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The 2026 PGA Championship officially tees off this week at Aronimink Golf Club in Pennsylvania, where the game’s biggest names will compete for the Wanamaker Trophy during one of golf’s most anticipated weekends of the year.

Defending PGA Champion Scottie Scheffler returns looking to reclaim momentum on one of the game’s biggest stages, while Rory McIlroy arrives fresh off defending his Masters title earlier this spring. Jordan Spieth once again enters the week chasing the career Grand Slam, with Jon Rahm, Brooks Koepka and rising contender Cameron Young adding even more intrigue to a field that already feels built for a crowded Sunday leaderboard.

But beyond the competition itself, this year’s PGA Championship also arrives during a major cultural moment for golf. Like much of the modern game, the PGA TOUR has increasingly become about access — not just to players and competition, but to the personalities, behind-the-scenes moments and fan experiences surrounding the sport.

That shift has been fueled in part by “Full Swing,” now entering its fourth season on Netflix. Executive produced by Chad Mumm — who also helped launch F1’s “Drive to Survive” into a global hit — the series has helped introduce a new generation of fans to golf through player personalities, family dynamics and off-course storytelling. Mumm, who also worked on “Happy Gilmore 2” and the upcoming Netflix series “Hawk,” starring Will Ferrell, says golf’s current momentum feels fundamentally different from past boom periods.

“Golf’s got this big opportunity because it’s really being driven from the ground up,” Mumm tells Variety. “You see everyone from Lando Norris and LeBron James to Kevin Hart and Eric Church posting about golf. More than anything, it’s helped eliminate the stigma the game had for being inaccessible. Now, I think golf looks cool.”

That broader evolution is increasingly shaping how fans experience tournament week itself — from streaming-first coverage and social content to more interactive on-site experiences designed around access and connectivity.

Want to watch the PGA Championship live? Here’s what you need to know.

How to Watch the PGA Championship 2026 Online

Coverage of the 2026 PGA Championship will air across ESPN and CBS, beginning Thursday, May 12 but if you don’t have cable, there are also ways to livestream the golf tournament online.

DIRECTV carries both ESPN and CBS, so you can view the main broadcast through all four rounds. New users can take advantage of a five-day free trial, then save $20 with their MySports genre pack starting at $44.99/month for ongoing access.

FuboTV also gives you live access to ESPN and CBS. New subscribers can try it free for five days, with plans starting at $45.99/month for a limited time.

Hulu + Live TV will give you access to tournament coverage–including featured groups–when paired with the ESPN+ and Disney+ bundle. This Hulu bundle gives you 100+ live channels, including CBS, plus Disney+ and ESPN Select, with prices starting at $89.99/month after a free three-day trial.

Inside the Fan Experience at Aronimink

At Aronimink, T-Mobile is helping power several fan-facing experiences designed around access and connectivity, including the PGA Championship Range Show streaming live on YouTube Wednesday through Sunday. The digital show gives fans a closer look at players warming up before rounds, along with interviews and behind-the-scenes moments that typically never make traditional broadcasts.

The company is also supporting real-time fan tools across the course, including interactive heat maps designed to help attendees navigate the massive championship grounds more efficiently, from finding the shortest concession lines and merch tent wait times, to identifying the best vantage points to follow tournament leaders as the leaderboard shifts throughout the day.

“It’s the fastest growing sport to view on YouTube,” Mumm says. “Big partners like T-Mobile come in and think about fans. They come in and say, ‘Where’s the best line to get a Transfusion?’ or ‘Where’s the best place to watch golf?’”

T-Mobile also brought its Club Magenta to Aronimink Golf Club, giving T-Mobile customers a premium hospitality space off the 15th hole to cool off, recharge devices, grab exclusive drinks and catch appearances from T-Mobile ambassadors, including Max Homa and Wyndham Clark, throughout the week.

The activation is part of the company’s broader push around the carrier’s Magenta Status perks, which continue expanding into live sports, concerts and entertainment experiences for customers beyond traditional wireless benefits. The perks don’t stop there. T-Mobile customers can also take advantage of bundled streaming benefits, travel perks, dining and hotel offers, concert presales and weekly giveaways through T-Mobile Tuesdays — all part of the carrier’s push to position wireless plans more like lifestyle memberships than traditional phone service.

For golf fans specifically, that growing entertainment focus feels especially aligned with where the sport is headed. From streaming-exclusive coverage and behind-the-scenes digital content to on-site experiences like Club Magenta, companies like T-Mobile are increasingly betting that fans want more than just access to the leaderboard — they want access to the culture surrounding the game itself.

Fans interested in switching can learn more about Magenta Status perks, streaming bundles and current offers directly through T-Mobile.com.

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After watching his mother perform in a production of “A Raisin in the Sun” at Compton Community College when he was 9 years old, Anthony Anderson knew appearing on stage would be his life’s work. Over the next handful of years, he enrolled in programs across Los Angeles to achieve that dream. Then, one morning after finishing a class at the Southern California Regional Occupational Center in Torrance, Anderson saw a Post-It note on a bulletin board that caught his attention. The note informed aspiring artists about a newly formed arts school. To be admitted, they had to submit an audition tape.

“I ripped it off the board, and I brought it home to my mother, and I said, ‘Mom, if I can get into this school, can I go here?’” Anderson says. “She said, ‘If you can get into that, yes.’”

Months later, Anderson received a letter informing him that he had been accepted into the inaugural class at the Los Angeles County High School for the Arts.

Founded in 1984 and opening its doors to students in 1985, Los Angeles County High School for the Arts is located on the campus of Cal State L.A. It was established to provide students (currently 550) with conservatory-level arts training and college-prep academics within the public education system. LACHSA isn’t associated with LAUSD; instead, it partners with the Los Angeles County Office of Education, which provides funding to support it.

“I felt it to be very important that I was in an environment where other students had the same passion as I did for the arts, in particular, theater,” Anderson says. “Being around other students who had the same passion and drive that I had as an artist was very influential.”

Over the years, LACHSA has featured a who’s who of alumni across various disciplines, including musicians Phoebe Bridgers and Haim, actors Jenna Elfman and Belissa Escobedo, and visual artists Robert Vargas, Tomashi Jackson and Kehinde Wiley. For the past seven years, the school has been ranked as the top public high school for the arts.

Drew McClelland (second from right) with students from LACHSA’s Cinematic Arts Program and actor William H. Macy (far right).

(Courtesy of LACHSA)

While the school’s accolades focus on the arts, LACHSA also aims to give its students experiences that extend beyond the program. Days are structured so that students take academic classes in the morning and arts in the afternoon. With this format, they meet and get to know classmates from other disciplines.

Former “SNL” cast member Taran Killam points out that this also promotes the school’s social and economic diversity, acting as a mini-college experience.

“It’s such a melting pot, but you have this beautiful, focused bonding,” he says. “It’s a rare thing for kids to know, but LACHSA students are ambitious. It’s very unifying when your background is so disparate and so diverse. It’s what makes it special, and you can’t get this experience in a traditional school.”

Lara Raj attended several arts-focused high schools as she moved during her childhood. With that in mind, the member of the girl group Katseye cites LACHSA as having a major influence on her artistic development. During her time at LACHSA, Raj took music, fashion and acting classes, and says its music tech class was her favorite. There, she learned how to create beats and write songs.

“I developed my songwriting and fell in love with it through those classes,” Raj says. “I was excited to go to school every day. And I hate school.”

Before attending LACHSA, singer-actor Josh Groban didn’t know a school specializing in the arts was an option. After bouncing around schools and realizing he needed a different education to express himself equally academically and artistically, he ended up at LACHSA. There, he found like-minded, artistically inclined outsiders.

Josh Groban

Josh Groban, a former student of LACHSA, credits the institution with helping him find his voice.

(Christina House / Los Angeles Times)

“I was a kid who didn’t quite know how to fit in,” Groban says. “Then at [LACHSA], I was surrounded by other students who, I think, didn’t know how to fit in either. We were there for the same reasons, which is that we felt like we needed the nourishment of the arts and being able to express ourselves on a daily basis.”

Half of LACHSA’s funding is provided by the state, with the rest provided by the LACHSA Foundation, a registered 501(c) (3). According to its executive director, Trena Pitchford, the foundation has invested $1 million each school year.

“People always ask me when I tell them I went to LaGuardia and to LACHSA if they were private schools,” Raj says. “I tell them it was created by people who are passionate about the arts and want to inspire kids.”

“There’s a part of LACHSA that I think is a discovery point for a lot of Los Angeles County, and even the nation,” Pitchford says. “There’s so much opportunity for the school, and they’re doing it on a limited budget. What would happen if they were fully funded? What would happen if the foundation had a $40 million endowment? That would fully sustain what they’re doing right now.”

LACHSA students posing in front of the entrance to the Greek Theatre

LACHSA students posing in front of the entrance to the Greek Theatre

(Courtesy of LACHSA)

LACHSAPalooza, the culmination of the foundation’s two-year fundraising campaign to celebrate the first 40 years of LACHSA, will take place at the Greek Theatre on May 30. There, student artists will perform alongside Ozomatli, Jon B., April Showers and more. From a fundraising standpoint, the foundation has high hopes of raising $2.5 million.

“We have both annual goals in terms of investment as well as sort of big visions, big dreams of where we think LACHSA could go for the next 40 years,” Pitchford says. “We also hope to put LACHSA on the national stage.’

The honorees for the night are the late Pat Bass, LACHSA’s gospel choir director, retiring LACHSA theater department chair Lois Hunter, and Jerry Freedman, a longtime social studies teacher at the school.

For Anderson, who is serving as the night’s host, seeing Freedman recognized is very meaningful.

“He was there from the school’s beginning,” Anderson says. “He was there when I started, and he’s still there and is still beloved by the students 40-plus years later. I’m looking forward to honoring him.”

As an arts-based school in the long-standing entertainment capital of the U.S., LACHSA can educate and enable the next generation of artists to discover their voices in the backyards of production companies, studios and record labels.

“The freedom that a LACHSA student gets on the campus to discover who they are is exciting,” Pritchard says. “It’s very innovative, very creative, and it’s forward thinking, future forward. It’s an exciting and thrilling place to be.”

Alumni agree. Without LACHSA and, in turn, a focused public arts education, pursuing a career in the arts would have been more difficult and more costly.

“It helps develop souls to be fully fledged human beings who feel like they can go off into the world and be the best versions of themselves,” Groban says. “We all felt like we were free to be who we wanted to be.”

“Specialty-focused high schools like LACHSA, be it arts or any other topic deserving of protection, because it is a gathering place for exceptionally talented, ambitious, driven kids,” Killam says. “And aren’t those the kind of people we want to be cultivating in society?”

