Anthropic Files for IPO as AI Race Hits Public Markets
Anthropic, the maker of AI assistant Claude, filed for an initial public offering on Monday, formally setting in motion a move that will test investor appetite for one of Silicon Valley’s most closely watched AI companies.
The filing “gives us the option to go public after the SEC completes its review,” the company said in a statement, adding that timing, share count and pricing would ultimately depend on market conditions. Those details have yet to be determined.
The announcement lands just days after Anthropic closed a $65 billion Series H round at a $965 billion post-money valuation, according to the company—putting it ahead of rival OpenAI’s last reported $730 billion valuation, underscoring how quickly the upper tier of AI startups is being repriced.
If it goes ahead, Anthropic’s IPO would place it among a small cluster of heavyweight tech companies expected to hit public markets this year, alongside names like OpenAI and SpaceX, as investors reassess the long-term economics of AI.
Founded in 2021 by former OpenAI executives, including Dario Amodei, Anthropic has built its reputation around safety-focused large language models and positioned Claude as a competitor to ChatGPT.
More recently, the company has been pushing further into enterprise marketing workflows, including tools like Claude Design—an AI system aimed at generating slides, one-pagers and other sales and marketing materials, ADWEEK previously reported, signaling a more direct bid for Madison Avenue budgets.
When reached for comment, Anthropic pointed to its public statement released on Monday.
Anthropic, the maker of AI assistant Claude,
3 Hilarious Adam Sandler Movies Come to Hulu Today
Hulu subscribers can now watch three of Adam Sandler‘s popular comedy movies. Even though these movies received low scores on Rotten Tomatoes, each movie features a memorable performance from Sandler.
What Adam Sandler movies are now on Hulu?
As of today, 1998’s The Waterboy, 2002’s Mr. Deeds, and 2008’s You Don’t Mess with the Zohan are now officially available to stream on Hulu. In The Waterboy, Sandler played Bobby Boucher, a stuttering and socially awkward man who unexpectedly becomes a college football star against her overprotective mother’s wishes. Meanwhile, in Mr. Deeds, Sandler played Longfellow Deeds, a pizza shop owner who suddenly inherits a multi-billion-dollar fortune from a long-lost relative. As for the 2008 movie, he played an IDF soldier who fakes his death to follow his dreams of becoming a hairstylist in the U.S.
The Waterboy was directed by Frank Coraci, with Sandler and Tim Herlihy writing the screenplay. The 1998 film also starred Kathy Bates, Fairuza Balk, Henry Winkler, Kevin Farley, Rob Schneider, and more. The film has a 32% approval rating on Rotten Tomatoes, while its Popcornmeter score is significantly higher at 71%.
“Raised by his overprotective mother, Helen, Bobby Boucher Jr. is the water boy for a successful college football team coached by Red Beaulieu. When Beaulieu fires Bobby, he takes up the same position for a losing rival team, led by despairing Coach Klein. After witnessing Bobby beat up a player who teased him too much, Klein adds him to the roster as a linebacker. Soon, Klein’s players are championship contenders,” reads the official synopsis.
Mr. Deeds was directed by Steven Brill, with Herlihy writing the script. It was a remake of Frank Capra’s 1936 film, based on Clarence Budington Kelland’s short story Opera Hat. The movie also starred Winona Ryder, Peter Gallagher, Jared Harris, Steve Buscemi, Allen Covert, Erick Avari, John Turturro, J.B. Smoove, and more. It currently has a 23% approval rating on Rotten Tomatoes.
“Longfellow Deeds is a sweet, lovable guy leading a simple but happy life in the tiny hamlet of Mandrake Falls, New Hampshire. Life is good at the small town restaurant until two corporate execs bring news that Deeds is about to be rolling in a different kind of dough,” reads the official synopsis. “A long-lost relative has left him an inheritance of 40 billion dollars along with the largest media company in the world. It’s a fish out of water, rags-to-riches story that has local tabloid reporters salivating.”
You Don’t Mess with the Zohan was directed by Dennis Dugan. The script was written by Sandler, Robert Smigel, and Judd Apatow. The cast also included John Turturro, Emmanuelle Chriqui, Nick Swardson, Lainie Kazan, Rob Schneider, Chris Rock, Mariah Carey, and more. The movie received a Tomatometer score of 37% on Rotten Tomatoes.
“Tired of all the fighting in his country, legendary Israeli commando Zohan fakes his own death and goes to New York, where he can fulfill his fondest dream: to become a hairstylist,” reads the synopsis. “Zohan’s sexy way with a cut and curl makes him a hit with Manhattan’s women, but when enemy Arabs spot him, Zohan has to call on his military skills if he is ever to wield scissors again.”
Hulu subscribers can now watch three of
Kendall Ostrow Joins CAA Creators
Kendall Ostrow is bringing her digital media expertise to the Creators division at the Creative Artists Agency.
The entertainment and sports agency has tapped Ostrow as an executive to focus on driving business development and digital strategies for clients across CAA, including in film, TV, sports and elsewhere. “For more than two decades, Kendall has consistently been ahead of the curve, identifying emerging trends, anticipating cultural shifts, and architecting transformative strategies that position companies, creators, and artists for sustained success,” Brent Weinstein, a member of CAA’s senior leadership team who oversees the Creators division, said in a statement.
In 2007, Ostrow joined The Ellen DeGeneres Show to design and direct early social media strategies. She moved to ID PR in 2010, and three years later joined UTA to help launch the agency’s digital data and insights practice.
In 2022, Ostrow boarded Candle Media to lead business development, before joining YouTube in 2025. “As digital media and the creator economy continue to redefine entertainment and culture at a global scale, there is no one better equipped than Kendall to help shape what comes next. Her vision, creativity, and innovative approach will unlock powerful new opportunities for our clients and partners in this rapidly evolving landscape,” Weinstein added.
Ostrow joins CAA as digital content producers increasingly look to bridge to major studios, streamers, broadcasters, talent agencies and consumer brands for new business opportunities.
“The creator economy isn’t a trend anymore. It’s the operating system for modern culture, and CAA sits at the center of it all in a way no other business in the world does. It’s an honor to join the legendary CAA team and culture, and I look forward to collaborating across the agency to help clients identify emerging opportunities and build for the future,” Ostrow said in her own statement.
CAA Creators offers representation, sales and advisory services to digital video and audio creators and brand marketers and financiers increasingly embracing the fast-growing creator economy.
Kendall Ostrow is bringing her digital media
Azniv Korkejian on Bedouine’s ‘Neon Summer Skin’
“The thing I admire most — and struggle with the most, when I’m trying to write my own songs — is wanting something to feel classic without sounding pastiche,” he added. “Somehow, more than most musicians I know, she is able to find that balance and make it her own.”
Indeed, an uncanny sense of time-travel pervades Bedouine’s music. (Her chosen moniker is an Anglicized version of an Arabic word for a nomadic tribe.) Her style of singing and composition conjure, quite vividly, the American folk revival of the 1960s and the early ’70s golden age of easy-listening pop, when the AM dial belonged to acts like the Carpenters and Carole King.
“Neon Summer Skin” finds Korkejian sifting through her memories and creating a highly personalized vision of her past. “I have a weird relationship to home, which is a lot of what this record is about,” she said at lunch, having just ordered a vegetarian spread that included grilled halloumi, baba ganouj and Rakakat bi Jebne, an appetizer she describes as being like “Lebanese mozzarella sticks.” (She insists that we save room for knafeh, a savory-sweet Middle Eastern dessert that she loves.)
As a writer, Korkejian is inspired by Leonard Cohen, particularly in terms of efficiency. “I think of it as nutrition — like how one lentil has the most protein or iron,” she said. “What word is packed with the most meaning?”
Throughout “Neon Summer Skin,” Korkejian emanates a kind of benevolent poise even as her songs consider heavy and even harrowing aspects of her family history. Korkejian wrote “Canopies,” a stirring acoustic ballad, from the perspective of her grandmother, who placed her 7-year-old daughter — Korkejian’s mother — in a Lebanese orphanage that had housed victims of the Armenian genocide, to protect her from an abusive family member. “Waves, waves, fold over, and send her scent to me,” Korkejian sings, imagining a mother yearning for her child across the Mediterranean.
“The thing I admire most — and
Katey Sagal Joins Elizabeth Banks, Ted Danson in Apple TV Comedy
Katey Sagal is the latest addition to the untitled Apple TV comedy from Liz Heldens and Matt Ward, Variety has learned exclusively.
Sagal will appear alongside previously announced lead Elizabeth Banks as well as fellow cast members Ted Danson and Rob Delaney.
The logline for the show states, “Fresh off a messy divorce, Heidi (Banks) sets out to secure a lively second act for herself and her kids. But when she stumbles into coordinating her father’s (Danson) retirement community sexcapades, Heidi is forced into an unlikely alliance with his girlfriend’s perpetually single son.”
Sagal will play Mavis, described as Heidi’s dad’s new girlfriend.
Sagal recently appeared in Season 2 of the Netflix live-action version of “One Piece” as Dr. Kureha. Other recent roles include “The Conners,” “Rebel,” “The Abandons,” “Shameless,” and “Superior Donuts.” She is also known for her Golden Globe-winning role in the FX series “Sons of Anarchy” as well as her roles in the hit shows “Futurama” and “Married…With Children.” In film, she is known for starring in features like Trust,” “Bleed for This,” “Pitch Perfect 2” and “The Good Mother.”
She is repped by CAA and B&B Management.
Heldens and Ward serve as writers, executive producers, and showrunners on the series. Banks executive produces along with Max Handelman and Krissy Wall via Brownstone Productions. Jonathan Krisel will direct the pilot and executive produce. Quinn Haberman executive produces alongside Heldens for Selfish Mermaid, while Jason Winer and Jon Radler will executive produce for Small Dog Picture Company. 20th Television, where Heldens is under an overall deal, is the studio.
Katey Sagal is the latest addition to
James Van Der Beek’s Ex-Wife Heather McComb Remarries
Heather McComb, James Van Der Beek’s ex-wife, remarried over the weekend.
McComb wed actor Scott Michael Campbell in a ceremony in Missoula on Saturday.
Heather, 49, shared the news on Instagram, writing, “Yesterday @scottmichaelcampbell and I under the covenant of God got officially married by my beautiful sister @essence_says surround[ed] by the people we love most in the world in our most favorite city Missoula Montana. Our hearts are full and humbled by all of the love that we were surrounded by.”
She continued, “God is so good. Thank you to all of our family and friends who traveled from all over the country to be with us. Thank you Jesus the way maker miracle worker! You all made it so special and a truly magical weekend that we will never forget. We are sitting here counting our many blessings. Thank you to everyone who made this so special for us!”
James Van Der Beek’s Ex-Wife Heather McComb Posts Loving Tribute
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Scott shared a post on his account that read, “BEYOND BLESSED for the most AMAZING week getting married to the BEAUTIFUL soul who is @heatmccomb ❤️❤️ THANK YOU to ALL of our friends and family and all our newfound Friends and family!”
Heather stunned in a lace wedding gown that featured a long train. She accessorized with a cross necklace and veil.
For his part, Scott looked handsome in a white tuxedo jacket and black pants.
It was just three months ago that McComb’s ex-husband James died following a battle with colorectal cancer. Heather and James were married from 2003-2010.
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A day after his passing, McComb remembered the “Dawson’s Creek” star.
Heather wrote on Instagram, “I am heartbroken over the loss of beloved James. I am especially heartbroken for his incredible wife Kimberly, his beautiful children and his amazing family, Jim, Jared, Juliana and all of his family and friends who I know he loved deeply.”
McComb also included a throwback photo of herself with Van Der Beek.
She shared, “This picture is from my 21st birthday. ‘Dawson’s Creek’ hadn’t even aired yet. This is how I will always see James innocent, kind and pure of heart. What a journey we shared over the years. I sit here in immense gratitude for the special connection, friendship and love that James and I shared that has endured through decades.”
“I will treasure the last loving words we exchanged,” McComb went on. “James was a beautiful soul filled with so much light, love, talent, humor, depth, sensitivity, knowledge and a deep love of God that shined through him. He shined so bright yet was so humble and human. Always searching, always growing, always going deeper, always chasing things outside his comfort zone.”
Heather showed some love for James’ wife Kimberly, writing, “How [Kimberly] showed up for him with such grace is so beautiful and something I will forever admire.”
James and Kimberly tied the knot in 2010, a year after he called it quits with Heather.
Along with calling Kimberly and James “true soulmates,” she noted, “James was a blessing to all that knew him and because of his boldness to share his journey with the world so bravely is now a blessing to all.”
Heather closed her lengthy post with, “I love you James. I know you had a lot of loved ones up there welcoming you home. God bless you. Till we meet again you sweet soul you. Prayers up.”
James was diagnosed with stage 3 cancer in 2023 at age 46 after requesting a colonoscopy.
Fox Weather Gains Distribution on SiriusXM
SiriusXM will begin distributing Fox Weather across its satellite-radio service starting June 3, a move aimed at making more weather news available as hurricane season starts along the Atlantic coast.
The channel will be offered to listeners across North America via the SiriusXM app (ch. 799) and in vehicles equipped with SiriusXM with 360L. Access to the SiriusXM app is included with most SiriusXM subscriptions. During major weather events, Fox Weather will also be available as a free-to-air public service for anyone with access to a SiriusXM enabled radio or the SiriusXM app.
Fox Weather launched in 2021 as a mobile- and digital-video service, and has, since that time worked to expand its distribution. Fox News Radio affiliates have also offered the audio from the Fox Weather stream to its affiliates during major hurricanes and weather events., and Fox Weather is simulcast on Fox News Channel during breaking weather events. The outlet has introduced new wrinkles in weather coverage, including the first 3D mobile radar to establishing a network of thousands of cameras across the country.
The service is available via Fox One, DirecTV, Samsung TV Plus, Amazon Prime Video, Verizon Fios, The Roku Channel, YouTube TV, YouTube.com, Vizio Watchfree+, LG Channels, Fire TV Channels, Hulu + Live TV and DISH Network among others. Fox Weather continues to be available via simulcast each weekday morning on Fox Business Network from 5 a.m. to 6 a.m. eastern weekend mornings from 6 a.m. to 9 a.m. It is also available via Fox Television Station digi-nets in markets including New York, Los Angeles, and Chicago.
SiriusXM will begin distributing Fox Weather across
Ali Louis Bourzgui on His First Tony Nomination for ‘The Lost Boys’
Fresh off his first Tony Award nomination, Ali Louis Bourzgui is reaching new heights… quite literally. The star of Broadway’s The Lost Boys spends eight performances a week flying above the stage at the Palace Theatre in the musical adaptation of the beloved 1987 film.
When he’s not flying through the air, Bourzgui is fully immersed as David, the magnetic leader of Santa Carla’s punk-rock vampire crew, a role originally made famous on screen by Kiefer Sutherland. The production demands a wide range of physical work (stunts, fights, choreography, and aerial performance) that requires constant stamina and precision.
In conversation with Deadline, Bourzgui discusses the challenge and excitement of the role, and how he keeps finding new details and instincts as the show evolves. Pulling inspiration from rockers like David Bowie and Billy Idol, Bourzgui is completely unrecognizable in the role from his hair, to his distinctive voice, and everything in between.
The 26-year-old Tony nominee also offers a look behind the curtain, from his first glimpse of the fully realized set to the secrets of backstage life during intermission. The conversation also touches on Sutherland’s role as a producer of the stage adaptation, along with a lighter moment discussing other films he thinks could work on Broadway.
Finally, Bourzgui reflects on what has meant the most to him so far throughout the whole experience: the ensemble at the center of the production, and the shared work that sustains the show night after night. Watch the full video interview above.
Fresh off his first Tony Award nomination,
Charli XCX New Album 2026: ‘Music, Fashion, Film’ Drops July 24
“I never said I was making a rock album,” Charli XCX posted on Instagram in May, just before releasing her single “Rock Music” — well, on July 24, we’ll find out just what kind of album she actually made.
The cover of Music, Fashion, Film features a new photo of three giants in each of those fields: the Velvet Underground‘sJohn Cale (who worked with Charli on the Wuthering Heights track “House”), designer Marc Jacobs, and Martin Scorsese. Aidan Zamiri, who also shot the “Rock Music” music video, took the photo.
A full track list hasn’t been announced, but her album will include the two songs she’s released so far: “Rock Music” and “SS26,” both of which include prominent guitar. “I think the dancefloor is dead, so now we’re making rock music,” she sings on the former song. But she’s suggested that lyric shouldn’t be taken literally, writing on Instagram, “I’m not gonna explain where I was coming from with ‘Rock Music,’ but all i know is that things can be funny, earnest, sincere, and joyful all at the same time and that’s what i feel about a lot of the things i make.”
The album takes its title from a lyric in the wry, wistful “SS26”: “When the world is gonna end, no hope for any of it,” she sings. “Yeah, we’re walking on a runway that goes straight to hell/ Nothing’s gonna save us, not music, fashion, or film.”
In April, Charli told Vogue that she was changing her sound. “If I’d made another album that felt more dance-leaning, it would have felt really hard, really sad,” she said, “but what’s interesting for me is to bend the possibilities of what my perspective on that could be.” Producer A.G. Cook told Vogue that the sonic shift was deeply felt. “It’s not just this flex of, ‘Oh, I did this other album,’” he said. “She’s really responding to a feeling that a lot of people have in 2026 of there being so much, almost too much.”
In February, Charli released Wuthering Heights, her soundtrack to Emerald Fennell’s film adaptation. She’s been busy with a new career in acting, with three releases already this year: the A24 mockumentary The Moment, which she conceived, produced, and stars in as a fictionalized version of herself; the horror remake Faces of Death; and the comedy Erupcja. in She also co-stars in the erotic thriller I Want Your Sex, which opens July 31, a week after the album drops.
“I never said I was making a
’60s–’70s Cartoon Characters Trivia Quiz
'60s–'70s Cartoon Characters Trivia Quiz | BuzzFeed
Nasty C and Tellaman release new single ‘Big Timing’ ahead of their joint album
Nasty C and Tellaman have teamed up once again for their latest release, “Big Timing”.
The track blends smooth R&B melodies with confident hip-hop flows, showcasing the duo’s undeniable chemistry.
“Big Timing” carries a laid-back yet luxurious vibe, centred around success, growth, and levelling up.
The musicians are good friends and have previously worked together, but now they are working on their first extensive joint album. This project represents a significant moment for them and their shared fan base.
“I think it was trying to bring worlds like separately together in a way,” explained Tellaman.
“I’m more on the singing side, Juniors more on the hip-hop side. We’re trying to merge those two and give the fans something dope. It’s going to be a lot of singing, a lot of slappers, but it’s more of a very melodic musical album.”
Leading up to the album release, Nasty C and Tellaman have released a new single, “Big Timing”, which is all about going big with your day ones.
The song features on the deluxe version of Nasty C’s album “Free”.
“It’s like getting famous or getting rich or getting success with the people that you started with at the beginning of the journey. That’s what that song is about.
“It’s about celebrating those people who stayed down with you and hustled with you, and now you guys are both in a better place,” said Nasty C.
Nasty C and Tellaman’s joint album is called “T’s and C’s apply”. Nasty C has previously collaborated with Lekaa Beats on “Confuse The Enemy (Reloded)”.
“The album is heavily themed, and when you listen to it’s gonna take you on a journey. It’s one of those albums where you just go from track one, you press play, and you don’t skip anything,” said Nasty C.
Nasty C and Tellaman worked with different producers on the album and personally produced some songs. “It was just our friends and us trying to make the best music we possibly can at this point.
“We did produce a few songs and got some nice tunes there also that were produced by people from outside of SA,” explained Nasty C.
The project will be released under Nasty C’s label Tall Racks, which now functions as a distribution platform that allows artists to maintain full control over their work, metadata, and earnings.
Operating as independent artists has allowed them to gain valuable experience and maintain control over their careers, noting that the current industry landscape favours independence.
“Being an independent artist, obviously, it has its positives and its negatives. It teaches you a lot as an artist; you have to take a lot of the responsibilities back into your own hands, but at the same time, you feel more hands-on with your own career,” said Nasty C.
The album “T’s and C’s apply” is expected to contain approximately 14 songs with a total of 17 tracks and the artists plan to begin releasing singles in June 2026, intending to drop the full project in July.
“It’s something that our fans have been looking forward to for a very long time. I don’t think it would have made sense to release eight or seven songs as a joint project. You have to give them something, more than just a few songs to quench that thirst, you know,” said Tellaman.
Nasty C and Tellaman don’t want to dictate how their fans should take the music. “We went in there, poured our hearts out. Got as creative as we could at the time and we’re putting it out with the hopes that people enjoy it.”
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Nasty C and Tellaman have teamed up
New ‘Spider-Man: Brand New Day’ Trailer Changes Already Released Footage
Tarantula was fully showcased in Spider-Man: Brand New Day‘s original trailer, but new footage confirmed that the entire scene has been completely changed, as everything about it looks different. Spider-Man: Brand New Day is a massive film that will undoubtedly make some massive waves at the worldwide box office. It is set to include a handful of notable Spider-Man villains from Marvel Comics, such as Tarantula, Boomerang, Tombstone, and more, and nearly all of the villains have already been revealed in trailers or teasers for the upcoming film.
While a fight scene between Spider-Man and Tarantula was already included in the first full trailer for Spider-Man: Brand New Day, a more recent trailer also featured the scene, only this time, pretty much every major detail aside from the two characters was changed.
For instance, in the original trailer, the footage showcased Spider-Man and Tarantula fighting on a boat somewhere out in the water with the city in the background. The background of the shot was nothing particularly special, as the buildings, the water, and the sky were essentially grayed out and not the focus of the shot.
However, in a new international trailer spot for the film (which seemingly comes from Brazil and was shared via X by @MCUFilmNews), the background detail has changed entirely and has much more depth.
For example, in the updated shot, Spider-Man and Tarantula are still on a boat, but this time, New York City behind them is different. The buildings have changed, the landscape has changed, and a massive bridge has even been added to the shot.
Most notably, the lighting is vastly different. In the new shot, the sun is in the corner of the frame, giving off a sun flare throughout the shot and making everything have much more color and depth.
Because of the sun in the sky, the bridge, and the reflection on the water, the shot looks objectively better and makes the frame more appealing.
This shot of Tarantula and Spider-Man fighting is not the only shot that was changed from the original trailer, but it is the only different one that features one of the villains.
For instance, a few other shots have been altered from the original trailer, and, like the Tarantula one, they all give the footage much more depth and make them look more visually appealing.
One shot that was in both trailers featured Spider-Man falling toward the ground and then shooting a web to swing up. While falling, the ground below Spider-Man in the original trailer was essentially just a grayed out mass of buildings, concrete, and cars. All of those elements are still in the updated shot in the new TV spot, but, like the Tarantula scene, the lighting is vastly different and adds more depth to the shot.
Specifically, the sun being out and shining on the ground creates distinct shadows, sections of lit-up streets and construction sites, and gives everything a bit more color.
Similarly, another shot in the new spot received the exact same treatment. As Spider-Man jumped off a rooftop, New York City, some water, and the sky could be seen behind him. Just like in the other instances, nothing was special about the background, and everything was essentially just gray.
In the updated shot, though, the increased lighting allows the viewer to see where clouds begin and end, the city is more detailed, the shot is brighter, and there is more color.
