theMichelle Pfeiffer is leaning over to observe. At least that’s what happened on a recent afternoon when The Envelope gathered six actors from some of this season’s most talked about television series for its 2026 Emmy Drama Roundtable.
It all began when Pfeiffer (“The Madison”) shared that, while studying acting, she couldn’t grasp the technique created by Sanford Meisner, which trains actors to stop overthinking and encourages them to listen and respond actively to their scene partners. The revelation immediately activated Katherine LaNasa (“The Pitt”), who beckoned Tom Pelphrey (“Task”) to join her in a spontaneous application. (Both had studied the method.)
“I like your jacket,” LaNasa said, locking eyes with Pelphrey.
“You like my jacket?” he replied playfully.
“I do like your jacket … You’re smiling at me.”
The exchange, which had a flirtatious energy, continued for a minute, before Pelphrey and LaNasa emphasized that it’s essentially looking at and listening to what the other person is doing.
“Somehow I was doing it wrong and I didn’t understand why I was doing it wrong,” Pfeiffer said.
This openness and encouragement carried the entire conversation, which brought together Pfeiffer, who plays Stacy Clyburn, a wealthy New York City matriarch whose life is upended by the tragic death of her husband, which compels her to move to Montana; LaNasa, who brings depth to the burnout plaguing steadfast, straight-talking charge nurse Dana Evans; Pelphrey, in his turn as Robbie Prendergast, a sanitation worker who robs drug houses at night to provide for his family; Zahn McClarnon, who stars as Det. Joe Leaphorn, a stoic man battling his past and the loss of his son in “Dark Winds”; Billy Magnussen, who portrays Duncan Park, the eccentric and profit-hungry CEO of a tech company in “The Audacity”; and Karolina Wydra, who plays Zosia, the eternally cheerful liaison to a utopian, hive-minded collective in “Pluribus.” Read on for excerpts from our discussion.
I know all your characters are going through some personal things, but if you were to transform into them for 24 hours, what would you do with that day?
Magnussen: I live with Duncan daily because I think your job as an actor is to check the morality of the character you’re playing. And at the same time, you have to question your own morality, see where you stand, to then deal with that character. Duncan’s a really messed-up guy, and doing it for five months … I was on set 16 hours a day every day. I was with him nonstop. And his temperament and pace was just out of this world. It’s exhausting. So what would I do? I would try to go to a spa, personally, because it’s exhausting.
Wydra: Do you find that it gets blurry after a little while?
Magnussen: I still know who Billy is.
McClarnon: But there’s times where you can’t see that line between [fiction and] reality, just moments. I’ve found myself in those moments where I know the difference, obviously, but I’m so emotionally attached to Deanna Allison, who plays my wife on the show, where I can’t separate them anymore. It’s not like 24 hours, but just moments where I’m like, “Wait a second, where am I? Am I in the show? Is this Joe Leaphorn or is this Zahn?” Usually in the middle of the season, it starts to get a little blurry for me.
Magnussen: Do you think it’s the job, though, to keep it separated? Or do you guys believe in Method acting?
Wydra: Rhea Seehorn, who is on “Pluribus,” who’s incredible, who’s my partner in crime, she gave me a book about Method [acting] — the Method and what really Method was. And it’s not what we think it is. We all do Method acting, but it’s not staying in the character and living in the character forever. … And that’s what people think Method is, is that you never break the character, you take the character home, but it’s not. It’s building a world. Building it, personalizing it.
Pfeiffer: Isn’t that what we all do? Some actors will go live on the ranch. They won’t take a bath for six months. They really take it to another level, which I’m not willing to do … From the minute I commit to something, it’s right there [in my head], I’m thinking about it. It can be a year away, and it’s right here torturing me, which is I think why I’m a bit of a commitment-phobe. My agents always call me “Dr. No” because I know no matter what, even if I’m not consciously aware of it, it’s there just badgering me.
LaNasa: I have found that people want Dana, want my character, in real life. And it’s cool because she’s very comforting to people. But I had an experience recently in New York where this table of girls, they were having some party, and someone said, “Oh, you mean a lot to us.” And I said, “Oh, are they nurses?” Well, some of them are. And then they asked at the end of their dinner would I take a picture. And then one girl told the other people to leave and then she told me her illness journey. And I had breast cancer. She was going through breast cancer. And it was really interesting. And it was the most meaningful that I’d ever felt about taking a character home where it’s like … I think I spoke about my wellness journey because I was playing the role. It ended up coming up through the press. … And for some reason, because I was Dana in someone’s mind, it meant something. And I thought, “Well, this was actually useful. This breaking of that wall between character and person was actually useful.”
Tom, you get the call that you’re cast as Robbie in “Task.” What’s the first thing you do to figure him out?
Pelphrey: When I read the first two episodes, I felt like I understood Robbie’s soul perfectly, but I knew that I would have to break my ass to get that accent right. So that was where I focused most of my conscious energy and discipline and time, was just [on the] technical, just on the accent. The fun part was, because he would be my age, thinking about growing up in Philly at that time and who his heroes would be, having ideas for tattoos, stuff like that. We had more time than you get sometimes before we had to start filming because we knew and then the writers’ strike happened. I had a lot of months to sit with him and emotionally and spiritually. And I’d just become a father. Obviously [with] Robbie, everything he does is for his kids.
Pfeiffer: It changes everything. It opens your heart.
Pelphrey: I was a new person. And I understood him in that regard perfectly and I couldn’t have before. I could have imagined it and now I knew for sure.
For “The Audacity,” Billy, you spoke with some tech folks. What did you come to understand about what they’re after as innovators versus what you’re after as a creative?
Magnussen: Listen, no one’s a villain in their own story. I believe that from Day 1, these people probably came to the Valley with genuine ideas. The genesis of their idea was to connect and really bring something powerful and important to society and people. And, “Oh wait, we’re making a lot of f— money.” And through that lens, you start being blinded by this humanity that’s around you or caring for people around you rather than a bottom line. When you’re in an incestuous pool or in a small bubble, culture is created. And like Facebook, their slogan was “Move fast and break things.” Being a bull in a china shop is not a good idea anywhere, but for some reason that was the culture. People just started doing that more and more and breaking things and breaking things and breaking things. I don’t think they started off that way, but the culture just bred them to become this way. I personally relate that to, I don’t want to say Hollywood or the entertainment world, but we’ve seen the toxicity. And we’ve been slowly trying to filter that out, I think, of Hollywood. But when you have a microclimate kind of culture feeding in toxic behavior and rewarding toxic behavior over and over again, it breeds it. So you start to have to scrape away that cancer. But again, the genesis of all these ideas were pure. We were 6 years old just dreaming to be something or being like, “I could do this.”
Pfeiffer: Pretending to be something else, other than what we were.
Magnussen: I empathize with that. I don’t think people are bad. I just think they’re lost sometimes.
Karolina, your character in “Pluribus,” Zosia, is carrying the weight of almost every person in the world. What do you remember about those discussions with Yvonne Villarreal Vince Gilligan and how he helped you unpack this character and the relationship with Carol, Rhea [Seehorn]’s character?
Wydra: I took a break for five years from acting before Zosia came into my life. I walked away at 39 to have kids and my agent and my manager dropped me and it was really terrifying to also be a woman and turning 40, to have children at that time. When Lou [her second son] was maybe a year-and-a-half [old], I got the itch of like, “God, I miss acting so much. How am I ever going to come back? How am I going to get an opportunity?” And I was 43 at the time and out of nowhere I got an email being like, “Hey, there’s this thing …” from a commercial agent that I was on their roster, but I did not work with them. And they said, “There’s this audition.” And I go, “OK.” I read it and I said, “Who wrote it?” And she said, “Vince Gilligan for Apple TV.” I went, “What? OK.” And I didn’t know anything about the project and it was always my dream to work with Vince from when I saw “Breaking Bad.”
Long story short, I’m here and the whole journey has been so wild, so insane. When I first would talk to him about Zosia, I was like, “God, how am I going to tackle the world and someone that has the highest emotional intelligence, someone that does all these different things? And how do you see the Others? How do you want them to move about the world and the complexities of who they are?” Vince is such a beautiful human being. He’s like, “They’re just happy and content.” You go, “OK, yeah, but … what else?” For me, Zosia is extremely spiritual. Meditation was my key, my go-to to get into that zone of connection to humanity, not in the physical but very spiritual way where, [if] you meditate enough, the ego gets lifted and you truly feel connected, and you feel one with everyone. And the wild thing, I think the greatest gift, was becoming a mother; I understood what it means, unconditional love. Because my heart lives outside my body all the time. And so becoming a mother was a gift to play Zosia, because I unconditionally love Carol. And now, no matter what she throws at me, I just love her, and take care of her, and I want to nurture her.
Michelle, you get the call from Taylor Sheridan, who also created “Landman” and “Yellowstone.” He says he wants to meet with you and he wants to do it on his turf in Texas, not yours. There’s no script. What does someone like Taylor Sheridan say to someone like Michelle Pfeiffer that will get her to agree to the show?
Pfeiffer: Well, he gave me a lot of tequila.
LaNasa: Writing this down: Tequila, check.
Pfeiffer: I got a call that he wanted to meet with me, that he had an idea for something, “But you have to come to Texas.” And I said, “Is there anything? Is there an outline? Is there a paragraph?” “No, no. He wants to explain it to you in person.” I had to stay the night in Fort Worth and then met with him and he gave me tequila, and then after a while I had to stop drinking. He gave me a very rough outline of the show, of the character … She’s been with the love of her life for 50 years. It’s the marriage that we all dream of having. And he dies suddenly, tragically, and … all of a sudden the rug is really just emotionally and psychologically pulled out from underneath them. And it’s how do you rebuild a life and it’s the study of grief. He said that I had committed that night, which I did not. I’d had a few cocktails. We went back and forth a little bit about [the fact] that I really would like to read something. And he said, “Well, I would really like to cast this before I write anything.” Then I realized I wasn’t going to win this battle and I reached out to Helen Mirren [who starred in Sheridan’s “1923”], who I don’t know, but I figured she doesn’t suffer fools and she would give me the truth about what it’s like to do this. She couldn’t have spoken [more] highly of everything. She said the scripts are wonderful. The production is wonderful. And loves Montana. And so I took a leap of faith. I never do that.
What stands out to you about his process versus then working with your husband, David E. Kelley, also a prolific writer, who adapted “Margo’s Got Money Troubles”?
Pfeiffer: I couldn’t be luckier working for two of the most talented and prolific writers in the history of television. [They’re] not that much different. I purposefully didn’t want to bug David because it’s not like we had any hard-and-fast rules about not working together, but we weren’t really actively seeking it out because that can get a little dicey, just looking at it from afar. I really cherish my marriage, and our family, and I just didn’t want to mess it up. I really mostly went to the director and every now and then I might throw a little something his way. And [with] Taylor … I would go through Christina [Alexandra Voros], our director, because he’s just not honestly that accessible because he’s got a bit going on. I personally don’t like to spend my time trying to rewrite things. It’s more interesting to me to try to make something work and then I end up finding something I never would’ve decided. It just takes you to a new place and it’s so much more interesting than anything I would have conjured up.
Zahn, you’re not only the lead in “Dark Winds,” but also an executive producer and directing episodes. I know there was a moment where your character was supposed to shoot someone in the face early on. And you felt strongly, “My character’s not someone that would do this.” Talk to me about leaning into speaking your mind.
McClarnon: There’s not a lot of Native characters on television. The foundation of that character obviously comes from Tony Hillerman’s books. So the foundation was set for that character. And when I got to a point in the season where I’m supposed to kill a man, shoot him in the head in the middle of the desert — first off, I didn’t see that in the books. And I know it’s television and we want drama and all that stuff, but also, to be honest with you, I want Native kids — see, I’m going to cry now — to have something to look up to. We grew up with these stereotypes and we grew up with these tropes of Native Americans. The only one I can really remember that I really looked up to was Will Sampson in “One Flew Over the Cuckoo’s Nest” because he was playing a trope, but he becomes the hero at the end of the story. It’s one of my favorite films. So when it came to that point where the writer said, “He’s going to kill this rich white man in the desert and shoot him in the head,” morally, I think Joe Leaphorn is more than that.
And it was simple. I sat down with the showrunner [John Wirth] and we talked about it, and we went back and forth for about a week. And I’m so glad that I have access to somebody like that. I have access where they’re not telling me, “No, this is the way it’s written. This is what you’re going to do.” So yeah, we decided not to shoot the guy in the head, where I’d just leave him out in the desert to fend for himself.
Katherine, you’ve talked to nurses and medical professionals in the making of “The Pitt,” but you were also a patient during your breast cancer journey, interacting with them a lot from the other side. What is something that they’ve told you or even something you observed in that time that really spoke to you about what they’re going through on the day to day in these jobs?
