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Monday, Oct 19th, 2026
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Former President Barack Obama issued a statement today after the shooting last night at the White House Correspondents’ Dinner in which an armed assailant apparently tried to get to President Trump and other administration officials. Obama called on all Americans “to reject the idea that violence has any place in our democracy.”

He also called the incident “a sobering reminder of the courage and sacrifice that U.S. Secret Service Agents show every day.”

In a press conference after the incident last night Trump, in prepared remarks, also praised the “great work done by law enforcement.”

He went on to ask for unity, saying, “in light of this evening’s events, I ask that all Americans recommit with their hearts in resolving our difference peacefully. We have to resolve our differences. I will say you had Republicans, Democrats, independents, conservatives, liberals and progressives…But yet everybody in that room…there was a tremendous amount of love and coming together. I watched, I watched and I was very, very impressed by that.”

Trump stressed the spirit of the event, which celebrates the White House Press Corps and the First Amendment.

“This was an event dedicated to freedom of speech. That was supposed to bring together members of both parties with members of the press. And in a certain way it did because the The fact that they just unified. I saw a room that was just totally unified.”

After his prepared remarks, the president was a little more colorful, calling the incident “shocking” and the shooter a “nutjob.” He then maintained the violence is a sign he’s an effective chief executive.

“When you are impactful they go after you, when you are not impactful they leave you alone,” POTUS said of the violence Saturday and previous assassination  attempts against him over the years. “It’s a dangerous profession.”

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Former President Barack Obama issued a statement

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“Chain of Custody” – Reenie hires Colter to locate the star witness of her and Maxine’s (Robertson) lawsuit against a corrupt real estate developer on the eve of trial, on the CBS Original series TRACKER, Sunday, May 3 (8:59-9:59 PM, ET/PT) on the CBS Television Network, and streaming on Paramount+ (live and on-demand for Paramount+ Premium plan subscribers, or on-demand for Paramount+ Essential subscribers the day after the episode airs)*.

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“Turning a movie into a musical reeks of desperation,” says a character in the new Broadway musical adaptation of the 1987 film “The Lost Boys.”

That insider wink to the audience gets a big laugh — and truer words were never spoken. But this stunner of a show, based on the Joel Schumacher film, is a solid theatrical transformation, rich in imagination, humor and heart — and with spectacular special effects.

It should also break the curse of flop Broadway musicals about vampires, following the bloodletting of 2002’s “Dance of the Vampires” (music by Jim Steinman), 2004’s “Dracula: The Musical” (music by Frank Wildhorn), and 2006’s “Lestat” (music by Elton John). Or at least it has an “Outsiders” chance, what with that 2024 hit musical showing a box office pathway by tapping into the evergreen potential of adolescent angst and pluck. After all, stranger things have happened and the teen strategy certainly worked for the “Buffy, the Vampire Slayer,” “The Vampire Diaries,” and “Twilight” franchises.

Director Michael Arden (Tony awards for “Parade” and “Maybe Happy Ending”) returns in top form here (let’s call “Queen of Versailles” an outlier) in an epic-yet-elegant production that lives up to the MTV-stylish film that became a Gen X favorite.

Because of the size and scale of the musical production (reportedly in the $25 million-plus range), the show nixed an out-of-town run. While “The Lost Boys” could have benefitted from more work — particularly in the troublesome second act — the production should still satisfy longtime fans and be an attractive sell for a younger market.

Co-writers David Hornsby (TV’s “It’s Always Sunny in Philadelphia”) and Chris Hoch improve the screenplay, tightening the original storyline, cutting some characters, upping the funny and giving the show more warmth.

The story again centers on just-divorced mom Lucy Emerson (Shoshana Bean, terrific) and her two teenage sons — sullen Michael, 17 and nerdy Sam, 14. They’re seeking a fresh start by relocating to a California coastal town where dozens of its residents are mysteriously disappearing. (What is even more strange is that the outbreak of missing persons hasn’t caused a town panic, or made national headlines.)

Feeling restless and reckless, Michael (LJ Benet) is drawn to a hard-rocking local band that is secretly a quartet of young vampires that is literally sucking the life out of the community. The leader of the pack is charismatic David (Ali Louis Bourzgui), played by Keifer Sutherland in the film. Wanting to be break free from his family and with the added seduction of Star (Maria Wirries), Michael is peer-pressured into drinking from a bottle whose contents turns him into a half-vampire. His graduation as a full member of this blood brotherhood awaits after his first kill.

On discovering his brother’s nocturnal transitioning — “Don’t tell mom!” begs Michael — Sam (Benjamin Pajak), played by Corey Haim in the film, teams up with the Frog Brothers (Jennifer Duka and Miguel Gil), a pair of fellow comic book fanatics and self-styled vampire hunters, to try to save Michael before his first everlasting bite.

Families — lost and found — are at the heart of the show as is the young’s desperate need to belong —whether it’s in a gang, band, club or coven (or in Lucy’s day, a communal hippie life). Add teen rebellion, father issues, parental abuse, rites of passage and the allure of immortality and you have some potent subjects to deal with, even if they don’t always fit comfortably with the show’s shifting tones.

Benet (Disney Channel’s “Dog with a Blog”) taps into Michael’s adolescent vulnerability and handles his big numbers assuredly. Bourzgui, smashing in the title role in “The Who’s Tommy,” brings mystery, a cool swagger and menace to the role, as well as a dash of homoeroticism. (The scene where he intimately teaches Michael to play the guitar is swoon-worthy.) Paul Alexander Nolan has charm, smarm and danger as Max, the video store owner, who has duplicitous sights on the Emerson family.

As Sam, Benjamin Pajak, who played Winthrop in “The Music Man” and the title role in Encore!’s “Oliver!”, nicely segues his talent to teen-hood as a “nervous dweeb” who has an eye for fashionable footwear and a boy crush on Rob Lowe. Sam’s coming-of-age arc, where he discovers queerness is his superpower, is one of the fresher elements in the adaptation.

But the broad comedy of that role — and especially that of the Frog Brothers — sometimes imbalances the show’s tone as the musical struggles with the conflicting demands of humor, horror and sentiment.

The L.A. indie-rock group The Rescues gives the show its drive and does well musicalizing its more intimate, playful and personal moments. It also manages to evoke the ‘80s sound while still feeling contemporary — and the choral harmonies are lovely, too. The show’s ‘80s atmosphere is brat packed with Ryan Park’s new wave costumes and David Brian Brown’s hair and wig designs — dig those mullets, Mohawks and ‘highlighted pompadours. There’s even hat tip to the film with a cameo by “the sweaty sax guy.”

The spectacular lighting (Jen Schriever and Arden) and sound design (Adam Fisher) create a world of foreboding and creepiness. Dane Lafrey’s magnificent, multi-level design makes maximum use of the Palace’s cavernous stage to create a lair to die for.

