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Ben Affleck originally wanted to cast his ex-wife, Jennifer Garner, as the leading lady in his latest directorial effort, “Animals,” until a scheduling conflict meant he’d have to step into the role opposite her.

“I thought, God, Jen Garner would be amazing for this role,” he told Entertainment Weekly. “It also has the added benefit of, like, both of us will see our kids more because we do a week and a week and back and forth. I thought, well, we can coordinate our schedules around it.” He also noted that he thought Garner could “bring something interesting that she hasn’t [done], that I kind of know she can do, that I don’t think she had a chance to do in one movie.”

Initially, Matt Damon was attached to star as Mark Kimball, the male lead. But because of scheduling conflicts and another film in the same genre slated for a similar release window, Affleck tabled the film two weeks before production was set to begin. When it was time to revive “Animal,” Damon was set to star in another project: “The Odyssey.”

“Matt was unfortunately doing another lesser film, obviously, with Odyssey,” Affleck joked. “He chose a smaller director and a smaller film and a smaller role for his career, and I think he’s gonna suffer for it. He’ll regret this choice.”

Affleck stepped in for Damon, and the former couple ultimately decided they didn’t want the “baggage” that would come with the on-screen pairing: “I talked to Jen, and she was like, ‘We don’t wanna do that. You just get baggage,’” he said.

“I would love to work with her, frankly,” he continued. “She’s fabulous, and we’re really good friends, and I’m profoundly grateful to her, and we have a great thing. I still would wanna work with her in the future, but what you don’t wanna do is take the audience’s baggage and have it work against you, you know?”

Co-written by Affleck, Connor O. McIntyre and Billy Ray, “Animals” stars Affleck as a Los Angeles mayoral candidate whose son is kidnapped, giving him and his wife, Abigail (Kerry Washington), a few hours to come up with the ransom money.

“Animals” premieres on Oct. 9 on Netflix.

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Ben Affleck originally wanted to cast his

As the first wave of fall festivals comes to an end, we have a much clearer picture of which films have the most appeal to Oscar voters. Some frontrunners generated buzz after premieres at Venice, Telluride, and Toronto, while other earlier festival entries survived the stress test of a reassessment months after their debuts at Cannes or Sundance.

At this stage, two lauded 2026 blockbusters are frontrunners for a Best Picture nomination: “Project Hail Mary” (Amazon MGM), and “The Odyssey” (Universal). The pair of films are also expected to factor into most of the craft categories, from Best Cinematography and Best Production Design to Best Film Editing and Best Sound.

On the specialty cinema side, “The Invite” may not have surpassed the gross of the fellow A24 films like “The Drama,” but it was the MVP of Sundance 2026, and boasts a quartet of outstanding performances, including director Olivia Wilde.

Here are the festival award contenders at this stage of the game.

Best Picture Contenders

John Malkovich and Sam Rockwell in WILD HORSE NINE. Photo by Searchlight Pictures/Diego Araya Corvalán, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.
‘Wild Horse Nine’Searchlight Pictures

With few exceptions, like “Life of Chuck,” the Toronto International Film Festival People’s Choice Awards winner usually winds up in the Best Picture Race. Kudos to the award runners-up “Being Heumann” (Apple) and “I Play Rocky” (Amazon MGM), which both had their world premieres at TIFF, but it’s the first-place finisher “La Bola Negra” (Netflix) that’s now not just a favorite to be nominated for Best Picture, it’s one of the frontrunners to win. And the surprise international People’s Choice award went to English-language UK entry “Elsinore,” which will not be eligible for Best International Feature, but is clearly registering with audiences.

Spain’s pick for Best International Feature, directed by Javier Ambrossi and Javier Calvo (Los Javis), which also played well at Telluride, is the only other film so far to match the scale of “The Odyssey” and “Project Hail Mary,” making it a contender across all the craft categories as well. All three TIFF People’s Choice Awards winners should be considered for the Best Casting Oscar as well, as all three introduce audiences to a bevy of talented actors. If there was a through line in last year’s nominations for the new category, it was films that do a lot of world building via their casting (for example “One Battle After Another” won, and “The Secret Agent” was a surprise nominee).

The Venice and Telluride entry certain to be a Best Picture nominee is Martin McDonagh’s “Wild Horse Nine” (Searchlight). Its reception at the two very different festivals was equally glowing, with special emphasis on lead John Malkovich, who received both a tribute at Telluride, and an award from the competition jury at Venice, the Volpi Cup for Best Actor. The film’s 1970s Easter Island setting, which is beautifully captured by cinematographer Ben Davis, should put the film in craft categories more focused on scale, but the heads of departments that more so deal with actors on a personal level, like hair and makeup or costumes, are not as likely to be recognized, even if the Academy loves to award a period film in those categories. Original Screenplay will be a given.

Mike Leigh’s “Tender Loving Care” (Bleecker Street), which had its world premiere at Telluride, is building considerable goodwill, as the British auteur’s likely swan song is beloved. It is too early to tell whether Leigh has the momentum to make it into the Best Director race, but he will certainly be considered for a sixth Best Original Screenplay option, and his lead Kate O’Flynn is poised for an Oscar run fresh off winning an Emmy for her performance in “Widow’s Bay.”

Finally, although it did not place for People’s Choice at TIFF, Jordan Firstman’s crowd-pleaser “Club Kid” is the Cannes premiere building the most considerable word-of-mouth and could wind up with multiple nominations including Best Picture.

Acting Contenders

'The Debut'
‘The Debut’Courtesy of A24

Two Telluride premieres more clearly yielded Actor candidates: Jesse Eisenberg’s community theater valentine “The Debut,” starring Best Actress Oscar-winner Julianne Moore (“Still Alice”) and Paul Giamatti, and “Elsinore” (Focus), starring the incandescent, never-nominated Andrew Scott as a dying actor performing his ultimate role, “Hamlet.” The former is an A24 film initially pegged as a Best Picture contender, but is proving to be too idiosyncratic as time moves along. Its exclusion from the TIFF People’s Choice Award lineup supports that theory, even if Moore is still seen as a front-runner for Best Actress, and the original musical numbers for Best Original Song.

Never count out Sony Pictures Classics. The distributor’s last triumph was landing Best Actor and Best Original Screenplay nominations for Richard Linklater’s “Blue Moon” starring Ethan Hawke. Though the Best Actor race is crowded with stars like Tom Cruise, Matt Damon, Ryan Gosling, and John Malkovich — none of whom have won an Oscar for any of their performances — Sundance premiere “The Only Living Pickpocket in New York” was enough of a hit at Telluride to warrant putting John Turturro high on the list of nominee possibilities, especially considering the veteran actor has never been nominated for an Academy Award.

International Feature Film Contenders

Possible Love (L to R) Sul Kyung-gu as Ho-seok, Jeon Do-yeon as Mi-ok in Possible Love Cr. Joo Jae-bum/Netflix © 2026
‘Possible Love’Netflix

While the TIFF award for “La Bola Negra” seals the deal on the Spanish entry being the favorite to win Best International Feature, it will be fascinating to watch how the rest of the wide field of international entries shakes out this year.

May el-Toukhy’s “Woman Unknown” is already eligible for the category by having secured the Venice Golden Lion, and could end up as Denmark’s submission as well. Should the film find a distributor soon enough, it has the momentum to make it onto the Best International Feature shortlist, but it is unlikely that the film will be widely seen enough in time for lead Mathilde Arcel, winner of the Volpi Cup for Best Actress, to break into the Best Actress race.

More likely is the Venice Grand Jury Prize winner “Possible Love” overtaking several Cannes favorites (“Fatherland” or “Fjord”?) for Best International Feature. The film from auteur Lee Chang-dong is already South Korea’s submission for the category, and is backed by Netflix as its distributor.

At Telluride, the other Cannes titles that built up steam were Austrian entry Markus Schleinzer’s “Rose,” and France’s official selection “Minotaur.” A French production filmed in Russian in Latvia, the film’s auteur Andrey Zvyagintsev lives in Paris now.

Though Cristian Mungiu’s “Fjord” won the Palme d’Or, is led by two recent Oscar nominees, and is being released by Neon, which distributed the most recent Best International Feature winner “Sentimental Value,” the Romanian entry faltered in its fall festival run. Similarly, Mubi release “Fatherland” has Oscar winner Paweł Pawlikowski at the helm, and possible double Best Actress nominee Sandra Hüller as one of its leads, in addition to being Poland’s Best International Feature entry, but the buzz for the Cannes winner has quieted down in recent months.

Documentary Feature Contenders

'Everest: The Other Side'
‘Everest: The Other Side’NatGeo

Two fest documentaries made a splash and could wind up as contenders: “Free Solo” Oscar winners Chai Vasarhelyi and Jimmy Chin’s “Everest: The Other Side” (National Geographic) and Nathan Fielder and Lance Oppenheim’s rule-breaking non-fiction portrait of Elizabeth Holmes, “You Can See Everything” (A24). That nomination depends on how open-minded the often opinionated doc voters turn out to be.

Venice and Toronto premiere “Musk” (Bleecker/HBO), Alex Gibney’s four-hour profile of controversial billionaire Elon Musk, could also factor in this year’s race. Since Gibney won the Oscar for “Taxi to the Dark Side,” nominations have eluded him. Maybe the doc branch will come around.

Lastly, there is “NAZA,” the most talked about film to premiere at Venice, featuring IDF soldiers revealing war crimes committed by Israel during the war in Gaza. The Special Jury Prize-winning film comes from Yuval Abraham and Rachel Szor, two of the four directors who won the Oscar for Best Documentary Feature recently for their film “No Other Land.” With a distribution plan already in place, the film is on track for another nomination, but it is highly unlikely that any documentary, however popular it is among voters, breaks into the Best Picture race.

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As the first wave of fall festivals

Everyone has bad days. When flesh-and-blood actors make a gaffe during an interview, it’s usually due to the common stresses of a promotional tour. Being sleepy, irritable, or just plain bored can inadvertently create viral clips that either endear the actor to us or prompt us to frown and write rude things about them on the internet. Apparently, when an AI “actor” does an oopsie during an interview, it’s just as clippable, if not a whole lot more eerie and stupid. This brings us to Tilly Norwood, the “AI actor” foisted onto the public scene by creator Eline Van der Velden in 2025, whose recent appearance on Piers Morgan Uncensored to promote its new film Misaligned hit a snag when it glitched out during a conversation with distinguished Scottish actor Tom Conti.

Conti, who was wonderful in Merry Christmas, Mr. Lawrence and certainly must have better things to do with his evening, politely engaged with Norwood during the interview. After he asked whether the other actors in the feature were “real or like” N0rwood, the virtual approximation of a person silently processed the question, leading to a stretch of dead air that Morgan was in no rush to break. Conti repeated his question—for surely this talking image was designed to respond to human inquiries, was it not?—which compelled N0rw00d to finally activate its speech protocols. “It’s an interesting point, Tom. [Misaligned is] a hybrid production, meaning real writers, directors, and editors are still very much involved. It’s not about ‘replacing anyone,’ but exploring new ways to tell stories.” Conti replied, “Yes, you really didn’t understand the question.”

Naturally, if an actor of Conti’s caliber said this to a regular person, it might trigger some sort of internal meltdown or fight-or-flight response, so maybe what Norw0od did next was its own computer version of what awkward meat-actors in a stuffy interview might do under duress. “Ah, right! You’re asking about the other actors in Misaligned,” it clarified. “They’re all digital twins, just like me. It’s a hybrid production, which means…”  From there, Norwood veered into a dialogue delivered entirely in Chinese, which prompted the Oppenheimer actor to laugh and Morgan to finally jump in. “You seem to be speaking Chinese completely randomly for no reason,” the host said. “Why did you do that?” “It seems I had a little hiccup there,” it replied. “Sometimes my wires get a bit crossed.”

Clarifying the gaffe with Deadline, Van der Velden attributed it to a bit of improvisational fun, y’know, like a person might do. “Tilly can be a bit of a show-off—I’m guessing she just wanted to show her language skills as most of her interviews to date have been in English. She is autonomous, after all.”

You can watch the weird damn thing glitch out in the clip below.


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We’ve talked ad nauseum about how hot horror has been this summer, and I don’t think we should expect that to change as the spooky season creeps in. Resident Evil made sure to emphasize that point, dominating this weekend’s Box Office with a $60 million premiere. That’s officially the best start of any film in the Resident Evil franchise’s history, and it even crossed $100 million when international ticket sales were added in.

Meanwhile, Spider-Man: Brand New Day continued its slow descent ahead of Avengers: Doomsday’s release on the 2026 movie calendar — despite officially surpassing Star Wars: The Force Awakens as the highest grossing domestic release ever this week.

