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You are listening to the Daily Roundup here as part of the Reality. Steve Podcast, I’m your host reality. Steve, thank you all for tuning in on this Monday. Yeah. We’re gonna be talking more Taylor, Frankie Paul stuff, because there’s so many more things that happened since Friday. Clips from past podcasts have gotten out.

Some of the men are speaking anonymously, off record, spewing out a bunch of stuff. They have no idea what they’re talking about. We’re gonna go over that. We’re gonna talk about contracts. We’re gonna talk about content creators coming out of the woodwork. There’s a lot here. And I would suspect for the next few weeks, this podcast, along with some lives that I do on YouTube are all gonna be centered around the Bachelorette being canceled, Taylor, Frankie Paul, and all that stuff.

So let’s get started. I wanna first jump on with this. I don’t know if anybody’s noticed, but with the media appearances that I’ve done in the last few days. TMZ last week. I’m sure that added to the fact, not to mention a lot of the. Instagram feed posts that I have getting a lot of views that added to the fact that more people are tuning into me now or more than before.

My numbers have absolutely gone up in the last week or so, but it also means that there are more people that are interested in seemingly coming to the Vegas party, which is the 10th annual fan appreciation party on June 13th. And so what I do wanna say is. If you’re interested in coming again, probably want to get in sooner rather than later because I’ve had a lot of people RSVP in the last probably five to seven days.

I’ve picked up, I think almost 20,000 Instagram followers in the last two weeks. And I’m not saying all these people that are signing up are all, you know, people that had never heard of me before. But it just seems like once those numbers started going up. More people started emailing me saying I’d like to come to the party.

So just keep that in mind. And all you gotta do is email me steve@realitysteve.com. I’ll send you my Venmo. It’s $40 per person. And again, if you’re flying in, just need your flight itinerary. If you’re driving in your hotel itinerary. And if you’re living in Las Vegas, just pay your 40 bucks and promise me you’re not gonna flake and put you on the list and you’ll be confirmed.

Saturday night, June 13th, inside Mandalay Bay at the House of Blues. There will be. Open beer and wine bar all night. There will be food, there will be a DJ spinning the nineties music. And by the way. It is official. I do need, I, I don’t think I’ll have a problem finding a dj, but if anybody knows a DJ or you are a DJ listening to this, would love to have you come and just know.

This isn’t, I would think a normal DJing gig. You don’t even have to bring your equipment. It’s provided by House of Blues. All you’re gonna have to do is play a playlist that I give you. So it’s nothing like you have to create, this is just something that is a Spotify playlist, and literally all you have to do is hit play and just make sure all the songs run together.

So, anybody who knows somebody who would be interested in doing this or is a DJ yourself. Contact me, we can work something out. But this is, I wouldn’t think a normal DJing gig where it’s like, Hey, I need a dj. You have to come up with a list, you have to bring all your equipment. This is a little bit easier, but if you’re coming from outta state I would be able to help out.

So anybody that knows anybody that would like to be a part of this, just let me know. All right, let’s get into the Taylor, Frankie Paul of it all. So, so much has happened since Friday and one of the audio clips that is making the rounds right now is a podcast that Taylor, Frankie Paul did after, this was back in 2023, and this was after she had the incident with Dakota.

That. Video got released last week, but you can see, I mean you can’t see it ’cause you’re listening right now. But in this video clip she is pregnant with ever. So this was 2023 and it was on the Cheers podcast with Avery Woods. And this is. And look, Taylor did numerous interviews of these, like she did, she went on and she did one with Nick and Natalie on the vial file.

She also did another one that, I can’t even remember the, the name of the podcast, but she basically said the same thing in all three. So I’m gonna play this one for you, and I just want you to listen to her describing the night that we all saw come out last week when the video was released.

And so it started with sadness.

I was crying to Dakota, like hysterically bawling that I was so sorry for everything I’ve done to not only him, but my ex, my life, everything. I was like hysterically bawling. I remember that. We get home and it turns to anger, like full on anger. Like I was a different person. Like, and I went crazy. I was throwing things.

And this was in your house with Dakota?

Yes. Okay. And so. I didn’t know my daughter was downstairs on the couch. They’re usually in their beds when I’m home. But we had a babysitter. I came home and she was on the couch and I was throwing stuff, and so I threw a chair at like towards him. And

At Dakota?

Yeah.

Okay.

And so I was charged with child abuse because like it could have hurt her. And so in the state of Utah, I don’t know other states if they have it, but it’s called reckless child abuse, meaning like if you. Throw something and it possibly did hit your kid or it hit your kid. That’s called Reckless child Abuse.

Who called the police?

Our neighbor.

Oh.

Because she thought I needed help. I was screaming so much, and so she’s like, I think she needs help over there, like, and he was trying to calm me down and I was just like throwing everything. I was so angry and I was like, I mean, as we all know, like I was trying to attack him and I assaulted him and.

I, I, I put it like, you know, I took it all out on him. And So

like you physically assaulted him?

Yeah. And I did get, like, I got charged with that.

So they came, investigated and then they took you to jail?

Yeah. Mm-hmm. Because there was enough evidence there that I was like, the aggressor.

Damn.

Yeah. And I was like, I, I, yeah, I was.

And so they took me to jail. I like started to like sober up as soon as I got to jail. The worst part of it though is like. I was blacked out for so much of it that I, I can’t even like fess up to like everything I did. Like, I, I wouldn’t even be able to like, tell you what I did Exactly.

So the reason why I wanted to play that clip is because obviously there’s been a lot of stuff that has come out about that night and ever since the video came out.

And I think one of the biggest problems that I’m having with this is everything ma, everybody making it so black and white that you know. This is something where a child was involved, obviously, but everybody has to place a blame and it’s like it has to be one person and not the other. And if it can’t and it like can’t be both people, and this is what I’m saying, the term reactive abuse has become very, very popular in the last few days ever since this video came out.

And here’s the thing, two things can be true at the same time. That that was reactive abuse and what Taylor, Frankie Paul did was wrong, but people can’t seem to do that. The people that are screaming reactive abuse are saying, yeah, but look what he did. Look, I’m not saying what she did wasn’t reactive abuse to how he treated her, but that doesn’t make what she did, right?

That doesn’t make what she did not criminal. That’s the thing that a lot of people are having a problem understanding. Two things can be true here, but they want me to focus and they want a lot of people, the people that are screaming reactive abuse are wanting other people to focus on stuff that we don’t know about.

You know what I’m saying? We can’t see it so. Here’s the thing, and I’m just, and don’t take it outta context. Obviously aggregators will do whatever they do, but I’m making it very clear on this podcast right now. I’m just talking about that video, that three and a half minute video that was released. Not what happened before it.

Not what happened after it. You just heard Taylor, Frankie Paul. A couple months. I don’t know how many months after this incident took place that she did that podcast in that two minutes that I just played for you. I don’t know how long after it was that she did that, but for that particular incident that night, did that sound like somebody who was acting out of reactive abuse?

She literally almost defended, in fact, did Defend Dakota when she just spoke about it. At no point in that interview did she say anything about he did this, he instigated it. He led me to that point. Now again, please listen. There might’ve been other times in their relationship where he did. I’m, in fact, I’m pretty sure there probably was other times in their relationship where he did, but we’re just talking about that night and she just described it.

And if you want to go listen to her on Nick and Natalie’s podcast, she literally says the same exact thing. Back around that time, back in 2023, she did another podcast where she basically says the same thing. I was the aggressor. I turned my sadness into anger. Now, I know that there will still be people who come and say Yes, but that’s what someone who’s being abused does.

They make excuses for their abuser. And I’m not saying that doesn’t happen. In fact, we know it happens. We’ve seen the statistic, what is it, seven times, someone who’s being abused. We’ll try and leave their partner. It takes almost seven times on the average before they finally do, which means they do make excuses for them.

So I’m not disputing that either. I’m just talking about in this particular instance on that night where she did end up getting arrested when she gave a statement that night. Well, first off she says she was blacked out, so she can’t even remember what she did that night. But even months later when she’s doing this podcast and Nick and Natalie’s, she’s specifically saying nothing in there.

I, I can’t try and read her mind. I can’t try and put words. And make her say words that she never said. None of that statement and none of what she said on Nick and Natalie’s podcast put anything on Dakota for that particular night. So that’s what I wanna focus on. And people seem to wanna bring in all the other times that they were toxic and all the other times that he was the one that was the instigator and he was the one that got her to that breaking point.

I’m sure there was other times, but how can I talk about those when I don’t know. When they existed outside of this stuff that we see on Secret Lives, but we’re not talking about that. We’re talking about this particular instance, which is the reason why her show got pulled, and I’ll get to that in a second.

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The Michael Jackson biographical drama “Michael” comfortably claimed the top position at the South Korean box office during the weekend of May 15–17.

According to data from KOBIS, the tracking service operated by the Korean Film Council, the Lionsgate and Universal Pictures international release earned $3.6 million from 470,375 admissions, securing a dominant 51.03% share of the weekend market. It has amassed a cumulative gross of $4.8 million from 647,916 admissions since its mid-week launch on May 13.

The high-fashion comedy sequel “The Devil Wears Prada 2” added $897,275 from 120,545 admissions. The film has accumulated $9.6 million from 1,444,286 admissions since its late-April launch.

“The Super Mario Galaxy Movie” generated $829,213 from 123,558 tickets over the three-day frame. The film has now reached a cumulative gross of $9.4 million with total attendance tracking toward the 1.5 million mark.

The local horror-thriller sensation “Salmokji : Whispering Water” took fourth place, adding $669,972. Directed by Lee Sang-min, the genre hit reached a cumulative total of $21.6 million from 3,169,730 total admissions.

The Hollywood sci-fi holdover “Project Hail Mary” secured fifth place, adding $279,821 to push its total South Korean lifetime haul to $21.4 million. It was followed in sixth place by a specialty re-release of the 2022 blockbuster “Top Gun: Maverick,” which cleared $136,047 over the weekend to take its Korean gross to $59 million.

The historic box office run of “The King’s Warden” took the seventh spot, adding $92,473. Now in its 15th week of release, the Jang Hang-jun historical drama has expanded its unparalleled domestic footprint to 16,863,925 total admissions, accumulating $108.3 million in total revenue.

The local horror-comedy sequel “Teaching Practice: Idiot Girls and School Ghost 2” debuted in eighth place, earning $74,384. Directed by Kim Min-ha as a standalone sequel to his 2024 feature, the film stars Han Sun-hwa as a passionate student teacher who, along with a high school black magic club, must survive a supernatural, deadly version of a mock exam orchestrated by a 400-year-old samurai ghost. Since its May 13 opening, it has grossed $123,356.