LaNasa: It’s funny, I’d always wanted to work with John Wells. I go through this period of all this unemployment, and then I get this job for John Wells. I had had cancer a year before and then had complications up to like six months before. It wasn’t until I got to the emergency room set that I was like, “Oh, this whole period … ” — the spirituality of that. I really believe that we need to be grateful for our life while we’re living it, no matter what’s going on. Because I still have my children, and I have nature, and I have my husband, and cooking, and my dog, and so many wonderful things. And I was really trying to hold onto that. It’s always this idea that maybe something is for a reason or whatever — now I’m going to cry. The fact that that was so purposeful, that I understood so deeply what it was to be a patient, what it was to be terrified going into the emergency department. I also understood how much it mattered when a nurse took a little extra time and was a little bit kind.
Pfeiffer: You’re going to make me cry.
LaNasa: And there was one particular nurse — I had my cancer, went through my radiation and then [went] back and forth, back and forth [to the ER]. And there was a week, the second trip to the ER [they thought I might have multiple sclerosis]. “Now do I have MS on top of having had cancer?” And I had a breakdown in the ER. And she’s like, “Listen, first six months after cancer are really bumpy, and it’s not going to stay like this. Do you need an Ativan?”
Magnussen: Did not see that turn.
LaNasa: It was that human touch. Or when they would come and give you a warm blanket or something. There’s a nurse, Kathy Garvin at County, who told me she wouldn’t do the job that she does being the [emergency department] charge nurse if it wasn’t in a county hospital. She wants to do that hard work for people that really need her. For the most underprivileged, for the unhoused. And I try to honor that in the story and to just bring that to life — their generosity and their humility.
The Envelope’s 2026 Emmy Drama Roundtable: From left, Zahn McClarnon, Michelle Pfeiffer, Tom Pelphrey, Katherine LaNasa, Billy Magnussen and Karolina Wydra.
There’s a lot of discussion in the industry right now about runaway production and can L.A. rebuild and what’s lost. I’m curious how you feel about this topic.
Magnussen: I live in Georgia and … one of our biggest exports as Americans is our culture. And if we just keep it isolated to Hollywood, I think we lose out at expressing everything we are as Americans.
McClarnon: We shoot on the Tesuque Pueblo. There’s 19 pueblos in New Mexico. We have taken over their old casino and we’ve converted it into a soundstage. We use their back lot. We obviously help out the tribe with renting the place out. And so I like shooting in New Mexico and supporting the local community, especially local Natives.
Pfeiffer: I think there’s room for all of it. We shot [a movie] in London that took place in Los Angeles. And it’s ridiculous that our entire industry has left. Los Angeles is really hurting. And a lot of people are hurting. All those jobs, all of those restaurants where people used to eat, people used to shop. And I think to not give the same sort of tax incentives that other states are doing — look, if it takes place in Georgia, you should go to Georgia. But I think Los Angeles was really built on the movie [industry].
LaNasa: I have a 34-year-old and a 12-year-old. I remember with my 34-year-old, even just being a young, starting-out mother, I would be like, “Well, I’m not going out of town. I have a child.” I would never go do a TV show out of town. I had a kid and the kid was in school and I needed to provide consistency for that child. And then with my second one, that was impossible. We would just not have been able to work. But it’s really hard on families. We are actors and we’ve come here to pursue the industry. We’ve moved here and we’ve risked something … L.A., for all of its problems, is a city of dreamers. It’s a city of people that came to pursue their art. And I am one of those people. And so in a way, I wasn’t really a citizen like the other citizens of Atlanta. I was outside. I didn’t have my community.
Magnussen: I know, but that’s the thing I have an issue with is this idea that, “It’s only there.”
Pelphrey: I’ll say this. Love that we get to film all over our beautiful country. Would love to keep the jobs in this country. That would be the nice part. Because when everybody’s like, “Oh great, we can go to Belarus or London.” Guess what? All of us get to go. Our crew doesn’t get to go — the people that we know that we need, that we work with, that we make these things with. We get to go wherever the f— we want, actors, directors, but the crew doesn’t.
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Seasonal tournaments with prize pools that can reach five figures, often linked to holidays or major sporting events.
The casino also sends personalized offers via email, tailored to a player’s favourite game types. A blackjack fan might get a cashback deal on en.wikipedia.org live dealer tables, while a slot enthusiast receives extra spins on a high-volatility title. This level of customization makes the promotional calendar feel dynamic rather than generic. Players consistently observe that the bonus terms are fair and that the support team is quick to clarify any confusion. In a market where many casinos hide behind complex rules, SpinoGambino’s straightforward approach is a breath of fresh Rocky Mountain air.
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A casino’s true colours often show when something goes wrong, and SpinoGambino’s support team always steps up. Canadian players have availability of 24/7 live chat, which connects a knowledgeable agent in under a minute on average. The representatives speak fluent English and French, catering to the country’s bilingual nature, and they manage everything from bonus queries to technical hiccups with genuine warmth. Email support is equally robust, with detailed replies being sent within a few hours. The casino also offers a comprehensive FAQ section that includes account verification, payment methods, and game rules, letting players to find instant answers without waiting.
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Frequently Asked Questions
Is it true that SpinoGambino Casino lawful for Canadian users?
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How much is the minimum deposit at SpinoGambino Casino?
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What duration do withdrawals take for Canadian players?
Withdrawal speed is determined by the chosen method, but SpinoGambino is known for exceptionally fast processing. E-wallet and cryptocurrency payouts are often completed within a few hours, while Interac e-Transfer and bank wire withdrawals usually arrive within one to two business days. The casino’s finance team works around the clock to approve requests, and once the initial verification is done, subsequent cashouts are processed even faster.
Does SpinoGambino Casino offer a no-deposit bonus?
SpinoGambino occasionally introduces no-deposit bonus offers to both new and existing players, typically in the form of free spins or a small cash credit. These promotions are announced via email and on the casino’s promotions page. While not a permanent fixture, the no-deposit bonuses provide a wonderful way to explore the game library without risking personal funds. Players should always check the terms and conditions for wagering requirements attached to such offers.
Can I play SpinoGambino Casino games on my smartphone?
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Financial Choices Designed for Canadian Players
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Široké herní možnosti pro všechny zájem
V kasinu AlaWin si návštěvníci mohou prohlédnout působivou škálu herních možností, které uspokojí všechen vkus. Díky bohatství výherních automatů, immersivnímu zážitku s živým krupiérem a vzrušujícímu sportovnímu sázení si zde každý najde to své. Tato široká nabídka zaručuje, že každý návštěvník odchází pobavený a uspokojený.
Sloty Galore
Zatímco mnoho herních domů nabízí výběr slotů, AlaWin Casino v Česku se vyznačuje svou ohromující nabídkou, která splní požadavky každého hráče. Hosté si mohou vychutnat širokou škálu her, z nichž každá má jedinečné funkce výherních automatů, které hráče lákají. Od tradičních tříválcových slotů až po moderní video sloty si zde každý přijde na své. AlaWin navíc klade důraz na bezstresovou zábavu a dovoluje hostům zkoumat rozličné jackpotové strategie vlastním tempem. Hráči se mohou zapojit do her s menšími jackpoty pro konzistentní výhry nebo zkusit štěstí na progresivních automatech, které slibují výplaty, které vám změní život. Tato pestrá kolekce zajišťuje, že ať už je to nováček nebo zkušený hráč, každý návštěvník najde zábavu šitou na míru jeho zájmům.
Prožitky s živým krupiérem
Jak si mohou hráči vychutnat vzrušení ze reálného kasina z domácího pohodlí? V kasinu AlaWin v České republice je řešení v prožitku s live dealerem. Tyto hry oživují pohlcující hratelnosti a kombinují špičkovou streamingovou technologii s zkušenými dealery, kteří zapojí hráče v živě. Ať už se jedná o černý jack, rulety nebo baccarat, hráči si mohou vychutnat interakce s live dealerem, které navozují autentickou atmosféru podobnou kamennému kasinu. Uživatelsky přívětivé uživatelské rozhraní zajišťuje snadný přístup k rozličným stolním možnostem a uspokojuje osobní preference a preference každého hráče. Díky úžasné grafice a rychlé hratelnosti nabízejí hry s live dealerem v kasinu AlaWin bezkonkurenční vzrušení, díky čemuž se každé session bude cítit jako vzrušující večer bez stresu.
Vzrušení ze sportovních sázek
Ponořte se do strhujícího světa sázení na sporty v kasinu AlaWin, kde na každého milovníka sportu čeká adrenalin. Díky široké nabídce sázkových příležitostí si každý najde to své. Kasino nabízí živou atmosféru, která fanouškům umožňuje sledovat živé sportovní přenosy a zároveň si užívat hladké sázkové zážitky. Zde je několik atraktivních funkcí:
Široká nabídka sportů
Sázení live
Komplexní statistiky
Uživatelsky přívětivé rozhraní
Exkluzivní propagační akce
V kasinu AlaWin se sportovní nadšenci mohou ponořit do vzrušení ze sportovních přenosů naživo a zároveň zkoumat efektivní sázkové strategie, které jim umocní zábavu.
Zábavné aktivity nad rámec hazardních her
I když je hazard primární zábavou v kasinu AlaWin, nabízí toto prostor také rozmanitou nabídku zábavných aktivit, které překračují pouhého hazardu. Hosté se mohou zapojit do interaktivních týmových aktivit, které podporují přátelství mezi pracovními partnery nebo známými. Tyto události jsou vytvořeny tak, aby podpořily spolupráci a zajistily nezapomenutelné zážitky. AlaWin navíc hostí tvořivé dílny, které inspirují hosty k objevování jejich tvůrčích dovedností. Od kreslení po rukodělné práce mohou návštěvníci v uvolněné atmosféře rozvinout svou tvořivost. Tyto činnosti zaručují perfektní harmonii mezi napětím z her a dovolují návštěvníkům prožít plnohodnotný zážitek. Uspořádáním tak různorodých aktivit kasino AlaWin zajišťuje, že si všichni zvolí něco příjemného i mimo herní zónu, a vytváří tak trvalé vzpomínky pro všechny.
Strhující živá vystoupení pro vylepšení vašeho zážitku
Co může být vzrušujícího než si užít napínavou hru a zároveň se nechat bavit živými vystoupeními? Kasino AlaWin nabízí nepřekonatelnou atmosféru díky strhující živým vystoupením, kde se návštěvníci mohou ponořit do jedinečné směsi her a show. Živá vystoupení vystupují talentovaní umělci, kteří okouzlují publikum svými dynamickými show a okouzlující hudbou, a zajišťují tak, aby každá návštěva byla nezapomenutelná. Interakce s umělci budují živé prostředí, které dodává osobní dotek, jenž zvyšuje celkový zážitek. Návštěvníci mohou jásat, smát se a zapojit se do zábavy, takže jejich výlet do kasina není jen o ziscích, ale také o nezapomenutelných okamžicích. V kasinu AlaWin spojení her a živých vystoupení opravdu zvyšuje zážitek ze zábavy na novou úroveň.
Perfektní pro občasné hosty, tak pro vážné hráče
Živá česká hráčská komunita nachází v herně AlaWin vítaný útočiště, kde se cítí příjemně jak občasní návštěvníci, tak i vážní hráči. Herna nabízí pohodovou atmosféru, která vyhovuje ty, kteří vyhledávají příležitostné hry, s nízkými vklady u stolních her a relaxačními automaty pro zábavný a relaxační prožitek. Tato dostupnost přitahuje rozmanité publikum, což je perfektní pro začátečníky i občasné hráče. Na opak v AlaWinu rozkvétá vážná konkurence s vysokými sázkami u stolních her a napínavými soutěžemi, které vyzvou i ty nejzkušenější hráče. Vyvážená kombinace rozmanitých herních variant zajišťuje, že si každý najdou perfektní zážitek, ať chce relaxovat, nebo si vyzkoušet své dovednosti proti silným soupeřům. Herna AlaWin opravdu ztělesňuje inkluzivní zábavu v České republice.
Závěr
Kasino AlaWin v Česku skutečně poskytuje jedinečný zážitek, kde se zábava spojuje s relaxací. Díky klidné atmosféře, různorodým herním možnostem a zajímavým živým vystoupením si hosté mohou relaxovat a vychutnat si hru svým tempem. Od lahodného jídla až po veselé aktivity nad rámec hazardních her si zde každý najde to své. Přátelský personál vytváří příjemné prostředí, díky čemuž je ideálním místem jak pro občasné návštěvníky, tak pro vážné hráče, a to vše bez tlaku, který je často běžný pro jiné podniky.
Disney and Marvel Studios officially showcased an entirely new logo for 2026’s VisionQuest Disney+ series, and it perfectly matches up with the show’s mysterious nature and the fact that it is directly tied to WandaVision. Marvel Studios is already off to a hot start in 2026 with its Disney+ content. Many fans praised Daredevil: Born Again Season 2 throughout the Spring season, and then the Punisher: One Last Kill special presentation was highly regarded by many. However, Marvel Television isn’t done for the year, as the trilogy started by WandaVision in 2021 is about to be wrapped up.
