A live roulette platform can look brilliant in a screenshot and still be annoying once the wheel starts moving. A huge dealer video means little if the betting grid is awkward, the limits don’t suit you, or basic game information takes five clicks to find.
The useful stuff tends to be less glamorous. A good live roulette setup makes it easy to see what you’re betting, how much you’re staking and what’s happening at the table without making you fight the interface.
Start With the Actual Roulette Tables
A big casino lobby doesn’t automatically mean much choice in roulette.
What matters is what sits inside the roulette section. One platform might have twenty versions that are mostly variations of the same game. Another could have fewer tables but a better mix of standard European roulette, speed tables, auto wheels and multiplier games.
The provider matters too. It’s the game studio rather than the casino that usually controls the dealer, wheel, stream and much of the interface. Roulette 77 makes the same distinction in its UK live roulette guide.
So don’t judge the roulette offering by the size of the casino homepage.
A Good Stream Should Be Boringly Reliable
You shouldn’t have to think much about the stream while playing live roulette.
The picture doesn’t need to look like a cinema release. It does need to stay close enough to the game that the dealer, betting countdown and physical action make sense together.
A sharp picture that constantly freezes is worse than a slightly lower-resolution stream that simply works.
Stream quality isn’t identical from one table to another either. Across the live games on https://roulette77.co.uk/, different providers use their own setups, so a polished thumbnail doesn’t tell you much about how the table actually runs.
The best stream is usually the one you forget you’re streaming.
Table Limits Matter More Than a Huge Game Count
This is one of the first numbers worth checking.
Two live tables can look pretty similar and still be built for very different stakes. Current Roulette 77 UK listings give a good idea of how much the limits can vary from one game to another.
Live roulette table
Minimum bet
Maximum bet
Live American Roulette
£0.20
£2,000
Speed Roulette
£0.50
£2,000
London Roulette
£0.20
£10,000
London Roulette, for example, goes all the way to £10,000, while Speed Roulette starts at £0.50. That’s much more useful to know than how many roulette games happen to be sitting in the lobby.
Limits can vary between casinos and individual tables, so the numbers shown for the table you’re actually using are the ones that matter.
The Betting Screen Shouldn’t Make You Hunt for Things
Roulette already has a busy layout. A bad interface can make it much worse.
The basics should be obvious: chip value, total stake, betting time and where your chips have landed. For British-licensed remote gambling, the UK Gambling Commission requires clear information about the amount being gambled and the content of the bet before it is committed.
Beyond that, a few extras can make repeated rounds much easier:
repeat and undo controls;
favourite-bet options;
recent-result history.
Not every table needs twenty buttons. Usually the better interface is the one where you stop noticing the interface.
Check the Wheel, Not Just the Graphics Around It
A flashy studio can make two roulette games look far more different than they really are.
The wheel tells you more.
European roulette has a single zero. American roulette adds 00. French tables may bring rules such as La Partage into the picture. Multiplier games can change the normal payout structure again.
This information shouldn’t be buried. UK technical standards require rules and information about the house edge, RTP or probability of winning to be readily available before somebody commits to a game.
If the studio has neon lights everywhere but you can’t quickly work out which roulette rules you’re getting, the priorities are a bit backwards.
Useful Statistics Should Stay in Their Lane
Live roulette interfaces can show quite a lot of numbers before the ball even starts moving.
Recent results are useful if you want to check what happened a few rounds ago. Some tables go further with hot numbers, cold numbers, colour percentages and longer histories.
They’re fine as records. They’re not predictions.
If 14 hasn’t appeared for 80 spins, the statistics panel hasn’t discovered that 14 is ‘due’. Likewise, five reds in a row don’t make the next spin owe you black.
A good platform can show plenty of history without making it difficult to separate past results from the odds of the next spin.
Don’t Forget Who Actually Runs the Site
The roulette provider and the casino operator aren’t the same thing.
A well-known studio can supply the table, but you still have an account with the casino offering access to it. For someone using a British gambling site, that makes the operator’s licensing status worth checking separately.
Remote operators serving Great Britain under a Gambling Commission licence must display their licensed status, account number and a link to their current status with the regulator.
That’s a much more useful trust signal than a row of generic ‘secure’ badges at the bottom of a page.
The Best Features Are Usually the Ordinary Ones
Live roulette platforms love having something distinctive to advertise. Bigger studios, unusual tables and extra features are easy to put on a homepage.
The things that matter every round are much less exciting: sensible table limits, clear rules, a stable stream and controls that don’t get in your way.
That’s what separates a platform that looks good for thirty seconds from one that’s actually comfortable to use.
At Zombillion Casino, we review what matters before making a deposit: game choice’s convenience, the real bonus mechanics, withdrawal times, and account security. This page covers the main game types, typical payment timelines, bonus conditions, security signals, and the mobile experience. We focus on details, not marketing fluff. The purpose is to aid you in determining if Zombillion fits your needs without vague promises. Always consult the official platform for the latest terms in your area.
Licensing and Safety Standards
We review licensing and security initially, consistently. A legitimate casino should display its regulator, permit ID, and player protection measures. Zombillion’s licensing status should be verified on the official website, typically in the footer or About Us section. Licensing is important because it offers you a way to pursue disputes and forces the operator to follow player-protection rules. Security comes next: we require TLS encryption on all pages that deals with personal or financial data. That protects your account login, payment info, and account transactions from prying eyes.
Responsible gaming tools are a further marker of a operator you can rely on. Look for spending caps, session reminders, activity checks, self-exclusion, and references to independent support groups. These tools give you control over your time and financial expenditure. We also check whether the casino maintains player funds separate from operational funds—this may be mentioned in the terms and conditions. If something is unclear, reach out to customer support and request outright. A self-assured operator should provide a direct answer. And lastly, read the privacy policy to see how your data is handled and whether it’s disclosed with third parties. It’s not exciting, but it’s where long-term trust is established.
Banking Choices and Payout Schedule
Funding are usually instant, but payouts are the actual challenge. Zombillion’s cashier generally offers debit cards, bank transfers, e-wallets, prepaid cards, and sometimes mobile payment options. E-wallets tend to complete withdrawals faster than bank transfers once your account is verified. Debit card withdrawals can be slower because of banking clearance. We recommend completing identity verification early to skip waiting later. You’ll probably need to provide a government ID, proof of address, and sometimes proof of payment method before your first withdrawal is approved. Below are typical processing ranges to compare with the official cashier.
E-wallets: usually fastest, within 24–48 hours after approval
Debit cards: typically 1–5 business days
Bank transfers: typically 2–7 business days
Prepaid cards: primarily useful for deposits
Cashout restrictions and fees are a factor too. A casino could have a minimum withdrawal amount, a maximum per transaction, and daily or monthly caps. Some payment providers apply fees; the casino may absorb them. Before you deposit, check the cashier or banking page and review the processing times for your chosen method. The official Zombillion banking page should list current options, limits, and any regional differences. If your preferred method isn’t available, choose an alternative that combines speed and convenience. We recommend e-wallets for faster access to winnings, but bank transfers are still a reliable pick for larger amounts.
Bonuses and Rewards: Understanding the Deal
A bonus is as valuable as its conditions. Zombillion might provide a welcome deal, deposit match, free spins, or cashback, but the actual worth depends on wagering requirements, game contributions, and time limits. Wagering requirements show how many times you need to play through the bonus amount before you can claim any winnings linked to it. For example, a £50 bonus with a 30x wagering requirement means you’d usually need to put £1,500 in qualifying bets. These numbers are just examples; always check the present promo page for the precise multiplier, eligible games, and expiry dates before you claim.
Game contribution rates and expiry periods
Game contribution is a factor where many players get less. Slots often count 100% toward wagering, while table games might qualify 10% or 20%, and live dealer games sometimes contribute even less or nothing at all. That means playing blackjack with bonus funds might not meet the playthrough as fast as slots. Time limits are also important. A welcome package could have a 7-day or 30-day window, and free spins can run out quickly. Before you claim, check the minimum deposit, maximum bet allowed during wagering, excluded payment methods, and the list below. Taking a screenshot of the full terms can help you follow your progress accurately.
Smallest deposit to qualify
Playthrough requirement and eligible games
Highest wager during wagering
Bonus expiry date
Beginning the Journey and What Distinguishes the Experience
Signing up at Zombillion should take a few minutes. You’ll need to provide your name, date of birth, address, email, and phone number. Use accurate details, because they’ll be checked during verification. After registering, do a small test deposit to explore the cashier and try a game or two. Kick off with a deposit method you plan to use for withdrawals later, because most casinos require withdrawals to go back to the same method where possible. This minimizes friction when you’re ready to cash out.
What sets a platform apart is rarely one feature. It’s the mix of reliable payments, clear bonus terms, a usable mobile lobby, and responsive help. Zombillion’s promise is that you should expect more than a cluttered lobby and hidden conditions. That means more transparency in promotions, more sensible filters in the game library, and more control over your own limits. We still recommend treating gambling as paid entertainment, not a way to make money. Set a budget, stick to it, and stop when the fun stops. If you want to explore Zombillion, start with the official promotions page and the payment terms before you commit real money.
First Impressions and the Core Offering
For a casino, the primary element we look at is how the navigation is clear, the main game types are clearly visible, and you can find the terms without hunting. Zombillion Casino’s lobby is structured with a few main sections: casino games, live dealer tables, and often a separate sports or events area. Distinct categories minimize the time between logging in and getting into a game. The site also positions responsible gaming tools and support links in prominent spots, which shows the operator prioritizes long-term player experience, not just a quick deposit.
First-time visitors should look at the licensing info and any regional restrictions immediately. Most sites place this in the footer or a dedicated terms page. Before you sign up, verify the country restrictions and bonus eligibility rules. Zombillion Casino uses a single account, so you can typically switch between slots, table games, and promotions without handling separate balances. That’s useful if you want to move from one to another or peek at a betting market. What’s available can shift, so verify what’s offered in your location on the official site.
Mobile & Desktop Experience
Most players now alternate between desktop and mobile, so a casino must work well on smaller screens. Zombillion is built to run in a mobile browser, and it might offer a native app depending on your device and region. The browser-based approach is convenient: no download, same game library. On mobile, we test the key features: logging in, finding a game, making a deposit, and contacting support. A good mobile casino ensures buttons big enough for fingers, loads games fast, and keeps visible important terms in menus.
Desktop is still the top choice for digging into table options, reading terms, and comparing games. It often presents more visible filters and larger previews. On mobile, push notifications and biometric login can streamline the process if the platform supports them. Try your favourite game on both devices before you deposit heavily. Slots and live dealer games tend to run well on mobile when the casino uses HTML5. If you see slow loading, check your connection and device software first. The official Zombillion page should list which devices and browsers are supported, so match that against your setup.
Game Types and the Lobby Design
Slots fill most casino lobbies, and install zombillioncasino app is no different. You’ll encounter a selection of classic three-reel machines, video slots with bonus rounds, and progressives where the jackpot grows with every bet. The tool you want is filtering: by provider, feature, volatility, or theme. A decent filter spares you from scrolling through hundreds of titles. If you’re into high-variance slots, look whether the game page or provider notes list volatility. We also like platforms that let you demo games before putting down real cash, and Zombillion might provide that where the game provider allows it.
Table games and live dealer options offer depth. Standard digital tables feature several versions of roulette, blackjack, baccarat, and video poker. Live casino tables transmit from studios with real dealers, and the pace is different: digital moves at your speed, live follows the dealer’s rhythm and set rounds. If you’re new to live play, begin with a low-limit roulette or blackjack table. For sports fans, the events section shows popular markets, but the exact range relies on the current platform version. Always review the odds and settlement rules before you bet.
Earlier this month a dinghy had to be met by lifeboats from the Isle of Wight, having set off from the Cherbourg area, triggering angry protests in Portsmouth.
A French officer punctures an inflatable vessel with a knife after it was abandoned on a beach at Gravelines, northern France, following a failed crossing attempt
Some of the young men who had been hoping to travel in the boat could be seen walking away
Another officer dragged the migrant dinghy’s outboard motor back to shore
It is thought to have made one of the longest journeys of any small boat – landings as far west as Hampshire are rare.
Officials said at the time they believed it was a one-off rather than a sign of new tactics.
But a senior French interior ministry source told the Daily Mail at the time: ‘The geographical focus of the people smugglers is definitely changing.
‘They are finding it much harder to get boats launched in the Pas-de-Calais, and so are moving west, across to Normandy.
‘We expect far more of the mega-dinghies to appear here in the coming weeks and months.’