Rounding out the top 10 were a specialty screening of the 2004 romance classic “If Only” in ninth place with $96,354, and Jung Woo’s directorial debut “Audition 109” in 10th, which added $86,804 to bring its cumulative total to $2.6 million

The overall market collective gross for the weekend was $6.8 million, an improvement from last week’s $4.9 million.

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The Michael Jackson biographical drama “Michael” comfortably

Anderson Cooper said an emotional goodbye to 60 Minutes on Sunday night, calling out the long-running show’s “independence” during his last address to viewers. During his sign-off, Cooper reflected on his two decades of work with the newsmagazine, which have included hard-hitting interviews and memorable moments in the field.

“60 Minutes has always been a place, at least for me, that you get to step into somebody else’s shoes,” Cooper shared. “You get to see things through their eyes and see what their struggles are and what they are facing and you learn from that.” He added, “I grew up watching 60 Minutes. I was a weird little kid. I liked watching news.”

Cooper joined 60 Minutes in 2006 in an agreement between CBS News and CNN, where he is an anchor. He called his experience on the show as “an honor of a life.” After sharing memories from several key stories and interviews, Cooper explained that he primarily does 60 Minutes during the weekends due to his CNN schedule. That means time away from his young children, who he cited as the reason for his departure.

“CNN doesn’t like it if I take a lot of time off to work on a 60 Minutes piece, so I’ve worked mostly for 60 Minutes on weekends,” he noted. “My vacation time at CNN has been working on 60 Minutes pieces. I’ve loved it, but it’s been tough.”

He added, “I don’t think the reality has hit me that I’m not going to be doing this any longer. You know, to give up something you’ve watched since you were a kid. Yeah I will miss this.”

Cooper also reflected on the overall success and importance of 60 Minutes, which debuted on CBS in 1968.

“I hope 60 Minutes remains 60 Minutes,” he said. “There’s very few things that have been around as long as 60 Minutes has and maintained the quality that it has. And things can always evolve and change, and I think that’s awesome. And things should evolve and change, but I hope the core of what 60 Minutes is always remains.”

He continued, “I think the independence of 60 Minutes has been critical. I think also the variety of stories. And I think the trust it has with viewers is critical to the success of 60 Minutes. When you see a 60 Minutes story and you’re like, ‘That was a really good story, it was a good story because it requires time, it requires patience, it requires money. And it requires an appreciation of the history and the sacrifices and the hard work of the people here. And I hope that’s known and honored and valued and continues. I hope 60 Minutes is around for when my kids grow up and have kids of their own, and they can watch it with their kids.”

Although Cooper has said he is leaving 60 Minutes to spend time with his family, there has been speculation that his departure is due to changes under the new regime of CBS News editor-in-chief Bari Weiss, as well as Paramount Skydance’s ownership of CBS. In December, Weiss pulled a segment on El Salvador’s CECOT prison, where the Trump administration sent deportees last year.

Sharyn Alfonsi, who reported the story, dubbed the decision a “political” move. “It is factually correct,” she wrote in an email to staffers. “In my view, pulling it now, after every rigorous internal check has been met, is not an editorial decision, it is a political one.”

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Weiss refuted that, saying she held the story because it was “not ready.” “We need to be able to get the principals on the record and on camera,” she said. The segment ultimately aired several weeks later without any changes. However, it’s been rumored that Weiss plans to make more changes to 60 Minutes for its 59th season. “People [at 60 Minutes] are afraid and they’re waiting for something monumental to happen here,” a staffer told The Guardian this week.

“I think it should be at the heart and center of what we do,” Weiss said of 60 Minutes in January. “The idea that that should just be something people are encountering for an hour on a Sunday night doesn’t make sense to me, especially when there’s so much love and devotion and trust in that brand.”

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Tokyo-based production company K2 Pictures closed its K2P Film Fund I at $33 million and unveiled a 10-title slate at a press conference at Cannes, with the session anchored by the world premiere of a teaser trailer for “Shumei – The Living Legacy of Kabuki,” auteur Miike Takashi‘s inaugural documentary feature.

The fund closed in February with Mitsubishi UFJ Bank and the Development Bank of Japan among its principal backers. K2 Pictures also announced $67 million in debt financing secured alongside the fund, bringing its total financing to $100 million. Three productions backed by the fund are now complete – one of which opened theatrically in February – with three more in post-production and five further titles scheduled for release between June and December 2026. An additional five productions are set to begin shooting before year’s end.

“Shumei – The Living Legacy of Kabuki,” slated for a September release, turns Miike’s camera on the succession ceremony in which Ichikawa Danjūrō XIII formally inherited the storied Danjūrō name in Kabuki, Japan’s classical performing art. The film records the behind-the-scenes preparations for the actor’s name-inheritance debut performance. “Who exactly is Ichikawa Danjūrō XIII Hakuen? I want to ask this question in the simplest terms,” said Miike. “Danjuro Hakuen’s Kabuki is not merely Kabuki. It delves into the very essence of entertainment. This is a documentary that captures that journey.”

“I am truly grateful and honored that the name Danjuro, passed down through generations over a long history, will be preserved for posterity in this film,” said Ichikawa Danjūrō XIII.

Among the newly announced projects, director Nagata Koto – whose previous feature “Baka’s Identity” competed at last year’s Busan International Film Festival and swept four prizes at the 35th Japan Film Critics Awards including best picture and best director – will helm “The Nuke Crab,” a social noir set in Fukushima in the aftermath of the Great East Japan Earthquake. The screenplay is co-written by novelist Akamatsu Riichi, drawing on his own experiences as a decontamination worker, and filmmaker Iwai Shunji, who also serves as executive producer.

Director Otomo Keishi, known for the “Rurouni Kenshin” franchise and Netflix’s “10Dance,” will helm “Conde Koma,” a Japan-Brazil-U.S. co-production tracing the life of Mitsuyo Maeda, the Japanese jujutsu master whose global travels are credited with sparking the development of Brazilian jiu-jitsu and contemporary MMA.

Director Kato Takuya, whose theater work has taken him to London and Taipei, will helm “Nap,” an experimental Japan-France-Iceland co-production centered on a protagonist with social eating phobia who develops a sleep allergy – a conceit the film uses to interrogate what it means to share a life with another person.

Further newly announced titles include “Gigant,” an animated feature based on manga artist Hiroya Oku’s series of the same name, marking K2 Pictures’ first foray into animation; a Mexico-Japan horror project from director Katayama Shinzo – a former assistant to Bong Joon-ho who subsequently helmed “Siblings of the Cape” and the streaming series “Gannibal” – currently in development with Miércoles Entertainment (U.S.) and The Lift (Mexico); “My Teacher,” developed by South Korean director No Deok in collaboration with screenwriter Ikegami Junya; “Hold,” the feature directorial debut of actor and novelist Fujitani Ayako, a Kyoto-set romantic drama about two women – a Japanese woman and a foreigner – bound by a fateful connection whose lives begin to shift as a result; “UFO Club,” the debut feature of director Kaneko Milena, selected for this year’s Udine Far East Film Festival project market; and “The Book of Human Insects,” a dark musical adaptation of Tezuka Osamu’s manga, part of the Tezuka 100th anniversary project, directed by Ninomiya Ken.

Previously announced K2 Pictures titles include “Look Back” from Kore-eda Hirokazu; “Trophy,” directed by Son Myung-ah, due July 10; “Children Untold” from Nishikawa Miwa, due October 16; and “Between Two Lovers” from Hirose Nanako, due November 27.

K2 Pictures was founded in 2023 by CEO Kii Muneyuki, a former head producer at Toei who has worked across exhibition, distribution, and production.

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Tokyo-based production company K2 Pictures closed its

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Toons boom across the Croisette this year, with colorful features opening Critics’ Week, closing Directors’ Fortnight, and appearing across nearly every section — further cementing Cannes’ status as a premier launchpad for animated cinema.

Cannes’ position now feels secure, though its rise has been unusually fast. Earlier breakouts like “My Life as a Zucchini” (2016) “Mirai” (2018) and” I Lost My Body” (2019) ushered sophisticated international fare into awards conversations, even as programers were slower to seize on those gains. As recently as 2023, two local producers unions authored an open letter criticizing Cannes for not programing a single animated title in its main selections.

“We needed visibility and recognition,” says Miyu Prods. founder Emmanuel-Alain Raynal, who chaired the French independent producers union at the time. “I’m not saying that letter changed everything, but there was definitely a moment when the French industry united around the idea that animation needed to be more present at Cannes.”

The response was swift, reinforced by market momentum. The following year, “The Most Precious of Cargoes” landed in competition, while “Flow” emerged from Un Certain Regard to become a global breakout, drawing 8.2 million admissions worldwide and winning the Oscar, setting a new benchmark for European animation. Those successes helped open the floodgates for 10 animated titles premiering this year.

Six of those films will play in competition at Annecy — among them “We Are Aliens,” “In Waves” and “Viva Carmen” — reflecting a closer alignment between the two festivals that has strengthened the wider ecosystem.

“Annecy anchors you within the animation world,” Raynal explains. “But it doesn’t really place you in the wider industry. Cannes is different. Returning there regularly gives you broader legitimacy with companies, key talent and financiers. That reach is something else entirely.”

Together, Cannes and Annecy now function as a reinforcing pipeline for producers like Raynal, where festival prestige leads to larger co-productions, broader financing opportunities, and greater international visibility — all feeding back into further festival success. “We Are Aliens,” for instance, is one of Miyu’s two Franco-Japanese co-productions this year, while the company’s previous title, “A New Dawn,” recently premiered in competition at Berlin.

“We’re no longer in the old logic of ‘let’s reserve one family slot for kids,’” says Charades co-founder Yohann Comte, who handled sales on “I Lost My Body” and “Flow.” “We’re seeing a much broader wave of ambitious adult animation, and festivals are far more open to it than before.”

Comte says visibility is reshaping the market. “These films are still hard to finance, but when titles like ‘Flow’ break through, distributors and sales agents pay attention. More buyers come in, minimum guarantees go up, and financiers become more willing to back ambitious projects. Sales agents spend more upfront, but that’s very good news for producers.”

This year, Charades is handling “In Waves” and “Tangles,” two projects with English-language casts and literary pedigree. Where Cannes once helped push European and Japanese animation into the U.S. awards circuit, prestige animation now targets the Croisette directly.

“Cannes is now a place people look for animation,” says one senior awards strategist. “Playing there opens doors, lowers resistance, and gets people to watch, support, and program it. Just saying ‘Cannes’ immediately changes the conversation.”

So those with projects in the pipeline can take comfort in one insider’s broader ambition.