During Disney’s 2026 Upfront showcase (which is an event where a lot of upcoming content is teased and featured), fans were given a special look at a brand new logo for the upcoming VisionQuest Disney+ show. The logo for VisionQuest has remained essentially the same since it was announced, but as its October 14 release date (which was also announced at Upfront) gets closer, things are beginning to change a bit in order to become more marketable.
In total, Marvel Television has revealed three logos for VisionQuest since fans learned of the show’s title. This new one isn’t too different from the one before it, but Marvel clearly added a small detail that makes it much more engaging and teases how the show will include a lot of mystery elements.
Marvel Television
Specifically, the new logo still has the simple font that the previous logo had. However, there is a bit of a glow around each of the letters that makes them look a bit disorienting, as extremely faint outlines of each letter are moved to the right and to the left of the real letters.
Marvel Television
The best way to describe it is that it almost looks like there is a bit of an optical illusion or that you are looking at the logo with tears in your eyes, as the glow makes the title look somewhat blurry, and, as mentioned, it is somewhat disorienting.
Marvel Television
The previous VisionQuest logo had a similar glow around it, but the glow’s distance from the true letters was much smaller. Essentially, it was right on top of the letters, so it didn’t have much of an effect. The distance for the glow has been increased for the new logo so that it is moved further out from the letters, giving it that specific look.
Marvel Television
As mentioned, this is the third official logo Marvel Television has given VisionQuest. The first one had a different font where most of the letters looked a bit more blocky, such as the “s” and the “o.” It is worth noting that the original logo’s font was also much thicker, so the VisionQuest symbol (which stood in for the “Q” in VisionQuest) was more prominent.
Marvel Comics/Marvel Television
VisionQuest‘s new logo (and all of the logos for the show that came before this new one) is much simpler and less stylized than notable Vision logos from Marvel Comics. For example, in one of the comics, the Vision logo had different heights and widths for each of the letters, and the letters weren’t totally straight. They were also drawn in 3-D, whereas the VisionQuest logo’s letters are 2-D.
For example, WandaVision‘s logo was specifically created to have a mid-1900s feel. It had the older style font, and then the red all around it to represent Wanda’s powers and how she was secretly in control of everything. VisionQuest‘s logo does not have as much detail as WandaVision‘s did, but that is likely intentional.
Marvel Television
The Agatha All Along logo was the same way. It had bulky letters with a font that definitely felt like witches, and even a couple of the letters had some tree branches coming off of them. Compared to VisionQuest‘s logo, Agatha All Along‘s was much more stylized and traditional, whereas VisionQuest‘s is much simpler and has less flair.
Why VisionQuest’s Logo Is Perfect
On the surface, VisionQuest‘s new logo may not seem all that exciting, and some may even argue that Marvel Television got a bit lazy with it, especially since WandaVision and Agatha All Along had such intricate logos. However, it is important to think about what VisionQuest is all about.
There is a ton of mystery surrounding the upcoming Disney+ series, and no one really knows what to expect from it. Marvel and Disney are keeping details about the show under wraps, but that makes sense considering Vision himself will be in a position where he doesn’t really have any idea what is going on.
Essentially, it seems as though Marvel wants fans to feel similar to Vision, and the logo reflects that. That glow that makes the words disorienting could directly represent how Vision doesn’t know what is real and what is going on. It has already been teased that a large portion of the show will take place inside Vision’s mind and that there will be a lot of misdirection, which can be seen in the logo.
The glow coming off the letters makes it somewhat hard to see the real letters. Since there are really three of each letter, with some more faint than others, it is likely that it is directly teasing that there will be some confusion for Vision throughout the series, and that things may not be what they seem.
Seven years after they parted ways, MCU fans will get to witness a heartfelt and epic reunion between two of the franchise’s cornerstone heroes in Avengers: Doomsday. At the end of different MCU phases, and even more so at the end of sagas, some characters who have a lot of history and strong relationships have to say goodbye. Whether one character is killed on-screen or they simply choose to walk away from the superhero life, the moment often brings a tear to the eyes of the viewer. However, scenes such as those also present the opportunity for those same characters to reunite in unexpected and/or major ways, which is exactly what is happening in Avengers: Doomsday.
The first official trailer for Avengers: Doomsday has not been revealed publicly yet, but those who attended CinemaCon were able to see the footage. Within that collection of shots and scenes from the upcoming film (which could end up being the biggest movie of all time) was a reunion between two of the MCU’s biggest heroes of all time, Steve Rogers and Thor.
In the footage, Thor was featured much more heavily than Steve was. For example, Thor gave an angry but inspiring speech about how dire the situation will be in Doomsday. Many fans assume he is talking about Doctor Doom in the trailer, and that is possible, but he could also be referencing the incursions, which put the entirety of the universe in jeopardy:
“I fought with many warriors in my time. They were far stronger than all of us put together, and they died. They died facing enemies and threats that scare me far less than this one. Everything they sacrificed will be for nothing if we do not stand together. Put aside your petty squabbles. Presume nothing except this: if you return, you will return as brothers and sisters. But mark my words, we’re going to need a miracle.”
It is also worth noting that Thor seemingly appeared behind Reed Richards and the Fantastic Four in the New Avengers’ tower. In total, a shot inside the tower included John Walker, Red Guardian, Bucky Barnes, Yelena Belova, Sam Wilson, Scott Lang, Thor, and Joaquin Torres. However, the Fantastic Four are also present in the scene.
Notably, a shot from the trailer also featured Thor outside the X-Mansion. Specifically, while wielding Stormbreaker, he walked toward Doctor Doom. Then, in a later shot, Doom stopped Thor from attacking him with Stormbreaker.
However, undoubtedly the biggest moment in the entire trailer came at the very end. Thor was featured in yet another shot, but this time he was holding Mjolnir instead of Stormbreaker. A familiar voice called out, saying, “Hey, pal.” At that moment, Thor came face-to-face with Chris Evans’ Steve Rogers for the first time since Avengers: Endgame.
Marvel Studios
Thor exclaimed that it was “not possible” that Steve had returned, but Steve proved that it was the same version of himself who had been in the trenches with Thor in the past by holding out his hand and calling Mjolnir to his side, proving he was also still worthy to hold the hammer.
Notably, that ending scene was the only shot in which Steve was featured. He did show up in the first teaser, where he could be seen holding a baby, but in the official trailer that was shown at CinemaCon, he only popped up at the very end of the footage.
It is also worth noting that Steve looked different in the full trailer, as his hair was long and he was sporting a bit of a beard, not dissimilar to his character design in Avengers: Infinity War.
Fans will have to wait until Avengers: Doomsday is released on December 16 to see Steve reunite with other major MCU characters and to see the reunions of other characters from the franchise. However, since the Doomsday trailer has already been revealed to some people and everyone is able to read descriptions of the footage, this particular reunion was given to fans before the movie’s release.
Steve and Thor’s Reunion Reveals More About Avengers: Doomsday Than Fans Think
Marvel Studios
The last time Thor and Steve saw each other would have been at Tony Stark’s funeral in Avengers: Endgame. However, they never actually got to say a proper goodbye to one another. They really didn’t even converse on-screen at the funeral, and Thor wasn’t around to see Steve take the Infinity Stones back and then return as an old man who deemed Sam Wilson the new Captain America.
So, their Avengers: Doomsday reunion finally puts them back together on-screen, and if it does serve as the last MCU appearance for either character, it could finally give them a proper chance to say goodbye to each other.
However, their mere presence and reunion prove a lot about Avengers: Doomsday that fans may not even realize. Since they both showed up at the end of the main trailer and were featured together, it reinforces the idea that Steve Rogers and Thor are the two main protagonists of Avengers: Doomsday.
It has already been teased and reported that they will have major roles, but their appearances in the trailer essentially confirm that they will be leading the charge against Doom and the incursions. It also gives more credibility to Doom as an antagonist and to Doomsday as a film, since Steve is having to leave his perfect life behind and come back to fight as an Avenger.
Spider-Noir Episode 1 introduced James Addison as a mysterious villain who kick-started events that forced Ben Reilly out of retirement as The Spider. Amazon Prime Video’sSpider-Verse spinoff set things in motion by showing Reilly’s first mission: track down the elusive James Addison. His pursuit led to a tense chase that ultimately ended in chaos and laid the groundwork for Season 1’s overarching mystery.
Spider-Noir‘s debut episode initially introduced James Addison as an enhanced individual with pyrokinetic abilities. Addison’s powers in the series manifest in a tense clash with a private investigator named Patrick Donegal. However, Donegal made a reckless move by shooting Addison multiple times after he was shocked at what he saw, instantly killing Addison while Ben Reilly saw everything from a distance. While Addison clearly died, his body showed no burn damage, raising immediate questions about his abilities and backstory.
Addison’s death in Episode 1 lingered throughout Spider-Noir’s eight-episode run, as the series showcased his presence through flashbacks, mentions, and even hallucinations. As it turned out, Addison was not just a random man; rather, he was an American soldier who fought in the Meuse-Argonne Offensive in 1918, a battle considered one of the largest and bloodiest campaigns of World War I involving the American Expeditionary Forces. This offensive helped break German lines, but at an enormous, tragic cost (over 125,000 soldiers died).
While the offensive was successful, Addison was not so lucky because he was captured by German forces and branded him as a prisoner of war (POW). While being held captive, Addison was subjected to horrific German experiments as part of a twisted Super-Soldier program that involved hybridized DNA manipulation on prisoners. Many test subjects endured the experiments, but only a few survived, including Addison (though his abilities remained dormant at the time).
Addison and other characters, such as Flint Marko and Lonnie Lincoln, were eventually saved by American soldiers, including Ben Reilly. These same experiments were the reason why Reilly got his powers since he was bitten by a Man-Spider mutated hybrid during the rescue mission.
Amazon Prime Video
Upon returning home, Addison tried to rebuild his life, ultimately marrying Vera to start fresh. His powers remained dormant for years, but Dr. Alethea tracked him and other survivors down to subject them to further experiments to awaken their mutations.
Addison’s pyrokinetic abilities allowed him to generate and control fire, manipulate thermal energy, and engulf himself in flames. Unfortunately, the powers became unstable and gradually killed him from the inside.
Despite being a ticking time bomb, Addison decided to be a hired gun to make ends meet for his wife, leading to his eventual arrangement with Cat Hardy (aka the eventual Black Cat) to kill Silvermane so she could start fresh with Flint Marko. The plan was for Addison to burn down Silvermane’s mansion to kill him while he was still inside. While he did manage to destroy the mansion, he wasn’t able to kill Silvermane, marking the beginning of his downfall. The botched attempt exposed Addison, leading to his untimely death at the hands of Donegal.
In the world of Spider-Noir, Addison represents the show’s tragic portrayal of ordinary men broken by war and later exploited through heinous experiments that ultimately ruined their lives.
How Spider Noir’s James Addison Connects to Marvel Comics & Official Lore
The closest villain to Addison’s pyrokinetic abilities is Molten Man, aka Mark Raxton, who is really Spider-Man’s only major fire-based villain across all forms of media.
In Marvel Comics, Molten Man, who first appeared in The Amazing Spider-Man #28 in September 1965, possesses extreme heat generation, and his body constantly glows like molten lava. His real name was Mark Raxton, a brilliant but impatient chemical engineer working for Spencer Smythe. Raxton was accidentally doused with an experimental liquid-metal alloy, which led to his villainous transformation.
Marvel Comics
Spider-Man: Far From Home introduced the MCU’s version of Molten Man, but it is quite different because it is not directly tied to Mark Raxton’s version from the comics. Instead, Mysterio used Molten Man as one of the Elementals (aka a fabricated threat) designed to make Nick Fury and Spider-Man believe that Earth-616 is in grave danger.
Sony Pictures
While the show used Addison’s fiery powers and volatile nature to resemble that of Molten Man from Spider-Man’s rogues gallery, Spider-Noir embraced the original character approach by showcasing Addison as a compelling storytelling tool to push the story forward.
Speaking with IGN, Spider-Noir showrunner Oren Uziel confirmed that Addison “doesn’t really have a direct comp [from the comics]”:
“[Jimmy” Addison (played by Jack Mikesell) is] the only one that doesn’t really have a direct comp [from the comics]. There are plenty of Marvel characters that we could pull from that would satisfy that, but I wouldn’t want to, for lack of a better term, burn any for future use.”