It’s also a grand space for mesmerizing aerial work, staged by Gwyneth Larsen and Billy Mulholland. Those exquisite night flights bring to mind another bunch of Neverlanders longing for home. In “The Lost Boys” at least one of them makes it back.

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“Turning a movie into a musical reeks

R.E.M. frontman Michael Stipe stopped by The Late Show With Stephen Colbert last night (April 23) to confirm that his long-in-the-works solo debut will be released “at the end of the year.” Stipe also debuted a song from it, “The Rest of Ever,” with backing from the show’s house band, Louis Cato and the Great Big Joy Machine.

During his couch segment, the heavily bearded 66-year-old vocalist said one of the album’s songs “is the sound of a tree hearing itself for the first time. My friend recorded a tree in my backyard in Georgia and played it back to itself.” Stipe said the ensuing song “sounds like Daft Punk” and that he reworked the lyrics to the 250-year-old sea shanty “Drunken Sailor” to pair with it.

He continued, “I misheard what I thought was part of the original song — ‘tie him to the mast and shave his belly.’ And then my part comes in, which is ‘duct tape, donkey ears, jelly wellies early in the morning.’”

Addressing R.E.M.’s 2024 reunion at the Songwriters Hall of Fame, during which its four original members performed together for the first time in 17 years, Stipe noted, “I’m just very lucky that we are best friends. You know, we split the band up in 2011. We remain best friends. We have dinners with each other. We text each other all the time. When we’re working on projects, we invite each other to participate. They’re friends for life and my best friends. I’m really honored to have that.”

Colbert also asked Stipe about his reaction to Michael Shannon and Jason Narducy’s R.E.M. tribute project, through which they’ve performed the band’s early albums in their entirety since launching in 2024. The same core four R.E.M. members took the stage together again in February 2025 in Athens, Ga., when Shannon and Narducy rolled through the band’s longtime home base.

“I’m like the biggest fan of those guys doing that because I’ve never gotten to hear those songs performed live,” Stipe noted. “I was always in the middle of it [but] those songs are in my DNA. So, I’m hearing a part of me thrown back but interpreted by someone who I really admire and love. Michael Shannon and Jason — they’re incredible guys.”

Stipe admitted to being “freaked out” prior to joining the fun that night in Athens. “I had told Michael that I wanted to jump up for the song ‘Pretty Persuasion,’ which I wrote when I was 22. It was basically about trans rights [or] what we would now call trans rights. I was backstage and I kind of got like a little freaked out. [Guitarist] Peter Buck had been jumping up with them. He loves to play guitar, so he was up for several song and he said, just go. Just get up there. Just do it. So I was like, okay Peter. I jumped up and then [bassist] Mike Mills was side of stage and he jumped up to sing background. And about halfway through the song, I heard a tambourine over my right shoulder and I turned around and [drummer] Bill Berry was standing there. So, we reunited for half a song that moment.”

After Colbert suggested comedian David Cross should play Stipe in an R.E.M. biopic due to the similarity of their large beards, Stipe instead proposed Billie Eilish, who he then said had once held a door open for him at a New York restaurant without him realizing who she was.

Stipe didn’t reveal many further details about his solo album, from which a handful of potential songs have emerged over the past several years. “[It’s my first ever solo record and I’m really pleased about that.”

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Capturing and holding attention has become one of the toughest challenges for modern brands. Audiences scroll quickly, skip ads instinctively and expect more from the content they engage with. This is where cinematic thinking comes into play. By approaching campaigns with the mindset of a filmmaker rather than a marketer, brands can create work that feels immersive, intentional and memorable.

Cinematic thinking is not about large-scale production or dramatic budgets. It is about crafting campaigns with a clear vision, strong storytelling and a consistent visual identity that resonates from start to finish.

Story First, Always

At the core of any cinematic campaign is a compelling narrative. Instead of focusing purely on product features or sales messages, brands shift their focus to storytelling.

This approach transforms how audiences engage with content. Rather than being sold to, they are invited into a story. Whether that story inspires, entertains or challenges perspectives, it creates a deeper level of engagement. When people feel connected to a narrative, they are far more likely to remember the brand behind it.

Visual Consistency Builds Recognition

A cinematic approach also places strong emphasis on visual cohesion. Films are instantly recognisable because of their tone, lighting and colour palette. The same principle applies to brand campaigns.

Consistency across visuals helps reinforce identity. Whether a campaign appears on social media, digital ads or PR features, maintaining a unified aesthetic builds familiarity and trust. Over time, this consistency contributes to a more premium and recognisable brand presence.

Collaborating with experts like Decoy Media can help brands achieve this level of polish, ensuring every visual asset contributes to a cohesive and engaging narrative.

Emotion Drives Engagement

Cinematic campaigns are designed to evoke emotion. While traditional advertising often focuses on logical benefits, this approach prioritises how content makes people feel.

Emotion creates connection. Whether it is excitement, nostalgia, curiosity or empathy, these responses encourage audiences to engage more deeply. Content that sparks emotion is also more likely to be shared, extending the reach of a campaign beyond its initial audience.

Pacing and Structure Matter

Another important element of cinematic thinking is structure. Strong campaigns follow a clear narrative arc, even in short-form formats.

There is a beginning that captures attention, a middle that builds interest and a conclusion that delivers impact. This sense of progression keeps audiences engaged and makes the content feel complete.

Even a short video or social clip can benefit from thoughtful pacing, turning simple content into something far more compelling.

Elevating Perception Without Inflating Budget

One of the most valuable aspects of cinematic thinking is its ability to elevate a campaign without dramatically increasing costs. A strong concept, combined with intentional storytelling and visual direction, can make content feel high-end and refined.

It is not about doing more, but about doing things with purpose. Every element of the campaign should feel considered and aligned with the overall vision.

The Takeaway

Cinematic thinking encourages brands to move beyond fragmented content and towards cohesive, story-driven campaigns. By focusing on narrative, visual identity, emotional impact and structure, brands can create campaigns that stand out and stay memorable.

When executed well, this approach does more than capture attention. It holds it, shapes perception and builds lasting connections.

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Capturing and holding attention has become one

ANAHEIM –

The Edmonton Oiler gave goaltender Tristan Jarry his first start of this year’s NHL playoffs in Game 4 of a first-round series against the Anaheim Ducks.

The Oilers, trailing the best-of-seven series 2-1 heading into Sunday’s game at the Honda Center, have been outscored 16-12 in the first three games.

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Connor Ingram went 1-2 in the first three games with a .470 goals against average and .849 save percentage.

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Edmonton acquired Jarry in December in a trade with Pittsburgh that sent longtime starter Stuart Skinner to the Penguins.

Jarry, who was injured early in his tenure with the Oilers, went 9-6-2 after he arrived in Edmonton. The 30-year-old from Surrey, B.C., got his first playoff start as an Oiler and first since 2022 with the Penguins.


