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reputable monthly bonus at Bananzia Casino

If you gamble online in the UK, you understand the drill: you seek the games to be fun, but you also wish to be certain your money and personal details are not floating around unprotected. Bananzia Casino promotes itself on a simple idea, that safety and fairness should be built into the platform from the ground up rather than bolted on. That is a nice claim, but anyone can say it. What is important is what actually goes on behind the scenes: the encryption that runs from the first page you visit, the outside auditors who verify the random number generators, the deposit limits and self-exclusion tools that are located in your account, and the terms that tell you exactly how withdrawals operate. This guide explains how Bananzia Casino supports its guarantee, how your funds and data are protected, and how the game library is overseen so that every spin, card hand, and roulette ball is managed without a hidden thumb on the scale. If you are a UK player choosing where to gamble, these details offer you the confidence to quit researching and get back to the part you came for: playing the game.

Authorisation and Supervisory Oversight in the British

Managing a gambling site for UK customers means working under one of the most rigorous regulatory structures in the world. The United Kingdom Gambling Commission establishes detailed criteria for how an operator behaves, covering financial reserves, anti-money laundering checks, and the technical soundness of every game on the platform. For Bananzia Casino, possessing a licence from this body is not a one-off badge. The company has to submit to regular audits, maintain player funds in accounts that are isolated from the money used to run the business, and prove that every advertisement and promotion conforms to fairness rules. The regulator has real enforcement powers, and the relationship is permanent. That means the company reports to someone other than its own marketing department.

For you as a player, that regulation creates practical protection. If you submit a dispute with the casino and the answer does not convince you, the Gambling Commission provides a path through approved alternative dispute resolution providers. Unlicensed operators do not face that kind of external accountability. The licence also obliges Bananzia Casino to authenticate your identity and age before you can deposit or play. That might take a few extra minutes at registration, but it is a true safeguard against underage gambling and identity theft. On larger transactions, the casino may also need to conduct source-of-funds checks, which maintains the platform tied into the UK’s wider financial integrity system.

There are other regulators in the picture too. Payment processing can come under Financial Conduct Authority guidelines where relevant, and data protection is governed by the Information Commissioner’s Office through the UK General Data Protection Regulation. What this means in practice is that your dealings with Bananzia Casino is not safeguarded by a single body but by several, each monitoring a different part of the operation. The easiest way to verify all of this yourself is to move to the bottom of the homepage, find the licence number, and search for the regulator’s logo. Do that before you invest any money.

The way Encryption and Data Safeguarding Maintain Player Information Secure

The initial step upon arriving at the Bananzia Casino homepage is a security handshake you will probably never notice. Transport Layer Security scrambles the connection between your device and the casino’s servers. Any data sent back and forth is scrambled into ciphertext, so that a third party who intercepts it gets nothing useful. This is the very technology that protects online banking and shopping, and at Bananzia Casino it spans every page, not only the cashier. The padlock icon in your browser address bar is the simple visual check that the encryption is working and the digital certificate is valid.

Behind that external layer, the way personal information is kept, accessed, and later deleted is equally important. The UK GDPR demands personal data to be processed in accordance with the law and for specific purposes. For a Bananzia Casino player, that means identity documents sent during verification are encrypted while stored, access is confined to compliance staff who need it, and retention periods are defined and observed. Customer data is not regarded as a product to be commercialised. It is used for account management, fraud prevention, and legal compliance. If there is a breach, the law requires the casino to notify affected people and the relevant authorities within a defined timeframe, so the problem cannot be secretly buried.

You also have a role in keeping your account safe. A strong unique password is beneficial, and two-factor authentication, if you switch it on, makes credential-stuffing attacks much harder. The platform’s session management disconnects inactive accounts after a set period, lowering risk on shared or public computers. The privacy policy, linked from the homepage, clarifies exactly what data is collected and the legal basis for each type. A serious operator will draft that document in plain English instead of lurking behind legal fog, and reviewing it gives you a detailed map of what happens to your information.

Transaction Methods, Handling Times, and Monetary Safety

Transferring funds in and out of a casino is the ultimate test of trust. Bananzia Casino supports the transaction options most UK players are familiar with: debit cards from major banks, e-wallets like PayPal and Skrill, and bank transfers for people who prefer older methods. Finding PayPal on the list is a signal on its own, because the e-wallet provider runs its own checks on gambling operators and will end partnerships with any that fail its standards. Each method has its own settlement period, and the banking page provides realistic estimates instead of pledging the shortest possible window and then falling short.

Deposits usually arrive instantly or within minutes for most electronic methods, so you can start playing without long waits. Payouts are more carefully handled, and that is where a well-run casino stands apart from a sloppy one. The pending period, during which the withdrawal request is checked and your identity is confirmed if it has not been already, should be transparently outlined. Once approved, e-wallet withdrawals often go through within hours. Card payments and bank transfers can take three to five business days to appear in your account. Bananzia Casino’s handling to this process, including any reverse-withdrawal window that enables you to reverse a request and put money back into your gaming balance, should be spelled out. Otherwise, delays may seem engineered to entice you into playing again.

Fund protection protocols run in the background during all of this. Card data is processed in line with Payment Card Industry Data Security Standards, and sensitive payment information is tokenized or processed entirely by the payment provider rather than stored on the casino’s own servers. Anti-fraud checks identify unusual transaction patterns that could suggest account compromise or money laundering. UK players must use payment methods under their own name, which blocks some unauthorised use but also means joint accounts and third-party cards get declined during verification. That is not just a checkbox; it reduces the chance of someone else emptying your account.

The function of third-party auditors and RNG verification

Integrity in an digital casino depends on something you never observe: the random number generator. That algorithm controls how slot reels halt, how cards are dealt, and where the roulette ball stops. Without independent testing, you would have no means to determine if those outcomes were actually random or subtly adjusted beyond the published return-to-player rates. Bananzia Casino handles this by sending its gaming systems to certified third-party laboratories whose sole purpose is to verify randomness and payout accuracy.

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Auditors such as eCOGRA, iTech Labs, and Gaming Laboratories International perform statistical tests across millions of game rounds. They analyze whether the spread of outcomes corresponds to what probability predicts should take place over the long run, and they verify that actual return-to-player rates line up with the theoretical figures provided for each game. Testing also ensures that nobody can seed or manipulate the random number generator. The labs run their checks across different bet sizes and game states, so the results are not skewed by a narrow sample. A game that passes obtains a certification, often cited in the game’s info panel or the casino footer. That certification is not eternal. Re-testing occurs periodically so software updates cannot unintentionally or deliberately change how a game operates.

For UK players, independent auditing goes beyond reassurance. When a slot says it has a 96 percent return-to-player rate, that number has been verified, not just placed into a description. When a bonus round appears just out of reach, that near miss was chance, not a scripted trick. Many auditors release monthly payout reports that compile results across all players at a casino, offering you a overall picture of fairness. Over countless spins, the games should function within predicted parameters. A platform that commissions and shares these audits is welcoming outside scrutiny, which unregulated operators would never attempt.

Game Variety and Studio Reliability

The games at Bananzia Casino are only as dependable as the studios that develop them. The platform draws titles from software providers that possess their own permits and subject their games to the same independent testing referenced above. Names like NetEnt, Microgaming, Play’n GO, and Evolution Gaming bear reputations that hinge on fairness and reliability. When you load a slot from one of these companies, you are playing software that has been approved multiple times: first by the developer’s own testing process, then again through the casino’s auditing requirements.

The game categories cover familiar ground while offering enough range for different likes. Slot players find classic three-reel machines with simple paylines, plus modern video slots with cascading reels, expanding wilds, and multi-level bonus rounds. Table games offer several blackjack, roulette, and baccarat variants, with rule differences stated clearly so you understand the house edge before you bet. The live casino section streams professional dealers from dedicated studios, using multiple camera angles and real-time interaction to close the gap between playing from home and sitting at a physical casino table. That range prevents casual players and high rollers from getting forced into one style.

A dependable platform makes game mechanics easy to review. Every game at Bananzia Casino includes an accessible paytable and rules document, usually through an information icon inside the game. Those files display symbol values, bonus trigger conditions, and the theoretical return-to-player percentage. For live games, the rules inform you how many decks are in the shoe, what the roulette wheel looks like, and what commission the baccarat table takes. Taking time to read that information before you wager means you act based on knowledge, not guesses, and a casino that makes the details easy to find is indicating that it has nothing to hide.

Responsible Gambling Tools and Player Protection Mechanisms

Player safety is about more than data and fair play. It also means offering you controls to control your own wagering before issues turn severe. visit the official site Bananzia Casino builds responsible gambling tools inside the account area, not hidden in some submenu. You view them at registration, and they stay accessible from the dashboard throughout you play. The UK Gambling Commission requires these features, but the way they are implemented varies a lot between operators.

Deposit caps are the first line of defence. You can restrict how much you add to your account on a day-to-day, per-week, or per-month basis. If you lower a limit, the change takes effect straight away. If you seek to elevate it, a waiting period applies, which prevents you from making an hasty decision in the middle of a downward session. Reality checks show at frequencies you choose, indicating how long the current session has lasted and whether you are winning or behind. That basic interruption can break the trance that makes an hour appear like ten minutes. Temporary breaks let you suspend your account for anywhere from twenty-four hours to several weeks, a helpful circuit breaker when gambling is no longer recreational.