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After watching his mother perform in

Spider-Man: Brand New Day officially revealed brand-new logos for its main villains, emphasizing their menacing designs ahead of the anticipated street-level showdown. Sony Pictures and Marvel Studios’ upcoming fourth big-screen Spider-Man installment is set to feature a plethora of villains for Peter Parker to deal with as he restarts his life following the game-changing ending of Spider-Man: No Way Home. 

The roster of villains from Brand New Day has expanded, with skill sets that make it harder for Peter to contend with, including tech-based foes, supernatural enemies, and a rumored mutant who could shift the tide in battle. Some of the villains introduced in Brand New Day‘s marketing include Scorpion, Tarantula, Boomerang, and The Hand, and notable omissions (so far) include Tombstone and Sadie Sink’s mystery MCU character, who may or may not be Jean Grey. 

An official Spider-Man: Brand New Day sticker sheet made its way online, showcasing the first look at the logos of some of the villains who are confirmed to cause Peter Parker problems in the movie. 

Marvel Studios

The sticker sheet also featured animated designs of Holland’s Spider-Man alongside Savage Hulk, Scorpion, and Boomerang. 

Spider-Man: Brand New Day is set to arrive in theaters on July 31.

Spider-Man: Brand New Day Unleashes 4 Major Logos For Its Sinister Villains 

Scorpion

Scorpion & Scorpion's logo.
Marvel Studios

Mac Gargan’s return in Spider-Man: Brand New Day as Scorpion is one of the most significant comebacks in the MCU, especially after the unresolved cliffhanger at the end of Spider-Man: Homecoming. Scorpion’s official logo featured a stylized black Scorpion that evokes a menacing vibe. 

Scorpion's logo.
Marvel Studios

The yellow backdrop could also hint at a looming danger for Peter Parker, suggesting that he will primarily serve as one of the sinister foes that could push him to the limit in Brand New Day. 

It remains to be seen if this actual Scorpion logo could appear in the villain’s high-tech exoskeleton suit in the film, but there is a chance that he could incorporate it because he already has a Scorpion tattoo on his neck. 

Tarantula

Tarantula & Tarantula's logo.
Marvel Studios

One of the intriguing villains set to take part in the chaos in Spider-Man: Brand New Day is Tarantula, an agile spider-themed mercenary with retractable spikes to inject poison into his enemies. 

Tarantula’s clash with Spider-Man in the trailer was part of a quick montage, but an extended look could be showcased in the actual finished cut of the movie. 

Tarantula's white logo.
Marvel Studios

Tarantula, aka Anton Miguel Rodriguez, features a white circular logo with a stylized Tarantula at the center. The minimalist design is quite fitting for the villain’s role as a multi-limbed menace, hinting that he is a much more calculated assassin waiting for the right moment to strike. 

Boomerang

Boomerang & Boomerang logo.
Marvel Studios

While he is a lesser-known villain, Boomerang is expected to take center stage at some point in Spider-Man: Brand New Day as he takes on the titular web-slinger in the early part of the movie. Boomerang uses specialized boomerangs as a weapon, making him the MCU’s version of Captain Boomerang from the DC Universe. 

Boomerang logo.
Marvel Studios

Boomerang’s logo stands out by perfectly capturing the villain’s signature weapon, with layered red concentric circles that evoke a bold, simple look for high visibility. 

The rings in the logo signify motion, trajectory, and repeated attacks that could prove deadly. This serves as a fun emblem that matches Boomerang’s comic-accurate look in the movie. 

Hulk

Hulk's logo and Hulk.
Marvel Studios

Savage Hulk’s return in Spider-Man: Brand New Day is celebrated with a new purple logo with the MCU hero’s stylized fist at the center. While Hulk is usually positioned as a hero in the Marvel world, the Savage version of the original Avenger is set to return in Brand New Day to wreak havoc in New York, positioning him as a villain that Spider-Man and Punisher need to contain. 

Hulk's logo.
Marvel Studios

Hulk’s new symbol has a deeper meaning, representing the return of a rage-fueled version of the character, with the fist symbolizing raw power. 

Some have pointed out that purple is actually the perfect color to represent complication, suggesting that the Hulk seen in Brand New Day is not a villain; instead, he is a complicated character controlled by an unexplainable force behind the scenes. 

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The Batman – Part II will be a major new chapter in the Dark Knight’s live-action legacy, expected to feature multiple villains, and its new Mr. Freeze tease taps exactly into what fans had been speculating could happen in the DC movie. Director Matt Reeves’ The Batman stands as one of Bruce Wayne’s best stories, be it in terms of movies or any medium.

Due to that, excitement is through the roof for Robert Pattinson’s return as Batman in the long-awaited sequel. After multiple delays, The Batman – Part II‘s updates have since gotten very exciting. The DC movie is on track to start filming in June, with its October 1, 2027, release date safe. Casting reveals have also started to come, and they are jaw-dropping.

For instance, two Marvel stars are reportedly joining the DC movie franchise, with Sebastian Stan said to play Harvey Dent, aka Two-Face, and Scarlett Johansson giving life to Gilda Dent, the wife of the Batman villain. Those roles have yet to be confirmed. That said, if they are accurate, Two-Face could be The Batman – Part II‘s main villain.

However, he was not the first Dark Knight foe to get teased for the film. Recently, Reeves shared the first look at The Batman – Part II through a couple of shots of a screen test for the upcoming DC movie. Instead of Two-Face, the images made another DC villain more likely to show up, and that character is Mr. Freeze.

Mr. Freeze Is Now A More Likely Villain For The Batman — Part II

Mister Freeze as depicted in DC comics
Mister Freeze as depicted in DC comics

On X, Reeves shared two shots from The Batman – Part II‘s camera test. Both images are of Pattinson’s Batmobile, with Batman himself not yet appearing. While no character is seen in the images, the fact that they showcase Gotham City with falling snow could be a major giveaway. After all, Mr. Freeze has long been rumored to appear in The Batman – Part II. Given that the character’s freeze gun could be responsible for covering Gotham in snow, his debut in the franchise has now become more likely.

HBO’s The Penguin was set shortly after The Batman, exploring the aftermath of The Riddler’s plan to flood the city, with parts of Gotham still underwater. Likewise, Oz Cobb actor Colin Farrell has revealed that The Batman – Part II is set “a few weeks” after the live-action DC series. As such, Mr. Freeze, if he were to appear in the sequel, could use his freeze gun to turn Gotham into a snowy terrain. Due to the flood, fans have long theorized that Mr. Freeze would be The Batman – Part II‘s villain, and the new tease is in line with that.

Mr. Freeze’s Debut Would Change The Batman Universe

If Mr. Freeze is really behind the fact that Gotham will be under snow in The Batman – Part II, then that would be a major step for the franchise. Not only would it mark the return to the big screen for one of Batman’s most beloved villains, but Mr. Freeze is a character that is not exactly made for the world created by Reeves. The reason for that is how The Batman brought out a grounded vision of the Dark Knight and his world, not the more fantastical superhero stories seen in franchises like the Marvel Cinematic Universe.

HBO’s The Penguin also followed that path, being a gritty crime story about how Oz Cobb took advantage of the power vacuum after Carmine Falcone’s death. Now, a man with a high-tech suit and a freeze gun like Mr. Freeze would be a tad too fantastical for where the DC movie franchise currently stands.

Still, if there is someone who can work out how to fit Mr. Freeze into The Batman – Part II, it is Reeves. If the Batman villain is not in the movie, it will at least be interesting from a cinematography and atmosphere perspective to see Gotham City covered in snow in The Batman – Part II, and Sebastian Stan as Two-Face is already a worthy villain for the film as well.

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The Batman - Part II will be

Let’s face it – life can get busy sometimes. When it does, the first things to go are hobbies, especially those that are time-consuming. Thus, gaming is usually the first to go when you don’t have that much time for yourself. So, you put down your Steam Deck and stop playing games. Weeks or maybe even months fly by, and when you finally have some time for your favorite hobby, it just isn’t as appealing as it once was. You might scroll through the Library, but nothing calls to you. Well, don’t worry, that’s completely normal, and you just need some time to rediscover the appeal.

Which Games Will Make You Want to Start Using the Steam Deck Again?

Honestly, in our experience, the best way to get back into something is to dive in. Not to say that you shouldn’t think the situation through, but rather trust your instincts. So, which games are the best when you want to return to gaming?

Classics and personal favorites. Now, this might sound obvious, but returning to a game that you once adored might re-ignite a similar feeling. Steam Deck is actually great for older games, and with all the remasters, you’ll likely have a good experience. We’ll always suggest Red Dead Redemption, as it’s one of our favorites. Recently, there’s been a lot of hype around Last of Us II Remaster and the Elder Scrolls IV: Oblivion Remaster.

Image via N4G Unlocked

New and overly hyped games. If you pick a game you’ve already played, you might play for a couple of hours, put it down, and never continue. But if you start a new adventure, you’ll be hooked. It’s quite funny, but some people (us included!) develop an aversion toward something that’s overhyped. However, something fresh and exciting might be just what you need. One of the most amazing newer games that we can recommend is Clair Obscur: Expedition 33. Another good pick would be fast-paced games, such as Marvel Rivals. Also, you can always check the Steam Deck Top Played list.

You shouldn’t overthink it, just select the game and start playing. Of course, it’s completely fine if you are one of the players who prefer a bigger selection. That’s why bundles such as the July Humble Choice are good options. You get some quite good picks at a fraction of the price.

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Let’s face it – life can get

Webtoon Entertainment and Warner Bros. Animation are developing four more animated projects together. The Wolf & Red Riding Hood, Vampire Family, Sable Curse and Snow and Briar (And The Mirror of Seven Sins) are the quartet in question.

Web comics giant Webtoon Entertainment’s CFO David J. Lee and Warner Bros. Animation President Sam Register shared the news of the four-strong slate of animated projects during a panel at Web Summit Vancouver 2026 that delved into the increasing popularity and influence of webcomics in the entertainment business.

Last November Webtoon Entertainment and Warner Bros. Animation said they were joining forces to co-produce a slate of 10 fan-favorite Webtoon series for global distribution, with projects selected from the company’s Korean and English-language IP.

Four development titles were announced at that point: The Stellar Swordmaster, Hardcore Leveling Warrior, Down to Earth and Elf & Warrior.

There are now four more on the slate. The Wolf & Red Riding Hood by XUANN follows High school student Anna who wakes up one day to find that she’s super hairy, incredibly strong, craves meat all the time. She is trying to figure out how to stop herself from becoming a werewolf before the full moon.

Vampire Family by unfins follows Natalia, a vampire desperate for a normal life, and who finally gets to go to school and has to navigate friendship in the human world. Sable Curse by Little Melon tells the story of Terron. She is cursed to die at 19 unless she can find a way to break the spell and lift the deadly curse.

Rounding out the slate, Snow and Briar (And The Mirror of Seven Sins) by M. Nires tells the story of Prince Snow, the fairest in the land, and married off to the towering Princess Briar by his scheming stepmother, who desperately wants him gone.