Uziel acknowledged that there are Marvel characters they can’t use, even though it’s a “shared playground.” The Spider-Noir boss continued by acknowledging that they didn’t want to have too much overlap, especially that Spider-Man: Brand New Day is on the horizon:
“There are characters that you can’t use. I’m not sure that I was ever told specifically [who] you can’t use. There’s just a little bit of a common sense. It’s a shared playground. So we have a Spider-Man movie coming out a few months after the show. You don’t want to have too much overlap. You have things that have been in the most recent movies. You’ve got things from The Spider-Verse, from animation. A lot of these characters are appearing in a lot of things, and I think you just always want to stay as fresh as you can. And I think there’s no reason not to. I didn’t really feel constrained.”
For the most part, Sony avoided using major villains in Spider-Noir, likely to avoid conflicts with the movies and other Peter Parker stories. For instance, the villain many thought was Electro turned out to be Megawatt, which proves the show’s and the higher-ups’ flexibility in introducing characters that still feel familiar and fit the overarching story but are fresh in their own compelling way.
As a grounded, gritty superhero show, Spider-Noir embraces its tone and proves it with its decision about which villains to include. By focusing on broken men from the war who have become unstable weapons, the show stands out and feels distinct from bigger projects that feature the likes of Green Goblin and Doctor Octopus.
A pair of major characters from Marvel Studios’ recent Netflix reboot did not last through the end of their most recent appearances. Slowly bringing back characters from Netflix’s Defenders Saga, Marvel Studios finally fully revived that era with the release of Daredevil: Born Again in 2025. Unfortunately, the show quickly showed it was not afraid to remove important players from the equation.
Season 2 of Daredevil: Born Again featured two major deaths of characters introduced in the series’ reboot, which originally began on Netflix. First up was Ayelet Zurer’s Vanessa Fisk, who was originally recast for the series before changes were made to make it canon with the Netflix show, leading to her being brought back. Vanessa was killed off in Born Again Season 2, Episode 5, after being struck in the head by a shard of glass during the fight involving Wilson Bethel’s Bullseye in Episode 4.
Marvel Television
Meanwhile, Michael Gandolfini’s Daniel Blake met the same fate in Season 2 after playing a supporting role in both seasons of Born Again. Tasked with taking out Genneya Walton’s BB Urich, Blake met up with Arty Froushan’s Buck Cashman, who asked if he had finished the job. Having let Urich escape, Blake sacrificed himself, taking on Cashman before he shot and killed him in Episode 7.
Marvel Television
These are the two latest additions to a long list of characters killed in Born Again, which started with Bullseye offing Elden Henson’s Foggy Nelson in Episode 1. This continued with Kamar de los Reyes’ Hector Ayala/White Tiger being taken out in Episode 3, and Vincent D’Onofrio’s Wilson Fisk later killed Michael Gaston’s Commissioner Gallo by crushing his skull.
Other MCU Characters Who May Die in Upcoming Projects
Bucky Barnes
Marvel Studios
Sebastian Stan’s James Buchanan “Bucky” Barnes continues his run in the MCU in 2026, marking 15 years since his debut in 2011’s Captain America: The First Avenger. He will be seen again in Avengers: Doomsday, bringing the former Winter Soldier back into action as one of the key members of the New Avengers.
Interestingly, Stan is also set to move from Marvel to DC, as he is confirmed to join Matt Reeves’ The Batman – Part II, which just began production. Following his long tenure as the Winter Soldier, Stan will reportedly play this universe’s version of Harvey Dent alongside Robert Pattinson’s Bruce Wayne.
This move could mean Marvel plans to kill off Bucky Barnes in Doomsday, as he would be unlikely to work for both Marvel and DC in such big roles at the same time. Should it happen, it would end one of the longest runs in MCU history, but Doomsday has not yet been confirmed as Stan’s final appearance with Marvel Studios.
Thor
Marvel Studios
Another 15-year MCU veteran is Chris Hemsworth as Thor, the God of Thunder, who is not yet done in the MCU. In 2026, Hemsworth will make his return in Avengers: Doomsday, which will be his first time playing the iconic Marvel hero since 2022’s Thor: Love and Thunder. Including Doomsday, he has appeared in 10 Marvel movies and a voice-over role in What If…? (as well as repurposed footage in Deadpool & Wolverine).
A rumor shared in June 2025 suggested that Marvel may be ending Thor’s big-screen journey, noting that the studio reportedly wants “to give Thor a big, proper death in an Avengers movie.” While this does not necessarily mean Thor’s MCU run would be over with his death, it would be a game-changing moment for the hero, whether he lives or dies.
Hemsworth has been open about making sure his future appearances as Thor are meaningful, meaning he may not be against hanging up the red cape if the time is right. Seeing him go down against a villain as powerful as Doctor Doom would give his story an even more poignant ending, sending off one of the original Avengers to an emotional conclusion.
Professor X
20th Century Fox
Sir Patrick Stewart is in line to make his biggest appearance yet in the MCU, portraying Professor Charles Xavier in Avengers: Doomsday. This will be his second MCU movie after his minor role in 2022’s Doctor Strange in the Multiverse of Madness and his ninth appearance overall as Professor X after his 17 years of work in the X-Men Saga.
Professor X is no stranger to dying in a movie, as this has happened on four separate occasions in and out of the MCU. He was vaporized by Jean Grey in X-Men: The Last Stand, killed by the Sentinels in X-Men: Days of Future Past, stabbed to death by Hugh Jackman’s X-24 in Logan, and had his neck snapped by the Scarlet Witch in Doctor Strange 2. Even so, he could be on the chopping block once again.
Reports also noted that Doomsday could be Stewart’s last time playing Professor X. Perhaps the X-Men leader is killed off in battle, either with Doom or due to an Incursion. No matter how it happens, should it come to fruition, it would mark the end of one of the longest superhero acting runs in film history, sending the powerful telepath off in grand fashion.
Many still regard X-Men: Days of Future Past as one of the best X-Men movies ever, but some details have not held up so well. Released in 2014, Days of Future Past became a massive success for 20th Century Fox, currently sitting with a 90% critic score (Rotten Tomatoes) and a worldwide box office gross of nearly $750 million. Marking the seventh chronological release in the franchise, this film redefined what comic book movies could do.
Out of 20th Century Fox’s 13 pre-MCU Marvel/X-Men movies, Days of Future Past is often ranked at or near the top of lists of fan and critic reviews. It did a fairly decent job of adapting the original Days of Future Past storyline from Marvel Comics, with some changes to adapt to the established Fox movie timeline. Additionally, it was one of Fox’s most entertaining X-Men movies, using Hugh Jackman’s star power and combining casts from both the original 2000s films and the newer 2010s movies to great effect. However, fans have noticed some significant plot holes and continuity errors in the story.
Firstly, Jackman’s Wolverine returns to this movie with the same adamantium claws he has in most of his other X-Men appearances. At the end of 2013’s The Wolverine, which takes place about 10 years before the start of Days of Future Past, the Silver Samurai slices the adamantium claws off, leaving Logan only with the original bone claws first seen in 2011’s X-Men Origins: Wolverine. While some fan theories hint at Magneto regrafting the adamantium onto Wolverine’s skeleton off-screen, that plot point is not addressed between the films.
20th Century Fox
The issues then move to Bolivar Trask, played by Bill Duke in 2006’s The Last Stand, before Peter Dinklage took over the role in Days of Future Past. While Duke’s character is similar to Trask from the comics, his first name is never mentioned, and fans also noticed the change in the character’s race from Duke’s portrayal to Dinklage’s. Given their differences, it is difficult to see them as the same person.
20th Century Fox
Moving to Sir Patrick Stewart’s Professor X, his place in the movie is a big question mark after the ending of The Last Stand. In that film, Famke Janssen’s Jean Grey killed Charles Xavier, but he projected his consciousness into the body of a comatose hospital patient in the post-credits scene.
20th Century Fox
At the end of Days of Future Past, Wolverine wakes up in a new timeline with memories of a future that technically never came to be. However, Professor X seemingly remembers both timelines, leaving some confused about how he has that knowledge. Some have attributed it to his Omega-level telepathy, but it does not seem to track perfectly through.
20th Century Fox
Even with these and other continuity errors, Days of Future Past still stands as one of the best-received Marvel movies. It delivered emotion, drama, and action, and its characters were developed effectively across multiple timelines in a way that had not often been done before.
X-Men: Days of Future Past was directed by Bryan Singer and written by Simon Kinberg (see more on Kinberg’s hopes to return to Marvel here). Starring Hugh Jackman, James McAvoy, Michael Fassbender, Halle Berry, Peter Dinklage, Ian McKellen, and Patrick Stewart, the film depicts Wolverine in a dystopian future where Sentinels drive mutants to the brink of extinction, leading him to travel back in time to save his universe. X-Men: Days of Future Past is streaming on Disney+.
What’s Next for the X-Men?
Marvel Comics
After Deadpool & Wolverine broke countless box office records upon its 2024 debut, the X-Men will get a new resurgence to close out the MCU’s Multiverse Saga. This includes at least seven legacy actors who either starred in the original X-Men movies, the MCU, or both, coming to Avengers: Doomsday, and more are expected to join the party.
After that movie and Avengers: Secret Wars, the mutants are confirmed for a reboot within the MCU, as a Marvel Studios-made X-Men movie is already confirmed for development. Thunderbolts* director Jake Schreier will bring this story to life with a script written by Hunger Games scribe Michael Lesslie, and the film could be on Marvel’s upcoming 2028 movie slate.
As of writing, there are no official reports on who will bring the new X-Men to life, even though rumors have run rampant about what may come to fruition. Sadie Sink is one of fans’ top choices to play Jean Grey (even though her Spider-Man 4 role is unknown), and stars like Daniel Radcliffe, Jeremy Allen White, and Taron Egerton have all been in discussions about playing Wolverine post-Hugh Jackman.
A new Punisher logo will make its way into the spotlight in Sony Pictures and Marvel Studios’ Spider-Man: Brand New Day. Jon Bernthal will finally get his first big-screen moment in the MCU, as he will bring his portrayal of Frank Castle, the Punisher, into the next Spider-Man movie. Billed as one of this sequel’s main characters, he will get the chance to add to years of work on Netflix and Disney+ as one of Marvel’s most violent and intense antiheroes.
Empire Magazine revealed a new look at Spider-Man and the Punisher from Spider-Man: Brand New Day. The image shows Tom Holland’s titular web-slinger running next to Jon Bernthal’s Frank Castle, who is holding a high-powered gun and shooting at an unseen enemy.
Sony Pictures
Additionally, the image shows off the Punisher’s new logo on the front of his vest. While the design looks similar to what has been used in past Punisher costumes, it includes what appear to be three long knives on the mouth portion of the skull. These also appear to be real knives rather than a painted-on image.
Sony Pictures
Bernthal made his initial return to the MCU in Daredevil: Born Again Season 1 after his work on Netflix’s Daredevil and The Punisher was confirmed to be canon with everything released by Marvel Studios. This show gave him a somewhat faded version of his Punisher logo, with one of the skull’s eyes and part of the teeth missing.
Marvel Television
Bernthal reprised his role again in his own Disney+ Special Presentation, The Punisher: One Last Kill, which was released on May 12. While the special showed Frank Castle trying to rebuild his life away from violence and the action, he concluded the special by suiting up in his classic Punisher costume once more.
Marvel Television
This costume had a freshly painted skull on the chest, with only a little faded white paint on the forehead and teeth. Unsurprisingly, the suit in Spider-Man: Brand New Day has a much more faded look for the skull, likely indicating he will have been back in action as an antihero for a while upon his return in the Spider-Man sequel.
Marvel Television, Sony Pictures
Spider-Man: Brand New Day will be the MCU’s first movie released in 2026 and the fourth solo Spider-Man movie in Sony Pictures and Marvel Studios’ partnership. Starring Tom Holland, Jacob Batalon, Zendaya, Jon Bernthal, Mark Ruffalo, and Michael Mando, the film will follow up with Spidey after the world forgets about his existence, pitting him against some of the scariest villains he has faced to date. Spider-Man: Brand New Day will debut in theaters on December 18, 2026.
Punisher’s Expected Impact on Spider-Man: Brand New Day
Sony Pictures, Marvel Television
With this movie giving Jon Bernthal his first appearance in the MCU outside of a streaming platform, many are curious to see how he fits into the greater universe, especially in a PG-13-rated movie. He is also expected to show up in the movie as early as the opening scene, meaning he will likely be one of the more important pieces of Peter Parker’s ongoing story in the MCU.
The new image teases at least a second moment between Frank and Peter, which likely will come after the fight scene from the first trailer that shows Peter and Frank coming to blows while Frank is driving his van. Bernthal is also heard later in the trailer saying, “You’re losing it, kid,” seemingly indicating they will work closely with one another on whatever the movie’s main plotline reveals.
Frank may also be a big help for Peter on the villain front, as this film is expected to revive The Hand from Netflix’s Defenders Saga. While their relationship is sure to be contentious at times, Frank will give Peter plenty of new perspectives on the world as Peter evolves into the hero he wants to be.
