Netflix is officially bringing fans back to Serenity this summer, and if the first look at Sweet Magnolias Season 5 is any indication, emotions are about to run higher than ever. The beloved comfort drama returns June 11, with Maddie, Helen, and Dana Sue stepping into a season filled with major life changes, big dreams, and the kind of heartfelt friendship that has made the series a fan favourite since day one.
But as anticipation builds for the new season, one major development has left many viewers stunned: Carson Rowland will not be returning as Tyler “Ty” Townsend.
The news was confirmed just weeks ahead of the premiere, with showrunner Sheryl J. Anderson revealing in an interview that Rowland made the decision to step away from the series for Season 5. According to Anderson, the creative team chose to incorporate his absence into the story rather than recast the role, with Ty pursuing opportunities away from Serenity.
For longtime fans, the timing couldn’t be more surprising.
Season 4 finally delivered on one of the show’s most anticipated storylines when Ty and Annie admitted their feelings for each other after years of slow-burn romantic tension. The relationship had become one of the most beloved arcs in the series, with viewers heavily invested in the future of the fan-favourite “TyAnnie” pairing.
The reaction online has been swift and emotional. Across fan communities, many viewers expressed disappointment that Ty and Annie’s story may never receive the payoff they had been waiting years to see. Some fans described the news as having “ruined” much of their excitement for Season 5, while others lamented the loss of what they considered one of the show’s strongest ongoing storylines. Several viewers also questioned how the series will move forward without one of its original cast members and a character who has been central to the younger generation’s narrative since the beginning.
Given Rowland’s popularity with the audience, his absence could have a noticeable impact on viewership. While Sweet Magnolias has always been anchored by its central trio, Ty’s coming-of-age journey and his evolving relationship with Annie have become a major draw for younger viewers. Losing such a prominent character after four seasons is a significant challenge for any long-running series.
The departure also creates a major storytelling hurdle. Season 4 ended with Ty standing at a crossroads between pursuing his music career and building a future with Annie. Rather than exploring that next chapter on screen, Season 5 will instead examine the fallout of his decision to leave. Anderson has suggested the season will focus on what happens when people chase their dreams and the emotional consequences for those left behind.
Beyond the surprising cast shake-up, the new season still promises plenty of drama.
This time around, the story expands beyond the familiar charm of Serenity and heads straight to New York City. Maddie’s new publishing career opens the door to exciting opportunities, but it also creates distance between her and the people she loves most. The upcoming season appears ready to explore the difficult balance between personal ambition and staying connected to home, something many viewers will instantly relate to.
Meanwhile, Helen is finally preparing for the wedding fans have been waiting seasons to see. After years of emotional ups and downs, her relationship with Erik seems headed toward a long-overdue happy chapter. But in true Sweet Magnolias fashion, the road to happiness may not be completely smooth.
Dana Sue also finds herself at a crossroads as she pursues her dream of launching a teaching kitchen. At the same time, her marriage with Ronnie faces new pressure while they prepare for their daughter Annie to leave for college. The trailer hints at emotional conversations, uncertain futures, and the fear that even strong relationships can be tested by change.
What continues to make Sweet Magnolias stand out is its ability to mix romance, family drama, and uplifting moments without losing its warmth. Season 5 looks ready to deliver all of that again, from emotional reunions and life-changing decisions to late-night margarita talks between the trio that started it all.
Fans can also expect the season to lean heavily into themes of reinvention and chasing dreams. Each character will navigate different emotional paths and discover who they are becoming.
Still, as Serenity prepares for another chapter, there’s no escaping the reality that Season 5 will feel very different without Ty Townsend. Whether the series can successfully navigate the loss of one of its most beloved young characters may ultimately become one of the defining stories of the season itself.
If the newly released trailer is anything to go by, viewers should prepare for romance, tears, personal growth, and plenty of Southern charm when Sweet Magnolias returns to Netflix on June 11. Serenity may always feel like home, but this season proves that even comfort zones can evolve, sometimes in ways fans never expected.
Visit this link to check out first look photos and the official trailer for the season:
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At Saturday’s Produced By conference, Neon CEO Tom Quinn said he “wouldn’t survive a day” in the environment of corporate Hollywood. He said he’s worked with major studios before, navigated layers of middle management, and sat in Zooms with 50 people in which “at no point in any of those meetings was anybody on the other side able to make a decision.”
“I just don’t want to work at a company like that. So that’s a critique of a corporation,” he said at the conference on May 30. “The idea of putting two of those together? I mean, how would you feel if A24 and Neon merged? That would be ridiculous. So I don’t understand it.”
Quinn was asked pointedly how the consolidation of Hollywood affects an indie like his own company, and though he never used the words “Paramount” or “Warner Bros. Discovery,” there’s no doubt which two corporate giants poised for an industry-shifting mega merger he was talking about.
“If growth is this endless pursuit with no real mission or idea about what we’re trying to accomplish, how are you able to make good, creative decisions? And with that amount of debt around your neck, I don’t know how you take any creative risk,” he told moderator Rebecca Keegan. “The only sensible thing you can do is make the most creative, bold decision in order to get yourself out of that predicament, but then I have not seen a corporation of that size do that.”
Quinn is riding high off the company’s seventh straight Palme D’Or win at Cannes, this time for Cristian Mungiu’s “Fjord,” (he insisted that Neon isn’t intentionally chasing Palmes or a certain number of films in competition, even if he knows no one will believe him) and he spoke throughout his fireside chat about his company’s vision of taking risks early at the script stage, of building a slate that is global and agnostic to genre or country of origin, and also of avoiding going above a certain budget.
Some budgets, he felt, are too big for him to wrap his head around, and admitted that Neon does have a hard cap or ceiling on the types of films the distributor produces. He looks at the $35 million spent for Bong Joon-ho’s “Snowpiercer” or the same budget for the original “John Wick” as a good barometer and emblematic of the type of “action snob” movie he would like to but has yet to make.
So when thinking about larger consolidation and what that means for the industry, that’s where he starts to get nervous.
“It concerns me. I think the lack of competition is bad,” Quinn said. “There’s another thing happening here that I’ve seen across our industry for a long time. The Uberization of entertainment, the algorithm. I don’t want to understand it. I want no part of it. And I think it’s really important for us as a company that we are a true independent, and to stay true to our filmmakers. We should value our job as much as they value their work, and I think we should be as accessible as they are. And I think we should be as creatively adventurous and involved as they are in their work. I think those are the decisions that have made us stand out.”
Quinn, when thinking about what he wants Neon to be and how big he wants Neon to grow, made a comparison to a film he made when he was still with Magnolia, “Jiro Dreams of Sushi.” That film was about “creative perfection,” and it profiled a person who achieved the height of quality and perfection without ever straying from his humble roots. His restaurant is the best in the world but is not in some ballyhooed location. Instead, it’s located inside a subway station and has just 10 seats, yet each seat is treated with the utmost attention to detail, Quinn explained. He would love for that to be Neon.
“Those 10 seats are never going to grow, but those 10 seats, the notoriety around those 10 seats grows exponentially, if they do their job well. I would like our slate to be those 10 films,” he said. “So we will never change. We will never leave the subway. But the line will get longer and longer.”
Warner Bros. Pictures chief Michael De Luca offered a master class in being a studio executive during his session Saturday at the Produced By conference hosted by the Producers Guild of America.
“The North Star [is] the relentless pursuit of new talent and fresh voices, and a way to refresh the pipeline, because if you don’t look for new voices and new talent, and you rely on what’s worked before, innovation dies within your organization,” De Luca said during a Q&A with producer Sara Murphy. “If you cut it too deep, your pipeline dries up and you don’t have enough movies.”
De Luca, who leads Warner Bros. Pictures alongside co-chair and CEO Pamela Abdy, sketched out the arc of his career as a movie-obsessed kid growing up in New York who realized his dream by landing an internship with New Line Cinema. De Luca compared the current moment of YouTube-bred filmmakers making noise at the box office to the vibe in the 1980s when the advent of home video created a financial boom that inspired the launch of a host of indie film companies including New Line Cinema.
“In that first wave of independent companies in the ’80s, fueled by the VHS boom you had Cannon [Pictures] and Vestron and New Line and New World — that whole explosion of independent companies,” De Luca told Murphy, who produced Warner Bros.’ Oscar-winning 2025 drama “One Battle After Another” with director Paul Thomas Anderson.
The 1980s indie marketplace helped bring the film industry into a new era as the major studios struggled to find the pulse of culture. De Luca likened it to the dynamic in the late 1960s when major studios were making pricey musicals that flopped, while lower-budget titles such as “Bonnie & Clyde” and “Easy Rider” had huge impact.
“Back then, as it is now, for companies big and small, your job as a [film] executive is the identification of material, development of it, the packaging of it, the marketing of it and the distribution of it to generate revenue. That’s the job,” De Luca said at the daylong event held on the Universal Studios lot. “It doesn’t mean that under that umbrella you can’t strive for artistic excellence, have integrity in the job, give people quick answers, be as tender and merciful as you can be when you have to deliver ‘no.’ “
De Luca emphasized that the spirit of innovation and derring-do at New Line under chiefs Bob Shaye and Michael Lynne. He rose quickly and was named head of production at the young age of 27. De Luca reminisced about the first slate that bore his stamp.
“I got super-lucky in 1993 — my first slate of projects included ‘The Mask’ and ‘Dumber and Dumber.’ The second year was ‘Seven’ and a couple of other ones that worked,” he said. “We didn’t get to my problem years until later with ‘The Long Kiss Goodnight’ and ‘The Island of Dr. Moreau.’”
De Luca also stressed that his years as a producer in between studio gigs helped him understand where the key pressure points are that prevent creatives from doing their best work while at the same time minding the bottom line.
“We developed a lot of our own material from scratch. We didn’t mind hearing pitches, taking flyers on writers on producers — the kind of work that you just have to do. It’s a little needle in a haystack, but you have to develop to try to get enough projects to the starting line. The goal is for every five or six projects developed, one gets a greenlight,” he said. “If you’re sloppy with it at a studio, you get a one out of 10 ratio sometimes. Studios are very quick to cut that development line item in the budget every year, because it is a shitload of money, and if you fuck up, you could write off $20 million or $30 million at the end of the year of movies that got developed that never got made.”
De Luca avoided any direct comment on the pending merger of Paramount Skydance and Warner Bros. Discovery, a deal that has Hollywood on edge. But his remarks indicated that he has been thinking a lot about where the industry is headed and what creatives need to thrive in the era of streaming, AI and TikTok et al. He stressed that if Hollywood majors don’t explore the incredible creativity that is pouring out of social media platforms, upstart firms will jump on the opportunity. The crowd at Produced By was abuzz with the news from the box office that two low-budget horror pics, Focus Features’ “Obsession” and A24’s “Backrooms,’ are lighting up the multiplexes.
“Every time the studios get afraid to invest in the development of new material or take chances on new filmmakers, you get Lionsgate, you get Summit, you get A24 you get Neon, you get MRC — the list goes on and on,” De Luca said. “None of it had to happen if the studios did their jobs, and the job used to be the identification, acquisition, development, production, marketing and distribution of original movies. Every time they get afraid to take risks and just want to make sequels and IP adaptations and franchises, a whole other round of competitive companies crop up.”
De Luca noted that he is impressed with the new generation of YouTube auteurs — including Kane Parsons of “Backrooms” and Curry Barker of “Obsession” — who have such a strong connection and feedback loop going on with their social media followers.
“They hone their craft online — Kane worked on ‘Backrooms’ for five years before the eventual movie, These filmmakers are in a dialog with their audience from the word ‘go.’ Their subscribers have direct input in each iteration of these things. By the time you get to the movie, they have like a billion test screenings,” De Luca said. “We work with a lot of directors who the last thing they want to do is be sitting in a test screening in fucking Oxnard or Dallas or Phoenix and wait for that focus group to start tearing the movie to shreds. “It’s the polar opposite with this new crop of filmmakers. Not that they don’t have strong opinions or an artistic vision, but hey are making movies for their audience that have been subscribing to their channels for years. That’s been like a proving ground, so by the time the movies come out, they’re really calibrated to please that audience.”
Studios are adjusting to the new rhythms of marketing and promotion as dictated by the pace of social media.
“One Battle After Another” star Chase Infiniti got her co-star Leonardo DiCaprio to do TikTok to promote the film. “I don’t think any of us could have predicted, but you just can’t say no Chase. She’s just the best at getting getting what she wants done done,” De Luca said.
Of course, he acknowledged that there are pros and cons in a time when every fan has a megaphone at the ready to blast their opinion.
“When it works for you, it’s a force amplifier,” De Luca said. He credited none other than Tom Cruise for sparking the “Barbenheimer” summer in 2023 after Cruise posted a picture of himself buying tickets for Warner Bros.’ “Barbie” and Universal’s “Oppenheimer” to show his support for moviegoing overall.
“That’s something that couldn’t have happened 10 years ago. ‘Barbenheimer’ could not have happened without the internet. So it’s been a wonderful tool,” De Luca said. “Now the downside is when you have something that the digital crowd mobilizes again, because it’s global, it’s not like you can just be able to steal a weekend because the news wasn’t out that you’d shit the bed until Sunday. But now it’s like Friday night and your D.O.A. on Saturday morning. But it’s worth the trade off for when you have something that people want to see.”
Among other subjects, De Luca shared his view that the concept of “IP” which has taken root over the past decade is misunderstood. In his mind, “IP” is rooted not in pre-existing material or long-established characters but rather than human talent that creates the material.
“I actually think IP is talent,” he said. “I don’t think Batman is IP. I think the artists and writers over the decades that did that comic book are the IP.”
De Luca recalled having a meeting at Warner Bros. Pictures during his producing days when he was told the studio would no longer invest in new material, only sequels, Harry Potter material and DC Studios titles. That approach and the push into streaming-first exhibition during the pandemic was debilitating to the once-proud studio. It alienated the most respected filmmaker of his generation, Christopher Nolan, who worked with Warner Bros. for years but has made his last two movies at Universal.
“It cost the studio Chris Nolan,” he said. “It’s just such a competitive environment, and filmmakers like that are so rare. You just can’t fumble these balls. You have to give people the best possible experience.”
TORONTO – Mario Anderson Jr. won’t be helping the Saskatchewan Roughriders defend their Grey Cup title.
The American running back was among 19 players released by Saskatchewan on Saturday as CFL teams made their final cuts ahead of the start of the 2026 regular season.
The five-foot-eight, 205-pound Anderson appeared in nine regular-season games with Saskatchewan last year. He ran for 134 yards and two touchdowns on 24 carries (5.6-yard average) while adding four catches for 13 yards.
But Anderson finished his rookie CFL season on the one-game injured list for Saskatchewan’s 25-17 Grey Cup victory over the Montreal Alouettes.
He appeared in both of Saskatchewan’s pre-season games this spring when he ran 10 times for 65 yards while adding three catches for 18 yards.
CFL teams must get their active rosters down to 44 or 45 players, with a minimum of 21 being Canadian.
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Also released were defensive linemen Sundiata Anderson, Chico Bennett Jr. and Davin Vann, offensive lineman Spencer Brown and Connor Klassen, defensive backs James Burgess Jr., Benny Sapp III, Trae Tomlinson and Steven Weston Jr., receivers Javian Hester, Abdul Janneh Jr., Siaosi Mariner, Shemar McBean and Juwann Winfree, long snapper Reed Hughes and linebackers Vi Jones, kicker Jonathan Kim and punter Jesse Mirco,
Canadian defensive lineman Benoit Marion was placed on the one-game injured list while offensive lineman Darius Bell and receiver Dylan Djete, also both Canadian, went on the six-game injured list.
Saskatchewan also placed 13 players on the practice roster, including global Tyron Vrede, who signed with the ‘Riders in February following five seasons with the Ottawa Redblacks.
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The Riders begin their Grey Cup defence June 13 hosting the B.C. Lions.
The Montreal Alouettes also released 19 players, including quarterbacks James Morgan and Canadian Arnaud Desjardins.
Morgan appeared in 10 games last season with the CFL club, completing 55-of-93 passes for 547 yards with two touchdowns and four interceptions. The six-foot-four, 229-pound quarterback from Green Bay, Wisc., also ran six times for 17 yards.
The six-foot-15, 215-pound Arnaud played collegiately at Laval and signed with Montreal on May 18. The Montreal native was the RSEQ’s most valuable player in 2024 and 2025.
Also released by Montreal were defensive backs Cyrus McGarrell, Thakarius Keyes, Cale Sanders Jr. and Faion Hicks, linebackers Desmond Igbinosun and Trey Jones III, long snapper Lucus Spencer, offensive linemen Jakai Moore. R.J. Perry and Brandon Sneh, defensive linemen Damonte Smith, Malick Sylla, and Bryce Ganious and receivers Deemer Blankumsee, Tsion Nunnelly, Terique Owens, and Dalton Stroman.
The Alouettes also placed 13 players on their practice roster. Montreal kicks off the ’26 season Thursday on the road against the Hamilton Tiger-Cats.
This report by The Canadian Press was first published May 30, 2026.
Hannah Einbinder posed with her Performance Award – Comedy with “Hacks” co-star Poppy Liu during the Critics Choice Association’s 3rd Annual Celebration of LGBTQ+ Cinema & Television at Four Seasons Hotel Los Angeles at Beverly Hills.