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Webtoon Entertainment and Warner Bros. Animation are

Filmmakers love to use a documentary, specifically a concert film, as a palate cleanser. Martin Scorsese risked his job on New York, New York to direct The Last Waltz for The Band over Thanksgiving weekend in 1976. Jonathan Demme squeezed in Stop Making Sense following the difficult shoot of his first Hollywood film, Swing Shift. James Cameron joins the tradition by breaking up his decades of Avatar films with Billie Eilish—Hit Me Hard And Soft: The Tour (Live In 3D), which displays Eilish’s considerable talents, Cameron’s groundbreaking 3D technology, and the director’s hands-on approach to filmmaking.

Shot over four performances at Co-op Live, the United Kingdom’s largest arena, Hit Me Hard And Soft situates Eilish at the center of the experience, with between twenty and thirty 3D cameras all on her. She even has a handheld “Billie Cam” that brings the audience inches away from the Grammy-winner as she croons hits like “Lunch” and “Wildfire.” Cameron undoubtedly succeeds at bringing her performance to life, with the 3D intensifying the illusion of really being there. There are moments so immersive, you’ll find yourself craning your neck around like the audience members on screen. It’s the perfect advertisement for the technology, which Cameron has quarantined on Pandora since the initial 3D boom subsided in the mid-2010s. But it’s also some sly promotion for the man behind the camera.



Cameron has no shame in selling himself, and at this point, his myth has spread beyond movie culture. Whether reading hardcover biographies, like The Futurist, or preteen ebooks, like James Cameron: Truck Driver To Director, Cameron’s persona as a self-made success story is well-documented. Legend has it, he taught himself filmmaking by reading textbooks and grad papers in the cab of his truck. After seeing Star Wars in 1977, he left the convoy behind for show business, making his way through the Roger Corman system before breaking through with The Terminator. This period established Cameron as a tradesman rather than a member of the film school generation that preceded him. However, his ambition as a craftsman also required him to play carnival barker. Like Tom Cruise, he wants people to know that he did all this for real.

In interviews, he’s quick to announce his underwater accomplishments. When The A.V. Club interviewed him in 2023, he was sure to mention his 2012 dive to the hadal zone, the deepest region of the ocean. When those billionaires attempted to pilot a doomed submersible to the Titanic, Cameron was one of the first people who news outlets and the National Transportation Safety Board contacted for comment. “Jim Cameron is the type of director who pushes you to the edge,” Leo Burmester told Starlog in a feature on The Abyss, “but he doesn’t make you do anything he wouldn’t do himself.”

Cameron committed these bona fides to film through documentary work. After declaring himself “king of the world” at the Oscars, Cameron joined Titanic star Bill Paxton in a pair of submersibles to the real sunken ship for 2003’s Ghosts Of The Abyss. Told from Paxton’s perspective, the film restages the opening chunk of Titanic as a non-fiction documentary and takes Cameron’s then-state-of-the-art underwater cameras and audiences through the wreck. He’d head below, once again, for a follow-up documentary, 2005’s Aliens Of The Deep, which serves as a prologue to Avatar just as Ghosts is an epilogue to Titanic. This time, Cameron uses his camera to explore the biology of deep-water creatures, taking NASA astronauts below the surface to see what can be gleaned about distant planets from the bottom of our own.

The sibling docs serve multiple purposes. They are educational films designed for IMAX theaters to show off the 3D technology Cameron would spend the rest of his career proselytizing. His underwater photography, even on a standard-definition DVD, is stellar, offering glimpses of the world Cameron would take 20 years to recreate in The Way Of Water. But both documentaries also show Cameron as a member of the crew, refusing to single him out as the Oscar-winning director of the most successful movies of all time. He’s simply another deep-sea explorer escorting Bill Paxton and his Titanic co-star Lewis Abernathy to the Titanic, and taking astronauts below the surface. Through this, Cameron depicts directing as a full-contact sport, and himself as much an explorer as a technician and artist.

That idea is again on display in Hit Me Hard And Soft, in which Cameron presents himself as one half of a creative partnership, ready to make Eilish’s vision a reality. The film alternates between chunks of concert footage and behind-the-scenes interviews with Eilish, during which Cameron casts himself in a supporting role. He deliberately includes himself in interview footage, cutting to shots of himself holding a massive 3D camera mere feet from his subject as he asks her about what it means to be a woman in music. This is in line with the film’s tagline: “She changed music. He changed movies. Together, they’ll reinvent the concert experience.” His participation is clearly a selling point for the film.

But Eilish and Cameron were brought together because his wife, Suzy Amis Cameron, is an activist friend of her mother, Maggie Baird, and that familiarity is evident on screen. Like in his other docs, he doesn’t get much of an introduction. Instead, Eilish greets him in the film with a warm “Jimothy!” It isn’t until a few minutes later that Eilish points at Cameron in the near distance and identifies him, “That’s James Cameron.” This 75-year-old man’s name must have inherent value to her Zoomer audience, because the words “Titanic,” “Avatar,” and “Terminator” are never uttered.

And that importance persists in the meat of the film itself. While Cameron does center Eilish’s remarkable talents as a singer and performer—capturing the visceral thrill of her running across the football-field-sized stage before thousands of screaming fans—his presence is felt behind every shot (because he injects himself so thoroughly into the film), making him feel more like the sole director despite Eilish’s contributions. In the film, though, he keeps up appearances. When discussing their collaboration early on, he tells her that the film will be credited “Directed by Billie Eilish” and “with James Cameron” in teeny-tiny print just below. As the credits roll, Cameron’s name is the first listed.


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What will we lose when Hacks ends? A brilliant, bracing inside look at the costs and gains of artistic creation; a workplace comedy as bold as it is comforting; a chance to watch Hannah Einbinder and Jean Smart regularly exchange barbs and admiration. All of these things, certainly. But as I watched season five’s second episodic pairing (and, sniff, the last one ever for the series), I found myself thinking about how much I’m going to miss these weekly one-two punches—how watching “There Will Be Blood” and chasing it with “Quid Pro Quo” raised my expectations and my blood pressure, and how impressed I was by “Just For Laughs” and “Better Late” working together to defy the hand-wringing after the season-two finale about where Ava and Deborah go from here. All this back-and-forth about binge drops versus weekly episodes, and here Hacks has been saying, “por qué no los dos?”

Though the series eased up on the comedic double headers after season three, creators Lucia Aniello, Paul W. Downs, and Jen Statsky have deftly deployed the remaining few, starting with last week’s energetic duo. This week’s pairing of “QuikScribbl” and “Montecito” similarly offers the best of both worlds—the pathos and the humor—starting with shrewd commentary on The State Of Things followed by a Sapphic detour (we did it, Joe, Avorah shippers). There’s even a moment where a game of “worst thing you’ve ever done” leads to some Drama-esque drama. Thursdays nights just won’t be the same after May 28. 

“She’s coming…The Diva Hotel & Casino,” declares a banner on the former site of The Paradiso at the beginning of “QuikScribbl” (B+), but to hear the foreman tell it, Deborah and Marcus’ venture into hoteliering might never happen. The renovation is beset by problems, and Deborah’s non-negotiables are proving to be just as difficult to manage as she is. They’re going to need an additional $20 million, especially if they move forward with building the Deborah Vance statue, whose legs will serve as a kind of Arc de Triomphe. (Deborah makes the case for the monument thusly: “How are people supposed to make an entrance if not between my legs? Where’s the joy, the whimsy?”) This not-so-common problem—needing a multimillion-dollar infusion of cash to convert a chlorine pool to one full of rosé—calls for what’s becoming an increasingly common solution in the real world: getting venture capitalists involved. Marcus soon has someone on the line, and everyone, including Ava, is prepared to do what it takes to get the investment, including accepting an Indecent Proposal-like offer or a request to eat sushi off her body (she calls dibs on the Philly roll). 

What Graham Sweeney (Saturday Night Live alum Alex Moffat) wants in exchange for his investment is much more objectionable, though—to Ava, at least. Clad in the stereotypical performance vest, this disruptor of medical tubing invites Deborah and Ava to his home to pitch them the eponymous technology: QuikScribbl, an LLM generative AI model that will help people present “the most optimized, funniest, smartest versions of themselves” with some help from Deborah and Ava. Graham proposes scraping Deborah’s entire body of work so that everyone—anyone willing to cede their personality to a computer program, that is—can sound like her. Graham appears to know his audience; imitation is the sincerest form of flattery, and Deborah will take that in all its forms. But Ava, who was so willing to help Deborah that she donned a bandage dress that’s crushing her internal organs, is appalled. She rejects the myth of AI inevitability, and recoils when Graham says QuikScribbl won’t censor any of its users, even if they use the tech to “make Hitler seem young and funny to red-pilled, dark web gooners.” 

Deborah is swayed, especially when Graham tells her she has “such mass appeal,” shouts out her big Late Night ratings, and suggests everyone wishes they could talk straight and be funny like her So, the next day, Ava enumerates the ways in which AI is terrible, including being an ecological disaster and setting up “a cataclysmic reshaping of our society that’s going to doom us.” As a writer, Ava is more vulnerable to AI’s pilfering, but her boss just can’t perceive the threat yet. Deborah acknowledges that others might be replaceable, but she’s dealt with joke theft before, and she’s still standing. Episode writers Joe Mande and Carolyn Lipka signal shifts great and small in the Ava-Deborah dynamic; Deborah’s “Everything’s unethical if you think about it too much” is very much in her voice, but her tone is almost chagrined. Much as she tries to deny it, she has changed as a direct result of Ava’s influence (haranguing). 

Not long after this fight (it’s hard to tell the passage of time, I’d kill for an expository “we only have six months until the Garden!”), Deborah meets with Graham, ready to sign away the rights to the work she did before partnering with Ava. Like so many AI proselytizers, though, Graham’s high on his own supply, and he tells her soon she’ll be able to outsource joke creation to QuikScribbl, too. Deborah, looking only slightly insulted, demurs: “I like doing the work.” When she points out that “using that shortcut makes [a joke] something else, it makes it not art,” Graham loses his patience. He yells that he’s just trying to make her life easier, but she thinks he and his ilk are trying to solve the wrong problems. “Why are you trying to optimize the creative process?,” an exasperated Deborah asks. “That’s one of the things we’ve actually figured out.” Here, we hear Deborah’s words, but the timbre sounds an awful lot like Ava’s. If the latter half of season three and first half of season four showed what Ava looked like after years of being under Deborah’s influence, “QuikScribbl” demonstrates the effect she’s had on her boss. 