Oilers forward Jason Dickinson also drew back into the lineup after missing two games with an injury.

This report by The Canadian Press was first published April 26, 2026.

&copy 2026 The Canadian Press

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By The Canadian Press The Canadian Press Posted April

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Almost as soon as gunshots were reported from the White House Correspondents’ dinner on Saturday night, social media was flooded with conspiracy theories and finger-pointing over the attack. In a now-common phenomenon after such incidents, prominent influencers fill the information vacuum with speculation in a bid for attention and followers.

The miasma of falsehoods, rumors and conjecture has clouded multiple breaking news moments in recent years, including two previous assassination attempts against President Trump and the capture of Nicolás Maduro, then Venezuela’s president.

This time, users from across the political spectrum were participating in the chaos on platforms like X, Facebook and TikTok. Some users claimed that the attack was “staged,” suggesting without evidence that it was part of an apparent plot by Mr. Trump or others to distract from bad polling numbers or the war with Iran. The term “staged” surged to more than 300,000 posts on X by midday Sunday, according to data by TweetBinder, a social media analytics company owned by Audiense. (At least some of those posts refuted the notion that the attack was planned.)

Other users were quick to assign blame, tying the shooter to Israeli causes without proof, and using imagery that was apparently manipulated with A.I. tools to support their claims. RT, a Russian state news channel, amplified some of those claims on X.

The result is an almost-instant online free-for-all over the truth, which plays out in just seconds and minutes after news of an attack is made public, and continues for days and weeks even as the truth often remains elusive. Nearly two years after an assassination attempt on Mr. Trump at a rally in Pennsylvania, for example, many influential accounts continue to claim that the event was staged, even though two people were killed.

“People are reshaping reality based on what they want to be true or not,” said Cliff Lampe, a professor and associate dean for academic affairs at the School of Information at University of Michigan. “They’re not looking for good information, they’re looking for confirmatory information, and will often go very deep down a rabbit hole of side-by-side pictures, microshots of the president’s face, et cetera.”

At the same time, the president has participated more actively online than previous leaders, marshaling his supporters to post about events as he does, and fanning the flames of conspiratorial thinking. After the attack on Saturday, Mr. Trump said the ordeal should support his effort to build a gilded ballroom on White House grounds. Scores of right-wing influencers picked up the message, sharing posts that said Mr. Trump’s planned ballroom was an urgently needed addition to White House security measures. (The dinner was held at the Washington Hilton Hotel.)

Among the most-shared posts online on Saturday night and Sunday were claims that the attacker was shot and killed on scene — in fact, he was arrested — along with speculation about his motives and political alliances. After some of the posts gained millions of views, the authors sometimes posted corrections that made clear that the attacker was not killed, but those received only a fraction of the views.

“Rumor moves very quickly, and then it often takes a very long time to correct those errors,” Dr. Lampe said.

Influencers have motivation to post speculation and rumor, even if they do not believe it: The attention it brings can be vital in gaining followers and, on revenue-sharing platforms like X, can mean larger payouts.

For example, Mario Nawfal, an online influencer who has previously promoted Russian talking points, on Sunday posted a collection of unfounded theories on X and then immediately said he did not believe them.

“My position: I don’t believe any of the theories, definitely don’t think it was staged,” he wrote at the end of the post, which received more than 300,000 views.

X did not respond to a request for comment.

One clip from Fox News that spread widely on Sunday featured a phone interview with Aishah Hasnie, a White House correspondent for the network who had attended the dinner. Her call dropped midway through her firsthand account, leading some users to claim that the network had deliberately suppressed her story.

She later clarified in a post on X that there was little reliable signal in the ballroom where she was calling from.

“Getting out the truth and establishing facts and reliable information takes time,” said Amanda Crawford, associate professor at the University of Connecticut who has studied media coverage of mass shootings and conspiracy theories. “But our audiences really don’t have that kind of patience. And so you’re immediately seeing narratives that are being geared to answer the questions that people want to know, often building on the biases of people that are sharing them.”

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Almost as soon as gunshots were reported

Around a dozen parents huddled in the dim hallway outside the courtroom in February, nervously gripping paper tickets. They were glaring at a gray tote bag held by a member of the court staff — the one who’d determine, by lottery, if they made it inside. Pinned on bags and coats, butterfly clips honored children they’d lost, deaths these parents link to their children’s experiences online. The clips were a symbolic gesture chosen to not inadvertently prejudice the jury, which would decide if social media companies could be held liable for the kinds of harms they believe their children experienced. If the number on a parent’s ticket came up, they’d win one of 15 public seats to see that jury with their own eyes. Perhaps more importantly, they’d see the man many of them blame for their children’s deaths: Meta CEO Mark Zuckerberg, who was set to testify that day.

The crowd waiting for those few coveted wooden seats included mothers like Mary Rodee and Lori Schott, just two of numerous parent advocates that traveled to watch a landmark social media case whose arguments conclude today. While this particular case focuses on the allegedly addictive design of Instagram and YouTube, parents were brought there by a much wider range of issues, after their children died by suicide, choking challenges, and accidental overdoses they believe were facilitated or exacerbated by online platforms. Some parents in attendance had filed their own suits against the companies. More are scheduled to face trial later this year.

A court staffer pulled a number that matched a ticket in the crowd, and the mood turned jubilant. Over days of this ritual, the reactions were similar: One mother gasped. Another danced down the hallway to collect her badge. Several times, the crowd of parents cheered when one of their numbers was called, until the court staff told them they needed to refrain.

Then, without warning, Zuckerberg marched through the crowd. He was a floating head behind a burly entourage, his face neutral and focused. The room fell to a hush with the slow realization of who had walked by. Within seconds, he had turned the corner toward the courtroom, and everyone began to chatter again.

Rodee, whose son Riley Basford died by suicide at age 15 after she says he was targeted for sextortion over Facebook, later recalled spotting Zuckerberg thanks to his unmistakable shock of curly reddish hair. “One thing that pisses me off about him is the curly hair,” Rodee told me. “Riley’s curly hair was so fricking cute. And then I want to shave his curly hair because he doesn’t fricking deserve it.”

Over the past several weeks, a Los Angeles jury has heard arguments in a social media case brought by a now 20-year-old woman going by K.G.M., or Kaley. She testified that the allegedly addictive design of the platforms had her using social media “all day long,” eventually contributing to suicidal thoughts and body image issues.

Meta and Google are defending themselves against claims that their products were negligently designed to hook users like Kaley and led to mental health issues. They have countered that it’s in their interest to create positive experiences for users, and other circumstances in Kaley’s life drove her mental health struggles, for which their platforms offered an outlet. (Snap and TikTok were also defendants, but settled their cases before trial.) It’s the first of several “bellwether” cases that could determine how thousands of similar suits are handled, with not only money but the companies’ long-held business models at stake.