In the same shot, but just a few frames earlier before Spider-Man jumps off the rooftop, the lighting change can be seen yet again, as the rooftop that Spider-Man is on also looks different. There are more distinct shadows, the clouds look much different, etc.
Overall, this is a small design change from the original trailer, but it gives Spider-Man: Brand New Day so much more depth and makes it look more realistic. As mentioned, it is also just much more visually appealing, which will do the film a lot of favors as many have criticized Marvel Studios and other film studios for taking color and detail out of recent movies.
The recently released international trailer spot can be seen below:
Is Marvel Studios Changing Spider-Man: Brand New Day?
With the changes to some of the shots in the original Spider-Man: Brand New Day trailer, some fans may be wondering if the entire film is getting altered. After all, adding a bridge and a completely different background to the Tarantula shot is pretty major, and it makes the entire scene look different.
Most likely, Marvel Studios is not actually changing anything about the movie, as the movie has received amazing feedback in test screenings. As seen in the trailers, the main part of those scenes is the same. Spider-Man and Tarantula haven’t moved and aren’t doing anything different, it is just a background and lighting change.
It is no secret that the background of the shots in the original trailer looked rather bland. Most likely, when the first trailer was released, the VFX team hadn’t completed work on the shots, and it was just a rough version of the finished product.
The updated shots indicate that the rest of the movie is still going through post-production and VFX work to make it look as visually appealing as possible. It will be interesting to see if any shots from the first trailer are re-used for the upcoming second trailer, and if they will have been changed as well.
James Gunn’s DCU Just Unveiled Its Best Popcorn Bucket
James Gunn’s DC Studios has already scored a win before Supergirl even hits the big screen, and it comes in the form of a popcorn bucket. With the summer 2026 box office season underway, Supergirl is shaping up to be DC’s marquee theatrical event of the year, arriving about one year after Superman relaunched the studio’s film universe. While Superman made its mark on the big screen, Supergirl is already outshining its predecessor in at least one unique way.
It turns out the centerpiece of Supergirl‘s theatrical merchandise is a popcorn bucket that comic book fans are going to absolutely lose their minds over.
Jason Momoa is set to be reintroduced to DC audiences as Lobo, trading in his Aquaman trident for the chains and swagger of the Main Man himself, and the bucket capturing his debut is something special.
It features Lobo’s iconic space motorcycle, the Spacehog, in stunning detail, with Lobo himself seated on top as a removable figure that reveals the popcorn compartment hidden underneath.
Side-by-side comparisons to the official Supergirl action figure reveal just how much detail was packed into the bucket, with the two looking nearly identical in design.
Also, placing the bucket next to Momoa’s live-action Lobo further drives the point home, showing how accurately the motorcycle and DCU character design were translated into popcorn bucket form.
Since Dune: Part Two‘s sandworm bucket set the internet on fire back in 2024, novelty popcorn buckets have become a pop culture conversation of their own, and this Lobo Spacehog bucket is the best one to come out of Gunn’s new DC era by a wide margin.
The standard, newly announced Supergirl tin buckets are exactly what fans would expect; one features a bright yellow design with the title treatment and Milly Alcock’s Kara Zor-El in full costume.
A second black-and-white variation does earn some style points for letting the red and yellow symbol pop against the monochrome design, with the text “BE GOOD.”
The closest any of the standard Supergirl buckets comes to turning heads is a galaxy-themed design where the chrome purple Supergirl logo feels fresh and different from most of the other merchandise for the film.
Heading back to last summer’s Superman, the Daily Planet newspaper-style popcorn container was a genuinely clever keepsake piece that felt more like a prop replica than a snack vessel.
The Superman suit bucket designed to look like Clark Kent’s actual costume is the kind of iconic execution that comic fans surely bought last summer.
Krypto made his popcorn debut in a light blue Superman bowl with a Funko-style dog figure peering over the rim, which was admittedly adorable.
The standout of the Superman era, and arguably the closest any DC bucket has come to rivaling the Lobo Spacehog, is the miniature popcorn machine vessel, complete with a Superman figure using heat vision to pop the corn.
A larger, more detailed Krypto sculpture holding a classic red-and-white-striped popcorn box brought serious charm to the concession stand in July 2025.
The superdog also inspired a more subtle dog bowl-shaped vessel, which was cute, but clearly didn’t hold much of the buttery snack.
One bucket put David Corenswet’s Superman front and center in a straightforward photo-realistic design, but unfortunately isn’t very inspiring, ranking last of the Superman buckets from last year.
Finally, an illustrated Superman and Krypto bucket rendered in a comic-inspired style that still fits within Gunn’s DCU aesthetic rounds out the collection nicely.
Heading towards its June 26 release in theaters, only time will tell how many more Supergirl buckets are unveiled. At this point, the Superman Heat Vision vessel and Lobo’s Spacehog are probably the best of the DCU.
Considering Krypto’s huge role in the movie, as he is Kara’s dog, it’s safe to assume even more dog-styled buckets are coming soon when Supergirl hits theaters.
Directed by Craig Gillespie, Allcock and Momoa are joined by Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and David Corenswet, who fans just got their best look at yet in his second DCU appearance.
Supergirl follows Kara as she reluctantly teams up with a young warrior, Ruthye, to track down a space pirate named Krem, who killed Ruthye’s father and left Superman’s dog Krypto poisoned and near death. The film is heavily inspired by the acclaimed graphic novel Supergirl: Woman of Tomorrow, expanding on its story with the addition of Lobo.
Will Supergirl’s Marketing Sell Tickets?
Whether Supergirl can capitalize on all this pre-release buzz and translate it into box office success is the real question hanging over DC Studios this summer.
Marketing has been ramping up steadily, and items like the Lobo popcorn bucket certainly help keep the film in the cultural conversation, but Supergirl is dropping into one of the most competitive stretches of the summer movie calendar.
There’s also a nagging concern among some fans that the film’s colorful, ragtag space adventure aesthetic skews a little too close to Guardians of the Galaxy territory, which could be a tough perception to shake.
The fact that the film has reportedly gone through numerous test screenings and multiple cuts suggests the road to the final product hasn’t been entirely smooth.
Current tracking puts Supergirl‘s domestic opening somewhere in the $45-65 million range, with $200 million domestically looking like a realistic ceiling, a significant step down from Superman, which opened to $125 million last summer and finished with $354.2 million domestically.
If audiences walked away from Superman hungry for more of Gunn’s DCU, Supergirl has a real shot. If not, DC’s marquee summer release could find itself in a tough spot, with the lower-stakes Clayface waiting in the wings as the studio’s safer bet for the year.
Minecraft Is Down For Everyone, Not Just You
Mojang’s blocky sandbox game is currently inaccessible–a rarity for Minecraft. The last major widespread Minecraft outage was in October 2025, when the global Microsoft Azure cloud disruption affected services, including Minecraft authentication and Xbox Live.
Around 12:30 AM PT on June 1, players began to report problems with launching Minecraft via Downdetector. Attempting to connect to the game via the Minecraft Launcher shows the message, “Oh no! Something went wrong, and we couldn’t connect to the Minecraft services. Please connect to the internet to refresh your offline access.” A further error message reads, “We were unable to verify what products you own. Please check your internet connection.”
The two messages suggest an issue with the authentication servers, meaning players will be unable to log in or may experience problems in Realms, servers, or multiplayer sessions. This issue is also affecting those opening Minecraft from a third-party launcher, such as Prism or Curseforge.
At the time of writing, nothing has been posted from the official Mojang Support X account. We’ll continue to monitor the problem.
Mojang's blocky sandbox game is currently inaccessible--a
Conecta Magaluz-Mallorca: AI, Microdramas, Buzz Titles, the Future
Unspooling over May 25-28 in the Meliá Calvià Beach Hotel at Magaluf, Mallorca, the 10th anniversary of edition Conecta afforded extraordinary vistas of Magaluf Bay, its turquoise Mediterranean waters worthy of laptop wallpaper.
Bowing an all-in-one boutique model, Conecta Magaluf Mallorca was attended by 400 delegates, including executives from HBO Max, Prime Video, YouTube, France TV, RAI, RTVE, SkyShowtime, TVI, Atresmedia, Telemundo Studios, Mediaset Italia, Movistar Plus, 3Cat and Balearic Islands pubcaster IB3.
“Our new, more compact and all-in-one format is focused on facilitating connections and maximising the value of time spent together, which we believe is far more efficient for everyone,” Conecta Magaluf-Mallorca director Géraldine Gonard said at a closing session.
Beyond classic sea vistas, Conecta Magaluf-Mallorca’s conference strand also allowed delegates a rapid, often incisive catch-up on the state of the international TV business, as well as how cutting edge tourist concerns have become a new driver for part of the film-TV industry.
Also often stage center was Mallorca’s emerging film industry. That needs to be taken seriously. In 2025, according to Cannes Marché du Film’s Focus report, Spain produced 426 feature films, up 30% on 2024 and nearly twice the volume of France (228). One driver, the report says, is not only national but regional support schemes.
Takeaways from Conecta Magaluf-Mallorca:
The Long Tail Wags the Dog: Global Streamer Viewing
Conecta Fiction began with a bang: Jonathan Broughton at Plum Research drilling down on key global streamer metrics. SVOD began as DTC, for instance, accounting for 98% of business in 2014. It is now becoming increasingly BTC with DTC set to rep 76% of turnover in 2029 and BTC – led by advertising – up to 24%. Most important of all, however, a stunning 90% of views and 75% of titles viewed takes place on the long tail: Think “Star Trek,” “Dark,” “Archer” and “Primal,· not first run-hits such as “Squid Game.” That has given rise to a new superclass, which Broughton dubs Neo-Evergreens.
Mallorca Reigns
Conecta’s May 27 Pitch sessions prized multiple local titles, such as “Mallorca Things to Do,” an RTVE Play Award winner, produced by Palma de Mallorca-based Bastera Films, behind 2025 Toronto Fipresci prize winner “Forastera.” Other winners linked Mallorcan companies with prime players on Catalonia’s film-TV scene, which is surely one way to go for the island’s industry. One case in point: “Naked,” a Triodos Bank Award laureate, is co-produced by Empatic Films (“Favàritz,” “Rock Bottom”) and Barcelona’s Corte y Confección de Películas, behind Canneseries winner “Perfect Life” and Cannes Festival laureate “Sirāt.”
Buzz Titles
One buzz Conecta project, “To Catch an Old Lady,” captures the emotional indigence of advanced age, turning on an elderly woman who attempts to commit a crime serious enough to get locked up with the only friend left to her. Others impressed by their ingenious use to narrate effect of a Mallorcan setting. In Germany’s “Idyllic,” from Brains Narrative Studio, a Mallorca-set cozy crime series which won Tallinn’s TV Beats Forum Award, a retired British-German couple investigate murders before discovering they live inside a VR retirement simulation. Its creators were inspired by their vision of Mallorca as “an idyllic place to end your days, but almost too good to be true,” they told Variety.
Latin America: Microdrama Leader
No line was longer for any session at Conecta Magaluf Mallorca than the May 27 Focus on Microdrama: The Game Is On – When to Make Your Move. The game is most certainly on, Omdía’s Maria Rua Aguete said at Conecta Magaluf Mallorca, noting that Brazil reached 24 million monthly active microdrama users in 2025 and Mexico 20 million. “Brazil and Mexico are already demonstrating the scale that this format can achieve outside China,” Rua Aguete said. “What we are seeing is not simply the growth of a new content category but a fundamental shift in how audiences consume entertainment on mobile devices,” she added, noting 75% of video consumption now takes place on smartphones. Via Variety, Brazilian media giant Globo announced a new microdrama just before last week’s Rio2C, the soccer-themed “Quando o Coração Entra em Campo.” Globo’s catalog of 25 microdrama titles takes in five original productions, nine spinoffs of telenovela characters, and 11 internationally licensed titles. That, however, may just be the beginning.
The Rise and Rise of Spain
All major categories have Neo-Evergreens: Serials (“Breaking Bad”), anime (“One Piece”), kids (“Victorious”) and procedurals (“Seinfeld”). So do countries. In 2018, for example, “Money Heist” (“La Casa de Papel”) broke out as Netflix’s first true global non-English blockbuster. So 2018 was one of Netflix’s best years ever for Spain? Not at all. Hours watched of Spanish content on Netflix top 40 markets has increased 73% from 2018 to now, according to Plum Research. Two factors look to be at work. While it still has new hits, Netflix Spain now has a long tail. And diversity of consumption has never been higher. Other territories outside export markets (the U.S. Brazil, Mexico, Argentina and France) for Spanish-language content repped 35% of total viewing hours in 2018. That number had climbed to 45% by 2024.
Spain’s Comedy Surge
Announced May 27, over half Conecta’s Pitch prizes went to comedies, including José Luis Rugeles’ “Rookies,” from Colombia’s Rhayuela Films and “Breakdowns,” from Argentina’s Lab Producciones. RTPA’s Lucía Herrera, head of programming at RTPA, the state TV of Spain’s Asturias, drilled down on at Conecta on rural sitcom “Coworkinaos,” its first co-production with neighbor Galicia’s RTVG. RTVE executive producer Mar Díaz said Spain’s nationwide pubcaster was looking for comedies. Comedy is on the rise. Reasons? “Spain has seen some surprising hits in the comedy genre, like Netflix’s ‘Animal’ and ‘Macho Alphas,’ which reinvent comedy to a large format sale potential,” The Wit’s Caroline Servy said earlier this year. Also, they offer a lighter way into contemporary concerns.
A TV Talent to Track: Victoria Martín
It was no coincidence that Conecta Magaluf Mallorca climaxed May 27 with a special screening of “Many People Need to Die,” Few comedies have tackled Millennial angst with such withering realism, nailing how its members’ searing frustration at living lives imposed by older generations prompt acts of outrageous LOL egotism, such as when the hoity-toity Elena, married to a 60-year-old millionaire, passes off benzo-popping Bárbara, her lifelong friend, as a junkie she’s offered to accompany for a day. A Canneseries world premiere, the Movistar Plus original, co-produced again by Corte y Confección de Películas, certainly marks out YouTube-podcast comedian Martín as a talent to track.
(L-R) Macarena García (Elena) and Anna Castillo (Bárbara) in ‘Many People Need to Die’
The Pain in Spain
That said, Spain and especially public broadcaster RTVE, is hurting. Spain stands out in non-fiction as the second biggest importing territory in the world for formats, after the U.S., suggested The Wit’s Caroline Servy at a keynote on the formats business. Over 2025-26, Spain has launched 19 new adaptations, led by RTVE with 12, and six a piece by Atresmedia and Mediaset, she announced. Format adaptation can be highly cost-efficient, of course. It is sad, however, when a public broadcaster has to count so much the cost.
Tourism: an Ever Bigger AV Driver
Brazil’s Tourist Board Embratur has launched eight film-TV-gaming-YouTube initiatives to support sustainable development for its tourist industry. Conecta Magaluf-Mallorca hosted the world premiere of “Mallorca Confidential,” a noirish gypsy drug queenpin thriller produced by Mallorca’s Cinética. Equally, held in association with the Calviá Town Council, Conecta this year was financed via the Balearic island’s Sustainable Tourism Tax (ITS). “Investing ITS funding in Conecta is perfect exemplifies our tourist strategy, supporting quality and deseasonalized tourism which generates year-round returns at nil territory consumption cost,” Jaume Bauzá, the Balearic Islands’ Councillor for Tourism, Culture and Sports said at Conecta’s closing ceremony.
Lolita Flores in ‘Mallorca Confidential’
Lolita Flores in ‘Mallorca Confidential’ Credit, Lucia Faraig.
Conecta’s AI focus was organized not as a panel but debate with speakers aligned in practitioner and concerned camps. Some of them called for larger protocols. The European Union already has one via its AI Act, in force from August 2024. On May 26, Spain’s government approved a bill for its enforcement in Spanish law. Meanwhile, on May 29, “The Book of Life” director Jorge Gutiérrez pulled out of Amazon’s genAI animation initiative, just days after announcing his involvement. Expect the backlash, posing risks of fandom ostracism for any significant animator seemingly endorsing AI, to play out at late June’s Annecy Festival.
What’s Shocked in the Last 10 Years, or May Shock in the Future
Conecta Magaluf-Mallorca’s conference strand closed with a panel in which analysts and journalists confessed what had amazed them during the last 10 years, as well as suggesting some of the next big calls.
“We talk about globalization but I’ve met with more local companies that are more important than ever. The shocking thing now is that actually there is less U.S. dominance of shows of original content, but more local and regional content going around in the world,” said Omdia’s Rua Aguete.
Brazil, Flanders and Indonesia are current hot spots, said another speaker who voiced their concern for the future of state-backed TV operators which accounted in 2024 for 56% of all TV fiction titles produced in Europe, compared to 14% for global streamers.
As long as regulation ensures that big events – sports, Eurovision – are reserved for public broadcasters, they will bring people together in front of TV screens, said Laure Steinville at Glance.
What’s most shocking, often, is what hasn’t happened. Spanish companies still labor under fiscal pressures, noted Irene Jiménez at Audiovisual 451. “Many things have happened [in Spain], but in some ways it’s as if nothing has changed at the same time.”
“I have access to something like 45 billion data points on audiences and what they’re watching across the world. It actually doesn’t do that much in terms of designing a show,” said Plum Broughton. “What is still very true is that they can help people understand what’s done well. But still a machine can’t yet produce something which is authentic and credible and creative.”
What has happened with the emergence of global platforms, at least for Latin America, is “a cross-pollination of storytelling, between more plot-driven Anglo storytelling and in the Latino case, more character-driven storytelling,” Manuel Martí, at Cohn-Duprat, told Variety during Conecta Magaluz-Mallorca. We are still living that reality now.
Unspooling over May 25-28 in the Meliá
Is Norman Reedus teasing a live-action adaptation of the Chainsaw Man anime?
What is Norman Reedus up to? Recently, while speaking with GQ at Hong Kong Comic Con, The Walking Dead actor said he’s got anime on the mind. Reedus, who’s friends with Hideo Kojima, the mastermind behind the Death Stranding video game franchise, says the beloved game maker recently turned him on to Tatsuki Fujimoto’s Chainsaw Man, which Reedus could be thinking about adapting for live-action.
Reedus on discovering Chainsaw Man
“There’s Chainsaw Man, which Hideo Kojima told me about,” Reedus told GQ. “He said it was his favorite and I went around Tokyo looking for the comic book because I have a production company. I was looking for cool things to make.” Adding, “I got a lot of street cred for knowing Chainsaw Man. And I just recently was in Japan and I saw it on the airplane for the first time, so I thought that was a pretty cool one.” Heh. Is anyone else getting Chris Pratt talking about Super Mario vibes from this quote?
Reedus wants Reze’s bomb powers
While speaking with Reeus, GQ asked if he could inherit one anime power; what would it be? Reedus replied, “In Chainsaw Man, there was one character — I want to say it was called like, ‘Love Bomb,’ or ‘Bomb Girl,’ or something like that — and she was probably the coolest one there. So I’d be able to just blow things up with my mind. I’m very destructive.” Haha! Again, Chris Pratt vibes. Oh, Norman, you’re adorable. He was obviously referring to Denji’s deadly love interest from the Reze Arc movie (read our review here), the titular Bomb Devil Hybrid herself. And he’s right: Reze is an outstanding character with the ability to manifest explosions with almost no effort. She makes the Reze Arc film infinitely better simply by being there, and a live-action adaptation of her character could be fun, though I hardly think it’s necessary.
Not every anime needs a live-action adaptation
There’s a part of me that wishes they’d leave Chainsaw Man alone, though a live-action adaptation of the balls-to-the-wall series is inevitable. In Chainsaw Man, a down-on-his-luck thug named Denji becomes part of a group of Devil Hunters after a deal with a local crime boss goes south. Chainsaw Man is one of my favorite anime series of all time, and I’m thrilled to hear that Reedus enjoyed his time with the new film. As to whether he’ll make a live-action adaptation with his production company, that remains to be seen.
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Hasan Piker, Cenk Uygur Blocked From U.K., Will Miss SXSW London
Left-wing political commentator Cenk Uygur and his nephew, Hasan Piker, have been denied entry to the U.K. by the government’s Home Office, The Hollywood Reporter has confirmed. It’ll mean they can no longer make their scheduled SXSW London appearances.
The Home Office said in a statement to THR on Monday that the pair’s Electronic Travel Authorization (ETA) has been cancelled on the grounds that their “presence in the U.K. may not be conducive to the public good.” They added: “Decisions to refuse or cancel an ETA on these grounds are based solely on an assessment of the potential risk an individual may pose to U.K. Society.”
On social media, Uygur, host of populist political talkshow The Young Turks, said that he was banned for “criticising Israel.”
“I tried to get on a flight to London to attend SXSW London and give a speech at Oxford. I’ve been banned for criticising Israel,” he wrote. “Are we free anymore? This is oppression of Western citizens by our own governments on behalf of a different country.”
Piker responded to his uncle’s post, adding: “The U.K. has revoked my visa as well. All at the behest of Israel,” and saying the West is “betraying ‘liberal values’ for a genocidal fascist foreign government.” Both men have condemned Israel for its war on Gaza following Hamas’ October 7, 2023, attack at an Israeli music festival. Since then, 70,000 Palestinians have been killed, according to the Hamas-run health ministry.
According to The Times, the decision to block Uygur’s entry is understood to have been based on concerns his presence would risk “exacerbating antisemitism.” He has been accused of pushing antisemitic tropes through his platform, such as that “Israel controls America.”
The SXSW team describes Piker, who has over three million followers on Twitch and more than 1.5 million on X, as “redefining what political commentary looks like in the digital age.” He has previously said Hamas is “1,000 times better” than Israel and attracted criticism over his claim that he “would vote for Hamas over Israel every single time,” on an episode of Pod Save America.
Uygur was meant to appear at a SXSW London session on Wednesday edtitled “Techno-Feudalism is Here. Who Are the Lords?” Piker’s planned panel on Thursday was called “How the American Left Learned to Speak the Internet.”
Ash Sarkar, a journalist for Novara Media who was due to chair Piker’s SXSW London session, said on X that the decision was evidence of an “authoritarian turn motivated by Labour’s fear of being called antisemitic, and fear of being called out for their position on the genocidal war on Gaza”, adding: “You don’t foster community cohesion by having the government ban people from speaking.”
U.K.-based Jewish organization the Community Security Trust urged SXSW last week to “act responsibly” and not allow the U.K. to be a “platform” for Piker.
You might recall that Kanye West’s ETA was revoked shortly before he was set to headline the now-scrapped Wireless music festival in April, over the rapper’s historical antisemitism.
THR is out to SXSW London for comment.
Left-wing political commentator Cenk Uygur and his
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Kiki Gyan Documentary Among Projects Set For 2026 Locarno Open Doors
A documentary feature about the legendary Ghanaian musician Kiki Gyan is among the projects that will participate in this year’s Locarno Open Doors programme.
Six projects from ten different African countries have been picked to participate in the programme. Locarno Open Doors is in the second year of a four-year cycle dedicated to Africa. The titles are listed below:
- Ghana: Too Much Music. Directed and produced by Aseye Fiagbe.
- Mozambique and South Africa: Chapa 100. Directed by Ique Langa and produced by Lara Sousa (Kulunga Filmes).