Jon Vein, brother of the late Pacific Palisades wildfire recovery advocate Larry Vein, wrote a scathing letter warning Angelenos against voting for Spencer Pratt that has been shared around Hollywood since he posted it on Facebook.
Pratt was accused of cyber-bullying Larry Vein before his death by suicide in April at age 61. Vein had become one of the most visible community leaders in the aftermath of the fire, helping organize aid efforts and co-founding the Pali Strong initiative for displaced residents.
“To my Los Angeles friends: I implore you not to vote for Spencer Pratt,” Jon Vein wrote in the letter. “I say this both for personal reasons and for substantive concerns about his candidacy. On a personal level, Spencer Pratt publicly brutalized my brother Larry on social media.”
Larry Vein, a real estate broker whose home was damaged in the Palisades Fire, spent several months in the aftermath vigorously advocating for his community, becoming something of a folk hero to residents for his rapid resource-gathering and out-of-pocket support that led to the establishment of Pali Strong.
But in the months before his death, Vein had become embroiled in controversy surrounding FireAid funds distributed to Pali Strong, which received a $500,000 grant intended to support services for survivors. Questions about its distribution – to services instead of directly to victims – sparked scrutiny, and friends and associates said the controversy weighed heavily on Vein.
Pratt publicly questioned Vein’s role in recovery efforts, criticized aspects of the FireAid funding process and made unfounded allegations that Vein was a scammer – disputes that are well documented, despite Pratt’s deleting the attacks from his social media accounts. No direct connection between Pratt’s criticism and Vein’s suicide has been made.
Read the entire letter below:
“To my Los Angeles friends: I implore you not to vote for Spencer Pratt. I say this both for personal reasons and for substantive concerns about his candidacy.
On a personal level, Spencer Pratt publicly brutalized my brother Larry on social media. He spread falsehoods about him and targeted him purely to elevate himself online. He is a bully, and our family is considering possible actions to hold him accountable. As many of you know, Larry took his life a couple weeks ago.
From a substantive standpoint, I believe he is wholly unqualified to run a city the size of Los Angeles or oversee a $13 billion budget. This is someone who has publicly struggled with financial issues, traffics in conspiracy theories and hate, and has built a career around attention-seeking and controversy. His fame was built largely on provoking conflict, humiliating people, and creating outrage for entertainment and personal gain. That may work in reality television and social media culture, but it is not leadership, and it is certainly not qualification to run one of the largest and most complex cities in America.
He has promoted Alex Jones, whose conspiracies include claims that 9/11 was an inside job and that Sandy Hook was staged. He was arrested on gun charges in Costa Rica and, by his own admission, is not allowed to return. His sister has publicly alleged that he physically assaulted her badly enough to require hospitalization and that he introduced her to hard drugs. Whether every allegation is true or not, the overall pattern surrounding him is deeply troubling.
He and his wife have repeatedly turned their personal lives into public spectacle for attention and monetization. They have publicly admitted that they faked their divorce — their own words were that they never broke up “for one minute” — and did it purely for money and press attention. He also spread a false sexual rumor about his former co-star Lauren Conrad that had no basis in fact and that destroyed her friendship with Heidi. When confronted about it on camera, he admitted it. He then told a separate interviewer that he had only admitted it as a lie — to manipulate Lauren into attending his wedding. So he either deliberately spread a false sexual rumor about a woman, or he fabricated a confession to that rumor in order to manipulate her. There is no version of that story that reflects well on him. He sells crystals online, constantly reinvents himself through new grifts, and now appears to be using a mayoral campaign as the latest vehicle for relevance. Reports emerged that he signed a deal with a production company to film his campaign — and keep filming if he won. He denied it. Everything becomes content, monetization, performance, outrage, or self-promotion. That is not the mindset of a serious public servant.
There are also real questions about whether he is even eligible to be on the ballot. Candidates were required to be Los Angeles residents as of January 3, 2026. He has acknowledged his family has been living at his father’s house in Santa Barbara since the fire, and records show he listed that address as his mailing address. A law professor at Loyola Marymount raised the question publicly. The city clerk has not yet made a determination.
He also ran a campaign ad standing in front of a trailer at his burned Palisades lot, saying “This is where I live.” At the time, he had reportedly been staying at the Hotel Bel-Air for over a month. When that was reported, he said “I don’t live anywhere.” Make of that what you will.
During the Pacific Palisades fires, instead of constructively channeling legitimate public frustration, he lashed out indiscriminately at people across social media in ways that spread hostility and outrage. My brother was one of the targets of that behavior. Los Angeles is already a deeply stressed and divided city. The last thing we need is someone whose entire public identity revolves around amplifying anger, feeding division, and monetizing outrage rather than solving problems.
I’ve also spoken with people who knew him growing up, and the consistent description has been the same: a bully with very little substance behind the performance.
Los Angeles deserves serious leadership, real executive competence, emotional maturity, and people with actual governing experience. Running a major city during a housing crisis, public safety crisis, infrastructure challenges, budgetary pressures, and natural disasters is not performance art. It is not a reality show. It requires discipline, judgment, stability, temperament, and the ability to unify people rather than inflame them.
If voters are unhappy with the status quo, there are 13 other candidates running. I just hope people don’t channel understandable frustration into elevating someone so lacking in judgment, temperament, and qualifications just to tear the system down.
We have already seen what happens when a C-level reality personality, who cannot manage their finances, who has been arrested, and who uses hate and grievance to elevate himself, is elected to high office. It has not worked out nationally, and it will not work out locally.”
There are some solid shows leaving Netflix in June, but you can lock in for a priority binge with the right guidance.
Every month, a new TV is added to the streamer, but we also lose other shows in the process. Before a handful of great shows like “Sex and the City” and “Turn: Washington’s Spies” disappear from the app, there is still time to pull off a series binge.
Here are the five best shows leaving Netflix in June that you should look into falling down the rabbit hole on before they’re gone.
Turn: Washington’s Spies (Credit: AMC)
Turn: Washington’s Spies
Leaving on: June 10
If you want to have your spycraft stories married with a period piece drama, married with a war epic, boy, is there a show for you to binge. AMC’s underrated story about the first spy ring set up by George Washington during the Revolutionary War charts the path the few men and women involved followed to aid in the fight – and how they put their necks out on the line to fight for the new country’s independence. With only four seasons, there is plenty of time to lock in and get finished before it is once again removed from the Netflix library.
Sex and the City (Credit: HBO)
Sex and the City
For those who might not also have a subscription to HBO Max, you’re running out of time to dive into “Sex and the City.” The groundbreaking series follows Carrie Bradshaw and her friends as they navigate the terrifying waters of dating in New York City. Despite premiering back in 1998, the show has aged surprisingly well and still captures the ups and downs of looking for love in a major city.
“Brockmire” (Credit: IFC)
Brockmire
If you’re looking for a breezy comedy that might have flown under the radar when it first premiered, “Brockmire” should be your next binge. The series follows Hank Azaria – most known as a prolific voice actor in “The Simpsons” – as a disgraced major league baseball announcer looking to get back in the booth and reclaim his career years after it imploded following an outburst learning about his wife cheating.
“Blindspot” (Credit: NBC)
Blindspot
“Blindspot” was one of the many broadcast TV shows of the 2010s enamored with having a puzzle box premise and still chasing the highs of “Lost.” The show pulls it off better than others as Jaimie Alexander plays a woman who is dumped in a duffel bag in Times Square with no memories and covered in tattoos. The woman – and the FBI agent whose face was tattooed to her back – later learns that each one of her numerous new tattoos serves as a roadmap to a number of crimes taking place and holds the key to figuring out her lost identity.
Aquarius (Credit: NBC)
Aquarius
Want to head back to the ’60s and explore more of the history surrounding the Charles Manson cult? “Aquarius” is a better stop than most. David Duchovny stars as a member of the LAPD who is tasked with his partner to investigate and infiltrate Manson’s growing cult and figure out a way to shut it down. The series only lasted two seasons, but led viewers on a wild ride that is still worth taking.
“Growing Pains” star Kirk Cameron recently explained on the “Adam Carolla Podcast” that he left California for Tennessee to escape the Golden State’s “terrible politics” and “all the other things that make it difficult to raise a family.”
“When you’re a kid in California it’s great because your parents are paying for everything,” Cameron said. “So, you go to the beach, you’re hanging out, you’re going snow skiing, you get to eat an In-N-Out burger, you get to get some hot dogs downtown in Hollywood. It’s great. You’re having a good time.”
He continued, “But then, like my kids, they finally got out on their own, and they realized how expensive it is. They realize how terrible the politics are and all of the other things that make it difficult to raise a family there. And so all of a sudden it’s like, ‘Oh my gosh, we got to move. We got to go somewhere where we can actually thrive and maybe even just survive.’”
Cameron said he “hopes to come back” to California one day, adding that “pound-for-pound, I think California has just so much to offer.”
Speaking on the positives of living in Nashville, Cameron said, “There’s so many creatives here that have good values. They love their family. They’re proud of their country — and the whiskey is great. So, if you like whiskey and hot chicken, Nashville is the place to be.”
Cameron starred as Mike Seaver, the oldest son in the Seaver family, across all seven seasons of “Growing Pains,” which ran for 167 episodes on ABC.
“I don’t think so,” Kelli O’Hara said, pointing out that she last appeared on Broadway in “Days of Wine and Roses,” a musical about the terrible damage done by people who drink to excess.
Yet she and Rose Byrne are currently delivering one of the funniest drunk scenes (and follow-up hangovers) in recent stage history.
The women star in “Fallen Angels,” a 1925 Noël Coward play in which two wives get tipsy and then full-out snockered as they await the arrival of a Frenchman they each had an affair with years earlier. In the Roundabout Theater Company’s revival, which will stream on June 5 on Broadway HD, the two Tony-nominated stars stagger about, get twisted in a phone cord and fall over furniture.
Still, O’Hara explained, the pratfalls are not in themselves the source of the comedy. “What’s funny,” she said, is “the loosening”: the unwinding of control and dignity among people who value both highly. Here are some of the ways she and Byrne — under the direction of Scott Ellis, and with the help of costumes, sets, sound, wigs and props — achieve that.
Just a Tiny Drop
Coward doesn’t specify how much the women drink or how soon they get drunk, but Byrne said, “We tracked it.”
In Act 2, after their husbands have left for a golf weekend, Julia (O’Hara) and Jane (Byrne) fill the time as they await the arrival of their mutual Frenchman by sipping Champagne in oversize coupes. Soon, having chugged a whole bottle, they start on a second. There are also martinis, straight up with a twist, and a sizable aperitif of Medoc. “And we’re barely eating,” O’Hara added: just one oyster each by the first cork pop. (The oyster is actually yellow Jell-O.)
Drinking is a playwright’s best friend, a dramaturgical accelerant. Where would “Who’s Afraid of Virginia Woolf?” be if its treacherous foursome were teetotalers? Still, every actor must decide whether the alcohol is meant to help a character suppress feelings or let them out. “Even in a farce,” O’Hara said, “what are the stakes?”
“Hell’s Kitchen,” the Alicia Keys musical that has landed at the Hollywood Pantages Theatre in a blaze of rousing sound, deploys the R&B star’s glorious treasure trove of work in the service of a semi-autobiographical version of her coming-of-age story in the Manhattan neighborhood that gives the show its title.
The Hell’s Kitchen of Alicia Keys’ story, set in the 1990s, isn’t the gang-ridden Hell’s Kitchen of West Side Story, set in the 1950s. Keys grew up in Manhattan Plaza, a federally subsidized residential complex that provides affordable housing for artists. But for a teenager in rebellion from her watchful mother, the vibrant, music-filled street life comes with its share of dangers.
Kennedy Caughell as Jersey and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
Ali (Maya Drake, who’s making her professional debut in this North American tour production) is a 17-year-old ready to break out of the cage her mother, Jersey (Kennedy Caughell), has placed her in. Jersey, a single mom, isn’t a tyrant. She just doesn’t want to see her daughter make the same mistakes that she did, namely get pregnant at a young age before she’s had a chance to realize her own dreams.
The book by playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) is structured around a loving but combustible mother-daughter relationship amid the creative ferment of New York. This artistic neverland is crystallized in the apartment building that has music pouring out of every floor when Ali rides the elevator.
Maya Drake as Ali and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
The story isn’t the strong suit of “Hell’s Kitchen,” which is powered by Alicia Keys’ versatile catalog, which has been supplemented with original material. The hits — “You Don’t Know My Name,” “Girl on Fire,” “Fallin’,” “If I Ain’t Got You,” “Like You’ll Never See Me Again,” “No One” and “Empire State of Mind,” among them — reverberate inside the Pantages with a thrilling exuberance.
What’s most impressive, however, is the way these tracks have been arranged both musically and dramatically. Jukebox musicals are notorious for shoe-horning in beloved songs without regard for storytelling integrity. “Mamma Mia!,” which crammed in as many ABBA hits as possible, hardly even bothered to find pretext for their inclusion. The lucrative example paved the way for more than two decades of musical theater shamelessness.
The company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
“Hell’s Kitchen,” directed by Michael Greif, takes a more dignified approach, raiding Keys’ greatest hits in a way that doesn’t cause dramatic offense and better yet, adds a layer of surprise to music that is so well known.
The songs are allocated in unexpected ways. Numbers that you might think belong to Ali are divided among the company. Jersey is first in line, and Caughell makes the most of her opportunities. But sharing in the bounty are Davis (Desmond Sean Ellington), Ali’s mostly absent and chronically unreliable father; Knuck (Jonavery Worrell), Ali’s forbidden love interest; or Miss Liza Jane (Roz White), a pianist who lives in the building and becomes Ali’s formidable mentor.
There are other characters who offer luminous assistance, but these are the principals in a musical tale built around Ali’s central relationships. Keys’ origin story is more dynamic on an atmospheric than dramatic level. A mother having difficulty with her boy-crazy teenage daughter isn’t exactly breaking any ground, and Diaz avoids venturing into more turbulent territory. Ali’s divided identity, stemming in part from an all-too-present white mother and all-too-missing Black father, sets up issues that are touched on but never deeply engaged.
Desmond Sean Ellington as Davis and Kennedy Caughell as Jersey and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
Miss Liza Jane spots Ali’s musical gift right away and fills her with a sense of pride and responsibility in her Black heritage. But her character’s role is somewhat earnestly compartmentalized. Knuck recognizes that Ali’s fascination with him stems in part from the way she sees him, much as her mother does, as a “thug.” But their tentative affair is secondary to the complex bond between Ali and Jersey, whose troubled connection with Davis helps Ali understand why her mother is so paranoid about her romantic choices.
But these concerns fall away when the performers start singing. Drake has a beautiful voice, but her Ali is slighter than that of Maleah Joi Moon, who won a Tony for her Broadway debut performance. I didn’t mind that Davis sings “Fallin’,” as Ellington has a voice of luscious thunder. Worrell’s Knuck more than holds his own with his duets with Ali. (In fact, I was more taken by his velvety interpretation of “Like You’ll Never See Me Again” than Ali’s more straightforwardly pretty version.) White’s Miss Liza Jane takes the Pantages audience to church in her numbers. And when Caughell magnificently directs “No One” to Ali, I can’t imagine there’s a dry eye in the house.
Desmond Sean Ellington as Davis and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
This tour production isn’t crisp in all areas. The dancing isn’t always smooth, the costumes struck me as a road show idea of New York cool, and the acting didn’t do much to compensate for some of the book’s less subtle moments.
But the energy of the production is infectious. “Hell’s Kitchen,” a New York story of a wunderkind discovering her gift, helped me get over my allergy to the jukebox genre. The soaring quality of the orchestra and the delectable company of voices pay exhilarating homage to a singular artist, who seems right at home at the Pantages.
‘Hell’s Kitchen’
Where: Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles
When: 7:30 p.m. Tuesdays-Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays. (Check for exceptions.) Ends June 21
Tickets: Start at $57
Contact:BroadwayInHollywood.com or Ticketmaster.com
MCU fans will witness a new era of Spider-Man in 2026 when Spider-Man: Brand New Day releases. The fourth Tom Holland-starring feature continues the story of the Spider-Man “Home” trilogy, with familiar faces including Peter Parker (Holland), MJ (Zendaya), Ned (Jacob Batalon), and Bruce Banner (Mark Ruffalo). While there are many similarities between Spider-Man: Brand New Day and past MCU Spidey films, this fourth movie will still feel distinct from the others.
Marvel Studios Kevin Feige has made that distinction clear in a new interview with Empire, revealing that this is the first MCU film to “[focus] on the classic elements of Spider-Man.” The producer added he’s “doing the Spidey thing,” that he’s known for in the comics, living in a small New York apartment and tracking crimes for Spider-Man to fight on the police scanner:
“It is the first Spider-Man film that we’ve made in the MCU that is focused on the classic elements of Spider-Man. He’s doing the Spidey thing of living in a rather sad, small apartment, listening to the police scanner and going out and using his great power responsibly.”
Spider-Man’s introduction into the MCU was fairly non-traditional. Holland’s first appearance as the character was in the heat of battle in Captain America: Civil War, where he appeared to support Iron Man’s team. Unlike Tobey Maguire or Andrew Garfield’s live-action Spider-Man iterations, there was no Uncle Ben origin story, or homemade suit phase (apart from when Iron Man took Parker’s enhanced suit away in Spider-Man: Homecoming). Instead, Spider-Man arrived as an established hero, albeit one still in a learning phase.