With the cost of each deportation rising to £56,000 a head, this suggests British taxpayers have forked out a £78million bill so far – not including the cost of accepting more than 1,100 asylum seekers into the UK as part of reciprocal terms of the deal.
Previous figures had put the cost of each return at less than £50,000.
The deal, which is due to expire next month, had handled ‘relatively small’ numbers of migrants and it had been ‘operationally difficult to scale up very large numbers of removals every week into the French system,’ Ms Mahmood said.
The Dover arrivals were the first to make the crossing since September 15, when 55 people arrived in one boat
Labour unveiled the offer of £10,000 a head for up to four members of a failed asylum seeker family in March.
Officials argued that it would be cheaper than the average £158,000 cost of keeping them in taxpayer-funded accommodation.
The Home Secretary acknowledged for the first time that families were calculating whether to accept the deal or remain able to access free public services in Britain.
CISA added three Linux kernel flaws (CVE‑2025‑39682, CVE‑2026‑53266, CVE‑2025‑39964) to KEV catalog
Red Hat confirmed active exploitation; agencies given rare three‑day patch deadline expiring Sept 21, 2026
Bugs enable DoS, privilege escalation, or data corruption; patches available, limited mitigations for two flaws
The US Cybersecurity and Infrastructure Security Agency (CISA) has added three Linux flaws to its Known Exploited Vulnerabilities (KEV) catalog, signaling abuse in the wild and giving government agencies a deadline to patch or stop using the flawed product entirely.
The three bugs in question are tracked as CVE-2025-39682 (severity score 9.8/10 – critical), CVE-2026-53266 (severity score 8.8/10 – high), and CVE-2025-39964 (severity score 7.8/10 – high). All three have already been patched in the Linux kernel. CVE-2025-39682 was fixed in stable releases 6.1.149, 6.6.103, 6.12.44 and 6.16.4, while CVE-2025-39964 was fixed in 5.10.245, 5.15.194, 6.1.154, 6.6.108, 6.12.49 and 6.16.9. CVE-2026-53266 has been fixed upstream and backported to supported stable/distribution kernel branches, including 5.10.259, 6.1.176 and 6.12.94.
The first issue is an improper check for unusual or exceptional conditions vulnerability in the TLS receive patch which could allow unauthenticated threat actors to launch memory disclosure or denial-of-service (DoS) attacks. The second one (CVE-2026-53266) is an out-of-bounds write vulnerability in the ebtables Source Network Address Translation (SNAT) Address Resolution Protocol (ARP) rewrite patch which allows local attackers to escalate privileges or mount DoS attacks.
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The last one (CVE-2025-39964) is a race condition flaw that allows concurrent writes to the same AF_ALG socket, which allows local malicious actors to crash the system or corrupt cryptographic operation results, leading to data integrity issues and possible DoS states.
Attacks in the wild
Red Hat acknowledged that all three are being abused in real-life attacks. “This CVE is high risk and there are known public exploits leveraging this vulnerability. Address this vulnerability with high priority,” it said in all three advisories.
However, there are no details as to who is currently using these exploits, against whom, and to what cause. There are currently no separate reports of cyberattacks referencing any of the abovementioned vulnerabilities.
However, CISA still reacted. All three flaws were added on September 18, 2026, and all three have a small three-day deadline for patching that expires on September 21. Usually, CISA would grant Federal Civilian Executive Branch (FCEB) agencies a three-week deadline to patch up, with just exceptionally dangerous flaws getting a shorter window. That being said, these flaws are likely extremely dangerous.
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In theory…
In a hypothetical scenario, a threat actor could target a Linux system using kernel TLS (kTLS) by sending a specially-crafted TLS record that triggers CVE-2025-39682 and causing either a crash, or even arbitrary code execution. Attackers that already have a low privilege foothold on the target endpoint could use CVE_2025-39964 to escalate privileges, while on systems using the affected bridge/netfilter configuration, CVE-2026-53266 could be used for privilege escalation, as well.
According to the Red Hat advisory, there is a chance that CVE-2025-39682 is remotely triggerable, but only when the system is using the affected kTLS receive path. The other two flaws are exclusively local vulnerabilities.
Besides fixes, two out of the three flaws also have possible mitigations. For the improper check one, users should prevent module tls from being loaded. For the out-of-bounds write one, users are advised to disable ARP hardware address rewriting in ebtables SNAT rules, or remove ebtables SNAT rules that operate on ARP traffic on bridge interfaces. The final vulnerability, currently does not have a working mitigation, and the only way to stay secure is to apply the provided patches.
Linux kernel vulnerabilities are generally considered serious, but the severity still depends on the flaw and how the affected kernel is deployed. Earlier this year, security researchers disclosed four local privilege escalation flaws, called DirtyAH6 (CVE-2026-80844), TUNderflow (CVE-2026-81000), PPPoEject (CVE-2026-68121), and DiagSpill (CVE-2026-74469).
Elliot Graham, the film editor who received an Oscar nomination for Milk and cut films including Steve Jobs, Captain Marvel and No Time to Die, has died. He was 50.
Graham died by suicide Saturday in Los Angeles, according to the County of Los Angeles Medical Examiner.
The biopic Milk (2008), directed by Gus Van Sant and written by Dustin Lance Black, starred Sean Penn as Harvey Milk, the first openly gay man to be elected to public office in California. The film was nominated for eight Oscars including best picture and won for best actor and original screenplay.
On Facebook, Oscar-nominated Milk producer Dan Jinks wrote that his movie “wouldn’t have come together in the way it did without [his] amazing work.”
He then reunited with Van Sant on the romantic drama Restless (2011), starring Mia Wasikowska.
Graham won a BAFTA award (shared with Tom Cross) for editing the James Bond film No Time to Die (2021), directed by Cary Joji Fukunaga in what would be the film editor’s final credit.
He also produced and served as film editor on the 2018 FX series Trust, about the 1973 kidnapping of teenager John Paul Getty III.
Born on June 8, 1976, in Claremont, California, Graham got his first credit for editing the thriller The Last Minute (2001), directed by Stephen Norrington. Next, he handled additional editing chores on X2: X-Men United (2003), then worked again for director Bryan Singer as film editor on Superman Returns (2006).
In addition to Danny Boyle’s Steve Jobs (2015), starring Michael Fassbender, and Anna Boden and Ryan Fleck’s Captain Marvel (2019), starring Brie Larson, Graham served as film editor on Bill Paxton’s The Greatest Game Ever Played (2005), Robert Luketic’s 21 (2008), Stephen Daldry’s Trash (2014) and Aaron Sorkin’s Molly’s Game (2017).
He also did additional editing on films including The Amazing Spider-Man 2 (2014), I Am Michael (2015) and Beasts of No Nation (2015).
Former child star Bobb’e J. Thompson, who acted in “That’s So Raven” and “30 Rock,” has been sentenced to more than two years in federal prison.
Thompson was arrested last fall after police said he was driving 104 mph — more than 30 mph over the speed limit — in Cerro Gordo County, Iowa. A news release issued by U.S. attorney’s office of the Northern District of Iowa said an officer stopped the vehicle and spotted Thompson and the passenger switching seats. The officer reported that, when he approached the car, there was a smell of marijuana coming from the vehicle.
Officers searched the vehicle and, according to the news release, found a backpack holding bags of dispensary-bought marijuana and a .40-caliber handgun that was fully loaded with a 15-round magazine. Police said the gun had been reported stolen from a car in Kansas City, Mo.
Actor Bobb’e J. Thompson speaks at Spike TV’s 2009 Guys Choice Awards at Sony Studios in Culver City.
(Kevin Winter / Getty Images)
The “Role Models” and “Tyler Perry’s House of Payne” actor was also convicted of battery and assault in 2020. Then in 2022 he was convicted of possession of a firearm, which was prohibited because he was a felon.
In April, Thompson pleaded guilty to possession of a firearm, and last week he was sentenced by an Iowa district judge to more than two years in prison.
Thompson’s “That’s So Raven” co-star Kyle Massey told TMZ on Monday that he loved his former co-star no matter what.
“Free Bobb’e J., man, that’s my brother,” he said. “We love you, we support you, we got your back, whatever you need, man, we’re gonna take care of you. It just always sucks to see one of your friends or someone that you love go through something hard like that. So we’re just gonna be rooting for him no matter what.
“Keep your head up, we’re here and we love you,” he added. “We love you so much, bro. No matter what.”
A new look at Disney+’s VisionQuestchanged everything for Spider-Man: No Way Home‘s ending. Marvel Studios’ next Disney+ series, VisionQuest, will begin on October 14 as the final leg of the WandaVision trilogy and possibly a major chapter in the MCU. The highly anticipated project has one key connection to Spider-Man: Far From Home,thanks to the return of EDITH, the Tony Stark-made glasses AI that Jake Gyllenhaal’s Mysterio was after. EDITH will be one of many AIs who appear in human form within Vision’s internal Mind Space, although she has been recast for her Phase 6 return, as Schitt’s Creek star Emily Hampshire is tagging in for the original voice, Dawn Michelle King, who is usually an editor, not an actress.
Entertainment Tonight (ET) went behind the scenes on the set of Disney+’s VisionQuest to talk with series star Paul Bettany and EDITH actress Emily Hampshire. The BTS sneak peek included a few short clips from VisionQuest‘s set, one of which directly references Tom Holland’s Peter Parker, as EDITH tells Vision that her “first boss was a teenager in high school:”
Vision: “I’m having a profoundly difficult time navigating teenagers.”
EDITH: “Tell me about it. My first boss was a teenager in high school.”
Many will remember that Far From Home led to difficult times for Peter Parker, as Mysterio exposed his secret identity to the world. That would set in motion a chain of events that would eventually force Benedict Cumberbatch’s Doctor Strange to cast a spell in No Way Home that erased any recollection of Peter, which became the basis for his lonely struggles in Brand New Day.
Fans saw that in full effect in this summer’s Spider-Man record breaker through Zendaya’s M.J. and Jacob Batalon’s Ned Leeds. The movie’s Marvel Studios intro even showcased Peter fading out of various events from the MCU so far, namely his memories with his ex-girlfriend and best friend.
So it comes as a surprise to see that EDITH doesn’t just recall Spider-Man, she clearly remembers Peter being a high school teenager. That raises questions about whether the other AIs were equally unaffected by Doctor Strange’s memory spell, such as FRIDAY, who was in Spidey’s suit in Homecoming.
Marvel Television
Brand New Day left fans confused about Bruce Banner and Hulk’s status after Doctor Strange’s spell. While Bruce clearly didn’t remember Peter, there was a glimmer of recollection in Hulk’s eyes after he clashed with Spidey at Damage Control HQ, leading him to give up and drop from the New York skyscraper.
Even in Marvel Comics, when the Immortal Hulk: Great Power one-shot reunited Spider-Man and Hulk after the One More Day storyline wiped all memory of Peter’s secret identity from the world, the Jade Giant still remembered. Despite the comic precedent, the MCU never gave a definitive answer about whether Hulk was affected by the spell, although their on-screen history together was limited anyway.
How Doctor Strange’s Spell Will Be Addressed in Future MCU Projects
Marvel Studios
Previously, The Cosmic Circus reported that Marvel Studios might reverse Doctor Strange’s memory spell after Avengers: Secret Wars before Phase 7. However, one could argue that gradually reintroducing M.J. and Ned into Peter’s life in Spider-Man: Brand New Day naturally, not reversing the spell, makes any kind of supernatural undoing of Peter Parker’s biggest hurdle yet seem unlikely.
Just before the credits roll on Brand New Day, Ned appeared to recall his old friend after they organically repeated their classic handshake. Meanwhile, many have theorized that M.J. had also begun to remember Peter during Brand New Day‘s climax, when a tear fell from her eye when she was frozen by Jean Grey.
While Tom Holland’s return in Avengers: Secret Warsmay offer some updates on the outcome of Brand New Day, the exact state of Peter’s life may not become clear until Spider-Man 5, whenever that finally happens. It’s easy to imagine that Peter will already have fully rekindled his friendship with Ned in the MCU sequel, while he and M.J. may be working to restore their relationship to its former glory.
When it comes to Spidey’s fellow superheroes, future MCU crossovers, such as Secret Wars, will probably keep things between them and the mask, not the man underneath, as he returns to maintaining a secret identity. Regardless, it’s tough to imagine the spell’s consequences being explored in any major way again after already spending most of Brand New Day dealing with the fallout.
In the meantime, only time will tell whether VisionQuest is hiding any more Spider-Man references after he was previously namedropped in Daredevil: Born Again. As EDITH’s only MCU appearance before now was in Far From Home,in which she was roped into a conflict between Spider-Man and Mysterio, it stands to reason that those events may be referenced, clarifying exactly what she remembers.