Spider-Man: Brand New Day officially revealed a stunning new look at one of its dangerous villains, Tombstone, who has yet to be showcased in any official footage. Brand New Day is set to feature a plethora of villains for Tom Holland’s Peter Parker to contend with, including Tarantula, Boomerang, and the return of Spider-Man: Homecoming antagonist Mac Gargan as Scorpion. Another confirmed villain in Brand New Day is Tombstone, and many are already speculating that this street-level kingpin is the man bankrolling these characters to make Spider-Man’s life difficult in New York.
Official promotional art for Spider-Man: Brand New Day emerged online (via All Posters), showcasing the best look yet at Marvin Jones III’s Tombstone.
The villain’s live-action design is quite fitting as a New York crime boss, capturing the perfect mix of elegance and brutality as a no-nonsense enforcer who commands respect through sheer presence.
Another official Spider-Man: Brand New Day promotional art showcased a preview of the clash between Tom Holland’s Spider-Man and Tombstone in the sequel, teasing that the street-level villain will gain the upper hand at some point in their battle.
Tombstone’s design in the latest promo art is consistent with what Marvel and Sony showcased in the villain’s LEGO form, based on an official LEGO Spider-Man: Brand New Day set. The villain had pale gray skin and white hair, which aligns with the character’s look across various forms of media.
After exposure to an experimental Oscorp gas, Tombstone, also known as Lonnie Lincoln, gained superhuman strength, stamina, durability, and reflexes. Similar to Luke Cage, his skin became nearly indestructible, and he has enhanced healing.
What makes Tombstone’s involvement in Spider-Man: Brand New Day so historic is the fact that it also marks the first time that a Marvel villain will appear three times in 2026. Aside from Brand New Day, Tombstone is also confirmed to show up in Your Friendly Neighborhood Spider-Man Season 2 on Disney+ soon, and just recently, Spider-Noir on Prime Video.
Spider-Man: Brand New Day is set to premiere in theaters on July 31.
Why Tombstone Is Spider-Man: Brand New Day’s Secret Main Villain (It Makes Total Sense)
As Peter Parker encounters a fresh “reset” after Spider-Man: No Way Home, having him deal with an organized crime figure makes a lot of sense because his isolation from his peers makes him the perfect target.
Tombstone is clearly not a one-off villain, considering that past stories (like Insomniac Games’ Spider-Man games) position him as a permanent fixture in the city’s shadows, and the MCU’s version aligns perfectly with it because it gives Peter a new rival.
It also makes perfect sense for Tombstone to hire low-tier villains, like Boomerang and Tarantula, to test his mettle before helping orchestrate Mac Gargan’s prison escape and help him transform into Scorpion to mess with Spider-Man and, presumably, push him to the limit.
There is also a strong possibility that Tombstone might be behind the Hulk’s return and eventual rampage, ordering Scorpion to inject his toxin into Bruce Banner to “unleash the monster” in New York as a distraction, so his minions could do his bidding.
All in all, Tombstone’s inclusion as a secret main villain orchestrating chaos from the shadows aligns perfectly with a darker, more mature Spider-Man chapter.
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It won’t just be Earth feeling the heat in Avengers: Doomsday; the entire multiverse is in danger of going up in flames. From the beginning, the Multiverse Saga has built up various realities, showing all the ways they differ from Earth-616. But all of their interests are about to align with Doctor Doom on the prowl, as the iconic Marvel villain is sure to want to leave his mark on the multiverse and won’t care who or what stands in his way.
But Doom isn’t the sole threat to existence. No, a secret enemy has been operating in the shadows, destabilizing realities without a second thought: incursions. A popular concept in the pages of Marvel Comics, incursions have only briefly been mentioned in the MCU during the events of Doctor Strange in the Multiverse of Madness.
Marvel Studios
The Illuminati explained the concept of incursions to the protagonist of the 2022 movie, revealing that its version of Stephen Strange caused one and destroyed an entire reality by dreamwalking. To put it in simple terms, they’re people or things that end up in the wrong place and throw things out of whack. However, all has been mostly quiet on the incursion front since Earth-616’s Strange defeated Sinister Strange and grew that third eye on his forehead.
A sleeping giant is still a giant, though, and incursions are sure to rear their ugly heads again once Doomsday arrives in theaters on December 18, 2026. Fortunately, the way has already been paved for their reemergence via four Marvel Studios post-credits scenes.
Marvel Studios Post-Credits Scenes That Tease Incursions in Avengers: Doomsday
Not long after Strange learned to see using three eyes, he was visited by another Master of the Mystic Arts, Clea, who revealed that he had caused another major incursion that she needed his help to stop. The two ran through a portal as Multiverse of Madness‘ runtime came to an end, but Doomsday is unlikely to pick up where that movie left off.
Marvel Studios
Benedict Cumberbatch and Charlize Theron were not among the names announced as part of Doomsday‘s cast. But reports have been swirling about Strange’s return in Avengers: Secret Warsand not just as a cameo. If the powers that be are keeping Strange on the sidelines for now, that must mean that the other post-credits scenes are stepping up to the plate first.
Marvel Studios
The one that’s becoming more relevant as the days go by belongs to The Marvels. At the end of the team-up movie, Monica Rambeau got transported to another dimension and came face-to-face with a variant of her mother, as well as Beast from the X-Men. While it hasn’t been confirmed, Kelsey Grammer will likely be playing the same version of the furry mutant when he reprises his role in Doomsday.
The trailer for the upcoming film that CinemaCon attendees got to watch featured several heroes from Earth-616 travelling to the same world Monica ended up on and interacting with some of the X-Men. As cool as that meeting is on paper, it’s sure to have major ramifications for the multiverse, as will all the other reality-hopping that’s sure to take place during Doomsday.
A report from The Cosmic Circus claims that Monica will attempt to broker peace between her allies and the X-Men, who could be out to save themselves. However, there are bigger fish to fry, as the final two post-credits scenes went out of their way to reveal.
Marvel Studios
It’s better to work backward rather than forward when talking about the next two eyebrow-raising moments. At the conclusion of The Fantastic Four: First Steps, the titular team saved their world from Galactus and slipped back into its role as Earth’s protectors. Everything went swimmingly for a few years, until Doctor Doom showed up and got his hands on Franklin Richards in the movie’s post-credits scene.
Marvel Studios
While the results of their meeting are still a mystery, the outcome was clearly serious enough for the Fantastic Four to travel between universes. That’s where the New Avengers find them in the post-credits scene of Thunderbolts*, entering Earth-616’s atmosphere in their ship, the Excelsior.
Putting all the pieces of these scenes together will take until December, as Marvel Studios likes to keep its cards close to the vest. But Doomsday‘s trailer at least offered a breadcrumb that will feed the internet for the next few months.
In the new look at the film, Doom dropped an ominous line of dialogue, saying, “Something’s coming. Something we may not be able to deter.” All these words put together sure make it seem like the villain is as afraid of incursions as anyone is of him.
If that actually is the truth and Doom is trying to pull the green wool over everyone’s eyes, then MCU heroes other than Strange are going to have to get up to speed on incursions and the irreparable damage they can cause.
Doctor Doom’s official logo from Avengers: Doomsday may tease a plot point for the MCU’s new team-up movie. Doom is set to bring all kinds of chaos into the MCU upon the movie’s release on December 18, as Iron Man star Robert Downey Jr. brings his take on the villain into the next two Avengers movies. However, plenty of mystery still surrounds the antagonist, who has been seen for only a few seconds in officially released footage.
The next day, the Russos shared another look at the same logo, this time with a red diamond under it. The logo is surrounded by a green and red circle in the new image. They also shared the following caption, teasing an announcement coming on June 2 during their previously announced panel at SXSW London:
“4b Holywell Ln London EC2A 3ET
Starts June 2nd at 10am BST. Surprise at 2pm BST.”
Instagram
This symbol is notably different from what the MCU has previously shown in official Latverian imagery. The first tease for the country came in The Fantastic Four: First Steps, when a meeting of world leaders to celebrate the Future Foundation included an empty chair for the Latverian delegate (which would have presumably been filled by Doom).
Marvel Studios
The empty seat also had a green-and-red flag for Latveria standing next to the placard with the country’s name.
Marvel Studios
This flag is mostly green, with a red and black cross running mostly down the side. Instead of the design the Russos shared for Doom, it features a gold-and-green diamond in the middle of a red-and-black circle.
Marvel Studios, Instagram
Given that this symbol seems to represent Doom’s Latveria, it could indicate that Downey’s Doom comes from a different universe than the one fans saw in The Fantastic Four (Earth-828). However, it could also be a symbol the villain uses after fully evolving into his “Doctor Doom” persona, having previously served as Latveria’s ruler.
Avengers: Doomsday will be the fifth Avengers movie under Marvel Studios. Dozens of Marvel Studios veterans and legacy Marvel stars will join forces in the cast, as Doom threatens the sanctity of the multiverse while convincing the heroes that he is trying to save it.
Is Doctor Doom From The Fantastic Four’s Universe in Avengers: Doomsday?
Marvel Studios
While the Fantastic Four will move from Earth-828 into Earth-616 in Avengers: Doomsday, there are still questions about whether Doctor Doom is also from that same world. Rumors have pointed to Doom and his classic friend-turned-enemy Reed Richards sharing a lot of screentime in Doomsday, but this film will also give him his first major amount of time on camera in the MCU.
Upon his arrival in The Fantastic Four’s mid-credit scene, there were no definitive indications of where Doom came from before his interaction with Franklin Richards. While he could certainly be from the same universe as the Fantastic Four, the scene showed nothing from his arrival at the Baxter Building, leaving that mystery wide open, and did not indicate whether he knows the Fantastic Four from Earth-828.
Some theories point to him coming from a universe that had already been destroyed, which may or may not have had other heroes in it alongside him. This could start his reported vendetta against the multiverse and give him a reason to go after those who are starting Incursions in other worlds.
It is also still unclear how much of a connection he will have to the Fantastic Four and other Avengers, although he is reported to go after Steve Rogers following his jump to the past at the end of Avengers: Endgame. Thankfully, with the movie expected to be close to three hours long, and with Doom expected to be the main character, the story should flesh out much of the villain’s backstory early to set him up for potential multiversal domination.
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The MCU’s Multiverse Saga has introduced its fair share of alternate realities. Some are much nicer than others, but all of them offer endless possibilities for new stories and fresh takes on characters. The only problem is that they may be operating on borrowed time because the events of Avengers: Doomsdayare all but guaranteed to put them on the chopping block.
While Doctor Doom’s motivations in the upcoming team-up movie are still unclear, the prevailing theory is that he’s looking to put the multiverse under his command and stop the incursions once and for all. But he’s not the only one with skin in the game, as all of the MCU’s heroes are also going to have opinions about what’s right and wrong for the multiverse.
Doomsday‘s latest round of merchandise certainly paints that picture. A few of the items that will be on sale in the near future include logos for the Avengers, Fantastic Four, and X-Men, which isn’t a surprise because all three teams will grace the big screen come December. However, what is interesting is that the logos are colliding with one another, seemingly teasing a three-way conflict.
Marvel Studios
The Doomsday trailer shown at CinemaCon certainly teased tension between the different groups. Shang-Chi and Gambit came to blows, while Mystique assumed Yelena Belova’s appearance, likely in an attempt to get the edge in a fight. Of course, heroes using each other to blow off some steam isn’t anything new; the original Avengers did it all the time. The second merchandise photo features the same image of the three Marvel symbols merging and includes text that says ‘Worlds Collide’.
Marvel Studios
Like the Secret Wars comic that Doomsday and its sequel, Avengers: Secret Wars, take inspiration from, the root of the issue will likely be the needs of the many versus the needs of the few. If worlds start falling, it’s going to be hard for even the most stand-up individuals to stay selfless. After all, the Avengers might have the same goal as the Fantastic Four, but they call different worlds home. And as soon as the fight becomes a losing cause, self-preservation will kick in.
In fact, if a certain rumor is to be believed, one of Doomsday‘s most important teams will be on the offensive before the Marvel Studios logo even appears on screen.
Avengers: Doomsday’s New Merch Could Confirm A Dark X-Men Rumor
Marvel Studios
Ahead of the release of every Marvel Studios production, speculation takes the internet by storm. It becomes difficult to recognize fact from fiction, especially when there are countless accounts on social media posing as insiders. The lead-up to Doomsday has been particularly rough because, what feels like every other day, another rumor pops up that contradicts a different one.
Kevin Feige and Co. are probably happy to keep people guessing. However, even they can slip up from time to time, especially as a project’s marketing ramps up. What this particular batch of Doomsday merchandise does is pour fuel on a rumor from user MyTimeToShineHello, who painted a grim picture about the X-Men back in February, describing them as “broken.”