Jury deliberations are expected to begin Friday, and it’s not known how long they’ll last. They’re tasked with determining whether each company was negligent in its product designs, and if they were a proximate cause of Kaley’s mental health struggles. Should they find in Kaley’s favor, they will also deliberate on damages. While the direct outcome of a win for Kaley would be monetary, Matthew Bergman, founding attorney of the Social Media Victims Law Center who has represented her, said it’s the “raison d’être” of the broader set of cases to make it so financially burdensome on companies that they “internalize the cost of safety and make it more expensive for Meta and YouTube to continue designing and operating and profiting from dangerous products than safe products.”

Left, Lori Schott holds a picture of her daughter Annalee who died by suicide after consuming social media content on depression, anxiety and suicide. Right, Amy Neville holds a picture of her son Alexander, who died at 14 from fentanyl purchased through social media.
Photo: Jill Connelly / Getty Images

Parent advocates like Rodee and Schott know that there’s no guarantee of a win against the social media companies. No matter the outcome in LA County Superior Court, they are hoping to win in the court of public opinion. Over the first days of the trial, they told their children’s stories over and over outside of the courthouse to reporters and even to the lead plaintiff attorney in the case, Mark Lanier, as he left the building. “We need the awareness. We need public pressure on our politicians to say, can we try and save all of these American children?” said Annie McGrath, whose son Griffin — or Bubba — died at age 13 after attempting a choking challenge he allegedly learned from a YouTube video.

Kaley’s success or failure hinges on convincing a jury that social media platforms can be held liable for design features, even when they’re delivering user-generated content that’s usually shielded by Section 230. If the jury concludes Meta and Google are liable for harm to Kaley, it could eventually help inform a broader settlement for over 1,500 similar cases, some filed by parents in attendance. But that’s far from a foregone conclusion. Numerous suits have alleged that social media companies designed unlawfully “defective” products. Section 230 has defeated many far before they reach the trial phase — though not all. In 2021, for instance, the Ninth Circuit Court of Appeals ruled that Snap could be sued for adding speed filters that allegedly encouraged a young user to drive recklessly and crash, even if the filter was populated with users’ own driving speeds.

Meta and YouTube have both denied the allegations in Kaley’s case. “We strongly disagree with these allegations and are confident the evidence will show our longstanding commitment to supporting young people,” Meta spokesperson Andy Stone said in an earlier statement. The company has created a site about teen safety to rebut allegations across many of the cases. “Providing young people with a safer, healthier experience has always been core to our work,” YouTube spokesperson José Castañeda said in a previous statement.

Many parents were eager to hear Zuckerberg face questioning. The Meta CEO has testified several times in Congress, but he was up against lawmakers barking strings of rapid questions, then moving on. “Now you’re in front of a jury, not congressmen and women who are also lining their pockets with money from Big Tech,” said Brandy Roberts, whose daughter Englyn died by suicide at age 14 after her parents say she emulated a video she saw on Instagram. “We know that the jurors cannot be paid off.”

Nothing Zuckerberg could say would bring their children back, but if they could keep the pressure on platforms to implement new safeguards, or teach other parents about the potential dangers their kids could experience online, they’d stand in the unseasonably cold and rainy LA weather all day.

The case has created a rare chance to expose information that the companies would rather keep under wraps. Documents displayed during Zuckerberg’s testimony, for example, showed how Meta lifted a temporary ban on certain third-party Instagram filters that could alter users’ appearances, albeit without promotion by the platform. Internal emails showed that some executives disagreed with that decision, and expressed concern that it could promote body dysmorphia among teen girls. “We were one of the families who were on top of things,” said Roberts. “We had passwords to phones, we monitored the usage and had no knowledge of things that are coming out in the internal documents in court.”

Mothers I spoke to outside the courtroom told me that the fact the trial is even happening feels like a win. “It’s such a surreal thing to think that we are at this point, we’ve been fighting for this for so long,” said Amy Neville, whose son Alexander died at 14 from fentanyl poisoning allegedly facilitated by Snapchat almost six years ago. “To have this moment that we were told could never happen, it’s a little bit overwhelming to stop and think about.”

“I keep saying things are oxymoronic,” Rodee told me, like “justice and injustice, all at the same time.”

“Riley’s never coming back. And what do I really think can happen to this guy?” she said of Zuckerberg. “So it’s just continuing to remember that this is a huge step. These documents in front of a jury is what they laughed in our face about when our kids died.”

“The doors are finally open, but your child is not there to see that we are getting somewhere”

Whether or not they got a seat inside, the parent advocates made the most of their time there to spread awareness. Before the lottery system had been implemented, parents waited outside overnight in the rain to see Instagram head Adam Mosseri, pulling all-nighters, playing cards, and swapping stories to make it to the morning. The prior week, they participated in demonstrations, including unveiling a memorial of large-scale smartphones with their children’s images, and painting the names of children allegedly harmed by Snapchat on the street in front of the company’s LA office. Roberts recalled that during a moment of silence at one of the events, it “hits you in your gut, when you realize that standing in front of the courthouse, the doors are finally open, but your child is not there to see that we are getting somewhere.”

A figure walks through an art installation of giant 3D phones featuring deceased children.

Images of deceased children are displayed at the ‘Lost Screen Memorial’, an art installation of large-scale smartphones featuring 50 children who lost their lives due to online harm.
Photo: Frederic J. Brown / Getty Images

All of the parents described a strong sense of community and shared understanding. Many of them had informal and perhaps unspoken agreements with one another about who to prioritize getting a spot in the courthouse, based on whether their own case had been filed in the same courthouse, or if their kid experienced harm on Meta’s platforms specifically. “It’s just like now everybody’s kid is my kid, especially in my grief besties,” Rodee said. “That’s another oxymoron, right? We’d all give up all these friends to have our kid back.”

There was a minor sense of satisfaction for some parents in the fact that Zuckerberg had to go through the public entrance’s metal detectors, just like everyone else. Many of the parents present had seen Zuckerberg before when he testified in the Senate in 2024. There, at the prompting of Sen. Josh Hawley (R-MO), he turned around to apologize to them, each holding pictures of the children they had lost. A few of them later described that moment to me as “fake.”

Seeing him in court was both similar and different. “I’m sure it was a new million-dollar suit, but he looked exactly the same,” Rodee said. “He’s short,” McGrath thought.

Deb Schmill, whose daughter Becca died at age 18 due to fentanyl poisoning via drugs she allegedly purchased with the help of social media, “desperately wanted” to get into the courtroom on the day Zuckerberg testified, but her ticket wasn’t called. “I was so disappointed. I don’t cry that often. I was almost in tears that I wasn’t going to get in,” she told me outside the courthouse that morning. Still, it was hard to be in such proximity to the CEO, compared to when she was seated in the Senate committee room for his congressional testimony. “Hopefully I’ll never have to be that close to him again,” she said. “It’s just a weird thing to be seeing the person who purposely made decisions that impacted your child like this, and all these children like this.”