If you need a more long-term break, voluntary ban through GAMSTOP puts a block across every UK-licensed operator in one registration https://bananziaa.uk/. Bananzia Casino participates in GAMSTOP, so once you enroll, access to the platform is blocked for the period you choose, up to five years. The casino’s own responsible gambling team also watches for markers of harm, such as pursuing losses or erratic deposit patterns, and may step in with welfare checks. The goal is not to penalize you for playing; it is to make sure the tools are available before they are required. All of this, combined with links to GamCare and BeGambleAware, creates a safety net that respects adults who gamble responsibly while accepting that some people need help ceasing.

Mobile Compatibility and Multi-Device Experience

Most UK players transition between a laptop, a tablet, and a phone during the day, and the best casino sites match that. Bananzia Casino’s platform uses responsive design, so the layout adjusts to the screen and input method of whatever device you are using. You do not need a separate downloadable app unless you choose one, because the game library, account tools, and cashier all work through the browser. The experience should remain the same whether you are on a desktop or a phone.

Game performance on mobile depends on the technology under the hood. Most current slots and table games run on HTML5, which works natively in mobile browsers without old plugins like Flash. The live casino stream tunes its bitrate to match your connection speed, so the video quality stays watchable without buffering that could interrupt a hand or spin. Buttons and controls are sized for finger taps rather than mouse clicks, and deposit, withdraw, and responsible gambling settings stay within a few taps from the main menu. Older games may feel slightly slower on budget phones, but the catalogue is updated often enough that most titles run cleanly.

Security does not drop off just because you switch to a phone. The same Transport Layer Security encryption protects mobile sessions, and if your device supports fingerprint or facial recognition, you can use that to log in without weakening your account. Session management functions the same across devices, so your balance, game history, and active bonuses sync from desktop to mobile. Gambling sessions often stretch across more than one device in a single day, and a site that handles those switches without making you start over respects your time and your attention.

If you gamble online in the UK,

It may not be the most exciting piece in my closet on its own, but mastering how to style a button-down shirt has become the most useful styling trick I have up my sleeve. There’s a reason the humble shirt can be found in every stylish woman’s fall capsule wardrobe. Depending how how you style it, a button-down shirt can be worn to work, for grabbing drinks with friends, or while running errands on a weekend. If your style leans relaxed, a button-up blouse can make jeans feel dressy. But tuck that exact same shirt into suit trousers? Totally different vibe.

To give you an idea of just how versatile the button-down shirt is, I’ve pulled together a selection of my favorite outfit ideas—some preppy, some casual, some office-minded—to show off the different ways to wear the classic wardrobe staple this fall.

You may even find you want to keep several different types of button-down shirts on hand for maximum styling potential. Personally, I keep a classic white shirt, a striped style, a linen option, and a colored version all in my rotation. All that, and I’m still eyeing a satin button-down shirt to have on hand for evening looks. It may sound like a lot, but swapping between them is an effortless way to repeat outfits at work. With the help of some strategic accessories, plus a few creative styling tips, prepare to be pleasantly surprised.

Here’s how to style a button-down shirt for fall 2026.


Buttons undone

One of the simplest tricks for making a button-down shirt feel fresh and fancy? Shake up the way you do the actual buttons. Where you might normally fasten from the bottom up, try instead buttoning only the top few buttons, or do just one or two in the middle to play with the silhouette. For a sexier look, leave enough buttons undone that you can show a little shoulder. Pair with a high-waist midiskirt and leave just the tiniest bit of skin peeking out, and you’ll look trés chic.

Boden Sienna Cropped Cotton Shirt

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It may not be the most exciting

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety chief awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change in response to buzz and events. Predictions are updated every Thursday.

“The Invite“


Best Adapted Screenplay Predictions Commentary (Updated: Sept. 18, 2026): More to come.

The list of predictions in all categories can be found here.

The Governors Awards, which will hand out honorary Oscars to Glenn Close and Ridley Scott, will take place Sunday, Nov. 15. Preliminary voting for the Oscars shortlist in 12 categories runs Dec. 7-11, with the shortlist announcement to follow Tuesday, Dec. 15. Following the close of the eligibility period on Dec. 31, 2026, nominations voting will run Jan. 11-15, 2027. The official Oscar nominations will be announced on Thursday, Jan. 21, 2027. The 99th Oscars will take place on Sunday, March 14, 2027, and will be hosted by Conan O’Brien. The ceremony airs live at 7 p.m. ET on ABC and in more than 200 territories worldwide from the Dolby Theatre at Ovation Hollywood.

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Variety Awards Circuit section is the home for all

Millioner online καζίνο – καταθέσεις, αναλήψεις και πληρωμές

Το millioner καζίνο ελλάδα προσφέρει στους παίκτες ένα ευρύ φάσμα επιλογών για διαδικτυακό τζόγο, εστιάζοντας στην ασφάλεια και την ταχύτητα των συναλλαγών. Σε αυτό το άρθρο θα αναλύσουμε πώς λειτουργούν οι καταθέσεις και οι αναλήψεις στο millioner καζίνο, καθώς και ποιοι είναι οι διαθέσιμοι μέθοδοι πληρωμής για τους Έλληνες χρήστες.

Οι καταθέσεις https://millioner-casino-gr.org στο millioner καζίνο ελλάδα γίνονται με ελάχιστες διαδικασίες, χρησιμοποιώντας συχνά πιστωτικές / χρεωστικές κάρτες, ηλεκτρονικά πορτοφόλια και τραπεζικές μεταφορές. Η πλατφόρμα εξασφαλίζει ότι όλα τα δεδομένα κρυπτογραφούνται με σύγχρονα πρότυπα, ώστε οι χρήστες να αισθάνονται απόλυτη άνεση κατά τη διάρκεια των συναλλαγών τους.

Όσον αφορά τις αναλήψεις, το millioner καζίνο εφαρμόζει αυστηρά όρια επαλήθευσης, προκειμένου να αποτρέψει οποιαδήποτε πιθανή απάτη. Η διαδικασία είναι συνήθως ολοκληρωμένη εντός 24–48 ωρών, ανάλογα με τον επιλεγμένο τρόπο πληρωμής, και υποστηρίζει τόσο παραδοσιακές τραπεζικές εντολές όσο και μοντέρνες εφαρμογές όπως το Skrill ή το Neteller.

Οι επιλογές πληρωμών στο millioner καζίνο ελλάδα είναι διαφοροποιημένες ώστε να καλύπτουν τις ανάγκες των ελληνικών παικτών. Σε πολλές περιπτώσεις, οι χρήστες μπορούν να επωφεληθούν από προωθητικές προσφορές όπως bonus κατά την κατάθεση, ενώ οι αναλήψεις συχνά συνοδεύονται από δυνατότητα εκκαθάρισης σε τοπικό νόμισμα, καθιστώντας την εμπειρία πιο άνετη και προσιτή.

Πώς να κάνετε την πρώτη σας κατάθεση σε εκατομμυριούχους online καζίνο

Η επιλογή ενός millioner καζίνο ελλάδα απαιτεί πρώτα την ολοκλήρωση ασφαλούς και γρήγορης κατάθεσης. Ακολουθήστε τα βήματα παρακάτω για να εξασφαλίσετε ότι το κεφάλαιό σας θα φτάσει άμεσα στον λογαριασμό παιχνιδιού.

1. Επιλογή αξιόπιστης μεθόδου πληρωμής

Τα κορυφαία millioner καζίνο gr προσφέρουν ποικίλες επιλογές: πιστωτικές/χρεωστικές κάρτες, e‑Wallets (Skrill, Neteller), τραπεζικό μεταφορά και ακόμη κρυπτονομίσματα. Η κατοχή πολλαπλών επιλογών διευκολύνει το χρήστη να επιλέξει τη γρηγορότερη λύση με ελάχιστο κόστος.

2. Επαλήθευση λογαριασμού

Πριν από την πρώτη κατάθεση, ο λογαριασμός σας θα πρέπει να είναι επαληθευμένος μέσω αποστολής εγγράφων (ταυτότητα, λογαριασμός τράπεζας). Η διαδικασία αυτή προστατεύει τόσο το καζίνο όσο και εσάς από απάτες.

Μόλις ολοκληρωθεί η επαλήθευση, συνδεθείτε στην πλατφόρμα, μεταβείτε στην ενότητα «Κατάθεση» και επιλέξτε τη μέθοδο που προτιμάτε. Συμπληρώστε το απαιτούμενο ποσό – συνήθως το ελάχιστο όριο είναι 10 € – και πατήστε «Επιβεβαίωση».

Μέθοδος
Ελάχιστο ποσό
Μέγιστο ποσό
Χρόνος επεξεργασίας

Visa/MasterCard 10 € 5 000 € Άμεσα Skrill 20 € 10 000 € 1‑15 λεπτά Τραπεζική μεταφορά 50 € Απεριόριστο 2‑4 ημέρες Bitcoin 0,001 BTC Απεριόριστο 10‑30 λεπτά

Μετά την επιβεβαίωση, το ποσό θα εμφανιστεί στον λογαριασμό σας και μπορείτε άμεσα να ξεκινήσετε το παιχνίδι. Να θυμάστε να ελέγχετε τυχόν προωθητικά μπόνους που προσφέρουν τα millioner καζίνο ελλάδα για νέα καταθέσεις.

Τέλος, διατηρήστε αποδείξεις ή screenshots της συναλλαγής για τυχόν διαφωνίες. Η σωστή τεκμηρίωση βοηθά στην ταχεία διευθέτηση προβλημάτων με το τμήμα εξυπηρέτησης πελατών.