“I am fundamentally opposed to a token animation slot,” says Directors’ Fortnight head Julien Rejl, who selected three titles from around 30 submissions — a record for the sidebar. “If one day we receive ten ambitious, compelling animated features, then we select all 10. Cannes is a festival of filmmakers and authors, whatever the format.”

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Toons boom across the Croisette this year,

In November 1952, a Harvard sophomore, Peter G. Neumann, had a two-hour breakfast with Albert Einstein, in which they discussed the physicist’s philosophy that “Everything should be made as simple as possible, but no simpler.”

Einstein’s aphorism led to a lifelong romance with both the beauty and the perils of complexity for Dr. Neumann, who went on to become one of the nation’s leading computer security researchers.

Dr. Neumann died on Sunday at the Santa Clara Medical Center in Santa Clara, Calif. He was still working full time on a Pentagon-supported advanced computer security design, which is being adopted by companies such as Google and Microsoft. He was 93.

The cause of death was complications from a recent fall, his daughter, Helen Neumann, said.

Dr. Neumann (pronounced NOY-man), who has worked as a computer scientist and security researcher at SRI International in Menlo Park, Calif., since 1971, has long been a voice in the wilderness warning about a computer industry that has been prone to repeatedly make the same mistakes.

In 2010, Mr. Neumann launched a research project that investigated how to protect against the most common types of security vulnerabilities. Funded by the Defense Advanced Research Projects Agency, or Darpa, the program, known as Cheri, developed a new approach to computer hardware that restricts software programs so that malicious instructions are impossible to execute.

An analogy would be replacing a master key that opens every door in a building with a set of keys that each only open the specific rooms their holder is authorized to enter — and making it physically impossible to copy or modify them.

Recently an industry organization known as the CHERI Alliance has begun to commercialize the design for consumer products and industrial applications.

“Peter Neumann is both one of the last of the old guard and a pointer to the future,” said Whitfield Diffie, a mathematician and cryptographer who is the co-inventor of public key cryptography. “He describes himself as having had a 70-year career in computer science, starting with his graduation from Harvard, and he has always advocated starting with hardware designed to support security.”

Beginning in 1985, Dr. Neumann served as editor for the Association for Computing Machinery Risks Forum newsgroup, an influential collection of emails from readers reporting computer failures and foibles that has an avid following of hundreds of thousands.

Since then, he has maintained the sprawling compendium of computer failures, flaws, foibles and privacy issues, annotating each of the 3,195 issues with wry comments and the occasional pun. In 1995, the list became the basis for his book, “Computer-Related Risks.”

In the 1990s, he was a key researcher on a Darpa-funded research project to develop new ways to detect intruders in large computer networks. Known as Emerald, the project did not lead to a successful commercial spinoff, but SRI won several lawsuits against Silicon Valley companies for using the technology without a license.

Despite his influence in the computer security world, Dr. Neumann preferred to maintain a low profile.

“There’s no limit on the impact that a small team can have if they don’t care who gets credit,” said Patrick Lincoln, the office director of Darpa’s Information Innovation Office, who described Dr. Neumann as routinely working behind the scenes without credit. “The world is just so much a better place for having had Peter.”

Dr. Neumann had been a frequent critic of the lax attitudes the industry has maintained toward both computer security and individual digital privacy.

“I’m fundamentally an optimist with regard to what we can do with research,” he said. “I’m fundamentally a pessimist with respect to what corporations who are fundamentally beholden to their stockholders do, because they’re always working on short-term appearance.”

Peter Gabriel Neumann was born on Sept. 21, 1932, in Manhattan. His father was Israel Ber Neumann, a noted art dealer, working first in Germany and then in New York, where he opened the New Art Circle gallery after moving to the United States in 1923. Dr. Neumann’s father fled to America shortly after finding himself seated near Adolf Hitler in a German restaurant.

His mother, Elsa Schmid Neumann, was a mosaic artist. Dr. Neumann’s two-hour breakfast with Einstein took place because his mother had been commissioned to create a colorful mosaic of Einstein and had become friendly with him. The mosaic was displayed for many years in a reference reading room in the main library at Boston University.

Dr. Neumann grew up in the Greenwich Village neighborhood of Manhattan before his family moved to Rye, N.Y., where he attended high school. He took his first computing job over a summer when he was in college, which involved programming an IBM card-punched calculator for the U.S. Naval Ordnance Laboratory.

He entered Harvard in 1950 and became one of the first computer hackers during his senior year. The term originally described people who were fascinated by the machines, rather than the later meaning referring to those who broke into computer networks.

At Harvard, he was one of the first programmers to have solo access to his own “personal” computer — at least, on weekends. He had the run of a computer known as the Mark IV. The Mark IV was one of the world’s first stored-program computers, and in 1954 Dr. Neumann earned the trust of its designer, Howard Aiken. Every Friday at 5 p.m., he would take over the care of the machine from its regular operators. He would have the run of the system for the weekend and wouldn’t leave until Monday morning.

“I was the operator, maintainer and guru,” he said. With another student, Fredrick P. Brooks Jr., who would go on to become an IBM computer designer, Dr. Neumann wrote a paper on using the Mark IV to compose music.

After spending two years in Germany on a Fulbright fellowship, Dr. Neumann received his Ph.D. in mathematics from Harvard and joined Bell Laboratories in 1960. He spent a decade there and became a key developer of the Multics operating system, an early Pentagon-financed project that was the first systematic attempt to grapple with how to share computer resources securely among many users.

Multics (Multiplexed Information and Computing Service) was developed collaboratively by researchers at the Massachusetts Institute of Technology, Bell Laboratories and the Honeywell Corporation beginning in the mid-1960s. The project pioneered concepts that became foundational to modern computing.

Dr. Neumann retained a lifelong passion for music, playing a variety of instruments, including the bassoon, French horn, trombone and piano, in a number of musical groups. At computer conferences, he frequently led his colleagues in Gilbert and Sullivan songs.

In December 2024, Dr. Neumann made an anonymous $4 million donation to the San Francisco Symphony to save its chorus, his daughter, Helen, said.

She is his only survivor. He was married twice. His first marriage, to Anne Ferris Rittershofer, ended in divorce. His second wife, Elizabeth Susan Neumann, died in 2020. Two sons, John and Christopher, predeceased him.

Dr. Neumann had occupied the same office at SRI International since arriving as a computer researcher in 1971. Until the building was modified to make it earthquake-resistant, the office had attained notoriety for the towering stacks of computer science literature that filled every cranny.

Legend has it that colleagues who visited the office after a 1989 earthquake were stunned to discover that while other offices were in disarray from the 7.1-magnitude quake, nothing in Dr. Neumann’s office appeared to have been disturbed.

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In November 1952, a Harvard sophomore, Peter

Oscar-winning Iranian director Asghar Farhadi is back in Competition in Cannes for the fifth time with French-language drama Parallel Tales starring Isabelle Huppert, Adam Bessa, Virginie Efira, Vincent Cassel, Pierre Niney and Catherine Deneuve.

The Paris-set, French-language drama hits Cannes as Farhadi’s native Iran lies in turmoil due to the war with the U.S. as well as long-running domestic discontent against the draconian Islamic Regime government.

Farhadi told the Deadline Studio that he was back living in Iran, after a spell in the U.S. and France in the wake of the Woman Life Freedom protests in 2022, but reiterated his vow not to make films at home while censorship laws remain in place.

“I live in Iran but as I’ve said before I won’t make films in Iran as long as I need a permit to do it. I won’t undergo this system of filming in my country,” said Farhadi, whose last film shot at home was A Hero, which won the Grand Prix in Cannes in 2021.

“I come abroad to make films but as soon as the work is done I go back to my home, which is Iran,” he added.

In response to a question on his feelings about the current situation in Iran, he replied: “Like everyone, I guess I love my country, I love my land, and nothing matters more than my land in these days.”

Taking its cue from an episode in Krzyszof Kieslowski’s television series Dekalog, Parallel Tales stars Huppert stars as a reclusive writer who spies incessantly on a neighboring apartment and weaves imaginary stories around its occupants.

Fact and fiction collide, when a young homeless man (Bessa) hired as home-help unleashes these stories into the real-world.

“I was so honored and happy to work with Asghar because he really is a great director, Huppert told the Deadline Studio.

“He is a master of precision, and that started from the beginning when we started thinking about the costumes… This is literally how the characters started to emerge at the very early stage even before shooting,” she said.

“I was really intrigued by the script. This is what made me really willing to do it. I love not always really understanding what I’m doing because I know cinema is going to give me the answers.”

To see the full conversation, click on the video above.

The Deadline Studio at Cannes is sponsored by SCAD.

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Oscar-winning Iranian director Asghar Farhadi is back

The last few years have not been kind to broadcast TV shows with many successful shows being unexpectedly canceled in mass waves. Thankfully, 2026 did not feature many cancellations, with the vast majority of ABC, CBS, NBC, and Fox original shows getting picked up for the 2026-27 TV season. However, there have still been some cancellations along the way, with a handful of shows failing to secure renewals. 

Among those canceled this year was NBC’s new cheerleading comedy Stumble, which failed to secure a second season and was canceled ahead of NBC’s upfront presentation. 

Despite strong critical praise, the mockumentary comedy about the world of junior college cheerleading failed to pick up much momentum among audiences. By the time the show’s final episode rolled around, a mere 1.7 million viewers were tuning in to watch the comedy. The show’s ratings were ultimately the death of the series, as NBC opted not to pick it up for a second season after attempting to give the show its best shot at building viewership. 

While NBC was unable to bring the show back for another season, it seems hope for Stumble season 2 is not lost! 

According to Matt’s Inside Line, Stumble is being shopped around by Universal Television with the hopes of finding a new home for the show after its cancellation on NBC. 

While many shows get shopped after their cancellation, Inside Line notes that Stumble has a lot working in its favor, as the series is relatively cheap to produce given it’s a half-hour comedy, does not feature any massive stars, and films in Atlanta. These aspects make the show more alluring to potential platforms, as the show does not come with a hefty price tag. 

Given the show’s struggle to find an audience on broadcast, we imagine a streaming home is likely the ideal landing spot for the show. NBC did not release information about the show’s delayed viewership numbers for the full season, but the series premiere was reported to have been watched by 10.2 million viewers when delayed and multiplatform viewership figures were factored in. 

We’ll have to wait to see how this plays out and if the hunt for a new home is successful, but it’s certainly nice to know that there is still hope for another season. Hopefully, the hunt for a new home for Stumble will yield positive results and season 2 will happen, as we’d love to see more of Coach Courteney Potter and the underdogs of the Heådltston State Junior College cheerleading program!

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When Martin Short was 12, his oldest brother died in a car accident. Five years later, his mother died of cancer; three years after that, his father had a stroke and passed away, leaving Short, at 20, the youngest of five, living alone at his family home in Hamilton, Ontario.