Hacks makes its statement on AI’s encroachment into the entertainment industry in bold letters. In past seasons, the show’s brain trust might have been more subtle in relaying this message, but final chapters are always an interesting combination of big swings and limitations. Even though it won’t be trained on Deborah’s work, QuikScribbl will still move forward. At least we won’t have to see it, and at least Deborah and Ava are on the same side. In fact, the second course in this week’s offering, “Montecito” (B+), sees them get closer than ever, and the show indulge in some of its most blatant fan service—not that anyone’s complaining.

The inciting “incident” is both silly and serious, like so many Hacks setups. Deborah is understandably nervous about the Madison Square Garden show—she and Ava still haven’t worked out the opener—and she’s been having classic anxiety nightmares: teeth falling out; realizing you’re naked at an important event; being mocked by an infinite number of J. Smith-Camerons. The decision to opt out of AI training is nothing compared to figuring out what to wear for the Garden show, so Deborah brings in the big gun: her psychic, Diana (Polly Draper), who describes a white outfit that Deborah interprets to be the Bob Mackie jumpsuit Carol Burnett wore in the final episode of her long-running variety show. Mackie himself gives Deborah the bad news: An old rival, power lesbian Kelly Kilpatrick (Cherry Jones, hell yeah), snagged it at a charity auction. Deborah’s going to have to eat crow—with the aid of lunchtime mimosas—to nab her psychic-approved look.      

It’s always illuminating to see Deborah with her contemporaries or other women in power. In season two’s “Retired,” we met Susan (Harriet Sansom Harris), whom Deborah screwed out of an opportunity, a betrayal that turned out to be a blessing in disguise. Winnie Landell (Helen Hunt) was poised to be a champion, but Deborah saw her as a foe, so she had her fired. When they first meet up for lunch, Kelly has no interest in playing nice. She sees Deborah for who she is—someone who once described her TV show as “The L Word if it stood for ‘lame’” —or so she thinks until Ava walks up like a concerned girlfriend, gently chiding Deborah for forgetting her phone and drinking caffeine so late in the day. Kelly misinterprets their familiarity, believing that Deborah is gay and keeping her relationship with Ava under wraps. “No wonder you’ve been so bitter and frustrated and jealous all these years!” 

Jen Statsky took the helm for the first time in “QuikScribbl,” but it’s her fellow series creator Paul W. Downs who leads this return to Deborah’s discomfort zone—and I don’t mean that because, for the first time since “The Captain’s Wife,” she’s surrounded by queer women. (And we saw how well that went for her.) Much as she’s made room for others, Deborah still prefers to be at the higher end of a power dynamic, and when she heads to Montecito with Ava as pretend-wives so she can convince Kelly to sell her the Carol Burnett jumpsuit, she knows she’s not in control. It’s Ava who, once again, “speaks the language,” parsing varieties of lesbians with Kelly’s ballerina-beekeeper wife Monica (Leslie Bibb, having a blast as the wild card in this Sapphic retreat), and easily reframing the story of how she and Deborah met to sound like a meet-angry-turned-meet-cute. She’s having fun at Deborah’s expense and flirting with Kelly’s hot trophy wife (who inspired Black Swan, apparently), but Ava is also once again worrying that Deborah’s keeping something from her. Of course, Deborah is withholding something but it’s not what Ava assumes, and Ava and Deborah are both keeping something big from Kelly and Monica, whose combined candor is at odds with all of the lies told by the other “couple.” 

Like any good comedy of manners, “Montecito” is rife with sexual tension and misunderstanding, plus a smidge of extortion. It also turns Ava’s dream from “Tunnel Of Love” into a reality, if only briefly and under less-than-ideal circumstances, as she and Deborah make out to cheers from Monica and Kelly. Ava, smarting from what she thinks is another betrayal, then goes out of her way to make Deborah uncomfortable around their hosts, cracking jokes about pillow princesses and revealing way too much about their made-up sex life. She momentarily reverts to a past version of herself, mistaking bluntness for vulnerability and questioning her standing in Deborah’s life. Downs and writers Guy Branum, Andrew Law, and Bridget Parker have great fun with this weekend of hidden motives, tracking Ava through Kelly’s mountain hideaway as she, wouldn’t you know it, just keeps bumping into Monica. Deborah has learned a lot from her relationship with Ava, platonic though it might be, and she comes clean after a fraught night of negronis and hot tubbing. The reason she wasn’t able to pick Ava up from urgent care after she was hit by a self-driving car is because she was having a mass removed. Deborah’s got a clean bill of health now, though, so she makes up with Ava and then owns up to her lies, but Kelly isn’t buying it. She parts with the jumpsuit, but as Ava and Deborah walk away, the now true believer sighs, “At the end of the day, I’m rooting for them.” See, the world’s a big enough place to hold Ava and Deborah’s creative partnership and the much sexier one that comes up in fanfic. 

Stray observations

  • • I promise to give Jimmy and Kayla more of their due next week, but for now, I have to compliment the ongoing complementariness between the A(va and Deborah) story and the B story. Schaefer & Lusaque face an ethical dilemma of their own this week: Sweep a hit-and-run confession from a potential client, Bruno Fox (Sean Patton), under the rug, or get him to own up to it so the family of the deceased can have “closure.” They make the right decision but it still ends poorly, as Daddy Schaefer cuts Kayla off. We’ve witnessed what Jimmy’s had to endure to work with Kayla, but this is our first time seeing what it costs her to be by his side.  
  • • Bob Mackie designed more than 17,000 looks for Burnett’s show, including the white dress, not jumpsuit, she wore in the opener for her big finale. 
  • • I obviously recognized the ruby slippers, but I’d love for someone more versed in Hollywood fashion to tag all of the famous clothes and shoes in Kelly’s closet.  
  • • It’s hard to pick a favorite Ava line this week: Paired with a baseball bat, “I’m a DSA member!” is already an all-timer. But she also resorted to her ongoing medical mysteries—”Did you know that redheads actually need more anesthesia during surgery?”—to flirt with Monica.   

Danette Chavez is The A.V. Club’s editor-in-chief.


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Before “Heated Rivalry” skated at full speed into our hearts, the hockey romance novel series “Off-Campus” was beloved by many readers on BookTok. And now it’s also getting on TV adaptation. The series, which has already been renewed for a second season, centers on hockey teammates who live in a house together at the fictional Briar University. Garret Graham, portrayed in the show by Belmont Cameli, is a hockey star who has a big ego and a soft heart. He recruits Hannah Wells — affectionately nicknamed Wellsy and played by Ella Bright — to help him study for their philosophy class, and of course, through the season, they go from enemies to lovers. All eight episodes will be released together. Begins streaming Wednesday on Prime Video.

The “One Tree Hill” alums James Lafferty and Stephen Colletti created the show “Everyone Is Doing Great” independently, without a major distributor. The series gained traction after it was shown at ATX TV Festival, and Hulu released its eight-episode first season in 2021. The show has moved to Netflix, which is now releasing its second season. The show follows Seth (Colletti) and Jeremy (Lafferty), TV producers who, after their hit vampire show ends, lean on each other as they navigate their careers. Alexandra Park and Cariba Heine play love interests. Begins streaming Monday on Netflix.

Even though “Yellowstone” finished its run in 2024, it is the series that keeps on giving — with “Dutton Ranch,” a spinoff premiering this week. It follows Beth Dutton (Kelly Reilly) and Rip Wheeler (Cole Hauser) after they have sold the Yellowstone ranch in Montana and find themselves in Texas, managing a slew of speed bumps, including a new rival ranch. The nine-episode season will begin with a two-episode premiere. Begins streaming Friday on Paramount+.

Given my extensive knowledge of reality television, I feel confident I can ace the new section of “Pop Culture Jeopardy!” titled “Real Housewives Wit & Wisdom.” Even though the show has moved to streaming services, Colin Jost is back as the host, and over 20 episodes airing daily, teams of three people will compete for a $300,000 prize. Begins streaming Monday on Netflix.

It’s almost time for the 23rd FIFA World Cup, this time with Canada, the United States and Mexico sharing hosting duties. The documentary series “U.S. Against the World: Four Years With Men’s National Soccer Team” chronicles the American team’s training and shares the players’ personal stories. In the five weeks leading up to the team’s first home games, one episode will be released weekly. Tuesday at 9 p.m. on HBO.

In the 1980s, Richard Simmons was a staple of fitness culture with his “Sweatin’ to the Oldies” aerobics videos and bedazzled workout sets. By the late 2010s, he became a mysterious figure who hadn’t been seen in public since 2014, as documented in Dan Taberski’s 2017 podcast “Missing Richard Simmons.” And in 2024, Simmons died at age 76 from natural causes. Now, his family members, manager and housekeeper are detailing his final days and his secretive final years in “The Mystery of Richard Simmons: A Diane Sawyer Special.” Tuesday at 9 p.m. on ABC.

When Jason Momoa isn’t busy portraying Aquaman or a Hawaiian war chief, he is out on the open roads with his motorcycle. And the second season of “On the Roam” continues to chronicle those adventures as he travels to seek out artists and craftsmen. Begins streaming Thursday on HBO Max.

Throughout the years we’ve seen portrayals of cat-and-mouse games on the small screen. And “Nemesis,” a new series, is joining that genre. The story follows a highly skilled and expert criminal who is faced with — and trying to run from — an outstanding police detective. Begins streaming Thursday on Netflix.

Based on Jilly Cooper’s 1988 novel, “Rivals,” a British drama set in the 1980s, is back for its second season. The show follows the tension between Lord Tony Baddingham (David Tennant), a rich TV executive, and Rupert Campbell-Black (Alex Hassell), a former Olympian and member of parliament, that continues to rise as they tussle about a television station in the Cotswolds. Three episodes will air at once, then weekly until the midseason finale in early June. The second batch of episodes will come out later this year. Begins streaming Friday on Hulu.

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Hockey romance, washed-up actors and life in

Something no one tells you about leaving your homeland is that, just like you can never step into the same river twice, returning doesn’t mean belonging again.

Halfway through Diego Luna’s latest effort as a director, “Ashes” (“Cenizas en la boca”), an understandably angsty teenager, Diego (Sergio Bautista), tells his sister Lucila (Anna Díaz), “It’s all the same. Here or wherever, it’s all just surviving.” He’s talking about Barcelona, where she now lives. His harsh remarks cut deep because, at his young age, he’s already become aware that for working-class, dark-skinned people from a developing country, the world has perpetual limitations, whether they go back home or remain in a far-off land of deceitful promise.  

Luna assembles the drama from pivotal scenes, drawing on Brenda Navarro’s 2022 novel “Cenizas en la boca,” resulting in a tight yet potent narrative that addresses migration, abandonment, and the constant sense of displacement that plagues immigrants. Lucila and Diego migrated from Mexico City to Madrid, Spain, years after their mother, Isabel (“Emilia Pérez’s” Adriana Paz), moved there, leaving them behind until she could bring them along.