- Nigeria: I Live in V.I. Directed by Ugochukwu Azuya and produced by Olubunmi Ogunsola.
- Somalia and Djibouti: Accept My Plea For Burial. Directed by Mohammed Sheikh and produced by Kadir Harbi Hassan (Aleel Films).
- Tanzania–Kenya: The Ones With The Tempered Flowers. Directed by Neema Ngelime and produced by Ivy Kiru of AQ Pictures.
- Ugandan: A Vineyard for A Lobster. Directed by Talemwa Pius and produced by Gashumba Emmanuel (Gripmagic Uganda Limited).
Locarno also runs an Open Doors program for producers and directors. Producers from six countries have been selected. They are: Mamounata Nikiema (Pilumpiku Production), Natasha Craveiro (Cabo Verde, Korikaxoru Films), Adja Mariam Mahre Soro (Studio Kä), David Ikeata (Vox Cinematic Films), Rua Osman (Helomur Picture), and Tapiwa Chipfupa (Ambidextrous Pictures).
The Open Doors directors are: Fagamou Fama Ndiaye (Senegal), Rediet Haddis Yalew (Ethiopia), Pocas Pascoal (Angola), Judith Nini Kibinge (Kenya), and Ariel Añez (Mozambique). Their short films will be part of the Open Doors Screenings, an official section of the Festival featuring both short and feature films, the full selection of which will be announced on 1 July 2026.
Locarno runs from August 5 to 15.
A documentary feature about the legendary Ghanaian
The French Pedicure Had A Glow-Up For Summer 2026
When celebrity nail pros Milly Mason and Harriet Westmoreland both declared, “French toes are back,” you’d better believe our ears pricked up.
The French pedicure is suddenly everywhere on social media with Kylie Jenner cosigning the look and content creators revealing how to take our favorite manicure style to our toes. This summer has already seen a smorgasbord of nude nails grace our fingertips—from the cloudy French and BB cream nails to barely-there rose water and princess nails—so it’s perhaps unsurprising that our toes are now set to get the same treatment. It’s what they deserve!
Why should you get a French pedicure?
As the name implies, the French pedicure shares the same DNA as a French manicure. It also holds the same appeal. With its soft pink or nude base, crisp white tips and glossy topcoat, “the French pedicure is having a moment because it strikes the perfect balance between timeless and modern,” says Mason. “It’s chic, understated and works with absolutely any outfit, any shoe and any occasion.”
And, just like the French manicure, it’s also had a timely makeover. “The French pedicure has evolved far beyond the traditional look,” Mason says, adding that its modern iteration is now super versatile. If you thought that it was a style that only works in spring or summer, think again.
For starters, you’re no longer restricted to just a white tip—pastel or even metallic edges are a fresh riff on the traditional design. You can experiment with the texture of the nude base, too, opting for a gradient ombré or a milky pink polish to create a creamy, translucent finish. “Add in different nail shapes—soft square or rounded—and there’s something to suit everyone,” says Mason.
On a practical note, the French pedicure also leans into TikTok’s viral ‘recession beauty’ trend that favors purse-friendly, low-maintenance beauty choices. “A French pedicure’s sheer base gives a clean, natural look—ƒmeaning it will look fresh even as the nails grow, and you get a little longer out of your pedicure,” Mason adds.
Are there different types of French pedicures?
The short answer is yes. To help you get to grips with the modern version of the nail trend, here are the four types of French pedicure that are currently trending:
When celebrity nail pros Milly Mason and
Plataforma Festival Play – Métodos de Retiro Más Rápidos Presentes en España
En calidad de especialista en el ámbito del casino digital, he evaluado docenas de páginas en España, y un aspecto que hace la diferencia real es la velocidad de los cobros https://festivalsplaycasino.com/es-es/. En este análisis, me concentro en Festival Play Casino para desglosar sus métodos de retiro más rápidos, no basándome en afirmaciones, sino en la arquitectura técnica y los pactos con proveedores que facilitan gestionar cobros en cuestión de pocas horas. Mi propósito es proporcionarte un mapa claro y detallado de cómo sacar tus premios con la mayor eficiencia, explicando los pros, los inconvenientes y los tiempos reales de cada alternativa. La agilidad financiera no es un extra, sino una característica esencial de un casino de confianza, y aquí te mostraré cómo este sitio trata esta necesidad crucial para el jugador moderno.
El Valor de los Retiros Rápidos en el Casino Digital
La vivencia de un casino online no termina al conseguir una ganancia; culmina cuando ese dinero alcanza a tu cuenta de forma confiable y sin demoras excesivas. Los retiros rápidos son un indicador fundamental de la gestión interna y la transparencia de una plataforma. Un proceso rápido demuestra sistemas automatizados sólidos, liquidez suficiente y, sobre todo, respeto por el cliente. Cuando un casino destaca esta velocidad, está invirtiendo en tecnología y procesos que minimizan la intervención manual, reduciendo así errores y frustraciones. Para el jugador, esto se convierte en control financiero directo, habilidad de administrar su bankroll con mayor precisión y, en conclusión, en una confianza fortalecida. En un mercado reñido como el español, esta ventaja operativa es lo que diferencia a los operadores serios del resto.
Análisis de los Métodos de Retiro Express en Festival Play Casino
Luego de examinar a fondo la sección de pagos de Festival Play Casino, distingo dos categorías principales: métodos de retiro instantáneo y métodos de procesamiento rápido. Los métodos “express” o instantáneos son generalmente billeteras electrónicas y, en algunos casos, transferencias bancarias específicas que utilizan tecnología de autorización en tiempo real. Estos sistemas funcionan porque el dinero ya se encuentra previamente autorizado en una red intermediaria, lo que anula los tiempos de compensación bancaria tradicionales. En Festival Play Casino, la clave reside en que, una vez superada la verificación de cuenta (un proceso único y obligatorio), el jugador puede elegir por estas vías para recibir sus fondos en un plazo que, en condiciones ideales, puede ser de unas pocas horas. No todos los métodos brindan la misma velocidad, por lo que la elección informada es crucial.
Billeteras Electrónicas: Rapidez y Rendimiento en Primera Línea
Sin duda, las billeteras electrónicas representan los pilares de la velocidad. Sistemas como Skrill, Neteller y PayPal encabezan este segmento gracias a su integración prácticamente total con las plataformas de juego. Estos servicios funcionan como intermediarios financieros con sus propias redes, posibilitando que las transacciones entre cuentas de casino y cuentas personales se resuelvan internamente, sin depender de el lento circuito bancario internacional. En mi análisis, Festival Play Casino incluye estas opciones de forma nativa, lo que sugiere acuerdos directos con los proveedores. El proceso es directo: gestionas el retiro a tu billetera vinculada, el casino confirma la transacción (generalmente en menos de 12 horas si se hace en día laboral), y la billetera te acredita los fondos de inmediato. La ventaja es doble: velocidad y una capa adicional de privacidad para tus datos bancarios.
Yendo más allá, la eficiencia técnica de estas billeteras estriba en su modelo de cuentas prefondeadas. Cuando tú transfieres en el casino usando Skrill, el dinero en realidad ya ha salido de tu cuenta bancaria y está almacenado en la red de Skrill. Por tanto, un retiro posterior es simplemente una transferencia de fondos dentro del mismo ecosistema cerrado. Esta es la razón técnica fundamental de su rapidez. Festival Play Casino, al tener una integración API sólida, puede enviar instrucciones de pago que estas redes procesan en segundos, aunque la aprobación humana del casino añade un margen de horas. Es un flujo mejorado donde la tecnología elimina las fricciones tradicionales.
Transferencias Bancarias y Tarjetas de débito: ¿Qué esperar?
El contexto varía cuando examinamos los métodos tradicionales, como las transferencias bancarias directas o las tarjetas de pago (Visa, Mastercard). Estos canales están expuestos a los plazos de procesamiento de la banca clásica, que pueden agregar de 1 a 3 días laborables solo en la parte del casino, más el tiempo de liquidación entre entidades financieras. En Festival Play Casino, he notado que proporcionan tramitación ágil para estas modalidades, tratando transmitir la instrucción de pago el propio día. Sin embargo, es esencial que el usuario entienda que el “tiempo de recepción” final está sujeto de su banco. Una beneficio destacable es la posibilidad de usar soluciones como Trustly, que, aunque se vincula a tu cuenta bancaria, agiliza el proceso mediante autorización directa, alcanzando plazos de 24 horas o menores. Es un combinado que fusiona la seguridad bancaria con la agilidad electrónica.
Para las tarjetas, el proceso es particularmente interesante. Un retiro a Visa o Mastercard no es una transferencia, sino un “reembolso” a la idéntica tarjeta. Este proceso requiere comunicación entre el banco emisor del casino y el banco emisor de tu tarjeta, un proceso que no es en tiempo real. Festival Play Casino puede validar el reembolso en 24 horas, pero luego tu banco puede tomarse 2-5 días útiles en mostrarlo en tu saldo actual, ya que debe cerrar el ciclo de ajuste de la transacción original de depósito. Este diferencia es institucional, no una falencia del casino, y es importante administrar las expectativas al elegir este método en apariencia conveniente.
El Procedimiento de Verificación: El Secreto para Cualquier Retiro Veloz
Ningún análisis sobre retiros estaría completo sin abordar el paso más esencial y, a menudo, malentendido: la verificación de cuenta (KYC). Constituye el obstáculo universal. Festival Play Casino, como cualquier operador autorizado por la Dirección General de Ordenación del Juego (DGOJ), se encuentra obligado legalmente a verificar la identidad de sus usuarios. El proceso, que es particular por jugador, requiere que cargues documentos como DNI, pasaporte, un documento de domicilio reciente y, a veces, una copia de la tarjeta de pago. Mi sugerencia es completar esta verificación inmediatamente después del registro, incluso antes de efectuar tu primer depósito. Una cuenta verificada significa una cuenta dispuesta para retiros rápidos, ya que el departamento de pagos no deberá parar tu solicitud para solicitar documentación, agilizando todo el flujo de manera significativa.
La rapidez de este proceso en Festival Play Casino es aceptable, pero está sujeta de la calidad de los documentos presentados. He observado casos donde, con fotos difusas o documentos incompletos, la revisión se alarga 72 horas o más. El sistema automatizado realiza un primer filtro, pero una validación humana final es imprescindible. Para acelerarlo al máximo, proporciona documentos en color, con todas las esquinas visibles y datos entendibles. Un justificante de domicilio debe ser actual y coincidir exactamente con la dirección indicada. Esta atención inicial evita días de espera posteriores y es el cimiento sobre el que se basa cualquier retiro veloz.
Análisis de Períodos y Topes de Extracción
Para brindar una panorama funcional, he recopilado y comparado los información principales de los destacados métodos en Festival Play Casino. Dicha tabla te permitirá realizar una decisión informada basada en tus exigencias de celeridad y cantidad de transacción. Recuerda que los tiempos mencionados empiezan una vez la solicitud ha sido aceptada por el casino, asumiendo que la cuenta de usuario está plenamente verificada y que la petición se lleva a cabo en un día y hora laboral. Los límites pueden variar según tu nivel de cuenta y la normativa concreta, pero esta tabla refleja los estándares típicos registrados.
- Skrill/Neteller:Plazo: 0-12 horas. Límite mínimo/máximo más común: 10€ / 5.000€ diarios (aproximado). Beneficio más importante: La plataforma cerrada permite la máxima velocidad disponible, con acreditación casi inmediata tras la aceptación.
- PayPal:Plazo: 0-24 h. Límite mínimo/máximo más común: 10€ / sujeto a topes de PayPal. Ventaja fundamental: Familiaridad y seguridad al usuario, perfecto para usuarios que ya controlan la plataforma.
- Trustly:Período: 12-24 h. Límite inferior/superior más común: 20€ / 10.000€ por transacción. Beneficio fundamental: Enlace directa y segura con tu banco sin requisito de crear una cartera intermedia, un enlace eficaz.
- Transferencia Bancaria (SEPA):Tiempo: 1-3 días laborables. Monto máximo mínimo/máximo típico: 20€ / Ilimitado claro (sujeto a aceptación). Ventaja más importante: Protección absoluta y ingreso directo en tu cuenta, ideal para importes muy elevados.
- Tarjeta Visa/Mastercard:Tiempo: 1-5 días laborables. Límite inferior/superior típico: 20€ / 2.500€ diarios. Beneficio fundamental: Comodidad y simetría si utilizaste la tarjeta para hacer el depósito, aunque el plazo final lo decide tu banco emisor.
Estrategias Operativas y Fallos Habituales a Prevenir
Aparte de elegir un método, la velocidad se optimiza con acciones concretas y evitando trampas comunes. Mi revisión de patrones en retiros evidencia que los mayores retrasos provienen de errores evitables. Para empezar, solicitar un retiro a una cuenta de pago no verificada o con datos ligeramente diferentes a los registrados (un segundo apellido omitido, por ejemplo) desencadena controles automáticos. En segundo lugar, ignorar los requisitos de apuesta (wagering) de un bono activo bloquea la solicitud hasta que se audite todo el historial de juego asociado. Tercero, realizar múltiples solicitudes pequeñas en vez de una grande satura el sistema y puede provocar revisiones por prevención de fraude.
Mi recomendación estratégica es clara: establece y verifica un único método principal de retiro desde el inicio. Emplea ese método también para la mayoría de tus depósitos, creando un patrón claro y confiable para los sistemas de seguridad. Previo a solicitar cualquier retiro grande, opera un poco con el saldo base (sin bono) para generar un historial de juego natural. Estos pasos, aunque parezcan burocráticos, señalan al sistema que eres un usuario legítimo, reduciendo la probabilidad de que tu transacción sea marcada para una revisión manual extensa que agrega días de demora.
Consejos para Agilizar tu Retiro al Límite
Partiendo en mi práctica, puedo darte una estrategia concreta para maximizar los plazos de retiro en cualquier casino, entre ellos Festival Play Casino. En primer lugar, efectúa la confirmación de cuenta de manera inmediata. En segundo lugar, selecciona constantemente un método de retiro que esté vinculado, o conectado, a tu método de abono; esto reduce los verificaciones de protección. Tercero, efectúa tus pedidos en jornadas y momentos de trabajo (de lunes a viernes, antes de las 16:00), esquivando fines de semana y feriados. En cuarto lugar, verifica dos veces que todos los datos de la cuenta de destino (email de Skrill, número de cuenta bancaria, etc.) sean precisos; un fallo detendrá el procedimiento. Quintamente, conserva un récord de juego correcto, satisfaciendo con los requisitos de juego de los bonos, para evitar inspecciones largas.
Un sexto consejo técnico es supervisar el situación de tu petición en el zona de usuario. Festival Play Casino tiende a tener estados como “Pendiente”, “Procesando” y “Completado”. Si una solicitud continúa en “Pendiente” más de 12 horas en día hábil, un comunicación respetuoso con el atención a través del chat en vivo puede funcionar como aviso provechoso. Facilita tu ID de usuario y el número de movimiento. Esta iniciativa resuelve a veces meros bloqueos administrativos. Para terminar, entiende que los tiempos límites comunicados son eso, tope; la gran parte de retiros exprés se finalizan mucho antes si sigues este método.
FAQ
¿Cuál es el el método de retiro más veloz en Festival Play Casino?
Basándome la arquitectura de pagos, las billeteras electrónicas como Skrill y Neteller son generalmente las más rápidas, con plazos de entre 0 y 12 horas tras la aprobación del casino. Su tecnología de red cerrada posibilita movimientos casi instantáneos, superando a los canales bancarios tradicionales que dependen de días hábiles y sistemas de compensación más lentos. La clave es que el dinero ya está dentro de su ecosistema.
¿Por qué motivo mi retiro está pendiente o tarda más de lo anunciado?
Las demoras suelen deberse a tres motivos principales: la verificación de cuenta (KYC) está incompleta, la solicitud se realizó en un fin de semana o festivo, o el método de retiro elegido no coincide con el de depósito, lo que activa revisiones de seguridad adicionales. Revisa el estado de tu cuenta y contacta al soporte con datos concretos. Una auditoría de bonos también puede ralentizarlo.
¿Existen comisiones por retirar dinero en Festival Play Casino?
Festival Play Casino generalmente no aplica comisiones por procesar retiros. No obstante, el proveedor del método de pago (tu banco, Skrill, etc.) sí podría aplicar sus propios cargos por recibir o convertir fondos. Te recomiendo consultar las tarifas de tu proveedor de pagos específico para tener una visión completa del coste de la transacción. Las transferencias SPAIN suelen ser libres de comisión.
¿Se aplica un límite máximo o mínimo para los retiros?
Sí, se aplican límites tanto mínimos como máximos, y varían según el método de pago seleccionado. Por ejemplo, las billeteras electrónicas pueden tener un mínimo de 10€, mientras que los límites máximos diarios o mensuales alcanzan de miles de euros. Esta información se detalla en la sección de pagos del casino y es fundamental consultarla antes de solicitar un retiro grande para evitar rechazos.
¿En qué consiste el proceso de verificación (KYC) y cuánto tarda?
El proceso KYC necesita que adjuntes documentos escaneados o fotografiados (DNI, factura de servicios) a tu área de usuario. El equipo de seguridad del casino los revisa manualmente. Este proceso, si los documentos son claros y válidos, se completa normalmente en 24-48 horas hábiles. Es un requisito legal y único; una vez aprobado, no deberás repetirlo para futuros retiros.
Documentos específicos comúnmente requeridos
Habitualmente se solicita un documento de identidad con foto (DNI, pasaporte), un comprobante de domicilio reciente (menos de 3 meses, como una factura de luz) y, si usaste tarjeta, una copia de la misma (mostrando solo los primeros y últimos dígitos). Verifica de que las imágenes sean nítidas y que todos los datos sean legibles para evitar rechazos. Una factura de móvil en PDF es recomendable.
¿Es posible cancelar una solicitud de retiro una vez enviada?
Sí, es posible anular una solicitud de retiro mientras el casino no la haya procesado y enviado al proveedor de pagos. Tienes que contactar con el servicio de atención al cliente de forma inmediata a través del chat en vivo o correo electrónico. Si la transacción ya está “en camino”, la cancelación no sería posible y deberás esperar a que se concluya o sea denegada por el sistema destino.
¿Qué garantías de seguridad brindan estos métodos de retiro veloz?
Todos los métodos presentados por Festival Play Casino utilizan cifrado de última generación (SSL) y cumplen con la estricta regulación de la DGOJ. Además, métodos como PayPal o las transferencias bancarias cuentan con sus propias capas de autenticación y protección contra el fraude. La seguridad es un proceso en capas que implica al casino, al proveedor de pagos y, en última instancia, a la supervisión del regulador español, garantizando la integridad de cada transacción.
En resumen, tras un análisis detallado, Festival Play Casino muestra un ecosistema de retiros sólido y centrado en la rapidez, especialmente cuando el jugador usa los métodos óptimos y cumple con los requisitos de verificación. La combinación de billeteras electrónicas para la máxima inmediatez y soluciones híbridas como Trustly para quienes prefieren el canal bancario directo, ofrece un abanico flexible. La conclusión es clara: la velocidad final es el resultado de la elección informada del método y de la proactividad del usuario en la preparación de su cuenta. Para cualquier jugador que valore la agilidad financiera, comprender y poner en práctica estos principios es la clave para una experiencia de retiro sin contratiempos, donde las ganancias se conviertan en liquidez real con la mínima fricción.
En calidad de especialista en el ámbito
Power Ballad | Film Threat
NOW IN THEATERS! I am allergic to sentimentality. I find it insulting when filmmakers resort to cheap gimmicks to squeeze out tears. Happily-ever-after endings are for fairy tales. There are, however, no rules without exceptions. The multitalented John Carney, who writes, produces, directs, and composes songs for his dramas, happens to be one of the filmmakers who cunningly sidestep that “ick” factor while unabashedly wearing hearts on sleeves. His latest effort, the joyful, deeply charming dramedy Power Ballad, fits right into this category. It’s unafraid to be dewy-eyed, and the truthful nature of the emotions it expresses resonates, despite the narrative predictability.
Rick (Paul Rudd) is a down-on-his-luck lead singer of a wedding band called Bride and Groove, living in the suburbs of Dublin with his loving wife and teenage daughter. One day, Danny (Nick Jonas), a fading rock star, happens to attend one of the weddings. He joins Rick on stage. They smoke pot, drink, and make music together afterward. Months later, Rick hears the song that he wrote and shared with Danny on the radio. Instead of immediately getting resentful, Rick earnestly believes his buddy just hasn’t had the chance to communicate with him yet and is happy for him. When he discovers that Danny used his song to revitalize his career, he sets out on a quest to get the recognition he deserves.
It’s not about the money — though Carney makes it clear that money plays a huge role. It’s about music uniting us, helping us overcome hurdles, and dealing with the complexities of life. The purity of Rick’s intentions is infectious, rarely seen on the silver screen, and makes him an easy character for whom to root.
Havana Rose Liu as Marcia in Power Ballad. Photo Credit: Courtesy of Lionsgate
“…Rick hears the song that he wrote and shared with Danny on the radio…”
I’ll go ahead and state right away that the music itself is not my cup of tea. I definitely respond to the expressed notion that music has devolved in the past few decades, but unlike in, say, Carney’s Once, the songs here are a bit bland. Power ballads, pop tunes, late-1980s “light-alternative” rock — I just don’t respond to this stuff. The fact that the film won me over despite my aversion (the title ballad is played over and over again, clearly in love with itself — Carney could’ve dialed back a little here; most will disagree with me) speaks volumes about the mastery of its filmmaking, the sharpness of its screenplay, and the radiating charm of its actors.
Speaking of, we all know Paul Rudd can do anything and charm your pants off. He single-handedly managed to make the awful sequel to Ant-Man bearable. The real surprise here is Nick Jonas. He’s phenomenal: desperate and regretful, eloquent and discombobulated. His character has to experience quite the range of emotions, and Jonas pulls it off with aplomb. The leads’ chemistry lights up the screen; the scenes they share form the beating heart and driving force of the film. That’s not to forget the supporting actors, uniformly excellent, with Peter McDonald stealing the show as Rick’s super-dedicated friend Sandy.
I mentioned that the narrative is predictable. It is — and it’s a good thing, a warm, cozy blanket of familiarity that’s expertly stitched together. Also, you won’t see the ending coming. Carney neatly avoids the aforementioned “happily-ever-after” in favor of something way more meaningful. There won’t be a dry eye in the house. And isn’t that the purpose of every power ballad?
NOW IN THEATERS! I am allergic to
Casino Pelikaanin pelivalikoima ja johtavat pelintarjoajat
Tutustuin Pelikaani Casinon pelikirjastoon perusteellisesti monen päivän ajan, ja heti ensimmäisenä valikoiman laajuus erottui positiivisesti. Sivuston pelikirjasto kattaa tuhansia otsikoita, jotka ulottuvat tavanomaisista hedelmäpeleistä nykyaikaisiin videokolikkopeleihin ja live-jakajien vetämiin pöytäpeleihin. Tässä artikkelissa käyn läpi, millaisia pelivaihtoehtoja on saatavissa, mitkä pelinkehittäjät vastaavat tasosta ja kuinka paketti toimii suomalaista pelaajaa.