“That was a rough eight years,” Michael Short, Martin’s brother, says to him in “Marty, Life Is Short,” the new Netflix documentary that alternates between the star’s raucously funny career in show business and a personal life filled with enduring friendships and unbearable tragedy. In the film, Short responded to his sibling with a revealing take on this period of his life: “There were laughs,” he says, emphasizing the next sentence. “That’s the point.”

Asked to expand in a recent interview in a Manhattan hotel, with legs crossed, slight and dapper, Short recalled a grim moment right before his mother’s death when both his parents were in the hospital. Short tends to answer questions with anecdotes. He was again with Michael, this time across a breakfast table. “We looked at each other and started laughing,” he said. “It was like: How absurd, how ridiculous, how dark can this be? It’s why the phrase ‘dark comedy’ exists.”

This particular brand of resiliency — “laughing wild, amid severest woe,” as the poet Thomas Gray put it — is an undercurrent of “Marty, Life Is Short,” which takes its name from Short’s response to a talk-show question about how to cope with the death of parents. He said that you could despair, but that he chose to conclude that life was short and that there were tools developed in disaster. “You became your own therapist,” he told me, adding that this grieving period helped him develop “muscles to survive.”

He has needed them. In 2010, the love of his life, his wife, Nancy, died of ovarian cancer. In February his daughter, Katherine, died by suicide after struggling with mental illness. While Nancy Short is such a focus of the documentary that the comedian told its director, Lawrence Kasdan, “I had no idea you were in love with my wife,” Katherine’s death doesn’t come up until the end, in a dedication to her and Catherine O’Hara, Short’s “SCTV” colleague who died the month before she did and figures prominently in the film.

Now reflecting on the loss of his daughter, Short recalled that his wife’s final words, spoken in her bedroom as paramedics rushed in, were “Martin, let me go.”

He continued, “Katherine was saying: Dad, let me go,” and explained, “I don’t see any difference between mental illness as a disease and cancer as a disease. In some cases, both are terminal. And in some cases, both are survivable.”

Short clarified that this recent tragedy is different. “This is your child,” he said firmly. Adding later in a soft voice: “I am trying to head toward the light.”

AT 76, MARTIN SHORT is more popular than ever, with a long-running touring show with Steve Martin, a hit TV series, “Only Murders in the Building,” entering its sixth season and, because of appearances with Meryl Streep, a regular spot in the tabloid press. No one in Hollywood inspires more gushing. Conan O’Brien has called Short the “funniest person out there” and David Letterman told me that “by almost any definition, description or measurement, maybe the funniest man to appear on television routinely.”

When the Slate writer Dan Kois published his case against Short, calling him “unbelievably annoying,” the enraged response on social media — the kind of thing usually reserved for sexual abusers or celebrities saying slurs — was a reflection of the intense public affection for this performer.

His is a curious legacy, however: As he will be quick to tell you, his career is filled with failure, including sitcoms that didn’t work, movies that came and went (some, like “Three Amigos,” became cult classics), and talk and variety shows that flopped. Short still sounds as if he wished more people knew about his HBO special “I, Martin Short, Goes Hollywood.” (They should.) Despite a stellar sketch-comedy track record at “SCTV,” then a year at “Saturday Night Live,” Hollywood has had trouble figuring out a vehicle for him.

The argument for Martin Short’s greatness does not rest on a blockbuster movie or signature role so much as the indelible distinctiveness and range of his comic creations. Whether playing the celebrity interviewer Jiminy Glick or the defensive lawyer Nathan Thurm or the indecipherable wedding planner from the “Father of the Bride” movies, he makes bold, often bizarre choices that no one else would. These characters don fat suits and ludicrous haircuts, but they are all undeniably the product of Short’s imagination. And in the internet era, they age well, because underneath his hustling work ethic is the ambition of someone who’s willing to risk coming off as annoying.

It starts with his song-and-dance man tool kit, a sneakily athletic physicality, those swiveling, prancing hips, and that signature Broadway belting voice. There’s audio in the documentary from his father, an Irish wit whose sarcasm is part of the inspiration for Jiminy Glick, criticizing his son’s singing voice, but also praising it as distinctive, which, he adds, will stand the test of time. That’s right.

If you were lucky enough to stumble upon Short as a kid, as I did with his first blockbuster character, the manic innocent Ed Grimley, his joyful eccentricity sticks with you for life. A few days after talking to Short, I interviewed Jemaine Clement from Flight of the Conchords, who told me to thank Short for the Ed Grimley animated show, which left a formative impact on him as a boy growing up in New Zealand.

But there’s a knottier boundary-blurring element to Short’s talent. He’s most famous for comedy that comes from character instead of punchlines, but as he has proved in talk shows, he can deliver stinging pinpoint jokes as well as anyone. “Every time I’m in your company,” he told Jimmy Kimmel. “I’m whelmed.” His humor can be as cutting as it is endearing, and as he has aged, you increasingly get the sense that in private, he has a hilarious mean streak.

With Ed Grimley and the title character in “Clifford,” a truly strange and unjustly panned movie that deserves to be considered a modern comedy classic, his performances straddle the worlds of children and adults. All it takes is a telephone call for Grimley to light up in prancing excitement at who could be on the other line. Short said people thought Grimley was a boy, but he insisted that he’s an adult who never lost his sense of wonder. “I love the idea that you never become jaded by the things you experienced,” he said.

For an entertainer who has created such wild characters, Short comes off as remarkably organized, low-key and diligent. “If I hadn’t been an actor,” he told me. “I would have been really good as the executive secretary to Ted Sarandos.”

Short has no time for psychoanalyzing his traumas as the source of his humor. His confidence, he said, comes from a happy childhood, full of love. Short also has no interest in going to therapy, although he said that John Mulaney told him he should go to a mediocre one just to see the look on their face when they hear all the tragedies that had befallen him. A dark joke Short clearly enjoys. But he does find peace in an almost rigid commitment to routine.

EVERY MONDAY, Short reflects on the week and gives himself grades in nine categories of life, including Career, Family and Lifestyle. The fact that Discipline is one of the nine is telling. He’s done this for decades. Originally, it allowed him to feel good about himself during slow professional stretches. When his career wasn’t going well, he raised his score by working harder on something like Family. There’s clearly a best-selling self-help book here. “The more disciplined I am the better I feel,” he said.

The week I saw him, he told me he gave himself excellent marks in Career but not Discipline or Creativity. “Lifestyle is always an A,” he said.

Short is an honors student in Friendship. Kasdan said he wanted his documentary portrait to feel like hanging out with Short, and in remarkable amount of home movie footage shot by Short or friends, he shows us a procession of relationships with extremely talented peers.

His partnership with Steve Martin is well known. He’s longtime best friends with Eugene Levy. Both are in the movie, as are the cadre of “SCTV” stars, including Andrea Martin and the late O’Hara and John Candy. More surprising perhaps is his family’s tight bond with the families of Tom Hanks and Steven Spielberg. Spielberg will probably never remake “Butch Cassidy and the Sundance Kid,” so a home movie shot by him on a boat with Hanks and Short, performing as Forrest Gump and Ed Grimley, replaying the scene where the bandits jump off a cliff, is as close as you will get.

In his recent interview with Short for his Netflix show, Letterman told him he was jealous of his ability to maintain these friendships. To which Short retorted: “Well, you must be kind.”

Short is famously nice, which allows him to get away with more of an edge in his humor without risking losing the affection of the audience. His Jiminy Glick interviews are one of the most enjoyable rabbit holes online, in part because of the complete lack of respect he shows famous people. In recent years, Short has also dug deeper into dramatic roles, playing incredibly unsympathetic characters in “The Morning Show,” “Damages” and the movie “Inherent Vice.”

Short doesn’t see these as departures. That would imply comedy and tragedy are distinct. He illustrates this with the story of a producer on “Damages” asking him not to smile because the audience will then see Martin Short instead of the character. He balked, saying that is a problem, because, Short explained, “the worst villains in the world smile.” The producer apologized.

MARTIN SHORT WAS RAISED in a Catholic household, saying prayers every night and going to Mass every Sunday. But he no longer believes in organized religion. He stopped mentioning God in prayers when his brother died. When citing a higher power on the death of loved ones, he quotes Mike Nichols: “I see no reason why you just can’t keep the conversation going.”

In the documentary, he describes a dream his late brother appeared in. Asked if recording home video of his family, which appears in the movie, is a way to keep them around, he said: “I know that my wife, Nancy, felt she knew my parents intimately through all the tapes.”

Short was quick to add that he didn’t judge anyone for finding solace any way they can. And that there is a randomness to happiness.

“Some people are born with a happy gene,” he told me, before dropping the name of another longtime friend. “Goldie Hawn is born with a happy gene. Some people are not born with happy gene and so that’s luck. That’s DNA luck, but also, it’s trying to, I think, trying to find, what’s the Python song?”

Short looked up, trying to recall a song in Monty Python’s “Life of Brian.” But he seemed to forget the lyrics after the first word.

This produced a very short, bizarre moment when an interview between journalist and celebrity turned into a musical. I am not quick to sing, especially at work, and yet, when I aimed to remind him, we accidentally ended up in the middle of a conversation about the darkest subject imaginable, doing a duet. “Always look on the bright side of life.”

It was absurd, but also not at all. Short considered the sentiment. “Yeah,” he said, lowering his voice to a murmur: “Head for the light.”

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When Martin Short was 12, his oldest

The Academy of Country Music Awards were choosing Ella Langley every chance they got, as the “Choosin’ Texas” charttopper won all seven trophies she was nominated for before and during Sunday night’s ceremony at the MGM Grand Garden Arena in Las Vegas.

The top prize of the night, however, went to Cody Johnson, who was awarded the coveted entertainer of the year award. (Langley was not up for that particular honor.) Johnson also picked up best male vocalist earlier in the evening.

Music “is the greatest drug that has ever been introduced on the planet earth,” Johnson said in picking up his entertainer of the year trophy at the climax of the two-and-a-half-hour show. But, establishing that he does not consider himself immersed in the business, Johnson said, “When i go home, I take my phone and I turn it face down. When I go home, I am a husband, I am a father, i am a cattle rancher.”

Cody Johnson accepts the award for Male Artist of the Year at The 61st Academy of Country Music Awards held at MGM Grand Garden Arena on May 17, 2026 in Las Vegas, Nevada.

Rich Polk/Variety

Langley’s wins included female artist of the year, artist songwriter of the year, both single of the year and song of the year for “Choosin’ Texas,” and music event of the year for her featured appearance on Riley Green’s “Don’t Mind if I Do.”