Οι ταχύτερες μέθοδοι ανάληψης κερδών για μεγάλα ποσά

Στα millioner καζίνο gr οι παίκτες που κερδίζουν σημαντικά ποσά απαιτούν άμεσες και ασφαλείς λύσεις. Η επιλογή του σωστού καναλιού πληρωμής μπορεί να μειώσει το χρόνο επεξεργασίας από μέρες σε ώρες, διασφαλίζοντας ότι το fortune φτάνει απευθείας στον λογαριασμό σας.

Κορυφαίες επιλογές

  • Απευθείας τραπεζική μεταφορά (SWIFT) – ολοκληρώνεται εντός 1‑2 εργάσιμων ημερών, ιδανική για ποσά άνω του 10 000 €.
  • Άμεσες υπηρεσίες πληρωμών (e‑wallets) όπως Skrill ή Neteller – εκκίνηση σε μερικά λεπτά, περιορισμός μέχρι 50 000 € ανά ημέρα.
  • Κρυπτονομίσματα (Bitcoin, Ethereum) – επιβεβαίωση δικτύου σε λίγα λεπτά, χωρίς κεντρικό ενδιάμεσο.

Για μεγάλες καταθέσεις, το millioner καζίνο προτείνει την τριπλή επαλήθευση ταυτότητας, ώστε η ανάληψη να είναι τόσο γρήγορη όσο και ασφαλής. Η χρήση των παραπάνω μεθόδων εξασφαλίζει ότι οι πληρωμές γίνονται χωρίς καθυστερήσεις, εξαλείφοντας τα εμπόδια που συναντώνται συνήθως σε παραδοσιακές τραπεζικές διαδικασίες.

Προτιμώμενες μέθοδοι πληρωμής για υψηλά bankroll

Για παίκτες που διαχειρίζονται εκατομμύρια σε λογαριασμούς, τα millioner καζίνο ελλάδα προσφέρουν πληθώρα ασφαλών και γρήγορων επιλογών: άμεσες τραπεζικές μεταφορές μέσω SEPA, υψηλού επιπέδου e‑wallets όπως Skrill και Neteller, καθώς και κρυπτονομίσματα (Bitcoin, Ethereum) που εγγυώνται ανωνυμία και μηδενικά όρια ανά συναλλαγή. Οι κορυφαίες πλατφόρμες συνεργάζονται με διεθνείς τράπεζες, επιτρέποντας εξατομικευμένα escrow accounts που μειώνουν τους κινδύνους απώλειας κεφαλαίων. Επιπλέον, η χρήση προνομιακών εταιρικών λογαριασμών (corporate accounts) διευκολύνει την επεξεργασία πολλαπλών μεγάλων καταθέσεων και αναλήψεων, εξασφαλίζοντας συμμόρφωση με τις κανονιστικές απαιτήσεις της Ελληνικής Αρχής Παιγνίων.

Στα millioner καζίνο, τα όρια ανά συναλλαγή προσαρμόζονται στις ανάγκες των high‑roller, ενώ οι διεθνείς πιστοποιήσεις PCI DSS εγγυώνται την προστασία των προσωπικών δεδομένων, κάνοντας το millioner παιχνίδι μια αξιόπιστη επιλογή για σοβαρούς επενδυτές.

Όροι και προϋποθέσεις για τα bonus ανάληψης

Στα millioner καζίνο οι μπόνους ανάληψης δεν είναι αυτόματα διαθέσιμα· πρέπει πρώτα να εκπληρωθούν συγκεκριμένα κριτήρια που θέτει το millioner καζίνο gr. Η εγγύηση είναι ότι μόνο οι λογαριασμοί με πλήρη επαλήθευση μπορούν να προχωρήσουν σε ανάληψη του bonus.

Απαιτήσεις πληθώρας στοιχημάτων

Κάθε μπόνους απαιτεί τουλάχιστον 30× το ποσό του bonus σε στοιχηματικές συναλλαγές πριν δοθεί η δυνατότητα ανάληψης. Οι στοιχηματικές μονάδες πρέπει να τοποθετηθούν σε παιχνίδια με συντελεστή συνεισφοράς 100 % για να μετρηθούν.

Περιορισμοί ανάληψης

Το μέγιστο ποσό που μπορεί να εξαχθεί από έναν μπόνους δεν υπερβαίνει τα 500 € ανά αίτηση, ενώ η συνολική περίοδος ισχύος του bonus είναι 14 ημέρες από την ημερομηνία χορήγησης. Επιπλέον, οι πληρωμές γίνονται μόνο μέσω των μεθόδων που έχουν προέγκριση από το millioner σχέδιο.

Παιχνίδια όπως τα κρυπτο‑τραπέζια ή τα live dealer δεν συμμετέχουν στην υπολογιστική διαδικασία του bonus, ενώ οι λανθασμένες ή εκκρεμείς εναλλακτικές αποσβέσεις ενδέχεται να ακυρώσουν το δικαίωμα ανάληψης.

Συμβουλές ασφαλούς διαχείρισης οικονομικών συναλλαγών

Πριν ξεκινήσετε παιχνίδια στο millioner καζίνο, ελέγξτε ότι η πλατφόρμα διαθέτει έγκυρες άδειες λειτουργίας και κρυπτογράφηση SSL· η διαφάνεια των όρων προστατεύει τα χρήματά σας από ανεπιθύμητες απώλειες.

Δημιουργία ισχυρών κωδικών πρόσβασης

Χρησιμοποιήστε συνδυασμό κεφαλαίων, μικρών γραμμάτων, αριθμών και συμβόλων. Αποφύγετε τις προσωπικές πληροφορίες και αλλάζετε τον κωδικό του λογαριασμού τουλάχιστον κάθε έξι μήνες, ώστε να μειώσετε τον κίνδυνο παραβίασης.

Ενεργοποιήστε την διπλή επαλήθευση (2FA) μέσω εφαρμογών όπως Google Authenticator· αυτή η λειτουργία προσθέτει ένα επιπλέον επίπεδο προστασίας, απαιτώντας κωδικό που παράγεται σε πραγματικό χρόνο πριν από κάθε ανάληψη ή κατάθεση.

Παρακολουθείτε τακτικά τα αποσπάσματα και τις καταχωρήσεις του λογαριασμού σας. Με χρήση ειδοποιήσεων μέσω SMS ή email, εντοπίζετε άμεσα τυχόν μη εξουσιοδοτημένες κινήσεις, μειώνοντας τον χρόνο αντίδρασης.

Στο millioner καζίνο ελλάδα και σε όλα τα συναφή sites, διατηρείτε ξεχωριστό τραπεζικό λογαριασμό για τα τυχερά παιχνίδια. Η απομόνωση αυτή εμποδίζει τη σύγχυση μεταξύ καθημερινών εξόδων και των στοιχηματικών συναλλαγών, ενισχύοντας τη χρηματοοικονομική σας ασφάλεια.

Millioner online καζίνο - καταθέσεις, αναλήψεις και

Millioner online καζίνο – βασικά χαρακτηριστικά της πλατφόρμας

Το millioner καζίνο gr ξεχωρίζει στην αγορά των διαδικτυακών τυχερών παιχνιδιών χάρη στην ευρεία γκάμα παιχνιδιών, την προηγμένη τεχνολογία κρυπτογράφησης και την άμεση εξυπηρέτηση πελατών. Η πλατφόρμα συνδυάζει τη μοντέρνα σχεδίαση με τη σταθερότητα, προσφέροντας στους παίκτες μια απρόσκοπτη εμπειρία σε όλες τις συσκευές.

Μέσω του millioner καζίνο ελλάδα, οι χρήστες απολαμβάνουν πρόσβαση σε κυριότερα λογισμικά παρόχων, υψηλές αποδόσεις και ελκυστικά μπόνους εγγραφής. Η εταιρεία διασφαλίζει τη διαφάνεια των συναλλαγών και τη συμμόρφωση με τις τοπικές ρυθμιστικές απαιτήσεις, ενισχύοντας την εμπιστοσύνη των παικτών.

Η ευέλικτη πολιτική ανάληψης και η υποστήριξη πολλαπλών μεθόδων πληρωμής καθιστούν το millioner καζίνο ιδανική επιλογή για όλους τους παίκτες στην Ελλάδα. Η πλατφόρμα συνεχίζει να επενδύει σε νέες δυνατότητες, όπως ζωντανή μετάδοση παιχνιδιών και εξατομικευμένα προγράμματα αφοσίωσης, διασφαλίζοντας την ηγετική θέση της στην αγορά.

Πρόσβαση και ευχρηστία σε κινητές συσκευές

Το millioner καζίνο προσφέρει πλήρη προσαρμογή για Android και iOS, επιτρέποντας στους παίκτες να συνδέονται άμεσα από smartphone ή tablet, χωρίς επιπρόσθετες λογισμικές εγκαταστάσεις.

Η διεπαφή είναι βελτιστοποιημένη για μικρές οθόνες: μεγάλες εικονίδες, απλό πλοήγηση και γρήγορη φόρτωση σε 3G/4G/5G δίκτυα. Χάρη στη χρήση HTML5 τεχνολογίας, οι λειτουργίες του millioner καζίνο gr παραμένουν ακριβείς, συμπεριλαμβανομένων των ζωντανών παιχνιδιών και των πονταρισμάτων με ένα κλικ. Η ασφάλεια ενσωματώνεται σε όλα τα επίπεδα, με κρυπτογράφηση SSL και πιστοποίηση από αξιόπιστες αρχές.