In the latest episode of Lanterns, Episode 6, “Bad Optics,” Aaron Pierre’s John Stewart dropped references not only to James Gunn’s Superman and the near-destruction of Metropolis, but also to The Suicide Squad and the origin of the kaiju-sized Starro. However, the origin of this classic Justice League foe that Stewart mentions doesn’t align with the one established in the Suicide Squad sequel. Due to the season finale of Creature Commandos and a deal made between Idris Elba’s Bloodsport and Viola Davis’ Amanda Waller, some fans have wondered if this has created a continuity error.
In the opening of “Bad Optics,” Stewart pitched to the Midway City council on investing in underground bunkers rather than in military weapons in response to future intergalactic threats, or, as Stewart put it, “…whatever giant starfish comes sliding out of the ocean.” But fans should know that Starro didn’t come from the bottom of the sea in the DCU, but the stars, covertly captured and cruelly experimented on by the United States government.
DC Studios
A secret that a team of forcibly conscripted supervillains in The Suicide Squad was unknowingly tasked with erasing, but thanks to Joel Kinnaman’s Rick Flag Jr. saving the data drive instead of destroying it, Bloodsport was able to use it as blackmail against Amanda Waller. The terms of the agreement, as made by Bloodsport, were that, “If we all go free, it never has to see the light of day.”
Waller agreed, letting Bloodsport, Margot Robbie’s Harley Quinn, Daniela Melchior’s Ratcatcher II, and Nanaue, aka King Shark, go free. However, a potential continuity error arises when fans saw Nanaue again imprisoned at Belle Reve in the season finale of Creature Commandos.
DC Studios
With Nanaue imprisoned again, it’s curious why the cover story for Starro’s origin, “sliding out of the ocean,” has stuck with the public and why Bloodsport hasn’t blown the whistle already and released all the files to every news station on the planet.
Why Is King Shark Still in Belle Reve?
While Robert DuBois, aka Bloodsport, wasn’t the biggest fan of King Shark, considering his tendency to eat people, Ratcatcher II quickly became the walking shark’s only real friend despite his previous appetite for her.
Since DuBois and Ratcatcher’s successor, Cleo Cazo, became far closer by the end of The Suicide Squad, it’s unlikely that she would allow Bloodsport to let Nanaue stay imprisoned in Belle Reve and not use the Starro files to free him.
The two won’t know until he’s deployed in the field with The Bride and the rest of the new and improved Task Force M in Creature Commandos Season 2. The animated series might even go out of its way to explain how Amanda Waller will rationalize utilizing King Shark despite Bloodsport’s previous threat at the end of The Suicide Squad.
However, the most mundane and likely explanation for King Shark being under Waller’s thumb again is that he reoffended and was captured, which wouldn’t be a surprise for someone as impulsively hungry as Nanaue.
The deal was likely contingent only on their release in The Suicide Squad, not blanket immunity from any crimes committed afterward. After all, there’s also DuBois’ daughter he has to think about, since Waller could imprison her at any time for her crimes, meaning he has to keep the Starro files as a failsafe to protect her.
Whatever the case might be for why King Shark is imprisoned, and the government secrets have been kept, it’s entertaining to see the ways Lanterns has been integrating the rest of the DCU into the series, despite its more serious tone.
With Friday the 13th, Halloween, and other horror franchises getting video game adaptations in recent years, you might wonder when it’ll be Freddy Krueger’s turn, but according to Illfonic, the team behind those games, the task is harder than you might think. To do it right, one aspect of the films creates a big roadblock.
“There are plenty of IPs that people are like, ‘Why aren’t you doing this?’ and ‘Why aren’t you doing that?’ As much as I love Elm Street, [those movies are] about these big over-the-top kills,” Illfonic’s chief creative officer Jared Gerritzen told me in a Zoom call. “Same with Terrifier, where it’s like these big, over-the-top kills that you would expect that you would have to do [in order] to do it right. That’s the most costly thing, in some cases. You’d have to do hundreds of those to build that basis. You’d have to do all these other layers, and then it just becomes like, ‘Well, shit.’ Like, there are all these quagmires that we can’t go into, and so for us, we’re very diligent about the IPs that we choose.”
With Freddy’s dream world seeming like a great fit for a game, I’d long envisioned Elm Street as an obvious candidate for an asymmetrical multiplayer horror game akin to Illfonic’s other titles, but listening to Gerritzen speak on the pitfalls, it occurred to me that he’s right.
It’s hard to imagine a game creating enough elaborate set-piece kills to keep them feeling fresh for players who may play for dozens or hundreds of hours, but neither does it make sense to rinse and repeat the same standout moments like Tina’s nightmare that saw her crawling on the ceiling, or the way Glen’s bed swallows him whole and erupts with a geyser of blood.
Freddy doesn’t usually catch up to someone and finish them off with his iconic glove in a way that maps well onto multiplayer. He makes a meal out of them, and that’s hard to translate into a game built on replayability.
Gerritzen explained that his team has worked on so many games of this sort that, by now, it gives them something like a running start.
“We’ve been through this so much that when we start on a game, we already know what the pitfalls are. […] And so we start off with a pretty good skeleton, and then we add those layers of the project that we love. We turn down a lot of stuff because it’s just like, ‘Hey, to do this, it doesn’t make sense in a video game form.'”
Beyond those gameplay pitfalls, there seems to be a broader rights issue tying up the Elm Street franchise, too. Though Gerritzen didn’t comment on that aspect, it’s recently been reported that competing Elm Street movies may soon be in the works–one for US audiences and one for international audiences–because the ownership of the intellectual property is currently split. That sort of rights quagmire probably scares off some creators, following what happened to Friday the 13th.
Does this mean we’ll never get a Freddy game? I don’t think that’s what Gerritzen meant, though it may mean a team other than Illfonic is the one to make it, or it could be that Illfonic finds a way to make it work in the future.
For now, the team is focused on supporting Halloween, which launched on September 8 and has surpassed a million copies sold, alongside its cabinet of other asymmetrical multiplayer games, Predator: Hunting Grounds, Ghostbusters: Spirits Unleashed, and Killer Klowns from Outer Space.
Today is the last day of summer, which means tomorrow it’s officially fall. That means some apple cider, the leaves changing, and a little brisk weather.
I think this is the perfect time to pick a few movies to get you in the mood for the season. They should cover a wide range of genres, but all should embrace that crisp, changing feeling of fall.
Cast: Billy Crystal, Meg Ryan, Carrie Fisher, Bruno Kirby
Yeah, I know this is a New Year’s Eve movie at its end, but its heart belongs to the fall. I mean, every shot of this movie feels like it has big fall energy. Cinematographer Johann Holtzman captures Manhattan in a wave of vibrant oranges, deep reds, and crisp golds that make us feel the love in the air. Nora Ephron’s iconic screenplay uses the changing seasons to mirror the evolving relationship between its lead characters, making the weather a character in the movie, too.
Cast: Robin Williams, Robert Sean Leonard, Ethan Hawke, Josh Charles
Man, this movie makes me want to read a poem. Or perform. Or just stand on my desk and tell the ruling class we’re not going to take it anymore. Inside this funny and tragic movie is another turning of the seasons of life. Peter Weir utilizes the fall return-to-school ritual to explore themes of growing up and coming of age. It shows life and death and the rebirth of what can be if we embrace each other.
Cast: Daniel Craig, Ana de Armas, Chris Evans, Jamie Lee Curtis, Christopher Plummer
Nothing screams fall like a murder mystery. Or maybe that’s just another genre fall puts me in the mood to explore. Rian Johnson’s modern whodunit gives us that classic New England autumn setting. Once we’ll explore in a couple of other movies on this list. We even see fall in the costumes, with the centerpiece being Chris Evans’ viral cable-knit sweater. It proves that fall isn’t just for romance, it’s for killing, too.
Cast: Matt Damon, Robin Williams, Ben Affleck, Minnie Driver, Stellan Skarsgård
Robin Williams is at the center of another movie on this list. Again, FGall is thematically relevant to the story. It’s playoff baseball and the leaves in Boston. Gus Van Sant captures a melancholic, grounded portrait of Boston in the fall. The film uses the backdrop of MIT, Harvard, and South Boston to emphasize how hard it is to change. The famous Public Garden park bench scene between Matt Damon and Robin Williams remains an iconic reference point for outdoor movie blocking.
Cast: Donald Pleasence, Jamie Lee Curtis, P.J. Soles, Nancy Kyes
You can’t talk about autumn on screen without honoring the movie that is as famous as the holiday in its title. John Carpenter and co-writer Debra Hill kind of invented the Midwestern October aesthetic. And it carries a knife and wears a William Shatner mask. What’s funny is, this movie was filmed in California on a micro-budget, but it spawned a whole slasher genre and sequels and a lot of fun.
Summing It All Up
These are the films that put me in the fall mood. They showcase everything I want before winter and after summer, and I can’t wait to rewatch them this year.
Whatever your tradition might be, I’m excited to get back into cooler air and interesting movies. Maybe I’ll add a few more to the list in years to come.
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Fresh off brushing past California attorney general Rob Bonta with a settlement in which arguably only minor concessions were made, David Ellison is ready to re-commit to the idea of keeping his Paramount and Warner Bros. Discovery empire in Los Angeles.
“Now that we reached and announced a settlement, we’re eager to get to work building a stronger Hollywood,” Ellison said in a statement. “Let me be clear: the newly merged company will be headquartered in Los Angeles. We aren’t going anywhere. Our history is here and this is where our future is being built.”
This brings the mogul back in line with his tune circa February of this year, when he was making promises to California politicians about how he would boost local production and bring back glory to Hollywood’s hometown. Then California attorney general Rob Bonta and his posse of 12 states filed a lawsuit in July that seemingly had Paramount on the ropes.
And then the whispers started. You know, Ellison and his family have deep ties to Tennessee, he could pull up stakes and move Paramount there. Texas officials want the state to be the corporate headquarters capital of the United States, plus they have lower taxes — how does Austin sound for a Paramount base?
Even at the time, these hints were chalked up to a game of high-stakes chicken over the summer between Ellison and California. Bonta himself, in an interview with The Hollywood Reporter in August when he struck a more defiant tone about the lawsuit, characterized it as a “Hail Mary” move and said “it seems like they’re grasping at straws.”
But with each passing day, and with the threat of a $7 million-per-day ticking fee that Paramount would have to pay starting in October, the threat of a relocation kept feeling a bit more serious. Also, other states appeared to start taking the rumors seriously, too, which probably helped kick up the dust even more.
Now there’s a legal settlement in place between the 12 states and Team Ellison dictating some terms for what “Stay in L.A.” means. Per the consent decree, the Warner Bros. and Paramount lots in L.A. County can’t be sold during the commitment period, which is five years. (Right now the Warner Bros. lot sits on about 140 acres, including the Ranch, while Paramount’s Melrose Ave footprint is about 65 acres.)
It’s worth noting that up until Ellison’s buy, Paramount had been headquartered in New York (Paramount has an office in Times Square), and only last year had moved to L.A. And outside of the studio lot infrastructure itself, there are no commitments in the consent decree for, say, having a new office complex in another market outside of L.A.
WarnerMount (ParaBros?) is a sprawling empire, after all. For example, does a combined company that owns both CBS News and CNN need office space in L.A., New York and Atlanta? Paramount owns 14 properties totaling 2.1 million square feet of space while Warner Bros. owns 14 properties totaling around 9.5 million square feet globally, per a June report commissioned by L.A. County. There are plenty of real estate scenarios to walk through that have yet to be sorted.
But the question was never really about the fine-print of where the corporate HQ was. It was about intent. Through this summer of leaks, the implied message from Team Paramount was that Ellison would be ready to potentially do damage to the Los Angeles entertainment economy if things didn’t go his way in the court battle. There were plenty of locales that would be happy to greet Paramount and set up a water tower and some soundstages.
Just look at the production flight that had been plaguing L.A. for years on individual feature films and television series. Local officials feared that a Paramount move would be the straw that broke the camel’s back, despite California doubling its tax incentive annually to $750 million and pledges to cut red tape and make it easier to shoot in state.
Now that things did go the way that Paramount hoped as far as the settlement, it may prove tougher to just hit rewind to when Ellison was writing letters in March to California lawmakers saying, “my expectation that the commitments I have made will preserve and expand good-paying film and television jobs in the area.” But as of this settlement Monday, we’ve now hit full circle in that regard.