Although she had already taken multiple trips to the podium, Langley was tearful and initially at a loss for words when she accepted her final award of the night, female vocalist. “I’m trying to say something but I can’t,” she admitted. “The women in this category, the women in this life… I was having a strange day,” she noted, before adding that Lainey WIlson “wrapped me up and started praying for me,” and then she got a further boost she needed from “all of a sudden Miranda Lambert in her little pink hat.” Lambert was with Langley for some of those trips to the stage, as the co-writer of “Choosin’ Texas,” which remains the No. 1 song on the Hot 100.

Parker McCollum was a surprise winner for album of the year for the critically acclaimed “Parker McCollum,” beating Zach Top, Morgan Wallen, Riley Green and Carter Faith in that category.

“I was starting to think y’all weren’t gonna let me up here,” McCollum quipped when he got to the stage.

Other winners awarded on the Prime Video webcast included the Red Clay Strays for group of the year and Brooks & Dunn for duo of the year.

John Hall, Zachary Rishel, Brandon Coleman, Andrew Bishop, Drew Nix and Sevans Henderson of The Red Clay Strays pose with the award for Group of the Year at The 61st Academy of Country Music Awards held at MGM Grand Garden Arena on May 17, 2026 in Las Vegas, Nevada.

Brenton Ho/Variety

Winners announced in the days leading up to the ceremony included Avery Anna as new female vocalist of the year, Tucker Wetmore as new male vocalist of the year, Jessie Jo Dillon as songwriter of the year, and Stephen Wilson Jr.’s “Cuckoo” as visual media of the year.

Shania Twain was a first-time host for the ACMs, which celebrated their 61st year with a return to the show’s longtime home in Las Vegas after three years in Texas.

The show featured 17 performances, opening with last year’s entertainer of the year, Lainey Wilson, in a choreography-filled performance accompanied by 10 near-lookalike female dancers clad in all-white and cowboy hats behind her. It ended with Blake Shelton doing the Kenny Rogers smash “The Gambler,” in honor of songwriter Don Schlitz, who died last month.

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The Academy of Country Music Awards were

Marvel and DC’s 2027 blockbusters will now officially have some overlap in their key cast. While the MCU’s only 2027 offering will be December’s Avengers: Secret Wars, Sony Pictures is bolstering the red brand’s place in June with Spider-Man: Beyond the Spider-Verse. Furthermore, DC Studios is coming to play with two-thirds of its legendary Trinity in theaters, with James Gunn’s Superman sequel/crossover event, Man of Tomorrow, coming in July, and Matt Reeves finally delivering The Batman: Part 2 after over five years of waiting in October.

Finally put an end to years of rumors, Reeves recently unveiled the cast of The Batman 2 in a series of GIFs posted to X. That list included two actors who have also been confirmed to appear in major Marvel movies next year, meaning that the competing superhero brands will share two (possibly three) actors in 2027…

Every Actor Appearing in Marvel & DC Superhero Projects in 2027

Sebastian Stan

Marvel Studios

15 years after joining the MCU as Bucky Barnes, aka the Winter Soldier, Oscar nominee Sebastian Stan is joining DC Studios for The Batman: Part 2. The MCU veteran is believed to be playing Harvey Dent, known in DC Comics as Gotham’s district attorney and, eventually, the coin-flipping villain Two-Face.

Marvel Studios President Kevin Feige previously confirmed that the Thunderbolts, which, of course, includes Sebastian Stan’s Bucky Barnes, would return for both Avengers: Doomsday and Secret Wars. However, due to Stan’s casting in The Batman 2, concern is rising that Bucky may not survive into Avengers 6 after all.

Even if Feige fulfills his promise for Stan to return with his fellow New Avengers in Secret Wars, fans should prepare for Bucky to assume a minor role. Marvel and DC’s biggest 2027 movies are expected to overlap heavily in filming schedules, as Harvey Dent will seemingly be a pivotal figure in The Batman 2.

Brian Tyree Henry

Jefferson Morales, Brian Tyree Henry, Phastos in Eternals.
Sony Pictures / Marvel Studios

Matt Reeves’ casting confirmations for The Batman 2 included one actor who hadn’t been previously reported: Brian Tyree Henry. The DC filmmaker later liked a tweet speculating that he is playing Detective Harvey Bullock, a cynical, fierce ally to Jim Gordon, indicating that may be his role in The Batman 2.

But Tyree Henry will also grace Marvel moviegoers’ screens next year, but not through the MCU, as New York cop and Miles Morales’ father, Jefferson Davis, in Spider-Man: Beyond the Spider-Verse. Davis will be at the center of the June 2027 threequel, as Miles seeks to prevent the canon event of his father’s looming death.

Beyond his parental cop in Sony’s Spider-Verse, Tyree Henry also has an MCU role as Phastos, the Eternals’ inventing genius. Unfortunately, as the Eternals reportedly aren’t returning until the MCU’s next saga, missing out on the Avengers: Secret Wars action, Tyree Henry will only reprise one of his Marvel roles in 2027.

BONUS.) Matthew Lillard

Matthew Lillard as Mr Charles in Daredevil Born Again.
Marvel Television

DC Studios is also poaching one of the MCU’s Disney+ actors for Man of Tomorrow in Matthew Lillard. The Scream star goes way back with James Gunn, having starred in the live-action Scooby Doo! flicks that he penned two decades ago, and is now joining his DCU in an unknown role.

Lillard just recently boarded the MCU with Daredevil: Born Again Season 2 as Mr. Charles, a CIA operative with a unique interest in vigilantes and ties to one of Phase 5’s biggest villains. That said, it’s unclear whether he will return in Season 3, as he was last seen jetting off abroad with Bullseye.

Interestingly, as Brian Tyree Henry and Sebastian Stan will take their blue brand dive into The Batman‘s Elseworld, Lillard would be the only actor to appear in the DCU and MCU next year, spanning the big and small screens.

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Although The Walking Dead flagship series has been over for a few years now, the franchise shows no signs of slowing down, with two spin-offs currently in production. One of those, The Walking Dead: Dead City, focuses on characters Negan (Jeffrey Dean Morgan) and Maggie (Lauren Cohan), as they venture into a post-apocalyptic Manhattan together, despite Maggie’s hatred of Negan for murdering her husband, Glenn, years prior. AMC is set to premiere the third season this July, and now, we have our first trailer. You can watch the intense teaser trailer for season three of The Walking Dead: Dead City right here:

Alongside the teaser trailer, here’s the official synopsis for season three of The Walking Dead: Dead City from AMC:

In season three, Maggie (Cohan) and Negan (Morgan) finally put aside their differences to build the first thriving community in Manhattan since the apocalypse, but when chaos in the city begins to arise, they are forced to question: have they learned from their old wounds or will their dark past spell doom for the entire city? 

Negan (Jeffrey Dean Morgan) and Maggie (Lauren Cohan) in The Walking Dead: Dead City season three.
AMC

The Walking Dead: Dead City trailer shows how Maggie sees the island of Manhattan as different and filled with potential. In her mind, it can actually be a thriving community in a New York City surrounded by walkers. But going by the history of this franchise, we know it won’t be an easy task.

THE WALKING DEAD: DEAD CITY’s Latest Death Gives Negan a Taste of His Own Ruthless Medicine

The first season of Dead City premiered in 2023. However, the WGA strike that year postponed production for the second season. The next season finally premiered in 2025, after the show’s production resumed a regular schedule. In addition to Cohan and Morgan, season three also stars Jimmi Simpson, Raúl Castillo, Aimee Garcia, Michael Emery, and Logan Kim, who plays Hershel, Maggie and Glenn’s now-teenaged son. Kim replaced Kien Michael Spiller, who played the character on the original The Walking Dead. The first episode of season three premieres on AMC and AMC+ on July 26.

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Although The Walking Dead flagship series has

Fanatical’s May 2026 Bundle Fest is still going strong, and one of the best ones to browse is the Capcom Classic Bundle: GOG Edition. If you’re a fan of retro games, this eight-game collection offers some of Capcom’s best, covering a few different genres like survival horror, fighting, and RPGs. Like with other build your own bundles through fanatical, you can start with choosing any three games for $8, or $3 each. Then if you get five or more games, they’re down to $2.80. If you want all eight titles, they’re each $2.75. That’s eight games for just $22 compared to the $96 full-price value.

One of the biggest draws here is the first three original Resident Evil games. These may have no aged the most gracefully, but it’s hard to deny the charms of the cheesy voice acting and the tense fixed camera angles. I know we all remember the first time the zombie dog crashed through the window in the Spencer mansion in the opening moments of Resident Evil, and Resident Evil 3: Nemesis’ Clocktower section is an iconic location that sadly wasn’t included in the 2020 remake. You can also pick up Dino Crisis and its sequel, which take the fixed camera, tank-controls, and other design sensibilities from Resident Evil and pits against new prehistoric threats.

Continue Reading at GameSpot

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Fanatical's May 2026 Bundle Fest is still

“The Good Doctor” team of Freddie Highmore and David Shore and Sony Pictures Television have reteamed for a new drama series, “I’m Not Here to Hurt You,” that has been ordered by Canada’s Crave streamer, home of the white-hot drama series “Heated Rivalry.”

Crave and Sony Pictures have jointly commissioned the series, which Sony will shop to buyers in the U.S. and the rest of the world. It’s an unusual approach that demonstrates Sony’s faith its ability to generate strong demand for the show in major territories. John Morayniss’ Blink49 Studios is producing “I’m Not Here” with Sony. Sony Pictures planned to give the show a big sales push to international buyers during the L.A. Screenings meetings held by major studios this week with top international buyers.

“David and Freddie have an extraordinary creative partnership built on trust, collaboration, and a shared passion for powerful storytelling,” said Lauren Stein, executive VP and head of creative for Sony Pictures TV. “They have a unique ability to create richly layered characters who are imperfect, complicated and deeply relatable, the kind of characters audiences genuinely care about. We couldn’t be more excited to reunite with them for ‘I’m Not Here to Hurt You’ and are grateful to our partners at Bell Media, Crave and Blink49 Studios.”

Sony, Shore and Highmore had a successful seven-season run on ABC in the U.S. from 2017 to 2024 with procedural “Good Doctor.” “I’m Not Here to Hurt You” tells the offbeat story of a man who “after killing someone in a bicycle accident, an upstanding family man spirals into a life of crime… driven by the noble but futile goal of never hurting anyone ever again,” per the studio’s description. The series is based on a podcast of the same name produced in 2023 by the Irish Independent and hosted by Kevin Doyle. Shore and Highmore co-created the TV series.

“We weren’t quite done with each other after all. We’re thrilled to be collaborating again, excited to return to Canada alongside our partners at Bell and Blink49 Studios and grateful for Sony’s continued support. And now we have to get to work,” Shore and Highmore said in a statement.