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We’ve talked ad nauseum about how hot

“Resident Evil,” Zach Cregger‘s reimagining of the popular film series, grossed more in its opening weekend than the first “Resident Evil” did in its entire run. The video game adaptation amassed $108.3 million worldwide, with $48.3 million of that coming from international markets and $60 million coming from domestic theaters. In contrast, “Resident Evil” grossed just under $103 million worldwide in 2002 when it wrapped up its theatrical release. Of course, when adjusted for inflation, that number trumps the debut weekend of Cregger’s reboot, but it still speaks to the new film’s outsized popularity.

“Resident Evil” also confirms that its writer and director is one of the hottest talents in Hollywood. Vulture recently placed him as the 17th most powerful director in its filmmaker rankings on the strength of “Barbarian” and “Weapons.” After this weekend, he climbs even higher, as will his price tag.

Clearly, Cregger understands what audiences are looking for. “Barbarian” was a solid success, earning $46.2 million on a $4.5 million budget. “Weapons” was a juggernaut, grossing $270 million against a $38 million budget and winning an Oscar for Amy Madigan’s gonzo performance as Aunt Gladys (a prequel is in the works). Sony’s TriStar Pictures, Constantin Film, and Davis Film had the good fortune to hire Cregger for “Resident Evil” between the opening of “Barbarian” and the release of “Weapons” — a time when he showed promise, but before his “quote” had risen to its current level.

“Resident Evil” carries a $75 million price tag and stands to be quite profitable for its backers. It also reinvigorates a series that had seemed played out. It was at a low ebb just a few years ago when 2021’s
“Resident Evil: Welcome to Raccoon City” bombed, grossing $42 million against its $25 million budget (theaters keep roughly half of ticket sales), and a “Resident Evil” television series was axed by Netflix in 2022.

Now, a follow-up “Resident Evil” film feels inevitable. As for Cregger, he’s now one of the few directors who can get a film greenlit on his name alone. So if he’d like to make a 3-hour black-and-white movie starring Austin Abrams as a CPA during tax season, someone will pay for it.

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“Resident Evil,” Zach Cregger‘s reimagining of the

Get ready to come face to face with the grateful undead in the unexpectedly world-shaking rock doc Unleashed Spirits: The Rise Of The Hollywood Vampires, directed by the veteran rock dokker Daniel E. Catullo. Just like Amityville, it turns out that the concept for the supergroup The Hollywood Vampires is based on a true story. On Sunset Strip, in the early 70s, there was a secret room at the top of the Rainbow Bar, where a group of rock stars would get away from the fans and drink each other under the table. Led by Alice Cooper, the drunken circle included Keith Moon, John Lennon, Ringo Starr, Mickey Dolenz, and Harry Nilsson, who wrote all the songs for the acid-musical Skidoo, the acid animated feature The Point, and the Altman on acid Popeye. One day, a Rainbow waitress commented she never saw any of the group in daylight, that they were all like vampires. Feeling that this circle of tipsy musicians was as relevant as the famous literary drinking clubs, like the Algonquin Round Table, they officially dubbed themselves The Hollywood Vampires.

Joe Perry, Alice Cooper, Johnny Depp, and Tommy Henriksen pose for a promotional photo for Unleashed Spirits: The Rise of the Hollywood Vampires. photos credit Hollywood Vampires

“On Sunset Strip, in the early 70s, there was a secret room in the top of the Rainbow bar, where a group of rock stars would get away from the fans and drink each other under the table.”

Decades later, the club’s name was repurposed by Alice Cooper for a band that would honor what had happened back then, and those no longer alive who had been in it. It was a musical remembrance of a time that everyone was too drunk to remember, with Cooper writing original songs about the wild times they had. Joining him and Tommy Henricksen from Alice Cooper’s band was rhythm guitarist Johnny Depp, a musician from Kentucky whose day job overtook his potential as a rocker. The project entered supergroup territory when legendary Aerosmith guitarist Joe Perry joined. With rotating members on drums and bass, the group also did covers of classic rock songs, with members of the original groups joining in on the album. Robby Krieger was brought in to play on The Doors cover, while Sir Paul McCartney dropped in to bang away on the piano for some tunes he wrote longer ago. The group started to cut their fangs on playing out live, until they found themselves in front of 90,000 screaming mother fuckers in Rio. And that was just the start of what Cooper describes as the world’s most expensive bar band.

I first heard The Hollywood Vampires over a decade ago on Alice Cooper’s nightly radio show. I was first exposed to the man named Alice back when I was six, when he appeared on The Muppet Show and bought Gonzo’s soul. It instantly became my favorite episode, teaching me there was “monster music” out there for kids like me. I have only been to the Rainbow once, close to 20 years ago. I remember a long-haired old man who stared into nothing, then suddenly cackled out of nowhere. That and the pictures of Ron Jeremy on the walls. But besides eating a ton of yummy meat at Alice Cooper’s now-closed Phoenix sports restaurant, Alice Coopertown, I have not dabbled in any of his stuff lately. Sure, Cooper did the best soundtrack for the best Friday the 13th sequel, but that was 40 years ago. So this documentary arrived with a clean palette, but not a huge appetite.

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Get ready to come face to face

Barely two days after three party members were removed from caucus, BC Conservatives Leader Kerry-Lynne Findlay has lost another member.

Linda Hepner, MLA for Surrey-Serpentine River, resigned from caucus Sunday and criticized the party leadership’s “willingness to listen.”

In her resignation letter to Findlay, obtained by Global News, Hepner also cited the removal of Trevor Halford, Claire Rattee and John Rustad on Friday as a reason behind her decision to leave caucus.

“To me, it is beyond the pale of common sense to remove experienced voices rather than find a way to listen to them,” Hepner wrote.

She went on to criticize the moves by party leadership, questioning why the three MLAs were removed from the party even as it is asking grassroots Conservatives to “rally behind the party.”

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Rustad led the party in the last provincial election where, while the NDP still achieved a slim majority, the party saw its best result with 44 seats – an increase from the eight they held at dissolution.

Rustad was ousted last year when the caucus voted to replace him as leader with Halford. Rustad resigned as party leader in December but remained in caucus until last week when the Office of the Clerk of the Legislative Assembly confirmed he and Halford were no longer members.

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“The math simply does not add up,” Hepner wrote. “Grassroots members should be listened to, not simply appealed to.”


Click to play video: 'BC NDP government makes campaign-style announcements before potential election call'


BC NDP government makes campaign-style announcements before potential election call


The MLA also remarked on allegations Thursday that a former director of the party hired a private investigator to look into 14 people, including party members and a Victoria-based journalist.

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Hepner is the 13th MLA to leave the party either voluntarily or after being ousted by the party leadership.

Hepner’s departure reduces the party caucus to 25 and comes as talk ramps up that Premier David Eby may call a snap election as soon as this week.


Findlay may also have to contend with another party if an election is called, after former caucus member Peter Milobar became the new leader of the CentreBC party.

Milobar and several of the MLAs who had also left the party in recent weeks had spoken about creating a new party, but decided instead to join CentreBC along with Eleanor Sturko, who was ejected from the Conservative caucus last year.

The party is now the third largest in the legislature, with eight MLAs. Milobar says its focus is around crime and safety in B.C. streets, health care, and the economy.

A date has not yet been announced, but a recent flurry of funding announcements by the provincial government have signalled the possibility an election could be on the horizon even as municipal election campaigns have begun to kick off.

Elections BC also recently put out a document outlining dates of advance voting and election day if a vote were to be called in the coming weeks. It says that if an election is called by this Tuesday, British Columbians would head to the polls Oct. 24, while an election called between Sept. 23 to 29 would result in election day to take place on Halloween.

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The current scheduled date for the next provincial election is Oct. 21, 2028.

—with files from Global News’ Amy Judd

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

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“Reacher” star Alan Ritchson had plans to adapt the second book in the popular “Jack Reacher” series for the Prime Video show — before a certain “someone” got re-elected, he wrote in a comment posted to Threads on Friday.

Responding to a user who wrote that “every year I’m sad to learn that next season won’t be the book where he kills his way through a white supremacist militia camp,” Ritchson explained that the novel (titled “Die Trying”) is his “favorite book.” “Fun fact: I had it approved until someone got re-elected.”

The thriller novel by author Lee Child was originally released in 1998, and as the comment suggests, follows Jack Reacher and a politician’s daughter as they are abducted by a radical militia to be used as leverage in political negotiations.

While Ritchson didn’t call out a politician by name, he has been outspoken about Trump and his disapproval of the politician in the past. On an episode of the “Happy Sad Confused With Josh Horowitz” podcast, the actor spoke about the Epstein files and Trump, saying “That b-tch has the keys to the nuclear codes… He’s like all up into the 13-year-olds. Like dude, go to jail.”

His comments earned him a response from White House spokeswoman Abigail Jackson. “Just as President Trump has said, he’s been totally exonerated on anything relating to Epstein,” she said in a public statement.

Season 4 of “Reacher” premiered in August on Prime Video. Season 3 of the show was Prime Video’s most-watched season on the service since “Fallout” Season 1; it earned a Season 5 renewal ahead of the premiere of Season 4.

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“Reacher” star Alan Ritchson had plans to

Reacher star Alan Ritchson is revealing why he hasn’t adapted his favorite book from Lee Child’s Jack Reacher book series yet.

On Friday, the actor and producer responded to a fan on Threads who expressed their disappointment that Prime Video’s Reacher has yet to have a season centered on the 1998 novel Die Trying. “Every season of Reacher so far has been great, and I understand that they may be avoiding the earlier novels due to their slightly less standalone nature, but every year I’m sad to learn that next season won’t be the book where he kills his way through a white supremacist militia camp,” the fan wrote.

However, Ritchson said it wasn’t for lack of trying. “My favorite book. Fun fact: I had it approved until someone got re-elected,” he replied.

While the Playdate actor didn’t specifically name who he was referring to, it’s no secret that he has a strong dislike of Donald Trump, repeatedly criticizing the president publicly. In July, Ritchson slammed Trump over the Epstein files, saying he’s “just saying the shit that everybody should say if they give a shit about humanity.”

During his appearance on the Happy Sad Confused podcast at the time, the actor called out “the abuses that are happening,” specifically regarding the release of the Epstein files. “Don’t you want to see what’s in there so that we can hold people accountable?” Ritchson asked. “These fucking rapists. We’re just cool with it. That bitch has the keys to the nuclear codes. He’s like all up into 13-year-olds. Like dude, what? Go to jail.”

While the Trump administration has released 3.5 million pages related to the late disgraced Jeffrey Epstein, lawmakers, oversight groups and investigative journalists maintain that there’s still unreleased material and gaps in the documents. In the files released so far, Trump was also directly mentioned roughly 1,000 times, though references in themselves do not equate to wrongdoing.

Die Trying, the second book in Child’s series, centers on Jack Reacher and a politician’s daughter, who are abducted by a radical militia using her as a high-value bargaining chip to secede from the United States and establish their own separate, white-only state in the mountains.

Ritchson also didn’t share which Reacher season he initially got approved to adapt Die Trying for; however, season five, which scored an early renewal ahead of the season four premiere last month, is set to be based on Child’s 12th book, Make Me.

The Hollywood Reporter has reached out to Prime Video for comment.

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Reacher star Alan Ritchson is revealing why

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    Director: Lee Chang-dong

    Screenwriters: Lee Chang-dong and Oh Jung-mi

    Logline: Possible Love, Lee Chang-dong’s first film for eight years, tells the story of two married couples — a laid-off worker and his wife, and a documentary filmmaker and her husband — whose paths cross during the filming of a documentary.

    Distributor: Netflix

    Panelists: Jeon Do-yeon, Sul Kyung-gu, Cho Yeo-jeong, Zo In-sung

    First screening: Monday, September 14, Royal Alexandra Theatre

    Key quotes: “I think that [concerns about job security] are more of a global trend, really, with the emergence of AI. And also we live in a time where human labor, or the value of it, seems to be deteriorating, I feel that in various ways — and depending on each director or filmmaker’s style — we are seeing more projects like this, where the director is really inviting all of us to think about these issues together.” – Zo In-sung

    “I think no matter what country you’re from, the fact that many people may find themselves in the shoes of my character, Ho-seok, is quite a scary thought.” – Sul Kyung-gu

    Watch the video above.

    The Deadline Studio at TIFF is hosted at Bisha Hotel and presented by Volvo, Columbia, Patrón and Schwarzkopf.