Next up, if the deal closes as expected in a couple weeks, is the plan to start finding those $6 billion in cost synergies between the companies while fulfilling the rules-of-the-road in the consent decree. If L.A. County’s own commissioned report in June is any indicator, there will be a lot of redundancies up ahead as the studios start integrating. “The merger places about 2,495 jobs in Greater Los Angeles County and about 6,000 globally at potential risk,” it estimates, “mainly in corporate, tech, real estate, and other shared functions due to duplicative roles across the two companies.”
Love After Lockup: Relationship Rehab arrives next month on We TV and All Reality, and a new preview for the series has been released. In the series, Dr. Ish Major will help couples repair their broken relationships.
“Today, All Reality and We TV unveiled a first look at the highly anticipated new original unscripted series, Love After Lockup: Relationship Rehab. The nine-episode series gathers five fan-favorite couples from the Love After Lockup franchise as they embark on a transformative journey with psychiatrist and nationally recognized relationship expert, Dr. Ish Major, working to heal old wounds and rebuild their relationships. The series premieres Friday, October 2, streaming exclusively on All Reality and airing new episodes weekly at 9 PM ET/PT on We TV.
This first-look clip features franchise veterans Brittany & Marcelino, Justine & Michael, Melissa & Louie, Alexis & Julius and Kimberly & Joey as they come together for the first time before beginning their relationship rehab journey. As Dr. Ish outlines the therapeutic journey ahead, viewers are introduced to the challenges, conflicts and unresolved issues that have shaped each couple’s relationship, setting the stage for a season filled with emotional breakthroughs, difficult truths and life-changing decisions.
MORE ON THE CAST
Ahead of the October 2 premiere, audiences can get to know the franchise’s famed duos in Love After Lockup: The Road to Rehab streaming Friday, September 25, exclusively (uncensored) on All Reality and airing at 10 PM ET/PT on We TV. This one-hour introductory special spotlights the five Lockup couples embarking on this intense therapy journey with Dr. Ish and explores the issues they need to address to keep their relationships alive.”
Mark Hoppus of blink-182 is sitting in the studio alongside Linkin Park in 2024 listening to their latest jam. “Fucking hell, Mike.” He’s floored at what he’s heard.
Following the death of frontman Chester Bennington in 2017, the Southern California rockers have yet to reintroduce themselves to the world, along with their new sound via new lead singer Emily Armstrong. But after hearing her voice (Hoppus asks Mike Shinoda if her voice is “made of fucking steel”), Hoppus asks for just 30 seconds to interrupt their studio session.
“You guys have to go out and own this shit,” he tells the band. “This is what we’re doing. We love Linkin Park. We’ve been through the fucking hell, we’re back, and this is our new shit. We love everything we’ve done in the past, we’re always going to play those songs, and we love our past, but this is what we’re doing now, and it’s fresh and exciting and it got us all back in the fucking room. That’s a great story and a great fucking reality.”
That might well be the thesis for “Unshatter,” a new documentary that chronicles the band’s journey back to the stage years removed from the death of Bennington.
The rock doc grapples with the question, should they even reunite? Do they need a new singer? Will everyone want to come back and tour? And should this new iteration of the band even be called Linkin Park? The film is part behind-the-scenes and part concert film of their massive album release show for “From Zero” in a stadium in Sao Paolo, Brazil in November 2024.
But perhaps most notable about “Unshatter” is what it does not show. Fans who see the film when it opens via Trafalgar Releasing on September 30 won’t see a film that looks back but is determined to look ahead and follow Hoppus’ advice. Bennington is mentioned throughout, but there is no archival footage of him until the end credits.
We love our past, “Unshatter” seems to say, but we’re moving forward, and this is what we are right now.
Joe Hahn
“The story is us trying to pick up the pieces and eventually being able to do so by leaning on each other to get that support and encouragement and eventually be be triumphant,” Linkin Park band member and director Joe Hahn told IndieWire. “For me, it’s important to show that archival footage at the end because the theme of ‘From Zero’ is to show where things started but also show that even as we move forward, he’s still always part of us, and he’s always there. He’s not in the film getting interviewed or anything, but his presence is is always, always around.”
Hahn is also the DJ of Linkin Park, the man behind the keys and record scratches that give the band its distinct blend of genres. But he’s also been Linkin Park’s creative director for their entire existence, directing countless music videos for the band and shaping its vision. He’s had his hand at feature directing with his 2014 movie “Mall,” but “Unshatter” is his first feature-length documentary.
The band has spent hours in interviews explaining their comeback story, finding Armstrong (and new drummer Colin Brittain), and coping with the loss of Bennington. But Hahn felt the best way to give the whole picture of what Linkin Park was thinking would be to show not tell, and Hahn had to be the one to take on the task of directing himself.
“We’re pretty private as well, and being able to have access with the trust from everyone, I don’t think anyone else would have been able to get the access that I was able to get, and to get the honesty,” Hahn said. “I think if someone else did it, made this film, they would construct their own, come from the outside, imagine the story that they would want to tell, and then make all the pieces fit the narrative in their mind. I think just that’s just a natural thing to do.”
“Unshatter” starts in November 2022, five years after Bennington’s death. Hahn, Shinoda, and bassist Dave Farrell are in the studio, and Farrell can’t help but think the track they’ve been tinkering with sounds a little “flat,” and Shinoda confesses that unless he can do some vocal gymnastics he’s not capable of, something is going to be missing. At this point, the idea of reuniting is just a kernel, but the cameras were rolling pretty early in advance as part of the band’s LPTV YouTube channel. It ends up tracking them during Armstrong’s first time in studio, their relaunch show when there were only rumors that Linkin Park had hired a female vocalist, and all the way up through the Sao Paolo concert.
But fans might be surprised at how reflective “Unshatter” is amid all the rocking out, and it was just as enriching for Hahn to uncover through film how his high school buddies dating back decades really feel about this whole journey.
“One of the discoveries I had was in finding myself and leaving myself vulnerable and sharing that with with someone, with my friends in the band. The thought of doing that is more difficult than actually doing that,” Hahn said. “It’s kind of like, how come I didn’t realize some of this stuff many, many years ago? Part of us being on hiatus was a time of reflection and growing and shedding some skin, so to speak. That allowed us to be vulnerable in reuniting and getting back to the core of why we did this in the first place since we were kids that just wanted to make loud music.”
“Unshatter” opens in theaters on Friday, September 30. Linkin Park will also release a live album soundtrack on Friday, September 25.
A man charged with producing the largest stash of counterfeit vinyl in UK history was sentenced on Monday to three years and six months in prison. Rehan Ahmed, 40, had been pressing unauthorized records for seven years before police raided his Phoenix of Vinyl warehouse in 2024, where authorities discovered a staggering 15,000 bootleg LPs spanning 108 different artists—including albums by Taylor Swift, Drake, Rihanna, Bad Bunny, the Beatles, Ed Sheeran, and more. Ahmed later pleaded guilty to two charges of breach of artists’ copyright, and acquiring and using criminal property.
According to the Guardian, when police entered the facility, they “found a squalid mess, with chemicals stored in fridges next to cans of lager” along with LPs, receipts, and other documents “randomly scattered around.” Ahmed, who generated a total of £2,743,000 (or $3,667,921.39) in counterfeit sales, had been issued a legal cease and desist order in 2017 but continued printing the records regardless.
In a statement, Peter Ratcliffe, director of content protection at BPI (British Phonographic Institute), said, “With music on physical formats enjoying a resurgence, the market in counterfeit records has unfortunately also been growing as criminals cash in at the expense of creators and fans. This doesn’t just impact the legal music economy and everyone that works and invests in it — it also affects every one of us as citizens who fall victim to other forms of criminality that it funds.”
Netflix has teamed with one of the most famous cultural institutions in the U.K., the British Library, to help “more people discover the books behind some of the world’s most popular films and series,” it says.
The new national partnership, which will include local libraries across the U.K., comes as 2026 marks the National Year of Reading, an initiative aimed at reversing the sharp decline in reading for pleasure across the U.K.
Alongside dedicated funding from Netflix to support the British Library’s literary conservation and archives, this new partnership will see collections of books that have been adapted into Netflix films and series donated to 100 public libraries across the U.K. The collections will include titles including “Frankenstein,” “Pride and Prejudice”, “Heartstopper,” “One Day,” “The Thursday Murder Club” and “Charlie and the Chocolate Factory.”
In addition to the donated collections, Netflix and the British Library will host a programme of events also streamed to libraries across the country about how books are brought to the screen. The programme has already included Q&As with the stars of “Frankenstein,” “The Thursday Murder Club”, and “The Seven Dials Mystery.” On Monday night, Florence Pugh, Zoe Kazan, Christopher Abbott and Mike Faist discussed the making of “East of Eden.”
“Every great adaptation starts with a great story. We are proud to bring these stories to audiences all over the world, but we also know the experience does not have to end when the credits roll,” said Anne Mensah, Vice President of Content, U.K. at Netflix.
“Books and screen adaptations can introduce audiences to different worlds, ideas and voices. Through our partnership with the British Library, we hope to help more people discover the books behind the shows and films they love, while supporting the public libraries that make reading accessible to communities across the country.”
The U.K. National Literacy Trust’s 2025 Annual Literacy Survey found that children’s enjoyment of reading had fallen to its lowest recorded level. Howvever, it also showed that books linked to favourite films and TV series can encourage reluctant readers. The same is true for adults, with Nielsen BookData finding that 12% of adult fiction bought by occasional readers was discovered through, or chosen because of, a film or television adaptation.
‘’We are delighted to be partnering with Netflix. With this partnership we’re helping to bring Netflix’s exciting literary adaptations to new audiences across the U.K. via our Living Knowledge Network of public libraries,” Helen Schulte, the British Library’s head of culture programmes. “We’re so grateful to Netflix for partnering with the Library and providing much needed philanthropic support for conservation, helping to preserve the treasures we care for as the U.K.’s national library.”
The Curator independently decides what topics and products we feature. When you purchase an item through our links, we may earn a commission. Promotions and products are subject to availability and retailer terms.
Hot Girl Summer had a good run. But the nights are getting cooler, the days are getting shorter and suddenly staying home sounds pretty good. Welcome to Warm Blanket Autumn – warm feet, cozy corners, something hot in your mug and absolutely no reason to leave the house. Because if we’re going to hibernate, we might as well do it properly.
Wear Your Warmth
Let’s start with full commitment to Warm Blanket Autumn. This isn’t just a heated throw, you actually wear it. The Sealy heated blanket has sleeves, so you can still hold your book, work on your laptop or, let’s be honest, scroll without ever leaving the blanket. And there’s a built-in foot pocket, because once your feet are warm, it’s pretty much game over. It’s flannel on one side, sherpa on the other, with six heat settings and an adjustable auto shut-off. And yes, you can throw it in the washing machine once you disconnect the controls. Basically, put this on and good luck convincing yourself to go anywhere.
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This Isn’t Your Grandma’s Heating Pad
Not quite ready to wear your heated blanket? Start with your feet. This oversized heating pad folds up into a cozy foot warmer with enough room for your feet and calves, then opens back up to use as a regular heated blanket. And I have to say, this one might be my favourite. It has nine heat settings, from 30°C to 65°C, plus a timer you can set for up to 12 hours. The inside lining comes out for washing, and the non-slip bottom makes it perfect under your desk, beside the couch or anywhere you tend to get chilly. A heating pad that doubles as a cozy little foot cocoon? Yes, please.
Your Microwave Just Got a Lot Cozier
I’ve done some questionable things in the name of staying warm, but putting my slippers in the microwave might be a new one. And I’m completely on board. These REVIX slippers have removable heat packs that you warm up in the microwave, pop back inside and slip onto your feet. They’re soft and adjustable, with a non-slip sole, and because there are no cords or plugs, you can actually wander around the house in them. So warm the slippers, make the popcorn and consider your evening plans sorted.
Now that I’m warm, I want the house to feel warm too. I’m talking full Gilmore Girls fall energy – cozy, glowing and preferably with nowhere I have to be. This little tabletop fireplace gives you the flickering flames and cozy fireplace feel, but here’s the best part: it’s actually a heater. It has two heat settings, 750W and 1500W, and you can even use the flame effect without the heat when you just want the mood. It’s compact enough for a bedroom, home office or that one corner of the house that is somehow always freezing. Basically, it’s your own personal fireplace. No chimney. No chopping wood. Just instant fall energy.
The 4:30 Problem – Solved
We’ve got the heat, now let’s make it pretty. Because we all know what’s coming, that time of year when you look out the window at 4:30 and somehow it’s already dark. This is a candle warmer lamp, pop your favourite jar candle underneath and the lamp warms the wax from above, releasing the fragrance without having to light the wick. So you get that beautiful warm light, your favourite candle scent and no open flame to worry about. It also has adjustable brightness and a timer, which I love. Dark at 4:30? Fine. We’ll make our own glow.