Now, Lucila works as a nanny for a Spanish woman who doesn’t much hide her dislike for Latin American workers. As she did back in Mexico, the young woman serves as a maternal figure to Diego, even though they live with their mother. The teenage boy gets in trouble at school repeatedly as he fights off bullies who insult him because he’s Mexican. “Ashes” quickly makes clear that the lack of language barrier in Spain doesn’t make the transition easier for them, given the xenophobia and racism that permeates Spanish society.

That Lucila hides what she does for a living from her white, English-speaking “boyfriend” also speaks about the disparities that, for those born into privilege, remain unseen. He thinks she is a student, and while she might want to do that, her reality demands she take on multiple, low-paying jobs. Though never explicitly stated, “Ashes” displays a strong class consciousness through the situations Lucila experiences and how characters from an entirely different context react to her. And that’s despite the fact that, by the characters’ own admission, they migrated to Spain with all the appropriate documentation.

But socially relevant gloom is not the sole mode of “Ashes.” Lucila finds community in other Latin American women who work similar jobs, and eventually moves in with some of them, leaving Madrid for Barcelona. Paz imbues Lucila with both an unwavering resilience and an effervescence expected of her youth. There are instances of playful sibling banter between Lucila and Diego that capture them beyond the predicaments they face. Late in the picture, a display of kindness from the elderly Catalan woman Lucila looks after introduces an unexpected reciprocity of care — even with those unfamiliar with her sorrows and the intricacies of her cultural background.

A longtime collaborator of Luna, cinematographer Damián García (“Narcos: Mexico,” “Andor”) employs an unassuming, in-the-moment style to follow Lucila’s fast-paced, nonstop days in Madrid and then Barcelona. And yet, the frames most likely to stick with the viewer are the first and last. The movie is bookended by nearly identical shots looking outside an apartment window that visually connect Lucila and Isabel and their respective journeys in and out of Mexico, as part of the same emotional timeline. They are closer than they think, though most of their exchanges are coated with long-brewing anger.

Central to the story is this resentment between mother and daughter. The distance that has separated them for long, even now that they share geographical location, is deeper and wider than the Atlantic Ocean that once physically divided them. Because migrating isn’t just about starting over elsewhere, but who you leave behind, who they become in your absence, and who you grow into away from them. It’s a shared loneliness for Lucila and Diego, who remained in Mexico for several years, and for Isabel, unable to see them, and yet they can’t seem to offer each other grace because outside pressures breed frustrations.  

That’s why a late scene between Diaz and Paz burns like a fiery acting tête-à-tête. Throughout “Ashes,” multiple characters ask another to withhold information, to not snitch on them, to not say what they should. In this moment, the two women lay it all out, and that simplicity of verbalizing exactly what they mean is riveting and moving. When tragedy takes Lucila back to Mexico, what she finds is not exactly welcoming but alienating. Her grandparents still live there, and though she recognizes the rooms and neighbors, she no longer feels at home. Violence is latent there, a reminder of why many others also leave.

The titular ashes do appear on screen. But when Lucila holds and consumes them, they are not only the remains of a loved one, but what’s left of the past as she knew. It’s all gone.

The tonal subtlety of “Ashes,” which doesn’t undermine its quietly heartbreaking poignancy, showcases an artistic maturity on Luna’s part. There’s a sensitivity to his choices that speaks both of an inherent understanding of the characters as a Mexican national (the dialogue and flashes of humor ring natural) and of a humble interest in depicting circumstances that don’t directly affect him but shape the lives of many of his less fortunate compatriots. “Ashes” doesn’t feel like a typical immigration tale, not because of where it takes place, but because of the nuance of emotion that fuels it.

For those of us who’ve left our homeland, sometimes it’s a challenge to put into words what it feels like to never feel at home ever again, neither here nor there. Home, for Lucila and many of us, has to be found not in a space to return to or depart from, but enduring within.  

Grade: A-

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

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Something no one tells you about leaving

For a movie that hits you like Father Christmas getting high on holiday, head to the beach where the sand is jet black with misdeeds, in the sun-drenched festive neo-noir Jet Trash, directed by Charles Henri Belleville, and written by Simon Lewis and Dan M Brown, based on Lewis’s novel. It’s Christmas Eve in Goa, with Lee (Robert Sheehan) and his mate Sol (Osy Ikhile), smoking a joint in the sand on a sunny beach. They are both far away from dreary old England, where Lee had worked selling drugs in a club owned by Marlowe (Craig Parkinson). Lee got Sol to participate in one of Marlowe’s shady schemes, in this case, marrying a foreign girl, Adeze (Adelayo Adedayo), to get her quick citizenship. When everything went a deep shade of evil at Marlowe’s pad, Sol and Lee fled to India to party.

Lee, Sol, and Mike stand on a broken bridge in Jet Trash.

“It’s Christmas Eve in Goa, with Lee and his mate Sol, smoking a joint in the sand on a sunny beach.”

Along with them is their friend, Mike (Jasper Paakkonen), who is on a spiritual journey, bedecked in robes with a shaved head. Lee hears from Shay (Raj Zutshi), the head man in the village they are staying in, that a woman they knew from Marlowe’s club, Vix (Sofia Boutella) is in Goa, looking for Lee. Lee assumes Vix just loves his doggie style, while Sol is more suspicious. Sol is also furious that Lee has acquired a large baggie of Molly for Christmas, to sell in smaller baggies to the good little boys and girls on the beach. Lee lets Sol know it is all good, that every little thing is going to be alright. That is, before Lee mucks everything up past the point of no return, with no way back to normal ever.

There needs to be a lot more movies like Jet Trash; movies that take you away to exotic locales spiced with underworld violence. This type of destination escapism was a classic attraction during the golden age of cinema. When I am searching for a movie to watch, I am drawn to faraway places that offer experiences closer to the edge of civilization. I want a film to whisk me away to someplace beautiful, where the rules are not enforced, and laws are on vacation. This is the type of world Jet Trash offers the weary audience member: a wave-splashed paradise with plenty of danger and drugs to keep things lively.

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For a movie that hits you like

On the evening of Thursday, June 12, a small group of internet gamblers made a highly specific prediction on Polymarket, the betting website that offers odds on virtually everything.

Thirteen users wagered a total of $140,000 that Israel would strike Iran by the end of that week, even as the odds suggested that an attack was unlikely. Seven of the accounts had been opened just days earlier. Another had a history of bets related to military action against Iran — and had won money on all of them.

Israel attacked Iran later that day, netting the accounts more than $600,000 in profits.

The explosive growth of prediction markets like Polymarket has rattled the political world over the last year, fueling concerns about a new kind of insider trading by military leaders and government officials with access to confidential plans. A military reservist was recently indicted in Israel for a scheme to bet on the June strike, while a U.S. Army Special Forces soldier was accused last month of wagering on the capture of Nicolás Maduro, the president of Venezuela.

Those bets represent only a slice of the suspicious activity on Polymarket. A New York Times examination found that more than 80 Polymarket users have placed bets with suspicious characteristics, including 38 whose well-timed wagers have drawn little or no public attention. They won money across nearly 30 topics dating back to at least 2024, from Israel’s strike on Iran last year to the regulatory debate over cryptocurrency trading.

The Times’s examination also revealed previously unreported red flags in some of the high-profile bets that have drawn scrutiny. The findings were based on a series of warning signs that hint at insider trading without proving it definitively. Those signals include long-shot bets that pay off, well-timed wagers by recently opened accounts and bets by users who gamble on only a few related topics without ever losing, among other considerations.

The Times identified more than 11,000 Polymarket accounts that exhibited some combination of those characteristics, then manually reviewed the most striking cases, comparing the users’ trading histories against overall prediction market activity. Many of the examples involved military operations, which have attracted a surge of betting this year.

While the accounts The Times examined make up a small portion of Polymarket’s users, they show how suspicious wagers can unfold on the site and highlight the vulnerability of prediction markets to manipulation. Polymarket’s trading data is publicly visible, which makes it possible to reconstruct betting patterns with second-by-second accuracy.

One of the highest-profile cases occurred at the start of the year, when the idea that Mr. Maduro would soon be ousted as Venezuela’s leader seemed unlikely. The odds on Polymarket reflected that doubt, sitting at around 7 percent. Then something unexpected happened: The United States swept into Venezuela on Jan. 3 and arrested Mr. Maduro.

Somehow, one user appeared to know the arrest was coming. The account had placed large bets on Jan. 1 and Jan. 2 predicting that Mr. Maduro would be “out” as Venezuela’s leader before the end of the month. When Mr. Maduro was captured on Jan. 3, the user pocketed more than $400,000. Prosecutors later charged Master Sgt. Gannon Ken Van Dyke, the special forces soldier, with using classified information to make that bet.

A similar betting pattern played out when Polymarket offered odds on whether the United States would announce a cease-fire in the war with Iran by April 7.

At least seven users placed bets in the hours before President Trump announced the agreement in a Truth Social post on April 7. Collectively, they won more than $1.4 million, including two users who each walked away with over $400,000 in profits.

The Times also found warning signs in areas unrelated to America’s foreign policy. In 2024, a user created a Polymarket account and placed a single long-shot bet that a financial product tied to the cryptocurrency Ether would be approved by the Trump administration. A month later, the user withdrew $50,000 in profits after regulators blessed the product.

Based on the public data alone, it is impossible to conclude whether these users were insiders who had access to nonpublic information. Many sophisticated bettors use automated bots to place well-timed wagers that may appear suspicious at first glance, while some prediction market traders pride themselves on making giant bets against the odds that occasionally pay off.

But The Times’s examination adds to evidence suggesting that Polymarket has been exploited by users with information that is not publicly available.

Last month, the nonprofit Anti-Corruption Data Collective released a report about Polymarket that found heavy bettors on underdog outcomes — an event with at most a 35 percent likelihood — won more than half the time on topics related to the military, calling it a sign of “potential insider trading.” Similar wagers on other topics were profitable only 14 percent of the time, the report found.

Polymarket has pledged to combat insider trading, saying it has “no place” on the platform. A company spokeswoman said the firm “continuously monitors its markets for suspicious activity and regularly engages with relevant authorities when appropriate.”

Polymarket and its main rival, Kalshi, are the most popular prediction markets. But they differ in important ways. Polymarket’s main platform processes wagers in crypto, creating a public record of transactions. Much less data is available about the bets on Kalshi, which announced in February that it had opened more than 200 insider-trading investigations resulting in over a dozen “active cases.”

Robert DeNault, Kalshi’s head of enforcement, said in a statement to The Times that insider trading was banned on the platform. “We surveil, investigate and punish it,” he said.

For years, prediction markets occupied a legal gray area in the United States. A tiny financial agency, the Commodity Futures Trading Commission, barred Polymarket from serving U.S.-based customers in 2022, while Kalshi battled those regulators in court for authorization to offer bets on congressional elections.

Now the landscape is shifting in these firms’ favor.