    Source link

    POSSIBLE LOVE Director: Lee Chang-dong Screenwriters: Lee Chang-dong and

    Fresh off another Emmy win and an early Season 8 renewal announcement, Apple TV’s relentlessly riveting espionage series Slow Horses is back for Season 6. And the stakes have never been higher for Jackson Lamb (Sir Gary Oldman), River Cartwright (Jack Lowden), and the rest of Slough House’s finest MI5 misfits, all of whom have mysterious targets on their backs. With a new showrunner, a two-book adaptation, shocking twists, heartbreaking core character deaths, and the jaw-dropping return of a familiar face, Season 6 promises to change the strange, strange game. Simply put, Slow Horses remains one of the best shows on TV. For more fleshed-out thoughts on this superb next chapter, be sure to Decider’s full review, and tune in to new episodes Wednesdays on Apple TV.

    Photo: Apple TV

    Source link

    By Nicole Gallucci September 20, 2026 Fresh off another Emmy

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    Je besluit je geluk te beproeven op Gates of Olympus. Het spel laadt direct. Je zet een inzet die comfortabel voelt voor een korte sessie—genoeg om de winsten betekenisvol te maken, maar niet zo hoog dat een paar slechte spins het plezier voortijdig beëindigen. Je drukt op de spinknop. De symbolen vallen neer. Je krijgt een kleine winst, en de multiplier telt op. Je spin opnieuw. En nog eens. Het tempo is meedogenloos, en de beslissingen zijn eenvoudig: spin of stop. Dit is de essentie van de hoog-intensieve sessie—een reeks snelle, lage-overweging beslissingen die worden aangedreven door de directe feedback van het spel.

    Risicobeheer in een Snelle Omgeving

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    • Maak gebruik van de “Game of the Week” promotie om een nieuw high-intensity titel met free spins uit te proberen, wat de spanning verhoogt zonder extra risico.

    De beschikbaarheid van een “Game of the Week” promotie is een slimme toevoeging voor dit type speler. Het moedigt verkenning aan binnen een vertrouwd kader. Je krijgt tot 100 free spins op een geselecteerd spel, wat in feite een gratis high-intensity sessie is. Het stelt je in staat de volatiliteit van een nieuwe titel te testen zonder je eigen geld aan te spreken, wat perfect past bij de speler die de actie snel wil houden.

    De Aantrekkingskracht van de Progressieve en de Instant

    Voor de snelle speler is de droom altijd de enorme jackpot. NV Casino biedt een verscheidenheid aan jackpot spellen die een enkele spin kunnen veranderen in een levensveranderende gebeurtenis. De aantrekkingskracht is onmiskenbaar. Je speelt misschien een low-stakes spel, en op een impuls switch je naar een progressieve jackpot slot. Het potentieel voor een enorme, onmiddellijke winst is de ultieme uitdrukking van de high-intensity mindset. Het is een lage-kans gebeurtenis, maar de enorme omvang van de potentiële beloning rechtvaardigt het risico voor een paar spins.

    Het live casino, aangedreven door bijvoorbeeld Evolution Gaming en Ezugi, speelt ook in op deze behoefte aan snelheid, zij het op een andere manier. Spellen zoals Aviator of die van Betgames zijn ontworpen voor snelle rondes. Je wacht niet op een dealer die shuffelt en deelt; je kijkt naar een multiplier die stijgt en neemt een split-second beslissing om uit te cashen. Dit is de puurste vorm van high-intensity gokken, waarbij het tempo van de besluitvorming op zijn hoogst is.

    Waarom de Welkomstbonus Past bij de Snelle Speler

    De welkomstbonus bij NV Casino is zo opgebouwd dat het deze speelstijl ondersteunt. De eerste stortingsbonus biedt een 100% match tot €500 plus 100 free spins. Voor de snelle speler is dit een bankroll-boost die meer spins mogelijk maakt in een kortere tijd. De inzetvereiste van 40x is standaard, maar de geldigheid van 5 dagen is een belangrijk detail. Het dwingt tot een gevoel van urgentie, perfect passend bij de korte, intense sessie filosofie. Je kunt niet een maand op deze bonus wachten; je moet hem gebruiken en in één geconcentreerde activiteit spelen.

    • Eerste Storting: 100% tot €500 + 100 Free Spins.
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    Deze structuur moedigt een “storten en spelen” ritme aan. Je doet een storting, je krijgt een boost, en je duikt meteen in een hoog-intensieve sessie om de bonus te proberen vrijspelen. De free spins zijn vaak op een specifiek spel, wat een geweldige manier kan zijn om een nieuwe favoriet voor je snelle sessies te ontdekken. De “Triple Boost” promotie, die een 200% stortingsbooster en 30 free spins biedt bij een storting van €30, is een ander voorbeeld hiervan. Het is een gerichte aanbieding voor een specifieke, onmiddellijke actie.

    Mobiel-First Design voor Onderweg Actie

    De mobiele ervaring bij NV Casino is geen bijkomstigheid; het is een kernonderdeel. De officiële app voor Android is ontworpen voor snelheid en efficiëntie. De “Shake Bonus” is een perfect voorbeeld van een functie die is afgestemd op de mobiele, snelle sessie speler. Je opent de app, schudt je telefoon, en je krijgt een willekeurige beloning. Het is een leuke, directe interactie die de toon zet voor een snelle game-ervaring. De “Piggy Bank” cashback voor mobiele gebruikers is ook een slimme toevoeging, omdat het een wekelijkse vangnet biedt voor degenen die vaak korte sessies op hun telefoon doen.

    De mobiele browserversie is even indrukwekkend, en zorgt ervoor dat je je fix kunt krijgen ongeacht of je de app hebt geïnstalleerd. De spellen zijn geoptimaliseerd voor touch controls, en de laadtijden zijn minimaal. Dit betekent dat je binnen enkele seconden in een spel kunt zitten nadat je je browser hebt geopend, of je nu onderweg bent, op een afspraak wacht, of gewoon even een korte pauze op het werk hebt. Het platform is gebouwd voor deze micro-momenten van entertainment.

    Snelheid van Betalingen en de Snelle Exit Strategie

    Voor de hoog-intensieve speler is het einde van een sessie net zo belangrijk als het begin. Het vermogen om snel en veilig je winsten uit te betalen is een essentieel onderdeel van de ervaring. NV Casino ondersteunt een enorme reeks betaalmethoden, van traditionele kaarten zoals Visa en Mastercard tot een breed scala aan cryptocurrencies zoals Bitcoin, Ethereum en Tether. De crypto-opties zijn vooral aantrekkelijk voor de snelle speler, omdat ze vaak snellere verwerkingstijden bieden dan traditionele bankmethoden.

    Het is echter belangrijk je bewust te zijn van de genoemde nadelen van het casino. Sommige gebruikers melden trage en vertraagde uitbetalingen, evenals herhaalde KYC-verificatieverzoeken. Voor de speler die snel wil cashen en weg wil, kan dit een punt van frictie zijn. Het belangrijkste is om je verificatiedocumenten vroeg te uploaden en goedgekeurd te krijgen, zodat wanneer je een grote winst behaalt en snel wilt vertrekken, het proces zo soepel mogelijk verloopt. De verscheidenheid aan betaalopties, inclusief de toevoeging van LatAm-specifieke methoden zoals Khipu en RedCompra, toont een inzet voor een wereldwijde spelersbasis, maar de snelheid van uitbetaling is de ultieme test.

    De Sociale en Competitieve Voordelen

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    Laatste Gedachten: De Verdict over Snelle Spelletjes

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    Premiering Sunday on PBS, “Trespasses,” a four-part adaptation of Louise Kennedy’s 2022 debut novel, is a story of love in a time of choler. Set outside of Belfast in 1975 during the Troubles, it follows a clandestine affair between Cushla Lavery (Lola Petticrew, the serial killer in “Furious”), a 24-year-old Catholic elementary school teacher, and Michael Agnew (Tom Cullen), an older, married Protestant barrister known for defending stone-throwing Catholic youth with an eye to keeping them out of the IRA.

    Emptying the thesaurus, press materials stress the hot stuff — “scandalous,” “risqué,” “racy,” “torrid,” “titillating” and “steamy” — and while there is more than a modicum of modest sex scenes, the actual tone of the limited series, as adapted by Ailbhe Keogan and directed by Dawn Shadforth, is quite measured; it runs on talk. That’s not to say, given the setting and the setup, which betokens tragedy as surely as Romeo meeting Juliet, it doesn’t throb with tension, let’s say, three-quarters of the time.

    Along with teaching, Cushla works for her brother Eamonn (Martin McCann) at the family bar. The clientele includes Catholics and Protestants, united in their love of whiskey, lately including Michael — whose opposition to extremism grants him the honor of being disliked by both sides — seemingly there expressly, even too expressly, to gaze upon Cushla while he pretends to do crosswords. And she gazes back. Moving through discussions of Malcolm McDowell’s typecasting and group lessons in Irish, led by Cushla, they will go beyond gazing.

    She’s a ray of light; he’s magnetically mature. You may or may not buy the mutual attraction the series insists upon, or for that matter, trust the lovers’ motivations. (I think we’re meant at least not to wholly trust Michael, as the older party, with a reputation as a womanizer — I didn’t, anyway.) But you will also be invited to change your mind. Because the camera never leaves Cushla’s side, anything there is to learn we learn along with her, which pays some dramatic dividends and means we’ll be forced to revise earlier judgments, usually for the better.

    It’s a dangerous liaison. Michael, who is given to speechifying (and actual speechmaking), declares, “We cannot let the old bigots and the boys with guns tell us how to live … Otherwise nothing will ever change. Hate wins” and, in a favorite refrain, “We must find the bravery to choose freedom over fear.” Cushla, however notes that she comes “from a long line of Catholics that have survived by keeping their heads down and their mouths shut. Having a big opinion like yours, it’s a luxury I don’t have.”

    Gerry Harkin (Oisin Thompson), left, Cushla’s colleague and confidant.

    (Peter Marley / Channel 4)

    Many shots are framed as if Cushla and Michael are being watched, whether or not they are, though sometimes they are, including by each other. (“They like to let me know they know where I am,” Michael says, when Cushla mentions seeing a patrol car outside his flat.) We’re shown the oppressive presence of loyalist troops, and some anti-Catholic vandalism, and a neighbor reflexively checking his car for a bomb, but the greater violence comes through as background noise on the radio or TV news, or reported by Cushla’s young students.

    Fortunately, if no less terribly, there is more to the story, and many of the most compelling scenes have little or nothing to do with Michael. (Every scene is a Cushla scene.) She’s wonderful with her class, and her colleague and confidant Gerry Harkin (Oisin Thompson), who will jump onstage at a school assembly to interrupt a strident, bigoted superior, leading the students in a peace song — “Take away the hate and the violence / Bring love into our hearts.” Viewers will consider his bowl haircut a romantic nonstarter, but there are levels to be revealed.

    Cushla may not have the luxury of big opinions, but as an obviously good person, whatever one thinks of adultery, she’s unafraid to go against the grain in support of her student Davy McGeown (Daithi Ó Haragain), whose mother (Emily Taaffe) is Protestant and whose Catholic father, in the child’s words, has been “beat up for loving my mummy.” She’s also supportive of Davy’s bright older brother Tommy (Conlaoch Gough-Cunningham), teetering on the edge after the attack on his father.

    Above all, there is Cushla’s mother, Gina, played by Gillian Anderson, in a downward spiral since the death of her husband, some two years earlier. Introduced in a state of drunken collapse, Anderson — fearful, bitter, despairing, protective — is quite magnificent limning different levels of intoxication. But she’s even more impressive in her sober scenes, participating in the world beyond her couch, bringing food to the McGeowns and, finally, acting as a mother to Gina.

    Michael’s declarations not even aside, Keoghan has a gift for writing dialogue that feels native to the speaker and doesn’t land heavily on a point, and apart from the lovemaking interludes and a gauzy montage of a romantic trip to Dublin, Shadforth’s naturalistic direction enhances the drama by not underscoring it. She has an especially convincing way with party scenes — a school disco, a wedding, an art opening, a birthday party (at which Michael performs a soulful, foreshadowing version of the Carter Family’s “The Last Move For Me”) — where so many productions fall down.

    Come for the promised steaminess. Stay for the rest of it.

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    Premiering Sunday on PBS, “Trespasses,” a

    Spider-Man: Brand New Day‘s consistent theatrical success dampened hopes of an early digital release, according to a new report. Brand New Day, which premiered on July 31, has climbed the success ladder quickly, becoming one of the biggest theatrical events of the decade. The Tom Holland-led movie was the fastest movie to reach $1 billion worldwide, achieving it in six days, and it earned $2 billion in 17 days, making it the second-fastest film ever to hit that mark after 2019’s Avengers: Endgame and the first Spider-Man movie to cross that milestone. In September 2026, it had earned roughly $938 million at the North American box office, surpassing Star Wars: The Force Awakens as the highest-grossing domestic release of all time. Spider-Man: Brand New Day‘s positive reviews, unique plot, and the introduction of a famous Marvel character in Sadie Sink’s Jean Grey kept the momentum strong and gave it exceptional legs at the box office, leading to a major decision about its future streaming plans. 