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Warm From the Inside Out
Hot Girl Summer had cocktails. Warm Blanket Autumn has hot chocolate. But we’re not pulling out the old saucepan for this one, we have an actual hot chocolate maker. This little machine turns making hot chocolate into an event. Add your milk and chocolate, and it heats, mixes and froths everything into a smooth, creamy cup. It also doubles as a milk frother for lattes and cappuccinos, and the jug comes off for easy pouring and clean-up. The best part is, it’s easy enough for a random Tuesday night but fun enough to pull out when friends come over. Add the good mugs, marshmallows, whipped cream, hot chocolate is officially the new happy hour. And file this one away for the holidays: you know that person who has absolutely everything? I’m willing to bet they don’t have a hot chocolate maker.
Zelda Williams is calling for fans to stop circulating AI-generated videos of her late father, Robin Williams, nearly a year after she last took to social media to ask them not to send her augmented content featuring the actor.
In a statement posted to X on Monday, the “Lisa Frankenstein” director wrote that a “supposedly ‘private video’” circulating of her father “is clearly AI, and not even particularly convincing AI,” she wrote. “Anyone who claims to be a fan who believes it clearly listened to his movies on mute because that voice is robotic and terrible. That said, a human made a robot create it, and to you I say: leave him out of your delusional bullshit and let him rest. If you cannot make your case without making a dead man make it more convincing for you, then tell me: who’s the one manipulating the public thru media now?”
Zelda continued: “I hate this cesspool of an app. It’s mostly bots and people willingly being duped by bots at this point so not sure why I feel the need to come back to clarify, but I love him, so I will. Just because he’s gone does not mean he’s now your puppet. Have some shame.”
The iconic comedian, who starred in films including “Jumanji,” “Good Will Hunting,” “Dead Poets Society,” “Hook,” “Mrs. Doubtfire,” and more, died in 2014 at the age of 63. In recent years, his likeness has become a popular target for AI recreation as users continue to create and share augmented videos of the actor.
This isn’t the first time Zelda has voiced her feelings about AI; Back in Oct. 2025, she wrote “Please, just stop sending me AI videos of Dad” on Instagram. “Stop believing I wanna see it or that I’ll understand, I don’t and I won’t. If you’re just trying to troll me, I’ve seen way worse, I’ll restrict and move on. But please, if you’ve got any decency, just stop doing this to him and to me, to everyone even, full stop. It’s dumb, it’s a waste of time and energy, and believe me, it’s NOT what he’d want.”
Just last month, she revived her father’s Instagram account with siblings Zak and Cody in an attempt to “fight back against rampant AI abuse of his voice and likeness on here.”
That supposedly ‘private video’ of dad that I’ve been shown talking about conspiracies is clearly AI, and not even particularly convincing AI. Anyone who claims to be a fan who believes it clearly listened to his movies on mute because that voice is robotic and terrible. That…
In the leadup to “Digger,” Tom Cruise finally agreed to sit a long-form profile interview after years shirking the opportunity. But one thing was noticeably not touched on by GQ Senior Special Projects Editor Zach Baron in the sit-down last week: the Church of Scientology.
On the most recent episode of Matt Belloni’s Puck podcast “The Town,” Baron broke down his approach to interviewing Cruise — how it came together, what took for the movie star to say yes, and what was on and off the table. When pressed as to why he never asked the Oscar nominee about his connections to Scientology (one of the more incendiary components of Cruise’s personal life), the journalist was quick with an answer.
“When I prepare for these things, I go back, and I look at everything that’s ever been written about a subject,” Baron said. “And he hasn’t done magazines or journals in a long time, but the last time he did it, he did a lot of it. And it turns out he’s talked about that subject, the subject of Scientology, quite a bit. And the answer was sort of always very similar.”
He continued: “We talk about a lot more than ‘Digger,’ but yeah, I think I was interested in the sort of reclusive movie star. I was interested in the guy who’s kind of like, ‘I’ve sacrificed everything at the altar of movies, and this industry is me.’ I was interested – this isn’t like, you know, brain surgery – but I was interested in his relationship with his phone. I just think there’s actually a lot of curiosity about Tom Cruise that is not about this subject, and that’s genuine.”
Belloni was visibly shocked that when given the opportunity Baron didn’t jump at the chance to grill Cruise on the controversial religion, arguing it’s “the most interesting thing about him.”
Watch the full “The Town” interview below:
While the GQ article didn’t touch on Cruise’s connection to the Church of Scientology, he did talk about his work ethic on films. He also made sure others working on his movies knew that the rumors of his intensity were true.
“Look, I work hard, and people that work with me, they know,” Cruise said. “I expect a lot and I’m up-front about it. It’s like: ‘The rumors are true. And do you want this?’”
He added: “We’re there. I’m like, ‘Trust me, the rumors are true. I’ll be here before you. What experience do you want?’ And I’m very open. It’s not like we don’t have a plan. We have scripts, we have plans, we’re going through it. But I also feel that level of responsibility for – I guess, for everyone.”
Cruise’s latest press tour is for his starring role in Alejandro G. Iñárritu’s “Digger.” The film comes out on Oct. 2.
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Logline: Featuring a breakout performance by Ruth Madeley and Oscar nominee Mark Ruffalo, this inspiring historical drama from Oscar-winning filmmaker Siân Heder (CODA) celebrates the paradigm-shifting activist Judy Heumann, “Mother of the Disability Rights Movement.”
Distributor: Apple Original Films
Panelists: Siân Heder, Ruth Madeley
First screening: Friday, September 11, TIFF Lightbox.
Key suote: “I had just finished CODA but it hadn’t come out yet. It was the year before me at Sundance, and a childhood friend of mine was the accessibility coordinator at Crip Camp, and she sent me a text, and she’s like, ‘I’m with the coolest woman I’ve ever met this woman, Judy Heumann. Do you know who she is? And I didn’t know who Judy was, but she was like, ‘She’s a total badass. Someone has to make a movie about her, and it should be you.’ So I watched Crip Camp, and I was just so blown away by Judy in the movie. She was so funny and so self-possessed, and just had this intense focus and energy. And then also the story of the 504 sit-in, I was like, this is a heist. Like this is this is like Dog Day Afternoon with disabled people. These people stormed a building and held it. It was the longest sit-in in U.S. history, and I couldn’t believe I didn’t know the story. I never was taught this in school. I didn’t know this piece of our history, and so I sent Judy a cold email.” – Siân Heder.
Click on the video above.
The Deadline Studio at TIFF is hosted at Bisha Hotel and presented by Volvo, Columbia, Patrón and Schwarzkopf.
Taylor Swift will have to find space for yet another award. MTV said Monday that the Queen of Pop Present will be the first recipient of its MTV VMA Artist Director Honors, set to be presented Sunday during the 2026 MTV Video Music Awards.
The inaugural prize celebrates a sustained and influential body of work from artists who have pushed creative boundaries and developed a clear directorial voice.
Swift has won Best Director at the VMAs four times and was nominated three other times. Among the untold number of accolades during her career, she is the only person to win the Album of the Year Grammy four times, most recently for Midnights in 2024, ande has 14 Grammy Awards overall on 58 nominations. She has racked up 11 consecutive No. 1 album since Fearless in 2008, along with topping the chart with four re-recorded LPs in 2021 and 2023, and has 15 No. 1 singles.
Her mammoth 2023-24 Eras Tour grossed more than 2.07 billion from nearly 150 shows around the world and spawned Taylor Swift: The Eras Tour, which became the top-grossing concert movie of all time with $180.8 worldwide.
MTV noted that Swift has brought an increasingly expansive approach to storytelling, creating interconnected narratives, cinematic worlds and recurring details that invite audiences deeper into each project. The inaugural MTV VMA Artist Director Honors recognizes that body of work, the cable channel said, while also underscoring the growing role artists play in shaping how their music is brought to life on screen.
CBS and MTV will simulcast the 2026 MTV Video Music Awards live at 7:30 p.m. ET/4:30 p.m. PT from the Peacock Theater in Los Angeles on September 27. The show also will stream live on Paramount+.
Rob Bonta defended the antitrust settlement that allows Paramount to merge with Warner Bros. on Monday, saying in a 45-minute press conference that the deal includes independent monitoring and will result in more jobs in Hollywood.
But the deal does not include the three words — robust structural remedies — that California’s attorney general had said was the goal since filing suit in July. And while he went to some lengths to argue that the deal represents a “strong” outcome, he also acknowledged it was not his preferred result.
“I don’t think these two companies should merge,” he said. “But that’s not something that we are focused on with our resolution here.”
Bonta had come under increasing pressure in the last few weeks, as Gov. Gavin Newsom, Xavier Becerra, the cinema trade group, and labor leaders all expressed hope for a settlement. Paramount also did its best to increase the leverage on Bonta, threatening to relocate to Tennessee and seeking a court order to force the 12-state coalition to pay $1.88 billion for delaying the deal.
In the press conference, Bonta sought to downplay that pressure. “That’s not what I’m thinking about, that’s not my focus,” he said. making the case that the A.G.’s victories in court put pressure on Paramount to offer significant concessions.
“We got the antitrust resolution that we wanted,” he said. “Very strong remedies and commitments to address the concerns that we raised.”
As to whether he thought the states could have prevailed at trial next spring, he said that courtrooms “always have risk.” He also acknowledged concerns that prolonging the case would create “uncertainty” in Hollywood, an issue that had been raised by Paramount and some labor unions.
“This deal gives certainty about the future of production right here in L.A.,” he said, noting that Paramount had committed to increasing domestic production and to not selling its L.A. lots for at least five years. “That also generates important certainty for this industry that I think is craving it.”
He also argued that the outcome is dramatically different from the Hollywood’s last major merger, the Disney-Fox deal, which went unchallenged by antitrust authorities and led to reduced production.
“This agreement is the opposite of Disney-Fox,” he said. “The things that we saw in the Disney-Fox merger — a massive decrease in film production… this doesn’t just guard against that and protect against the downside; it locks in a massive upside.”
Bonta was alone at the podium, without his trial team or representatives from the other 11 states involved in the suit. He was also not joined by the Writers Guild of America, which filed its own antitrust suit and also resolved it over the weekend.
In a statement, the WGA said that the settlement terms “fall far short of adequately protecting writers,” but that it could not bear the cost of continuing its suit without support from the states.
William Tong, the attorney general of Connecticut, also expressed dismay that the deal does not include divesture of CBS and CNN, which he said was needed to save “ethical and independent journalism.”
“We fought aggressively for that remedy,” he said. “I am deeply disappointed that we could not do more.”
Bonta noted that all 12 states signed on to the settlement. He also said the WGA was not involved in the states’ negotiations.
“They brought their own case,” he said. “They decided whether or not they wanted to resolve their case and under what terms.”
Bonta said there was no key moment or provision that unlocked the deal, and struggled to offer a timeline of how the agreement came together.
“These days have blurred because we’ve been in some deep and robust conversations,” he said.
From the pages of X-MEN OF APOCALYPSE (2025) comes GAMBIT GONE (2026) #1 by Steve Orlando, Edoardo Audino, and Gerardo Sandoval! Spinning directly out of the shocking conclusion of X-MEN OF APOCALYPSE: OMEGA #1, this saga will demand more of the man called Gambit than anything he’s experienced before! In two intertwined tales, Remy LeBeau will face his demons—and the demons of all mutantkind—in a story which will see the limits of the reformed Gambit pushed to their breaking point. What kind of man, what kind of husband, and what kind of hero will emerge?!
Elsewhere, the Wolverines face the Facility in Jody Houser, Emilio Laiso, and Marco Renna‘s GENERATION X-23 (2026) #8! Logan, Laura, and Gabby find themselves caught between the Generated and the return of a fan-favorite X-character when a mission to Facility-23 goes claws up! And with Logan’s healing factor on the fritz, will both Wolverines make it out unscathed?
Meanwhile, the quest for Thor begins in THOR (2026) #801 by Al Ewing and Pasqual Ferry! Sigurd Jarlson is an ordinary man—but he alone can call Asgard’s greatest hero back to life. But to rebuild the bridge between humanity and the gods, he must begin his quest in the worst place of all. Somewhere in Hel, a man with a hammer begins a journey into mystery…
Then, this week’s very special guest stars are the Marvel Universe in MUPPETS TAKE THE MARVEL UNIVERSE (2026) #1! To celebrate the 50th Anniversary of The Muppet Show, we bring you a crossover no one saw coming! Join Eisner-winning writer and Muppets super-fan Chip Zdarsky alongside a cadre of talented creators as they unleash the Muppets’ trademark chaos on the Marvel Universe. Rowlf the Dog kidnapped by Mojo? Kermit the Frog, Miss Piggy, Fozzie Bear, Spider-Man, Black Panther and Emma Frost to the rescue? Dr. Bunsen Honeydew and Beaker experimenting with gamma rays and Pym Particles? What could go wrong? Find out in this epic tale told in the mighty Marvel Muppet manner!