Kalshi won its case in October 2024, paving the way for election betting in the United States. Within a year, Polymarket secured regulatory approval to start offering some services, though the majority of its betting markets, including wagers on military action, are still available only overseas. Sergeant Van Dyke gained access to the website using a virtual private network, a tool that disguises a user’s location, according to court papers.

Together Kalshi and Polymarket draw $25 billion in monthly trading volume, up from less than $2 billion a year ago, an explosion of popularity that poses a challenge to regulators.

Under federal law and agency regulations, insider trading on prediction markets is prohibited, though what qualifies as an offense is a complex legal question. Some advocates for the sites argue that certain insiders can help generate more accurate forecasts, making prediction markets a useful source of information.

In a CBS “60 Minutes” interview last fall, Shayne Coplan, Polymarket’s chief executive, called insider trading “an inevitability” that comes with “a lot of benefits,” while stipulating that trading platforms need to draw an ethical line somewhere.

“What’s cool about Polymarket is that it creates this financial incentive for people to go and divulge the information to the market,” he said at an Axios conference in November. “Or someone tells someone, and then the market responds.”

But potential insider activity does not always create a clearer picture for the public, The Times found. Someone with insider knowledge can employ a range of strategies to accumulate large, profitable positions without moving the needle on the odds.

In January 2025, a Polymarket user who regularly wagered on Washington politics began betting that President Joseph R. Biden Jr. would pardon his brother James Biden. The user placed 53 separate bets worth more than $20,000, even as the odds declined.

Less than 40 minutes after the user’s final bet on Jan. 20, the White House announced that Mr. Biden had signed a last-minute pardon for his brother. The user earned $200,000, cashed out and has not bet since.

The Times’s review also found possible coordination among Polymarket accounts that placed bets at identical times. Such activity can signal that an individual user deployed automated bots to avoid detection, obscuring a large position across many accounts.

A possible example emerged on Feb. 27, when Mr. Trump at 3:38 p.m. gave the order to strike Iran while he was aboard Air Force One. Over the next few hours, at least 27 accounts placed thousands of dollars of simultaneous bets predicting that the United States would attack by Feb. 28. When the strike began around 1 p.m. on Feb. 28, the accounts collected profits of more than $700,000.

Much of the suspicious activity has been concentrated on the conflicts in the Middle East. Of the 27 betting topics that The Times flagged, 12 focused on the U.S.-Israeli war with Iran.

In February, Israeli authorities charged the military reservist with using nonpublic information to help an accomplice make more than $100,000 betting on Polymarket about the timing of Israel’s attacks on Iran and Yemen.

“It’s happening now,” the soldier texted his accomplice, just as military planes took off for the June attack, according to the indictment.

In court this month, the reservist’s lawyer argued that his client’s unit in the Israeli Air Force had a penchant for gambling, a risk-taking impulse that was common in the military.

An Israeli military representative said the defense forces had taken steps to “strengthen oversight and control systems” since the Polymarket bet was exposed.

The rise of suspicious trading has caused alarm in Washington.

The Senate passed a resolution last month barring senators and their staff members from using prediction markets. In April, Mr. Trump said he was “never much in favor” of the sites and lamented that “the whole world unfortunately has become somewhat of a casino.”

Within days, he reversed himself, noting that people working in the prediction business are “pretty happy with it.” Mr. Trump’s eldest son, Donald Trump Jr., is an adviser to Kalshi and Polymarket, and the family’s social media company, Trump Media, has announced plans to offer a prediction market.

The scrutiny on prediction markets has put a spotlight on the Commodity Futures Trading Commission. Historically, the agency has overseen markets for oil, agricultural goods and certain financial instruments known as swaps. Because prediction market bets are classified as swaps, the agency has argued, the sites fall under its purview as well. But the C.F.T.C. has a relatively small staff and a spotty record of enforcement that has drawn skepticism from critics.

Michael Selig, the agency’s chairman, is an outspoken prediction market enthusiast who has hopscotched the country giving speeches about the technology’s potential to rival traditional media as an information source.

“It’s really important that we protect these markets here in the U.S.,” he said at a crypto conference in March.

In a statement to The Times, Mr. Selig said the agency had a “renewed focus on efficiency” and was using artificial intelligence to bolster its capabilities. “There are no gaps in our ability to fulfill our mission,” he added.

As concerns have intensified, Polymarket has promised to monitor for misconduct. But its public pronouncements are sometimes contradictory.

Three weeks before the Special Forces soldier was indicted, Mr. Coplan, Polymarket’s chief, was interviewed at Harvard Business School, where he was asked about suspicious activity in the Maduro betting market.

“For the Maduro one, it’s actually a very funny story — it’s not what it seems,” Mr. Coplan said. “It’s just more of a fluke than it is some sort of exciting thing.”

Once the federal charges were announced, Mr. Coplan told a different story, writing on social media that Polymarket had “flagged this, referred it, and cooperated throughout the process” with the Justice Department.

In April, Kalshi said it had unearthed three examples of insider trading — all congressional candidates who had placed bets on their own races.

In one case, Kalshi said, a Democratic candidate for U.S. Senate in Virginia placed a bet that he would join the race, a decision he clearly controlled. Kalshi fined him more than $6,000 and gave him a five-year ban from the platform.

Because prediction market data is public, the hunt for insider trading has also become a social media phenomenon.

On X, users post screenshots of prediction markets with strange patterns or bets from new accounts. Some traders have built strategies around identifying insiders and then copying suspicious wagers before other bettors catch on.

One market that was flagged on social media centered on a prominent internet sleuth, who announced in February that he was preparing a detailed investigation into an unnamed crypto company whose employees had “abused internal data.”

Speculators on Polymarket started betting on who the sleuth’s target might be. Between Feb. 24 and Feb. 26, an anonymous user who had just joined Polymarket bet more than $65,000 that it was Axiom, a crypto trading firm. (Axiom did not respond to a request for comment.)

The wager was correct. On Feb. 26, the sleuth accused Axiom employees of insider trading.

It’s unclear who made the bet. The sleuth said that he had been “retained” to investigate Axiom, and that he had reached out to the firm before posting his findings.

The anonymous bettor walked away with $411,647 in profits.

Johnatan Reiss contributed reporting.

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On the evening of Thursday, June 12,

EXCLUSIVE: Here’s a first clip for Kantemir Balagov’s anticipated English-language debut Butterfly Jam, starring Barry Keoghan and Riley Keough, which is premiering in Cannes on Wednesday evening. 

The film, which is opening the Directors’ Fortnight section at the festival, is set against the backdrop of New Jersey’s Circassian community. The story revolves around a teenager (Talha Akdogan) whose father (Keoghan) and aunt (Keough) run a struggling diner specializing in Circassian cuisine. When he’s not helping out in the restaurant, the boy is training to become a professional wrestler. After one of his father’s misguided schemes goes wrong, he is forced to take on board his father’s failings as he finds himself confronted with a violence that will force him to grow up faster than he would like.

Speaking with Deadline in advance of the film’s world premiere, both Keoghan and Keough admitted they had been fans of Balagov’s Cannes prize-winner Beanpole and were keen to work with the director on his first English-language project. 

“I saw Kantemir’s film Beanpole and I thought it was just really stunning, and I wanted to work with him,” Keough said. “And then I read the script and it was just such a specific kind of nuanced world and character that I’ve never really seen anything like on screen.” 

To prepare for the role, Keough said she studied videos about traditional dances and Circassian culture to get a feel for her character, and she admitted that working with Keoghan “reminds me of myself as an actor.” 

“I really enjoyed the process,” she said. “We have some similarities in our process and so I found it to be really fun… I think we’re both quite free with the way we perform.” 

Keoghan, meanwhile, said that while he and Keough were filming their scenes together he “never knew where they would go because she’s so unpredictable, in a good way.” 

“Just playing off of that energy and it being organic was a great experience to get to act alongside,” he said. 

Butterfly Jam is produced by Alexander Rodnyansky’s AR Content, which is also financing, along with Emilia Pérez producer Pascal Caucheteux’s Why Not Productions and Goodfellas, which is handling international sales. UTA Independent Film Group is selling domestic. 

The film is the first feature film to come out of Keoghan’s production company Wolfcub, which the actor says is a “major milestone for me and my career.”

“To not only be able to act but be a part of the creative conversations and provide input for the entire filming process is something I’m looking forward to doing more with my production company and our future projects,” he said. 

Plot details about the movie have been largely kept under wraps until its Cannes bow today and when pressed about what hopes they have for audiences to take away from the debut, Keough said: “It’s a heavy movie but I do think there’s this really deep bond within the family despite the circumstances.”

Take a look at the first clip above. 

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EXCLUSIVE: Here’s a first clip for Kantemir

Stephen Colbert has revealed his most ‘distracting’ crush on an A-list guest as he prepares to bid farewell to his talk show after 11 seasons.

The married host, 62, whose show was canceled last year after a decade on-air, reminisced on a time he was ‘wildly attracted’ to a much-younger star in 2019 and ‘didn’t know what to do with his eyeballs.’

Appearing on the Strike Force Five podcast, Colbert was asked by host Jimmy Kimmel: ‘Has there been a guest who was so attractive that you found it distracting?’

Colbert admitted: ‘I’ll tell you who I did not expect to be wildly attracted to. Like, I didn’t know what to do with myself. I did not know what to do with my eyeballs when Michelle Williams was on for the first time.

‘She sat down across from me and I went, “F**k, what is wrong with my head?” I’d better not look directly at her for this entire interview.’

Colbert, who has been married to Evelyn McGee since 1993, then heaped praise on the 45-year-old Dawson’s Creek star’s ‘vibe’ and ‘face’, calling her ‘so beautiful.’ 

Stephen Colbert has revealed his most 'distracting' crush on an A-list guest as he prepares to bid farewell to his talk show after 11 seasons

Stephen Colbert has revealed his most ‘distracting’ crush on an A-list guest as he prepares to bid farewell to his talk show after 11 seasons

The married talk show icon, 62, whose show was canceled last year after a decade on-air, reminisced on a time he was 'wildly attracted' to a much-younger star in 2019 and 'didn't know what to do with his eyeballs'

The married talk show icon, 62, whose show was canceled last year after a decade on-air, reminisced on a time he was ‘wildly attracted’ to a much-younger star in 2019 and ‘didn’t know what to do with his eyeballs’

Five time Oscar nominee Williams first crossed paths with Colbert on his show in April 2019 as she plugged miniseries, Fosse/Verdon.

Her last encounter with the smitten host was in April 2025 to discuss series, Dying For Sex.

Williams has been married to Thomas Kail – with whom she shares three children – since 2020.

She welcomed daughter Matilda, 21, with late ex Heath Ledger  

Colbert also revealed he ‘used to have a Rachel Weisz problem’, detailing how he would have to ‘leave the building’ when she was on the show for ‘fear I would say something stupid.’