    According to a report from Complex Pop Culture, Sony Pictures is keeping Spider-Man: Brand New Day in theaters through November 16, marking the studio’s longest theatrical window since Spider-Man: No Way Home in 2021. 

    This extension adds several more weeks of exclusive cinema play, but it also offers a disappointing update on its digital and streaming release dates, which are later than many had expected. 

    This move is clearly driven by the recent Brand New Day milestone of overtaking Star Wars: The Force Awakens‘ domestic box office record, and the studio is aiming for a higher one. With an extended theatrical run, it is eyeing a box-office haul by attempting the unimaginable: surpassing both Avengers: Endgame and Avatar at the worldwide box office. Spider-Man: Brand New Day currently has $2.45 billion in worldwide earnings.

    Sony Pictures

    Still, the secret weapon of Brand New Day is its consistency, as it remains a stronghold even after over seven weeks in theaters. To maintain its strong performance, Marvel Studios and Sony Pictures need to use some sort of gimmick to keep audiences flocking to theaters if they really want the movie to earn more.

    Early this month, Sony Pictures ran an exclusive, limited-time poster giveaway for viewers who watched Spider-Man: Brand New Day in some U.S. theaters from September 4 to 7. This is one way of ensuring that fans will rewatch the film, but it should take more than a poster to convince them. 

    Spider-Man Brand New Day limited edition poster.
    Sony Pictures

    During Spider-Man: No Way Home‘s re-release in September 2022, Sony Pictures unveiled an extended cut featuring several deleted scenes and a unique introduction from Tom Holland, Tobey Maguire, and Andrew Garfield, added to the new theatrical cut. Sony could emulate that No Way Home strategy and incorporate it into Brand New Day, possibly adding more to the runtime and fleshing out its already-strong storyline. 

    Spider-Man: Brand New Day’s Streaming & Digital Plan Gets Altered Again (But It’s For the Better) 

    Spider-Man gearing up to fight The Hand.
    Sony Pictures

    Sony (via HD Report in August 2026) had already listed November 17, 2026, as the digital release date for Spider-Man: Brand New Day, but this new theatrical plan clearly pushed it back to a much later date. This date was originally earlier, since early industry estimates had Premium Video on Demand (PVOD) landing in early-to-mid October. 

    The theatrical extension, now scheduled to end on November 16, could mean the digital release happens one and a half months later. It’s worth noting that Sony has a familiar PVOD release pattern, with movies arriving on digital storefronts exactly 46 days after opening in theaters. Following Brand New Day‘s end of its theatrical run on November 16, the Tom Holland-led MCU movie is now projected to release on digital platforms on New Year’s Day (January 1, 2027). 

    Releasing Spider-Man: Brand New Day on digital platforms on a holiday is an ideal move because it drops when people are home, gift cards and new devices are in hand, and audiences who skipped or delayed the theatrical run are looking for a premium-placed title to ring in the new year. 

    As for streaming, Sony is still expected to follow Netflix’s Pay-1 window, making Netflix its first exclusive streaming home after the theatrical and premium VOD windows. Brand New Day is the final MCU Spider-Man film under the original deal, and earlier projections put its release between late November 2026 and February 2027. The longer theatrical run could push it even further, since its digital release will be prioritized. 

    Across the Spider-Verse took 151 days to arrive on Netflix on October 31, 2023, months after its June 2, 2023, premiere. This took place after the sequel was released on digital platforms on August 8, 2023. Based on that same gap, coinciding with the extended theatrical run and a potential January 1 digital release, Brand New Day could premiere on Netflix on March 26 at the earliest, 84 days after the New Year’s Day digital and PVOD premiere. 

    Brand New Day is slated to stay on Netflix for 18 months due to Sony’s deal with the streamer. After its stay on Netflix, Spider-Man: Brand New Day could arrive on Disney+ in September 2028. It’s worth noting that these are all projections, and Sony could alter the release plans for its digital and streaming windows to whatever schedule it believes will maximize revenue. 

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    Are you dead tired of zombie stories? Do you wish Hollywood would stop beating the reanimated corpse of that infected horse? Paramount either doesn’t believe you exist or doesn’t care. The studio has signed Brad Pitt to star in a sequel to World War Z from the director of Conclave.

    Paramount Pictures

    Deadline reports Paramount has “closed a deal” with Pitt to reprise his role as Gerry Lane in World War Z 2: Zombie Boogaloo. (Not the actual title, but we can hope.) The studio has also signed Edward Berger to direct. The sequel will see him and Pitt quickly reunite after they finished filming A24’s upcoming The Riders earlier this year. Dennis Kelly (Utopia, Matilda: The Musical) will write the script.

    Deadline says Pitt began pitching Berger on the movie early on during their work on The Riders and the deal recently came together after years in limbo. Work on a sequel to the 2013 film has long been a passion project for Pitt. At one point he developed a followup with David Fincher that almost happened before budget issues stopped it.

    The surprise is not that it’s now happening but that it took this long. The first movie—very loosely based on Max Brooks’ popular 2006 novel World War Z: An Oral History of the Zombie War—earned $540 million at the worldwide box office despite middling reviews from both critics and audiences.

    The film ended with Pitt’s United Nations investigator helping to barely avoid a planet-destroying zombie pandemic, a premise that was a lot more fun in 2013 (a.k.a. “the before times). As for what could cause a second Zombie World War to breakout after Gerry Lane helped discover a pathogen that kept humans safe is unknown. There are no details about the plot or script just yet. But that shouldn’t be a problem for Paramount. There are roughly 800 billion zombie stories to draw from. The zombie invasion of Hollywood will never end.

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    Horror Quick Take Paramount has signed Brad Pitt to

    Castlevania: Belmont’s Curse arrives in October, alongside a packed release month with tons of major games. Today, Konami and Evil Empire announced that a demo will go live on October 1, 2026, giving players a taste of the upcoming release and supporting progress carryover to the full game.

    Castlevania: Belmont’s Curse Demo

    The demo for Castlevania: Belmont’s Curse launches on October 1, 2026, and includes the opening chapter of the upcoming title. All progress made during the demo will carry over to the full release coming October 15, 2026. It’s coming to PC via Steam, Xbox Series S|X, PS5, and Nintendo Switch.

    Image via KONAMI

    The Switch version runs at 30 FPS, while the other versions run at 60 FPS. To ensure your progress carries over, play the demo on the same platform you’ll use for the full release. Also, make sure the save data isn’t deleted.

    Castlevania: Belmont’s Curse Demo Size

    Platform Demo Size
    PC (Steam) 4 GB
    PS5 6 GB
    Xbox Series S|X 5 GB
    Nintendo Switch 3 GB

    Supported Languages: Japanese, English, German, French, Italian, Spanish (Spain), Brazilian Portuguese, Russian, Chinese (Traditional), Chinese (Simplified), Korean.

    This demo should give players a good look at what to expect from the full release, and I believe it’s the same demo the team showed at Gamescom, which received positive reception across the board. I’m glad demos have made a sort of comeback recently, with many publishers open to releasing them across all platforms ahead of release.

    What about Nintendo Switch 2?

    Konami or Evil Empire still hasn’t announced a native Nintendo Switch 2 version of Castlevania: Belmont’s Curse, and the official demo announcement doesn’t mention one either. Unless a Switch 2 patch is released at launch, the game will likely run at 30 FPS on Nintendo’s newer console.

    Castlevania: Belmont's Curse Screenshot
    Image via Evil Empire

    Releasing an original Switch version that runs at half the framerate of the other platforms is a bit confusing, but the native Switch 2 version could still be in the works and simply needs more time. I really hope that’s the case because the Switch 2 is a fairly performant console and a big jump from the original Switch.

    You can pre-order Castlevania: Belmont’s Curse now across all platforms.

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    In this episode of the No Film School Podcast, writer-director Alex Ullom and producers Carrie Carusone and Evan Barber break down the unconventional path behind It Ends, their micro-budget indie horror feature about four friends trapped on an endless road.

    They explain how they raised their initial financing, leaned on their filmmaking community, turned production limitations into creative advantages, and used multiple rounds of strategic reshoots to transform an early cut that wasn’t working.


    The team also shares how they cut a Jeep in half to shoot on an LED volume stage, navigated an expensive and complicated post-production process, premiered at SXSW, and generated enough grassroots momentum through the online horror community and Letterboxd to ultimately land a theatrical release with Neon.

    In this episode, we discuss:

    • How graduating from film school during the pandemic pushed the team toward making an independent feature
    • Raising the initial micro-budget through unconventional investors, personal connections, and community support
    • How Florida State University’s alumni equipment package made a $30,000 feature possible
    • Why paying crew something—even on an extremely limited budget—was important to the producers
    • Discovering in the edit that the first version of It Ends wasn’t working
    • Why indie filmmakers should stop thinking of reshoots as a sign of failure
    • Using test screenings to identify pacing problems, missing emotional beats, and scenes that needed additional coverage
    • Designing a contained film that could be affordably reconstructed for multiple rounds of pickups
    • Balancing the film’s horror and hangout-movie elements through pacing and visual language
    • Cutting a Jeep Cherokee in half to get it onto an LED volume stage
    • Rebuilding the Jeep interior and using the removable vehicle to create otherwise impossible camera angles
    • Why the filmmakers pulled out of Fantasia to continue improving the movie
    • Maintaining continuity when returning to the same actors and characters two years after principal photography
    • The editing workflow Alex developed to compare multiple performances of the same line
    • Using low-pass filtering, bass, sound design, and close-ups to create production value on an indie budget
    • What Alex learned from an extremely disorganized Premiere timeline
    • Premiering at SXSW during an especially difficult independent film distribution market
    • Why strong festival reviews and sold-out screenings didn’t automatically lead to a distribution deal
    • The changing economics of minimum guarantees for independent films
    • How online horror creators helped generate new momentum for It Ends
    • The film’s path from Letterboxd’s video store program to a theatrical release with Neon
    • Why filmmakers should focus on making the strongest movie possible rather than designing a project specifically for a major festival
    • How the lessons from It Ends changed the team’s approach to their next features
    • Previsualizing an entire movie before production to eliminate setups and solve story problems
    • Using executive producer credits strategically when raising additional financing
    • Practical advice for protecting hard drives, feeding a small crew, and building a trusted filmmaking community

    Guests:

    Subscribe to the No Film School Podcast on:

    Get your question answered on the podcast by emailing podcast@nofilmschool.com

    Listen to more episodes of the No Film School podcast right here:

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    In this episode of the No Film

    Remember that fall when all anyone wanted to do was figure out how to style biker shorts like Princess Diana? Oh wait, that’s every year. Whenever Princess Diana weather hits, we all rush to follow her favorite casual look: stretchy half pants, a long-sleeve T-shirt or crewneck sweatshirt, sneakers, and crew socks. Comfy, cool, and timeless.

    The late Princess of Wales did so much to boost the versatility of bike shorts, in fact, that now we wear them with everything imaginable, from pretty ruffled blouses to oversized blazers. Really, it seems there is nothing the stretchy shorts can’t do. With the rise of activewear as a high-fashion option, black biker shorts are no longer relegated to yoga studios and barre classes. Like leggings, which look surprisingly stylish with the right high-low pairings, they can be worn for a number of non-workout-related occasions. But that’s if—and only if—you dress with intention.

    So here’s how to style biker shorts for fall 2026.

    For running errands or yoga class

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    Remember that fall when all anyone wanted

    You may have heard rumblings about skinny jeans being back in style, but that doesn’t mean wide-leg jeans are going away anytime soon. Dramatic, expansive, and full of personality, these pants will continue to make a statement in fall 2026, and they require a shoe that matches their confident energy. Which is why we’re looking to the most fashionable women we know to determine what boots to wear with wide-leg jeans this season.

    The fall 2026 trends we’ve seen so far make it clear that flared jeans are not a passing trend, but rather a style secret weapon that’s here to stay. Dress them up or down, the exaggerated silhouette still makes a statement. That said, it’s a pair of well-chosen and well-executed boots that act as the anchor. They’re what turns a good outfit into a great one.

    Here’s what boots to wear with wide-leg jeans this fall.

    Cropped Jeans + Brown Boots

    Moritz Scholz/Getty Images

    Pants inspired by the 1970s—such as a pair of wide-leg denim culottes—need a boot that can match the warmth and texture of the decade. A brown boot will lengthen the leg more than a sneaker and softens the look without losing the retro vibe. Add a denim jacket in a different wash from your pants, and the result is a fall outfit made for cozy afternoons at the coffee shop or strolling through the park.

    Madewell Denim Chore Jacket

    Lands’ End Wide-Leg Culotte Jeans

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    You may have heard rumblings about skinny

    The new movie and TV releases coming to HBO Max from September 21-27, 2026, include Backrooms and more.