“It’s just like now everybody’s kid is my kid, especially in my grief besties”

Parents endured the discomfort to make sure Zuckerberg was aware of their presence. “I wanted him to look at me,” said Schott, whose daughter Annalee died by suicide at age 18 after struggling with body image issues she believes were exacerbated by being fed a steady stream of social media posts. “Usually, I’m just the one who cries, but I wanted him to look at me and to look at Mary and just know that parents are here. I hope to hell they said, ‘Oh shit, the parents are here.’”

Even harder than being at the trial, for some, was being away from it. “I couldn’t be here last week and I was not in good shape at home. You can ask my daughter. I was stomping around saying, ‘I need to be there,’” McGrath said outside the courthouse during the second week of the trial. McGrath showed me a recurring reminder that pops up on her phone every day after work to report the choking game video to YouTube. She says it typically takes her 10 minutes a day to find about 50 videos that she reports to the platform. “I don’t even think anyone ever looks at them.”

Closeup shot of a butterfly clip with rhinestones on a person’s bag strap.

An advocate for families who have children who’s death was related to social media wears a butterfly clip to support them.
Photo: Jill Connelly / Getty Images

Brandy and Toney Roberts showed up to bring awareness to the kinds of harms they believe their daughter Englyn was exposed to on social media. “Being from a small town in Louisiana, we don’t want our daughter forgotten,” said Brandy. “Getting her face out there and letting the world know that it doesn’t discriminate … It doesn’t discriminate on age, it doesn’t discriminate for religion. It’s harming all of our kids. So just to put faces to actual names and for the big CEOs of these Big Tech companies to see that our children existed and they matter to us.”

Outside the courtroom the day before Zuckerberg’s testimony, Lanier, the lead plaintiff attorney, walked around a circle of mothers, holding their hands and asking each about their children and what they’d experienced. Throughout the week, several told me about their kids as well: Becca “gave the best hugs out of anyone in the world,” according to her mother, Schmill. Schott’s Annalee was “a little rural country girl that was never any trouble and loved community service and living on the farm.” Riley would hide around the corner to scare his mother, Rodee, or “have the radio cranked up when I get out to the car, dancing and singing.”

“I pray for your comfort,” Lanier, whose other profession is as a pastor, closed his eyes and said, standing in the circle of parents, holding each other’s hands and nodding vigorously. “And Lord, make our team valiant to fight for you, and to fight for justice, and to fight for the hearts and souls of so many kids who are cast off in the interest of profit.”

“I hope to hell they said, ‘Oh shit, the parents are here’”

Court had been dismissed early that day after both sides decided to put the day’s schedule on pause to see if a juror who was in the hospital that morning would recover in time to come back. The attorneys worried about a “run on the jury” — having more jurors find reasons to get out of trial — once they got to see its most high-profile witness testify the next day.

Besides the juror’s hospitalization, the trial had already been plagued by a series of unfortunate events. Jury selection was paused for several days at the beginning of the trial after Meta’s lead attorney, Paul Schmidt, sustained a concussion. Then, the entire proceeding had to move to a different building when the courthouse had water damage from a leak. The mishaps scuttled the original schedule for top executives including Zuckerberg and YouTube CEO Neal Mohan, who ended up not testifying at all.

On the day of Zuckerberg’s testimony, the courtroom was stuffed with lawyers, public, and press — it was hard to imagine how much smaller the room would have felt with Snap and TikTok in the mix. Lanier’s sermon-like style was on full display during his examinations. His charismatic demeanor clashed with Zuckerberg’s matter-of-fact tone, at times seeming to make the Meta CEO bristle.

Lanier breezed through a recap in his Southern drawl of Zuckerberg’s testimony from earlier that day. Despite testifying that Meta stopped setting goals to increase user time on its platforms, he said, the company still set milestones as of 2022 to increase use of its products. Zuckerberg accused him of “mischaracterizing” his testimony, saying that “milestones” served only as a “gut check” shared with senior leadership, while employees received “goals” that no longer included increasing time spent.

When questioning friendlier witnesses, Lanier peppered his questions with humanizing questions about their hobbies (former Meta advertising executive Brian Boland is an avid beekeeper, and expert witness John Chandler, an Ultimate Frisbee champ). He kept a laser focus on the jury, whose attention he was clearly eager to retain. Unlike in a bench trial, where the judge is informed on the law (and paid a salary to be there), attorneys have to ensure their message is easy enough for a layperson to follow. After the judge denied his request to change the schedule so he wouldn’t have to put on his data science expert during the afternoon doldrums, Lanier amped his energy even higher than it had already been. “For a riveting afternoon, we thought a lot of math would be in order,” he said to introduce Chandler. Lanier lavished attention on Chandler’s personal life, asking about his 5-year-old (“yes, we have a 5-year-old border collie mix,” Chandler said, to laughter), and shouting, “Mercy, I almost forgot you’re a world champion!” to let him talk about his Frisbee accomplishments.

Rather than show exhibits through the computer, Lanier presented notes and doodles with the kind of overhead projector common in elementary schools. He introduced Boland, his criticisms of Meta, and the allegedly dictatorial “Zuckerberg Mandate” he would explain by drawing a sketch of a road with three stops, an outline of the journey Boland’s testimony would take.

To defend themselves, the companies have countered that other factors in Kaley’s life impacted her mental health, and pointed out that social media addiction isn’t a clinical diagnosis. Mosseri testified that using the app for 16 hours a day was simply “problematic use.” “I’m sure I’ve said that I’ve been addicted to a Netflix show when I binged it really late one night, but I don’t think it’s the same thing as clinical addiction,” he said during another part of the testimony, according to the BBC. YouTube’s vice president of engineering, Cristos Goodrow, testified that endless scrolling by users would be a bad sign for the business, indicating its recommendation systems weren’t working as intended, NTD News reported.

During their defense cases, the companies sought to discredit any idea of a causal link between their services and Kaley’s struggles. They’ve called witnesses to testify to the offline issues Kaley was facing, and Google claimed she spent only an average of 30 minutes a day on YouTube.

Social media addiction is not an official diagnosis, though groups like the American Psychiatric Association say that “problematic and compulsive use of social media” could be addressed with cognitive behavioral therapy. Its impact is less black-and-white than the substance-based addictions the platforms are often compared to, like nicotine. Moderate social media use has actually been linked to positive outcomes for users’ well-being, and some research has found that undergoing a “digital detox” doesn’t evoke the kind of physical withdrawal symptoms found with drugs. During the trial, instead, social media compulsions have been compared to addictions to gambling, which is a behavioral addiction defined in the DSM-5.