Shore is among TV’s most in-demand showrunners. He’s prepping a high-profile new series for NBC in the coming season, a contemporary remake of “The Rockford Files” starring David Boreanaz, and he’s prepping “Conviction,” a legal drama starring Elisabeth Moss with Warren Littlefield executive producing. Shore was behind the hit Fox/Universal TV medical drama “House,” starring Hugh Laurie, which logged eight seasons from 2004 to 2012. Highmore was recently featured in the Amazon Prime Video series “The Assassin.”

Crave is the subscription entertainment streaming platform owned by Bell Media, one of Canada’s biggest media companies. “Heated Rivalry,” the hockey romance drama that has become a worldwide sensation, was a Crave original that HBO picked up as an acquisition. “I’m Not Here to Hurt You,” with top auspices in Shore and Highmore, is a clear effort to build on “Rivalry’s” momentum.

David Shore (Photo by Rob Latour/Variety)

Penske Media via Getty Images

“This new series marks an exciting moment for Crave as we continue to build our portfolio of compelling, premium original content with international appeal,” said Justin Stockman, VP of global content for Bell Media. “Freddie’s ability to embody complex characters is second to none, and we’re delighted to collaborate with celebrated Canadian creative, David Shore, on our first-ever project with Sony Pictures Television.”

The project is also a big venture for Blink49 Studios, the banner founded in 2021 by international TV veteran Morayniss, an alum of Entertainment One and Alliance Atlantis.

“David Shore and Freddie Highmore have created a truly compelling and emotionally complex series with enormous international potential,” said Morayniss, who is CEO of Blink49 Studios. “We’re excited to collaborate with Bell Media and Sony Pictures Television on ‘I’m Not Here to Hurt You’ to bring this exceptional story to audiences around the world.”

Shore and Highmore will executive produce “I’m Not Here to Hurt You” with Claire Londy for Highmore’s Alfresco Pictures and Erin Gunn for Shore’s ShoreZ banner.

Highmore is repped by Artists Rights Group, CAA and Toczek Suddleson. Shore is with CAA, Larry Shuman of the Shuman Co. and attorney Bill Sobel.

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“The Good Doctor” team of Freddie Highmore

Netflix is staying in the Adam Sandler business, and the Adam Sandler business would be nothing without grown adults acting like little children. During its upfront presentation today, the streamer confirmed that Grown Ups 3 is officially in development, following in the footsteps of 2013’s Grown Ups 2. Adam Sandler and longtime collaborator Tim Herlihy will write the script, and Kyle Newacheck, who recently worked with Netflix and Sandler for Happy Gilmore 2, will direct. 

Not a ton else is known about the film just yet, but given that it’ll likely be (at least) a 14 year gap between the films, it seems like a good bet that some of characters that were originally the juvenile parents will now be equally-juvenile grandparents. No casting has yet been confirmed, but Kevin James let it slip last year that there had been talks of getting him, Sandler, Chris Rock, and David Spade back together for the threequel, saying (via MovieWeb), “I think you can keep hope alive. I can say that. I would keep a lot of hope alive.” We might also reasonably guess that Herlihy’s son Martin, a current writer on Saturday Night Live and an actor who popped up in Happy Gilmore 2, might pop up once again here. If you have hope for that, keep it alive. 


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Publicis Groupe has agreed to acquire LiveRamp for $2.2 billion all-cash deal, the French holding company said Sunday.

Publicis is betting the acquisition will position it as a leader in agentic transformation—or the use of AI agents to automate and collaborate on corporate workflows.

“Where we truly need LiveRamp is to win a fair share of this agentic transformation market,” Publicis Groupe CEO Arthur Sadoun told ADWEEK. “This is where we are making a big shift.”

LiveRamp specializes in so-called “data collaboration,” which allows different companies to share and build new data sets and data models together. These can be used for many purposes, including powering agentic frameworks. 

Publicis Groupe has agreed to acquire LiveRamp





Many years before Ali Larter was one of the leads on the Paramount+ hit “Landman,” she had to make do with less than a minute of screentime.

Larter’s first TV break was a one-off part as a delivery woman in “The Ways and the Means,” an episode of “Suddenly Susan” Season 1 that aired in 1997. NBC developed that sitcom as a showcase for Brooke Shields, who played magazine columnist Susan Keane. However, Larter’s brief time on the series didn’t include any scenes with Shields.

Instead, Larter’s Maddie appeared opposite Susan’s friends and colleagues Todd Stites (David Strickland) and Luis Rivera (Néstor Carbonell). Throughout the episode, Todd attempted to demonstrate that Luis’ accent made him irresistible to women. To prove his point, Todd used a ridiculous and nearly incomprehensible accent to greet Maddie.

Despite her initial confusion, Maddie was charmed by Todd’s foreign persona, and she volunteered to show him around the city. However, Maddie didn’t stick around long enough to see Luis’ bewildered response to the entire scenario.

An on-the-set education

During an interview with SAG-AFTRA early in 2026, Ali Larter recalled how difficult it was to make her acting debut in “Suddenly Susan,” which was filmed in front of a live audience.

“It’s like a multi-camera [show] and you’re going out there [live],” said Larter, “And it was exciting and very scary. … I had to learn in live time. … I had studied with Howard Fine for a long time and I’ve worked with many different acting coaches in my life, but … I had to really … figure out what blocking was and understand my craft as I was actually being filmed.”

Larter also noted that her experience has reshaped the way she approaches auditions. 

“There’s no prize for runner up,” related Larter. “You have to be the best. … That means when you’re doing your auditions, it’s the moment before and it’s the moment after. You’re living and breathing it. You have got to do the work and trust the process and then let it go. I’m such a deep believer in that. … I think early in my career, I tried to do things just so perfectly. What a waste of time that is. The beauty is in the mess and the mistakes and when things are free.”



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Nicolas Athané and Marco Nguyen‘s raunchy, funny animated feature debut “Jim Queen” is like an AIDS allegory where the transmissible disease is instead straightness — and it’s a film that offers a crash course in gay sexual culture that may be only meaningful to those already familiar with it. Maybe that’s OK.

In this simplistically animated film’s version of gay Paris, a disease called “heterosis” is plaguing the city’s gyms, sex clubs, and nightlife. It’s a disease where, for sex-positive Insta-famous influencer Jim Parfait (voiced by Alex Ramirès), the sudden prolapsing of his 24-pack of abs — abs cultivated via a daily intake of 2kg of protein and surely so much sadness and tears along the way — might as well be a death sentence. And it’s the first sign of this new strain of STI taking hold, the way lesions would indicate a certain other disease that came to hit Paris in the 1980s, of the gay male population.

Written by Athané and Nguyen with co-writer Simon Balteaux, “Jim Queen” is a satire where the potshots will feel familiar and even basic to anyone who’s lived them or lives them every day. But in a world where gay representation at all is still on a dearth onscreen — and especially in mainstream animation — the satire isn’t unwelcome. It’s just not very insightful or illuminating, though for gay audiences outside of France, they may notice how the world depicted here is a carbon copy of, say, West Hollywood or Hell’s Kitchen. The sexual hierarchies are the same. But we aren’t reading Foucault here; “Jim Queen” is meant to be a divergent blast of entertainment.

Those rigid sexual hierachies mean that closeted, pure-hearted twink like Lucien (Jérémy Gillet), who is obsessed with Jim Parfait, would in an ordinary world have no chance with Jim Parfait. He’s the son of the city’s Thatcher-esque prime minister Christine Bayer (Elisabeth Wiener). The elected official has no idea about the walk-in closet of sex toys and other gay paraphernalia assembled in his bedroom around a shrine to Jim Parfait, who has 20 million followers and is the eye of everyone at the Temple Gym and PowerBoyz warehouse. In other words, worlds apart from the one in which Lucien is ensconced.

Outside his ivory tower, the heterosis disease is raging on, turning men whose appetites normally lay only in prostate orgasms, poppers, all-night benders, and chemsex into the kind of people who suddenly have an affection for a church wedding. Or suddenly have a preternatural understanding of the ins and outs of soccer. One by one, it’s taking the gay male community of Paris down. Even Lady Gaga had to cancel her concert.

‘Jim Queen’@2025 Bobbypills Media

The STD affecting Jim and all his cohorts also forces them to confront their own shallowness and shame. When Jim catches an illicit word that a nefarious Dr. Ragoult has a cure known as “chloroqueer” to stop the disease’s relentlessness, one that may involve a horrifically invasive procedure on a young twink such as Lucien, Jim hatches a plan.

But it’s one thrown off by various complications, including the obvious romance bubbling between Jim and Lucien, and the sensible judgment cast by Jim’s best friend Nina (Shirley Souagnon) on his increasingly straight decision-making, as it was when he was full-on gay. He’s spent a lifetime on top of the gay food chain, and now, divested of his followers and his abs, who is he really when stripped of everything that defined him?

“Jim Queen” is filled with scalding gags about gay tribes, steroid and drug use, and other things that will resonate with the target audience, which is likely the film’s only audience. Various nemeses and side characters enter the fray, from Jim’s archenemy (and also Insta-famous) Pavel to the scally with a sneaker-sniffing fetish who guides Jim and Lucien to their next destination. A destination where acts of body horror are about to be done to Lucien against his will to find the remedy for the extinction of heterosexuality. A drag queen named Glamydia (Harald Marlot) also provides comic wisdom on the film’s fast-moving animated journey, which is always entertaining if uninspired.

European studio Bobbypills’s retro animation style — all 2D but popped with color, and little depth to the frame — makes “Jim Queen” feel flung from another era despite its bracingly modern and very niche satire. Inevitably and predictably, the film turns into a celebratory coming-out story — and one in which prostate orgasms become the ultimate savior for a vastly heterosexualizing community. “Jim Queen” along the way becomes a kind of I Spy for gay tropes that those in the audience will laugh at and recognize, but won’t be left to feel much about after gay humanity has been saved.

Grade: C+

“Jim Queen” premiered at the 2026 Cannes Film Festival. It is currently seeking U.S. distribution.

Want to stay up to date on IndieWire’s film reviews and critical thoughts? Subscribe here to our newsletter In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers.

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Nicolas Athané and Marco Nguyen‘s raunchy, funny

If your brain needs a cheese covered late night snack, feed your head the quaint village thriller Daggers Inn, directed by James Smith and written by Smith and Caroline Spence. In jolly England there is Haxanbury, this gorgeous little smudge of a village out in the country. Despite the stillness of the rustic air, stirred by the occasionally milking, there is a storm brewing in the hamlet’s high powered law firm lead by Stanley Montagu-John (Martin W. Payne). He is struggling with the concerns his partner, Lauren Oakes (Terry Bamberger) has with the business direction the brutal secretary raping Toby Vass (James Hamer-Morton) is taking the firm.