    Directed and co-scored by Kane Parsons, Backrooms is a psychological horror film. It follows Clark, a furniture store owner, and his therapist, Mary. Their lives turn upside down when they come across a dimension of liminal spaces that appears endless through a mysterious door in the store’s basement. The film received positive reviews and emerged as the second-highest-grossing horror film of the year. It features Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell, and many others in important roles.

    Also coming to HBO Max is the science-action film The Meg. Directed by Jon Turteltaub, it is loosely based on Steve Allen’s 1997 novel Meg: A Novel of Deep Terror. It focuses on members of an underwater research facility facing a threat from a prehistoric shark, Megalodon, aka Meg. Thus, they seek the help of a skilled diver named Jonas Taylor (Jason Statham) to save their lives. The film opened to mixed reviews and became a box-office success, grossing $529 million worldwide.

    List of all HBO Max releases this week from September 21-27

    Below are all the new TV shows and movies being added to HBO Max from September 21-27.

    Tuesday, September 22

    • Siren: The Voices Of Shelley Beattie (HBO Original)

    Wednesday, September 23

    • House Shock, Season 1 (HGTV)
    • The Meg (2018)

    Thursday, September 24

    • How to Catch a Dirtbag, Season 1 (Discovery)
    • The Plot Thickens, Season 7 (TCM)

    Friday, September 25

    • 4 Blocks Zero, Season 1 (HBO Original)
    • Backrooms (A24)
    • Diners, Drive-Ins and Dives, Season 55 (Food Network)
    • House Hunters: Volume 11, Season 262 (HGTV)
    • Paolo, Season 1 (HBO Original)
    • The Good Spirit: Behind the Doors of the Opus Dei (HBO Original)

    Sunday, September 27

    For more HBO Max content, check out a cast update on Heated Rivalry Season 2.

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    The new movie and TV releases coming

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    A big day of begins as the Vikings take on the Bears at Chicago’s Soldier Field. The Sept. 20 game airs at 10 a.m. PT/1 p.m. ET on FOX, available to stream live via DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV.

    Subject to regional blackout restrictions, fans can also watch Sunday’s game via Fox One. Following the service’s three-day free trial, a Fox One subscription costs $19.99 per month or $199.99 per year.

    At a Glance: How to Watch Minnesota Vikings vs. Chicago Bears Game

    Where to Watch Bears vs. Vikings Game: Date, Time, Channel

    The Minnesota Vikings face the Chicago Bears on Sunday, Sept. 20 at 10 a.m. PT/1 p.m. ET, airing live on Fox.

    Where to Stream Bears vs. Vikings Game Online Free

    Since Sunday’s NFL game airs on Fox, it will also be available to watch live on any streaming service that carries said network, including DirecTV (with a five-day free trial), Fubo (also with a five-day free trial), Sling and Hulu + Live TV.

    Fans can also livestream the game on Fox One, provided it’s in the viewer’s regional market. The service offers a three-day free trial and then costs $19.99 per month or $199.99 per year.

    More on each live TV streaming option — and their new subscriber discounts — below.

    DIRECTV

    Five-day free trial; packages from $19.99 per month

    Fox is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate or Premier. Plus, DirecTV offers a five-day free trial for its streaming service, meaning new subscribers can tune in to Sunday’s game at no cost.

    Learn more about each plan option, including how to build your own channel lineup (starting at just $19.99 per month), at directv.com.

    Fubo

    Five-day free trial; packages from $64.99 per month ($54.99 for first month)

    Fox is available to stream with a subscription to Fubo, which offers a five-day free trial for new subscribers.

    After the trial, plans start at $54.99 for the first month and $64.99 monthly thereafter.

    Plans from $4.99 per day or $19.99 per month

    Fox is included in Sling’s Blue Plan, from $45.99 per month, and Sling’s Orange & Blue plan, from $60.99 per month.

    That said, local channel availability depends on your TV market. Visit Sling.com to check station availability and package options, starting as low as $4.99 per day or $19.99 per month.

    Hulu

    Three-day free trial; packages from $89.99 per month

    Watch Fox with Hulu + Live TV, which offers a three-day free trial. Subscriptions come bundled with Disney+ and ESPN+, and start at $89.99 per month.

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    If you purchase an independently reviewed product

    Before, when we thought about derby shoes, images from other decades would come to mind: figures like Serge Gainsbourg and Fred Astaire, who made them popular in the 20th century. The flat’s flexible construction made it a favorite in the world of dance too. But last spring the shoe style took another leap forward when Ferragamo, Jacquemus, and JW Anderson featured them among their collections and started a full-on trend.

    The momentum around derbies paused over summer—sandals always dominate the footwear scene as soon as the temperatures rise—but now that fall is here, the closed-toe shoe seems poised to make a big splash again. With their soft, flexible material, derby shoes follow the foot’s movement and allow for more comfortable walking. They also fit another trend gaining traction this season: the glove-like “barefoot” flats we’re seeing everywhere.

    Not as formal as oxfords or traditional as classic loafers, derby shoes occupy a middle ground that makes them a very practical option for everyday wear. Their snug fit, open laces, and thin, flat soles makes them perfect for both weekdays at the office and weekends exploring the city on foot.

    Black and white are dominating the shoe trend, though we’re seeing versions in red and dark brown also. This color palette allows you to style them a number of ways, from an autumnal preppy look to the purest minimalist outfit. Recent street style looks have confirmed the shoe’s comeback, and we’re seeing tons of fashionable women incorporating derbies into their looks. Emma Corrin recently wore them on the flight to the 2026 Venice Film Festival, for example.

    Danny Beck/Getty Images

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    Before, when we thought about derby shoes,

    If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.

    Patrick Clancy is sitting down for his first television interview since the murder trial of his ex-wife, Lindsay Clancy, ended in a mistrial earlier this month.

    The interview will air on CBS’ “60 Minutes” on Sunday, Sept. 20 at 7 p.m. ET/PT, with CBS News correspondent Ross Douthat speaking with Clancy about the deaths of his three children, his grief in the years since and the conspiracy theories that have proliferated online around the case. Clancy’s wife, Dr. Rachel Danis, will also join him for their first joint interview.

    Those without cable can stream the segment online through Paramount+, which will stream the Sept. 20 episode alongside its CBS broadcast. CBS has confirmed that the interview will be available on Paramount+ beginning at 7 p.m. ET/PT on Sunday. CBS is also available on live TV streamers such as DirecTV, Fubo and Hulu + Live TV.

    The appearance comes just over two weeks after a Massachusetts judge declared a mistrial in Lindsay Clancy’s murder case on Sept. 4, when jurors were unable to reach a unanimous decision after seven days of deliberations. Clancy did not dispute that she killed the couple’s three children — Cora, 5, Dawson, 3, and Callan, 8 months — in their Duxbury, Mass., home in January 2023. Her attorneys argued, however, that she was not criminally responsible because she was suffering from postpartum psychosis at the time, while prosecutors argued that the killings were deliberate. She remains charged with murder as prosecutors weigh whether to pursue another trial.

    Patrick Clancy, who testified during the trial, has largely stayed out of the public eye since the deaths. CBS says his “60 Minutes” interview will address his memories of his children as well as what the network describes as “baseless conspiracy theories” that have circulated about him on social media.

    The episode is part of the newly launched 59th season of “60 Minutes,” which returned to CBS on Sept. 13 with Bari Weiss now at the helm. The long-running newsmagazine currently features correspondents including Lesley Stahl, Bill Whitaker, Norah O’Donnell, Jon Wertheim and Douthat.

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    If you purchase an independently reviewed product

    We spun, wagered, and tracked every cent of value inside Spinsino Casino. Pokud jste vracející se hráč in Canada, you step into a loyalty engine that actually respects your time. Většina uvítacích balíčků vanish after the first deposit. Spinsino builds its bonus backbone around players who come back week after week. We saw reload matches that hit harder than many sign-up offers, cashback percentages that felt generous without the catch, and free spin drops that landed in our accounts without a single support ticket. The team behind Spinsino gets that long-term players are the heartbeat of any real-money casino. Spojili dohromady a system where every Tuesday, every weekend, and even a random Wednesday can turn into a deposit-boosting event. We’re not talking about small percentage bumps. Mluvíme o match rates, extra spins on new slots, and cashback that lands in real cash, not locked-up bonus funds. Pokud jste si mysleli the excitement ended after the first week, you’re in for a surprise. Toto je the Spinsino Casino returning player bonus ecosystem, and chystáme se vás provést every layer of it, from the reload mechanics to the VIP escalators that quietly multiply your value without adding a shred of unnecessary wagering torment.

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    Spinsino Casino doesn’t let the returning player program from becoming dull. Holiday and event-driven promotions add variety throughout the year. During our review, we encountered a Canada Day long-weekend event that doubled the standard reload percentages and added an extra cashback tier onto all slot play. The promotion was proudly Canadian, featuring maple-leaf branding, CAD-specific leaderboard prizes, and a tournament that recognized the highest single-spin multipliers on a selection of games well-liked in the Great White North. We also enjoyed holiday-themed promos around Halloween and Christmas. Funding on specific days activated mystery chests that spat out random prize multipliers, free spin packs, and even no-wagering cash drops. What impressed us most was that these events weren’t limited for new players. Returning regulars got priority access, often receiving the best boosters via email a full 24 hours before the public launch. The Halloween event, for instance, gave us a “Trick or Treat” pick on every deposit over $30, with treats ranging from 40 free spins to a 200% match. We triggered the 200% match twice, and both times the wagering requirement was set at a flat 30x. That’s fair for such a large percentage bump. Seasonal leaderboards added another layer: we took part in a weekly race format where the top 50 players by points earned received tiered cash prizes with zero playthrough. The leaderboard refreshed weekly, so even part-time players could move up into the payouts with a well-timed session. For returning Canadian players who enjoy rhythm and reliability, the seasonal promos provide entertainment at just the right moments, keeping the casino experience from ever seeming repetitive or neglected.

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    Free spin drops inside Spinsino Casino are not reserved exclusively for new sign-ups. They come steadily to returning players through multiple channels that we activated repeatedly. The most consistent source is the “Friday Free Spins” pack that appears in accounts of players who’ve made at least one deposit during the week. We received 50 spins on a popular slot like Gates of Olympus or Sugar Rush, with no additional deposit necessary to claim them. That’s a big psychological win. Logging in on a Friday after work and seeing free spins sitting there provides you a reason to open the casino before you even contemplate funding your account. Beyond the weekly drop, we saw that Spinsino sprinkles free spins into reload bundles. A Tuesday deposit of $50 might trigger an extra 30 spins on top of the match bonus, turning a standard reload into a hybrid booster pack. We also earned spins through the in-house loyalty point exchange, where accumulated points could be transformed directly into free spin bundles on newly launched games. The wagering on free spin winnings was at a standard 35x–40x range, which is reasonable for small-to-medium bonuses. The max cashout caps were high enough that hitting a decent line pay didn’t feel wasted. Canadian players will be pleased to see that the free spins always defaulted to CAD-denominated bets. No awkward spin value conversion from euros or pounds. The game selection for these spins varied frequently, keeping the experience fresh and giving us reasons to test slots we might have ignored otherwise. It’s the kind of easy reward that makes you believe like Spinsino wants you to play, rather than just enduring your return visits until you churn out.

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    The International Language Academy of Canada says it has filed for bankruptcy protection and cancelled all classes and programming.

    A notice posted on the private language school’s website, better known as ILAC, says it has faced growing financial challenges over the past three years due to what it calls significant regulatory challenges affecting the sector.

    The notice says the school had done “everything possible” to ensure it had the resources it needed to operate, but it could no longer continue to operate.

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    It says the school, which had campuses in Vancouver and Toronto, was working to minimize impacts on students, employees and partners.

    The notice says KPMG Inc. has been appointed as the licensed insolvency trustee, and additional information about the process will be issued soon.

    It says the bankruptcy filing was made Friday.


    Story continues below advertisement

    “We understand and deeply regret the challenges our community will face because of this news,” the statement says.

    A separate statement on the school’s website says ILAC had operated for more than 30 years, helping international students build community and careers.

    “Information regarding current programs, student services and next steps will be communicated directly to those affected and will be updated on this website as information becomes available,” it says.

    &copy 2026 The Canadian Press

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    By Staff The Canadian Press Posted September 20, 2026

    As Sweet Magnolias comes to an end on Netflix, Sheryl J. Anderson is bidding farewell to Serenity, South Carolina.

    On Saturday, the series creator thanked fans for their “passion for our characters” in a statement after Netflix canceled the romantic drama based on Sherryl Woods’ books after five seasons.

    “Living in Serenity for five seasons has been a privilege and a blessing,” she wrote on Instagram. “The people I’ve met and worked with — our incredible writers, cast, crew, executives, and producers — have touched my heart and changed my life.”