Οι κανονισμοί της ελληνικής αγοράς απαιτούν σχεδιασμό φιλικό προς το χρήστη: τα κουμπιά επαναφόρτωσης, οι φίλτροι παιχνιδιών και τα κριτήρια υπεύθυνου τζόγου είναι εμφανή σε κάθε σελίδα. Το millioner καζίνο ελλάδα προωθεί επίσης την προσβασιμότητα για άτομα με μειωμένη όραση, προσφέροντας υψηλής αντίθεσης χρώματα και δυνατότητα εναλλαγής γλώσσας.

  • Αυτόματη ανίχνευση συσκευής και προσαρμοστική διάταξη.
  • Συνεχής υποστήριξη 24/7 μέσω chat και τηλεφωνικής γραμμής.
  • Εφαρμογές χωρίς απαιτήσεις αποθήκευσης – απλώς πρόσβαση μέσω browser.

Σύστημα ασφαλείας και προστασίας προσωπικών δεδομένων

Η πλατφόρμα millioner χρησιμοποιεί κρυπτογράφηση https://millioner-casino-gr.net τύπου TLS 1.3 για όλες τις μεταφορές δεδομένων, εξασφαλίζοντας ότι οι αιτήσεις ανάμεσα στον χρήστη και τους διακομιστές παραμένουν αδιάβλητες. Οι κωδικοί πρόσβασης αποθηκεύονται με αλγόριθμο bcrypt, ενώ τα τραπεζικά στοιχεία κρυπτογραφούνται με AES‑256, μειώνοντας τον κίνδυνο παραβίασης.

Έλεγχος ταυτότητας

Για πρόσβαση στο λογαριασμό, το millioner καζίνο ελλάδα απαιτεί διπλό παράγοντα (2FA) μέσω SMS ή εφαρμογών αυθεντικοποίησης. Επιπλέον, το σύστημα εντοπίζει ασυνήθιστες συνδέσεις με ανάλυση συμπεριφοράς, ενεργοποιώντας αυτόματα ειδοποιήσεις ασφαλείας.

Σύμφωνα με το GDPR, η millioner καζίνο gr διαχειρίζεται τα προσωπικά δεδομένα με βάσεις συγκατάθεσης και δυνατότητα διαγραφής κατόπιν αιτήματος. Τα αρχεία καταγραφής διατηρούνται για το ελάχιστο απαραίτητο διάστημα, ενώ οι διακομιστές είναι τοποθετημένοι σε κέντρα δεδομένων με ISO‑27001 πιστοποίηση.

Η ομάδα ανταποκριτικής αντιμετώπισης περιστατικών λειτουργεί 24/7, εκτελεί τακτικούς ελέγχους ευπάθειας και εφαρμόζει ενημερώσεις ασφαλείας χωρίς διακοπή των υπηρεσιών, διατηρώντας το περιβάλλον ασφαλές για όλους τους παίκτες.

Τύποι παιχνιδιών και ποικιλία επιλογών πληρωμής

Παιχνίδια

Το millioner καζίνο προσφέρει εκτεταμένη γκάμα slot με κεντρικά θέματα, ενώ τα κλασικά τραπέζια όπως μπλακτζακ και ρουλέτα εμπλουτίζουν το χαρτοφυλάκιο του millioner καζίνο.

Οι ζωντανές μπιρτζές, υποστηριζόμενες από επαγγελματίες ντίλερ, εξασφαλίζουν αίσθηση «καθώς ήμουν» σε πραγματικό χρόνο· επιπλέον, τα βιντεοπαιχνίδια και τα λοταρίες φέρνουν φρέσκο αέρα στην εμπειρία.

Η millioner καζίνο gr διαπρέπει και στις δυνατότητες πληρωμής: πληρωμές μέσω πιστωτικών/χρεωστικών καρτών, ηλεκτρονικών πορτοφολιών (Skrill, Neteller), κρυπτονομισμάτων (Bitcoin, Ethereum) και τοπικών τραπεζικών μεταφορών εξυπηρετούν όλες τις προτιμήσεις, εξασφαλίζοντας γρήγορη κατάθεση και ανάληψη χωρίς καθυστερήσεις.

Millioner online καζίνο - βασικά χαρακτηριστικά της

Millioner online καζίνο – βασικά χαρακτηριστικά της πλατφόρμας

Το millioner καζίνο ελλάδα προσφέρει στους χρήστες μια ολοκληρωμένη εμπειρία τυχερών παιχνιδιών, συνδυάζοντας σύγχρονη τεχνολογία με ασφαλείς συναλλαγές. Η πλατφόρμα είναι σχεδιασμένη για να καλύπτει τόσο τις ανάγκες των αρχαρίων όσο και των επαγγελματιών παικτών, προσφέροντας γρήγορη πρόσβαση σε εκτενείς συλλογές παιχνιδιών.

Με την έντονη εστίαση στην διαφάνεια και την αξιοπιστία, το millioner καζίνο gr υποστηρίζει πολλαπλές επιλογές κατάθεσης και ανάληψης, εξασφαλίζοντας ότι οι χρήστες μπορούν να διαχειρίζονται τα κεφάλαιά τους χωρίς καθυστερήσεις. Επιπλέον, η πλατφόρμα συμμορφώνεται πλήρως με τις προδιαγραφές των αρμόδιων ρυθμιστικών αρχών, προσφέροντας ένα ασφαλές περιβάλλον παιχνιδιού.

Η γκάμα https://millioner-casino-gr.gr των παιχνιδιών περιλαμβάνει δημοφιλή slots, ζωντανά τραπέζια μπακαρτίου, ρουλέτας και πολλά άλλα, όλα βελτιστοποιημένα για επιτραπέζιους υπολογιστές και κινητές συσκευές. Κάθε τίτλος είναι επιλεγμένος για την υψηλή ποιότητά του, εξασφαλίζοντας αδιάλειπτη ψυχαγωγία και δελεαστικές δυνατότητες κέρδους.

Τέλος, η υποστήριξη πελατών λειτουργεί 24/7, παρέχοντας άμεσες απαντήσεις σε όποιες ερωτήσεις ή προβλήματα αντιμετωπίζει ο παίκτης. Το millioner καζίνο διακρίνεται για την επαγγελματική προσέγγιση και τη δέσμευση στην ικανοποίηση των πελατών του, καθιστώντας το μια κορυφαία επιλογή στην ελληνική αγορά του διαδικτυακού τζόγου.

Πιστοποιημένα λογισμικά και πνευματικά δικαιώματα παιχνιδιών

Το millioner καζίνο gr λειτουργεί αποκλειστικά με λογισμικά που έχουν λάβει άδεια από κορυφαίους παρόχους, εξασφαλίζοντας δίκαια αποτέλεσμα σε κάθε παιχνίδι.

Λογισμικό με πιστοποίηση

Τα πιστοποιημένα συστήματα ελέγχονται περιοδικά από ανεξάρτητες αρχές, τόσο στην Ευρωπαϊκή Ένωση όσο και στην Ελλάδα. Η συμμετοχή του millioner καζίνο ελλάδα σε αυτές τις διαδικασίες ενισχύει την εμπιστοσύνη των παικτών και μειώνει τις πιθανότητες παρεμβάσεων τρίτων.

Δικαιώματα πνευματικής ιδιοκτησίας

Οι δημιουργοί των παιχνιδιών απαιτούν αυστηρή τήρηση των πνευματικών δικαιωμάτων· για αυτό το λόγο τα καλύτερα online casino, όπως το millioner, χρησιμοποιούν κωδικοποιημένες συμβάσεις με τους προμηθευτές. Κάθε title προστατεύεται από DRM, κρυπτογραφία και πιστοποιητικά SHA‑256, τα οποία εμποδίζουν την παράνομη αντιγραφή ή την τροποποίηση λογισμικού. Επιπλέον, οι πλατφόρμες συνεργάζονται με οργανισμούς όπως η Malta Gaming Authority και η Ελληνική Επιτροπή Παιγνιδιών, προκειμένου να διασφαλίσουν ότι τα πνευματικά δικαιώματα τηρούνται σε πλήρη συμμόρφωση με το τοπικό και διεθνές νομικό πλαίσιο.

Ασφαλείς και γρήγορες μεθόδους κατάθεσης & ανάληψης

Στο millioner καζίνο οι συναλλαγές πρέπει να ολοκληρώνονται με ελάχιστο κίνδυνο και μέγιστη ταχύτητα, ώστε οι παίκτες να επικεντρωθούν στο παιχνίδι χωρίς να ανησυχούν για την οικονομική πλευρά.

Τραπεζικές μεταφορές

Οι κλασικές μεταφορές μέσω τραπεζών παραμένουν αξιόπιστες· τα κεφάλαια κατατίθενται στον λογαριασμό του «millioner» μέσα σε 1‑3 εργάσιμες ημέρες, ενώ η επαλήθευση ταυτότητας ενισχύει την ασφάλεια. Στα millioner καζίνο ελλάδα είναι διαθέσιμες όλα τα μεγάλα ελληνικά και διεθνή ιδρύματα.

Ηλεκτρονικά πορτοφόλια

Το Skrill, Neteller και το PayPal προσφέρουν άμεσες καταθέσεις και αναλήψεις σχεδόν σε πραγματικό χρόνο. Οι χρεώσεις είναι συνήθως 0‑2 %, ενώ η τεχνική κρυπτογράφηση προστατεύει τα προσωπικά δεδομένα των χρηστών της πλατφόρμας.