Meanwhile, the village mechanic, Samron (Gavin Gordon), secretly welcomes to the village the mysterious stranger, Donna Revan (Anna Danvers). Samron warns Donna that the village doesn’t like “their kind”, but she is determined to find out what happened to her sister, who was found in the village lake two years ago. Donna starts sniffing around the law firm, disturbing Vass, the big fish in the gravel pit, while he is spending time with his girlfriend, Bethany (Charlie Bond). Vass sends Mr. Robbins (David J. Biscoe), and later Mr. Pugh (David Streames), to investigate, intimate, and perhaps eliminate the new stranger in town. But they both return in a daze, underneath some kind of unexplainable power.

Daggers Inn is overflowing with the big cobblestone energy of its English country village location. The rustic setting is quaint to the taint, with relaxing backgrounds littering the film like chocolate chips in a cookie. The titular lodging in the movie is bordering on being a ruin, falling backwards into the forest as if being devoured, but that adds the whole moss-covered charm of the picture. More people unwind at the end of the day to rolling green hills and old rubble than you would think. That and the promise of some lighter entertainment is what drew me to Daggers Inn.

“… Samron warns Donna that the village doesn’t like ‘their kind’ …”

Keep in mind, there is a lot of cheese on this countryside cracker. The acting style is uniformly broad, but Smith seems to be doing this on purpose. The British have always been noticeable for their love of Spam, which is what comes closest to capturing the outrageous tone of performances. Danvers seems to be delivering Rachel Evan-Wood at the end of a sledgehammer. Also, due to sharing a strong facial resemblance and the same raven locks of hair, Hamer-Morton cannot escape coming off as a villainous Danny McBride.

There is also the ludicrousness of all the high powered corporate malfeasance going on out in the sticks. I know small town gossip is a invisible wildfire in such places, but the hissy fits over the self-importance the business wallows in are eyebrow raising. There is also all this pretending there is some mystery to solve when it is obvious from the beginning as to who is to blame. Then we have the undercurrent of cheekiness, which brought to mind that in another cinematic era, this film would have been packed with nudity like sardines in mustard.

So besides the gorgeous backdrops of wooded lanes, and crumbling bricks, what is worthwhile about Daggers Inn, considering how silly the production skews through out? Like a bag of dope hidden in a dumpster, Smith includes an incredibly delicate horror element to spill the tea a little. What is meant by the “their kind” that Donna belongs to is never explained, which gives the movie an eerie vibration that rises from the spray cheese clinging to everything like ivy. Even though Smith chooses an irritating anti-climax for the final comeuppance, his devotion to the subtlety of the supernatural elements adds class where there was none. This movie is not nutritious, it is not good for you at all, but Daggers Inn is a greasy, country gravy-covered pile of spookiness that is best consumed at a time of diminished consciousness.

 

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If your brain needs a cheese covered

A particular junction in West Regina has some traffic safety improvements en route after years of being deemed the most accident-prone intersection in the city.

The intersection of Dewdney Avenue and Lewvan Drive has an average of 38 collisions per year, measured over three years. Since 2010, there have been at least 600 reported collisions.

The City of Regina worked closely with SGI to collect and track data on safety within the intersection. With the highest level of traffic in the city, the City of Regina put out a Request for Proposal (RFP) to improve the intersection.

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“We began the planning process many, many years ago for this project. We’ve designed the project to add protected dual-left turn lanes,” says Chris Warren, City of Regina director of roadways and transportation.


Warren says enhancing safety within the intersection will also include increased lighting for pedestrians, as well as upgrades to signals and accessibility. The work is expected to take a year to complete.

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While infrastructure improvements will increase safety, drivers also play a role. City officials remind motorists to avoid distracted driving, to pay attention to pedestrians and other vehicles while driving, and to stay vigilant to avoid collisions.

Sania Ali has more details in the video above.

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

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Filmmaker Na Hong-Jin’s in Competition sci-fi thriller Hope received a seven-minute standing ovation in Cannes this evening.

Na praised the audience for staying with his two hour and forty minute epic alien thriller. During the premiere screening, at least three incredible action set-pieces drew exuberant applause. Had it ended 20 minutes earlier, the applause would’ve been through the roof. There was enthusiasm, but it was tempered.

The film stars Korean star Hwang Jung-min (Deliver Us from Evil), Zo In-sung (Moving), Hoyeon (Squid Game), Alicia Vikander (Ex Machina), Michael Fassbender (Steve Jobs), Taylor Russell (Bones and All) and Cameron Britton (Umbrella Academy).

The synopsis reads: “In Hope Harbor, a remote village near the Demilitarized Zone, police chief Bum-seok receives alarming news from local youths that a tiger has appeared. As the village erupts into panic, Bum-seok is forced to confront a reality beyond belief.”

The Cannes berth marks Na’s fourth return to the festival following his three previous films: The Wailing, which screened Out of Competition in 2016; the crime-thriller The Yellow Sea, which screened in the Un Certain Regard section in 2011; and his thriller The Chaser, also Out of Competition in 2008.

Written and directed by Na, Hope is produced by Na, Saemi Kim and Saerom Kim for Forged Films. It is executive produced by Jeongin Hong and co-executive produced by Eugene Kim, with Plus M Entertainment financing the film.

Neon has taken North American and English-language rights, while Mubi picked up Latin America, Italy, Spain, Germany, Austria, Switzerland and Turkey

Baz Bamigboye contributed to this report.

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Filmmaker Na Hong-Jin’s in Competition sci-fi thriller Hope

If your current vanity setup consists of makeup perched on your bathroom sink, hair dryer cables trailing across your room or squinting in poor light, it’s time for an upgrade.

Having a dedicated space for getting ready isn’t just about storage, it’s about feeling calm and in control of your routine and you don’t need to spend a fortune to achieve it.

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If your current vanity setup consists of

Five of the Red Sea Film Foundation’s honorees for its annual Women in Cinema Gala stepped into Deadline’s studio in Cannes to talk about their current projects and local industries. 

Indian actress-singer Tara Sutaria touched on her upcoming period gangster film Toxic, from director Geetu Mohandas. The plan, she said, is for the film to be released worldwide and it’s currently reported to be the most expensive Indian film ever made sitting in the ($65M-$75M range). 

“It’s very interesting for Indian cinema,” she said. “I think there’s so much we have attempted in the film that hasn’t really been done before. It’s set in this beautiful place called Goa and it’s just a time period that we haven’t seen visually in film. I think it’s going to be this beautiful spectacle of so many things.” 

Nigerian actress-producer Genevieve Nnaji touched on Nollywood’s global expansion and noted that she’s increasingly encouraged by an increase in female filmmakers and execs in the local industry. 

“I’ve seen a lot more female producers and filmmakers come up, which is very inspiring to me,” said Nnaji. “The industry is barely forty years old and we’ve achieved so much in such a short time and I just can’t wait to see what the future holds for us. I think we’ve just started and time is still very young and we have a lot more to achieve.”

Indonesian filmmaker Kamila Andani, whose best known for her critically acclaimed debut The Mirror Never Lies, pointed to a boom in Indonesia’s local box office, which is propelling change in the business. 

“This is quite an interesting time for the Indonesian industry,” said Andani. “Right now I see that Indonesian people love their cinema. They go to the cinema to see their own films and we have higher box office numbers after the pandemic than before.” 

Rwandan filmmaker Marie-Clementine Dusabejambo, whose first feature film Ben’Imana is screening in Cannes’ Un Certain Regard, and Saudi actress and writer Aixa Kay both joined the conversation. Take a look at the video above. 

The Deadline Studio at Cannes is sponsored by SCAD.

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Five of the Red Sea Film Foundation’s

Checklist: Classic Saturday Morning Cartoons

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Checklist: Classic Saturday Morning Cartoons

Some families never discuss pain openly. They cook dinner, ask about your day, carry on with routines and convince themselves that survival is the same thing as healing.

That thought stayed with me while reading The Light Remains by Samantha Keller.

Navigating Grief

The novel follows Eve on her family’s dairy farm in the Lowveld during the 1960s after her father dies while building a barn. From there, the emotional structure inside the family begins changing quietly. Not everybody grieves in the same way. Not everybody knows how to express what they are carrying. And honestly, that still feels true in so many homes today.

How many people grow up inside environments where emotions are managed through silence instead of conversation? How many adults are still carrying things they were never taught how to process properly?

This story becomes bigger than its setting; it speaks to the heart of our individual experiences.

Emotional Survival

What I found most striking is how the novel explores emotional survival inside relationships. Eve, Jack and Kate are all trying to navigate love, loyalty, loss and longing while also trying not to hurt one another further.

And really, how often do people confuse coping with healing?

Many people move through life appearing steady while carrying a hidden weight. They keep working, parenting, showing up socially, and meeting responsibilities, all while holding sorrow, confusion, or loneliness quietly inside. The story captures this contradiction with sensitivity, showing how resilience often lives alongside exhaustion.

It made me think about how we often wear masks to hide our true feelings, pretending everything is fine when inside we might be struggling. The characters’ journeys remind us that it’s okay to feel lost and that vulnerability can be a source of strength rather than a weakness.

The Path to Healing

I reflect on how uncomfortable many people still are with vulnerability. We encourage people to “stay strong,” but what does that actually mean? Does strength sometimes become another way of avoiding honesty?

What stands out here is the way it reveals how silence, love and duty intertwine, leaving characters to face choices that define who they become. The things left unsaid do not disappear simply because time passes. That does not mean people should stay trapped in old pain.

I began thinking about times I’ve stepped back from hard conversations, not out of indifference but from the unease they carried.

Embracing Connection

Paying attention to the atmosphere within my relationships means noticing not only what is spoken, but also the silences and the things left unsaid. Those pauses often carry as much meaning as words themselves. When openness is welcomed, it creates space for trust and deeper connection.

It’s a reminder that while we may carry our burdens quietly, we still hold the power to choose how we engage with others. By allowing ourselves to be real, we open the door to authentic connections that enrich our lives.

Final Thoughts

The Light Remains resonates because it understands something deeply human: people often carry heartbreak quietly while trying to protect those around them. 

That feels important now, especially in a world where so many are silently carrying more than others realise. There is hope in acknowledging our struggles and embracing the journey toward healing.

This is not just a story about grief; it’s a celebration of resilience and the human spirit. It reminds us that even in our darkest moments, there is always a whisper of healing waiting to be heard.

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Some families never discuss pain openly. They


Steve Rogers just had a very bad week.

However, things are looking up for the currently dead Vision.

White Vision

Photo: Marvel

We’ll discuss the rise and fall of various Avengers in MarvelBlog News.