The MCU’s Spider-Man introduced many twists to the mythology, helping to introduce Peter Parker not just to audiences but to integrate him into the wider Marvel universe. He became an Avenger very early on in the process and lost his mentor figures several movies in. But now, Spider-Man: Brand New Day is pushing the character towards a new period that is much more comic-accurate.
Adding to Spider-Man’s new evolution is a period of what Tom Holland calls “Spider-Puberty.” This is in reference to the strange transformation Peter undergoes in the Brand New Day trailer, waking up shrouded in cobwebs with his senses enhanced. Holland told Empire that this process sees Peter Parker “losing control,” and “things are changing”:
“My pitch when I came to the table with it was called ‘Spider-Puberty’. What happens if Peter Parker is losing control and things are changing? ‘Spider-Puberty’ was my tagline pitch to the studio, which was immediately shot down.”
Marvel Studios
Puberty, in itself, signifies a time of transformation and maturity, only reinforcing the idea that the Spider-Man fans who meet in Spider-Man: Brand New Day will be very different from those in the trilogy before. Whether or not theories about Man-Spider end up coming true, Spider-Man: Brand New Day is clearly intending to be an incubator of change for the MCU’s Spider-Man, transitioning him from the impulsive teen of the Home trilogy into a mature young adult, both personally and physically.
On top of that, it’s also been a new era for Holland behind the scenes, who revealed he was granted access to the Spider-Man writer’s room for the first time since taking on the role: “This is the first time in my tenure as Spider-Man that I was kind of welcomed into the writers’ room.”
Spider-Man: Brand New Day sees Destin Daniel Cretton take over directing duties from Jon Watts, with new stars Jon Bernthal, Sadie Sink, and Tramell Tillman joining the cast. The anticipated MCU movie will arrive on July 31, 2026.
Spider-Man’s New Comic-Accurate MCU Era
Marvel Studios
Spider-Man: Brand New Day is planning to integrate many elements from classic Spider-Man comics into the movies, leaning into Peter Parker’s college years, when he takes on more adult responsibilities and evolves closer to the character from the comics who balances taking pictures for the Daily Bugle and moonlighting as Spider-Man.
Picking up from Spider-Man: No Way Home, Peter has entered a new era of his life in which everyone on Earth has forgotten his identity, forcing him to give up his friends and his girlfriend. Following May’s death, he’s had to find his own apartment in New York City, and is now dedicated to a life of fighting crime as Spider-Man, both of which are core components of his comics counterpart, but haven’t been seen with this version of Spidey before.
Thanks to a significant time jump, Spider-Man: Brand New Day will feel different from the get-go, with Peter Parker having operated with his new status quo for years now. The question now is what kind of era will Spider-Man: Brand New Day leave Holland’s character in, particularly as Marvel and Sony look ahead to this new trilogy of Spider-Man films.
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The Batman 2‘s story must decide whether or not to break an unofficial rule regarding the Joker that DC movies will have followed for 61 years by the time of the film’s release. Batman’s movie history is one of the most expensive in all of superherodom, and this has consequently also meant we’ve had a wide array of different depictions of the Joker, too, since the Caped Crusader’s nemesis has long been decidedly famous in his own right.
Though the different movie depictions of the Joker have had drastically contrasting tones over the years – as can be seen by comparing the campy playfulness of the 60s film Joker to his serial killer counterpart in The Dark Knight for any amount of time – some rules have remained consistent when it comes to how Batman films handle the Clown Prince of Crime and his on-screen stories.
The current track record for how Batman movies have featured the Joker has now left the newest corner of the franchise at an interesting crossroads, as The Batman 2‘s story seems to mean the movie has to break a Batman film tradition that’s been upheld for decades.
The Batman 2 Has The Chance To Break An Over 50-Year-Old Joker Movie Rule
Close up of Barry Keoghan as the Joker in a deleted scene from The Batman
It’s easy to see why the Joker has appeared in the vast majority of Batman movies that have been released over the past few decades. Interestingly enough, though, while the Joker is one of Batman’s most famous and long-enduring enemies, he’s not a figure who sticks around in any movie world for very long.
In fact, when it comes to Batman movies, the Joker has never appeared alive in two live-action movies in a row. 1966’s Batman didn’t get a sequel, Jack Nicholson’s Joker died in 1989’s Batman – though we do get some posthumous Joker flashbacks later on in the series – and while the Joker survives The Dark Knight, the movie ends his role in Nolan’s Batman trilogy.
Though the Joker has had longer stints in non-Batman-focused live-action DC films – such as is the case with the Joker duology, or the DCEU Joker technically appearing in Suicide Squad, Birds of Prey, and Zack Snyder’s Justice League – it’s interesting to note this trend holds true for DC’s Batman-centered films, especially given the rivalry between Joker and Batman is such a core part of both of their stories.
Given The Batman introduced us to Barry Keoghan’s Joker, the villain appearing in The Batman 2 would mean that this rule would finally be broken after 61 years – which would be a pretty major milestone for the new DC movie series and for the Clown Prince of Crime alike.
Why The Batman 2 Would Benefit From Featuring The Joker
Robert Pattinson as Batman in The Batman looking off-screen
Currently, it doesn’t strictly appear as though the Joker will necessarily be a focal figure in The Batman 2 – and indeed, it’s possible the entire series may avoid him being the main villain throughout if the decision is made to instead focus more on DC villains who’ve had the limelight less in the overarching history of the franchise.
However, whatever the case may be, there’s still room for the Joker to feature in these films’ plots, and plenty of good reason to do so. Having the Joker appear in all of The Batman‘s movies – even if only in short snapshots akin to The Batman‘s own brief depiction of the character – would help build a sense of consistency throughout the series, and allow for Batman’s history prior to the movies’ story to be tantalizingly teased.
One of the key strengths of The Batman series thus far is the way it plays with a version of Gotham and those who reside within it that feels very much lived in, and as though it has many stories outside of the main plot we see in The Batman and The Penguin. As such, whether it’s to build the Joker’s own central story in the series, or just to make the worldbuilding feel that bit more intricate, there’s plenty of reason for The Batman 2 to break DC’s movie traditions with the Joker and how the character has been used.
Xbox CEO Asha Sharma has called the decision to include rival platform logos in its upcoming showcase “a miss” in response to fan backlash.
On Friday, Xbox’s leadership team discussed plans for its upcoming annual summer Games Showcase, which is due to take place on Sunday, June 7.
In a podcast published on the official Xbox channel, chief content officer Matt Booty was asked if the Showcase would continue its transparency regarding which platforms featured games will be releasing for.
Typically, first-party game showcases like Nintendo Direct and PlayStationState of Play don’t mention rival platforms in the game trailers they show, leaving viewers to find out later which consoles games are actually releasing for.
However, Xbox has broken the trend in recent years, alongside its push toward a multiplatform release strategy, and clearly signposted when revealed games are coming to PlayStation 5 or Nintendo Switch 2.
Speaking during the Xbox podcast, Booty confirmed the policy of transparency would continue. “We’ll be very clear about which platforms a game is coming to and want to continue the precedent,” he said. “I think we’ve got a good system going where we make it clear in Showcase.”
However, not all Xbox fans were pleased with Booty’s comments, with some suggesting that the Game Showcase should focus on Xbox platforms rather than mention rival consoles.
Prominent Xbox influencer Klobrille wrote: “I feel like the bare minimum expectation many had was for Xbox to really focus on their own platform at least for the time of the Showcase.”
Seemingly, this sentiment was significant enough for Xbox’s new leadership team to notice, as by Friday evening, CEO Sharma published an apology and claimed the policy would be reviewed.
“Seeing the feedback on logos,” she wrote. “It was a miss, and I own it. We are talking about how we adjust for future Xbox shows.”
Not everyone agrees with the potential U-turn, however. GLHF content director, Kirk McKeand wrote: “I’m not sure pivoting based on the whims of a few militant fans is the best idea.”
IGN journalist Ryan McCaffrey added: “Is doing what Sony does really any more helpful to gamers, though? Meaning, pretend a game doesn’t exist on other platforms on your Showcase when in fact it does. Who does that help?”
There’s a particular kind of performance that doesn’t get enough attention. It’s the supporting role that doesn’t try to steal the movie and somehow does it anyway.
Joan Cusack has made a career out of exactly that. Over decades of work alongside some of Hollywood’s biggest stars (Julia Roberts, Melanie Griffith, her brother John Cusack), she has delivered performances so specific, so alive, that audiences walk out remembering her. Sometimes even more than the lead characters.
She’s been nominated for two Academy Awards for Best Supporting Actress (for Working Girl in 1988 and In & Out in 1997), and if you’ve seen those performances, neither feels like a surprise.
But even in films where she wasn’t on the ballot, she was often the most memorable thing on screen. Here are five films where that was especially true.
Mike Nichols’ Working Girl is a seriously great film, one of my favorites, and an easy rewatch. Harrison Ford, Sigourney Weaver, and Melanie Griffith all do some of their best work, and Cusack nearly walks away with it, playing Cyn, Tess’ best friend and the biggest Staten Island personality you’ve ever seen.
Cyn is big-haired and big-hearted, and deeply practical about the ways the world works for women like her. She dances in her underwear. She dispenses Valium at engagement parties. She has the movie’s funniest line, delivered with magnificent exasperation. “Whaddya need speech class for? You talk fine!”
The look was intentional and famously over-the-top.
Costume designer Ann Roth, a Nichols collaborator across multiple films, described the Staten Island secretaries in Dressed: A Century of Hollywood Costume Design (via Atlas Obscura), “It was the 1980s [with] a Staten Island flavor. They usually don’t come to Manhattan, but those girls who come and work as secretaries, getting off the boat, their shoes would be in their purses … and they were sexy. That’s the point. They were very sexy.”
Cyn has huge earrings, gaudy makeup, and shoulderpads galore. But what keeps her from being just comic relief is a moral clarity that complicates Tess’ story.
What an icon. Cusack delivers some of the most quotable, memeable moments in this movie.
The original Addams Family is a fun enough film. The sequel is one of the sharpest, most anarchic comedies of the ’90s, and a big part of why is Cusack as Debbie Jellinsky, a serial killer posing as the family’s new nanny.
The role was originally offered to Kathleen Turner, according to AFI, who passed.
Screenwriter Paul Rudnick designed Debbie as a satirical stand-in for a specific American respectability politics. He told The Hollywood Reporter that the character was written as a spoof of the “family values” rhetoric of the George H.W. Bush era, all surface warmth masking something awful underneath (via AV Club).
Cusack plays Debbie as a woman straining just barely to keep the sunny veneer intact over her sociopathic goals. Her late-film monologue, delivered while the entire Addams family is strapped into electric chairs, is a performance of pure unhinged commitment that honestly is some of the best villainy around.
John Cusack’s High Fidelity is a movie about a man who needs someone to tell him the truth. His real-life sister provides that someone. She plays Liz, a mutual friend of Rob (John Cusack) and his ex, Laura, and serves as the film’s designated truth-teller. It’s a small role in screen time, but the movie wouldn’t work without it.
John Cusack breaks the fourth wall and talks directly to camera throughout.
“The fourth-wall approach was my decision, but it never felt like a big risk—the first draft had it as a voiceover, and it felt just too easy to miss that way. The likes of Groucho Marx often talked to the camera,” director Stephen Frears told The Guardian.
We’d say Joan Cusack’s scenes largely work in counterpoint to that technique. Where John narrates and justifies endlessly to camera, Joan cuts through it in person, no monologuing required. She provides a harsh reality check.
In an NPR Fresh Air interview Cusack gave in 2000, she was asked about supporting her brother and whether she expects to have a role in his films.
“You know, I don’t assume it, but I always hope it, because I love working with him, and I love supporting him, because he’s always done sort of more leading roles than I’ve done, and it’s just a hard — I think it’s a hard job to do that, and it’s nice to have people around you to support you.”
I’ll be honest, Garry Marshall’s Runaway Bride is not a great movie. But it has its moments as a film very much of its period, with some solid performances from its cast.
In a 2001 interview with NPR’s Fresh Air, she acknowledged that the role was a little overfamiliar, so she had to find something in it to grab hold of.
I actually have come to really like the best-friend role. At first, I think I—because I did it in Working Girl, too, and I’ve done it before. And in Runaway Bride I thought it really wasn’t worth it for me to do it again unless I could sort of make it meaningful for myself in some wayand really say, ‘Wait a minute, if I’m going to be the best friend, I want to be what a best friend really is and like really say something to my friend that a best friend would say, or behave in a way that was meaningful in thatway.’ In that way the part became meaningful to me.
Peggy, Cusack’s character, is funny, grounded, and completely unfazed by the chaos around Maggie (Julia Roberts). In a film that sometimes strains for charm, Cusack just has it.
I love this role. Cusack plays the uptight principal of a prep school, and is desperate to have a little fun.
Richard Linklater’s School of Rock is a Jack Black showcase, but Cusack’s performance as Rosalie Mullins is a standout.
Linklater has said he wasn’t even sure he wanted to make the movie. In Rolling Stone’s oral history of the film, he said that when the script arrived, “I read it and passed. It was cheesy; there was a formulaic quality to it.” Producer Scott Rudin refused to accept the pass, and eventually Linklater found a way in that felt like his own film.
What he ended up with included one of Cusack’s best scenes. Rosalie, several drinks in, explains to Dewey (Black) that she wasn’t always wound this tight. “There was a time where I was fun. I was funny!” she says loudly. It’s both hilarious and heartbreaking.
Jack Ryan was never much of a character. He was a stand-in. He debuted with his creator, Tom Clancy, in the runaway success of The Hunt For Red October, which made Clancy a household name and launched him as one of the most popular American authors in the waning days of the Cold War and beyond, becoming a brand unto himself. Clancy’s work is marked by its precise knowledge of security and military apparatuses, detailed geopolitical stakes, and the author’s unflappable conservative patriotism. Clancy’s hero, Ryan, is his aspirational version of himself.
Clancy, while undoubtedly knowledgeable and surprisingly tactful at dissecting international relations, was a gruff presence, always asserting himself as the smartest guy in the room (this becomes unpleasantly clear in the commentary track for The Sum Of All Fears, where Clancy points out everything he thinks is ridiculously counterfactual in Phil Alden Robinson’s adaptation). Meanwhile, Ryan is diplomatic and charming (not to mention, handsome), and can ultimately show why he’s right. In doing so, Ryan always saves the day from catastrophe.
Jack Ryan’s Boy Scout bearing is a product of Clancy’s reactionary moment: He’s a “morning again in America” hero as opposed to the cold cynicism of ’70s cops and spies in a disillusioned post-Vietnam society. Ryan is Reaganite perfection. The Hollywood that continues to adapt Clancy in 2026 moves that good ol’ boy energy into a new era, one now defined by America’s perception that it is both the dominant, balancing force in the world (judge, jury, and executioner of justice), yet simultaneously in decline.
After Alec Baldwin’s brief turn in October, Harrison Ford starred in the double bill Patriot Games and Clear And Present Danger, Ben Affleck in the interestingly misguided Sum Of All Fears, and Chris Pine in the memory-holed 2014 attempt to stop a second 9/11 (directed by Kenneth Branagh), Jack Ryan: Shadow Recruit. Four years later, the franchise would get rebooted once again, this time for TV, with creators Carlton Cuse and Graham Roland getting to the meat and bones by simply calling it Tom Clancy’s Jack Ryan.
The series, which ran for four seasons on Amazon Prime, made John Krasinski the actor with the longest-running portrayal of this malleable hero, who isn’t a character beyond a guy who says “I’m just an analyst” before saving the world. Like Jack Ryan: Shadow Recruit, Tom Clancy’s Jack Ryan is not taken from a single book by the author (who died a year before Shadow Recruit premiered), but instead “based on” characters created by him. This gives even further latitude to adapt the author to the present.
In 2026, that looks like Tom Clancy’s Jack Ryan: Ghost War. Co-written by Krasinski and A House Of Dynamite screenwriter Noah Oppenheim, Ghost Warsees a recently retired Ryan coming back for one last job against an organization trying to reactivate former terrorist groups. That plot element most resembles The Sum Of All Fears—the book, not the movie. While the 2002 film concerns an Israeli nuclear weapon found in the hands of a nefarious European neo-Nazi organization, the novel sees disparate groups of the disillusioned global left (the Palestinian Liberation Organization, Irish Republican Army, American Indian Movement, etc.) bond together to try to bring down the United States and a liberalizing Russia.
Ghost War doesn’t contain anything so geopolitically specific, nor Clancy’s penchant for accurately identifying why these groups hate the American government, and instead eschews that for a simple dichotomy of order and chaos. That always underlies Clancy’s work, but the whys and hows of these situations are important for Clancy to bring some semblance of truth to his stories. Furthermore, this always unintentionally highlights just how bizarre it is that Clancy is so unflinchingly patriotic, when he’s always putting a microscope to legitimate reasons for his beloved county to be despised by so many.