Μέθοδος
Χρόνος Επεξεργασίας
Τέλη
Διαθεσιμότητα

Πιστωτική/Χρεωστική 15‑30 λεπτά (instant) – 24 ώρες 0‑3 % Απλό για όλα τα millioner καζίνο ελλάδα Τραπεζική μεταφορά 1‑3 ημέρες 0‑5 € Διαθέσιμο σε όλα τα δικτυακά καζίνο E‑Wallet (Skrill, Neteller) Άμεση 0‑2 % Συμβατό με millioner πλατφόρμες Κρυπτονομίσματα (Bitcoin, Ethereum) 5‑20 λεπτά 0‑1 % Υποστηρίζεται από κορυφαία millioner καζίνο

Η χρήση κρυπτονομισμάτων προσφέρει ανωνυμία και σχεδόν μηδενικά τέλη, ιδανική για παίκτες που επιδιώκουν μυστικότητα χωρίς να θυσιάσουν την ταχύτητα του millioner καζίνο ελλάδα.

Συνολικά, η ποικιλία των διαθέσιμων επιλογών εξασφαλίζει ότι κάθε χρήστης μπορεί να βρει τη μέθοδο που ταιριάζει καλύτερα στο προφίλ του, διατηρώντας το απόλυτο επίπεδο ασφάλειας και άνεσης.

Millioner online καζίνο - βασικά χαρακτηριστικά της

Millioner online καζίνο – βασικά χαρακτηριστικά της πλατφόρμας

Το millioner αποτελεί μία από τις πιο γνωστές και αξιόπιστες πλατφόρμες online καζίνο στην ελληνική αγορά, προσφέροντας στους παίκτες μια ολοκληρωμένη εμπειρία τυχερών παιχνιδιών. Η ισχυρή παρουσία του στην millioner καζίνο ελλάδα καθιστά το site προορισμό για όσους αναζητούν ποιοτικό λογισμικό, γρήγορες πληρωμές και άμεση υποστήριξη.

Η millioner καζίνο gr διακρίνεται για το εκτενές της χαρτοφυλάκιο παιχνιδιών, το οποίο περιλαμβάνει κουλοχέρηδες, επιτραπέζια παιχνίδια και ζωντανά παιχνίδια με πραγματικούς ντίλερ. Όλα τα παιχνίδια είναι εφοδιασμένα με σύγχρονα χαρακτηριστικά RNG, εξασφαλίζοντας δίκαιη τυχαία κατανομή των αποτελεσμάτων και συμμορφώνονται με τις ευρωπαϊκές κανονιστικές απαιτήσεις.

Η https://millioner-casino-gr.com.gr πλατφόρμα προσφέρει επίσης ένα ευέλικτο σύστημα μπόνους και προωθητικών ενεργειών, με εισπράκτο welcome bonus, δωρεάν spins και πρόγραμμα loyalty που ανταμείβει τη συνέπεια των παικτών. Η διαφανής πολιτική του site σχετικά με τις απαιτήσεις στοιχηματισμού και τα όρια ανάληψης ενισχύει την εμπιστοσύνη των χρηστών.

Τέλος, η διεπαφή του millioner είναι βελτιστοποιημένη για όλες τις συσκευές, επιτρέποντας στους παίκτες να απολαμβάνουν τα αγαπημένα τους παιχνίδια τόσο στον υπολογιστή όσο και στα κινητά τηλέφωνα. Η γρήγορη φόρτωση, η ασφαλής σύνδεση SSL και η υποστήριξη πολλαπλών γλωσσών, συμπεριλαμβανομένων των ελληνικών, καθιστούν το millioner καζίνο ελλάδα μια κορυφαία επιλογή στην αγορά των online τυχερών παιχνιδιών.

Τρόποι γρήγορης κατάθεσης και άμεσης ανάληψης

Το millioner καζίνο προσφέρει μια σειρά από λύσεις που εξασφαλίζουν ελάχιστο χρόνο μεταξύ της επιλογής του παιχνιδιού και της πραγματοποίησης της συναλλαγής.

Οι περισσότερες πλατφόρμες υιοθετούν ηλεκτρονικά πορτοφόλια, τα οποία ενεργοποιούν την κατάθεση σε δευτερόλεπτα.

  • PayPal – ευρέως διαδεδομένο, με άμεση πιστοποίηση.
  • Skrill – ιδανικό για gamers που εκτιμούν την ασφάλεια.
  • Neteller – υποστηρίζει πολλαπλά νομίσματα, συμπεριλαμβανομένου του €.

Οι κάρτες Visa και MasterCard παραμένουν δημοφιλείς· η επεξεργασία του ποσού ολοκληρώνεται συνήθως εντός 5–10 λεπτών, υπό την προϋπόθεση ότι δεν απαιτείται πρόσθετη επαλήθευση.

Για όσους επιδιώκουν ανώνυμη συναλλαγή, η χρήση κρυπτονομισμάτων (Bitcoin, Ethereum) προσφέρει μηδενικό χρόνο επεξεργασίας, καθώς τα blockchain διασφαλίζουν την άμεση μεταφορά.

Άμεση ανάληψη: βήματα που πρέπει να ακολουθήσετε

  • Επιλέξτε τη μέθοδο πληρωμής από το κουμπί «Ανάληψη».
  • Καταχωρήστε το επιθυμητό ποσό, λαμβάνοντας υπόψη το όριο ανάληψης.
  • Επιβεβαιώστε την ταυτότητα μέσω ενός σύντομου κωδικού ή βιομετρίας.
  • Παρακολουθήστε τη σύντομη ειδοποίηση ότι η συναλλαγή βρίσκεται σε επεξεργασία.
  • Λάβετε τα χρήματά σας στο λογαριασμό σας μέσα σε λίγα λεπτά ή ώρες, ανάλογα με τη μέθοδο.
  • Η ταχύτητα της ανάληψης εξαρτάται κυρίως από την πολιτική του τραπεζικού ιδρύματος ή του παρόχου e‑wallet, όμως σε όλα τα millioner καζίνο gr η προτεραιότητα είναι η συμμόρφωση με πρότυπα ασφαλείας χωρίς καθυστερήσεις.

    Η διαδικασία επαλήθευσης μπορεί να απαιτεί μόνο το άνοιγμα ενός εγγράφου ταυτοποίησης ή τη σύνδεση με έναν λογαριασμό κοινωνικής δικτύωσης, μειώνοντας σημαντικά τα εμπόδια.

    Συνοψίζοντας, η ευελιξία των επιλογών κατάθεσης και η ταχύτητα των αναλήψεων αποτελούν κεντρικά πλεονεκτήματα του millioner, καθιστώντας το κανάλι προτίμησης για παίκτες που αναζητούν άμεσες οικονομικές συναλλαγές.

    Ασφάλεια δεδομένων και έγκυρη άδεια λειτουργίας

    Η προστασία των προσωπικών και οικονομικών δεδομένων αποτελεί τον πυρήνα της εμπιστοσύνης των παικτών, ιδιαίτερα όταν επιλέγουν πλατφόρμες όπως το millioner καζίνο ελλάδα. Οι αξιόπιστες υπηρεσίες εφαρμόζουν κρυπτογράφηση AES‑256, διασφαλίζοντας ότι όλες οι συναλλαγές και τα προσωπικά στοιχεία παραμένουν κρυπτογραφημένα από το σημείο εισόδου μέχρι την αποθήκευση.

    Συγκεκριμένα, το millioner καζίνο συνεργάζεται με ανεξάρτητους ελεγκτές ασφαλείας που διεξάγουν τακτικούς ελέγχους Pen‑Test και αξιολογούν τυχόν ευπάθειες στο σύστημα. Τα αποτελέσματα δημοσιεύονται σε ετήσια αναφορά, προσφέροντας διαφάνεια προς το κοινό.

    Η βάση νομικής ευθύνους στηρίζεται στην ύπαρξη έγκυρης άδειας λειτουργίας από την Κύπρο (Κυπριακή Αρχή Παιγνίων) και την Ελβετία (Ελβετική Εποπτική Αρχή). Αυτές οι άδειες απαιτούν συμμόρφωση με τις διεθνείς προδιαγραφές AML (Anti‑Money‑Laundering) και GDPR, διευκολύνοντας την προστασία των δεδομένων των χρηστών.

    Χώρα
    Αρχή Άδειας
    Αριθμός Άδειας
    Έτος Λήξης

    Κύπρος Κυπριακή Αρχή Παιγνίων CY‑2021‑00123 2027 Ελβετία Ελβετική Εποπτική Αρχή CH‑2022‑04567 2028 Ελλάδα Hellenic Gaming Commission GR‑2023‑08901 2029

    Η τήρηση αυτών των αδειοδοτήσεων δείχνει ότι το millioner καζίνο gr λειτουργεί εντός του πλαισίου των ευρωπαϊκών κανονισμών, παρέχοντας στους παίκτες εγγυημένη ασφάλεια και αξιοπιστία.

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    Disney kicked off its first creator event Created in L.A on Thursday night at El Capitan Theatre in Hollywood.

    Over 350 creators, innovators and industry leaders came together for the first day of a two-day event with the idea to exchange ideas, build relationships, and explore the future of creator-led storytelling and the business behind it.

    Opening the evening was creator, entrepreneur and media personality Jon Youshaei. The event was conceived and hosted by Youshaei, whose career involves leadership roles at YouTube and Instagram, as well as his own success as a creator. He is known for in-depth interviews and behind-the-scenes conversations with creators and entertainers including MrBeast, Mark Rober and Kevin Hart.