Parents around the courthouse told me that the way their children were stuck to their phones was alarming, and that the things they encountered were difficult to detect. Schott recalls locking her daughter’s phone in the car to keep it from her. Julianna Arnold recalls her daughter, Coco — who died of fentanyl poisoning at 17 after trying to buy a Percocet from a dealer she allegedly connected with on Instagram — fighting her for the phone, “as if, if she did not have this in her hand, she would not fall asleep.”

“Parents think, ‘My kid would never do that’ … Oh yeah, they would”

Though the parents blame social media platforms for harming their kids, they also acknowledge there’s a role for parents. “Everybody says, ‘Well, it’s the parent’s responsibility.’ I’m not arguing that,” Schott said. “Of course it is, but I did everything in my power. But playing Whac-a-Mole with the phone and her hunger to be on those social media platforms were just beyond anything I’ve ever seen.” They want other parents to understand the risks, and take steps to educate themselves and their children. “Parents think, ‘My kid would never do that.’ For Griffin, ‘My kid would never choke himself,’” said McGrath. “Oh yeah, they would … The prefrontal cortex isn’t developed until they’re 25. That’s impulse control and rational thinking of, ‘I could actually die,’ that doesn’t enter their head.”

The jury may not need to parse whether kids’ behavior constitutes clinical addiction. To prevail, Kaley’s lawyers must only convince them that the products caused meaningful harm, and that Meta and Google were negligent in preventing it, or failed to warn users about the potential risks. “Addiction is one type of danger,” said Neama Rahmani, a personal injury attorney and president of West Coast Trial Lawyers who isn’t involved in the social media cases. However, it’s been a major focus here, because causation for other kinds of mental harm is much harder to prove. “Lots of people have mental health issues for all sorts of reasons,” said Rahmani. Jess Nall, an attorney at Withers uninvolved in the cases, said in a statement, “While the jury as a matter of law doesn’t need to find clinical addiction as a formal legal element, plaintiffs’ main theory in the case arguably depends on proving something close to it.”

Mark Zuckerberg leaving courthouse surrounded by his legal team.

Meta CEO Mark Zuckerberg leaves the Federal Courthouse in downtown Los Angeles after defending the company in a landmark social media addiction trial.
Photo: Anadolu / Getty Images

One Meta product did pose a clear risk to the actual legal process: its camera-studded Ray-Ban glasses. After Zuckerberg’s entourage was pictured wearing what appeared to be the smart glasses, Judge Carolyn Kuhl told the courtroom that no one should be wearing them, and if they had any recordings, to delete them. Camera glasses weren’t the only issue around potential recordings in the courthouse — Kuhl removed Bergman, an attorney for Kaley, from the steering committee for the broader group of bellwether cases after he recorded an interview with the BBC from inside the courthouse, in violation of the court’s electronics policy.

As the day progressed, Zuckerberg didn’t directly acknowledge the parents at the courthouse. He seemed to make a concerted effort to look straight ahead on his way inside, and exited the witness stand unceremoniously after his long day of testimony. One or two of the parents believed they caught his eye on the way in — and that even if they didn’t, they were confident he felt their presence.

The CEO’s appearance was still toward the beginning of a long battle. This case alone has lasted five weeks, and since he testified, the jury heard from YouTube’s VP of engineering, a former Facebook employee, and Kaley herself. Once this jury finishes deliberating — whatever the outcome — the court will soon move on to the next case in the set of so-called bellwether trials.

While some people wonder why they suffer the grief to tell their stories over and over, Toney Roberts said, “we live it every day anyway. So if it’s going to help another family to not go through the situation, another child to not go through the situation, we’re hoping together that we can bond and bring awareness, as we have done across the entire world.”

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Around a dozen parents huddled in the

Light blue dresses are officially the prettiest trend for summer 2026.

Overcoming the decades-long generational belief that certain colors, prints, and fabrics are reserved for specific seasons and occasions—or worse, outright forbidden—has been one of today’s greatest stylistic triumphs; if only for the sheer liberation of finally letting go of what others think. To name a few examples, there was the notion that white dresses are only for summer, knitwear is just for winter, and the eternal question, “Can you wear black to a wedding?” Now, those assertions and debates are pretty much a thing of the past.

And yet, this paradigm shift hasn’t completely dismantled customs regarding the relationship between seasons and colors. Probably one of the most ingrained is wearing pastels during the spring and summer months, with trendsetters and designers rallying around one specific shade for the past sever seasons. If 2024 belonged to petal pink and 2025 was dominated by butter yellow, this year, it’s clear that cloud blues are taking the reins as the pastel color of 2026.

There is no better way to practice this trend than with the most essential garment of spring and summer. With so many light blue dresses on the market right now, we’ve broken down each style with our favorite options.

The linen dress

The absolute must-have of this and every summer comes with two small nuances for 2026: the first is a pattern that prioritizes gathers, pleats and other special details; and the second, obviously, is the ice blue color.

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Light blue dresses are officially the prettiest

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Madhur Bhandarkar mourns Raghu Rai’s death, calling the legendary photographer’s camera “a compass for truth.”

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Madhur Bhandarkar paid tribute to legendary photographer Raghu Rai, recalling how he helped him during Indu Sarkar research.

Madhur Bhandarkar paid tribute to legendary photographer Raghu Rai, recalling how he helped him during Indu Sarkar research.

Legendary photographer Raghu Rai, widely regarded as one of India’s most important visual chroniclers, passed away at a private hospital in Delhi on Sunday. He was 83. His son, photographer Nitin Rai, confirmed that Rai had been battling cancer for the past two years.

Following his death, filmmaker Madhur Bhandarkar paid an emotional tribute to the celebrated photographer, recalling how Rai had helped him during the research of his film Indu Sarkar.

Madhur Bhandarkar Remembers Raghu Rai

Taking to X, Madhur shared a picture with Raghu Rai and wrote, “Sad to hear of Raghu Rai’s sir demise. During my research for the film #InduSarkar, he gave great insight into India’s Emergency. His camera was a compass for truth, and his work a meditation on life. Sir you will be deeply missed and forever celebrated.”

Indu Sarkar was based on the 21-month Emergency imposed in India between 1975 and 1977 under then Prime Minister Indira Gandhi. Rai, whose work captured several defining chapters of modern Indian history, had offered Bhandarkar valuable insight into that turbulent period.

Who Was Raghu Rai?

Raghu Rai was one of India’s most acclaimed photographers and photojournalists. Over the course of his career, he produced more than 18 books and founded the Raghu Rai Centre for Photography in Haryana in 2016. He was also honoured with the Padma Shri and the Lucie Foundation’s Master of Photojournalism award.

Born on December 18, 1942, in Jhang, Punjab, now in Pakistan, Rai discovered photography almost by chance in the 1960s after borrowing a camera from his elder brother S Paul. What began as an accidental encounter with the medium eventually became a lifelong pursuit that took him to Magnum Photos and saw his work featured in international publications such as Time, Life and The New Yorker.