Pelivalikoiman rakenne ja luokat
Pelikaani Casinon etusivulta näkyvä pelinäkymä on jaettu tarkkoihin kategorioihin, jotka helpottavat oikean pelityypin löytämistä nopeasti. Päävalikosta näkyvät kolikkopelit, live-kasino, pöytäpelit, jättipotit ja uutuudet. Tämän kera suodattimia voi käyttää pelintarjoajan, teeman tai ominaisuuksien mukaan. Käyttöliittymä reagoi valintoihin viiveettä, ja hakutulokset tarkentuvat reaaliaikaisesti ilman sivun uudelleenlatausta.
Pelityypit ja suodatusvaihtoehdot
Kategorisointi ei ole pintapuoliseksi. Kolikkopelien keskuudessa voi eritellä esimerkiksi hedelmäpelit, seikkailuteemat, mytologia-aiheiset pelit ja Megaways-mekaniikalla käytetyt nimikkeet. Pöytäpelit on luokiteltu blackjackiin, rulettiin, baccaratiin ja pokeriin. Täsmällisyys suodatuksessa edesauttaa rajaamaan tuhansien pelien joukosta juuri ne, jotka vastaavat omaa mieltymystä. Itse hyödynsin eniten tarjoajasuodatinta, sillä tietyt studiot kehittävät jatkuvasti korkealaatuista pelattavaa.
- Kolikkopelit: valtava määrä nimikkeitä monilta tarjoajilta
- Live-pelit: yli sata pöytää ympäri vuorokauden
- Klassiset pöytäpelit: sähköisiä versioita klassisista kasinopeleistä
- Päävoitot: progressiivisia ja määrättyjä päävoittoja
- Uutuudet: säännöllisesti täydentyvä valikoima uusimpia julkaisuja
Kasvavat jättipotit
Jättipottipelit muodostavat oman mielenkiintoisen lokeronsa Pelikaani Casinolla. Progressiiviset jättipotit kertyvät jokaisesta panoksesta, kunnes joku pelaaja voittaa potin. Tunnettuja esimerkkejä ovat muun muassa Mega Moolah ja Hall of Gods, jotka ovat antaneet miljoonavoittoja. Pelikaani Casinon jättipottivalikoima ei ole markkinoiden laajin, mutta se sisältää keskeiset nimikkeet, jotka kiinnostavat suuria voittoja tavoittelevia pelaajia. Itse seurasin muutaman potin karttumista viikon ajan.
Kiinteiden jättipottien pelit antavat puolestaan takeen päävoiton koosta. Progressiivisista poiketen ne eivät kerrytä pottia, vaan voittosumma on ennalta määritelty. Tämä kategoria passaa pelaajalle, joka toivoo tietää tarkasti, mitä on tiedossa. Molemmat tyypit on yksinkertaista löytää oman suodattimensa kautta, ja pelien tiedoissa näkyy reaaliaikainen jättipotin saldo. Tämä lisää läpinäkyvyyttä ja edesauttaa valitsemaan tällä hetkellä houkuttelevan pelin.
Kolikkopelien huippustudiot
Rahapeliautomaattien laatuun on vaikutusta ennen kaikkea pelistudion asiantuntemus https://pelikaanicasinos-fi.com/. Pelikaani Casinolla on erityisen vahva valikoima niiltä kehittäjiltä, jotka hallitsevat kolikkopelien tuotantoon. Kävin läpi lähemmin joitakin tarjoajia, joiden tuotokset kohoavat toistuvasti pelaajien listoille. Kyseisten studioiden työtavat, matemaattiset mallit ja graafinen suunnittelu nostavat ne joukosta. Pelaajan kannalta tämä ilmenee pelien sujuvuutena, hauskuutena ja tasapuolisena palautusasteena.
NetEnt on yksi pitkäaikaisimmista yhteistyökumppaneista, ja sen teokset kuten Gonzo’s Quest ja Dead or Alive 2 ovat edelleen vahvasti esillä. Play’n GO puolestaan on keskittynyt mobiiliystävällisiin kolikkopeleihin, joissa Viking Runecraft ja Reactoonz edustavat studion luovempaa puolta. Kummatkin tarjoavat laadukasta kuvastoa ja tarkkaa äänisuunnittelua. Pelikaani Casinon valikoimassa näiden studioiden tuotokset ovat tärkeässä roolissa.
Pragmatic Play ja Push Gaming
Pragmatic Play on tunnettu vauhdikkaasta julkaisutahdista ja laajasta aihekirjosta. Sen pelit, kuten Gates of Olympus ja Sweet Bonanza, ovat keränneet valtavan suosituimmuuden. Push Gaming sitten keskittyy pienempään määrään, mutta äärimmäisen hiottuihin peleihin. Jammin’ Jars ja Razor Shark ovat esimerkkejä tästä. Kummatkin pelitalot panostavat korkeatasoisen vaihteluun ja isoihin voittomahdollisuuksiin, mikä vastaa monien kotimaisten käyttäjien preferenssien kanssa. Itse pidän Push Gamingin pelien erikoisuutta.
Yggdrasil ja Nolimit City
Yggdrasil erottuu visuaalisella ulkonäöllään ja kerronnallaan. Teokset kuten Vikings Go Berzerk ja Valley of the Gods ovat yksityiskohtaisia ja täynnä tunnelmaa. Nolimit City sitten ylittää normeja rajulla aiheilla ja pelimekaniikoilla, jotka eivät kelpaa jokaiselle, mutta antavat uniikin kokemuksen. Pelikaani Casinolla molempien studioiden valikoima on kattavasti esillä, ja ne löytyvät helposti suodattimien avulla. Tämä moniäänisyys on yksi pelivalikoiman vahvuuksista.
- NetEnt: klassikkopelejä kuten Starburst ja Gonzo’s Quest
- Play’n GO: mobiililähtöisiä seikkailuja ja korkeaa volatiliteettia
- Pragmatic Play: vauhdikas julkaisurytmi ja merkittävät päävoittokampanjat
- Push Gaming: viimeisteltyjä mekaniikkoja ja uudenlaisia aiheita
- Yggdrasil: graafista komeutta ja syvällisiä juonia
- Nolimit City: räväköitä ja vaarallisia kolikkopelejä
Live-kasinon tarjonta
Live-pöytäpelien osasto tuo autenttisen kasinokokemuksen suoraan päätelaitteelle. Pelikaani Casinolla live-pöytiä on saatavana lukuisilta tarjoajilta, ja pelivalikoima käsittää kaikenlaiset keskeiset pelimuodot. Studiolähetykset ovat teräväpiirteisiä, ja jakajat puhuvat englantia sekä erilaisia kieliä. Itse pidin erityisesti siitä, että pöytiä on tarjolla eri panostasoilla, joten matalan budjetin pelaaja saa yhtä hyvin pelin kuin korkeampia panoksia etsivä.
Ruletti ja blackjack live-jakajilla
Live-ruletti on tarjolla useissa muodoissa, kuten eurooppalainen, ranskalainen ja nopeatempoinen Speed Roulette. Blackjack-pöydät vaihtelevat laajasti klassisesta seitsemän pelaajan versiosta spesiaaliversioihin, kuten Infinite Blackjack ja Power Blackjack. Pöydillä on selkeät käyttöliittymät, joista panosten asettaminen onnistuu sujuvasti. Kokeilin muutamia kierroksia, ja lähetysten laatu pysyi vakaana jopa mobiiliyhteydellä. Jokaisessa pelissä on chat-toiminto, joka mahdollistaa vuorovaikutuksen jakajan kanssa.
Peliohjelmat ja ainutlaatuiset variaatiot
Perinteisten pöytäpelien rinnalle live-kasinolla on saatavana viihdepelejä, kuten Crazy Time, Monopoly Live ja Sweet Bonanza CandyLand. Nämä kokoavat onnenpyörät, peliohjelmien juontajat ja isot voittokertoimet. Pelikaani Casinolla tätä osastoa dominoivat Evolution Gaming ja Pragmatic Play Live, mutta mukana on lisäksi suppeampia studioita tarjoamassa vaihtelua. Peliohjelmien suosio on noussut voimakkaasti, ja ne tarjoavat kevyemmän vaihtoehdon vakavampien pöytäpelien rinnalle.
Kolikkopelit: teemat ja mekaniikat
Kolikkopelien sektori on Pelikaani Casinon suurin kokonaisuus. Se kattaa kaiken perinteisistä kolmen kiekon klassikkopeleistä kehittyneisiin videokolikkopeleihin, joissa on useita voittolinjoja ja monia bonusominaisuuksia. Pelien valikoima käy tuhansissa, ja vastajulkaistuja pelejä lisätään koko ajan. Pelaaja voi poimia teeman pohjalta kuten aikakauden tarinat, mielikuvitusmaailmat, elokuvasovitukset tai klassiset kasinokuvastot. Tämä monipuolisuus varmistaa sen, että erilaisuutta on tarjolla pitkäksikin aikaa.
Perinteiset kolikkopelit
Perinteisten hedelmäpelikoneiden ystäville on tarjolla oma paikkansa. Nämä pelit tukeutuvat selkeisiin rumpukuvioihin, helposti ymmärrettäviin voittotaulukoihin ja usein korkeaan palautusprosenttiin. Niissä ei ole monimutkaisia bonuspelejä, vaan tunnelma syntyy suoraviivaisesta kierroksesta. Klassikoiden seasta nousevat esiin kuten Fire Joker ja Super Nudge 6000, jotka edustavat genreään uskollisesti. Itse arvostan näiden pelien rivakkaa tempoa ja yksinkertaisuutta.
Videopelit ja tarinavetoiset seikkailut
Uuden ajan videokolikkopelit muodostavat valikoiman keskiön. Ne tarjoavat monitasoisia kertomuksia, liikkuvaa kuvaa ja auditiivisia kokemuksia, jotka muistuttavat viihdepelejä. Esimerkkeinä Book of Dead, Reactoonz ja Immortal Romance. Näissä koneissa erikoisominaisuudet, kuten esimerkiksi ilmaispyöräytykset ja erikoismerkit, takaavat kierrokset erilaisina. Pelikaani Casinolla on tarjolla laaja valikoima tätä tyyppiä, ja jokainen kehittäjä antaa oman näkemyksensä tarinoiden kertomiseen.
Megaways ja kekseliäät toimintaperiaatteet
Megaways-mekaniikka on muuttanut kolikkopelien kenttää merkittävästi. Automaatit kuten Bonanza ja Extra Chilli antavat peräti yli satatuhatta voittotapaa, mikä vaihtaa kaikkien pelikerran dynamiikkaa. Pelikaani Casinon kokoelmasta on saatavilla laaja kokoelma Megaways-pelejä, mutta myös toisia innovaatioita, kuten esimerkiksi klusterivoittoja ja Infinity Reels -mekaniikkaa. Käytin useita näistä, ja huomasin niiden tarjoavan runsaammin vaihtelua pyöräytysten välillä suhteessa perinteisiin voittolinjoihin.
Pelinkehittäjien ekosysteemi
Pelikaani Casinon pelikattauksen takana on perusteellisesti rakennettu peliyritysten verkosto. Sivusto tekee yhteistyötä kymmenien studioiden kanssa, jotka ulottuvat alan jättiläisistä pieniin innovatiivisiin kehittäjiin. Tämä ekosysteemi takaa sen, että pelikirjasto säilyy tuoreena ja monipuolisena. Jokaisella toimittajalla on oma tyylinsä, vahvuutensa ja spesialiteettinsa, mikä heijastuu suoraan siihen, millaisia pelaamisen elämyksiä pelaaja voi odottaa. Itse syvennyin tarjoajiin järjestelmällisesti.
Merkittävimmät ja tunnetuimmat toimittajat
Suurista nimistä NetEnt, Play’n GO, Pragmatic Play ja Evolution Gaming muodostavat rungon. Näiden studioiden pelit sisältävät valtaosan kolikkopeleistä ja live-kasinosta. Niiden teokset ovat laadukkaita, testattuja ja lisensoituja useilla markkinoilla. Esimerkiksi NetEntin Starburst on yhä kysytty, ja Play’n GO kehittää Book of Dead -sarjan laajentamista. Pragmatic Play taas lanseeraa uusia kolikkopelejä lähes viikoittain, mikä pitää valikoiman elinvoimaisena.
Keskikokoiset ja nousevat studiot
Keskikokoisten studioiden joukko sisältää raikkaita ideoita ja spesialisoitumista. Push Gaming, Nolimit City, Quickspin ja Yggdrasil ovat näytteitä tarjoajista, jotka satsaavat omaperäisiin mekaniikkoihin ja rohkeaan visuaaliseen ilmeeseen. Nolimit Cityn pelit, kuten Mental ja San Quentin, ovat tunnistettuja korkeasta volatiliteetista ja provokatiivisista teemoista. Push Gaming taas suuntautuu mobiiliystävällisiin kolikkopeleihin, joissa pelaajakokemus on hiottu erityisen tarkasti. Itse löysin useita uusia suosikkeja juuri tästä joukosta.
Pöytäpelit ja korttipelit
Virtuaalisten pöytäpelien osio mahdollistaa välittömän saannin klassikoihin ilman live-jakajaa. Näissä peleissä säännöt ovat yhtäläiset kuin perinteisissä kasinopeleissä, mutta ne toimivat satunnaislukugeneraattorilla. Pelaaja voi edetä omaan tahtiinsa ilman aikarajoja, mikä soveltuu strategisempaan pelaamiseen. Blackjack, ruletti, baccarat ja casino hold’em ovat saatavilla useina variaatioina. Itse hyödynsin tätä osastoa harjoitellakseni uusia strategioita ennen live-pöytiin siirtymistä.
Tarjolla on myös harvemmin tunnettuja pöytäpelejä, kuten Red Dog, Pai Gow Poker ja Sic Bo. Nämä tuovat vaihtelua perinteisiin kasinovaihtoehtoihin. Pelikaani Casinon virtuaalipöytäpelien grafiikka on viimeisteltyä, ja pelit aukeavat nopeasti. Useat studiot, kuten Switch Studios ja OneTouch, ovat panostaneet juuri tämän osa-alueen kehittämiseen, ja lopputulos näkyy laadukkaana pelikokemuksena.
Live-pelien asiantuntijat
Live-kasinon kunto riippuu kokonaan pelintarjoajien studiolaitteistosta ja jakajien taitotasosta. Pelikaani Casinolla keskeisimpiä pelintarjoajia ovat Evolution Gaming ja Pragmatic Play Live. Nämä kaksi suuryritystä kattavat suurimmasta osasta live-pöytiä ja peliohjelmia. Molemmilla on omat studioympäristönsä, jotka on suunniteltu aikaansaamaan todellinen kasinotunnelma. Lähetysten kunto on teräväpiirtoista, ja tekninen suorituskyky kestää kuormitusta ruuhka-aikoinakin.
Evolution Gaming on alan pioneeri, jonka tarjonta sisältää klassiset pöytäpelit, mutta myös kekseliäät peliohjelmat kuten Lightning Roulette ja Dream Catcher. Pragmatic Play Live on uudempi tulokas, joka on nopeasti saanut suosiota erityisesti suomenkielisten pelaajien keskuudessa. Sen pelit, kuten Mega Wheel ja ONE Blackjack, tuovat vaihtelua live-valikoimaan. Pelikaani Casinolla molempien tarjonta on rinnakkain, mikä antaa pelaajalle valinnanvaraa tyylin mukaan.
- Evolution Gaming: markkinajohtaja, laaja peliohjelmakirjasto
- Pragmatic Play Live: nopea kasvu, pelaajaystävälliset käyttöliittymät
- Ezugi: paikallisia pöytiä ja joustavia panostasoja
- Bombay Live: erikoistunut aasialaisiin pöytäpeleihin
Mobiilipelaaminen ja tekninen luotettavuus
Pelikaani Casinon pelitarjonta toimii moitteettomasti mobiililaitteilla. Kokeilin sivustoa useilla älypuhelimilla ja tableteilla, enkä huomannut merkittäviä eroja työpöytäversioon verrattuna. Pelit latautuvat nopeasti, koska ne on suunniteltu HTML5-teknologialla. Tämä merkitsee, että omia sovelluksia ei vaadita, vaan pelaaminen onnistuu suoraan selaimessa. Rajapinta mukautuu näytön kokoon, ja kosketusnäytöllä liikkeet sujuvat luontevasti.
Tekninen suorituskyky on kriittinen osa pelikokemusta, ja Pelikaani Casinolla se on toteutettu vakuuttavasti. Pelit eivät tökkineet tai lakkautuneet testijakson aikana, ja grafiikka pysytteli terävänä jopa hitaammilla verkkoyhteyksillä. Tämä johtuu osittain siitä, että pelivalmistajat optimoivat tuotteensa eri alustoille. Itse kokeilin useita tunteja mobiililaitteella, ja akun käyttö pysytteli kohtuullisena. Live-kasinon lähetykset pysyttelivät synkronoituna ilman epämiellyttäviä viiveitä.
Videopelien selattavuus mobiilissa on vastaavasti hyvä kuin työpöydällä. Haku ja suodattimet on sijoitettu niin, että ne ovat ainoan peukalon ulottuvilla. Pelaamojen nopea selaaminen sujuu pyyhkäisemällä, ja peliin pääset sisään yhdellä napautuksella. Tämä on varsin tärkeää silloin, kun pelaaja tahtoo vaihtaa nopeasti pelistä toiseen. Pelikaani Casinon mobiilitoteutus todistaa, että suunnittelussa on painotettu nimenomaan käyttäjää, ei ainoastaan teknisiä vaatimuksia.
Havaitsin myös, että mobiiliversiossa pelien esikatseluruudut esittävät tärkeimmät tiedot, kuten palautusarvon ja volatiliteetin, ennen pelin avaamista. Tämä auttaa tekemään tietoon perustuvia valintoja ilman, että täytyy avata pelin sääntösivua. Tämän lisäksi kaikki bonustoiminnot ovat kosketusnäytöllä yhtä intuitiivisesti kuin hiirellä. Tämä yksityiskohta painottaa sitä, miten tärkeää mobiilipelaaminen on nykypäivän kasinomaailmassa.
Tutustuin Pelikaani Casinon pelikirjastoon perusteellisesti monen päivän
Zee Lands FIFA Soccer Rights for India, Covering World Cups to 2034
Zee Entertainment Enterprises has secured Indian broadcast and streaming rights to 39 FIFA soccer events spanning 2026 to 2034, including the FIFA World Cup 2026, FIFA World Cup 2030 and FIFA Women’s World Cup 2027, the company revealed Monday.
The deal, the first between Zee and FIFA, also encompasses a portfolio of age-group and futsal tournaments across both the men’s and women’s game, as well as documentary series tied to each property. Events covered include the FIFA Men’s U-17 World Cup and FIFA Women’s U-17 World Cup editions from 2026 through 2034, FIFA U-20 Men’s and Women’s World Cup cycles, the FIFA Futsal Men’s and Women’s World Cups, and the FIFA Intercontinental Cup through 2030.
Coverage begins June 11 with the FIFA World Cup 2026 opener, broadcast across four newly launched linear sports channels — Unite8 Sports 1 and Unite8 Sports 1 HD in Hindi, and Unite8 Sports 2 and Unite8 Sports 2 HD in English — as well as Zee’s streaming platform ZEE5.
“We are excited to bring one of the world’s biggest sporting spectacles to Indian audiences,” Punit Goenka, CEO of Zee Entertainment Enterprises, said. “Football cuts across regions and demographics, and the investments in garnering the media rights and launching dedicated sports channels reflect our clear belief in its long-term potential.”
“The Indian market is of strategic importance for FIFA as it displays immense potential driven by a young and passionate audience,” Romy Gai, FIFA’s chief business officer, added.
The deal marks a significant development in what had been a protracted rights negotiation in India. As Variety previously reported, FIFA had initially sought $100 million for broadcast rights covering the 2026 and 2030 tournaments before revising its ask to approximately $60 million; India’s largest platform JioStar had tabled $20 million, and Sony had withdrawn from the process. Financial terms of the current deal were not disclosed.
“Football as a sport has tremendous under-leveraged potential in a country like India and we see a massive opportunity in unlocking its mass appeal for billions of viewers across the Nation,” Mukund Galgali, Zee’s deputy CEO and CFO, said.
Zee’s Unite8 Sports portfolio already carries cricket, kabaddi, badminton, wrestling and combat sports alongside football. The FIFA partnership extends the company’s footprint in a rights market historically dominated by cricket, with the 2026 World Cup serving as its biggest early test.
Zee Entertainment Enterprises has secured Indian broadcast
UK Music Tech Report 2026: Funding Crisis, AI, Government Action Need
Technology has been a key driver of the music business in the digital age. But U.K. music tech companies are facing a funding crisis when entering their growth stage, according to the second annual Sound Investments report from trade association Music Technology U.K. (MTUK), which was unveiled on Monday and will be discussed at SXSW London 2026 later in its opening day.
Highlighting that funding for growth-stage firms plunged by 90 percent between 2020 and 2025 and that generative artificial intelligence continues its rapid rise, the trade group emphasized that “AI raises the stakes for government action.”
The study, entitled “Sound Investments 2026: Back the Sector,” produced by MTUK in partnership with research firm Beauhurst and lead sponsor support from consulting firm KPMG U.K., is based on an analysis of six years of investment data across 922 U.K. music tech companies.
Music tech includes the likes of streaming infrastructure, pricing and subscription systems, fan and other data and services that enable rights holders to better engage with fans, including through premium access, commerce, and community features. On the live music side, ticketing, venue operations and touring logistics are among the areas tapping into tech solutions. “Technology is the infrastructure on which the modern music economy runs – an infrastructure that spans live, recorded, publishing, sync, licensing, education, hardware, creator tools and more,” notes the MTUK report. “Growth is being driven not just by more consumption, but by new ways to package, distribute, and monetize music. Without
innovations in infrastructure, that growth will undoubtedly fail.”
No surprise that it put a spotlight on one core challenge. “The U.K.’s music tech industry faces a structural funding crisis with funding for growth-stage companies falling 90 percent, from £101 million ($136 million) in 2020 to £10 million ($13.5 million) in 2025,” according to a summary of Monday’s report. “The U.K.’s primary challenge is not starting companies – it is scaling them.” Growth-stage companies require capital to move from being product- and market-fit to international expansion mode.
Among other data contained in the MTUK report, the sector attracted more than £809 million ($1.09 billion) in total investment between 2020 and 2025, peaking at £183 million ($246 million) in 2021. Since then, annual investment has experienced a sharp fall to £68.8 million ($92.6 million) in 2025. That amounts to a 51 percent drop over that period, “a significantly steeper decline than the wider reduction in overall U.K. tech funding during the same period – a decline of just 4.4 percent.”
Compared to the U.S., in 2020, U.K. investment in the music tech industry equated to 76 percent of U.S. funding. But by 2025, that figure had collapsed to 21 percent.
Matt Cartmell, CEO of Music Technology U.K.
Courtesy of Music Technology U.K.
While investment in seed-stage companies more than doubled over the six-year period, from £8.4 million ($11.3 million) in 2020 to £22.1 million ($29.7 million) in 2025, funding of growth-stage companies has been decimated. “This lack of growth-stage investment forces many U.K. companies to look overseas for investment and, in some cases, consider relocating their operations to markets with greater access to capital and liquidity,” the Sound Investments 2026 report emphasized, also mentioning the need to “strengthen its visibility and appeal within international investment ecosystems.”