    Youshaei highlighted the power of the creators in the room, many of whom had traveled from Argentina, Australia, England, Netherlands, Canada, Georgia and Morocco to attend. He also highlighted their social media followings: “The creators at this event have over 800 million subscribers on YouTube, 80 million followers on Instagram and over 350 million followers on TikTok, which altogether makes over 1.6 billion followers combined.”

    After sharing a brief history of the theater, Youshaei recounted his pitch to Disney about showcasing the work of creators. He told the audience, “I said, ‘Hey, I have this crazy idea. What if we premiere videos from creators on the big screen? I’m talking about the same videos we usually watch on our phones and our laptops, but have recently gotten so damn good that they deserve to be played in a theater, that deserve to be premiered on a red carpet, that deserve to be celebrated with 350 of the most creative people in the world?’”

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    “What strikes me about this room is the instinct so many of you have for your audience. You know them intimately. You hear from them constantly, and you adjust in real time based on what they want. And that is very different from the kind of content that we produce.” She elaborated, “It can take years for our films and series to reach their audiences and for you it could be seconds. And there’s something that we can learn from that immediacy, from treating the audience as a true collaborator. My hope for these two days is that we’ll exchange ideas and learn from each other — that some of what makes your storytelling so special rubs off on us, and that some of what we’ve learned about telling stories over many decades will be useful to you.”

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    The evening concluded with Youshaei introducing the Golden State Award. The award recognizes strong filmmakers or subscriber count.

    The first award went to Lucas and Curtis Nicotra, who go by the name Sticks. Their film “The Technoblade Movie,” premiered alongside Zach King’s parody of “Star Wars,” “Cardboard Strikes Back.” King received the second Golden State Award.

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    Disney kicked off its first creator event

    Every film begins with an idea. But ideas do not organise locations, negotiate contracts, manage budgets or persuade people to work through the night in the rain. That is the first-time producer’s job.

    A producer turns creative ambition into practical reality. You do not need to know everything before producing your first film. You do, however, need enough knowledge to ask intelligent questions, recognise danger and keep the production moving forward.

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    1. Recognising a Film That Can Be Made

    A good screenplay is not automatically a producible screenplay.

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    A resourceful producer might replace five expensive locations with one distinctive building. A complicated action sequence might become a tense off-screen event. Limitations can force filmmakers to make stronger creative choices.

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    Films are built from hundreds of interdependent decisions. If one department falls behind, the effects can spread throughout the production.

    A first-time producer therefore needs to break the screenplay into practical requirements and turn them into a schedule. Which actors are needed on which days? Which scenes can be grouped by location? How much can realistically be filmed in a day? What must happen before principal photography begins?

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    You do not need to be an accountant, but you must understand where the money goes.

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    First-time producers frequently underestimate the less glamorous costs. Everyone remembers the camera. Fewer people remember insurance, data storage, overtime, legal fees, deliverables and publicity materials.

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    Movie money does not usually arrive because somebody reads a screenplay and falls in love.

    Whether you approach investors, public funders, brands, broadcasters, crowdfunding supporters or private donors, you need to explain the project clearly. What is the film? Who is it for? Why should it be made now? Why is your team capable of delivering it? What does the supporter receive?

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    Filmmaking is collaborative, but collaboration does not mean that nobody is in charge.

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    Your job is not to have every answer.
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    A finished film must have a clear legal chain of title.

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    Many first-time producers wait until the film is finished before asking who will watch it.

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    Festivals can create attention, but they are not a complete distribution plan. The first-rime producer must think about positioning, artwork, trailers, publicity, partnerships, sales and release opportunities.

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    Every film begins with an idea. But

    Two sudden deaths and a person found in serious medical distress over the last 24 hours have prompted a public safety warning from Halifax Regional Police.

    Police say the Nova Scotia Medical Examiner’s Service is conducting autopsies to determine the cause of death in both incidents.

    Get breaking Canada news delivered to your inbox as it happens so you won't miss a trending story.

    Get breaking National news

    Get breaking Canada news delivered to your inbox as it happens so you won’t miss a trending story.

    A release from police notes that while the investigations are in their early stages, “in the event” that the deaths are determined to be drug-related, police are warning people to be cautious.

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    There’s nothing more distressing in “Knife: The Attempted Murder of Salman Rushdie’ than the unflinching closeups of the author’s wounded body in the days and weeks after August 12, 2022, when he was repeatedly stabbed while on stage at a literary festival in upstate New York. The camera lingers over his mangled hand and the train-track of stitches running up his belly. His right eye is a bloodied bulge. The power of Alex Gibney’s documentary, which premiered at Sundance, lies in Rushdie’s decision to showcase his scars — quite literally, by sharing footage that his wife Rachel Eliza Griffiths shot throughout his time in the hospital. It’s a visceral complement to what is otherwise a solid, if standard, profile of the author from Gibney, the Oscar- and Emmy-winner known for churning out reliably comprehensive, reporter-style investigations of power and politics.

    In Gibney’s upcoming “Musk,” an HBO-produced Elon Musk mega-doc that showed at Venice, the SpaceX and Tesla overlord is an AI-generated talking head. Thankfully no such uncanny simulations are in play here. The Indian-born writer has control of the mic from the get-go with running voiceover narration that starts the film alongside a feverish recreation of the attack visualized from Rushdie’s point of view: Blinding stage lights turn his assailant, a New Jersey man by the name of Hadi Matar, into a shadowy mass, and each jab of the knife is heard as a fleshy thud. Matar is only mentioned by name once. In Rushdie’s retelling, he becomes a symbol for the punishing incursions upon his life and liberties since the publication of his 1988 novel “The Satanic Verses” scandalized the masses and put a target on his head, courtesy of a fatwa issued by Ayatollah Khomeini, then the Supreme ruler of Iran.

    Wondering why he didn’t fight back or run away, Rushdie moves into an extended reflection on his relationship to death and fatalism. In the present thread, we follow his recovery through Griffiths’ tenderly diaristic documentation, which includes, at one point, a call from family friend Wes Anderson. Meanwhile Gibney employs archival news footage and old on-camera interviews with Rushdie to take us back to his identity-crisis-riddled early years between India and his adopted home of London, and the emotional abuse he suffered while living with his alcoholic father. But for the most part, Gibney keeps to the events after 1988, when Rushdie’s Islam-inspired magical realist tome became the flashpoint for a fiery debate over free speech and creative freedom.

    Excerpts from the novel are accompanied by scratchy animated renderings of the story — about two Indian-Muslim men living in London who undergo spiritual upheavals after surviving a plane crash — that echo Rushdie’s existential musings and emphasize the work as a product of his imagination. It’s a way of highlighting the absurdity of the violent response from orthodox Muslim communities — all this rage for a story? — and more generally, the dangers that religious extremism poses to civil society. When Ayatollah Khomeini called for Rushdie’s righteous assassination in 1989, protests and book burnings broke out in the U.K., Pakistan and India; elsewhere, bookstores were destroyed, editorial offices torched, and Rushdie’s Japanese translator, Hitoshi Agarashi, was murdered. These aren’t breaking revelations for what is — for a certain generation, at least — one of the late 20th century’s most shocking and widely-discussed controversies.

    But lest we dismiss these events as contained to the past, the 2022 assault stands as a reminder that artistic expression remains as frighteningly vulnerable as Rushdie’s brutalized body. That message might feel obvious for anyone even remotely tapped into the American news cycle, but it’s given a weighty (if obligatorily sentimental) personal touch by the resilient Rushdie and his support system, led by the tenacious Griffiths — his rock against a seemingly neverending saga.

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    There’s nothing more distressing in “Knife: The

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    Watch the video above.

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

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    I always wanted four kids. I have

    There are no photos of her pregnant on Getty, but here she is in October of 2018, four months after giving birth. But she did share a photo of herself in the third trimester on her Instagram! You can see it here.

    Brigitte also has four other children: Julian Winding (son, born in 1984), Killian Marcus Gastineau (son, born in 1989), Douglas Aaron Meyer (son, born in 1993), and Raoul Ayrton Meyer Jr. (son, born in 1995).

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    Lenny Kravitz has officially entered the Barbie universe, with the rock star getting his very own Ken doll.

    The singer, songwriter, actor and designer has been named the latest honouree in Barbie’s Signature Kenbassadors Collection, which celebrates men who have made an impact on culture.

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    The collectable doll takes inspiration from one of Kravitz’s onstage looks, wearing a bronze-coloured mesh cowl-neck tank, boot-leg denim jeans, a studded belt, boots and sunglasses.

    It also features his trademark locs, making the doll instantly recognisable as the award-winning musician.

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    “Barbie is an institution, and as a kid growing up, I could not have imagined this,” he said. “To be chosen by Mattel as a Kenbassador, only the second one in history, is an honour and absolutely surreal.”

    Kravitz is the second person to receive the Kenbassadors treatment after basketball star LeBron James became the first honouree when the collection launched in 2025.

    The collection is part of Barbie’s ongoing celebration of men who have left their mark on music, sport, entertainment, fashion and wider culture.

    Kravitz certainly fits the brief.

    With more than 50 million records sold worldwide, the musician has built a career that stretches far beyond music. He has also worked as an actor and designer, while becoming known for his distinctive approach to fashion and personal style.

    The doll arrives as Kravitz continues his “Blue Electric Light Tour”, giving fans another way to celebrate his career and unmistakable aesthetic.

    And while Ken may be celebrating 65 years, he is clearly still keeping up with the times.

    The Barbie Signature Kenbassadors Lenny Kravitz Collectable Doll became available online from Thursday, with a recommended selling price of $70.