What makes Krasinski’s Tom Clancy’s Jack Ryan so thin is that it flattens these complexities for assumptions. Good guys are good and bad guys are bad in Clancy’s work, sure, but Clancy at least grounds these opposing sides in a somewhat believable real-world context. Ghost War is pure bozo pulp. It allows the audience to disengage, checking out between action sequences rather than having to chew on anything close to a geopolitical reality. It’s the narrative equivalent of the current state of American warmongering, where the government and its sycophantic mouthpieces barely even attempt to manufacture consent for foreign and domestic operations anymore. Even just a decade ago, Ryan had to justify joining a CIA that was mired in torture scandals, but now nothing even warrants a second look from the analyst. Krasinski’s co-writing credit for Ghost War implies some sort of genuine belief in the institution—as do red-carpet quotes like, “The CIA is something that we should all not only cherish, but be saying thank you for every single day”—it’s just that Krasinski isn’t very convincing in selling it.
Perhaps more telling, Krasinski’s iteration makes the propaganda of the Ryanverse explicitly read like advertising. This dumped-on-streaming film takes every chance to show the audience its Cisco-branded landlines and how beautiful and clean and (mostly) safe Dubai is. Besides the international acts of espionage and gunfights in half-finished buildings, Dubai—a city built on slave labor and under serious threat by the U.S.’ pointless war with Iran—sure looks nice under its lights.
While Ryan originally fit easily into the reactionary paradigm of the Reagan years, his mentality quickly drifted further and further away from a Republican-coded interventionist attitude, especially as the era of Donald Trump has centered cruelty and unprofessionalism, which stands in stark contrast to Clancy’s elitism, which manifested as a hatred for bureaucrats who prevented the people who really know what they’re doing from doing it.
The characters that really get things done in contemporary Hollywood cinema are superheroes. If one transposes their abilities onto some real-world equivalent, they would be special operators, the top-tier soldiers who can fight their way out of being outnumbered. Jack Ryan might be an analyst, but when the bullets start flying, he handles firearms as if he were a Navy SEAL. Stripped of any uniqueness, Jack Ryan has to be the analyst and the soldier, brains and brawn, a fantasy where every kind of violence the U.S. commits is done with good intentions and intellectual superiority.
It’s notable that this flattening of Ryan’s character is redundant, given that he already has a wetwork counterpart in John Clark. Clark isn’t a household name, though, and attempts to make him one (like 2021’s Tom Clancy’s Without Remorse) have failed. Jack Ryan may be the one thing still propping up Clancy’s name, which was once a culturally endemic brand in movies, books, and video games, one that denoted a certain seriousness to pulp-styled geopolitics. Now, they’ve become just another piece of conservative content, one increasingly overshadowed by the new TV empire being built by Without Remorse‘s co-screenwriter, Taylor Sheridan, who is making even nastier conservative media for an even more volatile and cruel time.
While Without Remorse feels like it’s trying to keep the Clancy name relevant by being more like Sicario: Day Of The Soldado than any of the previous films, Tom Clancy’s Jack Ryan: Ghost War just tries to stamp the name onto a piece of marketing. This is partially because Clancy’s stock has fallen, and partially because those making movies—especially for a right-leaning crowd—now think that their audience doesn’t want anything more than that.
That’s indie distributor Neon’s co-founder and CEO Tom Quinn‘s take on working within a major studio, let alone two combined.
In his first public appearance since taking home Neon’s seventh Cannes Palme d’Or, this time for Fjord, last week, Quinn was asked at the Produced By Conference his thoughts on the mega Paramount-Warner Bros merger ahead and how that would impact Neon. This year’s Produced By is being held on the Universal lot.
“The idea of putting two of those (companies) together — how you would you feel like if A24 and Neon merged? That would be ridiculous,” he exclaimed.
Expounding on the downside of corporate versus his low overhead operation, “The amount of politicking, the layers of middle management to get to a decision. I’ve worked with this companies, been on zoom with 50 people…In no way can anyone make a decision. It all goes off into black box (after the meeting). I don’t I want to work at a company like that,” said Quinn.
“The lack of competition is bad,” he added.
“Another thing that’s happening is the ‘Uber-zation’ of entertainment: the algorithm,” Quinn continued, “I don’t want to understand it, I want no part of it.”
In regards to being a juggernaut at Cannes consistently, Quinn was modest: “I spent 20 years not winning a single thing at this festival.”
He had a few early brushes with Cannes winning success. Quinn worked on Mike Leigh’s Secret & Lies in addition to the Magnolia Lars von Trier dystopian future title Meloncholia which didn’t win the Palme d’Or (von Trier made sympathetic remarks toward Adolf Hitler, getting himself banned from the fest), but won Best Actress for its lead star Kirsten Dunst.
“At no point did I think we’d ever win a Palme d’Or for Parasite,” which Quinn bought at the script stage.
“We’ve never planned or chased the idea of we must have a certain number for films in Cannes,” added despite having nine films there this year, six of which were in competition.
This week delivered a remarkable collection of character-driven moments, with familiar favorites revealing new layers of themselves and scene-stealers reminding us why we love them in the first place.
From fierce loyalty and heartbreaking vulnerability to impossible decisions and unforgettable performances, these are the TV characters who stood out from the pack this week.
Dive into why Brilliant Minds, Criminal Minds, and more resonated with us so much!
Carol Pierce – Brilliant Minds
(David Lee/NBC)
Carol Pierce has always been a fierce and loyal friend, but when she thought Oliver was missing, she demonstrated how deep her friendship with him went.
She jumped in, ready to save her best friend. That included dropping by his house, making conversation with Oliver’s one-night stand, and trying to convince Josh of how dark a hole Oliver was in.
She was not afraid to dish out some blunt, hard truths to him or to Charlie, and I loved that about Carol.
She knew he needed help because he was so focused on finding Sophia, and no one else had seen her.
Carol only cared about Oliver’s well-being and supporting him, and that’s why she’s his ride-or-die.
We’re also thrilled that Carol stood her ground with Thorne and came out ahead. That’s why she’s one of our favorites.
Luke Alvez – Criminal Minds: Evolution
(Justin Lubin/Paramount+)
The Criminal Minds Season 19 premiere was a dark hour, but it was also a powerful one when it came to character exploration, particularly when it came to Luke Alvez.
We’ve always known the agent to be a veteran, but we knew very little about his service experience or, more specifically, his time afterward.
The second in a two-part premiere gave us an illuminating hour during which we learned, by the end, that a beautiful canine named Roxy is responsible for saving his life.
With the hour opening with him in such deep distress, he made you want to crawl through the screen and embrace him.
We had no idea what was driving his strong reactions, the elevator breakdown before he could compose himself, or how on edge he was about their latest case, brought to him by someone who worked alongside him in a veteran program.
(Trae Patton/Paramount+)
But it was through that heartbreaking admission to David that he knows what it feels like to have the steel of your own gun between your teeth that utterly shatters you.
This new insight into Luke, that Roxy was the thing that saved his life, and the fear beneath of it, who or what is supposed to keep him grounded now, is riveting.
And it was all expertly conveyed by Adam Rodriguez. Luke’s pledge to David felt like it was just as much for himself as it was for this broken person who became an unsub.
All of it leaves you wondering what the season will do for Luke moving forward.
David Graham – Criminal Minds: Evolution
(Justin Lubin/Paramount+)
Frankly, it’s hard only to acknowledge Luke’s character in this when the premiere also gave us its most intriguing Unsub of the hour, who wasn’t Voit, of course.
Cabral is effortlessly one of the most underrated actors of our time, and he brings that skillset to truly capture the utter brokenness of David, who has an inoperable tumor that causes him so much pain that he has taken to inflicting pain on others in the most grotesque, flinchingly violent ways.
When David essentially inquires about things, like how he can make the pain stop, if buddies really work, or how he can keep carrying on like this, you somehow see past the fact that he’s a man holding an icepick inches away from some poor man’s nasal cavity. You’re just consumed with his pain.
Because pain is a universal experience — it’s something we can connect with in some way or another, and it serves as a reminder of how monsters aren’t always born but bred by so many factors and circumstances.
David, being so raw as a character, so real, is as scary as it is compelling.
Russell Shaw – Tracker
(Darko Sikman/CBS)
Oh, Russell. There’s never a dull moment with that one.
Naturally, the Tracker Season 3 finale was an exciting affair because it’s always the case when you get the Shaw brothers together.
What was interesting throughout the hour was just how tapped into the unusual, bordering on sci-fi-esque conspiracy, they were regarding their father and his past.
And Russell handled it all with that same humor and charm that make him fun to watch. He also brought the intensity.
The way he handled himself, even after sustaining a gunshot wound, was enough to have you on the edge of your seat with his every move and breath.
Russell was the embodiment of a seasoned pro in this world, a classic big brother, and a peacemaker and mediator—also a general scene-stealer. Seriously, any hour that features Russell will almost always make it onto our list.
Andrea – Marshals
(Fred Hayes/CBS)
We spent all of Marshals Season 1 with this fiery city-slicker who couldn’t wait to get as far away from Montana as possible the first time she got a chance.
By the Marshals Season 1 finale, she has this chance, and yet it leaves her second-guessing everything because, despite how she felt, she built a life and a family-of-sorts there.
It’s all the quieter moments of reflection for Andrea that make her a standout in a finale that fully affirmed why Marshals is a fantastic series in this franchise, despite the criticism.
Andrea sspentalmost every chance she can jumping back into the fray to hlp her team, her desire to truly see things through when it came to who attacked Rainwater and Kayce, and how difficult it was for her teven to tell everyone she was leaving just spoke volumes about how deeply Montana embedded itself in her bones.
We don’t really know whether Andrea’s departure will stick.
Certainly, we hope not, but the finale gives her conflicting feelings the necessary weight.
She’s still reeling from her abduction, or how her desire to have a position she feels that she deserves but isn’t necessarily certain she wants, conflicts with life in Montana.
Andrea has been a character who sneaks up on you all season long, and what better reason to highlight her here?
Over to you, TV Fanatics! Let’s hear your thoughts below!
Days of Our Lives spoilers for the week of 6-01-26 may be the beginning of the end for Abe and Lexie. This makes no sense to us.
NCIS and The Testaments opted for cameo appearances, and only one show managed it just right. It’s time for NCIS to learn.
Tyler Johnson previews Where the Heart Lands, Lifetime’s latest romance, and he opens up about vulnerability, horses, and much more.
Now that Hacks is ending its reign as the resident critical dramedy darling, it’s time to assess the future of this TV genre.
The newest season of Deli Boys delivers heart-racing mob dealings and hilarious quips. Here’s why you need to tune in!
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President Trump suggested Saturday that he could replace the many performers who have withdrawn from a government-sponsored summer concert series with a speech by himself, claiming he’s a bigger draw than Elvis Presley and slamming the dropouts as “third rate artists.”
“I understand Artists are getting ‘the yips’ having to do with their performance on Wednesday, so I am thinking about bringing the Number One Attraction anywhere in the World, the man who gets much larger audiences than Elvis in his prime, and he does so without a guitar, the man who loves our Country more than anyone else, and the man who some say is the Greatest President in History (THE GOAT!), DONALD J. TRUMP, to take the place of these highly paid, Third Rate “Artists,” and give a major speech, rallying the Country forward like I have done ever since being President!” was but one sentence Trump posted Saturday on his Truth Social platform.
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Trump did not mention the Freedom 250 concert series by name, but the post came after several performers withdrew from the event, which is scheduled to run from June 25 through July 10 as part of celebrations marking the 250th anniversary of the nation’s founding.
Five of the nine artists originally announced for the series have publicly backed out: Morris Day, Bret Michaels, Martina McBride, Young MC and the Commodores. Several said they were misled about aspects of the concerts or became concerned about the events’ political overtones.
Only Vanilla Ice and Fab Morvan of Milli Vanilli have publicly committed to performing. Freedom Williams of C&C Music Factory has said he remains undecided, while Flo Rida has not publicly addressed the controversy.
The meaning of Trump’s repeated references to “Wednesday” was unclear. The concert series does not begin until late June.
“I don’t want so-called ‘Artists’ that get paid far too much money, who aren’t happy,” he wrote Saturday. “I only want to be surrounded by Happy People, Smart People, Successful People, and People that know how to WIN. So, by copy of this TRUTH, I am ordering my Representatives to look at the feasibility of doing an AMERICA IS BACK Rally on Wednesday, Washington, D.C., same time, same location. Only Great Patriots invited — It will be a Wild and Beautiful Celebration of America!”
Freedom 250, a nonprofit organization founded by Trump as a public-private partnership, says its events are intended to be nonpartisan celebrations. Critics, including some Democratic lawmakers, questioned that characterization and argued the initiative has taken on a partisan tone.
Trump is also expected to participate in a separate high-profile event next month, a UFC card planned for the White House grounds on June 14, which is his birthday.
Photo Credit: Bertie Watson I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out. I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand.It started as a rebellion — film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global — Toronto, Vancouver, New York, LA, Berlin, Brussels — because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival. In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems Check out my new Substack for in depth Free Articles:
A fast-moving wildfire has triggered a mandatory evacuation order south of Shellbrook, Sask., as crews continue battling multiple active fires across the province.
An emergency alert issued to residents Saturday morning ordered people living from one mile west to five miles east of Shellbrook and south of Highway 3 to the RM of Shellbrook border to leave immediately.
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Officials warned that the wildfire is moving northwest and urged people not to delay evacuation.
According to the Saskatchewan Public Safety Agency’s latest update, there are 10 active wildfires across the province, including forest fires and grassfires.
The fire, dubbed Lobstick, was first reported on Tuesday afternoon just after 3 p.m., with fire crews attending the scene shortly after, according to the Saskatchewan Public Safety Agency.
HBO Max is going wide with its Emmy campaign for “Neighbors,” the Josh Safdie-produced docuseries that turned America’s pettiest property-line feuds into one of the most talked-about unscripted experiments of the season.
After being greenlit for a second season, the network is submitting the series in 10 categories at this year’s Emmy Awards, including a bid in the outstanding unstructured reality program category, Variety revealed exclusively. Created and directed by Harrison Fishman and Dylan Redford, the six-episode A24 production spent more than two years embedding with feuding neighbors across the U.S., framing their disputes over fences, surveillance cameras, backyard menageries and one now-infamous swimsuit as a verité window into a polarized nation.
The series marks a notable pivot for Josh Safdie, who produces “Neighbors” alongside frequent collaborators Bronstein and Bush following the well-documented professional split from brother Benny Safdie. It also continues HBO Max’s run of Safdie-aligned nonfiction swings, including “Telemarketers” and “Ren Faire,” trading those projects’ single-subject deep dives for an anthology rhythm that stacks multiple combustible stories into each half-hour.
Safdie is coming off his four Oscar nominations for best picture, director, original screenplay and editing for the Timothée Chalamet table-tennis dramedy “Marty Supreme.” Alongside the multihyphenate in the top submission race, the program enters with a producing roster that includes Ronald Bronstein (who also scored double Oscar noms for “Marty”), Eli Bush, John Paul Lopez-Ali, Jonathan Hausfater, Chris Bowyer, Harrison Fishman, Dylan Redford, Samuel Fishman and Brendan McHugh as executive producers, along with Andy Ruse and Max Allman as co-executive producers, Natalie Teter as producer and Rachel Walden with a produced by credit. The campaign coalesces around the jaw-dropping finale “Yellow Thong Bikini” (Episode 106), which carries into nearly every craft race.
There’s an interesting Hollywood bloodline embedded in the producer credits. Dylan Redford, who serves as co-creator, director, editor, cinematographer, production sound mixer, main title editor and motion design director on the series, is the grandson of the late Robert Redford, the Oscar-winning actor and Sundance Film Festival founder who died last year at 89.
A potential Emmy nod would also break a long dry spell for the network in the genre. HBO has rarely been a factor in the reality races, and “Neighbors” comes as a populist play centered on a relatable subject: the feud next door. A bid in unstructured reality would be HBO’s first reality series nom in six years, since “We’re Here” in 2020, and would make “Neighbors” only the fourth reality series the network has ever landed in the field following “Project Greenlight” (2016, 2004 and 2002) and “Taxicab Confessions” (2002 and 2001).
Emmy nomination-round voting runs from June 11-22, and the official 78th Primetime Emmy Awards nominations will be announced on July 8.
The full list of the Emmy submissions is below.
The first season of “Neighbors” is streaming on HBO Max.
Directing for a Reality Program: Harrison Fishman and Dylan Redford, Episode 106, “Yellow Thong Bikini”
Picture Editing for an Unstructured Reality Program: Dustin Waldman, Harrison Fishman, Dylan Redford, Nicholas Nazmi and Kima Hibbert, edited by; Eavvon O’Neal, additional editor, Episode 106, “Yellow Thong Bikini”
Casting for a Reality Program: Harleigh Shaw, casting by
Cinematography for a Reality Program: Harrison Fishman, Sam Fishman and Andy Ruse, cinematographers, Episode 106, “Yellow Thong Bikini”
Sound Mixing for a Reality Program: Paul Hsu, re-recording mixer; Dylan Redford, production mixer, Episode 106, “Yellow Thong Bikini”
Music Composition for a Documentary/Nonfiction or Reality Program (Original Dramatic Score): Max Whipple, score composed by, Episode 106, “Yellow Thong Bikini”
Original Main Title Theme Music: Max Whipple, score composed by
Title Design: Steve Smith, designer and animator; Emily Chin-Longobardi, typographer; Dylan Redford, Harrison Fishman, Dustin Waldman, Kima Hibbert and Nicholas Nazmi, editors
Motion Design: Steve Smith, animator; Dylan Redford, director and editor; Nicholas Nazmi and Dustin Waldman, editors; Harrison Fishman, director, editor and cinematographer
Kelly Curtis, an American actress and the sister of Jamie Lee Curtis, died on Saturday. She was 69.