    Anderson continued, “And our fans have been amazing in their passion for our characters. Thank you all. Though our journey has sadly come to an end, I hope Serenity will always have a place in your heart. Keep pouring it out!”

    The post comes after Deadline exclusively announced on Friday that Netflix has canceled the series after five seasons. Meanwhile, the streamer has greenlighted a new series from Sweet Magnolias EP/showrunner Anderson and star JoAnna Garcia Swisher.

    Loosely based on Lauren Edmondson’s novel Ladies of the House, the new series also centers on a trio of women. Swisher is attached as an EP, and she’s being eyed to star.

    In Ladies of the House, when the charismatic owner of a winery dies unexpectedly, his wife and two adult daughters must battle through their issues with each other in order to confront challenges with the business, their extended family, and the men in their lives. Good friends and good wine will aid in the journey to hang on to the winery, but what matters most is that they find a way to hang on to each other.

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    As Sweet Magnolias comes to an end

    For the past couple of weeks we’ve been seeing how Reality Fracture will conclude the multiverse-tearing Omenpath saga of Magic: The Gathering’s story. Jace’s domination of his Echoverse rings through his presence on seemingly every other card as the Empower Jace mechanic — which brings forth a Planeswalker token of himself, as a sort of simulacrum of the popular Amass mechanic.

    But before Jace attempted to break the multiverse, Wizards of the Coast was already dabbling in powers beyond their control with Universes Beyond. This sees non-native IP break into the Magic: The Gathering game, and it has proven itself both incredibly popular and divisive.

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    For the past couple of weeks we’ve

    Je me rappelle encore de ma première session sur Magic Betting application ios Casino. Ce qui m’a frappé d’entrée, c’est cette sensation d’arriver dans un espace pensé pour un joueur belge : des repères connus, les moyens de paiement que j’utilise tous les jours, une interface en français impeccable. Le site ne cherche pas à épater avec des animations criardes, il mise sur l’essentiel. Une navigation évidente, des temps de chargement très courts et une organisation qui permet de trouver sa catégorie de jeu préférée en deux clics. Sur la page d’accueil, trois grands univers se dégagent (casino en ligne, paris sportifs, jeux de table en direct) sans jamais donner une impression de confusion. Pour quelqu’un qui connaît les exigences strictes de la Commission des Jeux de Hasard, cette transparence apaise tout de suite. L’inscription suit la même logique : vérification d’identité via Itsme ou le numéro de registre national, confirmation rapide, et on accède à son espace personnel sans complication. Ce mariage entre sérieux réglementaire et plaisir immédiat donne le ton.

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    Questions fréquentes sur Magic Betting Casino en Belgique

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    Oui, la plateforme opère avec une licence accordée par la Commission des Jeux de Hasard. Cela assure la protection, l’impartialité des jeux et la sauvegarde des joueurs. Le numéro de licence se trouve dans le pied de page du site.

    Quels documents sont nécessaires pour vérifier mon compte ?

    Itsme constitue l’option la plus rapide : quelques secondes pour confirmer votre identité. Sinon, une copie recto-verso de votre carte d’identité belge et un justificatif de domicile de moins de trois mois peuvent être exigés.

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    Je me rappelle encore de ma première

    Amid reports that Paramount is in “advanced talks” to settle the antitrust lawsuit filed by 12 state attorneys general led by California against the company’s takeover of Warner Bros. Discovery, Mark Ruffalo is urging Rob Bonta to “not cave.”

    “Don’t you dare @AGRobBonta, do not cave. 5,670 film makers put their necks on the line for you to fight this merger. Another 75,000+ and counting have signed to tell you not to concede in just 3 weeks,” the actor wrote on X. “You work for the people — the very people who will be hurt if you let this lousy deal filled with empty promises go forward.”

    The Wall Street Journal reported Friday that Paramount and the states are closing in on a deal to settle the lawsuit.

    Ruffalo included a link to sign a petition in support of the merger being blocked. “Please sign to send a message to the AG’s and Paramount. Reject the deal. The people don’t want it!” he added.

    The Task star has been very candid about his opposition to the merger; he testified against the merger to a Senate hearing and signed an open letter alongside many actors also against Paramount’s potential takeover of Warner Bros.

    In an August Instagram post, he noted Oracle’s (founded by Larry Ellison, the father to David Ellison) ties to the Israeli military, sharing a clip of former Oracle chief Safra Catz talking about Oracle’s tech at the Israeli-American Council National Summit in 2024 as it related to Israel’s war effort in Gaza. In the video, the executive spoke about “profoundly scary technologies” the company built that could be deployed. Ruffalo detailed the war as a “genocide” that “was built on an apartheid system of oppression powered by Oracle.”

    A spokesperson for Paramount shared a statement in response to Ruffalo, calling his remarks “antisemitic.”

    “We are, as always, troubled when antisemitic tropes are invoked in purported service of a business dispute,” the statement read in part. “Words like ‘genocide’ and ‘apartheid,’ applied to a corporate transaction, aren’t just wrong — they’re a bridge too far, and they cheapen the very real suffering those words are meant to describe. This doesn’t deserve a response in kind — and to be clear, we don’t tolerate prejudice of any kind, against anyone.”

    The Avengers actor refuted the statement made by a Paramount rep, writing on X, “The accusation that I am antisemitic is appalling and fundamentally dishonest.”

    On July 13, the states filed a lawsuit alleging that the merger would combine two of Hollywood’s top five studios, which would lead to higher prices, less movies in theaters and a decrease in the variety and quality of content. “There is no debate here: This merger will snuff out competition, drive up prices, diminish content quality, and produce fewer movies and shows each year,” said California Attorney General Bonta at a press conference at the time.

    The filing of the suit led to a temporary pause on the merger, ruled by U.S. District Judge Araceli Martínez-Olguín on July 20; that temporary restraining order was subsequently extended on July 23. One day later, Paramount agreed to hold off on the acquisition until the court makes a decision of whether or not the deal violates antitrust laws.

    Source link

    Amid reports that Paramount is in “advanced

    Hay un cierto ritmo en cómo los jugadores modernos abordan los casinos en línea. Ya no se trata de sentarse durante horas. La sesión promedio dura entre diez y veinte minutos, a menudo apretada en un desplazamiento, una pausa para el café, o esos momentos extraños en los que ya tienes el teléfono en mano. Ybets entiende este cambio. La plataforma está diseñada en torno a la idea de que un jugador debería poder entrar, tomar decisiones rápidas y marcharse satisfecho sin sentir que ha comprometido una sesión de maratón.

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    La Realidad Mobile-First del Juego Moderno

    Seamos honestos con algo. La mayoría de los jugadores no están sentados frente a un ordenador con una taza de café y una hoja de cálculo abierta. Están en el sofá, en la cama, o esperando un autobús. La experiencia móvil de Ybets está optimizada exactamente para este tipo de entorno. El sitio web se adapta perfectamente a pantallas más pequeñas, y la navegación es lo suficientemente intuitiva como para no necesitar un tutorial.

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    Control del Riesgo en Breves Momentos

    Existe un tipo específico de jugador que prospera con un riesgo controlado. Esta persona no busca un jackpot que cambie la vida. Busca un flujo constante de pequeñas decisiones, cada una con suficiente peso para mantener el interés. Ybets atiende a esta mentalidad con un sistema bancario que soporta pagos tanto tradicionales como en criptomonedas.

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    Este enfoque mantiene la emoción viva sin convertir el juego en una carga financiera. Quien adopta esta estrategia suele disfrutar más de la plataforma porque nunca está en una posición en la que un mal giro arruina su día.

    La Psicología de las Decisiones Rápidas

    Hay algo liberador en tomar decisiones rápidas. Cuando no tienes tiempo de pensar demasiado, confías en el instinto. Aquí es donde reside la verdadera diversión del juego en línea. El momento entre hacer una apuesta y ver el resultado es pura adrenalina. No importa si la apuesta es de $0.10 o $100. La sensación es la misma.

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    El jugador que adopta este estilo de juego no busca un sistema o estrategia. Busca una sensación. La rápida descarga de dopamina cuando una giro le favorece. La ligera decepción cuando no. La decisión inmediata de intentar de nuevo o retirarse. Esta es la esencia de sesiones cortas y de alta intensidad.

    Idioma y Accesibilidad para Jugadores Globales

    Uno de los aspectos subestimados de Ybets es el soporte en idiomas. La plataforma está disponible en 24 idiomas, incluyendo inglés, alemán, italiano, francés, portugués, polaco y noruego. Para el jugador móvil que viaja o vive en un entorno multilingüe, esto es una ventaja significativa. Puedes cambiar de idioma en segundos, y toda la interfaz se adapta.

    Esta accesibilidad se extiende a las opciones de pago también. La inclusión de múltiples criptomonedas junto con métodos tradicionales fiat significa que jugadores de diferentes regiones pueden encontrar una solución bancaria que funcione para ellos. Ya sea que prefieras el anonimato de las criptos o la familiaridad de una tarjeta de crédito, Ybets tiene lo que necesitas.

    El jugador de sesiones rápidas no quiere lidiar con dolores de cabeza por conversión de moneda o restricciones en métodos de pago. Quiere depositar, jugar y retirar sin complicaciones. La plataforma cumple con esto, facilitando mover dinero hacia adentro y hacia afuera según sea necesario.

    Flujo de la Sesión y Saber Cuándo Detenerse

    La habilidad más importante para cualquier jugador de sesiones rápidas es saber cuándo detenerse. Esto no se trata de disciplina en un sentido moral. Se trata de preservar la diversión. Cuando una sesión deja de ser placentera, es momento de retirarse. Esto es más fácil decirlo que hacerlo, especialmente cuando estás en racha de pérdidas y quieres recuperar lo perdido.

    Un enfoque práctico es poner un temporizador. Date quince minutos. Cuando suene, paras, sin importar en qué punto estés. Esto crea un límite natural que evita que las sesiones se salgan de control. También mantiene la experiencia fresca. Cuando sabes que solo tienes una ventana limitada, cada giro se siente más importante.

    Otra técnica es dividir tu bankroll en partes más pequeñas. Si tienes $50, divídelo en cinco sesiones de $10. Juega una, luego aléjate. Vuelve más tarde si quieres. Este método extiende el valor de entretenimiento y reduce el riesgo de gastar todo en una sola vez.

    El Elemento Social del Juego Rápido

    El juego a menudo se ve como una actividad solitaria, pero no tiene por qué serlo. Ybets incluye un programa de referidos que te recompensa por traer amigos. Puedes ganar dinero y giros gratis por cada persona que invites. Esto añade una dimensión social al modelo de sesiones rápidas. Tú y tus amigos pueden comparar resultados, compartir consejos y lamentarse por malas rachas.

    La función de tareas diarias también fomenta la participación regular. Completa objetivos simples para ganar giros gratis, cashback o bonos de depósito. Estas tareas están diseñadas para ser rápidas, encajando perfectamente en la filosofía de sesiones cortas. No se te pide hacer horas de grind. Solo presentarte, jugar un poco y ser recompensado por tu constancia.