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    Lenny Kravitz has officially entered the Barbie

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    Ahead of their upcoming world tour, Japanese metal band BABYMETAL is collaborating with Marvel and Complex on a new apparel collection.

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    Photo: Complex

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    Photo: Complex

    As always, be sure to check back with MickeyBlog. We will continue to update you on all the new Disney merchandise as it arrives.

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    Photo: MickeyBlog

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    There’s a case to be made that Alan Ritchson is the last actor Hollywood has successfully built into an action star the old way, through sheer physical presence and a signature role rather than franchise inheritance. Reacher turned him from a journeyman with Smallville and Titans credits into one of the most-watched leading men on television, and the movie business has spent the last few years figuring out what to do with that.

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    Per Deadline, Ritchson is in talks to star in the live-action Helldivers movie that Sony’s PlayStation Productions is developing based on Arrowhead Game Studios’ shooter. Details on his character are being kept quiet, but Jason Momoa had been attached to lead Helldivers since early this year; he departed the project in June, with sources telling The Hollywood Reporter the split came down to “creative differences.”

    Momoa hardly needs the gig, given he’s fronting October’s Street Fighter and has a Minecraft sequel on his slate, but his exit left Sony and director Justin Lin needing a new anchor for a movie already dated for Nov. 10, 2027. That timeline probably explains why the studio moved this quickly on Ritchson, and it’s hard not to notice the two actors share a Fast X connection and roughly the same silhouette. Whatever the creative disagreements were, the physical brief for the part clearly hasn’t changed.

    For anyone not already familiar with it, Helldivers 2 was widely seen as one of gaming’s bigger breakout stories of 2024. Arrowhead’s co-op shooter sends squads of highly expendable soldiers onto hostile planets to spread “managed democracy” in service of Super Earth, a fascistic bureaucracy that the game appears to present as overt satire, and it quickly became PlayStation’s fastest-selling title, moving more than 12 million copies in its opening weeks.

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    instar53481425.jpg

    Birthdate

    November 28, 1982

    Birthplace

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    Final Fantasy 7 Revelation is shaping up to be the biggest entry in the remake trilogy by a considerable margin, as game director Naoki Hamaguchi estimates that a complete playthrough of everything that the game has to offer could take up to 100 hours. That includes the campaign, side activities, and endgame content–something that Hamaguchi has experienced dozens of times for himself throughout the development of Revelation.

    This is all part of the job; to ensure that players enjoy a smooth experience, the developers have to check every part of the game for any potential issues. “In a standard playthrough from beginning to end, if I were to review and check every single asset and element in the game, it’ll easily take over a hundred hours,” Hamaguchi said to GameSpot. “Obviously, I can’t do that in each and every single playthrough. As the director, I don’t have enough time for that, so sometimes I would just skip combat and focus on checking the main story. In different playthroughs, I focus on different elements.”

    In total, Hamaguchi said he had completed 46 playthroughs by the time he was interviewed. So how do you get so many game completions under your belt, when the game in question is so lengthy? Hamaguchi explained that he’d devoted all his time to playtesting the game, and he even slipped in a few testing sessions between interviews on the current Final Fantasy 7 Revelation press tour.

    “I will try to do these playthroughs as much time as time allows,” he said. “Yesterday, during a separate round of interviews, when there was downtime, I actually did bring a PS5 controller, so I checked the latest version of the build. Even on business trips, if there’s even a small amount of time that I have available, I’ll try to check the latest version of the game to see if there are any issues.”

    While Final Fantasy 7 Revelation might monopolize all your attention when it launches, the team at Square Enix also wants to respect your time. Minigames aren’t essential to the game’s main campaign, you can skip through cutscenes if you want, and pacing has also been adjusted to keep the story moving. For more on the game, you can check out how Red XIII might steal the spotlight during the snowboarding minigame, why The Witcher 3 continues to inspire Hamaguchi, and what Chadley will be up to in the game.

    Final Fantasy 7 Revelation launches for PC, PS5, Xbox Series X|S, and Switch 2 on April 8, 2027.

    Interview conducted by Emma Fyffe.

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    Final Fantasy 7 Revelation is shaping up

    “NAZA,” the acclaimed and controversial documentary about killings in Gaza, has set a distribution rollout for U.S. theaters starting Sept. 30 via an innovative plan that forgoes selling the film to a studio or independent distributor.

    The rollout, which kicks off exclusively at the IFC Center in New York City, is “spearheaded by The Guardian and mk2, who have assembled a team of U.S. and international partners and consultants to bring the film to audiences as quickly as possible,” according to a release.

    The documentary will expand to Los Angeles and other markets on Oct. 9 and then roll out nationally.

    Directed by Yuval Abraham and Rachel Szor, the two Israeli directors of the Oscar-winning documentary “No Other Land,” “NAZA” won a special jury prize at the recent Venice Film Festival. Its North American premiere is at The New York Film Festival on Sept. 26. “No Other Land” was released in the U.S. through Cinetic with bookings by Michael Tuckman Media rather than using a traditional distributor.

    “NAZA” is produced by The Guardian and James Wilson (JW Films) and executive produced by Jonathan Glazer.

    Shot at night on the rooftops of Tel Aviv, “NAZA” reveals in detail the systems behind “Israel’s calculated mass killing of Palestinian civilians in Gaza,” according to the synopsis. NAZA is the military acronym used by Israeli intelligence to describe the number of civilians that it expects will be killed in an airstrike.

    Directors Abraham and Szor said in a statement, “We made this film out of a sense of obligation to use our position as Israeli filmmakers and journalists to examine the systems behind the mass killing of Palestinian civilians for which our country is responsible. While filming members of Israel’s military on rooftops at night in Tel Aviv over the past three years, we found ourselves asking the very questions that were asked by our grandparents’ generation and throughout the 20th century: how does one group of people allow the total dehumanisation of another? What do the inner workings of such a system look like? Many of the revelations in the film were published almost immediately as we learned of them, in the months following the October 7th attacks, by The Guardian (one of NAZA’s producers), in collaboration with reporting partners +972 Magazine and Local Call. The film lets us explore something deeper than we could in our investigative journalism alone: not only the words being said but also those that are not said, the silence. It is up to all of us to break that silence.”

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    “NAZA,” the acclaimed and controversial documentary about

    It doesn’t matter if you’re a blonde, brunette, or redhead: Fall 2026 hair trends embrace a low-key, lived-in elegance—and Madelyn Cline hit the nail right on the head with her vanilla-taupe blonde hair transformation.

    After rocking a midlength style throughout the summer, the Outer Banks star arrived at New York Fashion Week with a brand-new “baddie bob,” courtesy of longtime hairstylist Marc Mena. But that wasn’t her only dramatic switch-up. Celebrity stylist Tracey Cunningham also took the actor from ombré bronde to a dimensional creamy-vanilla blonde without a brassy strand in sight.

    “For Madelyn, I wanted to take her lighter and brighter while still keeping the color soft and natural-looking,” Cunningham, Schwarzkopf Professional’s US creative director of color & technique, tells Glamour. “The goal was a fresh, polished blonde for fall that still has that effortless, sun-kissed quality that looks so beautiful on her.”

    As for the chop, Mena says Madelyn Cline was looking for a change that felt “fresh, modern, and a little dangerous.” To achieve that vibe, he opted for a “shoulder-skimming bob with a clean, slightly blunt perimeter” for a look that’s “short enough to make a statement but long enough that we could still play with texture and switch up the styling.”

    With their powers combined, Mena and Cunningham found a way to make a blonde bob feel so right for fall. Here’s everything you need to know about the color and cut, straight from the pros.

    What is vanilla-taupe blonde?

    Cunningham describes vanilla-taupe blonde as a “bright, sun-washed blonde with soft beige and taupe tones woven throughout.”

    To achieve the look, she used Blondeme Clay Lightener to create the highlights, then customized her tone with Igora Vibrance demi-permanent hair color. Cunningham says the goal should not be to copy Cline’s exact formula, but to find a “soft vanilla-taupe effect” that’s right for your base color and natural undertones.

    “The key is finding that balance where the blonde doesn’t read too yellow or too ashy,” she says.

    How to get vanilla-taupe blonde at the salon

    To get the look for yourself at a salon, Cunningham recommends asking for “a soft, dimensional blonde with creamy vanilla and subtle taupe-beige tones” but stresses that placement of the highlights is just as important as the color.

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    It doesn’t matter if you’re a blonde,

    Atlanta is rapidly emerging as one of America’s most influential entertainment and creative hubs. The city is creating new opportunities for brands willing to rethink how they approach storytelling and partnerships. 

    On Adspeak by ADWEEK, host Bashel Lewis moderates a Brandweek panel with three media and creative leaders: Blondel Aidoo, co-founder at Rabbit Hole Technologies; Eddy Moretti, executive producer at Laugh Cry Wow; and Asante Bradford, senior industry engagement manager at the Georgia Department of Economic Development.

    Together, they explore how Atlanta is evolving from a production destination into a sustainable creative powerhouse with a thriving talent ecosystem, production infrastructure, and attractive incentives. 

    The conversation examines how brands can build authentic partnerships with creators, production companies, sports franchises, and music properties while moving beyond traditional studio models. 

    They also discuss the growing importance of emerging talent, HBCUs, and local creative pipelines, and the democratization of storytelling. 

    For brands looking to invest in culture, entertainment, and next-generation content, Atlanta offers an increasingly compelling opportunity to build meaningful partnerships and connect with audiences in new ways. 