“Hey, I Died Twice”

Buffy

Photo: IMDb

What do Buffy Summers and Captain America have in common? This:

I generally don’t get into the comic books much in this article.

We tend to focus more on the MCU here, but this one bears mention.

Steve Rogers

Source: Marvel Studios

Marvel took the unusual step of killing off Steve Rogers this past week. Twice.

You may wonder how that’s possible or whether it’s a joke.

Captain America Brave New World

Photo: Marvel

Well, it definitely happened, but there is a catch. It was two different comic books.

For no particular reason, two unaffiliated stories both ended Captain America.

Ultimate Avengers The Movie

Photo: Marvel

In Ultimate Endgame, Cappy bit it especially hard. Seriously, he’s now missing his head.

The story involves the Maker, who has rewritten existence to his preferences.

Source: Marvel

So, America no longer exists, but Captain America does.

As you might imagine, Rogers isn’t happy about the whole “No America” thing.

Source: Marvel

I mean, that’s kinda what he’s known for. Thus, he’s trying to stop the Maker.

As Cappy attempts to reset the world, Bucky loses his mind and becomes pure evil.

He’s a white supremacist known as the Grand Skull. Cappy takes that hard.

Distracted, he engages with Captain Britain, who most assuredly isn’t Peggy Carter.

Source: Marvel

This dude is currently OP in the comics, and he…decapitates Captain America.

Yes, that really happened. Somehow, that’s not all, either.

Twice Unlucky

Harrison Ford Red Hulk

Photo: Disney

On Earth-616, Cappy finds himself trying to stop the menace that is…Red Hulk.

You can do the math on that one. Rogers realizes he’s not going to win.

Do You Know What Your Children Are?

Photo: Marvel

So, he starts trying to save the lives of Latverian orphans.

Cappy dies in an explosion and is buried in rubble.

Captain America The First Avenger

Photo: Marvel Studios

When they discover his body, he has protected a small child, who escapes safely.

The glass half-full here is that Rogers died a hero AND kept his head this time.

Captain America includes a foreword by Gene Luen Yang, the fifth National Ambassador for Young People’s Literature, and the author of Shang Chi for Marvel Comics and American Born Chinese.

Photo: Marvel

The glass-half-empty is that he died twice a week, which may be a record.

Nobody is quite sure whether this has ever happened in Marvel history.

fight scene Captain America

Source: Marvel Studios

The death in Ultimate Endgame is predictable in that the story is coming to a finish.

The Earth-616 one…well, to the best of my knowledge, it’s the first of its kind since Civil War.

Cap vs Iron Man

Photo: Marvel Studios

Has Steve Rogers died in official canon since then?

I don’t think so, but I admittedly don’t follow closely.

Vision Quest Is Coming This Fall

White Vision

Photo: Mavel

Disney, the owner of Marvel, has provided plenty of mixed signals about Disney+ content.

For a while, we weren’t expecting to get more than one show per year.

Infinity War Vision

Source: Marvel Studios

Since Daredevil: Born Again just ended, 2026 should be done.

Thankfully, we just learned that it’s not, though. New content will arrive in October.

White Vision

Photo: Marvel Studios

I’m happy to tell you that Vision Quest will debut on Disney+ on October 14th.

This new series will carry along the stories of WandaVision and Agatha All Along.

WandaVision For Your Consideration Poster

Photo: CBR

When we last saw The Vision, he was pure white and confused.

The other Vision, the dead one, had implanted his memories in his clone.

Vision #1

Vision #1. Photo: Marvel Comics

Actually, I have no idea what this new Vision is, and I hope the show explains that.

On WandaVision, he was a bunch of parts who came to life for…reasons.

Cosbaby Vision

Photo: shopDisney.com

Anyway, Vision just learned that he has a past and a family.

Presumably, he’ll want to reunite with his children, one of whom has a new ghost friend.

Vision Fades Away

Photo: Marvel Studios

We don’t know whether either of the sons will appear, but Paladin will.

That’s a deep cut for Marvel fans and frankly an unexpected addition to the MCU.

Raza

Photo: Marvel

Raza, whom we haven’t seen since Iron Man, will also appear.

The showrunners have previously described Vision Quest as the end of a trilogy.

Wanda, Billy, and Tommy Trick or Treating in classic comic costumes on WandaVision

Photo: Marvel Studios

So, I’m really looking forward to this conclusion, starting on October 14th.

Marvel Miscellany

Paul Bettany in WandaVision Comedy Scene

Photo: Marvel Studios

We’ve got a few more fun stories to cover this week, starting with Paul Bettany.

In addition to Vision Quest talk, he has spoken on some recent podcasts.

Bettany at Civil War: Captain America Premiere

Photo: UniVision

On one, the actor revealed how secretive Marvel can be with its stories.

Remember when Vision died at the end of Avengers: Infinity War?

WandaVision

Photo: Marvel Studios

Yeah, Bettany didn’t find out about that until the last possible moment.

I’m not joking. Marvel producers told him the morning of filming.

Zombie Vision from Episode 4 WandaVision

Photo: Marvel Studios

“They took us into a trailer with pre-vis, and everyone was watching the screen going ‘Oh, I die?’. No one knew.”

Pre-vis is an industry term for planning a film shot before it happens.

Paul Bettany as Vision on WandaVision Poster

Photo: Marvel Studios

For these MCU characters, their pre-vis was, “Plan how you want to die.”

So, when Marvel actors say they don’t know anything, maybe take them at their word?

Scarlet Witch Death in MCU

Scarlet Witch was dusted in the MCU before coming back to save the universe (and break it). Photo: Marvel Studios

Speaking of which, here are Marvel writers Stephen McFeely and Christopher Markus:

While discussing how to make a Marvel movie, they toss in a tidbit.

Taika Waititi’s ideas for his Thor stories were so weird that they made others nervous.

Photo: Marvel

The team behind Avengers: Infinity War heard something alarming through the grapevine.

They asked, “Are you making (Thor) an idiot?” That’s a real thing that happened.

Photo: Marvel

As you know, Thor’s sequences in Infinity Wars are pivotal.

As such, the team understandably fretted about Thor: Ragnarok.

Source: Marvel studios

They had no control over the character or story, but needed Thor not to be damaged.

As fate would have it, Waititi understood the character better than anyone. Still, I find this anecdote hilarious.

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DC‘s next Batman movie is set to have its initial debut next month, thanks to its world-premiere screening being scheduled for June 2026. The current roster of Batman movies fans have to enjoy is a wide-reaching and eclectic one, with everything from the Dark Knight’s grittiest adventures to his most whimsical romps contained within the world of the Caped Crusader’s filmography.

While we still have some time before we get to see the next chapter of The Batman saga – since The Batman 2 is set to release in October 2027 – and it’s set to be even longer before we see the DC Universe’s first Batman movie given we’ve had no production or casting updates about this iteration of the hero, the next Batman film is much nearer to first being shown to audiences than either of these releases.

Indeed, DC’s next upcoming Batman movie is the first of a whole new trilogy, which could well help to reinforce the franchise’s release slate during the next few crucial years for the franchise – in no small part because it adapts one of the most well-regarded Batman comics of all time, allowing audiences to connect with a crucial point of DC history in a whole new way.

Batman: Knightfall Part 1 Is Set To Debut At 2026’s Annecy International Animation Film Festival

Azrael fights Bane dressed as Batman in DC Comics' Knightfall
Azrael fights Bane dressed as Batman in DC Comics’ Knightfall

News that an animated movie adaptation of Batman: Knightfall was in the works was revealed some time ago, with reports emerging in October 2025 that the multi-part animated film was in production at this point in time. Almost one year later, the first movie in the three-part series is set to soon debut, with the world-premiere screening of Batman: Knightfall Part 1 being part of the June 2026 Annecy International Animation Film Festival (as per Variety and the Annecy Film Festival programme).

The unveiling of Batman: Knightfall is sure to be one of the major events of the Annecy Festival subsequently, and should help solidify DC’s presence at the festival overall, alongside the range of creators working on DC animated projects who are scheduled to appear at a panel during the Annecy Festival.

The Batman: Knightfall Part 1 premiere will also mark a major movie return for Bane, who has largely at best been relegated to a side villain in the world of film since his role in The Dark Knight Rises. Given Knightfall features arguably the best Bane story of all time – showing him as one of the most potent and imposing opponents the Caped Crusader has ever faced – this should be something of a promising return to the full limelight, and one that could benefit other projects like the reported plans for a Bane and Deathstroke movie.

Batman: Knightfall Isn’t The Only DC Release That Could Get An Update At The 2026 Annecy Festival

batman logo on blue background
batman logo on blue background

Given the 2026 Annecy Festival also features a panel with a roster of DC creators involved in the franchise’s current animated projects, it stands to reason that the event will likely contain updates about some of the other installments DC has lined up for the coming months and years, especially since the DC Universe has already leaned more into letting animated releases be a part of its roster and world.

Currently, the DC panel consists of key figures involved with the upcoming Mister Miracle show, Creature Commandos, My Adventures With Superman and the impending My Adventures With Green Lantern, Starfire! and DC Super Powers, which will focus on a range of familiar faces training up to become fully-fledged heroes in their own right.

As such, while the world-premiere screening of the upcoming Batman movie is one of the most exciting things set to take place at the Annecy animation festival, the stage has also been set for a range of promising updates about DC’s other animated projects during the same time period, which bodes well for the franchise’s trajectory as it continues to build hype for its impending releases.

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Microsoft’s new gaming CEO has seemingly rebranded Xbox for the second time in weeks.

Earlier this week, Asha Sharma polled fans on her X account about whether Microsoft’s gaming arm should be known as ‘Xbox’ or the all-caps version, ‘XBOX’.

After receiving over 19,000 votes, the latter, capitalized version won out with 64%, and Sharma shared an image of the official Xbox account, renamed ‘XBOX’.

The small yet notable change comes weeks after Sharma rebranded Microsoft’s gaming division, previously known as Microsoft Gaming, back to simply ‘Xbox’. The exec also changed the Xbox logo to a classic green color, in one of many moves aimed at winning over fans.

Commenting on the decision to rebrand in April, Sharma said the decision was made in an attempt to unify the gaming teams.

“Our best work happens when the full stack moves together,” she said, in a note credited to the Xbox leadership team. “Microsoft Gaming describes our structure but it does not describe our ambition. So, we are going back to where we started and changing our team’s name.”

Since replacing Phil Spencer earlier this year, Sharma has committed to acting on player feedback around the Xbox console experience and its policies.

Notably, Sharma has claimed that Xbox will “reevaluate” its approach to exclusivity, suggesting she’s listening to the Xbox players who feel the platform has lost value due to Microsoft’s decision to bring its first-party games to PlayStation 5 and Nintendo Switch 2.