“The X-Men in Avengers Doomsday have survived countless Incursions, each one nearly wiping out their universe. They’re exhausted, broken, and have sacrificed everything. Every Incursion forces them to send their members to another Earth to battle its defenders and erase that universe from existence before it destroys theirs.”
If those words are accurate, it would certainly explain why the Avengers are ready to throw down once they arrive on the X-Men’s Earth; they think they’re coming face-to-face with foes, not friends. And maybe Sam Wilson and the rest give it the old college try and attempt to help the mutants see the error of their ways. There’s still no guarantee that big speeches will have any effect.
It’s also important to discuss the Fantastic Four’s mindset heading into Doomsday. The last time a member of the team appeared, Susan Storm watched as Doom introduced himself to her son, Franklin Richards. The Fantastic Four: First Steps didn’t show the outcome of that interaction, meaning Marvel’s First Family’s only order of business could be retrieving one of their own and getting out of dodge.
Reed Richards isn’t one to beat around the bush, either. If he sees the logic in the X-Men’s thinking, there’s a chance he stands with them and decides that he will fight anyone, including the Avengers, if they get in his way. He confirmed a willingness to act that way in First Steps when he launched a program to stop crimes before they happened on Earth-828.
At the end of the day, all options are on the table in Doomsday, a message that the film’s merchandise is doubling down on. As much as the movie seems like an everyone-versus-Doctor Doom story, the reality is that fights for survival are rarely so black-and-white.
As a movie dork, one of the most fun things you can do is log the billion things you watch in a month on Letterboxd. The app for cinephiles has become the must-visit home for people who want to say one to seven thousand things about new and old movies. Plus, it’s a very helpful way to check if you’ve seen something. Me? I one time couldn’t remember if I’d seen the movie The Vampires Night Orgy. I may be one of one in the list of people who couldn’t remember if they had or had not seen that. (At the time I hadn’t; I now have.)
At any rate, it’s fun. So intrinsic has Letterboxd become for the movies and moviegoing, studios have started actively marketing to Letterboxd users. That’s just good business, really. So, for that reason, I’m not surprised the marketing people for Paramount thought doing so for the upcoming sixth Scary Movie was a good idea. Their scheme was to make a Letterboxd account for the fictional character Brenda Meeks, as played by Regina Hall. She’s the spoof franchise’s resident movie buff (and pirate), so why not? Because it’s deeply unfunny, that’s why.
Paramount Pictures
Brenda (username itsbrendabitch) has a Patron account, which is the highest paid tier membership for the site. It costs $49.99 per year. The account has logged 24 movies to date (all on May 28, to be precise) and each features a one-line review. Now, look, I’m not saying everyone on Letterboxd is Dave Barry (what a reference) nor that I’m humorist of the year. But what I am saying is that people promoting a comedy movie might want to come up with not the most obvious or old things about some of these movies.
The logs are a mix of older and newer movies, with the vast amount going to horror movies. Here are some of the “highlights” from Brenda’s reviews.
Smile – “too much teeth”
The Fugitive – “Idc what he says about being innocent, the husband always did it”
The Ring – “Another little white girl fell down the well” (Some of that topical Baby Jessica humor. Baby Jessica, who is now 40 years old.)
Weapons – “RUN KIDS RUN!!!”
Sinners – “Two michael b jordans? This was a fantasy film for ME”
M3GAN – “just take her batteries out damn!”
Backrooms – “Just stop going in there wtf”
Paramount Pictures
Okay, you get the idea. Incredibly route-one stuff here. It would surprise me if this realistically took the person in charge of making it more than 10 minutes total. Now, I’m aware Brenda as a character isn’t the most media savvy or deep person, but it speaks to the level of non-effort on display.
I will cop to chuckling at two entries. One was the movie Ma, to which Brenda wrote “her hair was on point.” Brenda’s look in the new movie is inspired by Octavia Spencer’s in Ma. The other was that each review of three Jackie Chan movies—Rush Hour, Shanghai Noon, and Rumble in the Bronx—was simply “I liked when he did a flip.”
I know this probably reads like Old Man Yelling at Clouds. But, I just get so tired of brands trying to be cool without any of the knowledge to back it up. It’s real “Hello, fellow kids” or “Pokemon Go to the polls!” energy. Your mileage may vary of course.
Scary Movie but the sixth one hits theaters this Friday, June 5.
CAPCOM has officially announced a new mainline Mega Man entry, but did you know that one of the best platformers inspired by the series, arguably better than several Mega Man games, is currently free on Steam? That’s right, Gravity Circuit is available to claim for free for a limited time.
Gravity Circuit Free on Steam for a Limited Time
Domesticated Ant Games, the team behind the gorgeous 2D action platformer, has announced a sequel to Gravity Circuit slated for 2027. To celebrate the announcement, the studio has dropped the price of the original game to zero. Yes, if you head over to its store page, you can claim the game and add it to your Steam library permanently at no cost.
This promotion for Gravity Circuit is available from June 1, 2026, to June 14, 2026. That’s plenty of time to click a single button on Steam and keep the game forever. Usually, promotions like this are only active for a day or two, but the developers have slashed the price for a full two weeks.
Gravity Circuit has an “Overwhelmingly Positive” user review score on Steam, with a 95% positive rating, making it one of the most highly rated titles on the entire platform. It features 12 unique stages, a wide variety of bosses, and several standout mechanics that push it beyond typical “Mega Man clone” comparisons.
Gravity Circuit 2 Announced
Dear Villagers officially announced Gravity Circuit 2 with an action-packed trailer featuring a bunch of gameplay along with the introduction of a new playable character, Cable. Check out the trailer below.
Kai, from the first game, is also returning with his Grapple Shot, but Cable is a ranged character with a unique moveset. He can pepper enemies from a distance, chain multiple jumps to stay airborne, and use his powers to turn defeated foes into scrap, which can then be used as ammunition.
The sequel also introduces a new hub HQ area, featuring various NPCs, vendors, training rooms, and even a jukebox. It builds on the original in a major way, but it’s still a long way from release.
Gravity Circuit 2 is headed to PC (both Steam and Epic Games Store), PS5, and Nintendo Switch 2 sometime in 2027. You can now add it to your wishlist on Steam. There is no mention of an Xbox Series S|X release, which is consistent with the first title, which also never came out on Xbox consoles.
If the trailer looks like something you’d enjoy, I highly recommend picking up Gravity Circuit (reminder: it’s FREE). It’s a fantastic platformer that goes the extra mile with its tight controls, satisfying combat, and excellent platforming mechanics. Oh, and did I mention it’s an incredible Steam Deck experience?
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Well, Euphoria fans, after years of delays, off-screen drama, and massive anticipation, the hit HBO series wrapped up its third and final season with the episode “In God We Trust.”
The landmark Sam Levinson series that kind of shocked the world when it debuted took us all on one insane trip.
In the end, we saw the death of a ton of main characters and the destruction of the worlds they had built for themselves.
So grab some tissues and let’s go over exactly what went down in that brutal, heartbreaking series finale, including where all of East Highland’s finest ended up.
Yes. It is devastating to write this, but Rue Bennett is dead.
The tragic twist happens right in the middle of the episode. After escaping Laurie’s compound with the help of G (Marshawn Lynch), Rue lands in the hands of Alamo’s crew.
Alamo tells her she’s the “employee of the year” and hands her a bottle of Percs. He does so knowing she’s an addict and says, “That’s for the physical pain. Not that shit up in your head.”
So we kind of are left to assume he knows what he’s doing here.
She visits her sponsor, but gets into a manic state and hallucinates a fake news report on TV claiming that Fezco broke out of prison.
Rue goes nuts, while possibly already on the drugs, and races to her childhood home, where she breaks through a police barricade. Inside, she sees a vision of her estranged mother, Leslie, holding out her hand.
But that’s when we realize it’s all in her head and Rue is high again. She’s actually on Ali’s couch and is OD’ing.
Ali finds her body, tests the pills, and pounds the counter in agony before calling Leslie with the worst news a mother could hear.
Yeah, it’s so freaking bleak.
There’s one glimmer of hope, because as the episode ends, Ali visits the religious family Rue met in the season premiere.
When they ask about her, Ali tells them that “She’s in a better place.”
The series ends with a heartbreakingly peaceful shot of Rue looking genuinely happy, closing the show with a voiceover: “May God bless us all.”
So we kind of think she’s in heaven after all this trauma.
What Happened to the Rest of the Cast?
Now that we know what happened to Rue, let’s check in on how the finale closed the book on the remaining characters of East Highland.
Ali and Maddy’s Revenge
Ali is pretty mad when rue dies. He goes to AA and says he’s done and het gets a gun to seek revenge on Alamo for giving Rue the pills.
He heads to the strip club to finish the job and there’s a fiery shootout.
Alamo tries to use Maddy as a human shield, but Ali manages to outsmart and shoot him dead. With Alamo out of the picture, Maddy finally gets her freedom back and no longer has to pay the debt she owes Alamo.
So that’s sort of happy?
Cassie’s New “Career”
This season found Cassie naked like Godzilla and doing OnlyFans after her husband, Nate (Elordi) was killed by the mafia for borrowing money.
Now, she runs the hpuse Nate left her as a hype house for other online creators. She;s obsessed with fame and getting love from people online, but is mostly broken.
Lexi and Jules
Lexi is trying to handle life through faith and reflection. She’s been reading the Bible Rue left at her place and deeply regrets how she treated Rue before her death.
She even gives Cassie a long lecture on morality and the world that goes over Cassie’s head but shows Lexi’s heart is in the right place.
Meanwhile, Jules has a brief but poignant moment where she paints a portrait of Rue to remember her.
Kitty and Fezco
Kitty leaves the strip club with Maddy after Ali’s raid. We sort of implicitly understand that she will likely end up living in Cassie’s OnlyFans content house.
As for Fezco, the late Angus Cloud makes a bittersweet appearance in a flashback woven into Rue’s final, tragic dream sequence but there were not other scenes with him.
East Highland High School Sucks
I just want to take a beat here to ay the high school all these kids went to sucks. Their entire graduaring class is either dead, in jail, or on OnlyFans.
Really, only Lexi made it out in a somewhat okay state.
We gotta ge the educational sysem in this country under control.
Summing It All Up
Euphoria was never a show about happy endings, but the finale was kind of a sobering look at addiciton and the fallout caused by wanton drugs and sex.
Sam Levinson chose to end the story with some bleaker aspects of addiviton, but also a little bit of spiritual power that maybe you can get through thigns and see thel ight on the other side.
How are you feeling about the finale? Did Rue’s ending feel earned, or are you completely devastated?
Though he ranks among the highest-grossing stand-ups in the world, Nate Bargatze positions himself as an everyman, a frazzled father as confused by egg cartons as he is by scrambled eggs. It’s an act Bargatze has honed for more than two decades on stage and which he brings to The Breadwinner, the gently regressive studio comedy he’s chosen for his first starring vehicle. Bargatze bakes his obscenity-free, “apolitical” material in a Mr. Mom mold, throwing on the apron and proving that so-called “women’s work” isn’t as easy as it might seem. The same goes for mainstream studio comedies.
Both the good and bad of Bargatze are present in The Breadwinner, which, like the comic, aims squarely at the center, neither aspiring to connect to his audience through deep insight nor disgust them with the horrors of reality. He stars as Nate Wilcox, a girl dad of three, whose wife, Katie (Mandy Moore), hits it big on Shark Tank and is whisked away to South Korea by Lori Greiner to make plastic, star-shaped organizers for kids. With Katie pursuing her dream of creating kitchen-drawer clutter, she leaves Nate in charge of their three daughters—13-year-old Gracie (Stella Grace Fitzgerald), tween-age Hadley (Birdie Borria), and first-grader Sam (Charlotte Anne Tucker)—for two weeks of solo parenting that he’s thus far avoided.
Can a father with over a decade of experience finally learn to be a dad? It’s a premise squarely in the “they don’t make movies like this anymore” genre for good reason. Society, some hoped, had moved on from the sexual politics of breadwinning and the idea that men could sleepwalk their way through fatherhood. They’d not only have to be around but present in the modern paradigm, but the Wilcoxes operate in more traditional ways. According to Nate, the Wilcox work-life balance means that he takes care of the “work” at his beloved Toyota dealership, where he’s the top salesman, and Katie manages “the life” of house and home. With her several time zones away, the house will become “Nate Land” until morale improves.
Bargatze’s commitment to “clean” comedy, which is to say, material that is inoffensive to white upper-class suburbanites, means defanging whatever bite Breadwinner might otherwise have. Directed by Eric Appel (Weird: The Al Yankovic Story) and co-written by Bargatze and American Vandalshowrunner Dan Lagana, the film’s comedic sensibility is tuned to the surface-level observations Bargatze makes at the supermarket (there sure are a lot of milk and egg varieties!), in the laundry room (these kids sure do use a lot of towels!), and in the kitchen (this dried pasta sure does get everywhere!). Meanwhile, Bargatze’s slacker-dad delivery style and shortlist of domestic annoyances doesn’t leave a ton of room for nuance or specificity, and neither does sanding down his characters to one or two defining problems. Some of those are as easy as showing up for his daughter’s spelling bee or having a conversation with a first-grader about touching her classmates; others tiredly resurrect the overprotective father trope to deal with Gracie’s burgeoning interest in boys.