Rai began his professional career in the mid-1960s and joined The Statesman in New Delhi as a photographer in 1965. During his early years, he documented major national events and, in 1968, visited Maharishi Mahesh Yogi’s ashram when The Beatles were there.

A Lens That Captured India’s Turning Points

Across decades, Raghu Rai’s camera bore witness to some of India’s most historic and haunting moments. His work spanned the Bangladesh Liberation War, the Bhopal gas tragedy and the quiet spiritual rhythm of the Ganga ghats.

Known for his strong preference for emotional truth over decorative imagery, Rai once said in a 2016 conversation with Hindustan Times at the Panchkula Art and Literary Festival, “Colour photographs tend to lack seriousness. The colours are exaggerated; not real.”

His Final Years And Relief Work

Even in his later years, Rai remained connected to humanitarian causes. He supported a relief initiative for victims of the devastating floods that submerged over a thousand villages in Punjab in the latter half of 2025.

The initiative, titled Prints of Punjab, was conceived by his daughter Avani Rai, also a photographer. It was aimed at raising funds for on-ground relief and rehabilitation efforts by Global Sikhs, with support from Method India. The initiative also highlighted the resilience of affected communities through the Sikh concept of Chardi Kala.

Raghu Rai leaves behind a vast body of work that did more than document India. It interpreted the country’s pain, beauty, contradictions and spirit with rare sensitivity.

News movies bollywood Madhur Bhandarkar Mourns Raghu Rai’s Death: ‘His Camera Was A Compass For Truth’
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Last Updated:April 26, 2026, 22:00 ISTMadhur Bhandarkar


Well, we didn’t get an Avengers: Doomsday trailer yet, but…some did.

Disney revealed a new clip for the biggest release of 2026.

Source: Marvel Studios

We’ll discuss what we’ve heard about it and more in MarvelBlog News.

The Phantom Trailer

Avatar 2: The Way of Water

Disney is making some decidedly curious decisions about Avengers: Doomsday.

Previously, Marvel created several brief teasers and linked them to Avatar: Fire & Ash.

The design of each clip was to keep audiences wanting more.

However, Marvel registered at least two and possibly three other ads.

Americans have never seen any of them, and that’s not all.

We never got the long-anticipated Super Bowl trailer, either.

Photo: Marvel

Now, we’ve learned that another tantalizing Marvel spot exists.

Frustratingly, we don’t get to watch that one because it’s for the professionals.

Photo: Marvel

Specifically, Disney aired this new trailer at CinemaCon 2026.

That’s a signature industry event where studios reveal their top films for the year.

Kevin Feige didn't save Victoria Alonso

Source: Jessie Grant/ Disney/ Getty Images

Obviously, Disney wasn’t about to miss that, but they have skipped a step.

Typically, when a studio unveils a high-quality trailer at CinemaCon, it appears online soon afterward.

Kevin Feige

(Photo by Vivien Killilea/Getty Images for American Cinematheque)

That obviously hasn’t happened with Avengers: Doomsday, which is annoying.

Some people attending the event have happily relayed details, though.

The Story of Marvel Studios: The Making of the Marvel Cinematic Universe

The Story of Marvel Studios: The Making of the Marvel Cinematic Universe. Photo: Marvel

So, let’s quickly discuss what we know about the only Marvel movie of 2026.

The Avengers: Doomsday Trailer

Marvel Cinematic universe

Before I begin, I’ll add that I’m hopeful this trailer becomes available this week.

Unfortunately, I suspect that I know Disney’s strategy here.

The Mandalorian comes to Disney+

The company may wait to connect Avengers: Doomsday to The Mandalorian & Grogu.

That film is out in less than four weeks, which makes a kind of sense.

Source: Marvel

Personally, I feel strongly that Disney should just follow the conventional routes here, though.

Fans remain on the fence about Marvel and the MCU right now. Don’t get cutesy.

Source: Lucasfilm

That’s just my opinion, though. The people who have seen the clip are quite positive.

This trailer shows Professor X watching in horror as a rift forms at the X-Mansion.

Source: Marvel/ Fox

Almost immediately afterward, Robert Downey Jr. appears as Doctor Doom.

Importantly, he’s speaking with a Latverian accent, which I hadn’t expected.

Source: Marvel

Then, we witness a series of superhero team-ups, which hints at the story here.

Some members of the Fantastic Four interact with Sam Wilson and his team.

They’re Avengers, although we don’t know the unit’s name yet.

We already know from Thunderbolts* that the government considers them the New Avengers.

Source: Marvel Studios

In fact, we also learned that Sam Wilson has sued them for trademark infringement.

That story may get a resolution in Avengers: Doomsday or Avengers: Secret Wars.

Secret Wars

Photo: Marvel

We have a lot more in play in the trailer, starting with the weird combo we’d already seen.

The Thing is hanging out with the Wakandans for some reason

Photo: Marvel

In the Avatar: Fire & Ash teaser, the implication was that they’re the first ones to encounter Doom.

The Trailer’s Big Surprise

Source: Marvel

Speaking of Doom, the trailer shows him battling with various familiar faces.

One of them is Thor, who tries to wreck Doom with Stormbreaker. It…doesn’t go great.

Source: Marvel Studios

Some of the other fights involve X-Men and characters from the MCU.

Gambit gets into a brawl with Shang-Chi, as an example.

Source: Marvel Studios

That’s significant since the Secret Wars comic book includes his dream matches.

The clear hint is that we’ll get superhero vs. superhero action in this film.

Source: Marvel Studios

Another example sees Yelena, the new Black Widow, fight Mystique, who is disguised as someone else.

That isn’t the big surprise, though. No, that happens at the end.

Jennifer Lawrence as Mystique in X-Men First Class

Photo: Doane Gregory/Fox

Stymied, Thor prepares Mjolnir for battle before noticing someone off-screen.

The Avenger releases Mjolnir, which flies into the waiting hands of…Steve Rogers.

Source: Marvel Studios

Yes, Avengers: Doomsday will once again feature Captain America wielding Mjolnir.

So, when Marvel DOES release this trailer, that part will break the internet.

Steve Rogers

Source: Marvel Studios

The CinemaCon reception to the trailer suggests that it’ll cater well to mainstream audiences.

That’s huge because we all know that Marvel desperately needs a hit.

Marvel Miscellany

Marvel Comics

Source: Marvel

We finally have confirmation that Spider-Man: Brand New Day will feature Savage Hulk.

I know I told you about this like a year ago, but it was never technically confirmed.

Source: Marvel Studios

However, I’ve seen a Funko Pop! Of Savage Hulk that says Spider-Man: Brand New Day on it.

So, I’m boldly taking that as confirmation. Feel free to maintain skepticism if you like.