Additionally, expect carnage when you seek vengeance in MARVEL MANGAVERSE: GHOSTLOCKE (2026) #1! Renowned creative team Alyssa Wong and Michael Yg reunite for an explosive tale of retribution in this Marvel Mangaverse 25th Anniversary special! Carnage has carved a bloody swathe through humans and yokai alike as he seeks to fulfill a cataclysmic prophecy. The only thing standing in his way? The hellacious fury of a righteously pissed-off Ghost Rider and her Shinigami bike! Riding hell for leather, Kwannon hunts down Cletus Kasady as they race at breakneck speed down the road to ruin!
Join Wolverine on the road to HULK WAR, face Remy LeBeau’s demons, get your tickets to the Muppets’ takeover of the Marvel Universe, and more by picking up the latest titles this week! From fresh comics to collections and even Marvel Unlimited, find the full list of new releases here!
X-MEN EPIC COLLECTION: THE X-CUTIONER’S SONG [NEW PRINTING]
Marvel Unlimited
CATPOOL/MOUSEPOOL INFINITY COMIC (2026) #1
DEADLY HANDS OF K’UN-LUN (2026) #5
IMPERIAL GUARDIANS (2026) #4
INGLORIOUS X-FORCE (2026) #6
MAGIK & COLOSSUS (2026) #5
MARVEL RIVALS INFINITY COMIC (2024) #63
PETER PARKER SPIDER-MAN: QUEENS FINEST INFINITY COMIC (2026) #12
PREDATOR: BLOODSHED (2026) #5
PUNISHER (2026) #5
REALMGUARD INFINITY COMIC (2026) #7
SILVER SURFER FACSIMILE EDITION (2026) #4
SORCERER SUPREME (2025) #7
SPECTACULAR SPIDER-MAN: BRAND NEW DAY (2026) #2
SPIDER-MAN: LONG WAY HOME (2026) #1
THE AMAZING SPIDER-MAN (2025) #31
UNCANNY X-MEN (2024) #30
WHAT IF…? THOR (2026) #1
WONDER MAN (2026) #4
X-MEN UNITED (2026) #4
Grab these comics and more at your local comic book shop! Or redeem your digital copy on the Marvel Unlimited app by using the code found in your print comic. Download the Marvel Unlimited app for iOS and Android devices today!
Richard is a writer/journalist from Oregon (by way of California) with a love of Marvel, Star Wars, DC, and all kinds of entertainment. He joined MovieWeb in January 2026 as a Movie & TV Writer/Editor. Richard has published articles, videos, and interviews with The Direct (Senior Writer), Agents of Fandom, and The Illuminerdi, and has attended a handful of live Comic Cons, premieres, and other events.
The Hollywood Reporter‘s Borys Kit revealed that Daredevil: Born Again will end its run on Disney+ after its third season debuts in Mar. 2027. According to the report, showrunner Dario Scardapane left the series during Season 2 post-production after his contract expired and was not renewed. It is now unclear who will oversee the series as it completes post-production, with a source saying it is in the final stages.
People have been eager for news about the future of Destiny 2, and Bungie has finally delivered. In a short video on the official Bungie YouTube account, Studio Head Poria Torkan and General Manager Josh Deane said they are focused on getting more Destiny into your hands.
First and foremost, they want to tell new stories, but they admit this will take a lot of time. Before then, they aim to get everything players have already paid for back into their hands, and the pair publicly commit to unvaulting previously locked-away content like campaigns, Raids, and destinations that they say “never should have been ripped away to begin with.”
They describe this as the first step to winning trust and building a new foundation for the future of Destiny 2. There are actually a couple of loaded sentences in here that could be taken as nods from people who are very aware of what the public perception of the last few years of Bungie is like.
At one point, Deane states that they are aware that the company was “serving priorities that haven’t served you all” when directly addressing the viewers. Many people believe Bungie’s focus shifted from the communities they built over the years to the personal enrichment of select executives. I’m not saying that Deane agrees, but they are certainly taking responsibility for Bungie going in the wrong direction in this video, at least.
Marathon also gets a mention, with an admission that the numbers have not been what they need to be, and that the focus may have been too narrow, and they need to appeal to a broader set of players who may find things to enjoy in Marathon but feel pushed away by current modes, playstyles, and a PvP focus.
Honestly, I’ll always love Bungie, and like a lot of people, my time with Bungie goes back to the original Marathon and Myth. We have all invested a lot of time and love into the company, so here’s hoping that the future is brighter for them than recent player counts might indicate.
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Maksutapojen osalta richroyal tarjoaa laajan valikoiman suomalaisille käyttäjille sopivia vaihtoehtoja, kuten verkkopankkimaksut, Trustly, ja mobiilimaksut. Nämä maksutavat tukevat nopeita kotiutuksia, jotka usein toteutuvat saman työpäivän aikana. Lisäksi kasino noudattaa korkeita turvallisuusstandardeja, joten rahansiirrot ja henkilökohtaiset tiedot pysyvät suojattuina koko pelisession ajan.
Kolikkopelien valikoima ja live‑pöytäpelaaminen Rich Royalssa
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Live‑pöytäpöydän ystäville Rich Royal yhdistää realistisen crashtimen, blackjackin ja ruletin suoratoistona, jossa ammattilaisjakajat tarjoavat interaktiivista viihdettä. Rich royal casino käyttää korkeaa 1080p‑laatua ja reaaliaikaista chat-ominaisuutta, mikä takaa aidon kasinokokemuksen kotisohvalta käsin. Turnausmuodot, nopea panostusrajat ja mahdollisuus valita useita valuuttavaihtoehtoja erottavat tämän palvelun muista suomalaisista online-kasinoista.
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Rich Royal Casino Suomi tarjoaa uusille pelaajille houkuttelevan tervetuliaisbonuksen, jossa ensimmäisen talletuksen 100 % korvaus asti 200 € ja 100 ilmaiskierrosta suosituimpiin kolikkopeleihin. Tämä bonus on suunniteltu erityisesti suomalaisille käyttäjille, ja se näkyy myös hakusanoissa rich royal casino fi ja richroyal.
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Suomalaiset pelaajat etsivät jatkuvasti uusia, luotettavia pelialustoja, ja pandido -kasino suomessa on noussut nopeasti suosituiksi vaihtoehdoiksi. Tässä oppaassa tarkastelemme, miksi pandido-nettikasino tarjoaa juuri sellaisia ominaisuuksia, jotka tekevät pelaamisesta sujuvaa ja turvallista suomalaisille käyttäjille.
Pandido on yhteisöllinen brändi, joka panostaa moderneihin kolikkopeleihin, live‑kasinoon ja bonuksiin, jotka on räätälöity paikallisen markkinan tarpeisiin. Pandido-kasino -sivustolla on selkeä navigointi, suomenkielinen asiakaspalvelu ja maksutavat, joihin sisältyvät sekä perinteiset pankkikortit että paikalliset sähköiset lompakot.
Kun vertaillaan pandido-kasino suomessa muihin nettikasinoihin, erityisesti maksuprosessien nopeus ja lisenssien läpinäkyvyys erottuvat edukseen. Kasino toimii Valtakunnan pelilisenssin alaisuudessa, mikä takaa pelaajille luottamuksellisuuden ja reilun pelin periaatteet.
Rekisteröityminen ja bonukset suomalaisille
Ensimmäinen askel – rekisteröitymislomake
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Paramount‘s settlement with the 12 Democratic state attorneys general appeared to be a Yom Kippur affair, with the final signoff coming after sundown on Sunday.
California Attorney General Rob Bonta was cagey when asked about the exact timeline for the agreement following his Monday morning press conference announcing the deal but when he was cheekily asked by a reporter whether he had brushed his teeth yet by the time all was said and done, he responded with, “I can affirmatively say yes.”
“You get to a place in some of these negotiations where you get to 90% maybe 95%, maybe even 99%, and then the last part is often the hardest part,” Bonta added. “Something comes up, something unexpected; you make a lot of progress, then it goes slow, there’s a hiccup — and that was not proven wrong here either.”
When pressed further on the timeline, Bonta confirmed what had been rumored.
“We have made a lot of progress over the last week,” he said. “I don’t have percentages for you, but there were components that were not locked in that needed to get locked in till the very end.”
After months of sabre-rattling that was on its way to the Supreme Court, negotiations between the two sides picked up last week and carried on over the weekend after, as one person with knowledge of the situation told Deadline, the process got “unstuck.”
Bonta acknowledged California Gov. Gavin Newson in his opening remarks about the settlement but would not comment how involved he was in the final stretch. Newsom stayed closed to the situation in the last week, and many think that he applied pressure on the California AG to pursue a settlement.
Reports emerged over the two months that Newsom would like to see a settlement deal struck between the AGs and defendants Paramount and Warner Bros rather than the whole affair heading to trial. He didn’t take an official position until August, when he expressed concerns but ultimately pushed for both sides to reach a deal outside of court.
Newsom got heat from Mark Ruffalo, a staunch critic of the merger, who blamed him specifically for delivering “a huge win to Trump and his billionaire cronies.”
At the presser Monday, Bonta assured that this deal was a win, but he conceded that the state leaders still ultimately believe the merger should not happen.
Ellison indicated separately on Monday that the deal will likely be finalized in the next two weeks.
The potential ownership of CBS News and CNN under one corporate owner has generated months of fear, anxiety and loathing at both networks, but the Paramount–Warner Bros. Discovery settlement tries to resolve some of the issues with the establishment of an editorial independence board.
Per the terms of the consent decree, the board will establish a set of guiding principles based on each network’s policies for “accuracy, independence, fairness and journalistic integrity.” The board will resolve any disputes between CBS News employees, CNN employees and management regarding any alleged violations of the principles. And it will monitor “adherence to ethical journalism as defined by journalism industry best practices and to editorial independence.”
The decree also sets up who can serve on the board, made up of five retired or active journalists who have worked for a minimum of ten years, and who will be appointed by the combined Paramount-WB board. No more than two members may be affiliated with the same political party.
“No member of any government or governmental entity, including federal, state, and local governments, may approve or have approval rights over members appointed to the Editorial Independence Board,” per the decree. Officers, directors or non-journalist employees of Paramount-WB also are restricted from serving on the board, whose members will have terms of three years. Paramount would have 180 days to establish the board.
What the consent decree does not do is restrict a combination of CBS News and CNN. Nor does it give the board oversight over who runs the respective news entities, something that has been an issue as CEO David Ellison tapped Bari Weiss to lead CBS News after Skydance’s purchase of Paramount last year.
That has raised concerns that the network would be steered rightward, or even in a direction more favorable to Donald Trump. Weiss previously worked as an opinion writer for The New York Times and founded The Free Press, the center-right opinion and analysis site that Paramount also purchased. As part of her changes, she ousted the executive producer of 60 Minutes, while some of the correspondents who were fired have alleged politically motivated interference. Weiss has defended her input, saying it is part of the news process.
As Paramount sought Trump administration approval for its purchase of Warner Bros. Discovery this year, there have been further suspicions that, like CBS News, changes would be afoot for CNN, including appointing Weiss to oversee that network as well. Ellison hosted a dinner for the Trump White House tied to the White House Correspondents’ Dinner, and he appeared at the president’s State of the Union address.
As part of commitments to close its purchase of Paramount last year, Skydance said that it would install an ombudsman to take complaints over CBS News. The person they hired, Kenneth Weinstein, was not a journalist but the former head of the rightward Hudson Institute.
Seth Stern, chief of advocacy of the Freedom of the Press Foundation, called the oversight board “worthless.”
He said in a statement, “It’s unclear how the attorneys general or courts can constitutionally hold Paramount accountable for the board’s actions or inaction without themselves interfering in content. The attorneys general might be fine with censorship when they’re the ones doing it, but what happens when successors with opposing political views inherit enforcement powers?”
An independent board is unusual, not not unprecedented. A special committee was set up in 2007 to oversee editorial integrity at the Wall Street Journal, as Rupert Murdoch’s News Corp was looking to acquire the news outlet from the Bancroft family trust. The committee, though, does have a say in major newsroom positions, as it has to grant approval for the appointments of an editor-in-chief and editorial page editor. Comcast committed to an ombudsman when it acquired NBC Universal, with concerns over corporate interference in the editorial process. David McCormick, vice president of standards at NBC News, had already been serving as ombudsman in 1993, and expanded his duties to other NBCU news properties.