Like many comedians before him, Bargatze imbues his alter ego with the presence of his stage persona, wide-eyed and befuddled, commenting on the pains of parenthood without saying much about them. Appel gets Bargatze’s performance up to the same can’t-quite-act charm of Jerry Seinfeld and Norm Macdonald, bending reality to their limitations as a supporting cast of ringers—including an annoying and frequently flexing coworker (Kumail Nanjiani), an overly needy boss (Severance‘s Zach Cherry), goofy gig worker (Martin Herlihy), and an effeminately coded fellow stay-at-home dad (Colin Jost)—perform two or three notches louder. Not even Will Forte’s “weird roofer” character can find much to play as he worms his way into the family fold between scenes, never becoming human enough for Nate to show compassion toward nor staying weird enough to become an Allen Covert-esque side-character that powered lulls in the early Adam Sandler movies.
The Sandman certainly knows that Hollywood comedies don’t get made without a little product placement, but The Breadwinner doesn’t even bother to make it part of the joke, even when Colonel Sanders’ face is breaking the fourth wall from three separate containers in the same shot. We learn more about Toyota’s fleet of reasonably priced family-friendly minivans than we do about Nate’s family. To wit, Nate’s father (Brett Cullen) shows up for a scene or two to eat pistachios, take naps, and show off the Sequoia’s anti-lock brakes. But only a man currently gestating about building a theme park would devote so much screentime to the spoils of Walmart, a frequent theme in Bargatze’s comedy, in a montage set to Twisted Sister’s “We’re Not Gonna Take It.” Where once a boy wanted his father to accept his right to rock, now is a man-child avoiding his laundry obligations while his wife exploits foreign labor to make plastic tchotchkes.
Fans of Bargatze’s squeaky clean comedy of domestic absurdity will feel comforted by The Breadwinner‘s lightly toasted humor. They’ll feel doubly reassured by the clips from Bargatze’s stand-up that inspired the film’s material, which roll over the credits between shots of the cast cracking up. Sure, they all had a good time, but the audience deserves something more than what they’ve been fed before.
Director: Eric Appel Writer: Nate Bargatze, Dan Lagana Starring: Nate Bargatze, Mandy Moore, Colin Jost, Zach Cherry, Martin Herlihy, Kumail Nanjiani, Will Forte Release Date: May 29, 2026
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Push-up bras are a classic choice for small chests, especially if you’re looking to create noticeable shape under a fitted top, special-occasion dress, or low-cut neckline. The best ones aren’t overly stuffed; instead, they lift breast tissue upward and inward for a more natural-looking boost. Pepper is perhaps the best-known bra brand for small boobs, and its Lift Up Bra is one of our top picks for AA to B cups. Its lightweight cups sit flush against the chest without gapping, and gradual padding and light underwire create a natural shape without looking overdone. (It comes as a bikini top too.) If maximum enhancement is the goal, Victoria’s Secret’s Bombshell bra adds up to two cup sizes of volume.
Two years after a sequel to Amazon’s Road House was first announced, the director is finally offering an update on Jake Gyllenhaal‘s action thriller. While we’re still waiting to see whether it’ll make the 2026 movie schedule, director Ilya Naishuller is talking about the massive scope of this action-packed follow-up.
Naishuller had a chance to speak about Road House 2 to ScreenRant and express just how excited he was for everyone to see it. The director shared his reaction to the movie, currently in post-production, once he first got the script:
There was a script for Road House 2 that I read, where there thing that I was immediately like, ‘how do we respond to that?’ I think we have a great story, we have the fantastic Jake Gyllenhaal, we have an incredible cast of people around him like Dave Bautista. Not going into any detail, we had everybody in one corridor. It wasn’t day one or anything, but I was walking through it and telling Jake, ‘That’s a massive film in there. I can’t wait for it to be shared with everybody.’
Just look at Dave Bautista’s movies to see how he could immediately improve Road House 2. Of course, Illya Naishuller’s response was cagey on many other details, considering we still don’t know for sure when we’ll be able to stream it with a Prime subscription.
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As for how he may put his own mark on the Road House movies, Naishuller said he doesn’t plan on deviating too much from what the first director Doug Liman did. He spoke on it further, noting that the goal as a director is always different when it comes to working on a major franchise:
The point of working in a franchise is not to make it your own. It’s about adding yourself to the story while pleasing the core audience and grabbing some more people. It’s like Heads of State. I remember Amazon saying, ‘It’s worth trying to make everything bigger.’ I loved to hear it. You don’t always need to insert more of yourself. There are so many ideas, we did these bits in the room, but at a certain point, you understand that it’s getting to be a distraction.
It’s good to hear such passion for Road House 2, and the hint that things are going to be “bigger.” Though I am a bit frustrated that we still have little to go on in terms of what the story is about. So far, we’ve heard that Jake Gyllenhaal is “excited” about the movie, which is great, but it’s not like a star is going to actively talk down their next payday.
We also know that former UFC star Conor McGregor will not return for the sequel. McGregor’s breakout performance was one of the highlights of the first movie, and as much as I want to believe the sequel won’t make me miss his character, that’s going to be a big hole to fill for Road House 2.
Of course, adding Big Dave Bautista to the mix is going to make any movie better, and we know a lot of other UFC stars will be in the sequel. Whether those professional fighters will have the same acting chops as McGregor, we have yet to see. Deadline reported a while back that we’ll see Rico Verhoeven, Michael Chandler, Michael “Venom” Page, Dustin Poirier, Stephen Thompson, and Tyron Woodley join the fray. Quite a lineup of fighters, but who knows how they’ll factor into this upcoming adventure.
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Road House 2 is expected to come out sometime in late 2026, or possibly even be bumped to 2027. I remain thrilled for its arrival in the meantime, even if I do wish we could’ve seen McGregor return to the film franchise for another round.
As President Donald Trump assured citizens that deal talks with Iran were moving at a “rapid pace,” the Iranian Foreign Ministry urged the media to not take the U.S.’ war claims “seriously.”
In a press conference held in a Tehran on Monday, Esmail Baghaei, the spokesperson for the Ministry of Foreign Affairs of Iran, said he “would encourage the media to be more cautious in taking American statements seriously,” adding, “You have seen how frequently they change their positions and make inaccurate statements.”
He continued: “From the beginning, we said that the exchange of messages was continuing, but that no final agreement had been reached.”
As Baghaei went on, he acknowledged that the conflicting messages out of the U.S. could be a “negotiating strategy,” but stated that it would “not work with the Islamic Republic of Iran.”
“We remain focused on our interests and rights and will not be distracted by the contradictory statements,” he added. “If these contradictions are the result of dysfunction within the American governing system … then that is a problem the United States must solve.”
Watch his comments below. A representative for the White House did not immediately respond to TheWrap’s request for comment.
Iranian Foreign Ministry: I would encourage the media to be more cautious in taking American statements seriously. You have seen how frequently they change their positions and make inaccurate statements.
Baghaei’s statement came shortly after Trump went on a Truth Social posting spree, in which he first claimed Sunday evening that Iran”really wants to make a deal, and it will be a good one for the U.S.A. and those that are with us.
“But don’t the Dumocrats, and various seemingly unpatriotic Republicans, understand that it is MUCH tougher for me to properly do my job and negotiate, when political hacks keep negatively ‘chirping,’ at levels never seen before, over and over again, that I should move faster, or move slower, or go to war, or not go to war, or whatever,” he continued. “Just sit back and relax, it will all work out well in the end – It always does!”
Hours later, Trump posted an update, writing, “Talks are continuing, at a rapid pace, with the Islamic Republic of Iran. Thank you for your attention to this matter!”
He also claimed that he had convinced Israel’s Prime Minister Benjamin Netanyahu against executing a “a major raid of Beirut, Lebanon,” noting, “He turned his Troops around. Thank you Bibi! I also had a conversation with Representatives of the Leaders of Hezbollah, and they agreed to stop shooting at Israel, and its soldiers. Likewise, Israel agreed to stop shooting at them. Let’s see how long that lasts — Hopefully it will be for ETERNITY!”
The Demoness, written and directed by Andrew de Burgh, begins with Jack (Xander Bailey) and Sarah (Bella Glanville) asleep in their room. Shadowy hands encroach on the married couple’s slumber, only for the Demoness (Sydney Culbertson) to manifest and screw Jack’s brains out. He thinks it is all some strange dream, but Sarah discovers the next day and kills her husband. The supernatural evil instigator then takes the wife’s life. The act gives the Demoness a taste for blood. To that end, she makes a deal with Satan (Mark Pontarelli), who gives the Demoness a mortal form so that she may infiltrate and murder indiscriminately.
The biggest issue with this horror-thriller is the first 25 or so minutes. There is an absurd amount of time given to the daily existence of Jack and Sarah, who are two of the most unlikable people in recent film history. They have no chemistry, and there is no baseline for how their marriage was before the Demoness chose them. Did she pick this couple because they were already on the rocks? Who knows? A prologue should be 10 minutes, tops, but this drags on for close to a third of the runtime and is unpleasant.
“…[Satan] gives the Demoness a mortal form so that she may infiltrate and murder indiscriminately.”
However, there are some positives in the opening. For starters, that first shot that tracks the shadowy hands is atmospheric as hell. Culbertson goes all in, being very physical and menacing, even under the special effects makeup. Speaking of, the demonic design of the Demoness is cool and effectively brought to life by Brittany Jamison-Lackey and her team. Plus, Bailey and Glanville are good for how their roles are written; it is not the actors’ fault that their roles are poorly written.
Happily, those positives carry over into the main narrative of The Demoness. There is a twisted fun in seeing the Demoness, disguised as a bombshell redhead, seduce and then kill shallow ne’er-do-wells. The transitions from human to demon are handled well, and even though the audience knows they are coming, de Burgh still manages to make them intriguing and creepy. The cast of victims ranges from decent to really good, especially Bruce Clifford, who gets a chance to go crazy later on and nails it.
The Demoness would be a slam dunk if the beginning were better. Maybe the answer is to add to it so audiences better understand the marriage. Perhaps trimming down so it does not feel so padded would do the trick. Either way, if any viewer can get through those initial 25 minutes, the rest of the 93-minute runtime offers up a fun, twisted time with solid effects and good acting.
The fate of the province some five million people call home will be up in the air for the next five months, as Alberta voters mull a serious question: Do we stay or do we go?
For those wanting to separate, the work to make that a reality has been ongoing for some time now — and their efforts have run parallel to those working to keep Alberta in Canada.
It isn’t just high-profile leaders leading the charge — everyday Albertans are volunteering their time as well.
Morgan Schmidt collecting separation signatures along Baseline Road in Sherwood Park, Alta. in the late winter of 2026.
Global News
Morgan Schmidt has been stationed on Baseline Road in Sherwood Park, just outside Edmonton city limits, five hours a day for five straight weeks.
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The grandmother says that’s how she earned her canvasser’s “glow.”
“This is just many many hours of being outside in the cold — it’s part wind burn, part tan,” Schmidt said earlier this year of her tanned skin, when old man winter wasn’t yet ready to give up his grip.
The independence cause has temporarily pulled her away from caring for her grandchildren, but Schmidt sees it as short-term pain for long-term gain.
“We have such a great opportunity here, and we could capitalize on it, if we could get Ottawa out of it,” she said.
A half-Alberta, half-Canada flag flying outside the home of St. Albert residents Sheldon and Sharon Kok.
Global News
Meanwhile, north of Edmonton in St. Albert, that vision for an independent Alberta is on full display with a half-Alberta, half-Canada flag flying outside one home.
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It’s a visual nod to the transition the homeowners, Sheldon and Sharon Kok, hope is coming.
“We have a Canada flag that we can hang there as well, but we thought at this time… this is the appropriate flag for us,” Sheldon Kok said.
The couple, who have four adult children, is advocating for separation — but insist it’s not what they want.
“Canada has been our home for all of our lives and we have loved it dearly and we still do.
“We just don’t see another choice — another option for the future of our children.”
Their frustration with what they call dangerous federal policies and financial inequality has been building for years. For the Koks, the separatism movement offers a reset and renewed hope.
“We’re really hoping for that spiritual reset and better access to our resources, and the ability to bring our resources to market better and have better fiscal balance between the provinces,” Sheldon said.
“Even if it doesn’t work out, it’s not a waste of time. We are sending a clear message to Ottawa,” Sharon added.
About 75 per cent of people whose minds are made up are deeply entrenched in their positions, unlikely to change their stance.