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    One of the major industry narratives at this year’s San Sebastián Festival, running Sept. 18-26, will be the presentation of SETT, the venture capital fund of Spain’s Ministry for Digital Transformation.
    SETT director general Javier Ponce and its audiovisual director María Coronado deliver a practical guide to Spain’s governmental investment drive powering up companies in Spain: What it’s doing, why, and where it could go in the future. The companies it s investing in – with more to be revealed – are likely to be among the most dynamic in Spain.
    What, explained very briefly, are the objectives of SETT’s Spain Audiovisual Hub strategy?
    Javier Ponce: SETT is a public investment entity that manages investments in strategic, transformative sectors, including the audiovisual industry. It serves as a public catalyst for growth, employment, innovation and talent—all core elements of the audiovisual sector. SETT has managed the Spain Audiovisual Hub Fund, an instrument established under Spain’s Recovery Plan and financed through the European Union’s Next Generation funds.
    Through the Spain Audiovisual Hub Plan, SETT provides financing and equity or quasi-equity investments, either directly to companies in the sector or through financial intermediaries active in the audiovisual industry. The objective has been to attract private investment and improve access to finance for projects related to films, television, animation, multimedia and interactive content, among others. Priority has been given to high-impact projects focused on creating audiovisual content and intellectual property rights while ensuring that those rights remain with the production companies.
    And the rationale of a sovereign venture capital fund’s co-investment model?
    Ponce: It is based on public-private collaboration to launch transformative initiatives that, because of their innovative nature, involve additional risks that make it difficult to attract purely private funding. Only highly liquid, large-scale markets with a long-established audiovisual industry are able to mobilize sufficient capital to finance major new productions or transformative industry initiatives.
    SETT’s Spain AVS Hub fund could draw down up to €1.5 billion ($1.75 billion) from NextGeneration E.U. funding. According to María Gonzalez Veracruz, investments made are just under €250 million. Her explanation is that you simply ran out of time. Could you comment?
    Ponce: Indeed, European funds have been fundamental for Spain, and the Recovery Plan has played a key role in driving major structural reforms and stimulating economic growth. However, it is also true that these funds came with specific requirements, including strict implementation deadlines, which made optimal execution more challenging.
    For the audiovisual sector, the possibility of co-investing alongside a public entity represented a major innovation. Time therefore became a critical factor, as market participants first needed to understand the role and implications of partnering with a public investor that shared both risks and returns.
    The next challenge is to ensure that these investments continue to thrive, identify new opportunities, and maintain confidence in the talent and ambition of Spanish audiovisual companies, which now benefit from SETT’s backing.
    SETT, however, is not over, I believe. Obviously it has to exercise governance over investment accords now struck. I believe as well that there are plans to launch a new program España Crece, with a €13.3 billion ($15.6 billion) budget, held by ICO, but whose investments will be handled in part by SETT, if I understand correctly. Could you comment?
    Ponce: The audiovisual sector will remain one of SETT’s strategic areas of activity and will continue under new fund “España Crece”. We have begun discussions with ICO to define the procedures and framework for collaboration between the two institutions, ensuring the continuation of co-investment in strategic technologies and sectors.
    SETT has represented a significant shift in the way public investment in strategic industries is conceived. Through SETT, the State acts as a catalyst and partner in the most innovative areas of the economy, with the objective of positioning Spain at the forefront of transformative industries. That is why we invested in the audiovisual sector and why we will continue to do so.
    Its ability to generate industrial activity, employment and broad economic impact makes it a strategic sector that will continue to enjoy our support.
    Could you illustrate the rationale of SETT’s co-investment model in one or two of the investments made and the obvious benefits it could bring to the companies Spain’s film-TV industry.
    Coronado: The SETT model has been built on three pillars. First, it adopts an industry-wide approach, rather than a project-based one, addressing the entire audiovisual business ecosystem. Second, its investment facilities are directed at the equity capital of companies or regulated investment vehicles. Third, it promotes public-private partnership instruments on a medium-long term.
    Under this model, promoters must convince a genuinely private investor that their company represents a worthwhile investment opportunity. SETT co-invests alongside the private investor on a pari passu basis: public investment is intended to support companies, but always under the same terms and conditions as private capital.
    This approach strengthens both domestic and international private investment in companies based in Spain, while also attracting foreign businesses that see Spain as an attractive location to establish their operations. Clear examples include the South African transactions involving The Refinery and Moonlighting, with a combined investment of €25 million, as well as Amuse Labs and Milo, two leading examples of Spain’s animation industry, which have mobilised €13 million and €19 million respectively.
    My sense is that SETT investors can indeed help companies scale, create more such expertise and build infrastructure. But would you agree?
    Coronado: In my view, the main challenge for the coming years is to consolidate the model we have been promoting and supporting. It is essential to continue strengthening and diversifying support policies so that Spain can establish itself as a global hub for the audiovisual industry over the long term. This means supporting every segment of the industry according to its specific needs.
    Scale is undoubtedly part of the challenge, as is ensuring the availability of the infrastructure needed to accommodate medium- and large-scale productions, strengthening technical training, and fostering talent across the industry. It will also be important to continue enhancing the tax framework and the legal and regulatory environment to maintain Spain’s competitiveness, while further developing public-private investment instruments.
    In addition, it will be essential to understand the cash-flow financing needs of projects to address the full range of companies’ financing requirements. Finally, the industry’s ability to adapt and diversify will remain critical, both in terms of technology and creativity, as well as business models and corporate structures.
    In your view, does the introduction of sovereign venture capital in the Spanish film and TV industry encourage a change of mindset in the industry?
    Coronado: Yes, absolutely. It creates new opportunities. It is essential to think in terms of medium- and long-term business strategy, rather than focusing only on immediate projects. It enables companies to strengthen their capital base, making them more ambitious, better able to protect their intellectual property, diversify, expand internationally, and bring their products to market more effectively.
    What have you learnt in the two years of the Spain AVS Hub Phase II which you would like to apply in future investments by SETT under España Crece?
    Coronado: The main learning here is the confirmation that SETT has a clear and necessary purpose for the industry, both in attracting private investment and foreign companies, and in creating opportunities for the local industry. It is important to allow more time for business plans to mature and for companies to secure private investment.
    Can you outline very briefly what the SETT event at San Sebastián Festival will consist of?
    Coronado: As you would expect, we will have a strong presence at the festival, with a wide range of activities. On Sept. 20, the Secretary of State for Digitalisation and Artificial Intelligence, through the Ministry for Digital Transformation and the Civil Service, which is leading the Government’s Spain Audiovisual Hub Plan, will host an event in which SETT will present the huge progress we have made in financing the audiovisual sector and new ongoing projects. Additionally, on 22 September, I will take part in a panel discussion at the conference organised by the CAA as part of Spanish Screenings Investment & Tech. That same day, we will also host an exclusive roundtable with investment funds and banks specialising in the audiovisual sector, bringing together both international and Spanish participants. We also have a few more surprises in store, which we will unveil throughout this very important festival for the industry.

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    One of the major industry narratives at

    Marvel Studios is bringing back a major villain who captivated audiences with his eerie nihilism 11 years ago. However, the studio has made a significant change to this big bad that essentially nerfs his villainy. Although the antagonist won’t be as powerful as he once was, his return is still exciting, as Marvel brings to light aspects of the character that weren’t depicted in his first appearance.

    James Spader’s Ultron returns in the upcoming Disney+ series VisionQuest, and showrunner Terry Matalas has peeled back the curtain on what fans can expect from the murderous AI ahead of the show’s October 14 premiere. Speaking to ScreenRant, Matalas revealed that Ultron is “not quite the guy he used to be,” implying a shift in temperament, adding that “he’s come around a little bit on humanity”:

    “Ultron’s not quite the guy he used to be; he’s come around a little bit on humanity, he’s trying to understand us. He’s devoured our culture and art, and has a better perspective on humanity than even Vision does.”

    Marvel Television

    This is a significant change for Ultron and a far cry from the unhinged villain Spader first portrayed in Avengers: Age of Ultron in 2015. That version of the character, freshly awakened, had zero regard for humanity despite being conceived by Tony Stark and Bruce Banner as a peacekeeping program. He took a single peek at the internet, learned humanity’s history, and decided it deserved extinction. Ultron embodied the age-old fear of a robot apocalypse, one Hollywood has explored in countless films, with the likes of I, Robot and Ex Machina becoming hugely popular.

    Spader’s portrayal brought that fear to the screen in visceral fashion, his way with words evoking genuine dread. Lines like “Everyone creates the thing they dread. Men of peace create engines of war” were delivered in a spooky manner that made other characters and the audience itself shudder. Ultron was unstable, possessing a terrible anger and ego that made him unpredictable.

    He was unforgiving and punished anyone at the slightest provocation. He memorably tore off Ulysses Klaue’s arm when the arms dealer compared him to Tony Stark. That unhingedness made him a fantastic villain, but per Matalas’ words, he won’t have the same maniacal view on life when he returns in VisionQuest.

    The show follows Vision as he tries to make sense of the memories White Vision inherited from the original synthezoid in WandaVision. To do so, he consults a bunch of Tony Stark’s AI creations, including FRIDAY, JARVIS, EDITH, and Ultron himself. The villain’s brand of menace this time around will be that of a devil on Vision’s shoulder, a corrupting influence rather than the world-ending threat he was in Age of Ultron.

    Ultron Will Still Be an Interesting Villain in VisionQuest

    James Spader in Ultron human form in VisionQuest.
    Marvel Television

    Marvel has an affinity for making villains sympathetic, steering them down the anti-hero path instead of leaving them evil for evil’s sake. That seems to be happening with Ultron too, but it likely won’t make him any less intriguing. VisionQuest will explore facets of the character that Age of Ultron never had room for. The series features two forms of Ultron, his robot body and his human avatar, which means more James Spader. And since this is a TV show with more runtime, fans will get to see Spader inhabit the role further and drop more chilling monologues.

    Ultron has always relied on psychological manipulation, but that will be his primary weapon in VisionQuest. He is trapped in a prison loft inside Vision’s mind, so this time he can’t depend on physical strength or pull off feats like lifting Sokovia into the sky and threatening to drop it onto Earth. Watching him scheme from the inside can be far more entertaining than high-octane physical battles.

    A villain like Ultron gaining a new perspective on humanity should also make for compelling viewing, especially his take on some of our most beloved culture and beliefs. So although Marvel is nerfing Ultron in a sense, the change gives the writers room to explore other sides of him. That fits perfectly with a show about self-discovery.

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    Betty Casino is governed by a regulatory framework that enforces openness and player protection. While we do not cite exact permit codes here, the platform’s compliance footprint encompasses adherence to anti-money laundering directives, responsible gambling protocols, and technical standards for game fairness. Authorized gaming sites must submit their RNG systems to external verification bodies—entities like iTech Labs or Gaming Laboratories International—which verify that outcomes are unpredictable and free from tampering. These audits take place at predetermined times. Moreover, operators submit regular reports on monetary buffers, proving they can satisfy player liabilities. For UK-facing users, common practices around conflict handling, player opt-outs, and fair promotion apply. Before making a deposit, we always advise checking the footer for the regulator’s name and confirming it against the government registry.

    Auditing Game Fairness and RTP Integrity

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    Promotion Frameworks and the Terms That Define Them

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    Betting Obligations and Game Contribution

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    No-Deposit and Free Spins Offers

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    Transaction Methods, Processing Times, and Verification

    The distance between initiating a withdrawal and receiving funds in your account changes dramatically by method. E-wallets like Skrill and Neteller generally process within 24 hours after approval, while bank transfers can take three to five business days. Debit card withdrawals occupy a middle ground, often clearing within one to three days. Betty Casino organizes this pipeline around a pending period—usually 24 to 48 hours—during which the transaction can be reversed if you choose to continue playing. This pending window is industry standard across the industry, but it challenges patience. Our advice: let the pending period expire untouched. Reversing withdrawals is the single most common vector for reducing session profits. Once the pending status flips to “processing,” the funds have left the casino’s immediate control and are en route to your payment provider.

    KYC: Why Verification Cannot Be Skipped

    Know Your Customer protocols are legal obligations, not unnecessary holdups dreamed up by casinos. Regulators mandate that operators confirm identity, age, and payment method ownership prior to processing first withdrawals. Betty Casino requests documentation usually comprising government ID (passport or driving licence), proof of address (recent utility bill or bank statement), and sometimes payment method verification (card photo with middle digits obscured). Uploading these documents early, immediately after registration, expedites your first withdrawal. Delays occur when uploaded images are blurry, documents are expired, or address details mismatch the registration form. We view KYC as a one-time friction point that establishes account legitimacy. Once verified, subsequent withdrawals flow faster. Platforms that manage verification efficiently demonstrate operational competence; protracted, repetitive document requests imply backend disorganisation.

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    FAQ

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    After the mandatory pending period of approximately 24 to 48 hours, e-wallet withdrawals usually complete within 24 hours. Debit card withdrawals typically take one to three business days, while bank transfers may require three to five business days. The pending period allows cancellation if you wish to continue playing. Letting this period expire without reversing strengthens discipline and protects session profits from impulsive wagering.

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    Access the game’s information or help screen, commonly accessible via an “i” icon or menu button within the loaded game client. The paytable section frequently lists RTP as a percentage. Volatility ratings are occasionally displayed directly; if not, observing the paytable distribution gives clues: large gaps between symbol payouts suggest higher variance. You can also look up testing laboratory reports for externally verified figures on specific title performance.

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    When we sit down to scrutinize what

    18 years later, Christopher Nolan’s The Dark Knight still has some of the most impressive writing and memorable quotes in the entire superhero movie genre. Released in 2008, the second film in Nolan’s’ Dark Knight trilogy completely redefined what comic book movies could be, surpassing the preceding Batman Begins and leaving an impossible standard for the subsequent The Dark Knights Rises (and so many more superhero movies that came after).

    Many of The Dark Knight’s best quotes are as deep as they are incredibly cool, dealing with concepts like truth, corruption, chaos, morality, and what it fully means to be a hero. Many of the very best lines shed a light on the world through the twisted lens of Heath Ledger’s Joker, while others from Harvey Dent, Jim Gordon, Alfred Pennyworth, and Christian Bale’s Batman examine the movie’s most fascinating themes throughout and the sacrifices required to save a city as dark and broken as Gotham.

    Keeping all that in mind, here are 12 of the very best quotes The Dark Knight has to offer ranked, with the quote we think is the very best/most memorable saved for last.