For many years I didn’t think jeans of any hue had a place in my personal style—and then I figured out how to style light-wash jeans in a way that made sense for me. I’ve always preferred skirts and dresses over pants and had almost sworn off jeans completely, until I realized that light-wash denim is the key to a look that’s equal parts laid-back and put-together. Yes, even in the colder months.
Now, as my personal style continues to evolve, I find myself following denim trends more and more. Known for their versatility, light blue jeans have staying power and longevity in your closet because they can shape-shift. Style them with a button-down or a cardigan for a preppy office look, or with cozy knits for a relaxed weekend vibe. I’ve even found my own niche of layering straight-leg jeans under my beloved skirts and dresses, which has opened up a myriad of new styling possibilities with items in my closet.
And though light-wash jeans tend to lean more casual and suitable for daytime than their dark-wash counterparts, there are still endless ways to style the wardrobe staple for a night out. Whether you prefer wide-leg jeans or skinner silhouettes, there are endless outfit inspirations to be found. Don’t think of them as a seasonal item, either. Just like white jeans, you’ll be missing out if you stop wearing a lighter wash after Labor Day.
Ahead, read on for several outfit ideas for how style light-wash jeans this fall, plus style tips and tricks for ways to create an easy outfit using items already in your closet.
Light-wash jeans + earth tones
You won’t have to worry that your light-wash jeans don’t match the season if you lean into an autumnal color palette. I’m talking rich browns of any shade, mossy green, brick red, and oranges and yellows to match the colors of the changing leaves—even better if they can be found in the form of a plaid blazer or suede jacket. All you need to add is a pair of loafers or ankle boots for an easy outfit that can be worn to the office or out to brunch.
At the finale of “Survivor 50,” host Jeff Probst teased the game’s Open Era, but not much was really known about what was to come in Season 51 and beyond. Until now.
When TVLine caught up with Probst Saturday at the Survivor Island event at East Rutherford, New Jersey’s American Dream mall, the host was happy to finally share some intriguing details about what will unfold in the two-hour “Survivor 51” premiere (which airs on CBS Wednesday, September 23 at 8/7c).
In the trailer for the season, Probst tells the new castaways that they are “birthing a new game,” but what does that mean, exactly? For starters, the New Era is comfortably in the rear view mirror. After evolving the game to 26 days and filling it to the brim with beware advantages and journeys, Probst notes that the show’s savvy players were anticipating all of this and more. Therefore, changes were needed and “Permanent Uncertainty” — the title of the first episode — became the Open Era’s resounding theme.
“What the Open Era does, it blows up the evolution,” Probst tells TVLine in the video above. “Forget about the evolution. Being a superfan can be a disadvantage now because you have all these preconceived ideas of what’s going to happen. They may happen. They may never happen again.”
The host compares the Open Era to a giant treasure chest that can be shaken up as needed. And anything can pop out of that chest at any time.
“Inside that chest is everything we have ever done,” he says. “Every advantage, every twist, every idol, everything, and the question is, what are we going to pull out this season?”
Come Season 52, the host says they”ll “shake the chest up again” and see what happens. With everything as a possibility, including the freedom to make each and every season truly unique, Probst says the first of the Open Era seasons were “exhilarating” to produce.
But that’s not all that Probst spilled. In the video above, the host reveals that themes could possibly return in the near future. He also teases a few old-school Easter eggs in the “51” marooning, and shares details about the premiere’s very “live” Tribal Council.
Press PLAY on the video above to watch our full interview with Probst, then tell us: Are you ready to take the plunge into the Open Era of “Survivor”?
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For independent filmmakers, making a good movie is only half of the struggle since getting an audience can also be tough if there is not enough funding for advertising and distribution of the movie. Contrary to big movie studios, independent filmmakers do not usually have a big team for promotion or celebrities to endorse their films, and therefore, the creation of audience from the beginning of filmmaking is critical. Filmmakers can promote their film before its release and even during production time.
Creating an audience helps to increase the recognition of the film, the plot, and the filmmaker. Communication with future spectators allows them to follow the work on the project and emotionally engage into it. In addition, feedback can be obtained regarding the promotion material, themes and preferences of the future audience. Social media, filmmaking forums, film festivals, mailing lists, and personal contacts can all help to create an audience from the very beginning.
The most important thing here is that it gives filmmakers some momentum to start from once the film is released. The growing importance of digital distribution also gives independent filmmakers new opportunities to reach audiences beyond traditional theatrical promotion. According to Consegic Business Intelligence, the global Over-the-Top (OTT) Devices and Services Market is projected to grow from USD 327.39 billion in 2025 to USD 1,452.58 billion by 2035, reflecting a CAGR of 16.07%, highlighting the expanding role of streaming and on-demand platforms in connecting content with viewers.
Using Social Media to Create Early Awareness and Interest
Social media can be a cost-effective tool that will allow independent filmmakers to market their film in advance of its release without spending much on marketing. Filmmakers may use Instagram, YouTube, TikTok, Facebook, and X social networks to gain followers of the film before the actual release.
Filmmakers can create content not only after posting trailers in the days preceding the release but also during the whole process of making the movie. Short videos, character presentations, images from the shooting process, location shots, teasers, posters, or even director comments on certain scenes can keep people interested in the film’s development.
However, it is better to avoid sharing information about plot points of the film that could spoil someone’s future experience of watching the film. Filmmakers can show how a certain scene was created or introduce some actors or directors of the movie.
Consistency is more important than too frequent posting. A simple content schedule may be used to communicate with the followers of the film. It may also include hashtags, collaborations with influencers, and interaction with the target audience.
Using social media allows filmmakers to learn their audience. Filmmakers may get feedback through comments, shares, views, etc.
Building a Community Through Behind-the-Scenes Content
Behind-the-scenes footage can help people feel involved in independent films before they even see the movies. Apart from being interested in what will be on the screen, people are also keen to learn about the process of creating a film. Independent filmmakers can take advantage of this interest and create a community for their projects.
Filmmakers can upload rehearsal footage, costumes preparation, set construction, cinematography experimentation, editing process, interviews with cast members, and funny scenes from the shooting. Such content will give people the opportunity to get a glimpse of how much effort goes into making a movie. It can make the project more personal and more authentic compared to large studio productions with polished marketing campaigns.
The main thing here is to make behind-the-scenes footage entertaining rather than just show the process of making a film without any explanations and fun moments.
Filmmakers can ask people to participate in polls, answer some questions, compete in something related to the movie, or discuss the film itself. The audience will feel involved and will want to be part of the filmmaking process. Eventually, all those interactions will turn casual followers into a real fanbase.
Leveraging Film Festivals, Collaborations, and Online Communities
By establishing relations with communities that are interested in cinema, independent filmmakers can increase their pre-release audience. In particular, film festivals offer the opportunity to present a film, meet representatives of the industry and find an audience interested in independent films. Even without an official release of a film, festival appearance will give some credibility and create positive word-of-mouth promotion.
Online communities of independent filmmakers also can be helpful to reach out to potential audiences. Various platforms or forums for independent filmmakers, screenwriters, cinematographers, or for certain genres of films are a good way to contact with an audience interested in one’s work. Nevertheless, promotional efforts should be authentic and not look like repetitive advertising.
Collaborations can help filmmakers to introduce a film to new audiences. Independent filmmakers can collaborate with actors, photographers, musicians, critics, film creators or social media celebrities whose audiences are the same as that of filmmakers. Thus, for instance, a filmmaker working on a documentary about environmental problems can collaborate with environmentalists or creators.
These collaborations can help boost visibility by cutting down reliance on paid advertisements. What is even more important is that recommendations from the trusted community and influencers are more credible compared to traditional marketing messages.
Turning Early Supporters into Advocates for Your Film
The first fans of an independent film-maker could be the most effective means of promotion of his film. Rather than treating such people just as the audience, independent film-makers need to build up relations that would inspire them to actively promote and distribute the movie.
One of the possible ways to do so would be to provide them with the exclusivity. Providing them with the exclusive screening of the movie or of some parts of its production process or with digital movie posters and/or the early news about the film would make these people feel closer to the film.
Independent film-makers should facilitate the process of information spread by their audience. For instance, providing clear information about the film’s release date, interesting posters, short movies or other materials for social networks could be helpful.
The independent film-maker should not ignore the feedback from this community after the movie’s release but rather respond to it. Thus, this community could turn out to be not only the basis of the current film but also the audience of the future movies of the independent film-maker.
Conclusion
Creating an audience for an independent film prior to its release can be crucial for getting attention and connecting with audiences. This is especially important for independent filmmakers that may not have much of a budget for marketing their films. In addition, it can be relatively inexpensive to promote the film using social media, behind-the-scenes footage, film festivals, communities online, and collaborations. However, it is even more important because these methods will allow the filmmaker to connect with the potential audience on a personal level and make them feel a part of the process. Ultimately, such people can become advocates for the film who will help it reach even more people.
Aditi Jaiswal is a content writer at Consegic Business Intelligence a strong foundation in creating meaningful and engaging content. She explores topics across technology, digital ecosystems, and emerging trends, bringing clarity and depth to every piece she writes. Her content focuses on a sharp perspective and research-oriented approach, delivering content that not only informs but also sparks curiosity and conversation in an ever-evolving digital world.
The primary group mobilizing opposition to the Paramount–Warner Bros. Discovery merger condemned the state attorneys general settlement of their antitrust lawsuit to block the transaction.
Just minutes before California Attorney General Rob Bonta was to appear at a press conference to announce the details of the settlement, the Block the Merger Coalition put out a statement calling the proposed resolution “a bad deal for the future of film, entertainment, independent journalism, and a strong democracy in this country.”
“We are disappointed and angry that the interests of average Americans have been trampled to benefit oligarch billionaires,” the group said.
In addition to demonstrations and online campaigns, the coalition helped organize an open letter of industry professionals opposing the transaction, including JJ Abrams, Damon Lindelof, David Fincher and Denis Villeneuve.
The coalition said in the statement, “The Ellisons and other forces arrayed against us, but that didn’t stop us and so many others from standing up. We are proud of what we accomplished, and together, our coalition will keep fighting. From the thousands of leaders in the film and entertainment industry and elected officials, to the hundreds of thousands who joined them to make their voices heard, even in the face of potential retaliation, this was a grassroots movement that proved Americans are not going to take this corruption anymore. That energy is not going away.”
“This isn’t the last we will hear of the Ellisons or the fallout of this merger – and it’s not the last you will hear from us. Block the Merger was never just about one merger, but about the harms of media consolidation and promoting a diversity of voices.”
Mark Ruffalo, a prominent opponent of the merger, weighed in on X earlier on Monday. “Gavin Newsom hands huge win to Trump and his billionaire cronies,” he wrote, referring to the governor’s involvement in reaching a settlement.
The coalition included more than a dozen groups, including Free Press, the American Economic Liberties Project, Democracy Defenders Fund and the Future Film Coalition.
The SCAD Savannah Film Festival will open its 29th edition with the Anton Corbijn thriller “A Talent for Murder” and will honor Helen Mirren with its Legend of Entertainment Award.
The nation’s largest university-led film festival and one of the biggest of any kind in the Southeast will kick off Saturday, Oct. 24, with the opening-night screening followed by a moderated Q&A with Mirren, who will accept the honor in person.
“We are thrilled to open this year’s festival with ‘A Talent for Murder’ and to present Helen Mirren with the Legend of Entertainment Award,” said Christina Routhier, senior executive director of the SCAD Savannah Film Festival. “Across a career defined by fearlessness and range, Helen has given audiences some of cinema’s most indelible performances, offering our SCAD students an incredible opportunity to learn directly from a true master of the craft.”
Distributed by Bleecker Street and LD Entertainment, “A Talent for Murder” follows a mysterious young man (Alden Ehrenreich) dispatched by a New York publisher to Switzerland, where he must persuade a renowned author (Mirren) to write one final installment of a legendary thriller anthology.
More than 74,000 people attend the eight-day festival each year, which packs SCAD’s historic theaters and studio spaces with competition titles, features, documentaries, shorts, animation, panels and workshops. Variety will once again be partnering with the festival for its annual Pixels and Pencils panel, which honors directors of animated feature films, and 10 Artisans to Watch, recognizing up and coming craftspeople in the industry.