Strike Force Five includes Colbert, Kimmel, Late Night host Seth Meyers, Last Week Tonight’s John Oliver, and The Tonight Show’s Jimmy Fallon. 

They formed in 2023 during a writers’ strike, and the group reunited on Monday’s episode of The Late Show With Stephen Colbert. 

Colbert shockingly announced on July 17 2025 that Paramount/CBS would not be renewing his contract after 11 years on the air, and they would end the late-night program after 44 years on the air. 

Colbert admitted: 'I’ll tell you who I did not expect to be wildly attracted to. Like, I didn’t know what to do with myself. I did not know what to do with my eyeballs when Michelle Williams was on for the first time' - Colbert pictured with Williams in 2019

Colbert admitted: ‘I’ll tell you who I did not expect to be wildly attracted to. Like, I didn’t know what to do with myself. I did not know what to do with my eyeballs when Michelle Williams was on for the first time’ – Colbert pictured with Williams in 2019

'She sat down across from me and I went, ‘F**k, what is wrong with my head? I’d better not look directly at her for this entire interview' he said - pictured in April 2025

‘She sat down across from me and I went, ‘F**k, what is wrong with my head? I’d better not look directly at her for this entire interview’ he said – pictured in April 2025

Colbert, who has been married to Evelyn McGee since 1993 (pictured November 2025), heaped praise on the 45-year-old Dawson's Creek star's 'vibe' and 'face', calling her 'so beautiful'

Colbert, who has been married to Evelyn McGee since 1993 (pictured November 2025), heaped praise on the 45-year-old Dawson’s Creek star’s ‘vibe’ and ‘face’, calling her ‘so beautiful’

Williams has been married to Thomas Kail - with whom she shares three children - since 2020 - pictured April 2026 - she is also mom to a daughter with the late Heath Ledger

Williams has been married to Thomas Kail – with whom she shares three children – since 2020 – pictured April 2026 – she is also mom to a daughter with the late Heath Ledger 

Colbert also revealed he 'used to have a Rachel Weisz problem', detailing how he would have to 'leave the building' when she was on the show for 'fear I would say something stupid' - pictured 2023

Colbert also revealed he ‘used to have a Rachel Weisz problem’, detailing how he would have to ‘leave the building’ when she was on the show for ‘fear I would say something stupid’ – pictured 2023

Strike Force Five includes Colbert (center) and (from L-R)  Kimmel, Jimmy Fallon, John Oliver and Seth Meyers

Strike Force Five includes Colbert (center) and (from L-R)  Kimmel, Jimmy Fallon, John Oliver and Seth Meyers

At the time, the network claimed it was ‘purely a financial decision,’ but the cancellation came days after the devout Catholic called Paramount/CBS’s $16 million lawsuit settlement with President Donald Trump ‘a big fat bribe.’

Paramount was also in the midst of a multibillion-dollar merger with the movie studio Skydance, which requires the government approval of the Federal Communications Commission (FCC).

‘I will tell you when I got knocked off the air for a few days. People canceled Disney+,’ Kimmel noted.

‘Why aren’t you people canceling Paramount+? Because you didn’t have it in the first place? [laughs]’

Former Late Show host David Letterman, Tom Hanks, Julia Louis-Dreyfus and Pedro Pascal are among A-listers set to appear in its final days.

The tributes have already rolled in as 51-year-old Fallon previously appeared as a guest on March 5 to belt out an over-the-top rendition of Frank Sinatra’s 1969 song My Way.

Luckily, Colbert secured a post-cancellation gig penning a new Lord of the Rings film for Warner Bros. with his 27-year-old son Peter McGee and Philippa Boyens, which was announced on Tolkien Reading Day, March 25.

His final show will air on May 21. 

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Stephen Colbert has revealed his most 'distracting'

At the Cannes Film Festival’s opening-night dinner on Tuesday, the festival president, Iris Knobloch, addressed her guests with a cri de coeur.

“Cinema does not shield us from the world,” she said. “It helps us navigate it.”

It was hard to imagine anyone in the well-heeled crowd arguing with such a statement, though just how precisely a festival is meant to engage with the wider world has already become the first great debate of Cannes.

Blame Berlin. At the film festival held there in February, the jury president, Wim Wenders, set off a firestorm when he was asked about the festival’s stance on Israel and the war in Gaza. “We have to stay out of politics, because if we make movies that are decidedly political, we enter the field of politics,” Wenders said.

If his answer was meant to defuse tensions, it had the opposite effect: Wenders was roundly criticized for having an out-of-touch perspective, and the festival’s news conferences became dominated by political questions, with actors repeatedly pressed about their views on Israel and Gaza and what one journalist termed “the rise of fascism.”

Could Cannes face a similar situation? When asked about the Berlin controversy on Monday, the festival director, Thierry Frémaux, initially defended Wenders.

“I think he was subjected to criticisms that weren’t really justified,” Frémaux told journalists. “He wanted to say that the politics should be on the screen. That’s what we say at Cannes.”

Still, this has never been a place where politics were neatly confined to the borders of a film strip. Founded in 1939 as a response to the growing influence of fascism at the Venice Film Festival, the first edition of Cannes was canceled on its opening night when Germany invaded Poland.

In the decades since, as Cannes became the world’s most renowned film festival, certain aspects of it reflected retrograde political attitudes. During the years when female filmmakers were all but excluded from the competition lineup, for example, the festival appeared far more concerned with policing women’s red-carpet footwear.

Whether Frémaux likes it or not, political crosscurrents are bound to blow through Cannes. Over the coming days, films will unspool from the director Pedro Almodóvar and the actors Javier Bardem and Hannah Einbinder, who have long been outspoken about the war in Gaza. And though some members of the competition jury spoke delicately at a Tuesday news conference, so as not to offend, the screenwriter Paul Laverty was less inclined to hold his tongue.

Sitting on a dais alongside his fellow jurors Demi Moore and Stellan Skarsgard, Laverty noted that actors like Bardem, Mark Ruffalo and Susan Sarandon have faced professional blowback “because of their views in opposing the murder of women and children in Gaza,” adding, “Shame on Hollywood people who do that. My respect and total solidarity to them.”

Gesturing to the official Cannes poster, which was emblazoned with a still of Sarandon and Geena Davis from “Thelma & Louise,” Laverty joked, “I just hope we don’t get bombed now because we’ve got this poster.”

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At the Cannes Film Festival’s opening-night dinner

Spanish titles to track at Cannes: 

5 More Minutes 

Director: Javier Ruiz Caldera 

A Movistar Plus+ Original comedy written by top Spanish comic Berto Romero that follows a couple in crisis experiencing a time loop during a rural getaway. 

Sales: Filmax

Aida the Movie

Director: Paco León

This spinoff from the 2000s TV sitcom directed by “House of Flowers” star León and produced by the Mediapro Studio is Spain’s first 2026 smash hit.

Sales: The Mediapro Studio Distribution

Andy

Director: Román Parrado

Produced by Ibón Cormenzana, who’s behind “Robot Dreams” and “The Beasts,” pic is a thriller following a 12-year-old girl’s odyssey from Guatemala towards the U.S. border.

Sales: Sideral Cinema

Another League 

Director: Marta Díaz de Lope Díaz

”League” is a feel-good facts-based ‘70s-set comedy about Spain’s first women’s soccer team.

Sales: Filmax

Balearic

Director: Ion de Sosa

Vicious dogs trap teens in a swimming pool they’ve sneaked into as adults party nearby and wildfire sweeps the hillside — a social allegory, says de Sosa of the drama.

Sales: MoreThan Films  

The Beloved

Director: Rodrigo Sorogoyen 

Starring Javier Bardem, this fraught father-daughter reconciliation drama is shot in multiple film formats by Sorogoyen. A Cannes competition entry.

Sales: Goodfellas

Betrayed (Tradita) 

Director: Gabrielle Altobelli

A single mother becomes mired in corruption at her new law firm in this steamy film.

Sales: Neo Art Intl. 

Big Game Hunt

Director: Daniel Sánchez Arévalo

A pig herder returns home covered in blood claiming he saw a tiger in this Movistar Plus+ original billed as a class conflict-fuelled rural thriller.  

Sales: Film Factory Entertainment

‘Big Game Hunt’

julii j u

Bitter Christmas

Director: Pedro Almodóvar 

A gorgeous film-within-a-film about a world-famous director’s fears, doubts and contradictions as he pens a new film. 

Sales: Film Factory

La Bola Negra

Director: Javier Ambrossi, Javier Calvo

A third Spanish Palme d’Or contender featuring Penélope Cruz and Glenn Close weaves the connected lives of three gay men in 1932, 1937 and 2017.

Sales: Goodfellas

Carte Blanche

Director: Gerardo Herrero

From Tornasol Films, behind Oscar-winner “The Secret in Their Eyes,” this action movie charts a horrifying revenge mission in Spain’s 1921 Moroccan desert war.   

Sales: Latido Films  

‘Carte Blanche’

Dance of the Living

Director: Jose Ayalón

A father and daughter attempt to move forward after the mother’s death in a drama set in the extraordinary world of Canarian wrestling.   

Sales: Bendita Film Sales

Don’t Hang Up

Director: Belén Macías

Macías (“My Prison Yard”) helms a real-time psychological thriller set inside a radio studio, where a legendary late-night host receives a call from a stranger who threatens to kill a young woman.

Sales: Film Factory

The End of It

Director: Maria M. Bayona

Fasten Films

Rebecca Hall plays Claire in a near-future world where ageing is cured. At nearly 250 years old, she decides to end it all. Noomi Rapace and Gael García Bernal also star.

Sales: Bankside

The Girl With the Crystal Eyes

Director: Dario Argento

The second in an Argento giallo movie trilogy. Here, a businessman tracks the women he loves to Sicily, plunging into a disturbing maze of fractured identities and ritualistic murders.

Sales: Neo Art Intl. 

The Harvester

Director: David Pérez Sañudo

Starring Antonio de la Torre and Patricia López Arnaiz and inspired by Spain’s first documented serial killer, pic carries a big budget for Spain, and employs meticulous 1870s period construction and a rising director.

Sales: Latido

Last Night I Conquered the City of Thebes 

Director: Gabriel Azorín

Three friends in modern times and Roman soldiers confess heartfelt fears at the same thermal baths thousands of years apart.

Sales: MoreThan Films

La Luz

Director: Fernando Franco

A Catholic priest’s past comes back to haunt him as he seeks redemption. San Sebastián winner Franco (“Wounded”) directs, while top Spanish indie Morena Films (“Everybody Knows”) produces.

Sales: Latido

Mallorca Confidential

Director: David Ilundain

A gangster thriller with Lolita Flores (“Las Invisibles”) playing La Chusa, Mallorca’s self-made drug queenpin, now riding for a fall. Written by Amelia Mora (“Undercover”).