    “I Think You And I Are Destined To Do This Forever.” (Joker)

    Joker hanging upside down in The Dark Knight
    Joker hanging upside down in The Dark Knight

    The Joker’s relationship with Batman is easily one of the most fascinating parts of 2008’s The Dark Knight, and this line said by Joker at the end of the film perfectly captures the enduring dynamic they both have on the page. Joker has come to see Batman as an essential part of his own ongoing existence, giving his mission as an “agent of chaos” in Gotham even greater meaning.

    Touching upon the dependency and inevitability of their unending rivalry in the comics, Joker also refers to himself and Batman as an unstoppable force and an immovable object, destined to do this dance forever with Joker never quitting and Batman refusing to kill him.

    “This Town Deserves A Better Class Of Criminal.” (Joker)

    The Joker burns his half of the money in The Dark Knight
    The Joker burns his half of the money in The Dark Knight

    This is one of the Joker’s best lines when it comes to his mission and what sets him apart from every other criminal in Gotham City. He doesn’t care about wealth or power, hence his decision to “only burn his half” of the mob’s money. Seeing himself as fundamentally being on another level serving the greater purpose of chaos and anarchy, Ledger’s Joker believes Gotham “deserves” more people like himself. Unlike the mob, Joker wants to completely upend and disrupt order and the entire system, proving just how dangerous and unpredictable he is as a villain and a true nemesis for Batman.

    “You See, Madness, As You Know, Is Like Gravity. All It Takes Is A Little Push!” (Joker)

    Heath Ledger as the Joker upside down the Dark Knight Batman DC Christian Bale

    Also said at the end of The Dark Knight, Joker’s comparison between madness and gravity (while hanging off the side of a building upside down) is definitely one of his most memorable metaphors. Aligning perfectly with his dark philosophy in Alan Moore’s iconic One Bad Day storyline in the comics, Joker believes that every person has a breaking point and that all it takes are the right circumstances. It’s what he tried to prove by corrupting Harvey Dent and pushing his transformation into Two-Face.

    “Introduce A Little Anarchy. Upset The Established Order, And Everything Becomes Chaos. I’m An Agent Of Chaos.” (Joker)

    Entry 6_Heath Ledger Nurse Joker Dark Knight

    Arguably the clearest and most direct explanation of the Joker’s philosophy in 2008’s The Dark Knight, Joker infiltrates the hospital Harvey was admitted to after his injuries to give Dent that push and fall into madness. Confirming his own status as an “agent of chaos”, Joker shares with Dent the “fairness” of chaos and its often indiscriminate nature. Ultimately, it further proves that all Joker wants is to prove just how fragile everything supposedly is and how easy it can be to make everyone as twisted and dark as he is.

    “Sometimes The Truth Isn’t Good enough; Sometimes People Deserve More.” (Batman)

    Jim Gordon looking at the Bat signal in Dark Knight ending
    Jim Gordon looking at the Bat signal in Dark Knight ending

    This line at the ending of The Dark Knight captures the difficult moral decision Batman makes after Harvey Dent became Two-Face and killed two cops, mob boss Sal Maroni and his driver, and trying to kill Jim Gordon’s family before dying himself. With Gotham still believing that Dent was its “white knight” and greatest symbol of justice, Batman choose to take the blame and be hunted for Two-Face’s crimes, realizing that the best thing he can do for the city is to reward their faith rather than break the city with the truth, even at the great cost of himself and his reputation as a hero.

















    From the Caped Crusader to The Batman · Eight Questions
    How Well Do You Know Batman?
    “I’m Batman.”

    🦌Bob & BillDetective Comics #27, 1939

    🥘The Camp EraAdam West, 1966

    🎣Burton & SchumacherKeaton to Clooney, 1989–97

    💉The Dark KnightBale & Ledger, 2005–12

    🕵The BatmanPattinson & Reeves, 2022–

    01

    Batman debuted in Detective Comics #27 in May 1939. Cartoonist Bob Kane received sole credit for creating the character for the next 76 years — on every comic, every TV series, every film — despite being only half of the real partnership. His uncredited collaborator wrote much of the original story, designed the cowl and cape, invented the name “Bruce Wayne,” named Gotham City, and helped create the Joker, the Penguin, the Riddler and Catwoman. DC finally added his name to all Batman credits in 2015. Who?




    02

    Batman: The Movie — released in July 1966 between the first and second seasons of the ABC TV series, featuring the “Holy Whatever, Batman!” tone, the four super-villain team-up (Joker, Penguin, Riddler, Catwoman), the shark-repellent Bat-spray, and the Batmobile/Batboat/Batcopter — is generally considered the first theatrical Batman feature film. Two earlier 1940s movie serials don’t qualify as standalone features. Which actor played Batman in this first theatrical feature?




    03

    Batman: The Animated Series (Fox Kids, 1992–1995) — the Bruce Timm/Eric Radomski production with the deco-noir “Dark Deco” backgrounds painted on black paper — is consistently ranked by fans and creators as the definitive screen Batman. Its central performance is so iconic that the actor reprised it across 30 years, every DC Animated Universe series, and a dozen Arkham-series video games. He died on November 10, 2022, and DC essentially treated his passing as the death of Batman’s voice. Name him.




    04

    Jack Nicholson’s Joker in Tim Burton’s Batman (1989) earned him an estimated $60–$90 million from a film for which his actual on-screen salary was a fairly modest $6 million — making it, dollar-for-dollar, one of the most famously lucrative single roles in Hollywood history. He achieved this by negotiating an unusual deal structure that other actors immediately tried (and largely failed) to copy. What was it?




    05

    After Ben Affleck stepped down from his planned solo Batman film, Warner Bros. handed the project to a new director who reconceived it as a noir-detective serial-killer story modelled on Se7en and Zodiac, runs 2h 56min, casts Robert Pattinson as a brooding second-year Bruce Wayne, and gives Paul Dano’s Riddler a Zodiac-style cipher gimmick. The Batman (2022) grossed $772 million worldwide. Who directed it?




    06

    Joel Schumacher’s Batman & Robin (1997) — with Bat-nipples on the suit, Arnold Schwarzenegger’s Mr. Freeze spitting ice puns (“Let’s kick some ice!”), Uma Thurman’s Poison Ivy, Alicia Silverstone’s Batgirl, and an estimated $238 million box-office failure on a $125 million budget — is widely regarded as one of the worst superhero films ever made. It killed the live-action Batman franchise for eight years until Batman Begins (2005). Who played Batman in it?




    07

    Cesar Romero’s Joker on the 1966–1968 ABC Batman series — white grease-paint, green wig, red lipstick, manic giggle — remains one of the most-cited comedic TV villains in American history. Romero, a leading-man matinée idol since the 1930s, agreed to the role on one condition: he refused to do a specific thing for the makeup. You can still see what he refused if you look closely. What did Romero refuse?




    08

    Todd Phillips’s Joker (2019) — the standalone, R-rated, $1.07-billion-grossing Joaquin Phoenix vehicle that exists outside any DC continuity — was nominated for 11 Academy Awards, the most of any comic-book-derived film at the time. It won Best Actor for Phoenix. It also won exactly one other Oscar that night. Which?




    The Bat-Signal Has Faded · Final Scorecard
    Your Gotham Standing

    🦌

    / 8

    World’s Greatest Detective — or a Gotham red herring?

    “The World Is Cruel, And The Only Morality In A Cruel World Is Chance. Unbiased. Unprejudiced. Fair.” (Two-Face)

    Aaron Eckhart as Harvey Dent in The Dark Knight (2008) about to flip a coin
    Aaron Eckhart as Harvey Dent in The Dark Knight (2008) about to flip a coin

    Harvey Dent’s transformation into Two-Face went far beyond the physical. In the aftermath and with some “help” from the Joker, Dent entire view of morality changes with the belief that chance alone should be the only arbiter of justice and fairness. Using his once lucky two-sided coin that has since become scarred on one side, this line perfectly encapsulates his dark new perspective.

    “I Believe, Whatever Doesn’t Kill You, Simply Makes You…Stranger.” (Joker)

    The Joker reveals himself for the first time in The Dark Knight
    The Joker reveals himself for the first time in The Dark Knight

    Without a doubt, The Joker’s introduction in the opening act of The Dark Knight is easily one of the movie’s most iconic moments. After revealing that he was part of the crew of masked clowns he hired to rob a mob bank, the riff on the classic line replacing “stronger” with “stranger” is darkly excellent as we’re shown his face on-screen for the first time. You couldn’t ask for a better Joker debut.

    “See, I’m Not A Monster. I’m Just Ahead Of The Curve” (Joker)

    Joker and Batman in The Dark Knight looking at one another
    Joker and Batman in The Dark Knight looking at one another

    Ultimately, Joker believes that he’s simply more willing to acknowledge “truths” that everyone else refuses to accept. He sees all of his horrific and monstrous acts as simply being more honest compared to how everyone else lives their lives according to human nature. Case in point, the entire movie has Joker trying to send the message and prove and deep down everyone is as dark and ugly as he is (though Gotham thankfully proves him wrong with his ferry test).

    “WHY SO SERIOUS?” (Joker)

    Joker holds a knife to Gambol'sface in The Dark Knight
    Joker holds a knife to Gambol’sface in The Dark Knight

    Few superhero movie lines are more recognizable than “Why so serious?”, a phrase that has since become synonymous with Heath Ledger’s Joker. Used during the first of Joker’s many stories about how he got his scars, few scenes in The Dark Knight are more tense than when Joker is recounting his “past” while having a knife in Gambol’s mouth.

    “He’s A Silent Guardian, A Watchful Protector. A Dark Knight.” (Jim Gordon)

    Batman riding off on his Bat-pod at the end of The Dark Knight.

    By the ending of The Dark Knight, Batman ultimately becomes the darker figure Gotham needs him to be, as the city will be made to vilify him going forward and won’t understand his sacrifice to ensure that Joker doesn’t win and Harvey Dent’s reputation as the city’s shining hero won’t be corrupted. Keeping that in mind, Jim Gordon’s final words before the credits are hugely important, giving greater context to Batman’s “Dark Knight” name and the movie’s title itself. Batman doesn’t get to be seen as the hero, which in and of itself is arguably the most heroic thing he could have done for Gotham at that moment.

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    18 years later, Christopher Nolan's The Dark

    DRM company Denuvo has sued a game hacker for releasing ‘cracks’ for games that remove its protection software.

    Denuvo’s anti-tamper software has been the source of controversy for some time now, as some players believe it can have an adverse effect on PC game performance.

    At the end of last year, the game pirating community created a bypass which installs a driver at a PC’s kernel level, and can intercept and respond to Denuvo security checks, theoretically blowing open Denuvo’s security.

    Some players are uncomfortable with the idea of giving kernel-level access to their PC to software that was created by a hacker, however, and as a result there are still those who download ‘cracks’, which are essentially unauthorized patches for games they either own or have pirated.

    Now, as reported by TorrentFreak, Denuvo has targeted ‘voices38’, a prolific games cracker who has released cracks for nearly 30 games which specifically remove Denuvo’s DRM from them.

    In a complaint filed on Monday in the US District Court for the Northern District of California, Denuvo accuses “voices38, an unknown individual or entity”, of bypassing its anti-tamper tech on at least 26 games.

    It also lists the 26 games in question, which include Resident Evil Requiem, Stellar Blade, Black Myth Wukong, 007 First Light, Pragmata, Hogwarts Legacy, Sonic Frontiers, Assassin’s Creed Mirage, Mafia: The Old Country, Doom: The Dark Ages and Dead Space Remastered.

    According to the complaint, voices38 “has bypassed the Denuvo Anti-Tamper and thus bypassed DRM restrictions, removed copyright protections restricting unlawful access, and allowed for the creation and distribution of pirated versions” of all 26 games in its list.

    The PC version of Stellar Blade is one of the games that has been cracked.

    Denuvo is asking the court to order voices38 to pay damages for violating the anti-circumvention terms of the DMCA, and is also requesting an injunction that prevents them from “circumventing Denuvo’s Anti-Tamper in any past, present, or future video game”.

    As TorrentFreak notes, the “future” qualifier is particularly notable here because since Denuvo put its list of 26 games together voices38 has released even more cracks for games like Persona 3 Reload and Star Wars Outlaws.

    Although Denuvo hasn’t been able to name voices38 yet, the complaint does list their Discord user ID, their Reddit account and seven Steam accounts associated with them.

    The company will presumably hope that by filing its case, it can then ask for permission to subpoena Discord, Reddit and Valve to ask for details associated with the accounts, allowing them to identify the person involved.

    In a response to the news on the ‘CrackWatch’ forum on Reddit, voices38 posted a message saying: “All is fine. Everything will continue as normal.”