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The needle has barely budged in months: In January, an Ipsos poll found about three in 10 residents supported independence, but a deeper dive revealed that when faced with the costs and consequences of doing so, only half of those interested in separatism are truly committed to following through.
A University of Alberta study, conducted prior to the latest referendum announcement, indicated 20 per cent of Albertans support separation.
As Alberta referendum looms, ‘Forever Canadian’ group fights to stay part of Canada
As momentum grew last year around Stay Free Alberta’s petition in support of separation, former deputy premier Thomas Lukaszuk launched a campaign in May 2025, gathering signatures in support of Alberta remaining in Canada.
His Forever Canadian campaign quickly enlisted thousands of canvassers to hold signing events across the province.
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In October 2025, more than 400,000 signatures were submitted to Elections Alberta and were verified shortly after.
But months later, many of those same volunteers are back out in Alberta communities, trying to shore up support and get people registered with the campaign’s official website.
The organization wants to be able to mobilize supporters for the fall referendum, after Premier Danielle Smith announced last month the question on separation would be included.
Brad Tomlinson, wearing a Team Canada hockey jersey with with “Never 51” on the back, has volunteered for the Forever Canadian movement.
Global News
Brad Tomlinson started volunteering with the campaign when it launched in the summer of 2025. He’s back at it now, donning a Team Canada hockey jersey customized with “Never 51” emblazoned upon the back.
When asked what motivated him to act, he pointed to his family’s long history of serving the nation.
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“I’m a Canadian first, I’m an Albertan second,” he said.
“My great-grandfather fought in First World War and in Second World War. My grandfather fought in the Second World War. My father served 20 years with the Strathcona armoured regiment.
“I was raised as a military kid, so we have a strong connection to the Canadian military.”
Tomlinson expressed fear over what could happen, should Alberta successfully gain independence.
“I think separation is going to be a disaster for any number of reasons… what’s going to happen, I think, if we separate, is we’ll be annexed by the U.S.
“I think that’s a disaster for this province.”
He also believes the premier has made it easier for so-called separatists to pursue independence.
“It makes me angry,” Tomlinson said. “The premier does not have a mandate to pursue separation.”
“If [Smith] wants to have a separation referendum, she should call an election, she should say that’s the main part of her platform and run on that.
“She’s out of line.”
Alexander Molochnikov fled communist USSR in the 1980s and said he will always fight for Canadian values and for Alberta to remain in the country.
Global News
Alexander Molochnikov volunteered seven days a week over the summer to collect signatures. He was motivated by his love of the country that became his home after fleeing the USSR in the 1980s.
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“I know that we live in one of the best countries in the world,” Molochnikov said.
“My priorities, my values are freedom, liberties, ability to express yourself, ability to make a living. The reasons I was denied back in the old country.
“All the things we stand to lose — and I’m afraid we will lose if we separate — make me dead against it.”
Referendum question sparks outrage from Alberta separatists while UCP says members remain united
Independence leaders, from The Alberta Prosperity Project and the Stay Free Alberta campaign, claim leaving Canada would stop federal equalization payments, reduce income taxes, boost spending and give Alberta full control over natural resources.
Those arguments resonate with some Albertans.
“An extra 50 bucks, 100 bucks, 200 bucks on their paycheques — that’s really meaningful stuff,” said Linda Stephens.
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The realtor in Airdrie, north of Calgary, moved west from Ontario a few years ago and never thought she’d support separation.
But at 56 years old, she says she’s fallen further behind than she was a decade ago.
“We’ve lost that hope. We’ve lost that optimism that used to be there. That spark. People are just nodding in silence and saying ‘yep, just getting by, just getting by.’
“Albertans are saying, ‘We’re done, it’s not good enough anymore.’”
Road to the Referendum: U of A political scientist on similarities to Brexit movement
But that collective pursuit for change has made separatism supporters a target of personal attacks.
“You’re a moron, you’re this, you’re that, shame on you!” says Stephens, who calls herself a lone wolf in her family when it comes to her stance on separatism.
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Schmidt said she’s also had negative interactions for supporting separation.
“We’ve had people call us traitors, we’ve had people yell in our face, we’ve had people give us ID — just to rip it out of our hands.”
They say the criticism hurts — but it won’t change their minds.
“I have to know at the end of this that I did everything I could to make this happen, because I believe in it so much.”
While separatists are passionate, so too are those who are fighting to stay in Canada.
Janis Kristjanssen felt an obligation to act on her beliefs and started volunteering as soon as the Forever Canadian campaign was launched.
“My motivation is that I think Alberta staying in Canada is far better than any alternative that’s been presented,” she said.
“Canada may not be perfect, but my Canadian values and the Canadian values of a lot of other people are that we’re a people who welcome newcomers, we appreciate people who don’t look like us, who don’t talk like us, [and] who may not worship at the same places we do.”
Charlene Belanger speaks with a pro-Canada supporter in Calgary.
Global News
Charlene Belanger is a born and raised in Alberta and has travelled extensively across the country and the world.
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She says those travels reinforced her belief that Canada is an amazing place to live.
“Honestly, it wasn’t really a question. It’s something that I feel very passionate about,” she said. “I have kids, and I want to see them grow up and have a future similar to what I had growing up.”
Belanger has worked in oil and gas and knows the struggles the industry has faced in getting its product to international markets.
“I can understand the concerns people have around pipeline access,” Belanger added. “But I really don’t think separating from Canada is going to get us what we want.
“I think it will put us in a position where it’s going to be more difficult to get the things we want.”
Bright, glossy hair is always in demand during the summer, but between heat, humidity, chlorine, and sun exposure, the season can also be one of the toughest times to maintain strong strands.
So, what does it take to achieve lustrous, hydrated, and polished hair while avoiding dryness, frizz, and oil? Luckily, celebrity hairstylist Travis Ogletree is sharing his golden rules with ET.
According to Ogletree, a clean scalp is the foundation of healthy hair, and the key to preventing greasy roots during the warmer months.
“Apply conditioner to your ends before you shampoo your hair. Then, make sure you count a full 100 when you massage your scalp. Most of the time, we think we’re washing our hair for a lot longer than we actually are. If you’re not getting that sudsing ingredient in the shampoo to work, you’re not removing excess oils.”
Travis Ogletree/Instagram
To stretch your wash day a little longer as temperatures rise, he suggests going in for a second round.
Once you’ve eliminated any buildup, it’s equally important to replenish moisture, especially if you’re spending time in the pool or ocean.
Travis Ogletree/Instagram
“People want to go brighter for the summer, but are also swimming more, which can lead to extra dryness. You can combat that by using the Moroccanoil Intense Hydrating Mask because it’s made for all hair types, including fine hair. Put it on at least once a week while you’re showering or on freshly washed hair. You can even leave it on and do a chic look with a Sophie Buhai or Crown Affair clip,” he says.
Whether you’re embracing your natural texture or going for a sleek blowout, the goal is to secure radiance without weighing the hair down.
“It’s especially great for summertime because it recirculates airflow instead of blowing out heat, which helps create incredible shine because there’s less friction on the hair.”
Travis Ogletree/Instagram
Then comes the final touch.
“After you’re done, spray the Cécred Flexible Hold Hairspray. It smells so good and makes me want to buy a candle with the same fragrance,” he shares.
But hair isn’t the only thing that deserves a little summer love.
Travis Ogletree/Instagram
“A good SPF is essential because although we may want to be bronzed, we can also be protected. To avoid getting your scalp sunburned, apply the Peter Thomas Roth Anti-Aging Defense Sunscreen Stick on your part line and otherwise, wear a hat,” he notes.
The payoff? Silky locks paired with a natural-looking glow from head to toe, all without overdoing it in the sun.
Travis Ogletree/Instagram
Which means that by the time you’re sitting in Ogletree’s chair at his Treehouse Studio in Los Angeles, California this fall, your mane may need far less upkeep than you think.
“People are surprised that they just need a toner to go over their blonde, a Moroccanoil Color Calypso Gloss to get them to their desired shade, or a professional K18 treatment to rebuild the structure of the hair after it’s been compromised.”
After years of slumps and lackluster numbers, the box office is finally performing the way it used to, as domestic grosses for the month of May cross $1 billion for the first time since the Covid-19 pandemic and the ninth time in industry history.
But unlike the eight previous times the May box office hit this milestone, the film industry was able to do it in 2026 without the help of a Marvel movie, MCU or otherwise. While the official total is still being counted by Rentrak (formerly known as Comscore Movies), Box Office Mojo estimates a $1.06 billion total for the U.S. and Canada last month.
The first $1 billion May came in 2009, when the non-MCU “X-Men Origins: Wolverine” was the second highest-grossing film of that month with $170 million. Other $1 billion Mays include 2011 (“Thor”), 2013 (“Iron Man 3”), 2014 (“The Amazing Spider-Man 2” and “X-Men: Days of Future Past”), and the four years where the “Avengers” films were in theaters — 2012, 2015, 2018 and 2019.
There was a point where it seemed like a superhero-fueled billion-dollar start to the summer season would once again be in the cards when Marvel Studios’ “Avengers: Doomsday” was set to join its predecessors in the late April/early May release slot. But when Disney moved the film to December, Lionsgate filled in the gap with their biopic “Michael,” which became May’s top contributor with $210 million.
But Disney didn’t abandon the early summer slate, as 20th Century’s “The Devil Wears Prada 2” was just behind “Michael” with $209 million grossed domestically this past month. The success of the legacyquel, driven by Millennial women who are fans of the original 2006 movie starring Anne Hathaway and Meryl Streep, has made up for the underperformance of “The Mandalorian and Grogu,” which has still been a welcome boon to theaters with $137 million grossed domestically but fell a staggering 70% in its second weekend, the steepest drop ever for a film that opened on Memorial Day weekend.
But the films that got this month over the $1 billion-mark are the ones that have turned Hollywood on its head: Focus Features’ “Obsession” and A24’s “Backrooms.” Through Sunday, “Obsession” has turned its $17.1 million opening weekend into a $104.7 million running domestic total thanks to wild post-release buzz that has made it a can’t-miss film.
And this past weekend, “Backrooms” opened to $81 million, more than triple A24’s previous opening weekend record and the fourth highest for any horror film in box office history. With director Kane Parsons expressing interest in making more films based on his series of YouTube horror shorts, A24 has landed its first tentpole franchise.
“Backrooms” and “Obsession” erased what was initially expected to be a slowdown in the second half of May, keeping overall weekend totals above $100 million for the entire month. Now the theatrical market heads into June where films like Universal’s “Disclosure Day” and Paramount’s “Scary Movie” are expected to keep the momentum going leading up to Disney/Pixar’s “Toy Story 5,” which is set to contend for the highest domestic animated opening weekend in history with early projections of a $170 million launch.
Dan Rather, Lowell Bergman and dozens of other journalists urged David Ellison to protect CBS News’ editorial independence on Monday, noting his legal duty to do so after Skydance acquired Paramount and “60 Minutes.”
“We, the undersigned, urge you and your management team at CBS News to uphold the principle of editorial independence that has made ‘60 Minutes’ — in the words of the show’s new executive producer — ‘the most important television journalism brand this country has ever produced,’” they wrote in a letter to the CEO. “Acquiring CBS News came with a legal requirement to serve the public interest, avoid political interference and maintain editorial independence.”
“Modernizing the show for new audiences and new delivery approaches is important — but not at the cost of editorial integrity. The wholesale dismissal of editorial management, without a public pledge to maintain the values, standards and traditions of this program, puts the legacy of ‘60 Minutes’ in jeopardy,” they continued. “What is at stake is not just the future of the most important and enduring television journalism program in this country, but the future of free and independent press in America.”
NEW: A slew of well-known journalists, including Dan Rather, Lowell Bergman and Alex Gibney, have released a letter to David Ellison asking him to affirm his commitment to editorial independence at “60 Minutes.” pic.twitter.com/6dumz7hpqL
The journalists’ letter comes the same day “60 Minutes” correspondent Scott Pelley reportedly accused editor-in-chief Bari Weiss of trying to “murder” the newsmagazine while openly questioning new executive producer Nick Bilton as he took over in a Monday meeting.
“She has no qualifications for her job; you have slender qualifications for this job,” the former “CBS Evening News” anchor reportedly said. “The changes that she’s made at the ‘Evening News’ have been catastrophic, so why should we expect that any of this is going to be any better?”
Pelley’s comments came days after his colleagues Sharyn Alfonsi, Cecilia Vega and EP Tanya Simon were fired from the network, referring to the situation as “Black Thursday.”
In addition to Rather and Bergman, the other signatories on the Monday letter included Peter Klein, Besty West, Steve Kroft, Lisa Cohen, Bob Orr, Vicki Mabrey, Wyatt Andrews, Richard Schlesinger, Jim Stewart, Anna Quindlen, Alex Gibney and even Glenn Close.