Sales: Filmax

Lolita Flores in ‘Mallorca Confidential’

Lolita Flores in ‘Mallorca Confidential’ Credit, Lucia Faraig.

The Righteous

Director: Fernando Pérez, Jorge A. Lara

Members of a citizens’ jury are each made a secret offer of $1 million to throw out a corruption case, despite irrefutable evidence in this thriller.

Sales: Feel Sales

The Sentence

Director: Miguel del Arco

Sentenced to 20 years for his wife’s murder, Juan emerges from prison seeking forgiveness. Del Arco (“Las Noches de Tefía) directs; Sideral and Aquí y Allí Films (“Life and Nothing More”) produce.

Sales: Sideral Cinema

There Is Someone in the Garden

Director: Jaume Balagueró

Fronted by “Money Heist” star Ursula Corberó with Balagueró (“[REC]”) helming what begins as a haunted house chiller that gradually morphs into a hard-hitting crime thriller.

Sales: Film Factory

Trinidad 

Director: Laura Alvea, José Ortuño 

Led by “Your Fault’s” Gabriela Andrada, Paz Vega and Karla Sofía Gascón, this ambitious Wild West-set Spanish family saga is from new player Deep Com Roots.

Sales: Deep Com Roots

Viva

Director: Aina Clotet

Clotet’s feature debut — which follows up her major TV hit “This Is Not Sweden” is set in a near-future plagued by water shortage, where Nora, recovering from cancer, battles fear of loneliness and death.

Sales: Loco Films

“Viva”

“Viva” courtesy of Andrea Resmini

Welcome to Lapland

Director: David Serrano

Adapting the hit stage play, the film is a Spanish comedy set over Christmas in Lapland, with two families clashing over how to educate their kids.

Sales: The Mediapro Studio Distribution

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Spanish titles to track at Cannes:  5 More

Spider-Man is not alone in fighting crime in Your Friendly Neighborhood Spider-Man Season 2, as he is joined by several important Marvel superheroes. The sophomore run of Marvel Animation and Disney+’s Spider-Man series is set to continue the story of an alternate version of Peter Parker outside the MCU as he protects New York City from dangerous villains. Season 1 saw the inclusion of iconic Marvel heroes, such as Doctor Strange, Iron Man, and Charlie Cox’s Daredevil. Ahead of Season 2, the lineup of heroes is on the low end, but there might be surprises along the way. 

The New York Comic-Con (NYCC) trailer for Your Friendly Neighborhood Spider-Man Season 2 provided fans with a glimpse of what’s in store in the animated show’s sophomore run on Disney+, showing off several returning characters such as Peter Parker, Lonnie Lincoln, and Doctor Octopus. Alongside the expected comebacks, the trailer also featured notable superheroes, which include Gwen Stacy, Nico Minoru, and the returning Daredevil. 

Every Major Superhero in Your Friendly Neighborhood Spider-Man Season 2

Spider-Man

Marvel Animation

Spider-Man’s growth is expected to continue in Your Friendly Neighborhood Spider-Man Season 2, especially after he fully embraced the classic red-and-blue suit (symbolizing his independence from Norman Osborn’s shadow) in the previous finale. With his renewed confidence, it will be interesting to see how Peter Parker will continue protecting the city, knowing that there are still dangerous threats that lie ahead. 

His rejection of Norman Osborn would definitely be addressed, and this could begin their longstanding rivalry, considering that he discovered and contained a small piece of the symbiote after the final battle. Moreover, the revelation that his father, Richard Parker, is still alive would be a massive one for Peter, and this could completely change everything for him since his family’s secrets could be pushed to the forefront. 

Nico Minoru

Nico Minoru
Marvel Animation

Nico Minoru is Peter Parker’s best friend in Your Friendly Neighborhood Spider-Man, who has been secretly practicing witchcraft. In Marvel Comics, Nico is a member of the Runaways, a group of misfit heroes who discover that their parents are part of a sinister group called The Pride. 

A glimpse of Nico’s powers was highlighted in Season 1 after it showed the young Marvel hero actively using her abilities (but in secret). The Season 1 finale confirmed that Nico has been training to use her powers, with her performing a ritual in her bedroom to summon the spirit of her fallen mother. 

Season 2 could highlight Nico being more active in the field, possibly helping Peter Parker fight crime and different threats in New York. 

Finesse

Finesse
Marvel Animation

Season 1 introduced Daredevil’s sidekick, Finesse, a street-level protege who is secretly investigating Norman Osborn and Oscorp for potential corruption practices. The NYCC trailer confirmed that Finesse will return, possibly leading to a team-up between her and Spider-Man. 

In Marvel Comics, Finesse is a famed anti-hero who is known as the daughter of Taskmaster. Similar to his father, Finesse has photographic reflexes, meaning that she can replicate any fighting style. 

Gwen Stacy

Gwen Stacy
Marvel Animation

A brand-new addition to the roster of heroes in Your Friendly Neighborhood Spider-Man is Gwen Stacy, and she is confirmed to be active as Spider-Gwen in this alternate timeline. 

While the Spider-Verse movies already featured their own unique take on Spider-Gwen, Marvel Animation’s small-screen entry has the opportunity to make its version unique by showing the character interact with other established heroes like Doctor Strange and Daredevil. 

Aside from the usual team-up between her and Spider-Man, a possible romance angle could also be explored, with the show differentiating itself from the MCU’s live-action take starring Tom Holland’s Peter Parker and Zendaya’s MJ. 

Daredevil

Daredevil
Marvel Animation

Following his memorable appearance in Season 1, Charlie Cox is confirmed to return as Daredevil in the upcoming sophomore run of the Marvel Animation series. 

Matt Murdock’s comeback in Your Friendly Neighborhood Spider-Man means that he will continue mentoring Finesse, possibly teaming up with Spider-Man, and investigating more of Oscorp’s experiments and evil schemes. 

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An Arrowverse actor who appeared in a major crossover event has joined the cast of DC Studios’ upcoming Superman series on Adult Swim and HBO Max. My Adventures with Superman Season 3 is set to pick up in the aftermath of the Brainiac saga from Season 2 and continues its pivot to the Reign of the Superman-inspired arc that explores themes of legacy and identity by introducing several Supermen, such as the villainous Cyborg Superman and John Irons (aka Steel). One of the interesting additions in Season 3 is Connor Kent, aka Superboy, a character that is expected to completely change the already-strong dynamic of Clark and Lois in the show. 

As part of Collider’s Exclusive Preview, the outlet reported that Arrowverse villain actor Darren Criss joined the voice cast of My Adventures with Superman Season 3 as Connor Kent. Alongside the report, Collider also shared the first look at the DC Studios’ show’s version of Superboy.

DC Studios

Criss had a memorable role in the Arrowverse as the Music Meister, appearing in the 2017 musical crossover between Supergirl and The Flash. In the Arrowverse, the Music Meister is a meta-human with the ability to trap people in musical dream-like realities where they must sing and dance to resolve their emotional conflicts. 

Darren Criss as Music Meister in The Flash.
The CW

Criss flexed his singing chops in the crossover by singing alongside other cast members, Carlos Valdez (Cisco Ramon) and Jeremy Jordan (Winn Schott), in one epic sequence involving “Put a Little Love on Your Heart.” 

The episode was one of the Arrowverse’s most memorable and lighthearted crossovers, and the casting of Criss was widely praised because he was a natural fit due to his singing background and charm. This is in addition to the fact that this musical crossover highlighted the shared universe’s willingness to experiment with fun, genre-bending episodes. 

It’s worth noting that Music Meister wasn’t a traditional evil villain in the crossover. Instead, he was more of a mischievous storyteller who tricked Barry Allen and Kara Danvers into playing a part in a musical to make them self aware of their own issues with love in the real world. 

Aside from portraying Music Meister in live-action, Criss also voiced Superman in DC’s Tomorrowverse, meaning that this isn’t the actor’s first rodeo in the world of the Kryptonian hero (read more on how to watch the Tomorrowverse in order here).

Joining Criss in My Adventures with Superman Season 3 is its core trio of actors, led by The Boys star Jack Quaid, Alice Lee, and Ishmel Sahid. My Adventures with Superman Season 3 is set to premiere on Adult Swim on June 13.

How Different Is Darren Criss’ Connor Kent From Past Superboy Iterations 

Superman rescuing a pilot in 'My Adventures With Superman.'
DC Studios

What makes My Adventures with Superman Season 3’s exploration of the Reign of the Supermen arc is the fact that these characters arrive while Clark Kent is alive and active in Metropolis. Superboy is expected to be a strong ally of Clark and Kara Zor-el as they go up against dangerous Superman-like beings. 

Speaking with Entertainment Weekly, My Adventures with Superman showrunner Jake Wyatt confirmed that Superboy is heavily inspired by the ’90s leather-jacket version of Connor Kent, but he emphasized that the newbie hero isn’t just there to “push Clark’s button” and he’s present to “embody the tension between hope in the present and fear in the future:”

“Superboy can’t just push Clark’s buttons. So Superboy’s been adjusted to be more relevant to all of our characters, and then he is going to embody the tension between hope in the present and fear in the future…. He was the writers’ and the artists’ favorite character for the season, and we’re going to complicate him a bit over the course of it.”

It seems that Superboy will not be an annoying newcomer to the core group f heroes because he is expected to challenge Clark’s ideals while on a found-family dynamic. It all boils down to legacy and what the next generation needs to do to proudly carry the Superman mantle. 

Outside of expanding the Superman family in this universe, Superboy’s arrival allows the series to explore the ramifications of cloning, Lex Luthor’s continued pulling the strings behind the scenes, and deeper questions of identity tied to legacy and heroism. 

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Resident Evil Requiem helped Capcom sell more games than in any other 12-month period in its history, the company announced in its latest financial results.

For the business year ended March 31, the Japanese publisher achieved its ninth consecutive year of record profits and the highest consolidated sales and operating profit in its history, it said.

In total, Capcom sold 59.07 million games during the business year, up from 51.87 million in the year prior. This figure was driven overwhelmingly by sales of Resident Evil games. Notably, Resident Evil Requiem, released in February, sold nearly 7 million units by the end of March.

Capcom said 83.7% of its game sales came from older ‘catalog’ titles, while a huge 93% of the games it sold were digital download versions.

Looking forward, the company said it anticipates net sales of 210,000 million yen and operating profit of 83,000 million yen, which would result in ten consecutive years of record high profit for the company.

For the business year ending March 2027, Capcom expects to increase its number of games sold by a further 10%, to 65 million, it said.

Its next business year will include sales of Pragmata, which sold 2 million copies in its opening weeks, and the upcoming Onimusha: Way of the Sword. Mega Man: Dual Override is due to release sometime in 2027.

Notably, the second season of the popular Devil May Cry anime series premieres this month, and the Street Fighter movie will be released in cinemas in October.