Jamie Lee Curtis announced her older sister’s death in a Facebook post. She wrote, “A warm aloha to my older sister, Kelly Lee Curtis. She passed away this morning. In her home. In nature. At peace. She was my first friend and lifelong confidant. She was jaw droppingly beautiful, and a talented actress. She played a mean game of hearts, collected turtles, loved her family, nature, music, thrifting, travel, Facebook, and Pokémon Go. She was proud of her Danish roots and Hungarian Jewish ancestry and was a devoted American patriot.”
She continued, “She will be remembered for her loving generosity, fierce opinions, endless curiosity, unique style, and her powdered, almond, crescent cookies at Christmas, hence her name, Auntie Cookie. Kelly always signed off any message or fare thee well with a Hungarian blessing… Isten Veled, God is with you. Isten Veled to my sister of the sun and the moon, my Tai. I’ll see you on down the line.”
Kelly Curtis appeared alongside her younger sister in the 1983 comedy “Trading Places.” She also worked as her assistant on “Freaky Friday,” “Christmas With the Kranks” and “You Again.”
Curtis appeared as Lieutenant Carolyn Plummer in the first season of UPN’s action series “The Sentinel.” She also had one-off roles in shows like “Star Trek: Deep Space Nine,” “The Equalizer,” “Hunter,” “Silk Stalkings,” “LateLine” and “Judging Amy.”
On the film side, Curtis starred in the 1987 comedy “Magic Sticks” and the 1990 TV movie “Thanksgiving Day,” which also featured Mary Tyler Moore. Her other film credits include “False Arrest” and “The Sect.”
Curtis’ most recent work was as director of a pair of documentaries. The first, 2018’s “Marby Jets Are Go,” chronicled the ups and downs of an Australian high school track team. The second, 2019’s “Curling in Stanley,” captured the first-ever “Sawtooth Outdoor Bonspiel” curling tournament in Stanley, Idaho.
Born in Santa Monica in 1956, Curtis’ big screen debut was in the 1958 action-adventure film “The Vikings,” which starred her parents, Tony Curtis and Janet Leigh.
The Daily Show has evolved into one attracting its biggest audiences ever, and Lydic — who’s been a correspondent on the Comedy Central stalwart since 2015 — is one of the reasons why. She joins me for this edition of my Deadline video series Behind the Lens to talk about how it all works, most particularly in this Trumpian environment, and the challenges and opportunities for comedy in a world where it is difficult to keep up with the real news.
She talks about how on some days all the material they had planned to use on the show had to be quickly dumped in favor of breaking events and coming up with a brand-new opening set. She also talks about the pitfalls of being in Trump’s crosshairs, whether she worries about going too far, the influence of Stewart, how she got the job in the first place and much more, including the herculean task of having to watch Fox News so the rest of us don’t have to.
Kane Parsons is the new king of the box office with Backrooms. His $10 million adaptation of his viral YouTube short film series is eyeing the biggest opening in A24 history, with at least $80 million. Rival studios even think it could go as high as $90 million.
It will easily take the No. 1 spot, after landing around $38 million on Friday, including Thursday previews. It focuses on a failed architect (Chiwetel Ejiofor), who stumbles across an endless series of rooms in the furniture store he manages.
The ascension of Parsons, 20, comes just two weeks after fellow YouTuber Curry Barker became the hottest 20-something filmmaker in Hollywood thanks to surprise hit Obsession. The $750,000 feature, now in its third week, is making history as the first film outside of Christmas since 1982 to increase in both its second and third weekends. It is expected to be up 19 percent from last weekend, with an estimated $28.5 million. That’s after defying box office gravity last weekend, earning an unheard of 39 percent more in its second outing than its first.
It has grossed $106.8 million globally, Focus’ top movie ever.
In its wake, Barker has been fielding intense attention from Hollywood for his next original feature, even as he works on the edit of his already-shot movie, Anything But Ghosts and contemplates a Texas Chainsaw Massacre reboot for A24.
It all feels like a passing of the guard moment, with Parsons and Barker’s movies overshadowing the ultimate establishment franchise, Star Wars.
Star Wars: The Mandalorian and Grogu is looking to bring in around $24 million in its second weekend, a drop of around 70 percent for a third place finish. It has already grossed $171 million globally, off a relatively trim (for Star Wars standards) net budget of $165 million. Disney insiders have maintained that the pinwheel effect the movie has on merch, parks and Disney+ is part of its calculus for the movie beyond box office.
Of new offerings, comic Nate Bargatze’s first-ever movie, The Breadwinner, is aiming for a fifth place finish behind Michaelwith $7.5 million for the weekend. He stars opposite Mandy Moore as a hapless husband charged with running their household and caring for their children while his wife is away. It failed to clean up with critics, landing a 32 percent rating on Rotten Tomatoes, though audiences have been kinder, granting it an 87 percent.
And Focus’ World War II drama Pressure, starring Brendan Fraser and Andrew Scott, is aiming for $5.4 million for seventh place behind holdover The Devil Wears Prada 2.
Most of us have an ex we’d rather erase from our memory like an embarrassing Facebook status from 2009. In fact, even television characters on TV Land have toxic exes. You know, the ones that make you yell at your favourite characters on the screen, “Block him and RUN!” You know, the toxic exes who keep showing up, ruining lives, starting drama, and somehow getting way too many second chances (and third chances…and fourth chances).
Today, we’re talking about the most painfully toxic exes on TV and the shows that unleashed them on all of us. Here’s how it will work. I’ll show you a photo of a toxic ex, and you have to name the TV show that they belong to. And then we’ll dive into why they were so toxic. And that’s it. Simple, really. Ready?
How’d you do? Drop your score in the comments. And while you’re hanging out there, tell me this: In your opinion, which television character would win a competition for being the most toxic ex ever? Tell me your thoughts in the comments.
And for more fun content like this, make sure you follow BuzzFeed Canada on TikTok and Instagram!
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Most actors dread a bad review, but Hannah Waddingham credits the critics for catapulting her to the next phase of her career.
It was 2000, and Waddingham had recently wrapped a musical about artist Henri de Toulouse-Lautrec at the Shaftesbury Theatre in London. The show closed early after a panning in the press, but Waddingham’s turn as Toulouse-Lautrec’s lover, Suzanne Valadon, was singled out for praise. As one British newspaper put it: “She deserves to be in a better musical.”
Zoe McConnell for Variety
Her standout performance led theater impresario Andrew Lloyd Webber to handpick the 26-year-old for a project he was writing with Ben Elton called “The Beautiful Game.” “He said anyone that can have rave reviews in something that receives such bad reviews is the kind of person I want to work with,” Waddingham recalls.
Arriving at Lloyd Webber’s opulent Central London home for a preproduction meeting, Waddingham found the man behind some of theater’s greatest hits sitting at a piano. “He was tinkling around and saying, ‘Well, I’ve had Elaine in this key’ — you know, Elaine Paige — ‘I’ve had Glenn in this key’” — that is, Glenn Close — “‘and I thought we might sit you here,’” she says, miming fingers on a keyboard.
If “The Beautiful Game,” which tells the story of a Belfast soccer team against the backdrop of the conflict in Northern Ireland, marked Waddingham’s breakout theater role, it would take a further two decades before another soccer-themed show brought her to global attention, when she landed the part of AFC Richmond owner Rebecca Welton in Apple TV’s hit series “Ted Lasso.”
Waddingham always knew she’d be a performer. “Whether it be acting, song, dance,” she says. “I just couldn’t have imagined doing anything else.” After leaving school, she enrolled at the Academy of Live and Recorded Arts but dropped out after two years to join “Joey and Gina’s Wedding,” an improv dinner show in the basement of London’s Café Royal restaurant, where the audience played the wedding guests as the nuptials descended into chaos.
So convincing were the actors that, despite having bought tickets, some of the attendees were persuaded they’d crashed a real wedding, even apologizing for not bringing a gift. Inevitably, given the show’s spontaneity, things occasionally went wrong. Flowers were accidentally set on fire. An audience member who fled to the bathroom to vomit was swiftly set upon by an actor trying to incorporate them into a scene. “It was absolute carnage but great fun,” Waddingham recalls. It “just shoved you headlong into improvisation,” she says.
Coincidentally, the Café Royal is where we meet on a May afternoon, the venue long since transformed into a tony hotel. Waddingham — barefoot, having kicked off a pair of black stilettos — is semi-reclined on a sofa in the wood-paneled Tudor Suite, just a few floors up from where she began her career. “How lovely and full circle is this,” she says.
While Waddingham is indelibly associated with musicals (even her turn on “Saturday Night Live U.K.” earlier this month saw her singing in most of the sketches), it’s been a number of years since she appeared in one, aside from a small role as a factory worker in Tom Hooper’s 2012 adaptation of “Les Misérables.”
Is it true she tested for the role of Madame Morrible in the film adaptation of “Wicked”? “No, I didn’t! This is the funniest thing,” she responds. “We can put this to bed once and for all.”
Waddingham reveals that although she talked to Cynthia Erivo about the role (they’ve been friends since appearing together in a West End presentation of “How to Succeed in Business Without Really Trying” in 2015), they soon discovered Michelle Yeoh already nabbed the part. “I was like, ‘I think it’s gone.’ She was like, ‘Dude, I think it’s gone as well.’”
“I would have loved to have been seen for that”— Waddingham draws out the word “loved” — “but it was a fait accompli, as they say.”
The deficit of musical films on her CV is not for lack of trying. “That’s what’s always eluded me. Whenever I see them, I think, ‘Oh, come on!’ I mean, I would absolutely love to,” she says. Is there a particular one she’s holding out for? “There is, but I’m keeping it under my hat because I want to do it. Goddamn it!” she erupts.
In the meantime, of course, there’s the small matter of “Ted Lasso.” Season 3, which came out three years ago, handed Rebecca something of a decisive (and happy) ending — a new purpose with the women’s team and love on the horizon — but Waddingham says she suspected the show would return. “Because that’s too much of a cliffhanger to be had,” she says. “But I’m so glad it has.” The idea of never playing Rebecca again felt “like losing a pal.”
Season 3 was delayed due to production issues, including, reportedly, co-creator Jason Sudeikis’ endless rewrites. Did Season 4 run more smoothly? “There’s always going to be a bit of give-and-take within a scene, because of the nature of how Sudeikis works,” she says. “He hears it in the room, and then we tweak. With that boy, you’ve got to roll with the punches. He and I have an ongoing love-hate relationship that he changes it last minute.”
Zoe McConnell for Variety
“Ted Lasso” was the most-watched streaming original of 2023, per Nielsen, racking up an eye-popping 283 million viewing hours. Why does she think the show is so popular? “I love the positivity in it,” Waddingham says. “I am blessed that I am in this AFC Richmond family.”
The affection among the cast appears genuine: Waddingham says they keep in touch so regularly it would be “odd” if she didn’t hear from at least one of them in a week. “I was chatting to Brett Goldstein yesterday,” she says.
Goldstein says he was a fan of Waddingham’s before they’d started working together. “I’d seen her in a number of musicals before I met her,” he says. “I was so excited to work with her that I probably came across as a stalker at the first read through. Luckily, I didn’t scare her off. I am a huge Hannah stan.”
Waddingham is less enthused about the idea of Ted (played by Sudeikis) and Rebecca hooking up, despite some of the fan base fantasizing about the prospect. “I love that we buck against the norm,” she says of the duo’s platonic relationship. “And they are undoubtedly soulmates, but that can mean a myriad of things.” She can understand why fans are rooting for a romantic union, but sidesteps further questioning, saying firmly: “I love all the relationships in it.”
Unsurprisingly, “Ted Lasso” has dominated Waddingham’s career since it launched in 2020. Outside the show, she has mostly done voice work (for animated films including “Lilo & Stitch” and “The Garfield Movie”), as well as the odd supporting role in big-budget fare such as “The Fall Guy” and “Mission: Impossible — The Final Reckoning.” This summer she is set to lead a new comic drama, “Ride or Die,” a high-octane buddy caper created by Tessa Coates in which Waddingham stars opposite Octavia Spencer.
The eight-episode series, which drops on Prime Video on July 15, sees the two actresses playing BFFs who go on the run together after an assassination goes wrong: Waddingham is Judith, a mercenary masquerading as an accountant, while Spencer is a spurned politician’s wife. Waddingham says she did almost 80% of her own stunts “and nearly killed myself” in the process. “I thought it was a good idea at the time,” she laughs.
Did she call her “Mission Impossible” colleague Tom Cruise for advice? “I didn’t, but, God, he makes it look easy, and it’s absolutely not.”
“Ride or Die” landed in Waddingham’s lap after Coates and Spencer approached her directly to play Judith. After receiving an email inviting her to a Zoom with the duo, Waddingham — unaware they planned to offer her a role — said she racked her brains trying to work out why they wanted to speak to her. “And Octavia’s whole face filled the screen and just went, ‘We want you to play Judith, dummy!’” Waddingham recalls, beaming. “It was lovely. I just couldn’t speak.”
She acknowledges she’s at a stage in her career where she no longer always has to audition but is clear she doesn’t take it for granted. “I would never be so arrogant as to — if a director or producer doesn’t know my work, I would never say, ‘Well, I’m not meeting.’”
Given that luxury, is she picking and choosing her projects carefully? “Well, not only picking and choosing,” she says, explaining that “irritatingly,” on occasion she has to turn down roles because her calendar is so packed. “Which is currently driving me nuts because I form attachments to roles when they feel right very quickly,” she says. “You do get a bit of a twitch on when you see somebody else do it.”
When I probe whether it’s the return of “Ted Lasso” that’s holding her back, she’s quick to correct me, saying: “Oh, no, there’s a million things that I’m juggling at the same time.” (Waddingham is also a single parent to an 11-year-old daughter.)
Coiled on the sofa, Waddingham appears relaxed, but is adept at batting away questions that have the potential to elicit a controversial answer. For example, when I ask how she handles compensation in the age of streaming buyouts, especially on a show as popular as “Ted Lasso,” she replies, “I think it’s a personal thing, and it has to be on a case by case, you know?”
One area where she doesn’t hold back is artificial intelligence. “No actor should allow that to happen,” she says of jobs that include manipulating performances with AI. “End of story.”
Waddingham says she guards her privacy fiercely, to the extent she’s reluctant to name her favorite farmer’s market in London lest it lose its anonymity — and by extension hers. “Whether people think I am or not, I am a very private person, and you have to keep something for you,” she says.
She would prefer the focus to be on her work, but isn’t it increasingly difficult in a world where public figures, no matter how unqualified, are expected to opine on everything from wellness to global politics?
“I just feel like everyone hangs on the words of our community too much,” she says, ready to wrap up. “I try to leave good content on camera. I love playing the parts I play. I’m looking forward to what comes next, and that’s that.”
Charity Spotlight: Make-a-Wish U.K.
Hannah Waddingham’s 11-year-old daughter is always front of mind. “She is my reason. She is my moral compass. Everything I do, everywhere I go, I wonder what she will think of it,” Waddingham says.
The actress is candid about the fact that she swapped stage for screen partly due to the incompatibility of treading the boards and reading bedtime stories. Today, she’s rushing off to pick up her “little boss” from school.
Waddingham first came across Make-a-Wish U.K. 15 years ago and was immediately struck by its work. The original wish-granting organization was founded in the U.S. in 1980. Its U.K. counterpart launched six years later, and today there are affiliates in almost 50 countries around the world, all dedicated to making dreams come true for the most critically ill children, whether that’s arranging for them to star in their own film, feed a tiger, meet their favorite celebrity or visit Disneyland.
“If I can raise any money to help the parents of children that are so deeply [unwell], then I’m here for it all day long,” Waddingham says.
Location: Hotel Cafe Royal; Production: Joel Gilgallon/Joon; Styling: Thomas Liam Davis/Carol Hayes Management; Styling assistant: Alice Liberty; Makeup: Sophie Roberts; Hair: Elle Clancy; Dress: Rixo; Jewelry: Boodles; Shoes: Aquazzura
Avengers: Doomsday is shaping up to be a dream for fans who loved collecting all their action figures and pitting them in all-out brawls. Basically, anyone who is anyone in the MCU has their name attached to the upcoming team-up movie, with a few notable exceptions. And as is par the course for a Marvel Studios production, the heroes that are already part of major teams are getting all the good press.
It all starts with the X-Men, who are making their return to the big screen after a hiatus. Doomsday‘s marketing, including the trailer shown at CinemaCon, promises that the merry band of mutants will be part of some eye-popping action scenes, including one in which they go up against Earth’s Mightiest Heroes. But the conflict between the two superhero groups probably won’t last long, as they have a common goal: survival.
When it comes down to it, all the good guys will have to get on the same page if they want any chance of coming out of the movie victorious. However, a few dynamics threaten to throw everything out of whack. That’s because some antiheroes are going to have to be in the same room as the hero that they once tried to get the better of.
Forgotten Antihero Team-Ups That Could Have Major Ramifications For Avengers: Doomsday
John Walker and Sam Wilson
Marvel Television
Sam Wilson thought giving up the Captain America shield in The Falcon and the Winter Soldier was the right move. Never in his wildest dreams did he imagine the US government would hand it over to John Walker, a decorated soldier with an ego problem. John meant well at first, but it quickly became clear that he wasn’t cut out to be the Star-Spangled Man.