Loki tries to bend the Sacred Timeline to his will in Loki Season Two, Episode Six

Image: Marvel

Circling back to the Marvel layoffs story from last week, one post was brutal.

A recently fired Marvel employee bitterly joked about the setting.

Loki catches He Who Remains off-guard in Loki Season Two, Episode Six

Image: Marvel

They got called into an office featuring a floor-to-ceiling mural they’d created.

Imagine firing someone in front of their own piece of art. Woof.

Loki deals with his latest defeat in Loki Season Two, Episode Six

Image: Marvel

The other big deal this week is the reveal of the trailer for The Punisher: One Last Kill:

We’re only two and a half weeks away from this, and there WILL be blood.

A view of Madripoor

Photo courtesy of Marvel Studios. ©Marvel Studios 2021. All Rights Reserved.

Finally, we also just found out that part of Vision Quest will take place at Madripoor.

There are leaked images from the set, which means those of you loudly calling for more Madripoor will be happy.

 

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Image: Marvel

 


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DC Studios will bring a tonal shift to the DCU in its upcoming 2026 projects. Fans have already enjoyed three projects from James Gunn’s DCU in Creature Commandos, Superman, and Peacemaker Season 2. The DCU’s early releases have spanned three different mediums (animation, movies, and live-action TV), but they were all written and at least partially directed by Gunn himself, meaning that his usual blend of comedy, emotion, and action was felt across the board.

Even this June’s Supergirl, on which Gunn was only an executive producer, as it was written by Ana Nogueira and directed by Craig Gillespie, seems to have maintained the DC Studios co-CEO’s distinct feel based on the trailer. In fact, even Gunn compared Supergirl to Guardians of the Galaxy, his flagship MCU franchise, signalling its tonal similarity to his other DCU projects too.

One could argue that 2026 marks the true beginning of the DCU as it becomes more than just James Gunn’s vision for the blue brand. While Supergirl will soft-launch those efforts as it maintains the superhero veteran’s usual tone under a completely different creative team, that will truly get underway with Lanterns.

DC Studios

In the way that Superman, Peacemaker, and Creature Commandos leaned into a distinctly comic-booky tone and light-heartedness, Lanterns looks to be the furthest thing from that, sparking criticism of the Green Lantern series’ first trailer.

Coming to Warner Bros.’ premium cable network, HBO, which is renowned for high-calibre TV, Lanterns is taking a more grounded approach and serious tone, with a distinct lack of jokes in the trailer compared to other DCU projects.

Much like Supergirl, Gunn’s hand in Lanterns seems limited, with the eight-episode sci-fi crime drama instead drawing talent from the realm of premium TV, such as LOST‘s Damon Lindelof and Ozark‘s Chris Mundy, albeit aided by award-winning comic writer Tom King, best known for Supergirl: Woman of Tomorrow.

And that’s just the start of the mania, as DC Studios will deliver a true body horror movie just in time for Halloween with Clayface on October 23. This won’t just be something different for the DCU but also comic book adaptations in general, as the genre briefly throws aside its usual high-budget blockbusters for a $40 million tale that focuses on its character, creepy vibes, and practical effects, as evidenced in the movie’s teaser trailer. 

DC Studios has all the pieces in place to end superhero fatigue with Clayface, bringing together a creative team with horror experience through The Haunting of Hill House writer Mike Flanagan and Speak No Evil director James Watkins. That unique choice will bring a significant change to the DCU, making this a true horror movie, not just a superhero/villain tale in disguise. 

That’s not to say that the DCU that many fell in love with in its early projects is gone for good, as Gunn’s beloved nuance will be back next July with Superman sequel Man of Tomorrow. However, going forward, that superhero action-comedy style will be interspersed with other projects with major tonal shifts.

DC Studios’ Tonal Variety Will Shine Bright in Lanterns Through 1 Key Superhero

James Gunn has been clear about his vision for the DCU from the get-go, telling CBS Mornings that there will be “no company style” and individual creatives will be able to do their own thing in this universe. That will allow a project like Clayface to be a “totally different thing” from one of Gunn’s works, like Superman:

“‘Clayface’ is a totally different thing. Although it’s in the same universe, it’s a complete horror film, and that’s one of the things we want to do. There’s no company style. It’s not like every movie is gonna be like ‘Superman.’ The artists, the directors, and the writers who create each one will bring their own sense to it. … We don’t want people being bored.”

Lanterns will offer the best gauge of that philosophy yet through Nathan Fillion’s A-hole superhero, Guy Gardner, who returns in a supporting role after his DCU debut in Superman. Finally seeing the same character approached through vastly different lenses will offer a new perspective on just how distinct DCU projects will be, and it sounds as if Gardner will be more unfiltered than ever in Lanterns.

Hopefully, Clayface will one day do the same, allowing Matt Hagen actor Tom Rhys Harries to reprise the struggling actor-turned-shapeshifting monster, who debuted in his body-horror origin story, as a villain in a Batman blockbuster. That understanding of how this tormented villain came to be would allow audiences to connect with both sides of the fight if he ever faced DC’s Dark Knight.

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Capcom celebrated a new Resident Evil Requiem sales milestone with a staff party attended by The Game Awards producer Geoff Keighley.

As seen in media shared by director Koshi Nakanishi on his Instagram stories, archived by social media users, the party included Leon and Grace-themed cakes, revealing that Requiem has now sold 7 million copies.

Keighley also appeared to host an “after-party bingo”, according to Nakanishi. The Game Awards host’s presence has, expectedly, sparked speculation that Capcom could be planning a reveal for June’s Summer Game Fest, which it regularly supports.

Resident Evil Requiem sold 5 million copies in less than a week when it released in February, according to Capcom, and reached 6 million a few weeks later, making it by far the series’ fastest-selling game to date.

7 million sales in under two months continues the game’s strong momentum. As noted by series historian Alex Aniel, the previous RE game to reach this milestone the quickest was Resident Evil 4 (2023), which took 12 months and 1 week to reach 7 million.

Capcom’s best-selling Resident Evil game is 2019’s Resident Evil 2 remake with 16.8 million sales, followed by Resident Evil 7 (16.4 million), Resident Evil Village (13.5 million), and 2023’s Resident Evil 4 (12.2 million).

Capcom’s games usually have long commercial tails and continue selling for years after their initial releases. In the first nine months of its current business year, Capcom has sold over 2 million units of RE4 and Village, and over one million units of RE7, RE2, and RE3.

Capcom recently reiterated plans to release more content for Requiem, stating: “Resident Evil Requiem is the latest installment in the Resident Evil series, which offers photorealistic visuals and a deep sense of immersion. Players can enjoy the elevated essence of the survival horror experience by the interplay between intense fear and exhilarating action, made possible by two protagonists.

“Going forward, Capcom plans to implement several measures, such as ongoing support and additional game content, so players can continue to enjoy the title longer.”