Among international investors, the U.S. was by far the largest source of overseas capital, participating in 14 percent of all deals, the study noted. But too often, so the report, U.K. players get sold to foreign companies in “premature acquisitions.”
The report is a call to action. “When we published the first Sound Investments report last year, we argued that U.K. music tech was undervalued, underinvested, and underrepresented,” said Matt Cartmell, CEO of MTUK. “A year on, that is changing – but not fast enough.”
Calling this “a pivotal moment” for the sector, Monday’s report identified three key initiatives needed for future development.
The first is AI’s impact on the market. “Generative AI has created a new kind of music tech buyer: technology platforms with an urgent commercial need for licensed music data, rights infrastructure, and proprietary content pipelines,” the study pointed out. “U.K. companies building in these areas are increasingly becoming acquisition targets before they have had the chance to scale domestically.” And the report emphasized a sub-sector of particular appeal, saying: “AI is fundamentally changing the strategic value of music tech companies, particularly those building at the intersection of rights infrastructure and data.”
Point 2 relates to policy. With the U.K. government supporting the creative industries, MTUK urged that “the time to position music tech explicitly within these frameworks is now.”
The third and final priority outlined in the report is tied to competitive pressure. “In an increasingly competitive global market for technology talent, capital and ownership, the U.K. must deploy strategies to support the music tech sector, so that the economic value it creates is retained in the U.K.,” the report argued.
Creative Industries Minister Ian Murray said: “Music tech has a vital role to play in driving economic growth, attracting investment, and shaping the future of music and innovation. This report highlights both the potential of the sector in the U.K., but also the challenges facing many of our pioneering organizations. Through our Creative Industries Sector Plan, we are committed to turbocharging support for high-growth creative businesses, supporting innovation, and ensuring the U.K. remains one of the best places in the world to work in creative technology.”
Download the full Sound Investments 2026 report here.
Technology has been a key driver of
Euphoria Creator Explains Rue’s Death in Season 3 Finale
Note: This story contains spoilers from “Euphoria” Season 3, Episode 8.
“Euphoria” creator Sam Levinson said killing off the show’s main character was about telling an honest story about addiction.
“It felt like an honest ending,” Levinson said in a post-episode look inside the Season 3 finale that played after the episode. “The honest ending is people like Rue don’t make it.”
“I wanted to tell the story for Angus (Cloud) and for people who weren’t granted a second chance,” he said, referencing the late actor who appeared in Seasons 1-2.
Watch the video with comments from Levinson, cast and crew below:
The episode, titled “In God We Trust” followed the direct aftermath of Faye (Chloe Cherry) betraying Rue (Zendaya) and the chaotic end to Laurie (Martha Kelly) and Alamo’s (Adewale Akinnuoye-Agbaje) deal at the hands of the DEA.
Rue managed to escape the farm after a high-stakes chase, and getting seriously injured after almost getting caught. After Alamo tended to her wounds, he gave her some painkillers that set her up to relapse.
After Laurie’s farm was seized by the DEA and she killed herself to avoid prison time, it was revealed that Alamo swapped the ambulances delivering the drugs from Mexico so he could keep the smuggled drugs from the deal to himself while getting the scent off him.
The episode then took a turn when a news report revealed Fez (Angus Cloud) managed to run away from prison doing parkour, plunging Rue into a spontaneous mission to go pick him up. The drive led her to a neighborhood, where she ran from the cops and ran into past versions of herself, Jules (Hunter Schafer) and her sister. Then she ran into her mother, which led to the realization Rue had been hallucinating — while in real life she was dying from taking the painkillers, which had been laced with fentanyl. Ali (Colman Domingo) found her on his couch.
“I knew that I wanted to experience Rue’s death through [Ali],” Levinson said. “There’s a sort of helplessness. Letting Colman articulate that for us as an audience is really important.”
A few months later, Ali reflected on the broken political system that helped set up the fentanyl and drug epidemic in the US — and how the disease of addiction fuels the business at its center. A few months had passed and Ali reflected on relapsing from Rue’s death, realizing his efforts to help the world are for naught. He announced that would be his last NA meeting, as he searched for a new way to help people.
Cassie (Sydney Sweeney) and Lexi (Maude Apatow) processed their grief over Rue while also reflecting on religion, and the solace it provides given life’s uncertainty. Meanwhile, Maddy (Alexa Demie) headed to fulfill her end of her bargain with Alamo in saving Cassie from Nate’s (Jacob Elordi) creditors. It was revealed that Cassie kept Nate’s death a secret from Lexi, forcing her to mourn that loss in silence.
At the strip club, Maddy met with Alamo in a back room to settle her debt, and he admitted to dreaming of settling down and having kids with her. But things turn deadly when Ali arrives in military uniform and locks the door of the establishment behind him. To avenge Rue’s death, he started a shootout as he searched for Alamo.
This led to an old-fashioned Western standoff between Ali and Alamo, after he proposed a duel between the two of them to end things without anyone else getting hurt. The tense altercation ends in a twist when Alamo’s gun turns out to be empty — after Bishop (Darrell Britt-Gibson) gave him an unloaded gun — leaving the opportunity for Ali to shoot and kill him in a bloody climax.
Bishop then took Maddy home, leaving her and the rest of Alamo’s cronies free.
The end of the episode returns to the remote Texas home where Rue sought refuge in the Season 3 premiere. Ali let them know of her passing, and he’s welcomed in for coffee and food. He thanked Rue and blessed her memory, saying goodbye to the character seemingly forever.
“I really had a great time with this season,” Domingo said in the video. “Life is poetry, and you got to believe in that and give yourself over to that. At least that’s what I think it is.”
“Euphoria” Seasons 1-3 are now streaming on HBO Max.
Note: This story contains spoilers from “Euphoria”
Jimmy Kimmel Thanks ‘Pumpkin McPornhumper’ Trump For His Peabody Award
“Jimmy Kimmel Live!” was among the 34 winners chosen by the Peabody Awards jury to win this year’s prizes, and Kimmel joked that he “never felt dumber” being awarded along side documentaries and news programs that “exposed the horrors of ice, prison abuse and a teacher who took on Putin.”
But the audience at Sunday night’s ceremony cheered on as the talk show host, in his acceptance speech, reminded the crowd that “making jokes about the President – in America – shouldn’t win you a prize. We have the right, guaranteed by the Constitution, to criticize and satirize our leaders. That is a right I took for granted, for the first 57 years of my life, until last September, when the FCC delivered an unpleasant surprise.”
Kimmel was honored for “embracing the responsibility of comedy to reveal truths amid political volatility,” in particular after he was briefly suspended last fall by ABC after threats from the FCC.
When that happened, Kimmel said in his acceptance speech, “I experienced something even more surprising. I watched firsthand as millions of people, even some from across the aisle, objected. They spoke up, they marched, they cancelled their subscriptions to ‘Star Wars,’ because they refused to allow our freedoms to be bulldozed like the East Wing of the White House.
“They sent a message that we do care,” he added. “And that we will stand up. And that we will not stand by when comedy, and journalism, and dissent are censored, regulated and criminalized.”
Kimmel, of course, shared a few of his quips that got under Trump’s skin: “I called our President ‘Fattyshack.’ And ‘Blob the Builder.’ And ‘Lie-ger Woods.’ And the ‘Hungry Hungry Hypocrite.’ ‘Our Fondling Father.’ ‘Mar-a-Lardo.’ ‘Nelson Tandela.’ And ‘Nostra-Dumbass.’ And somehow, we got a Peabody out of it,” he joked . “This country really has gone to shit…. We thank those who supported us during last year in September. Thank you to the Peabody jurors for this adorable little trophy, and thank you to Donald Trump, our commander-in-thief, ‘Abrascam Lincoln,’ ‘Orange Julius Caesar,’ ‘Greedy McGolfy,’ ‘Dopey McGropey’ and ‘Pumpkin McPornhumper.’”
Kimmel was presented his award by Ben Affleck, who credited the host for showing us “what speaking truth to power really means. For years he’s used his show to challenge authority on a nightly basis — and by authority I think we all know that that means, one in particular, a credit-hogging narcissist named Matt Damon!”
Kimmel was far from the only recipient to take on the administration and other oppressive institutions — this is the 86th Peabody Awards, after all, and this year’s recipients focused on heavy, important subjects including the War on Gaza, the shocking state of prisons, the lack of any attempt to bring sensible gun regulation to the U.S., our failing medical system and so much more. Comedian Mo Amer hosted the event, which took place at the Beverly Wilshire Hotel on Sunday.
Amer noted some of the heavy subject matter: “This evening has everything from investigating war crimes in Gaza to ‘here’s Elmo!’ Those don’t usually go together. ‘Today’s episode is brought to you by the letters I,D and F!’ Seriously, tonight we’re honoring ‘No Other Land,’ ‘Cleared by Fire,’ “Fault Lines: ‘Kids Under Fire’ and ‘The Disappearance of Dr. Abu Safiya,’ ‘Investigating War Crimes in Gaza,’ and ‘Put Your Soul on Your Hand and Walk,’ all of those tell stories about the systematic destruction of Palestine. The producers told me to whisper that word, because we don’t want anybody to get in trouble just for being honest.”
“Sly Lives! (AKA the Burden of Black Genius)” producer Joseph Patel accepted the doc’s award, since director Ahmir “Questlove” Thompson was still in New York, having just played on stage with Jay-Z the previous night. Patel said he would read from his phone rather than the teleprompter, but that also allowed him to go off script and issue a warning: “We’re thankful that we’ve just got to tell this story at all. The one thing that’s become clear in this journey with this film is that five years from now, we may not be able to tell this story or other stories about black artists, quite frankly.
“It sounds ridiculous, but as I speak, the stories, the histories, even the bodies of Black people and Brown people in this country are under assault,” he said. “Black people are literally been written out of representation of the government as we speak. Immigrants are being disappeared, speaking out against the death of Palestinian children results in getting thrown in jail or deported. This is not the hypothetical future. This is happening right now, and to do nothing is to be OK with it. As artists, we have a duty to tell these stories, and as people we still have agency to do something about it. We have to fight against this. Only then can we create a future that we want to live in. Fuck Trump, fuck ICE and free Palestine.”
“Andor” creator Tony Gilory, whose show has been honored for its prescient look at what happens when oppressive forces take hold in society, noted that “we spent six years contemplating a fascist takeover of a galaxy far, far away. Six years thinking about what happens to ordinary beings when an authoritarian, insane, unchecked regime comes into the deal, and the show is really kind of what we learned.
“If you’re not willing to fight for the things that you love, your family, community, your culture, your planet, your truth, freedom, there’s an asshole ready to come in and take it away,” he said. “We learned that bravery and sacrifice and resistance comes in all shapes and sizes, and we learned that courage is contagious.”
Gilroy paraphrased a character from “Andor” who noted that oppressors aim to commit so many atrocities at once and flood the zone so that citizens are too stunned and can’t pay attention to them all. That obviously sounds similar to what’s happening right now in this country. “There’s so much is happening, it’s a fire hose of crap that you just can’t get through,” Gilroy said. “And here we are. There isn’t a new cycle that goes by right now that doesn’t contain a variety of outrages that in any other time in our history in America wouldn’t be grounds for treason.”
He ended with a message to the journalists, documentarians and storytellers in the audience: “Please do not stop. Please do not turn out the lights until we can kill this nightmare… and fuck the empire!”
“Alabama Solution” filmmaker Andrew Jarecki noted that his doc made waves because so few reporters are denied access to U.S. prisons, “even though we lock up more of our citizens than any democratic country that costs $160 billion a year. Added his fellow filmmaker Charlotte Kaufman: “What we are seeing now in Minneapolis and New York and beyond, is government violence and retaliation against those who document it. After making this film, we understand that that was incubated in our prison system. It’s not surprising that after ICE agents killed Alex Pretti, while he was filming with his phone, Kristi Noem said he was brandishing a weapon — because to an authoritarian regime a camera is a weapon.”
Presenters included Affleck, Anthony Anderson, Halle Bailey, Damon Lindelof, Elex Michaelson, Yara Shahidi and Michael Urie. They all gave their own unique, personal speeches; in hers, Bailey — who was tasked with introducing the winners bearing “confronting injustice” themes — alluded to the online vitriol she received for playing the live-action “The Little Mermaid.”
“There were voices that questioned whether I should be in a certain iconic world, because I didn’t look like what some have always imagined,” she said. “Being told in one way or another that you don’t belong in a space people have already decided wasn’t meant for you was a weight that I didn’t have to carry myself. I thought about my heroes, women like Billie Holiday, Eartha Kitt, and Nina Simone, artists who faced criticism, prejudice, and enormous pressure, yet still chose to create, to perform, and to stand fully in who they were. They reminded me that progress has never come from waiting for permission.”
PBS Kids was recognized with the Peabody institutional award, presented to PBS Kids senior VP and general manager Sarah DeWitt. “We were defunded, but we are not defeated,” she said in a rallying cry.
Also, “The Simpsons” creator Matt Groening handed James L. Brooks the Peabody industry icon awatd. Ethan Hawke introduced Peabody trailblazer award winner Sterlin Harjo.
“I am a testament to the things that this current administration is against,” Harjo said. “If the Sundance Institute didn’t think the diversity of fresh voices were worth discovering, I would not be here right now. Diversity isn’t a handout, it’s empowerment. Telling someone that where they come from and who they are may have an impact on people from other backgrounds.
“I’d like to thank my ancestors who survived before me,” he added. “The United States government tried to commit genocide against my people. We come from Georgia, Alabama, Florida, and Mississippi, and Mr. $20 bill himself, Andrew Jackson, led a force removal act that removed my people from our homeland. There was a war, we were marched at gunpoint, and that’s how we ended up in Oklahoma. And let me tell you, they denied it, that they denied that it was genocide as well. Just like they do today, I feel like I was born into a rebellion and survival.”
Switching to production concerns, he also said, “We should treat people with respect to try to give them time to go home to their families at a decent hour. No TV show or movie is worth not being a whole happy human being. You have an opportunity to change his industry. People pretend to have answers about where it’s going. I’d like to throw my hat to ring and encourage all of us in this room to hire real human beings to do the work and treat those human beings with respect.”
The night ended with Amy Poehler (introduced by Ike Barinholtz), who received the Peabody career achievement award.
“Summing up a career while you’re in the middle of it is a little strange,” she said. “It kind of feels like what I imagine is like when you’re stopped during a marathon, and someone hands you a banana. I don’t know, I would never run a marathon. But it’s like goo. This is that special goo the Peabodys are handing me to keep going. Thank you for the goo.”
See the full list of this year’s Peabody winners here. According to Peabody, the 34 winners were chosen out of nominees — which originally came from a list of more than 1,000 entries in all categories. The final winners were chosen by unanimous vote from 28 jurors.
“Jimmy Kimmel Live!” was among the 34
Young Moviegoers Power ‘Backrooms’ to $82 Million in Ticket Sales
Will young people ever come back to the movies? That question has shadowed Hollywood since the Covid-19 pandemic, with skeptics insisting that theaters have become relics for a generation raised on streaming.
The answer came, resoundingly, over the weekend.
“Backrooms,” a psychological horror flick from a 20-year-old YouTube creator turned filmmaker, collected an astounding $82 million in North America from Thursday through Sunday — with roughly 86 percent of the audience under the age of 35, according to PostTrak, a film industry research service. (About 44 percent was under 21.) “Backrooms” cost A24 and Chernin Entertainment about $10 million to make, not including marketing; it was marketed mostly with an inexpensive online campaign.
“Backrooms” was No. 1, making its director, Kane Parsons, the youngest filmmaker in Hollywood history to achieve that ranking, according to A24. The previous record-holder, Josh Trank, was 27 when his “Chronicle” topped the box office in 2012.
Analysts had predicted last week that “Backrooms” would collect $60 million in North America over the weekend. Overseas, “Backrooms” took in an additional $36.5 million.
The colossal turnout for “Backrooms” — it was the biggest debut for an A24 film in the studio’s 14-year history, by a factor of three — adds to evidence that teenagers and young adults will gladly go to theaters for the right offering. “Obsession,” a comedy-horror-thriller mash-up about the perils of romantic fixation by Focus Features, has sold about $105 million in tickets since its May 15 release. About 78 percent of the opening-weekend audience for “Obsession” was under the age of 35, according to PostTrak.
Notably, “Obsession” also came from a first-time filmmaker, Curry Barker, who honed his instincts on YouTube rather than inside the Hollywood ecosystem. “Obsession” cost $750,000 to make.
Other recent hits powered by Gen Z and younger millennials have included “Iron Lung,” “Scream 7,” “A Minecraft Movie” and “Demon Slayer: Kimetsu no Yaiba Infinity Castle.”
“Since Covid, there’s been this lethargic feeling around theatrical — is it relevant anymore, and is it going to survive?” Jason Blum, whose production company, Blumhouse-Atomic Monster, had a hand in both “Obsession” and “Backrooms,” said at a conference on Saturday. He added, “To me, there’s almost this feeling of the ’70s, of this new generation of young people who are making edgy movies that are connecting in theaters in a crazy way.”
In the 1960s, Hollywood tried to compete with a booming new medium — television — by rolling out bloated spectacles like “Cleopatra,” “The Greatest Story Ever Told” and “Paint Your Wagon.” (The equivalent today would be the manner in which studios, panicked by the skyrocketing popularity of Netflix, TikTok and Fortnite, have churned out big-budget sequels with marathon run times.)
Young audiences in the ’60s were unmoved. But a new generation of filmmakers revived Hollywood with pictures that spoke more directly to the counterculture and its anxieties. Examples include “Easy Rider” (1969), “Mean Streets” (1973) and “American Graffiti” (1973).
No studio has pushed harder to court young audiences by fostering young directors — movies for us, by us — than A24, which was founded in 2012 in New York. A24 started to court Mr. Parsons three years ago, when he was 17, after noticing how his horror-based YouTube videos were resonating among teenagers.
Other young directing talents that A24 has discovered or greatly amplified include Barry Jenkins (“Moonlight”), Ari Aster (“Hereditary”), Benny and Josh Safdie (“Good Time”), Daniel Kwan and Daniel Scheinert (“Everything Everywhere All at Once”), Alex Garland (“Ex Machina”), Sean Baker (“The Florida Project”) and Celine Song (“Past Lives”).
More than 50 percent of “Backrooms” ticket buyers cited A24 as a main reason for going out to see it, according to PostTrak. The movie, which received strong reviews, stars Chiwetel Ejiofor and Renate Reinsve, and also counted Shawn Levy’s 21 Laps Entertainment as a production company. The plot involves a furniture store owner who discovers a portal into a strange, labyrinthine realm and disappears into it.
For the weekend in North America, “Obsession” was No. 2. “Star Wars: The Mandalorian and Grogu” (Disney) fell off sharply from its opening weekend, landing in a disappointing third place, with about $25 million in ticket sales, for a new domestic total of roughly $137.4 million, according to Comscore, a data firm.
Will young people ever come back to
Matt Brown of Discovery reality show ‘Alaskan Bush People’ is found dead
Matt Brown, who starred with his family in the Discovery reality television show “Alaskan Bush People,” was found dead in the Okanogan River in Washington state, law enforcement officials said Sunday.
Brown’s body was discovered Saturday by a group of private citizens who were conducting a search, the Okanogan County Sheriff’s Office said in a statement.
Brown’s brother, Bear Brown, said in a video posted Saturday on social media that fellow brother Noah had been with the search team, helped pull the body out of the river and identified him.
The official cause and manner of death is still to be determined by the coroner, the sheriff’s office said. But the Brown family believes Matt Brown died by suicide, Bear Brown said in the video.
Witnesses said they saw Matt Brown in or near the river and that he “took his own life,” Bear Brown said on social media.
“I would have never suspected he would hurt himself, honestly,” Bear Brown said in the emotional video. “He struggled for a long time.”
Bear Brown said his brother had battled with alcohol and drugs and that Matt Brown told him in their last conversation that he had “fallen off the wagon.”
The Brown family and their life in the Alaskan wilderness were the subject of the reality TV show “Alaskan Bush People,” which ran on the Discovery Channel from 2014 to 2022.
Suicide prevention and crisis counseling resources
If you or someone you know is struggling with suicidal thoughts, seek help from a professional or call 988. The nationwide three-digit mental health crisis hotline will connect callers with trained mental health counselors. Or text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
Matt Brown, who starred with his
Marvel Studios Confirms MJ’s New Boyfriend In ‘Spider-Man: Brand New Day’ Movie Is Also Going To Be Friends With Ned
MJ’s new boyfriend in Spider-Man: Brand New Day is also friends with Peter Parker’s high school best friend, Ned Leeds, and new dialogue revealed by Marvel Studios confirms this dynamic. The film picks up after No Way Home, where Doctor Strange’s spell wiped Peter from the memories of everyone who knew him, including MJ and Ned. The two of them have since moved on with their lives, and the new man dating MJ now belongs to that same circle, leaving Peter on the outside of every relationship he used to have.
A new scene from Spider-Man: Brand New Day, shown at CinemaCon 2026, confirmed that MJ’s boyfriend is also friends with Ned, and the moment came with new dialogue, making their bond clear. The footage placed Tom Holland’s Peter Parker at the housewarming party of Ned and Zendaya’s MJ, who are now roommates, where MJ’s boyfriend walked in mid-conversation and started joking around with Ned like a regular member of the group. The scene gives the audience a look at how comfortable the new man already is inside Peter’s old friend group.
Eman Esfandi, who played Ezra Bridger in the Disney+ series Ahsoka, plays MJ’s boyfriend in Spider-Man: Brand New Day. The CinemaCon clip starts with MJ telling Ned she went for a job interview and got the offer, only to turn it down because she does not want to work for a “soulless corporation.” She tells Ned she feels like she is waiting for something great in her life, and Ned toasts the idea with her. That is when her boyfriend walks in, picks up on the toast, and joins the conversation as if he has been in on the joke for a while.
In the scene, MJ’s boyfriend hands Ned a housewarming gift, and Ned reacts with glee. He tells him, “Dude, this is top shelf,” and the boyfriend fires the compliment right back at Ned. The conversation between the brand new buddies goes as follows:
BF: Well, the wait is over.
Ned: Oh! Haha!
BF: Yo!
Ned: Dude, this is top shelf.
BF: Just like you.
Ned: Aww! I’m gonna hide this.
BF: (To MJ) You can’t save everyone.
MJ: I can try.
BF: That’s my girl.
Peter watches all of this happen as a stranger. The same footage shows him introducing himself to MJ as “Maynard,” with Ned standing right next to him, none the wiser. The boyfriend’s easy chemistry with Ned only deepens Peter’s pain, having already lost the love of his life to the same guy.
Ned’s New Found Friendship Will Hurt Peter Parker as Much as Losing MJ
Peter and Ned have been close since high school. In Spider-Man: Homecoming, Ned walked in on Peter pulling off the suit and figured out the secret on the spot, becoming the only person his age who knew Peter Parker was Spider-Man. From there, Ned turned into the guy in the chair, hacking Peter’s fancy suit from Tony Stark, running comms during fights, and covering for Peter at every awkward moment a teenage superhero runs into.