After taking the shield away from John, Sam stepped into the Captain America role and immediately made it his own, taking down the Flag Smashers and The Leader. John had to go down a different path, teaming up with the Thunderbolts and facing his demons before becoming a New Avenger. However, Sam isn’t happy about John and his buddies taking the Avengers name. Things are sure to get awkward once Cap visits Avengers Tower in Doomsday, a moment that was teased in the film’s CinemaCon trailer.
Ghost and Ant-Man
Marvel Studios
Ava Starr watched her parents die right in front of her as a child. And before she could even deal with her grief, SHIELD began experimenting on her, trying to get the most out of her newfound powers. After growing up, the newly dubbed Ghost looked everywhere for a solution to her phasing problem, which led her to pick a fight with Hank Pym and his pals. She and Scott Lang went a few rounds in Ant-Man and The Wasp, and the titular hero rarely got the better of his opponent.
The movie ended with the two on solid footing, though, as Hank and Co. figured out a way to help Ava control her abilities. Unfortunately, they lost touch after everyone was turned to dust for five years (or, in Scott’s case, got stuck in the Quantum Realm). Without her new friends, Ghost turned to a life of crime and eventually joined the Thunderbolts. Despite ending up in a good spot, she might have some choice words for Scott, who the world has embraced as a hero, when the two link up on her home turf in Doomsday.
Namor (with Talokanil) and Shuri (with Wakandans)
Marvel Studios
Namor did what few comic book villains can do without dying: killing a hero’s parent. Talokan’s leader took Queen Ramonda’s life in Black Panther: Wakanda Forever, putting him on a collision course with Shuri, the new wielder of the Heart-Shaped Herb. Shuri’s brain defeated Namor’s brawn in the climax of the sequel, and a peace was brokered between Talokan and Wakanda.
But Doomsday promises to test the treaty’s boundaries. The movie’s fourth teaser showed Shuri and Namor wandering around what appeared to be a desert. Doomsday‘s CinemaCon trailer actually revealed that it’s a base that Namor has surrounded by a giant wall of water, likely in an attempt to protect his people. When the punches start flying, Namor probably won’t hesitate to betray Shuri if it means he comes out on top.
Based on the vibe of Doomsday‘s third teaser, Magneto and Professor X are seeing eye-to-eye in their first live-action MCU team-up. Maybe the threat of total annihilation is bringing them closer together. No matter how much chess is being played, though, Professor X should keep his head on a swivel around a mutant strong enough to destabilize Earth’s power grid.
Man of Tomorrow‘s new logo retains most of the elements of the iconic one from James Gunn’s 2025 Superman. While DC Studios is laser-focused on promoting the Milly Alcock-led Supergirl movie that soars into theaters next month, a wave of reports and teases from director and DC Studios co-CEO James Gunn has kept anticipation for Man of Tomorrow alive. An intriguing tease came in the form of a set photo that offered a look at a newly designed Man of Tomorrow logo, merging the classic House of El crest with elements of Brainiac’s design.
DC Studios showcased the official Man of Tomorrow logo during Warner Bros. Discovery’s Upfront presentation at the Infosys Theater at Madison Square Garden on May 13. The new logo is quite simple, showcasing a bold white Man of Tomorrow text over the original Superman crest, which became the focal point of the 2025 DC movie.
DC Studios
While the evolution of the logo is underwhelming, a brand-new one could emerge online in the coming months as filming winds down.
DC Studios
The 2025 Superman logo was heavily inspired by Alex Ross’s Kingdom Come comic design, showcasing a cleaner, more heroic take on the classic Kryptonian emblem.
The previous Superman and Brainiac hybrid design seen in a set photo featured the familiar Superman emblem combined with the DC villain’s three-pronged diodes on his forehead circuitry. It has a perfectly balanced composition, strongly suggesting that one of Brainiac’s goals could be to control Superman and force him to do his bidding (a story beat already featured in DC Comics).
DC Studios
Compared with other DC movie logos, Man of Tomorrow‘s first logo looks elegant, with its minimalist aesthetic, while 2016’s Batman v Superman: Dawn of Justice has an aggressive design, fusing the two titular heroes’ emblems, and feels dark and confrontational.
DC
The evolution between the two logos cemented DC’s maturation from Zack Snyder’s gritty aesthetic to a more story-driven, minimalist symbolism in Gunn’s DCU.
Another interesting comparison is between the Man of Tomorrow logo and the Superman II logo starring Christopher Reeve. The latter felt visually flashy, futuristic, and title-focused, leaning into the film’s grandeur with its glassy 3D treatment.
DC
Superman II’s logo embraced the retro-futuristic aesthetic that was directly connected to the movie’s Fortress of Solitude design. Its emphasis on dimensionality may also be a direct reference to the Phantom Zone, considering that General Zod and his allies were the villains of the sequel.
Man of Tomorrow brings back most of the core cast from Superman, headlined by David Corenswet, Nicholas Hoult, Rachel Brosnahan, Nathan Fillion, Isabel Merced, Edi Gathegi, and many more. Lars Eidinger and Adria Arjona join as newcomers in the DC Studios sequel. Man of Tomorrow arrives in theaters on July 9, 2027.
Why Man of Tomorrow’s New Logo Could Lead to a More Compelling Design
There is no denying that Man of Tomorrow‘s logo is pure, heroic, and standalone, serving as a beacon of optimism and simplicity while as filming for the sequel continues.
Still, the Man of Tomorrow logo seen in Warner Bros.’ 2026 Upfront Presentation could be a placeholder, and a more fitting design will be released in the months leading up to the Superman sequel’s 2027 theatrical release.
There is a strong chance that a more refined and compelling logo, similar to the hybrid Superman-and-Brainiac stylized design, could appear to emphasize the rivalry between the two DC heavyweights.
Many are also theorizing that Man of Tomorrow is secretly a Justice League movie, given the plethora of heroes already confirmed to appear. This is on top of Brainiac being a Justice League-level threat that would realistically require a coordinated team effort to contain. As such, a fresh logo incorporating subtle Justice League motifs could be showcased, hinting to fans that the Superman sequel is not just a team-up between Superman and Lex but is sneakily building toward an organic Justice League formation.
This year’s annual Call of Duty release–Call Of Duty: Modern Warfare 4–is set to arrive in just a few months. But according to a new report, Modern Warfare 4 may give players the chance to start the campaign during an early-access release period.
Well-known CoD leak and news site CharlieIntel shared a screenshot of a “Campaign Early Access” pass on Xbox, which appears to be one of several packs available for installation. However, there’s no mention of that pass on Modern Warfare 4’s official store page on Xbox. Instead, the store states that players who preorder the digital version will get early access to the open beta. It wouldn’t be the first time campaign early access has been available for a Call of Duty game, however–Modern Warfare 2 had a similar program back in 2022, for instance.
Call of Duty: Modern Warfare 4 could have Campaign Early Access
Some of the announced cast members for MW4 include Shrinking’s Luke Tennie and The Last of Us’ Young Mazino in leading roles as Lieutenant Wet and Private Park, respectively. The game will also feature supporting performances by Prisca Kim, Lanny Joon, William Lipton, and Barry Sloane, who will reprise his role as Price.
Call of Duty: Modern Warfare 4 will be released on Switch 2, Xbox Series X|S, PlayStation 5, and PC on October 23. Preorders are already live, and unlike Black Ops 7, MW4 will not be a day-one release on Game Pass. Infinity Ward has also assured players that MW4 runs smoothly on Switch 2.
Guida pratica ai siti scommesse non AAMS sicuri: come scegliere in tutta tranquillità
Cosa significa “siti scommesse non AAMS sicuri”?
In Italia la sigla AAMS (ora ADM) indica l’autorità che regola i giochi d’azzardo online. Un sito scommesse non AAMS è una piattaforma registrata all’estero, quindi non soggetta alla normativa italiana. Questo non vuol dire automaticamente che sia pericoloso, ma richiede una verifica più attenta da parte dell’utente.
La sicurezza di questi siti dipende da fattori come la licenza rilasciata da una giurisdizione riconosciuta, l’utilizzo di protocolli SSL per la crittografia dei dati e la trasparenza nelle politiche di pagamento e verifica. Solo un mix di questi elementi garantisce un’esperienza di gioco safe play senza sorprese.
Come riconoscere un sito non AAMS affidabile
Il primo passo è controllare la licenza. Le giurisdizioni più rispettate sono Malta Gaming Authority (MGA), Curaçao e la United Kingdom Gambling Commission (UKGC). Un sito che espone chiaramente il numero di licenza e il nome dell’autorità è già un buon segnale.
Altri indicatori di affidabilità includono:
Presenza di certificazioni di terze parti (eCOGRA, iTech Labs).
Recensioni verificabili su forum e siti specializzati.
Politiche chiare su privacy e protezione dei dati personali.
Se il sito manca di queste informazioni, è meglio passare a un’alternativa più trasparente. Una verifica rapida può salvare ore di frustrazione.
Bonus e offerte: cosa controllare prima di accettare
Il welcome bonus è spesso la prima attrattiva di un operatore non AAMS, ma è fondamentale leggere le condizioni. I wagering requirements (requisiti di scommessa) possono variare dal 20x al 50x del bonus, a volte rendendo impossibile trasformare il credito in denaro reale.
Altri aspetti da valutare sono:
Limiti di puntata massima durante il fulfillment del requisito.
Giochi ammessi (spesso solo slot, esclusi live casino o scommesse sportive).
Scadenza del bonus (30‑90 giorni sono standard).
Un bonus ben strutturato può migliorare il capitale di partenza, ma se le regole sono troppo restrittive, il vantaggio svanisce subito.
Metodi di pagamento e velocità di prelievo
Nel mondo dei siti scommesse non AAMS sicuri la varietà di deposit methods è ampia: carte di credito, portafogli elettronici (Skrill, Neteller), bonifici bancari e, in alcuni casi, prepaid. La cosa più importante è verificare la withdrawal speed. Alcuni operatori garantiscono prelievi “instant payouts” entro 24 ore, altri impiegano fino a 5‑7 giorni lavorativi.
Un buon sito dovrebbe indicare chiaramente:
Commissioni (se presenti) per depositi e prelievi.
Limiti minimi e massimi per ogni metodo.
Procedura di verifica KYC prima del primo prelievo.
Se il processo sembra troppo complicato o le tempistiche eccessive, è un segnale di avvertimento.
Registrazione, verifica dell’identità e assistenza clienti
La registrazione su un sito non AAMS è solitamente veloce: basta e‑mail, password e talvolta un numero di telefono. Tuttavia, la verification (KYC) è indispensabile prima di poter ritirare fondi. I documenti più richiesti sono carta d’identità, passaporto e una bolletta recente.
Un servizio di customer support efficiente dovrebbe offrire:
Chat live 24/7.
Assistenza via e‑mail con tempi di risposta inferiori a 24 ore.
FAQ dettagliate su bonus, pagamenti e responsabilità di gioco.
Quando il supporto è lento o risponde in modo vago, è consigliabile cercare alternative più affidabili.
Esperienza mobile e app: giocare ovunque
Molti giocatori italiani preferiscono scommettere dal cellulare. Un sito affidabile deve offrire una mobile app o una versione responsive senza compromessi sulla grafica o sulla velocità. La mobile experience dovrebbe includere tutte le funzioni della versione desktop: deposito, prelievo, gestione del conto e, naturalmente, l’accesso a live casino e sportsbook.
Verificate se l’app è disponibile su iOS e Android, se è scaricabile dal sito ufficiale e se riceve aggiornamenti regolari. Un’app poco curata spesso nasconde problemi di sicurezza o di compatibilità.
Gioco responsabile e protezione dei dati
Un operatore serio fornisce strumenti per il responsible gambling: limiti di deposito, auto‑esclusione e link a organizzazioni di supporto. Inoltre, la protezione dei dati personali deve avvenire tramite crittografia SSL a 256 bit e policy di privacy conformi al GDPR.
Prima di depositare, controllate se il sito offre:
Opzioni di auto‑esclusione temporanea o permanente.
Possibilità di impostare limiti giornalieri/settimanali di spesa.
Accesso a statistiche personali per monitorare l’attività di gioco.
Questi accorgimenti sono fondamentali per giocare in modo sano e consapevole.
Confronto rapido dei migliori operatori non AAMS (esempi)
Sito
Licenza
Bonus di benvenuto
Metodi di pagamento
Tempo di prelievo
BetMax
MGA
100% fino a €200 + 50 giri
Visa, Mastercard, Skrill, Neteller
Fino a 24h
SpinWorld
Curacao
200% fino a €300
PayPal, Paysafecard, Bonifico
2‑4 giorni lavorativi
LuckyPlay
UKGC
150% fino a €250 + 30 giri
Visa, Skrill, Apple Pay
Instant payouts
Questa tabella è solo a scopo illustrativo: prima di registrarti, verifica sempre le condizioni aggiornate sul sito ufficiale.
Domande frequenti (FAQ)
Posso giocare su un sito non AAMS se vivo in Italia?
Sì, la legge italiana non vieta l’accesso a operatori esteri, ma è tuo compito assicurarti che il sito sia sicuro e offra metodi di pagamento supportati nel nostro paese.
Quali sono i vantaggi di scegliere un sito non AAMS?
Spesso trovi bonus più generosi, una più ampia selezione di slot e un live casino più ricco. Tuttavia, devi bilanciare questi vantaggi con la necessità di verificare licenza e supporto.
Dove posso trovare un elenco aggiornato di siti affidabili?
Puoi consultare guide indipendenti o forum di giocatori esperti. Un buon punto di partenza è la pagina scommesse siti non aams, dove trovi recensioni dettagliate e aggiornate.
Your Mother Your Mother Your Mother is directed, produced, and written by Bassam Tariq.
Ali stars as Latif, a devoutly religious hitman who struggles to balance work, faith and fatherhood. When his wife dies, he embarks on a desperate journey across Houston to protect his children, confronting the forces closing in around him – and the beliefs threatening to unravel within.
Pic also stars Mahershala Ali alongside John Cho, Abubakr Ali, Laith Nakli, Tramell Tillman, Tiffany Boone, Giancarlo Esposito, and Adia. Lucan Toh and Babak Anvari produced the film alongside Tariq.
There’s a lot of wide entries on Sept. 25 including Bleecker Street’s Cannes title Victorian Psycho, Paramount’s David Ayer directed Brad Pitt movie Heart of the Beast, Disney’s re-release of Avengers: Endgame and Universal’s animated comedy Forgotten Island.
“Hollywood is always trying to tap into what’s hot, and it’s a battle because Asians weren’t seen as hot before,” said Nancy Wang Yuen, an ethnic studies professor at Crafton Hills College who studies AAPI representation in Hollywood.
“Beauty standards are changing. When I was growing up, the blond, blue-eyed person was the only kind of beauty standard. Now, because we have K-pop and K-beauty, people are really appreciating the Asian face for the first time in the United States,” Yuen explained over Zoom. “I mean, fetishization always existed. But now people actually want to look like us. They’re like, ‘We want to have the glass skin. We like the K-beauty makeup.’”
Multiple artists have dropped out of the Donald Trump-backed “Freedom 250” festival this summer. But Vanilla Ice is sticking to his guns and plans to keep his gig at the D.C. event.
According to Vanilla Ice, “music is not political” — and he said he would perform for Russian president Vladimir Putin if given the chance.
“I don’t even vote, so I don’t even care,” the rapper in an interview with TMZ posted Friday. Vanilla Ice said that if former President Joe Biden called up asked him to perform, “I’d go play. It’s not a big thing. You play for your fans. You know, we don’t get a chance to pick our fans. They pick us. And I’ll go play for Putin and I’ll play in Iran if you want. It don’t matter.”
Vanilla Ice is currently one of just two acts to have confirmed they were still performing at the Freedom 250 festival, alongside Fab Morvan of the 1980s duo Milli Vanilli.
Five of the nine acts originally announced by Freedom 250 have officially announced they were dropping out: Bret Michaels, Young MC, Morris Day, Martina McBride and The Commodores. Meanwhile, Freedom Williams of C&C Music Factory said he was considering potentially dropping out but that he was inclined to do the gig. So far only, of lineup of nine artists previously announced, only Flo Rida has not weighed in on the Freedom 250 festival.
Vanilla Ice (real name: Robert Van Winkle) is a one-hit wonder whose single “Ice Ice Baby” topped the charts nearly 36 years ago. He’s currently scheduled to perform June 26 at the Great American State Fair on the National Mall in Washington, D.C.
About performing at Freedom 250, Vanilla Ice said, “I’m here to party with America, man. Music is made to bring people together, and that’s what we’re here to do, man. We’re just going to represent the ’90s. I don’t take anything too serious. I don’t think anybody else should. I think that we should just dance. You know, it’s life, liberty, and the pursuit of happiness. and you got to get out and pursue it with dance.”
“You know, it’s all about not taking anything too serious, man,” the rapped said in the interview. “And everybody’s opinionated and it seems like the world is like a snow globe today. It’s all shaken up, man.”
Vanilla Ice continued: “I’m from the ’80s and ’90s. We didn’t take all this mess so serious… We had fanny packs and ripped our back seats out and put in subwoofers. Come on, man. This is a celebration of America 250, the birthday of our country that we were born in. Come on. Enjoy the dancing.”