For Mirren, the tribute lands as one of the most decorated careers in the business. The actress won the Academy Award for best actress for “The Queen” and drew Oscar nominations for “The Madness of King George,” “Gosford Park” and “The Last Station.” She has also collected a Tony, four Emmys and multiple BAFTA, Golden Globe and Screen Actors Guild honors across film, television and the stage.
Her credits stretch from “The Cook, the Thief, His Wife & Her Lover,” “The Mosquito Coast” and “Prime Suspect” to “The Hundred-Foot Journey,” “Hitchcock,” “Trumbo,” “RED” and “National Treasure: Book of Secrets,” alongside recent turns in “1923,” “Barbie,” “Fast X,” “Golda,” “The Good Liar” and “The Thursday Murder Club.” She next appears in the second season of Paramount+’s “MobLand.”
Named a Dame of the British Empire in 2003, Mirren has already been feted with the BAFTA Fellowship, the Film Society of Lincoln Center’s Chaplin Award, the SAG Life Achievement Award and the Golden Globes’ Cecil B. DeMille Award.
More honorees and films set to play at this year’s festival will be announced in the coming weeks.
The “Monster” anthology series stands as Netflix’s most popular collaboration with executive producer Ryan Murphy. The first season of the anthology series, which focused on serial killer Jeffrey Dahmer, is the seventh most-watched English-language Netflix series of all time, and scored 115.6 million views in its first 90 days on the platform. Though the subsequent seasons, which focused on the Menendez brothers and Ed Gein, weren’t as popular, both fueled cultural conversation. The Menendez brothers season led to a mass reevaluation of the case as well as 11 Emmy nominations, and the Ed Gein season led to an Emmy nom for star Charlie Hunnam.
By now, fans kind of know what to expect from a new season of “Monster.” An infamous killer from American history appears on the screen, while Brennan and a cast of some of the most skilled and underutilized actors in Hollywood dissect whether this person was born the titular monster or made into one. While the Lizzie Borden season certainly asks this question of the infamous Massachusetts double murders for which the real Borden was acquitted, it does so with a guttural feminist screech.
“The Lizzie Borden Story” isn’t a whodunit; in the first 10 minutes, the series shows Lizzie (Ella Beatty) brutally hacking her father (Charlie Hunnam) and stepmother (Rebecca Hall) to death. The series more so asks why wouldn’t she have done it? Armed with an emotional soundtrack that features Bikini Kill, Lambrini Girls and Kate Bush, the season systematically explores female rage, putting a sympathetic face to some of history’s best-known female killers.
The installment is a sharp change from other seasons of “Monster,” which have historically been more somber than the sardonic and sometimes silly Borden season. It’s also a tease for how Brennan, the season’s showrunner, creator, executive producer and writer, may be evolving “Monster” as he and Murphy plan for 10 seasons of their Netflix thriller. The conversation below has been edited for length and clarity.
Ella Beatty and Vicky Krieps in “Monster: The Lizzie Borden Story” (Netflix)
TheWrap: The series starts with a red curtain pulling back, so you know that the show is telling the story of Lizzie Borden. That motif continues throughout the season.What made you decide to go in that direction where you’re diving into these meta narratives?
To start with, I didn’t know very much about [Lizzie Borden] at all. I’d never seen any of the movies or TV shows. I didn’t really know anything beyond the nursery rhyme. Honestly, I didn’t know she wasn’t convicted, so it was really a tabula rasa for me.
In each one of these seasons, we go further back into the past, and it’s trickier to know what’s even knowable. But if you just tell the facts of what is known to be true, that in and of itself isn’t really a full story because it’s full of gaps. So in order to tell the story responsibly and in an interesting way, you have to take what is knowable — which is full of a lot of mistruths or half truths, a lot of lies — and you have to holistically look at them all. Then you go in the writers’ room, look at one another squarely and be like, “OK, what do we think really happened here?” This is less of a flight of fancy than a hunch about what went down in the [Borden] house and also what it would have felt like to be that woman in that house. It was really leading with the gut, and I think that’s where the [anachronistic] music came from.
It’s easy for period things to feel stuffy, and everything’s on a harpsichord, which is totally great. But I think that’s just like not quite the story here, particularly once you have this throughline that [Borden] was aware of Elizabeth Báthory and that Aileen Wuornos knew about [Lizzie Borden] and was obsessed with her. All of a sudden, there’s what feels like a thin thread of female rage in one story. Then you’re like, “This actually runs through, not only these three stories, but through human history. This is a thing we all need to look at squarely, answer to and be responsible for.” That’s the way these three stories came together. So the music cues, they immediately put you in that space. It’s one layer of cheesecloth that’s in between the stories, and all of a sudden, you’re like, “Oh, I f–king know exactly what that would have felt like.”
I’ve always enjoyed your comedic work, which has appeared in shows like “Glee,” “The Politician” and “Scream Queens,” and it appears here.It’s always a mix of of very highbrow, very lowbrow, and it intelligently ping pongs between those two extremes.What are some of your comedic inspirations?
I’ve actually not thought about this much. I remember growing up — it was hard for me to stay up for it — but the Church Lady years [of “Saturday Night Live”], I remember that lighting up my brain for the longest time. I was like, “I just want to be on ‘Saturday Night Live.’”
I grew up in a very loving, actually very liberal, but quite Catholic family. I grew up within the confines of the Catholic Church. My mom was a Catholic school teacher, but my mom, dad and sister, we all have really biting senses of humor. It’s the sniggering in the back of church.
[My humor] needs constraints. It needs a real world to to live in. I would probably be hopeless at writing a sitcom, for instance. I think it’s why I’ve only ever written for hourlong dramas. This season is definitely the most — well, it’s not even that it’s comedic. It’s funny. It has the clearest, most arch constraints. That’s kind of what that period was.
Ella Beatty in “Monster: The Lizzie Borden Story.” (Netflix)
I know that you have a 10-season plan for “Monster,” and you were working on a Luigi Mangione season that was scrapped because it wasn’t quite working. What bigger themes are you hoping to explore in other seasons of “Monster” that you haven’t yet touched on?
The masthead for this show is “Are killers made or are they born?” That’s the maximalist question we’re asking and what we have to dive into each time. The trick then is, if you’re doing these character analyses, there has to be something to analyze and something that’s knowable. That’s what was tricky about Luigi. He was such a phantom in his own story, and the story’s not finished. What was fascinating about that [case] was the reaction; it was like a true Robin Hood moment. That was a father of two, a Minnesota man who was gunned down in Manhattan, and zero voices were upset about it. That was striking to me and scary. Something has shifted in the culture, but there was no there there. It was like trying to write to a phantom, and it was just not possible.
The other problem with finding subjects for this anthology is you have to want to spend 10 hours in their head. Most murderers are just awful. There’s nothing redemptive or interesting about them … The throughline with all of these subjects, from Jeffrey Dahmer to the Menendez brothers to Ed Gein to Lizzie, is that at the end of the season — even if I become more convinced rather than less about their guilt — I end up liking them, feeling for them, understanding them and being like, “If I was in their situation, I might do something similar or worse.” You and I could both murder people. We have that in us, but we don’t. What is that about? What would it take for me to be driven to take another human being’s life? Why is someone else able to do it, but I’m not? That’s the mass appeal.
Would you ever consider a more esoteric monster? For example, the third season of “American Crime Story” was the Monica Lewinsky and Bill Clinton scandal, which was a blurrier crime where society criminalized her.
Yeah, we would. We really cast a fairly wide net, and the list is a lot of things we’ve jotted down. Every season — we’re still doing it now — we’re like “What’s the list again?” It didn’t start this way, but there’s now an expectation of the show that it has to be a marquee name. Of the four, Ed Gein is the most obscure … But that said, I’m not opposed to [the idea], and I actually think it might expand the brand of the show to do something that’s a little bit more obscure or not yet known or overlooked.
I want to talk about the finale of this season, which shows Aileen Wuornos being welcomed into the afterlife by Lizzie Borden and Bridget Sullivan. What are you hoping audiences take away from that final moment?
You always run the risk of, with this show, lionizing a monster, but in this case, it never felt that way. I feel like all three of those women got a raw deal. We wanted to tip our hat and hope that someplace these women — particularly Lizzie and Aileen Wuornos who were real tortured souls — hope at some point they found some peace.
There’s a lot of Aileen Wuornos footage that’s viewable, which Sarah [Paulson] did such a brilliant job of drinking in, completely metabolizing and then making it her own. A lot of that stuff — all the courtroom stuff — is verbatim … I just feel for her. I think she’s hilarious. She did horrible things, but she had horrible things done to her. If a 10th of what was done to her was done to me, who knows what I would turn into? So that was was the motivation: to send them off, in a way.
And there is something structurally about the season starting with Lizzie and Maggie, who have these horrible things happen to them and are under the thumb of a patriarchal society but they can’t really say anything. And then you have Aileen Wuornos, who is literally saying everything that has been done to her out loud, graphically. The honesty is jarring.
I had not thought about that juxtaposition … The switching back and forth, really I owe that entirely to Ryan [Murphy]. He’s a genius at about six or seven different things, but one of them is knowing how to just stay a little bit ahead of the audience. When you’ve had enough of drawing rooms, corsets and tea sets, he will completely know when to rip the record off the phonograph and put something else on. It’s like a sense of smell he has about that, and it is rarely wrong. Also, it follows structurally as a sequel to last season, which also jumped through time and subject matter. It keeps you from getting ahead of the story or bored by it.
Sarah Paulson in “Monster: The Lizzie Borden Story” (Netflix)
Both the Ed Gein and Lizzie Borden murdershappened so long ago. What was it like dealing with these older murders where you haven’t faced as much pushback as more contemporary seasons of the show?
The pushback comes with the territory. I’m mortified by the idea of traumatizing anybody who had to live this in real life. That’s something that is hard, and you just hope to not do it as much as possible. It’s tricky with this genre — true crime — which, I’m new to this. I’m not a true crime buff. So I am very cognizant of whether that translates or whether that diminishes the effect.
That said, it’s a relief to be able to tell a story that where everyone involved is at peace and gone. But it also makes it trickier because the primary materials are much more sparse.
It was harder with the Menendez brothers because that story is shot through with lies. They would admit as much. It’s really hard to understand what really happened there. With Jeffrey Dahmer, at least he was so mortified by what he had done that, while one had to take what he said with a grain of salt, he right away wanted to tell the story. He was also really bored in prison and liked cigarettes and sodas [which he was given for talking to authorities]. So he was like, “If I just keep talking and keep telling them what happened, it’s better.” It was a way for him to stay out of general population, which would ultimately kill him.
But with Lizzie [Borden] and [Ed] Gein, there’s less known. With Lizzie, there’s just mostly the court testimony, which wasn’t even a trial. It was a hearing. With Gein, there was at least some FBI interviews and a few recordings, which was great for Charlie [Hunnam] to hear the voice. You’re faced with some holes in the story that you can’t leave empty.
I always really appreciate “Monster” because it always makes me sit and reexamine humanity and American culture.
I feel like I get to have this sneaky master’s degree in criminal psychology. It’s this really great mid-career opportunity to do something I was completely unfamiliar with.
Easily the best writing experience of my career has been on this show. I’m really glad it both resonates with people like yourself — who are like looking at it squarely and in a way that’s like you’re taking a college course. You will write things about it, and you’re coming from a very analytical and soulful way — but it also resonates to a wider popular audience. That’s really affirming.
That’s so interesting you said that. I was just talking to my editor about how I appreciate Ryan Murphy’s world because there are character examinations with so much empathy, but at the same time these shows are created for a mass audience. It’s sort of like sneaking broccoli in the brownies.
He deserves so much credit for knowing how to do that, to package [a story] in a way that doesn’t feel like you’re eating your vegetables. He has such a knack for doing stuff that is entertaining and button-pushing enough that you want to get it. He doesn’t mind being a lightning rod because he’s like that … He’s a showman in the best possible sense.
He’s just very good at knowing there’s an audience for this. I’ve suspected that he has a time machine that only goes like one year ahead, and he just hops in, walks around and sees what people are talking about nine to 12 months ahead of time. They really broke the mold when they made that man. I’m lucky to get to be creative alongside him and within that those parameters. He’s really a joy to work with, and you feel like whatever you’re writing is just born on third base when you’re working with him.
Even this show. The Lizzie Borden season is premiering right as everyone’s talking about like trad wife culture. It’s perfect timing for a big feminist story.
We were starting to do press for it — it was just as like promotional materials — and I was like, “Jeez, he did it again.” He like smelled a moment. There’s this song of general female fed-uped-ness, so this season slots right in in such a great way.
“Monster: The Lizzie Borden Story” is now streaming on Netflix.