By Spider-Man: Far From Home, Ned was the one Peter leaned on while he tried to work out how to tell MJ how he felt. In Spider-Man: No Way Home, Ned used the sling ring to bring in Andrew Garfield and Tobey Maguire’s versions of Peter Parker, making him a direct part of the multiverse event that cost Peter everything.
This history is why a new guy slotting into Ned’s life cuts as deep as MJ moving on. Ned was Peter’s whole social world when school treated him like an outcast, and this bond felt unbreakable, but Peter’s sacrifice has changed everything. He cannot fight his way back into the role he used to hold in that friendship after all, Ned has no idea who he is, which is the worst part. Spider-Man: Brand New Day swings into theaters on July 31, and this dynamic will play out even more painfully than depicted in the trailer.
‘Game of Thrones’: The 10 Greatest Kings in Franchise History, Ranked
Warning: The following contains spoilers for A Knight of the Seven Kingdoms and A Song of Ice and Fire lore
Westeros has seen its fair share of kings. Of course, before Aegon the Conqueror, the realm was divided, with multiple rulers overseeing their respective territories. However, Aegon I ushered in centuries of Targaryen rule, with the first non-Targaryen finally sitting on the Iron Throne by the time Game of Thrones rolled around. Some monarchs are just. Others, not so much. Some kings ruled for a year, while others guided Westeros for decades. Unfortunately, more often than not, the realm would be subjected to a Maegor I, an Aegon IV, or an Aerys II (also known as the Mad King).
Thankfully, not every king was like the aforementioned terrors. Yes, heavy is the head that wears the crown, but these monarchs wore it well. They even made positive changes for their smallfolk, brought about peace, and put the kibosh on a few uprisings along the way. Here are the 10 greatest kings in Game of Thrones history, ranked from worst (remember, the bar is below the floor) to the best of the best.
10
Tommen I
Poor Tommen I. He never had a chance to harness his full potential. He could’ve flourished as the realm’s monarch had his rule not been cut tragically short. Sitting on the Iron Throne from his predecessor and brother’s death to his own death in 303 AC, Tommen was a kind and gentle soul – the opposite of the volatile Joffrey Baratheon and the manipulative Cersei Lannister. He worked tooth and nail to be a genuinely good king and maintain stability in Westeros. He would listen to his small council, particularly his grandfather, Tywin Lannister. Tommen’s shortcoming was that he was malleable and easily influenced by others, including his mother and his wife, Queen Margaery Tyrell. Unfortunately, Tywin’s death and Cersei’s scheming (which led to Margaery’s murder) fast-tracked his demise (in the show, at least).
9
Viserys I
Viserys I is another example of a well-intentioned king trying his best to bring peace to the realm. Throughout House of the Dragon Season 1, we saw those around him bicker incessantly regarding the topic of succession, which eventually morphed into all-out war, known as the Dance of the Dragons. Viserys’ daughter, Rhaenyra Targaryen, was quite upset after he wed her best friend, Queen Alicent Hightower, and understandably so. His brother, Prince Daemon Targaryen, was always causing trouble. Viserys wasn’t the best parent, notably when his illness took hold. His reign was longer than Tommen’s, lasting from his ascension in 103 AC to his passing in 129 AC. Of course, following hot on the heels of the Old King means the expectations are through the roof. Still, Viserys’ time on the Iron Throne was relatively peaceful, and probably would’ve been more so if the animosity among his family wasn’t so fiery hot.
8
Jaehaerys II
Jaehaerys II, despite having the Mad King as his son, was quite the opposite of Aerys II. Ruling Westeros from 259 AC to his death in 262 AC, the most notable event in Jaehaerys’ reign was the War of the Ninepenny Kings. The end of the Blackfyre bloodline occurred during Jaehaerys’ rule, and he squashed the aforementioned rebellion underfoot, which lasted for about one year. A young Ser Barristan Selmy slew Maelys the Monstrous, the last Blackfyre Pretender. After the war, Jaehaerys named Barristan to the Kingsguard. This Targaryen king’s reign was short, but he put the Blackfyre threat to bed. Not too shabby for three years on the Iron Throne.
7
Robert I
Some kings rule with fire and blood, and then there’s Robert I – the fury. After 283 years of Targaryens sitting the Iron Throne, Robert broke that streak by staging his titular rebellion, which saw the end of Aerys II’s reign. While Ser Jaime Lannister slew the Mad King, Robert himself killed Prince Rhaegar Targaryen in the Battle of the Trident. After becoming king, Robert pardoned his enemies and Targaryen loyalists, even keeping Jaime in the Kingsguard and making Barristan the Lord Commander. He brought much-needed peace to the realm after the Mad King’s tumultuous rule. It’s quite an accomplishment to spearhead a rebellion against a tyrant, dethrone said tyrant, and save a kingdom in one go. Unfortunately, this is really Robert’s only crowning achievement, but it’s a damn big one. Compared to Joffrey, Robert’s a much kinder ruler (although the bar is, again, below the floor).
6
Maekar I
Remember Maekar? Yes, this cold, closed-off prince eventually became the King of the Andals, the Rhoynar, and the First Men. (Here’s hoping we’ll see his tenure adapted for the small screen.) Sitting the Iron Throne from 221 AC until he died in 233 AC, the great-great-grandfather of Daenerys Targaryen wasn’t the most enthusiastic king, but his reign was peaceful. Since the crown wasn’t supposed to pass to him, Maekar assumed his becoming king was punishment for inadvertently killing his brother, Prince Baelor Targaryen, during the trial of seven between Ser Duncan “Dunk” The Tall and Prince Aerion Targaryen. Maekar died in battle during the Peake Uprising, going out as he lived: like a seasoned, hardened warrior.
5
Daeron II
There’s a reason he was called “Daeron the Good.” Daeron II is the name of the reigning king in the TV show A Knight of the Seven Kingdoms. Despite being the son of King Aegon IV Targaryen, who was, at that time, the worst king the realm had ever seen, Daeron was a just monarch. He was more keen to wield his intellect than a sword. That intellect, along with his kindness, served him well. He surrounded himself with learned people, too. Daeron’s biggest accomplishment was finally bringing Dorne into the Westerosi fold, uniting the Seven Kingdoms. He himself wed Myriah Martell, and he arranged the marriage of his sister, Princess Daenerys Targaryen (not that one), with Myriah’s younger brother, Prince Maron Martell, solidifying Dorne’s folding into Westeros.
Daeron’s reign also saw the First Blackfyre Rebellion, during which his bastard half-brother, Daemon Blackfyre, challenged his rule. However, with the help of his sons taking to the battlefield, Daeron put that rebellion to bed. Besides that, Daeron’s reign was mostly peaceful.
4
Baelor I
Also known as Baelor the Blessed and Baelor the Beloved, Baelor I was the most pious of the kings in the Game of Thrones universe. Ruling from 161 AC until he died in 171 AC, Baelor devoted himself completely to the Faith of the Seven and eventually rejected his family’s penchant for incest. He pardoned his brother’s murderers and even forged a peace with the Prince of Dorne before his young cousin, the future Daeron II, would officially unite Dorne with Westeros. Baelor orchestrated Daeron’s marriage to Myriah. Later, the king had the High Septon dissolve his union with his sister, Daena Targaryen, to denounce the Targ’s incestuous ways. Baelor was very loved among the smallfolk because he regularly bestowed charitable acts upon them, such as giving everyone in the city bread.
He would often fast for religious reasons. Rumor has it that Baelor’s death came about from starving himself during one of his prolonged fasts, although another rumor claims that his Hand of the King and uncle, who would go on to become Viserys II, poisoned him. Baelor’s pride and joy, the Great Sept of Baelor, was finished after his death.
3
Aegon I
It’s the Targaryen king who started it all – Aegon the Conqueror. You can also call him Aegon I. While the “conquest” part of Aegon’s Conquest is giving “colonialism,” one cannot deny that Aegon united the realm under one banner. All it took was a massive dragon to get the multiple kings of Westeros to bend the knee to Aegon and his sister-wives, Queens Visenya and Rhaenys Targaryen. While he took control of Westeros and consolidated power to himself as the sole ruler, Aegon allowed the smallfolk to keep their traditions and religious practices. His reign saw the beginnings of the Red Keep, which was completed eight years after he died in 37 AC. Aegon also oversaw the construction of a grand sept on Visenya’s Hill.
Aegon I set the tone for the monarchs to come in Westeros, and while he wasn’t as beloved as Baelor I or Daeron II (or the next two entries on this list), he’s a crucial figure in Westerosi history. He accomplished a lot before and during his reign.
2
Aegon V
Little Egg, everyone’s favorite mouthy bald kid from A Knight of the Seven Kingdoms, eventually became king after his father’s death. He sat the Iron Throne from 233 AC to 259 AC. He also named the knight he formerly squired for, Ser Duncan the Tall, the Lord Commander of the Kingsguard. Aegon V’s empathy, kindness, and curiosity as a child bled over into his rule as a king. He was universally beloved by the smallfolk. He made genuine strides in improving their lives, which most of the monarchs who preceded him didn’t do. Aegon received pushback from the lords and advisors around him over his reforms, so they often failed.
He also spent a good chunk of his reign squashing uprisings. Aegon wasn’t a fan of Targaryen incest, and he married someone outside the Targaryen family, Betha Blackwood. This impelled him to arrange marriages for his four children with those in the Great Houses of Westeros. (Fun fact: His son, Daeron, was betrothed to Olenna Redwyne, who eventually became Olenna Tyrell.)
Despite some turbulence during his reign, Aegon was an overall great ruler. However, in terms of the “greatest,” that descriptor belongs to another king on this list…
1
Jaehaerys I
No one else could be in the top spot but Jaehaerys I, also known as Jaehaerys the Conciliator. The Old King was the longest-reigning Targaryen monarch. He sat on the Iron Throne for a whopping 55 years, ascending in 48 AC and ruling until his passing in 103 AC. After the fire and brimstone inflicted upon Westeros courtesy of his predecessor, Maegor I Targaryen, Jaehaerys was a breath of fresh air. His reign wasn’t without conflict or troubles, but Jaehaerys kept the realm united for over half a century, and it flourished under his hand. He was well-spoken, kind, just, and chivalrous. He also made an effort to participate in the royal progresses across the realm with his queen, Alysanne Targaryen, by his side. The smallfolk loved him.
Jaehaerys worked hard to craft a game-changer for Westeros: a unified code of law. Alongside Septon Barth, Grand Maester Benifer, Lord Albin Massey, and Alysanne, Jaehaerys codified, organized, and reformed all the laws in the realm. While the work took multiple decades, it was an important milestone for the kingdom. Jaehaerys even fought and won a war in a single day without losing any soldiers who fought for the crown.
The Old King was an impressive figure, and his mostly peaceful reign was proof that Westeros can blossom with the right leader at the helm.
In your opinion, who are the greatest kings in Game of Thrones history? Let us know in the comments.
Warning: The following contains spoilers for A
Xbox CEO claims Game Pass price cuts are working: ‘A good first step’
Xbox’s new CEO, Asha Sharma, has claimed that a recent price reduction to some Game Pass tiers has yielded positive results for the platform holder.
In a note to staff published by The Verge, Asha Sharma claimed that last month’s price reductions for Game Pass Ultimate and PC Game Pass had resulted in net positive signups for the service.
“Growth slowed down, and subscriber loss accelerated after the pricing and SKU changes last year,” Sharma wrote. “Since our price reduction, we have seen acquisitions grow, and retention improve, which is a good first step.”
However, Sharma went on to claim that there were challenging times ahead for the Game Pass service overall.
“We will not solve this in one moment or one launch,” she wrote. “We will have to outwork the problem in front of us in our path to restore durable growth.”
In the same memo to staff, Sharma also touched on her recent decision to rebrand Xbox to ‘XBOX’.
“We are building a stronger XBOX. That means making hard choices about what we build, where we invest, and what kind of company we need to be going forward,” she wrote.
“That is part of what you are starting to see in the shift from Xbox to XBOX. It reflects a decision to be deliberate in how we show up for the players who care most about this brand.”
Sharma has kicked off a charm offensive with core fans since succeeding Phil Spencer as Xbox CEO earlier this year. In addition to rebranding Xbox and cutting Game Pass prices, the exec has committed to acting on player feedback regarding the console experience and policies.
Notably, Sharma has claimed that Xbox will “reevaluate” its approach to exclusivity, suggesting she’s listening to the Xbox players who feel the platform has lost value due to Microsoft’s decision to bring its first-party games to PlayStation 5 and Nintendo Switch 2.
Xbox’s new CEO, Asha Sharma, has claimed
Film Quote of the Day: This Iconic Tom Hanks Line from ‘A League of Their Own’ Redefined America’s Pastime
I feel like not enough of us treat A League of Their Own with the deep screenwriting respect it deserves.
Penny Marshall’s wonderful movie has so many great characters, plot points, and lines of dialogue that you could spend a week pulling it apart.
This isn’t just a feel-good sports flick, although if it was, it’d be one of the best.
This is its razor-sharp critique of gender roles wrapped in the comforting aesthetics of mid-century Americana. And, just like the greatest cinematic achievements, the film’s entire thesis is distilled into one unforgettable, explosive line.
Let’s dive in.
– YouTube www.youtube.com
The Setup and the Weight of the Tears
Okay, so if you haven’t seen A League of Their Own recently, let’s do a quick recap.
Set during World War II, the film follows the creation of the All-American Girls Professional Baseball League (AAGPBL), formed to keep the sport alive while the men were fighting overseas. We follow the Rockford Peaches, a team managed by Jimmy Dugan. He’s a former home-run king whose career was derailed by alcoholism. At first, he treats the gig as a joke, sleeping through games and ignoring his players.
But as the women prove their undeniable talent and grit, Jimmy wakes up. He starts actually managing.
During a high-stakes game, outfielder Evelyn Gardner (Bitty Schram) misses a cutoff sign, throwing to home plate instead of second base, allowing the opposing team to score.
When the inning ends, Jimmy intercepts her on her way to the dugout. He launches into an aggressive, veins-popping tirade, breaking down her error.
Evelyn bursts into tears when confronted with her failures.
It’s a great scene because it shows Jimmy finally cares about his team and is going to take the reins…and we get that from his incredible line…
“Are you crying? There’s no crying! There’s no crying in baseball!”
– YouTube www.youtube.com
The Double Standard of “The Game”
On the surface, it’s one of the funniest scenes in ’90s cinema. But structurally, this line is the exact axis upon which the movie’s central theme rotates.
Again, this line is about Jimmy leaning in and seeing this team not just as women, but also as ball players.
He starts to see them as equals.
When it comes to crying, he’s letting them know that they don’t do that out there, because subtextually crying is for girls (this is not something I believe; this is what his character in the movie believes). This is brilliant dramatic irony from the script by Lowell Ganz and Babaloo Mandel.
When these women are on the field, they were hired to be hot and to be feminine to sell tickets, but what winds up happening is that they get respected for really playing great baseball.
This is all built through the other great scenes prior, like when the league executives force the players to attend charm school or when they are mandated to wear makeup and heavy skirts that scrape up their thighs when they slide into base.
These women were bought and sold as objects, but they’re rising above even their harshest critic, Jimmy, in the crying scene. He doesn’t want women out there; he just wants good ball players.
The theme of the whole movie lies within this scene.
It’s all about this annoying and regressive double standard women face when entering historically male spaces. You must be soft enough to be palatable, but hard enough to survive the grit of the work. If you lean too far either way, you fail the test.
The Turning Point
Like I said, this is a turning point in the movie. What makes Jimmy Dugan’s character arc so satisfying is how this line ages over the course of the film.
By the third act, Jimmy treats them with the respect he would show any Major League ballplayer.
In fact, when Dottie Hinson (Geena Davis) tries to quit the team before the World Series because “it just got too hard,” Jimmy delivers his second-best line: “It’s supposed to be hard. If it wasn’t hard, everyone would do it. The hard… is what makes it great.”
“There’s no crying in baseball” started as a rejection of femininity in a man’s game, but in the end it morphs into an anthem of equality.
Jimmy stops seeing a “girl playing baseball” and starts seeing an athlete.
Summing It All Up
Penny Marshall made a film that successfully captured the joy of America’s pastime while subtly exposing the systemic barriers surrounding it.
Jimmy’s outburst remains iconic because it holds a mirror up to our cultural expectations of professional spaces and shatters them.
Let me know what you think of A League of Their Own and Jimmy Dugan’s management style in the comments below!
I feel like not enough of us
‘Sapne Vs Everyone’ Star Ambrish Verma Lands IMDb Breakout Star Award
EXCLUSIVE: Sapne Vs Everyone actor Ambrish Verma has been handed an IMDb ‘Breakout Star’ STARmeter award.
This recognizes talent whose popularity on IMDb has been significant, and has in the past flagged the rise of stars such as Zahan Kapoor, Sharvari, Ayo Edebiri, Maya Hawke and Regé-Jean Page.
Verma wrote, directed and starred in Hindi-language series Sapne Vs Everyone, which launched a second season in March. The show, which Verma created for Indian streamer and online channel The Viral Fever, debuted on YouTube before heading to Prime Video.
The psychological drama follows Paramvir Singh Cheema and Verma as two ambitious men navigating cutthroat worlds to achieve their dreams in acting and real estate, respectively. Verma’s breakout performance led him to claim the No. 1 and No. 2 spots on IMDb’s Popular Indian Celebrities list in two consecutive weeks.
Following the release of the second season in May, Sapne Vs Everyone has entered IMDb’s Top 250 TV Shows list at No. 171.
“This award means a lot to me because it’s decided by the people,” said Verma. “In today’s times, when some awards are influenced by lobbying or someone putting in a word for you, this is something that can happen only when you create something people truly think is worthy. It’s a similar feeling to when Sapne Vs Everyone gets a certain rating on IMDb. I’m very proud of it.”
“Recently, I was also ranked No. 1 on the IMDb Popular Indian Celebrities list,” he added. “For someone like me, who stayed so far away from the industry, it felt amazing. I know I’m getting this because of the show — people saw it, saw the work, and wanted to look me up on IMDb.
“It’s hard to believe that you can top that rank because when I scroll down that list and see the kind of people on it, it feels incredible. These things give you the confidence that if you just keep at it and keep doing things the right way, things will happen for you.”
EXCLUSIVE: Sapne Vs Everyone actor Ambrish Verma
Timeline Tool LeoVegas Casino Tracks Gaming Journey across Canada
We have always believed that understanding your own play is the bedrock of safe play. At LeoVegas Casino, we are introducing a feature that radically transforms how you interact with your gaming history, and we are genuinely excited about the transparency it brings. The new account journey timeline is not just a collection of transactions; it is a interactive, pictorial story of your complete relationship with us. From the very first moment you registered to your newest withdrawal request, every important milestone is shown in detail. We created this tool to eliminate the guesswork and offer a central record for your activity, making it easier than ever to examine deposits, bonus claims, and gameplay patterns in one integrated, time-ordered feed that seems user-friendly and up-to-date.
Grasping the “Experience” Idea for Canada-based Players
While the timeline is a international feature, we have adapted specific elements to connect strongly with the way players in Canada interact with our platform. We recognize that the Canadian market has a unique affinity for mobile-first, app-driven experiences, and the timeline is fine-tuned specifically for the LeoVegas native app on iOS and Android. The swipe gestures, the haptic feedback when a withdrawal is processed, and the deep integration with Interac payment flows are all built with a Canadian user experience at the core. We have also ensured that the timeline accurately reflects the nuances of playing with CAD, including the precise handling of zero-fee forex conversions for those who occasionally travel or use international e-wallets.
Beyond the technical specifications, the “experience” concept fits with a cultural preference for narrative and transparency. We have observed that our Canadian community values a clear, honest record of their entertainment spending. The timeline honors this by never obfuscating data. It presents the full lifecycle of your account, from the welcome offer activation to the loyalty rewards accrued over months. It celebrates milestones, like a year since your registration or hitting a new VIP tier, by inserting celebratory cards into the feed, turning a dry financial log into a positive reinforcement of your long-term relationship with LeoVegas Casino.
How to Access and Excel at Your Account Timeline
Beginning with the timeline requires no learning curve. Just log in to your LeoVegas Casino account via the app or mobile web browser, and go to the main menu. You will find a new icon called “My Journey” or “Account Timeline,” based on your app version. Tapping it opens the full, infinite-scrolling feed. We advise starting by scrolling down to your very first registration date to see how the timeline has retroactively mapped your entire history. It is commonly a nostalgic and eye-opening experience to see your very first deposit and welcome bonus activation laid out in such a clean interface, and it instantly demonstrates the power of the tool.
To master the timeline, we recommend utilizing the filter chips at the top of the screen. A quick guide to the most useful filters contains:
- Financial: Filters deposits, withdrawals, and chargebacks, hiding all gameplay and bonus data for a clean accounting view.
- Bonuses: Displays only active, completed, and forfeited bonus cards, perfect for tracking wagering during a busy promotional weekend.
- Game Sessions: Shows a log of game launches and session durations, helping you audit your time management.
- Admin: Shows security changes, password resets, and limit modifications, offering you a security audit trail.
By mixing these filters with the date range selector, you can produce a precise report for any period, which is extremely useful for personal budgeting or tax preparation purposes.
The Technology Fueling the Seamless Experience
We did not merely rehash an old database query; we reengineered the event sourcing architecture from the beginning to enable this capability. The timeline is powered by a high-throughput, event-oriented framework that captures every account mutation immediately without adding latency to your gameplay. This indicates that even during high traffic, when numerous players are spinning at once, timeline event insertion does not hinder reel performance. We achieved this by decoupling the read and write operations, using a CQRS pattern that keeps the core gaming database ultra-fast while the timeline fetches from a dedicated, high-performance read replica.
This technological investment also ensures the platform is future-ready. Because the timeline is built on a flexible event schema, we can rapidly introduce new card types without affecting the existing timeline. In the coming future, we intend to incorporate live sports betting slips straight into the identical unified timeline, offering a comprehensive dashboard for your complete LeoVegas experience, covering both casino and sports. The core AI scans the event stream for irregularities; if a login occurs from a new device, the timeline promptly marks it as a security alert, giving you a real-time alert that empowers you to secure your account immediately if the activity was not authorized.
This Timeline as a Safer Gambling Utility
We consider the activity log as one of the most powerful safer gambling mechanisms we have ever deployed. Traditional responsible gambling interfaces often feel penalizing or sterile, presenting raw numbers that are easy to overlook. By integrating financial data into a chronological story, we are leveraging a psychological principle called mental accounting, where observing the sequence of spending makes the outflow feel more real than a simple balance notification. When you look through a Saturday night and see a sequence of deposit cards placed closely together, the visual weight of that activity sparks a natural, gentle moment of contemplation that a spreadsheet simply cannot achieve.
We have also integrated direct links to our responsible gambling check and limit-setting tools right from the timeline interface. If the system identifies a sequence of accelerated activity, the timeline does not stop you or show alarming alerts; instead, a subtle, encouraging card shows up recommending a swift review of your playing time. This card links directly to the responsible gambling portal where you can configure a deposit limit or a break period with one click. It is a seamless bridge between background observation and hands-on control, making the switch from “I should probably take a break” to “I have defined boundaries” almost frictionless.