“It’s just music,” he added. “What’s the big deal, man? We’re just entertainers.”
Last weekend marked my first time watching The Lost Boys, the 1987 vampire cult classic starring Jason Patric, Corey Haim, Kiefer Sutherland, Corey Feldman, Dianne Wiest, and Edward Herrmann, among many others. I will admit that I watched the movie mere hours after seeing The Lost Boys: A New Musical on Broadway, which has swept this year’s Tony Awards nominations. Despite this order of watching that some loyal fans of the film may find backwards or questionable, I found seeing the film’s story come to life onstage deepened my appreciation for Joel Schumacher’s beloved movie. Whether you’re lucky enough to go see the stage production of The Lost Boys, or you’re just in the market for a fun time, give The Lost Boys a watch.
Bill Maher poked fun at the many artists who have dropped out of President Donald Trump‘s forthcoming Freedom 250 concert series during his monologue on Real Time Friday night.
“We’re having a big 250th birthday party for America, a concert. They announced the lineup. Vanilla Ice, Milli Vanilli, Morris Day, Bret Michaels,” he said. “I think this is very admirable about the president, it shows he’s concerned for the unemployed.”
Maher continued, “And then, after they announced this all-star lineup, a lot of them said, ‘No, what are you talking about? We’re not playing.’ That’s got to hurt a lot when you can’t close the deal with Milli Vanilli.”
On Friday, Bret Michaels and The Commodores joined a group of musical talent who announced they were dropping out of the concert series. In a statement on his website, the Poison lead singer explained that “unfortunately, what was presented to us as a celebration of our country has evolved into something much more divisive than what I agreed to be a part of.”
“Concerns have also been raised regarding the safety of my fans, band, crew, family and myself, including threats that are completely unfounded and unforgivable,” Michaels’ statement continued. “Because of that, I have made the difficult decision to step away from this performance. … This isn’t about politics. It’s about staying true to what I’ve always believed in. Everyone is entitled to their own opinions. That’s one of the freedoms our veterans fought for and something I’ve always respected. But as a father, friend and bandmate, I have to take threats and safety concerns seriously.”
Young MC, Morris Dayand Martina McBride have also exited the Freedom 250 concert slate. Milli Vanilli was also announced as part of the lineup, however Jodie Rocco, a member of the group, told the Associated Press on Thursday that she was “shocked” to see the Milli Vanilli name on the list.
The event will take place from June 25 to July 10 on the National Mall in Washington, D.C., as part of the Freedom 250 public-private partnership, which is backed by the Trump administration.
Concerts by Ye and Travis Scott set to take place in Italy in July were canceled because of security worries and concerns raised by local Jewish leaders, the Italian authorities said on Friday.
The move followed decisions by Britain and Australia to block Ye, the rapper formerly known as Kanye West, from entering the countries over his history of antisemitic comments. It also came about five years after a deadly crowd crush at a concert in Houston by Mr. Scott, who is also an American rapper.
The two artists were set to perform at a music festival in the northern city of Reggio Emilia, in a venue with room for about 103,000 spectators. Mr. Scott was expected to perform on July 17, and Ye the next day.
The decision to cancel the concerts came after a meeting of Italian officials on Monday and “was made to ensure public order and safety,” the prefecture for the province of Reggio Emilia said in a statement. Italian officials took into consideration the recent cancellations of Ye’s concerts in other countries and “the real risk of counterdemonstrations,” the statement said.
The local Jewish community and an Italian consumer rights organization had both raised concerns about Ye’s concert, the prefecture said.
The consumer rights organization wrote in a formal notice sent to Italian authorities last month that Ye was “at the center of a widespread and growing international controversy, fueled by his public statements and conduct, which have already been the subject of strong institutional backlash,” according to a statement on Saturday by the group.
“His participation could generate tension, protests and potential public disorder,” the group added.
There was no immediate comment from Ye or Mr. Scott on the cancellations. The date for Ye’s concert in Italy had not been removed from his tour website as of Saturday.
Mr. Scott and Ye performed together in 2023 when Ye returned to the stage after an earlier series of antisemitic remarks.
Mr. Scott is best known outside the music world for a concert at the 2021 Astroworld festival in Houston, where 10 people died in a fatal crowd crush. He kept performing as young audience members suffocated.
Ye, who has a long history of antisemitic comments and erratic behavior, released a song called “Heil Hitler” last year, prompting Australia to block him from entering the country.
He released his 12th solo album this spring, but has struggled to promote it and stage a comeback tour.
Britain barred him from entering the country to play a series of concerts because of his history of antisemitism. One of his concerts was canceled in Poland, and he said he would postpone “until further notice” a concert planned for June in southern France after the French interior ministry said it was considering banning the event.
Before World Cup 2026 begins, revisit the football films that understand pressure, crowd noise, defeat, and the strange pull of the game.
A World Cup summer changes how football is watched. The tournament opens on June 11, 2026, and ends with the final on July 19, which gives supporters time to fill the waiting days with something better than old highlight clips and tired studio arguments. The right football film does more than pass the time. It sharpens the eye for panic in the box, for status inside a dressing room, for what a crowd can do to a player when the match tightens, and the clock hits 88:00.
Start With the Escape
Victory from 1981 is still the old giant in this category, even if it wears its sentiment openly. The plot is absurd in the way football stories sometimes need to be: Allied prisoners of war prepare for a propaganda match against a German side in occupied Paris, with Michael Caine, Sylvester Stallone, and Pelé carrying the frame. The football scenes are not modern, but they still know where to look; one touch, one feint, one pass into traffic can tell the story faster than the dialogue. It is not subtle. It does not need to be.
The Manager Film Still Bites Hardest
The Damned United, released in 2009, understands that football is often a game of ego before it becomes a game of shape. Tom Hooper’s film follows Brian Clough through his 44-day spell at Leeds United after his title-winning work with Derby County, with Michael Sheen playing him at a constant half-boil. The best parts are not the speeches. They are the small managerial details: a dressing room going quiet at the wrong second, a room full of players refusing to give him the first step, the way old results keep stalking a new job even after the club crest changes.
One Film Sees the Whole Match
Zidane: A 21st Century Portrait from 2006 barely pretends to be a normal sports film. Douglas Gordon and Philippe Parreno built it around one match, Real Madrid against Villarreal on April 23, 2005, using 17 synchronized cameras to track Zinedine Zidane for almost the entire match. The result is strange for five minutes and absorbing after that. Fans who spend tournament months arguing over body language, tempo, and where a midfielder really affects a game will recognize the truth in it immediately: sometimes the whole match sits in the spaces where the ball is not.
The Smaller Story Sometimes Lands Harder
Next Goal Wins, the 2014 documentary rather than the later fiction remake, earns its place because it keeps football human and slightly ragged. It follows American Samoa after the 31-0 loss to Australia in 2001, still the heaviest defeat in World Cup qualifying history, and tracks the team under Thomas Rongen as it tries to become competitive before the 2014 cycle. The digital rhythm around football now pulls fans from match clips to podcasts to betting programs (Arabic: برامج المراهنات) without much pause, and this film fits that same habit because it works in short emotional bursts rather than grand speeches. Another small observation stays with it: the players never look like symbols for very long. They look tired, hopeful, unsure, and then briefly transformed by one decent spell of football.
When the Game Leaves the Pitch
Bend It Like Beckham still matters because it understands football as a domestic argument before it becomes a sporting one. Gurinder Chadha’s 2002 film pits Parminder Nagra’s Jess Bhamra between family expectations and a football future, with Keira Knightley, Jonathan Rhys Meyers, and a West London setting that feels lived-in rather than decorated. The football scenes are brisk, but the point is elsewhere: changing in a hurry, hiding boots, reading who will object before the sentence has finished. Before every World Cup, there is noise about legacy and inspiration. This film shows what those words actually cost at the household level.
There Was Always a Circus in New York
Once in a Lifetime: The Extraordinary Story of the New York Cosmos is not about the World Cup, yet it belongs in the build-up because it catches football trying to sell itself to America with all the excess turned on. The 2006 documentary tracks the rise and fall of the Cosmos, the club that brought Pelé and Franz Beckenbauer into the orbit of 1970s New York, and it never loses sight of how unstable the whole operation was. There is glamour in it, but also chaos. Anyone watching host-city marketing, ticket packages, and download MelBet APK (Arabic: melbet apk تحميل) roll across a phone screen before 2026 kicks off will recognize the pattern: football gets marketed one way, then lived another, and the gap between those two things can be half the story.
Then Watch One Man Break Under It
Diego Maradona, Asif Kapadia’s 2019 documentary, works best near the end of a list like this because it leaves a bruise. Built from more than 500 hours of footage, it tracks Maradona through Barcelona, Naples, the 1986 World Cup, the 1990 final against West Germany in Rome, and the long damage that came with being treated as a weekly miracle. The film does not rush to explain him. It just stays close enough to show how the body changes, how the face hardens, and how the noise around a player can turn into a kind of trap. The early movement is still there at first. Then less of it is.
As Heated Rivalry continues to collect awards for its first season, Jacob Tierney is hard at work on Season 2 of the hit show.
During Friday’s 3rd Critics Choice Celebration of LGBTQ+ Cinema & Television in Los Angeles, Tierney gave an update on the sophomore season of the Crave/HBO Max series as he accepted the Showrunner Award remotely via video.
“Thank you so much to the Critics Choice Association for this amazing and unexpected honor,” said Tierney in the pre-recorded acceptance speech. “I’m so, so grateful, and I’m so sorry that I cannot be there to celebrate with all of you in person and accept this. I’m working very hard on Season 2 to get it out to people as soon as possible. I genuinely wish I could be there. I’m so moved by this.”
In his speech, Tierney went on to thank his producing partner Brendan Brady and the literary source material’s author Rachel Reid, as well as the cast and crew.
After Heated Rivalry was renewed for Season 2, creator Tierney told Deadline that it will be based on The Long Game, the only other current book in Rachel Reid’s series that focuses on Ilya and Shane (her next book Unrivaled resumes the story on Sept. 29).
‘Heated Rivalry’s Jacob Tierney accepts the Showrunner Award via a pre-recorded video at the 3rd Critics Choice Celebration Of LGBTQ+ Cinema & Television, while hard at work on Season 2 pic.twitter.com/cixyTdBOPO
The Long Game picks back up with Shane Hollander (Hudson Williams) and Ilya Rozanov (Connor Storrie) 10 years into their relationship, which they’ve kept a secret. Ilya wants to go public, but Shane feels that they should keep it under wraps to stay at the top of his game.
Film is expected to begin on Season 2 in August, after Tierney has completed writing the episodes.
If you think that film from Kazakhstan equals Borat, the fictional character created by Sacha Baron Cohen, you may want to think again – and come out to the Screen Festival at SXSW London 2026 for the latest cinematic evidence. After all, Kazakhstan is back in town and ready to make a splash.
Anna Bogutskaya, the head of screen at SXSW London, and her team have booked an eclectic mix of theatrical and series offerings. But Kazakhstani cinema features more prominently than most would expect from the Central Asian country with a population of about 21 million.
“We’ve got two features from Kazakhstan this year,” which both get to celebrate their U.K. premieres at the fest, highlights Bogutskaya, along with a short. “That is a territory that is just exploding. There’s so much [going on].”
The one film is Zhannat Alshanova’s debut feature Becoming, about teenage swimmer Mila (portrayed by Tamiris Zhangazinova), who takes care of the family home and her kid sister while her mother pursues affairs and opportunities. It premiered at Locarno 2025.
‘Becoming’ film still, courtesy of SXSW London
The other feature in the SXSW London spotlight is Aitore Zholdaskali’s Sicko, a thriller and social drama about a couple making a fortune by faking cancer, starring Ayan Utepbergen and Dilnaz Kurmangali, which world premiered at Rotterdam 2026. The movie is the filmmaker’s first solo feature directorial effort.
Meanwhile, the short film from Kazakhstan at SXSW London this year is My Brother Lyosha and I, from Lena Tronina, which is set in the 1990s and focuses on Lyosha and Lena, who “must rely on each other to endure quiet cycles of violence at home,” according to a synopsis.
Bogutskaya expects more films from Kazakhstan to hit the festival circuit and possibly the world stage. “We had a film from there last year as well,” namely Adilkhan Yerzhanov’s horror feature Cadet, as well as Dastan Zhapar Ryskeld’s Deal at the Border from neighboring Kyrgyzstan, about two young runners doing a big drug lord’s dirty work by moving illicit packages across the river that marks the border between Kyrgyzstan and Kazakhstan.
“It is so exciting what’s happening there and in that [whole] region,” concludes Bogutskaya. “So we’re definitely keeping an eye on that part of the world.”
Though YouTube has always been a place where up-and-coming artists could be discovered and make it big, in recent years the platform has become a launching pad for some of Hollywood’s most exciting new horror directors. The filmmakers behind films like Talk to Me, Iron Lung, and Obsession all started off as content creators posting their independently created projects online. And if it weren’t for their fandom-fueled internet fame, studios might not have given them a chance to step up to the big leagues.
Going viral on YouTube with a series of videos inspired by 4chan memes is what put Kane Parsons on A24’s radar and led to him becoming the director of the studio’s latest movie, Backrooms. Everything about Backrooms — from its unsettling aesthetic to the way its script (written by Will Soodik) leaves you in the dark about what’s really going on — feels emblematic of this new generation of horror auteurs who grew up and found their creative voices on sites like YouTube.
During a recent conversation, Parsons told me that one of the most challenging things about bringing Backrooms to the big screen was embracing the fact that he needed to tell a story that could resonate with people who haven’t been following his work from day one. Though Parsons knew that longtime fans might show up expecting a deep dive into intricate Backrooms lore, his time on YouTube taught him that playing solely to that crowd can be a double-edged sword.
“With films like Backrooms that started off as YouTube projects, you have to really reflect on what worked in the first place in order to avoid making something that’s too contrived and dense for newcomers to enjoy,” Parsons explained. “That inaccessibility issue stems from the fact that so many of these projects are independently developed and largely controlled by individual people. You frequently see the ways in which creators can let online engagement affect them personally and affect the way they make things.”
Like Parsons’ shorts — there are 22 of them, and the first was uploaded in 2022 — Backrooms tells the disturbing story of what happens when people unknowingly stumble into an extradimensional space that looks like a sprawling maze of seemingly abandoned office building hallways. After a furniture salesman (Chiwetel Ejiofor) discovers a portal to the Backrooms beneath his failing store, he becomes obsessed with figuring out what the place is and why it’s filled with objects that appear to be human-made. But the more time the man spends in the place, the more his grasp on reality starts to slip.
“I wanted to make sure I was replicating what worked about that first short.”
Like a lot of other recent theatrical horrors, Backrooms could be fairly described as a vibe-forward sort of film that puts more emphasis on conjuring a discomfiting atmosphere as opposed to giving you a clear understanding of what’s happening to its characters. That mode of storytelling works especially well for short-form YouTube videos that viewers can pause, rewind, and pore over in excited anticipation of a creator’s next upload. But Parsons felt that it was important for the film to have a stronger and more concrete narrative center in order for it to work for theatergoers.
“Emotionally, I started from a place of wanting to capture what the Backrooms are while making sure that I wasn’t overwhelming the audience by showing them all of the various Backrooms biomes you see in my series,” Parsons said. “People who have watched all of my Backrooms videos are fine if I want to do a whole video where you don’t see any yellow wallpaper because they already have a larger understanding of the space. But for the film, I wanted to make sure I was returning to form and replicating what worked about that first short.”
The reasoning behind studios’ decisions to greenlight projects like Backrooms is simple enough to understand. Horror films tend to be cheap to produce, and if they wind up being hits, studios can easily recoup their production costs many times over (Backrooms reportedly cost $10 million to make and is on track to rake in $45 million in its first weekend.) When young filmmakers show up with sizable, built-in fan bases, executives see them as safer bets. A combination of those factors is what led to A24 bringing Parsons on board, and the studio is clearly hoping that Backrooms will become another testament to low-budget horror’s ability to dominate at the box office.
Before Backrooms, Danny and Michael Philippou’s first Talk to Me film (a sequel, Talk 2 Me, is currently in development) ultimately made just under $92 million against a $4.5 million micro-budget, while Mark “Markiplier” Fischbach’s independently produced Iron Lung — an adaptation of David Szymanski’s 2022 video game — netted an impressive $50 million while holding its own against more expensive features like Sam Raimi’s Send Help. These films are making a mark during a booming time for the genre, where the likes of Ti West’s X series, Longlegs, and Weapons have made it clear that audiences will flock to see low-budget horror.
“The YouTube algorithm is not your friend.”
Though Parsons knows that his YouTube fame is part of what helped him get his foot in the door, growing up in the age of content creators taught him how important it is to maintain a certain level of distance from online discourse about his work. Before Parsons was making videos of his own, he was a subscriber to channels like The Film Theorists, which gave him a deep understanding of how fans’ intensity can be a blessing and a curse for the creators they fixate on.
“My entire experience with the internet has been channels where people put so much energy into media analysis in a very decentralized, scattered way,” Parsons said. “And when you have tons of people who hang on the tiniest details in your story, it can end up creating and reinforcing an unhealthy feedback loop where a creator feels the need to disproportionately cater to their fans because that’s where the positive feedback is coming from.”
Cane Parsons and Chiwetel Ejiofor on the set of Backrooms.Photo: A24
While the obsessive energy that defines so much of modern fandom often gives Parsons pause, he still feels YouTube is a place where aspiring artists can find their voices and hone their craft. Some of “the most talented artists” Parsons knows are “random people from Discord who are, like, 14-year-olds who are not working in the industry at all, but they’re fucking wizards.” Parsons believes that the entertainment industry would deeply benefit from capitalizing on more of that youthful wizardry, but he also told me that he refuses to “preach the blind optimism that I hear from a lot of other filmmakers who say, ‘You got a phone; everyone can be a filmmaker now.’” YouTube remains an important platform for being discovered, but it’s also becoming increasingly challenging to get noticed.
“About 50 percent of the internet traffic is now not even human, but that doesn’t change the fact that we’re all still here and I don’t think people are fully dropping off the internet,” Parsons said. “But the YouTube algorithm is not your friend. These platforms are increasingly becoming more and more botted, atomized, and just not user-friendly, and I think it would be very dishonest to claim otherwise.”
Backrooms is in theaters now.
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Marking the late president’s 109th birthday, John F. Kennedy‘s family is celebrating a judge’s recent decision to preserve his namesake memorial performing arts building.
Following a federal judge’s order on Friday to remove Donald Trump’s name from the Kennedy Center and block a two-year renovation, JFK’s niece Maria Shriver praised the “great birthday gift” for the 35th president of the United States.
“An appropriate birthday present on my uncle’s birthday today,” wrote Shriver on X. “A federal judge ruled that President Trump and the Kennedy Center Board acted unlawfully in renaming the Kennedy Center. The judge held that only Congress can change the Center’s name and blocked the planned two-year closure. I know they’ll probably appeal and the story isn’t over, but for today let’s celebrate a great birthday gift.”
On Friday, U.S. District Judge Christopher Cooper ruled that the board of the Kennedy Center unlawfully added Trump’s name to the venue, which only Congress is permitted to do.
“Congress gave the Kennedy Center its name, and only Congress can change it,” wrote Judge Cooper, ordering within 14 days, the president’s name be removed from the facade and other areas, including digital signage and official materials.
An appropriate birthday present on my uncle’s birthday today. A federal judge ruled that President Trump and the Kennedy Center Board acted unlawfully in renaming the Kennedy Center. The judge held that only Congress can change the Center’s name and blocked the planned two-year… https://t.co/1FpFsj7qhd
Predictably, Trump lashed out at the ruling on Truth Social, claiming “the Radical Left would rather see [the center] DIE than have President Trump transform it into something that everyone could be proud of,” he wrote in part.
The Kennedy Center board voted to add Trump’s name to the building in December, resulting in an exodus of scheduled artists. In March, the board approved plans to close the center for extensive renovations.
As a contestant on both the regular and the All Star editions of “RuPaul’s Drag Race” (she won All Star last year), Ginger Minj is used to dramatic shenanigans. They are on an even greater scale in Adam Shankman’s new comedy, “Stop! That! Train!” (out June 12), in which she plays an attendant aboard the Glamazonian Express as it speeds into a destructive “stormaganza.”
“I grew up on ‘Airplane!’ and then of course ‘Soul Plane,” said Ginger, whose non-drag name is Joshua Allen Eads. “I love all of these silly, stupid disaster movies.”
The competition is stiff, but as the sweet, wide-eyed Tess, the busy performer gets to work out her perfect comic timing alongside — as befits the genre — a galaxy of guest stars.
Next on the agenda are live summer dates, including a Provincetown, Mass., run in July of her “Wicked” parody “Licked: For Gay,” with her “Stop! That! Train!” co-star Jujubee. The two of them will team up again in the fall for the return of the popular Hokus Pokus Live! tour.
An avowed animal lover, Ginger, 41, was still stressed from her Pembroke Welsh corgi Elphie’s recent trip to the emergency room when she sat down for a video interview, but she pulled herself together to talk about some of her favorite things. (Elphie is fine.) Here are edited excerpts from the conversation.
‘Wicked’
I’ve been obsessed with Oz my entire life, and it kind of reignited when the “Wicked” novel came out in 1995. I went to see the musical out of morbid curiosity, and again was completely captivated by the land of Oz. Then with the movies they created something completely unique in and of itself. You get people who have never seen the stage show go, “Why wasn’t there more Dorothy?” Well, you got to see more of her in the movie than you do on Broadway so be grateful for the little miracles of life.
Plumping Lip Gloss
Being autistic, I always have to hyper-fixate on something. One day I tried a plumping lip gloss. It burned so bad and I kind of liked the way my mind hyper-focused on that. So now I hyper-focus on plumping lip gloss. I like the sensation and I like that it keeps me distracted.
Sol de Janeiro’s Cheirosa 62
I love anything that smells good. I have shelves full of every type of perfume and cologne and body spray you can think of, but I always go back to Cheirosa 62. It’s cozy, it’s vanilla, it’s got some of that caramelized sugar in it. Everybody goes, “You smell like a warm hug.”
Coke Cherry Zero
I love Diet Coke, it’s my lifeblood. However, Cherry Diet Coke tastes like Luden’s cherry cough drops. I hate to say fresh and natural when it comes to any kind of soda, but there is something just really refreshing about Cherry Coke Zero. I will choose that in a sea of beverages all day long, every single day.
Dogs
Dogs are probably my biggest love and passion in the world. My ultimate goal is to make enough money to retire to a giant farm where I can just have every dog that doesn’t have a home come and stay with me. If a dog doesn’t trust somebody, I know I cannot trust that person.
Rhinestone Clothing
That whole Y2K style was all about colors and rhinestones and happily is coming back into fashion. What a time to be alive! I blame Dolly Parton for this in some way, but it’s just right. It’s fun and it’s eye-catching. I don’t think you can ever go wrong with rhinestones.
Platform Sneakers
I’ve always looked for shoes that would give me some kind of height but without wearing actual platform shoes — I always felt like Pinocchio or some kind of marionette in them. I’m a lady of a certain age and spend a lot of time in heels, so I’m looking for things with comfort and support. Platform sneakers really have saved my feet and my back.
Bubs Sour Candy
I don’t like the texture of Sour Patch Kids; they’re a little too sticky. I always felt sour straws were too hard. I feel like Goldilocks right now — these are just right.
Coffee
I need to drink it to wake up and I need to drink it to go to bed. I get a Dunkin’ Donuts hot coffee with a splash of cream, and that’s it. At home I typically will just do black coffee with two scoops of collagen powder in it, and that tastes delicious to me.
Sand + Paws Pet-Odor Candles
I use a lot of Sand + Fog perfume oils because they are a really great base. One of the things about their candles, as far as I’ve been able to tell, is that they use a lot of vegan products and things that are safe for households with pets. They’re aesthetically pleasing and budget-friendly as well. I’m always looking for budget-friendly versions of luxuries that I enjoy.
South Africans are mourning the death of Oscar Baxx, born Oscar Nyathi, one half of the popular house music duo Malumz on Decks.
The musician and entrepreneur was shot and killed on Thursday, May 28, in an incident that has sent shockwaves through the local music industry.
In a statement shared by OWNiT Muzik Events and posted on the Malumz on Decks Facebook page, the team confirmed his passing and paid tribute to his life and legacy.
“It is with deep sadness that we mourn the passing of beloved DJ, producer and cultural icon Oscar Nyathi, member of Malumz on Decks,” the statement read.
The tribute described Nyathi as “more than an artist” and “a vibrant force within the South African music industry”.
It also highlighted his work beyond music, noting: “As an entrepreneur, he was dedicated to creating value, opening opportunities and generating employment for young people, leaving a lasting impact on many communities.”
Remembering the man behind the music, the statement added: “Above all, Oscar was a loving father to his children, a beloved brother and a cherished friend to many. He will be remembered for his generosity, warmth and unwavering commitment to those around him.”
The statement concluded by extending condolences to his loved ones and supporters, while requesting privacy for the family during this difficult time.
“During this difficult time, heartfelt condolences are extended to his family, friends, colleagues, supporters and everyone affected by this profound loss. We kindly ask that the public and media respect the family’s privacy as they navigate this painful period.”
According to reports, the shooting took place at the entrance of Blue Valley Golf and Country Estate in Midrand, Johannesburg.
Nyathi was travelling in a Toyota vehicle with three other occupants when the group was allegedly ambushed by two suspects on motorbikes.
The attackers reportedly approached the vehicle, got off their motorbikes and opened fire before fleeing the scene.
Nyathi and another occupant were declared dead at the scene. Two other passengers sustained serious injuries and were transported to a nearby hospital for treatment.
South African Police Service spokesperson Colonel Dimakatso Nevhuhulwi confirmed that Gauteng police have opened a case involving two counts of murder and two counts of attempted murder.
No arrests have been made and the motive for the attack remains under investigation.
As news of his death spread, tributes began pouring in from friends, fans and colleagues.
“Malumz on Decks will never be the same,” wrote Thapelo Mohlala.
Exquisite Vince shared: “May your soul rest in power, Oscar Baxx – Malumz On Decks, what a phenomenal gent. I will forever be grateful for the moments we shared together, my dawg, you were a man with a big heart, always cool, calm and collected.”
Calvin Phavara Dhludhlu reflected on a recent conversation with the DJ, writing: “Just 5 days ago, we were arguing and debating about football. Rest easy, my dawg.”
Music producers Caiiro and Jazzwrld also paid tribute by posting his picture alongside the word “Bafo” and broken heart emojis.
Beyond the headlines, Nyathi leaves behind a lasting legacy in South African house music.
Originally from Ekurhuleni, he began his career as an event promoter while building a friendship with future music partner Mandla Mtshali, who was working as a DJ at the time.
Together, they formed Malumz on Decks, a name inspired by the Tembisa slang term “Malum”, often used as a friendly greeting among peers.
While Nyathi initially focused on bookings and business operations, he later expanded into DJing and music production. Alongside Mtshali, he helped launch the independent label OwnIt Muzik before the duo released their debut Afro house album, “The Journey”, in 2017.
Over the years, Malumz on Decks became one of the country’s most recognisable dance music acts.
Their achievements included chart success with songs such as “Shayi’Number”, winning Remix of the Year at the 2020 South African Music Awards (Samas), securing a residency on Metro FM’s Urban Beat and signing with Warner Music Africa in 2023.
Nyathi was also involved in several business ventures and community initiatives, using music as a platform to address social issues, including gender-based violence (GBV).
His sudden passing marks a painful loss for South African music and for the many people whose lives he touched through his work, friendship and passion for the culture.
The MCU’s fifth child of two superheroes was just introduced in Daredevil: Born Again Season 2. Romances and family lives have always been a staple of the superhero genre, almost to the same extent as blockbuster action and spandex suits. In most cases, the superhero’s love interest is a civilian, such as M.J. to Peter Parker or Lois Lane to Superman. Some MCU superheroes have been known to couple up within their ranks, and, in rare cases, that has even proven successful and spawned a full-on family with children and happily ever after.
Daredevil: Born AgainSeason 2 brought back Krysten Ritter’s Jessica Jones, with major developments in her life, namely that she now has a child, Danielle. That only gets more interesting with the reveal that her father is Mike Colter’s Luke Cage, with whom Jessica had a brief fling in Netflix’s Jessica Jones Season 1.
Krysten Ritter’s Jessica Jones and Mike Colter’s Luke Cage in the early days of her Netflix series, but their relationship wasn’t much more than physical. Things only got more complicated when it became clear that Jones, under the control of David Tennant’s Kilgrave, had killed Cage’s wife, Reva, some time before.
Fast forward over a decade, and the two Defenders have worked things out and now have a daughter named Danielle, seemingly named after Finn Jones’ Danny Rand. Only time will tell if she inherited superpowers from either her bulletproof dad or superstrong mom, but, if Marvel Comics is anything to go by, Danielle may be destined to inherit a major Avengers hero mantle.
Morgan Stark
Marvel Studios
Robert Downey Jr.’s Tony Stark and Gwyneth Paltrow’s Pepper Potts were the MCU’s first power couple. What started as a billionaire-assistant dynamic evolved into romance and marriage, culminating in the birth of their child, Morgan Stark, during Avengers: Endgame‘s five-year time jump.
In that very same record-breaking blockbuster, Stark powered down as Iron Man one last time and Potts suited up as Rescue in the battle with Thanos. It was that father-son bond that spawned the iconic “I love you 3000” moment and a major deleted scene featuring a 13 Reasons Why star as a grown-up Morgan.
Franklin Richards
Marvel Studios
Unlike many other superhero romances that audiences saw blossom before their eyes, The Fantastic Four: First Steps jumped into Pedro Pascal’s Reed Richards and Vanessa Kirby’s Sue Storm’s relationship several years in. By that time, they were not only a superhero team but also married and trying for a baby.
That wish was granted in The Fantastic Four with Franklin’s birth as they were pursued by the Silver Surfer through the cosmos. But the Fantastic Four’s baby was no ordinary child, born with the immense power cosmic, making him a target for Galactus (to replace him) and, seemingly, now for Doctor Doom in Avengers 5.
Billy Maximoff
Marvel Studios
Elizabeth Olsen’s Wanda Maximoff and Paul Bettany’s Vision struck up one of the MCU’s most powerful superhero romances in the Infinity Saga, culminating with the synthezoid’s death in Avengers: Infinity War. In response to the grief, Wanda created her Westview Hex with a perfect life for her and Vision.
In the sitcom-inspired reality, Wanda magically became pregnant and gave birth to two sons, Billy and Tommy Maximoff. When the Hex came down, the former was reincarnated into the body of Joe Locke’s freshly deceased William Kaplan, later becoming the magical Wiccan and creating the Witches’ Road.
Tommy Maximoff
Marvel Studios
The second of Wanda and Vision’s children is Tommy Maximoff, whose powers leaned closer to those of her uncle, Pietro Maximoff, aka the speedster Quicksilver.
In terms of how Tommy gets his reincarnation, that ought to become apparent this fall in VisionQuest when Ruaridh Mollica’s Thomas Shepherd debuts. It seems the father-son dynamic between Vision and Tommy will be vital to VisionQuest, continuing the WandaVision trilogy’s overarching theme of parenthood.
BONUS.) Steve & Peggy’s Son
Marvel Studios
After Chris Evans’ Steve Rogers’ plunge into ice cost them a lifetime together, he got a second chance at love with Hayley Atwell’s Peggy Carter as he ventured into the past after Avengers: Endgame for a happy family ending. That love has reportedly cost the Multiverse dearly going into Doomsday, with Rogers’ time-traveling setting Incursions in motion and, with them, Doctor Doom’s evil agenda.
Black Panther introduced the romance between Chadwick Boseman’s T’Challa and Lupita Nyong’o’s Nakia, who wasn’t exactly a superhero, but rather a War Dog spy, although her talents would be enough to rival some of Earth’s Mightiest Heroes.
Even after Boseman and T’Challa’s deaths, their legacy is living on in the MCU through his son, T’Challa II, aka Toussaint. The son of T’Challa and Nakia was raised by his mother far away from the pressures of the throne in Haiti, but rumor has it he may be aged up to become Black Panther as soon as next year.
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Reported by TMZ and confirmed by other major outlets, Marcia Lucas, the first wife of Star Wars creator George Lucas, has passed away at the age of 80 after a battle with metastatic cancer. Her family’s attorney confirmed the news of her passing, and her family shared a statement honoring her memory and her impressive legacy in Hollywood:
“Marcia will be remembered as a brilliant storyteller, a trailblazer for women in film, a loving mother and grandmother, a generous host, and a loyal friend whose humor and sparkle filled every room she entered. Her influence on film is indelible, but those who knew her best will remember the way she made life feel more vivid, more beautiful, more fun, and more full of love. Her work was known for its emotional intelligence, rhythm, and humanity — a rare ability to find the truth of a scene and bring heart, momentum, and clarity to the screen.”
Described as George Lucas’s “secret weapon,” George and Marcia met when they were both hired to work with film editor Verna Field. They married in 1969 and were together for 14 years until their divorce in 1983. During that time, she earned fame and adulation for her work as an editor.
Most notably, she worked with her husband on two of the original three Star Wars movies, serving as the editor for both 1977’s Star Wars: Episode IV — A New Hope and 1983’s Star Wars: Episode VI — Return of the Jedi. She also worked in an uncredited role on Lucas’s first project, a 32-minute documentary titled Filmmaker, which highlighted the making of Francis Ford Coppola’s 1969 movie, The Rain People. She later worked as an assistant editor on THX 1138 in 1971 and moved into the editor’s chair for 1973’s American Graffiti. Lucas made headlines in recent years for her commentary on newer Star Wars projects, specifically expressing her disappointment with the development of the sequel trilogy.
Including Star Wars, Marcia Lucas had 13 film credits (including uncredited roles) as either an assistant editor, lead editor, or supervising editor. This includes working on three movies directed by Martin Scorsese (who recently played a supporting role in The Mandalorian and Grogu). Along with credits on Alice Doesn’t Live Here Anymore and New York, New York, she was the supervising editor on 1976’s Taxi Driver, which became one of the most respected movies of all time thanks to its screenplay, improvisation, and character study.
MovieWeb sends its deepest condolences and prayers to Marcia Lucas’s family, friends, and loved ones.