Data Security and Information Management Inside Your Own Timeline
We understand that a feature this detailed inevitably prompts questions regarding data confidentiality and safety. Let us be unequivocally clear: only you can see your timeline when you have securely signed into your account. This tool is built atop our proven security of TLS encryption and multi-factor verification protocols. Neither any third party nor our support agents can see your history in that visual representation unless you deliberately provide limited view access when resolving a dispute. The system architecture follows zero-trust principles, so data is compartmentalized and encrypted when stored, making sure your behavioral data is exclusively yours.
You possess detailed control regarding what appears on your timeline. Although our default is a full overview, you can go into options and hide particular categories for good. If game history entries seem too messy and wish to see just monetary activity, you have the option to deactivate game logs. Furthermore, we enforce a rigorous data retention policy that meets Canadian privacy requirements.
Harnessing the Timeline for Better Bankroll Management
We have always motivated our community to treat their gaming budget as an entertainment expense, and the timeline is the ideal budgeting companion. By reviewing the “Financial” filter at the end of a week, you can observe a visual bar chart representation of net deposits versus withdrawals. This direct visual summary is significantly more impactful than a manual calculation. We have found that players who regularly interact with the timeline are inclined to establish more practical deposit limits because the data is no longer abstract; it is a clear, undeniable record of cash flow. This transforms the often-dreaded task of bankroll management into a quick, 30-second check-in that blends seamlessly into your routine.
We also encourage you use the timeline to pinpoint your most lucrative games. While we never assure wins, the timeline’s game session logs can be cross-referenced with withdrawal events. You might notice a pattern where certain types of slots or live dealer tables correspond with longer play sessions and better maintenance of your bankroll. This is not about chasing losses but about recognizing which games offer the most entertainment value for your particular budget. By treating the timeline as a personal analytics dashboard, you transition from reactive gambling to active, informed play, which is the signature of a sustainable, sustainable gaming hobby.
Why Our team Built a Visual Account Chronology
Over years, players have moved through multiple sections and drop-down lists just to piece together a straightforward sequence of actions. It became clear that this scattered approach often caused uncertainty, especially when seeking to verify a offer betting condition or locate a specific operation from months ago. The core philosophy underlying the timeline is to emulate the user-friendly interfaces you utilize daily on social networks or mobile banking, where a scrollable feed displays a full story. By visualizing your account history, we are returning control back in your control. You no longer need to be a statistics guru to grasp your spending or gaming behaviors; the timeline renders detailed data as digestible, color-highlighted entries that pinpoint precisely the activity and the moment.
We also designed this feature with a strong dedication to responsible gaming. A interactive timeline makes it significantly easier to spot recurrences that might otherwise stay hidden in a mass of numbers. When you can observe a swift succession of deposit events arranged visually, it provides a organic pause point for introspection. This is not about limiting fun; it is about enabling you with the most obvious possible reflection of your activity. We aim the thrill of the game to stay in the moment, while the managerial side of your account becomes a smooth, logical process that supports long-term, healthy engagement with our platform.
Navigating the Essential Features of the Timeline
As you initially access the timeline, you will right away observe the clean, card-based layout that organizes each action into a distinct, readable block. We have shifted from cluttered, text-heavy logs and embraced a visual approach that utilizes icons and color coding to convey status immediately. A green checkmark might represent a completed withdrawal, while a spinning icon represents a pending bonus activation. This visual shorthand allows you to browse months of activity in seconds. The interface is fully responsive, guaranteeing the performance is just as smooth on a mobile device as it is on a desktop, which is vital because we know the vast majority of our players prefers to play and manage their accounts on the go.
Aside from the aesthetics, the filtering tools are where the tool truly shines. We understand that you might wish to filter only your financial transactions without seeing game history, or perhaps you want to review every interaction related to a specific bonus campaign. The timeline enables you to switch categories on and off with a single tap. This avoids information overload and lets you to dive deeper into the exact data set you need. We have also integrated a smart search function that identifies keywords, so typing a specific amount or a game name instantly refines the timeline to relevant entries, sparing you from endless manual scrolling.
Instant Deposit Tracking and Status Updates
One of the most tense moments in online gaming is the short window between starting a deposit and seeing the funds appear in your balance https://leo-vegascasino.com/. We have fully redesigned this procedure within the timeline. Now, the exact second you approve a transaction through Interac or any other available payment method, a live card appears at the top of your timeline. This card does not just sit there statically; it pulses with a status update, moving from “Pending” to “Completed” often within a few seconds. If a transaction does not go through for any reason, the timeline right away displays a clear explanation explaining why, removing the panic of “missing money” and cutting down unnecessary communications to our support team.
We have also added a detailed breakdown of transaction costs and conversion rates directly within the deposit entry. In the past, these details were often tucked away in a separate email confirmation. Now, expanding a deposit card displays the exact amount handled, any small fees applied by the payment gateway, and the final converted balance if you are playing in a currency not matching your bank account. This level of transparency assures that you are never surprised by slight differences in your balance. We believe that trust is built in these small micro-interactions, and a clear, immediate deposit log is the basis of that trust.
Monitoring Bonus Wagering Progress Visually
Bonus terms and conditions have traditionally been a source of friction, largely because it was difficult to see how close you were to completing a wagering requirement. We have converted this process into a visual progress bar that sits inside your timeline. When you trigger a free spin package or a deposit match bonus, a special card appears. This card does not just show the remaining wagering amount as a static number; it populates a circular progress ring as you play. We have discovered that this game-like visual approach to tracking a requirement makes the process appear less like a chore and more like a transparent goal.
Furthermore, the timeline clearly separates restricted game contributions. If you are playing a game that contributes only 50% to the wagering requirement, the timeline’s progress bar adjusts its speed accordingly, and we display a small information icon explaining the math. If a bonus is about to expire, the timeline card shifts to a warning state, encouraging you to use the funds before they are canceled. This proactive communication directly in the activity feed prevents the disappointment of losing a bonus due to an oversight, ensuring you maximize the value of our promotions while staying fully informed about the rules governing them.
Future Updates and the Evolution of the Path
We are treating the timeline as a living product that will develop based on your direct feedback. Our product team is already analyzing how users interact with the filters to determine which new categories to add. One of the most popular features we are actively developing is the “Social Share” card, which will enable you to make anonymous and post a big win milestone directly from the timeline to social media with a one tap. We are also working on a predictive analytics layer that, with your explicit opt-in consent, will review your timeline history to recommend optimal times for breaks or alert you if your current session is straying significantly from your historical patterns.
Furthermore, we are investigating the integration of a “Tax Summary” export feature specifically created for Canadian tax residents. We recognize that navigating the tax implications of gaming wins can be complicated, and while we cannot provide tax advice, we can provide a well-organized, chronological export of your net position that your accountant can use. The timeline is not just a feature; it is the new hub of your LeoVegas account. We are devoted to enhancing it constantly, adding more detail, more command, and more clarity, ensuring that your journey with us remains clear, rewarding, and entirely under your control.
We have always believed that understanding your
Is ‘Making of: Brazil ’70’ on Netflix? Where to Watch the Movie
Netflix subscription is required to watch on Netflix
Great news! “Making of: Brazil ’70” is available to watch on Netflix USA!
Date Added: 31st May 2026
Want to keep forever? Try looking for ‘Making of: Brazil ’70’ on Amazon (paid link)
Synopsis:
Step onto the pitch with the cast and crew of Brazil 70: The Third Star and gain access to exclusive footage and behind-the-scenes production secrets.
Certificate:
Parental Guidance suggested
Year: 2026
Duration: 6m
Audio: Portuguese (Brazil) [Original]
Subtitles: English, Spanish (Latin America), Portuguese (Brazil), Chinese (Simplified), Chinese (Traditional)
Cast and Crew
Not yet rated
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Available on Netflix USA!
Netflix subscription is required to watch on Netflix
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Pistolo Casino – Amusez-vous de manière raisonnable et bénéficiez d’un divertissement honnête en Belgique
En tant que joueur passionné et connaisseur avisé de l’univers des jeux en ligne en Belgique, je comprends parfaitement ce que vous recherchez : une pratique de jeu passionnante, mais régie par des normes précises et une morale parfaite. C’est exactement cette vision que je retrouve chez pistolo casino règles de traitement des données. Ici, le jeu se conjugue avec protection et responsabilité. Opérant sous la autorisation de la Commission des Jeux de Hasard belge, ce casino en ligne s’est affirmé comme une destination de confiance pour les joueurs belges, présentant un catalogue de jeux certifiés, des paiements garanties et un engagement sans limite envers le jeu responsable. Dans cet article, je vous propose de explorer comment Pistolo Casino réussit à combiner le excitation du jeu au bonheur d’une approche saine et honnête, le tout en parfaite conformité avec le régime légal belge.
La politique de Pistolo Casino en matière de jeu responsable en Belgique
Mon premier réflexe est de vérifier lorsqu’un nouveau casino en ligne apparaît sur le marché belge, est son attitude du jeu responsable. C’est un sujet qui me tient particulièrement à cœur, et je dois dire que Pistolo Casino a instauré un cadre très rigoureux. Par-delà le simple cadre légal, la plateforme traite la protection des joueurs comme le pilier central de son activité. Dès votre inscription, vous êtes guidé vers des outils concrets pour conserver la maîtrise de votre expérience. Cela commence par des options de dépôt limitées que vous pouvez paramétrer librement, se poursuit par des rappels de temps de jeu et s’étend même à un système d’auto-exclusion facile d’accès. Cette clarté est apaisante et prouve une véritable volonté de promouvoir un divertissement sain, où le plaisir du jeu ne doit jamais se transformer en préoccupation.
Les dispositifs pratiques disponibles
L’établissement ne se contente pas de discours, il met à disposition une gamme d’outils pratiques directement intégrés à votre compte joueur. Vous êtes en mesure de, par exemple, établir des limites de dépôt quotidiennes, par semaine ou mensuelles. Une fois cette limite dépassée, le système vous empêche simplement de déposer davantage jusqu’à la fin de la période définie. De même, des alertes de temps de jeu peuvent être mises en place pour vous rappeler de faire une pause. L’outil le plus essentiel est sans doute la possibilité de vous auto-exclure, provisoirement ou de manière définitive, une décision qui sera sur-le-champ et strictement respectée par le casino. Ces fonctionnalités, associées à des liens immédiats vers des organisations d’aide comme le Service de Prévention du Jeu Excessif (SPJex), forment un filet de sécurité essentiel.
Une licence belge, gage de professionnalisme
Agir sous le numéro de licence de la Commission des Jeux de Hasard (CJH) en Belgique n’est pas négligeable. Cela signifie que Pistolo Casino respecte l’une des législations les plus rigoureuses et garantes d’Europe. En pratique, cette licence confirme que le casino est fréquemment audité, que les jeux sont loyaux et que les fonds des joueurs sont séparés des fonds d’exploitation de l’entreprise. Pour vous, joueur belge, c’est la certitude de pouvoir réclamer vos gains sans entrave et de profiter d’un recours impartial en cas de litige auprès de l’autorité de régulation. Cette conformité légale est, à mes yeux, la base non négociable de toute expérience de jeu en ligne sûre dans notre pays.
Conseils pratiques pour une session idéale chez Pistolo
Pour tirer le meilleur parti de votre passage chez Pistolo Casino, je vous recommande de appliquer quelques astuces avisées basés sur ma propre vécu. Tout commence par une inscription minutieuse : employez toujours vos coordonnées véritables, car elles seront validées pour assurer la protection de votre compte et le suivi des mesures KYC (KYC). Ensuite, n’hésitez pas d’découvrir la rubrique des promotions et des bonus, mais étudiez toujours les termes et conditions applicables, notamment les obligations de wager (wager), pour saisir parfaitement comment en tirer parti. Enfin, mettez en place dès le départ vos fonctionnalités de jeu responsable ; c’est la méthode optimale de jouer en toute tranquillité.
- Contrôlez votre connexion : Assurez-vous d’être connecté au site officiel ppistolo.com/fr-be/ et écartez les réseaux Wi-Fi publics pour vos transactions financières.
- Explorez les jeux en mode démo : De nombreux jeux sont disponibles gratuitement. C’est l’occasion parfaite de comprendre les règles et les fonctionnalités sans engager votre argent.
- Sélectionnez une méthode de paiement belge : Tournez-vous pour des solutions comme Bancontact, Payconiq ou un virement bancaire direct pour des dépôts et retraits rapides et sans frais inutiles.
- Visitez régulièrement le centre d’aide : Pistolo Casino bénéficie d’une FAQ très complète et d’un service client disponible, n’hésitez pas à les interroger pour toute question.
Le support client, votre allié au fil des jours
Même sur la plateforme la plus accessible, une interrogation ou un petit problème technique peut arriver. La qualité du service client est donc, selon moi, un excellent indicateur de la crédibilité d’un casino. Pistolo Casino met à disposition un support diversifié en français et en néerlandais, adapté pour la Belgique. Que vous préfériez régler un problème vite via le chat en instantané, ou poser une question précise par email, une équipe est joignable pour vous aider. Dans mes interactions, j’ai toujours trouvé les conseillers à l’écoute, professionnels et capables de apporter des réponses exactes, que ce soit sur une réglementation de jeu, une opération ou un outil de jeu contrôlé. Cette réactivité consolide considérablement le impression de sécurité et de fiabilité.
Une expérience de jeu équitable et transparente
Par-delà les garanties mises en place, ce qui fait le charme d’un bon casino en ligne, c’est bien sûr la justice des jeux et la limpidité des processus. C’est un domaine où Pistolo Casino excelle. Tous les jeux offerts, des machines à sous aux jeux de table en direct, sont distribués par des éditeurs de renom dont les générateurs de nombres aléatoires (RNG) sont validés par des laboratoires indépendants. Cela signifie que chaque tour de roulette, chaque distribution de cartes ou chaque rotation de rouleaux est absolument imprévisible et équitable. Je peux jouer le cœur léger, sachant que mes chances de gain ne sont pas faussées. Cette intégrité technique est essentielle et contribue largement au plaisir pur du jeu, sans aucune réserve.
Des jeux pensés pour les joueurs belges
Le catalogue de jeux de Pistolo Casino est adapté pour le marché belge. Vous y trouverez un mélange savant entre les grands classiques internationaux et des titres qui parlent particulièrement chez nous. Les amateurs de machines à sous seront satisfaits par une sélection massive, tandis que les puristes des jeux de table pourront se diriger aux tables de blackjack, de roulette européenne ou de poker. Pour moi, le must reste sans conteste les salles de jeux en direct (Live Casino), où un croupier réel diffuse le jeu en direct depuis un studio professionnel. L’ambiance y est unique, presque saisissable, et c’est la meilleure façon de reproduire chez soi l’expérience authentique d’un casino terrestre, le tout sans quitter son canapé en Flandre, en Wallonie ou à Bruxelles.
Mon verdict final sur Pistolo Casino
Après avoir exploré en détail l’offre de Pistolo Casino, je peux confirmer qu’il s’agit d’un acteur sérieux et solidement implanté sur le marché belge des jeux en ligne. Son principal atout est sans conteste son équilibre parfait entre le pur divertissement et une approche rigoureuse du jeu responsable. La licence de la CJH, les outils de contrôle concrets, l’équité des jeux certifiée et un support client compétent constituent un environnement cohérent et rassurant. Si vous cherchezune plateforme de jeu où le divertissement n’est pas synonyme de prise de risque excessive, où vous pouvez vous amuser en toute tranquillité d’esprit dans le cadre juridique belge, Pistolo Casino mérite amplement que vous lui donniez sa chance. N’oubliez jamais : l’objectif premier doit demeurer le jeu, et cette plateforme l’a visiblement parfaitement compris.
Bonus et offres bonus dans le respect des règles belges
Les bonus de premier dépôt et les promotions récurrentes sont essentielles de l’expérience de jeu, et Pistolo Casino en présente une sélection attrayante. Toutefois, et c’est un élément déterminant, toutes ces offres sont conçues dans le strict respect de la législation belge. Cela implique notamment qu’elles sont proposées de manière transparente, sans publicité trompeuse, et que leurs modalités sont clairement énoncées. En tant que joueur en Belgique, je suis toujours confiant de voir que les bonus ne sont pas utilisés comme un attrait démesuré, mais plutôt comme un méthode équitable d’augmenter mon temps passé à jouer et mes chances de divertissement. L’attention est mis sur la valeur authentique de l’promotion plutôt que sur des sommes irréalistes, une approche honnête que j’estime particulièrement.
En tant que joueur passionné et connaisseur
John Oliver Goes Off on Trump’s Freedom 250 Concert Debacle
Like his fellow HBO host Bill Maher, John Oliver dedicated the opening portion of his hit show “Last Week Tonight” with a takedown of President Trump’s Freedom 250 concert series celebrating America’s 250th birthday that initially boasted a lineup of not-so-relevant acts like Vanilla Ice, C+C Music Factory and Milli Vanilli.
“It is a stacked lineup of people that you haven’t thought about since 2009,” joked Oliver. “Honestly, that sounds less like America’s 250th birthday and more like the playlist at Rhonda’s 50th. The only really surprising thing about that lineup is there aren’t special appearances from the ShamWow guy and the Gushers kid whose head turned into a raspberry.”
Running June 25 to July 10 on the National Mall in Washington, D.C., the Freedom 250 concert series was initially billed as a nonpartisan celebration of America’s Semiquincentennial. While planning initially began in 2016 from the bipartisan congressional nonprofit America250, the Trump-aligned group Freedom 250 took over planning during Trump’s second term as a means to politicize the celebrations.
“Now, crucially, the organization planning that event, Freedom 250, is not the same thing as the non-profit America250, led by a bipartisan board created by Congress. Instead, it’s a public-private partnership launched by the White House with some dicey elements, including the fact that for $1 million, donors to it could get access to Trump,” Oliver explained, adding, “And as its political slant became clear, acts who were part of that initial announcement quickly began to bail.”
Yes, acts such as rapper Young MC, R&B groups Morris Day and the Time and The Commodores, country star Martina McBride, and Bret Michaels all pulled out of the Freedom 250 concert series once they’d learned more about the celebrations. There have been so many acts pulling out that Trump launched into a late-night rant on his social media platform Truth Social, calling the artists “overpriced singers, who nobody wants to hear, whose music is boring, and yet who do nothing but complain” and saying that they should “cancel it.”
“Yeah, that is a lot of cancellations. Although I do have to tell you: Vanilla Ice did not pull out, which I do realize sounds like the answer to the question, ‘Why does that baby have frosted tips?’” cracked Oliver. “Even some of the acts currently still scheduled to play may not be the exact people you’re expecting. For instance, neither of the C’s in C+C Music Factory will be performing, it’s just their rapper Freedom Williams, who initially agreed to perform, then considered backing out, then doubled down on performing because he was so mad that people were criticizing him” — a decision Williams rather hilariously explained during a seven-minute video he made while taking a poop in his bathroom.
In addition to the Freedom 250 concert series, there will be a UFC Freedom 250 series of fights at the White House, a Freedom 250 Grand Prix IndyCar race and a Times Square ball drop.
“Even with those cancellations, there will still be things to do, because Freedom 250 is also touting attractions that will include state and territory showcases from across America, a 110-foot Ferris wheel, CEO and innovator-led conversations and demonstrations, and special screenings of the iconic films ‘National Treasure’ and ‘National Treasure: Book of Secrets,’ bringing a real ‘substitute teacher doesn’t give a fuck’ energy to the proceedings,” offered Oliver.
He continued: “Although, given how everything has been going, I wouldn’t be remotely surprised if tomorrow we got a press release reading, ‘Due to divisive politics, I will no longer be attending the 250th celebration’ from the fucking Ferris wheel.”
Like his fellow HBO host Bill Maher,
Big Country: “In a Big Country” Track Review
Stewart Adamson looked uncomfortable. It wasn’t that he had never appeared in a music video before. As a lanky 20-something, Adamson had previously jutted around with the Scottish punks who made up his early band, Skids, in the clip for “Into the Valley,” which climbed to No. 10 on UK charts. But in the footage for “In a Big Country,” Adamson looks like your coworker plowing through karaoke, contorting their face into pained shapes after a miserable week at the office. Imagine if, sometime in the winter of 1983, you had muted MTV to make a sandwich or use the bathroom, only to return to this video as it jumped between Adamson’s grave expressions and its inscrutable fist fights, scuba dives, and jet skis. It’d be difficult to guess that the song accompanying the video, “In a Big Country,” was a burst of new wave so triumphant and motivating that you’d feel ready to climb a mountain after one listen.
The pomp and circumstance involved with making music videos bothered Adamson. He’d long been skeptical of music-industry machinations, especially toward the end of his stint in Skids, when he’d been drinking heavily and wandering off ahead of shows. Punk wasn’t supposed to be about personality, Adamson believed, but treating your audience with respect and expressing yourself as directly as you could. It’s easy to hear Adamson wrestle with that tension on Skids songs such as “Hope and Glory” or “Calling the Tune,” where he’s still figuring out how to wrestle plucky, militant licks and bursts of feedback into the group’s otherwise perfunctory punk. Most frustratingly, Adamson’s desire for a steady domestic life clashed with his music ambitions, so he quit the band in 1981. “This was a guy who had a mortgage, a wife and a family,” said Skids vocalist Richard Jobson, “when we were all trying to live some mythic punk lifestyle.”
Adamson fantasized about doing “a twin guitar thing” with his friend Bruce Watson. The two both grew up in Dunfermline and first met while playing in different teenage punk bands; not long after Adamson left Skids, he plugged in a drum machine and asked Watson if he wanted to work on some demos together. For the next two years, Adamson and Watson struggled through label rejections, an aborted stint opening for Alice Cooper with a mediocre backing band, and some uneven sessions with Roxy Music producer Chris Thomas. It took a new rhythm section of studio professionals—Tony Butler, who wrote the motivating bassline on the Pretenders’ “My City Was Gone,” and drummer Mark Brzezicki—and some support from Steve Lillywhite, who produced the first three U2 albums, to arrive at the pastoral arena rock that defined Big Country’s first three albums. And “In a Big Country,” a self-affirmation framed as an advertisement for the majesty of the Scottish highlands, is as pastoral and arena-sized as they come.
Part of what distinguished Big Country was Adamson and Watson’s conscious effort to play their guitars as straight as possible. No bends or blues riffs—“Basically, I’ve heard enough of ‘Johnny B. Goode’ to last me the next 25 years,” Adamson told Rolling Stone in 1983. His soaring guitar part for the band’s only hit in the United States—which interrupts the first verse, scaling the fretboard after Adamson sings, “another season passes by you”—came from mixing an MXR pitch transposer with a dash of distortion and chorus. Few guitar leads have ever sounded as searing as Adamson’s, even if that transposer-affected sound plagued Big Country with the guitars-as-bagpipes designation for the rest of their career.
Stewart Adamson looked uncomfortable. It wasn’t that
‘Euphoria’ Officially Ending With Season 3, HBO Confirms
After seven years, three seasons and 26 episodes, “Euphoria” is officially over. Sam Levinson — the HBO show’s creator, writer and director — made the announcement on Popcast, New York Times’ music podcast, speaking with its hosts Joe Coscarelli and Jon Caramanica. HBO also confirmed Levinson’s announcement to Variety.
Thus, the Season 3 closer, titled “In God We Trust,” was actually its series finale. Read Variety‘s recap of the episode here, in addition to interviews with supporting star Adewale Akinnuoye-Agbaje and guest star Colman Domingo.
The news doesn’t come as a surprise, given that series lead Zendaya has remarked in interviews that she believed the show was ending after Season 3. Even before that, it has long been understood that the HBO drama wouldn’t continue; a full four years went by between Seasons 2 and 3, and Zendaya and several of her co-stars became full-fledged celebrities with schedules full of blockbuster films during that time. For that reason and others, production on Season 3 faced major delays, as Variety reported in 2024. Speaking with Coscarelli in an interview with the Times before the season premiered, Levinson said he writes “every season like it’s the last,” and hesitated when pressed about a fourth season. “I don’t know,” Levinson said. “As of right now, all I want to do is hang out with my wife and kids and read some Elmore Leonard and watch ‘Mrs. Miniver’ again.”
“Euphoria,” per the official logline, followed “a group of high school students as they navigate drugs, sex, identity, trauma, social media, love and friendship.” In Season 3, after a time jump, they “wrestle with the virtue of faith, the possibility of redemption and the problem of evil.”
Along with Zendaya, the cast included Hunter Schafer, Eric Dane, Jacob Elordi, Sydney Sweeney, Alexa Demie, Maude Apatow, Martha Kelly, Chloe Cherry, Adewale Akinnuoye-Agbaje, Toby Wallace and Colman Domingo. Sam Levinson created the series and served as executive producer alongside Ashley Levinson, Sara E. White, Kevin Turen, Ravi Nandan, Drake, Adel “Future” Nur, Ron Leshem, Daphna Levin, Hadas Mozes Lichtenstein, Mirit Toovi, Tmira Yardeni, Yoram Mokady and Gary Lennon.
After seven years, three seasons and 26
The Curator: 6 cooling tools that make outdoor eating safer (& way better looking!) – National
The Curator independently decides what topics and products we feature. When you purchase an item through our links, we may earn a commission. Promotions and products are subject to availability and retailer terms.
Let’s be honest: keeping food cold outside in the summer is one of those things we all kind of know we should be doing properly… and then the sun comes out, the patio fills up, and the potato salad has been sitting on the table for two hours. Yikes!
Health Canada estimates that about 4 million Canadians get a foodborne illness every year, and summer is the peak risk window. Bacteria can double in as little as 20 minutes once food hits the “danger zone” between 4°C and 60°C. When it’s above 30°C outside (which is basically every July afternoon) you’ve got just one hour before perishables should be tossed.
Good news: you don’t need to overhaul your hosting routine. You just need the right tools for the right kind of day. Here are the six I recommend for every summer scenario.
1. The Chic Side Table Cooler That Doesn’t Look Like a Cooler
If you’ve ever spent a Saturday night staring at a giant blue plastic cooler in the middle of your patio, this one’s for you. The Veradek Cooler Side Table is a 2-in-1 outdoor side table with a hidden cooler inside. Twist the top open, drop in ice and drinks, twist it closed. When not in use, it’s just a chic side table that can elevate any outdoor space.It holds up to 55 cans, keeps everything cold for 12 hours thanks to double-walled insulation, and it’s made in Canada! It’s constructed from a stone-plastic composite that is all-weather, fade-resistant, and can be left outside year-round (I have one, and I can attest to this). The fact that it looks like a high-end designer table is a definite bonus.
2. The Elevated Way to Serve Cold Food
Most of us have done a variation of this move: tuck a few ice packs around the dip bowl, hope for the best and walk away. First, it looks a little rough, and more importantly, it doesn’t really work. There are two purpose-built tools that fix this beautifully.
The Inflatable Ice Serving Tray is a large tray you inflate in seconds and fill with ice and if you’re imagining a mini blow-up kids’ pool, that’s exactly what this is! it cradles and cools bottles, dips, charcuterie, fruit, shrimp platters, and anything that needs to stay cold at the serving point. It looks like a styled bar setup and it can also float which makes it great for drinks at the lake or pool.
For smaller setups, the Ice Condiment & Garnish Tray is your bar cart’s or BBQ setup’s best friend. Chilled citrus, condiments, dips, cocktail garnishes…everything stays below 4°C and looks intentional while staying cool and safe to eat. This small investment will get used again and again this summer.
You may also like:
Outdoor Patio Storage Bags – $50.79
Veradek Umbrella Side Table – $126.99
Owala FreeSip Water Bottle – $41.99
3. The Picnic Cooler That Doesn’t Steal Your Energy
You know the moment: standing in the parking lot at the beach or the park, trying to figure out how you’re going to drag a cooler, a blanket, three kids, and a tote bag across half a kilometre of sand.
The Rolling Cooler Backpack is the perfect hybrid solution: wheels for the long flat stretches, backpack straps for stairs and rough terrain. Plus, it’s insulated for a full family day of fun and food. The cooler that comes with you is the cooler that keeps your food safe and the one that stays in the trunk because it’s too annoying to carry doesn’t help anyone. If you’re all about enjoying the outdoors (picnics, beaches, sports games…) and having a bite along the way, this is definitely the cooler for you.
4. The Niche Hack Every Sports Day (Especially a Golfer!) Needs
This one’s a delightful surprise. The Golf Bag Cooler Sleeve slips into a golf bag, sports duffel, or beach tote and holds and insulates 6 cans or bottles. It’s the answer to that sweaty mid-game moment when your water has somehow turned into pasta water, and you’d do anything for a cold beverage. This is especially great for golfers, soccer parents, beachgoers, and anyone who spends long hours outside without an obvious cooler-friendly spot to set things down.
5. The Science Upgrade That Works in Every Cooler You Own
Regular ice has three problems: it melts, it makes everything soggy once it does, and it only gives you a few hours of cold before turning into lukewarm water. It’s 2026, and I’m here to tell you there’s a much better way.
A Reusable Cooling Sheet is a flexible mat you freeze overnight and lay flat in any cooler. It uses Phase Change Material (PCM) technology, the same science used in pharmaceutical and food logistics. Instead of melting, PCM holds at a specific cold temperature for hours, then refreezes when you pop it back in the freezer. You’ve probably used a version of this in kids’ lunch bags. They’re great. You can even lay this flat on a table to keep food cool while it sits out. The result: roughly 3–5x longer cooling than ice, no water, no soggy food, no mess. It works with every other product on this list, making it a super smart upgrade.
You may also like:
Large Resin Planter Pot – $39.99
Jackery Explorer 1000 v2 Portable Power Station – $649
© 2026 Global News, a division of Corus Entertainment Inc.
The Curator independently decides what topics and products
John Oliver Derides Trump’s Freedom 250 & Its Performer Cancellations
Back after a brief holiday hiatus last week, John Oliver returned to his desk to roast the botched rollout of Donald Trump‘s Freedom 250 celebration, which has seen myriad cancellations since various scheduled performers like Martina McBride, Bret Michaels, Morris Day, Young MC and The Commodores dropped out after discovering the fete was not apolitical in nature.
“It is a stacked lineup of people that you haven’t thought about since 2009,” the comic and late-night host quipped. “Honestly, that sounds less like America’s 250th birthday and more like the playlist at Rhonda’s 50th. The only surprising thing about that lineup is that there are special appearances from the ShamWow Guy and the Gushers kid whose head turned into a raspberry.”
The Great American State Fair is a 16-day event taking place on the National Mall from June 25-July 10 in celebration of the country’s semiquincentennial. Following the exits of a handful of acts, Trump took to social media to rant about “overpriced singers, who nobody wants to hear, whose music is boring, and yet who do nothing but complain,” suggesting he would “cancel” the event and plan a MAGA rally instead.
Oliver sarcastically noted that not all was lost due to the cancellations, as the White House celebration will still feature a 110-foot ferris wheel and “special screenings” of National Treasure and National Treasure: Book of Secrets,” thus “bringing a real ‘substitute teacher who doesn’t give a fuck’ energy to the proceedings.”
“At this point, given how everything’s been going, I wouldn’t be remotely surprised if tomorrow we got a press release reading: ‘Due to divisive politics I will no longer be attending the 250th celebration’ from the fucking ferris wheel,” he said.
Back after a brief holiday hiatus last
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Heated Rivalry’s Global Impact Is Undeniable — So Why Is It Shut Out of the Emmys?
At a time when television has never been more global, the Television Academy is overlooking one of the year’s biggest breakout hits for a reason that has nothing to do with quality.
Despite becoming a cultural phenomenon, generating a passionate international fanbase, dominating social media conversations, earning critical acclaim, creating a massive global impact and sweeping award after award, Heated Rivalry isn’t eligible for the Primetime Emmy Awards.
Not because it wasn’t good enough. Not because audiences didn’t watch it. Not because critics ignored it. Because of a technicality.
In a recent column, Variety Co-Editor-in-Chief Ramin Setoodeh revealed that Heated Rivalry’s stars Connor Storrie, Hudson Williams and François Arnaud declined invitations to participate in Variety’s prestigious Actors on Actors series. According to Setoodeh, the reason was simple: the series isn’t eligible for this year’s Emmys due to Television Academy rules regarding international productions.
Under current guidelines, foreign television productions are only eligible for the Primetime Emmys if they receive meaningful creative and financial backing from U.S. partners before production begins. Because Heated Rivalry was produced and financed in Canada by Crave before later finding a U.S. home on HBO Max, it falls outside the Academy’s eligibility requirements.
The question isn’t whether the Television Academy is following its own rules. It is. The bigger question is whether those rules still make sense in today’s television landscape.
As Setoodeh wrote while discussing Heated Rivalry’s Emmy ineligibility:
“When a show captures the attention and affection of so many stateside, why does it matter where it was produced? Aren’t the Emmys supposed to be a celebration of what we actually watch? And haven’t we learned over and over again during Hollywood’s streaming age reinvention that a new and important voice can come from unexpected places, and that old rules are made to be broken?”
It’s a difficult question to ignore. Because by almost every metric used to measure success in modern television, Heated Rivalry succeeded. The series generated worldwide discussion, built an intensely dedicated fanbase, earned critical acclaim, launched its stars into the spotlight, and proved that queer love stories can attract mainstream audiences on a global scale. Yet none of that matters when it comes to Emmy eligibility.
The result is a bizarre situation where one of television’s most talked-about shows cannot even enter the race. Hudson Williams and Connor Storrie both deliver incredible performances in the show, performances that should garner at least a nomination from the Television Academy. While Williams recently received a Canadian Screen Award for his performance as Shane Hollander, Williams and Storrie will most likely be shut out of The Emmys and Golden Globes due to the show’s ineligibility.
The rule may make sense on paper. It was designed to distinguish American television from international productions. But in an era where streaming platforms have erased borders and audiences consume content from around the world with a single click, the policy feels increasingly outdated.
After all, viewers aren’t asking where a show’s production dollars originated before deciding whether to watch it. They’re asking whether it’s good. And by almost every measure that matters, Heated Rivalry has been a success.
The adaptation of Rachel Reid’s beloved novel became far more than a niche romance series. It broke into the mainstream conversation, introduced countless new viewers to queer storytelling, and turned its cast into overnight stars. Social media engagement surrounding the show has been immense, fan events have drawn enthusiastic crowds, and the series has earned praise for both its emotional storytelling and performances.
Perhaps most importantly, it demonstrated that LGBTQ+ stories are not limited to a specific audience. People watched because they connected with Shane and Ilya’s story. That kind of cultural impact is exactly what major awards bodies should be celebrating.
Instead, the Television Academy finds itself in the awkward position of excluding a show that many viewers would reasonably expect to see competing alongside television’s biggest contenders.
Setoodeh put it best when he argued “the Emmys need “Heated Rivalry” more than “Heated Rivalry” needs the Emmys.”
Awards shows rely on relevance. They rely on audiences feeling invested in the nominees and winners. When some of the most talked-about shows of the year are absent from the conversation due to eligibility loopholes, it raises questions about whether the rules are serving television as it exists today.
The irony is that Heated Rivalry isn’t being excluded because it failed to reach American audiences. It did. It isn’t being excluded because it lacked cultural impact. It clearly had it. It’s being excluded because of where its financing originated before cameras started rolling.
That distinction may have mattered decades ago. In 2026, it feels increasingly disconnected from how television actually works.
Streaming has transformed entertainment into a global marketplace. Viewers move seamlessly between American dramas, British thrillers, Korean hits, Spanish crime series, and Canadian productions without giving much thought to national borders. Success is measured by impact, conversation, and audience engagement, not production geography. Heated Rivalry’s absence from Emmy consideration raises an uncomfortable question:
If one of the most celebrated and culturally significant television shows of the year can’t even qualify for consideration, are the rules still rewarding the best television, or simply the right paperwork?
At a time when television has never
Colour me thrilled — the Kindle Colorsoft has dropped below the AU$300 mark for Amazon’s Mid-Year Sale
I’ve tried nearly all the best ereaders available today, including Amazon‘s Kindle Colorsoft, which I’ve found hard to recommend over the Kobo Libra Colour or the Kobo Clara Colour on account of its AU$399 RRP. However, there’s now a AU$100 discount on the Colorsoft that makes it a fabulous colour ereader to get during Amazon’s Mid-Year Sale.
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I've tried nearly all the best ereaders
When a Reluctant Songwriting Star Found Refuge on a New York Stage
Toussaint wound up decamping to a high floor of a hotel near his home, where he left behind a Steinway piano as well as records and memorabilia. When the flood set in, he had to escape through water up to his calves, while, as he told The New York Times afterward, “shaking a fist at the hurricane.” A friend arranged a ride for him to Baton Rouge “for a fee,” he said then, and from there he flew to New York. “His sister lived in New York before she passed,” Clarence Reginald Toussaint said. “That was the ideal place to go.”
In New York, Toussaint hooked up with a friend, Joshua Feigenbaum, a longtime record executive who had been his partner in an independent label, NYNO. Feigenbaum took him shopping at Barneys. “Allen was a very dapper guy,” Feigenbaum said of the hitmaker who appears on the cover of “Songbook” in a pinstriped suit with a pocket square matching his tie. “He literally showed up with a bunch of hard drives, what he had on his back and that was about it.”
Toussaint wanted to work so Feigenbaum hosted him and Bragin, of Joe’s Pub, at his house in the Hamptons. “He had a camcorder with him,” Bragin remembered of Toussaint. “He was asking me and my wife about how we got together, and turning the camera on us — turning the camera on anybody else but him, as, clearly, he was going through this strong trauma.”
That first Joe’s Pub performance, a Sunday brunch benefit for hurricane survivors in September 2005, turned into a long run. Toussaint charmed audiences with his deep voice, endless song catalog, easygoing command of New Orleans boogie-woogie piano turnarounds and unexpected vulnerability in spoken-word stories about his roots and family. “He didn’t have to worry about if the bass player knew the song,” Siegel said. “He could just sit down by himself and sing anything he felt like.”
Costello and Toussaint later connected after performing at a Madison Square Garden benefit concert, collaborating on an album, “The River in Reverse” (2006), and a subsequent tour. “That was really the beginning of the renewal of his career,” Feigenbaum said of the Joe’s Pub shows.
Toussaint returned to New Orleans for good in roughly 2008. His flooded home was unsalvageable, so he moved to the city’s Lakeview neighborhood, onto a street named for the Confederate general Robert E. Lee. It was renamed Allen Toussaint Boulevard by unanimous City Council vote seven years after his death.
“Songbook” documents Toussaint’s crucial New York period. “He would talk about how, when he walked around, which he did a lot, he would hear things,” Siegel remembered. “A symphony would come from the different sounds he was hearing as he walked around New York City. He was very inspired by New York.”
Toussaint wound up decamping to a high
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Heated Rivalry Completes 16-for-16 Canadian Screen Awards Sweep
What started as an impressive winning streak has officially become a historic sweep.
After dominating the Canadian Screen Awards’ Scripted Television gala with 13 wins, Heated Rivalry returned to the main Canadian Screen Awards ceremony on May 31 and added three more trophies to its growing collection, bringing its total to an incredible 16 wins from the 16 categories it was nominated in. The show had a total of 18 nominations. Heated Rivalry broke the record for most Canadian Screen Awards won by a single production.
Among the night’s biggest victories were Best Drama Series and Best Lead Performer, Drama Series for Hudson Williams who earned widespread praise for his portrayal of Shane Hollander. Williams became the youngest person to win the award at only 25. The show also won the Cogeco Fund Audience Choice Award making it a complete sweep.
The show’s creator Jacob Tierney also won Best Directing and Best Writing at the Scripted Television Gala.
Here is the full list of Heated Rivalry’s 16 Canadian Screen Awards wins:
• Best Drama Series
• Best Lead Performer, Drama Series – Hudson Williams
• Best Direction, Drama Series – Jacob Tierney (“I’ll Believe In Anything”)
• Best Writing, Drama Series – Jacob Tierney (“I’ll Believe In Anything”)
• Best Photography, Drama – Jackson Parrell (“I’ll Believe In Anything”)
• Best Picture Editing, Drama – Véronique Barbe (“I’ll Believe In Anything”)
• Best Sound, Fiction – Vincent Riendeau, Martin M. Messier, Joe Scandella, Natalie Fleurant, Simon Meilleur, Eric Med Lagacé, Peter Lopata, Valéry Dufort-Boucher (“I’ll Believe In Anything”)
• Best Production Design or Art Direction, Fiction – Aidan Leroux, Alder Dunlap, James McCrindle (“I’ll Believe In Anything”)
• Best Costume Design – Hanna Puley (“I’ll Believe In Anything”)
• Best Visual Effects – Simon Devault, Philippe Massonnat, Christophe Trepanier, Felix Arsenault (“I’ll Believe In Anything”)
• Best Original Music, Drama – Peter Peter (“Rookies”)
• Best Original Music – Original Song – Peter Peter, “It’s You” (“Olympians”)
• Best Supporting Performer, Drama – Sophie Nélisse
• Best Guest Performance, Drama Series – Nadine Bhabha (“Hunter”)
• Best Achievement in Casting, Fiction – Jenny Lewis and Sara Kay (“I’ll Believe In Anything”)
• Cogeco Fund Audience Choice Award
The clean sweep caps off an extraordinary list of accomplishments for the queer hockey romance drama, which has quickly become one of the most celebrated television series of the past year. Just weeks ago, Heated Rivalry earned a Peabody Award, adding to a growing list of accolades that also includes recognition from the GLAAD Media Awards and ACTRA.
For fans, the wins feel like validation for a series that has resonated with audiences around the world. Through its heartfelt storytelling, emotional performances, and authentic portrayal of love in professional sports, Heated Rivalry has built a passionate following that continues to grow.
The awards also showcase just how much of the production was recognized by industry voters. From the performances and writing to the music, costumes, technical achievements, and behind-the-scenes craftsmanship, nearly every aspect of the series was honored.
Winning a Canadian Screen Award is an achievement in itself. Winning all 16 categories a show is nominated for is something else entirely.
As Heated Rivalry continues to build momentum, its latest triumph proves that the series is more than just a fan favorite. It has become one of the most acclaimed television productions of the year, earning recognition from critics, industry professionals, and audiences alike.
What started as an impressive winning streak
M.I.A. Sues Kid Cudi for $2.8 Million After She Was Kicked Off Tour
M.I.A. is suing Kid Cudi for $2.8 million after the British rapper was kicked off his Rebel Ragers Tour for “making offensive remarks” during her opening act.
“Kid Cudi’s attempts to silence freedom of artistic expression and speech on his ‘Rebel Rager’s Tour’ cannot go unchallenged,” read a statement from M.I.A.’s team. “Kid Cudi claimed shock over her comments he now labels as ‘offensive’ and his abrupt and unjustified termination of her performance agreement is a desperate attempt to sell tickets for his tour that was drastically underselling. As a result, his false allegations have fueled a misguided, hive-minded pile-on based on a deliberate misrepresentation of her words.”
Rep’s for Kid Cudi did not immediately respond to Variety‘s request for comment.
The figure of $2.8 million comes from a “guarantee” between the Rebel Rangers Tour promoter, Live Nation, and M.I.A. and her company, Neet Touring LLP. Lawyers for M.I.A. claim Live Nation agreed to pay her that amount “regardless of what she said on stage.” The lawsuit also states Cudi “directed Live Nation to fire M.I.A.,” and “portrayed himself as an aggrieved headliner forced to protect his fans” after insisting that she, “’understood’ that she could not say anything ‘offensive’ on the tour.”
“Here is the truth. M.I.A. was terminated to generate publicity for the Tour, which has struggled with ticket sales,” reads the lawsuit obtained by Variety. “She was contractually allowed to say whatever she wanted on stage. M.I.A. now holds Kid Cudi accountable for his bad faith destruction of her contractual rights, business opportunities, and reputation.”
Cudi booted M.I.A. off the tour shortly after a viral rant she made on May 2 during the Dallas date at the Dos Equis Pavilion. In the monologue, which was booed by concert goers, she said things like, “I’ve been canceled for many reasons. I never thought I would be canceled for being a brown Republican voter.” She also said, “I can’t do ‘Illygal,’ though some of you could be in the audience.”
On May 4, Cudi announced on Instagram that M.I.A. was no longer on the Rebel Ragers Tour. He wrote, “TOUR UPDATE: M.I.A is no longer on this tour. I told my management to send a notice to her team before we started tour that I didn’t want anything offensive at my shows, cuz I already knew what time it was, and I was assured things were understood. After the last couple shows, I’ve been flooded with messages from fans that were upset by her rants. This, to me, is very disappointing, and I wont have someone on my tour making offensive remarks that upsets my fanbase. Thank you for understanding. Rager.”
M.I.A. fired back on X hours later. She wrote in all caps, “I WROTE ILLYGAL ON THE MAYA LP A SONG FROM 2010. I STARTED THIS INTRO TO THE SONG WITH THE STATEMENT SAYING I’M ILLYGAL, AND I SAID MY TEAM HASN’T GOTTEN VISAS YET. THEN PLAYED A SONG THAT HAD LYRICS SAYING “FU&% THE LAW”, WHICH I STILL BELIEVE, IF THE LAW IS UNJUST F@%& IT. DO NOT GASLIGHT MY WORDS. THAT IS THE WORK OF SATAN. I WROTE BORDERS AND ILLYGAL AND PAPER PLANES BEFORE YOU THOUGHT IMMIGRANT RIGHTS WERE COOL. I’VE HAD THSES BATTLES BY MYSELF WITHOUT THE HELP OF MILLIONS OF FANS BACKING ME . I DON’T NEED THIS VIRTUE SIGNAL ERA TO ALL OF A SUDDEN ERASE AN ENTIRE LIFE I’VE LED. JESUS WAS AN IMMIGRANT AND A REBEL. I HAVE NO APPOLGY FOR THE JUDGEMENTAL THE WICKED AND THE IGNORENT, FOR THOSE ARE SPIRITS THAT WE MUST OVER COME IN OUR LIVES AND IN THIS WORLD. JESUS RETURNS TO LEAD THE WORLD JUSTLY BECAUSE THERE IS INJUSTICE IN THIS WORLD . IM PROUD OF THOSE WHO FIGHT FOR IT EVERYDAY. GOD BLESS YOU. 🙏🏽 GO LISTEN TO M.I.7.”
The Rebel Ragers tour launched on April 28 and includes stops in 30 American cities.
M.I.A. is suing Kid Cudi for $2.8