    What you’ll learn:

    • Why Atlanta Offers a Competitive Edge Over Traditional Production Hubs
    • Building Relationships with Atlanta-Based Creators and Production Companies
    • Why The Brand Partnership Model is Replacing Traditional Studio Financing
    • How to Tap into HBCUs and Local Talent Pipelines for Long-Term Brand Building
    • The Democratization of Content Creation Means Story Quality Matters More 
    • Why Sports, Music, and True Crime Content Create Immediate Brand Partnership Opportunities

    About the guests:

    Blondel Aidoo is co-founder of Rabbit Hole Technologies, a next-generation animation studio blending art, AI, and innovation to transform storytelling. With 35+ years of experience as a visual effects producer, his credits include Minority Report, X-Men, Spider-Man, Night at the Museum, and Red Notice, films that have collectively grossed more than $8 billion worldwide. Blondel is building an AI-driven production ecosystem that helps filmmakers and brands create, iterate, and bring ambitious stories to life faster.

    Award-winning producer and creative director Eddy Moretti is the executive producer at Laugh Cry Wow and has developed and produced more than 200 films and television series, alongside thousands of hours of cable and digital content. Previously chief creative officer at Vice Media for two decades, he led content across its flagship properties and branded partnerships. Moretti also launched Viceland, an award-winning global cable channel, and his work has earned multiple Emmys, Peabody Awards, Cannes Lions, and other honors.

    Atlanta is rapidly emerging as one of

    I’ve spent a fair amount of time testing Cocobet Casino’s support setup, and I want to detail exactly what you’ll find if you need help https://cocobetcasino.eu/. Customer service is approached as an afterthought in plenty of casino reviews, but I think it’s one of the clearest signs of how a brand treats its players. A casino can have thousands of slots and a flashy welcome bonus, but if you can’t get a straight answer when a withdrawal is delayed or a bonus term is unclear, the whole experience falls apart. In this review I’ll go through every support channel I tested, the actual response times I experienced, and how the help you get aligns with the wider Cocobet Casino package, from games and payments to mobile play and responsible gambling tools.

    Live Chat: Instant Help At Your Most Critical Moments

    I tested live chat several times at diverse times of day, including late evenings and early mornings, to see whether the 24/7 assertion was accurate. Every time, I was connected to an agent in about thirty to sixty seconds. The opening stage is a chatbot that asks for your name and email before directing you to a human. Some players consider that step annoying, but I genuinely appreciate it: it pre-screens the query, so the agent already holds your account context when the conversation begins. Once I was connected, I asked about bonus wagering requirements, document verification timelines, and some other topics, and the agents were consistently polite and direct.

    What stood out in my live chat sessions was the absence of scripted robotic replies. The support staff at Cocobet Casino appear familiar with the platform and its terms. When I raised a intentionally tricky question about how a certain game counted toward wagering, the agent paused to check the game weighting table and responded with a precise percentage rather than a vague assurance. The chat transcript was forwarded to me without prompting after each session, which is a welcome addition for record-keeping. If you’re a UK player who desires speed and clarity, live chat is by far the strongest option, and I’d employ it as my go-to support method for any issue that can’t wait.

    The Help Channels Offered by Cocobet Casino

    From the moment I accessed the Cocobet Casino site, I wanted to find out how many ways I could reach someone. The casino doesn’t bury its contact options. I located a clearly labelled help icon and a specific support page in the main navigation. The main option is 24/7 live chat, which most players prefer for fast queries. There’s also an email address for extended inquiries where you may have to include documents or screenshots. I also looked into for a phone hotline, since plenty of UK players still prefer talking to a real person, and I’ll deal with that in its own section later. One thing I noticed early on: the live chat widget is visible on every page, including the game lobby and the cashier, so you don’t have to interrupt your session to find help.

    Cocobet Casino also has a structured FAQ section, and I consider that as a support channel in its own right. It covers account management, payments, bonuses, and technical troubleshooting. I always advise checking the FAQ before contacting them, because the answer you need is often already sitting there, saving you time. The casino also runs a responsible gambling page with links to self-assessment tests and limit-setting tools, and that is an important part of the support ecosystem. From what I saw, the blend of instant live chat, asynchronous email, and a well-organised knowledge base ensures you’re never left without help, regardless of the time or the difficulty of your problem.

    Phone Support: Is There a Direct Number for UK Players?

    This query frequently appears in player forums, and I aimed to give a straight answer. During my review period, Cocobet Casino did not list a specific inbound phone number for general customer support. I checked the contact page, the terms and conditions, and the help centre, and there was no publicly listed hotline. For some UK players, the lack of phone support might appear like a drawback, especially if you’re familiar with resolving banking or account issues by phone. Still, I’d argue that the live chat service fills that gap well, providing real-time interaction without hold music or international calling charges.

    That said, I did note that the casino may offer callback services in specific circumstances, such as for high-value account queries or VIP players. I couldn’t confirm this across the board, as it seems to be handled case by case. If speaking to someone is non-negotiable for you, I’d suggest starting a live chat and asking the agent whether a callback can be arranged. In my experience, the support team was ready to escalate matters when a text-based conversation wasn’t enough. A permanent phone line would be a positive addition, but the existing channels are reactive enough that I never felt the absence of a phone number stopped me from getting a problem solved.

    Email Help: Detailed Queries and Response Times

    For concerns that require a paper trail or attachments, email support is the right option. I dispatched three different emails to the Cocobet Casino support address, each with a varying scenario: a missing bonus, a request for clarification on a withdrawal method, and a general question about the casino’s licensing jurisdiction. The first reply was received in just under three hours, while the other two needed between five and seven hours. None of my emails stayed unanswered for more than eight hours, which is well within the industry standard for a casino that does not promote itself as offering priority VIP support to every player. I was pleased to see that the replies were comprehensive and addressed every point I brought up rather than providing a generic template.

    One thing I advise with email is to add your account username and as much relevant detail as possible from the start. In my tests, I deliberately left out my username in one message, and the response asked for it, which created an extra exchange and prolonged the interaction. When I supplied full details, the first reply often included the final answer. Email is also the channel to use if you require to submit identity verification documents. The support team provided clear instructions on acceptable file formats and size limits, and they verified receipt promptly. For UK players who favor a more formal communication style or require to keep a written record, the email service at Cocobet Casino is reliable and professional.

    The way Support Deals with Common Issues: Payments, Bonuses, and Technical Glitches

    To get a real understanding of the support team’s competence, I simulated a few common player problems. I began by asking about a withdrawal that seemed to be stuck in a pending state longer than the stated timeframe. The live chat agent examined my account status straight away, confirmed that the withdrawal was in the queue and not flagged for any verification holds, and offered me a realistic estimate of when the funds would be released. The explanation was clear and corresponded to the published processing times. I then inquired why a bonus hadn’t been credited after a qualifying deposit. The agent looked over my transaction history, detected that I had inadvertently opted out of the promotion during the deposit flow, and personally added the bonus as a goodwill gesture after confirming eligibility.

    I also examined a technical scenario by reporting that a live dealer game had frozen mid-round. The support representative walked me through a quick cache-clearing procedure and then verified the game provider’s server status to rule out a broader outage. Throughout all these interactions, I never sensed rushed, and the agents assumed responsibility of the issue rather than deflecting blame. This is where Cocobet Casino’s customer service excels. Many casinos handle simple queries well but falter when a problem spans multiple departments. Here, the support team looked empowered to liaise with the payments and promotions teams internally, which meant I received a resolution in a single conversation rather than being passed around like a hot potato.

    Self-Service Options: In-Depth Look at FAQ and Help Centre

    Before I ever contacted a human agent, I dedicated time to browsing the FAQ and help centre at Cocobet Casino. I was pleasantly surprised by how comprehensive it is. The articles are grouped into logical categories, and the search function returned relevant results even when I employed casual phrases like ‘cashout time’ instead of ‘withdrawal processing.’ The content addresses everything from initial registration steps and document verification to bonus terms and game rules. I came across detailed explanations of wagering requirements, maximum bet limits while a bonus is active, and the order in which funds are used when you have both real money and bonus balances. Such a level of transparency is exactly what I search for, because it reduces the chance of misunderstandings later.

    One area where the help centre excels is payment information. Each deposit and withdrawal method is presented with its typical processing time, minimum and maximum limits, and any fees that might apply. For UK players who use several banking options, having that data upfront removes a lot of uncertainty. I also appreciated the step-by-step guides for setting deposit limits, taking a time-out, or self-excluding, which are crucial responsible gambling tools. The wording throughout the FAQ is clear and free of jargon, so it’s accessible even if you’re unfamiliar with online casinos. I’d highly recommend spending ten minutes browsing these resources. You’re likely to find answers to questions you weren’t aware you had.

    Common Questions About Cocobet Casino Assistance

    What’s the quickest method to get help at Cocobet Casino?

    Live chat is the quickest route. Based on my testing, I was connected to a support staff member in less than sixty seconds in high and low traffic periods. This chat feature appears on each page, so you don’t need to leave your session or the banking section to start a session.

    Do Cocobet Casino deliver support in languages other than English?

    English acts as the main language, however, I observed the chat platform accommodates multiple languages, with the FAQ section can be accessed in several translations. In case you favor another language besides English, you can mention it to the agent at the start of the chat, and they will assist when feasible or switch you to a multi-language team member.

    What duration do email answers usually take?

    Based on my tests, email replies were received within three to eight hours. More complicated questions that demand deeper analysis might take slightly more time, but https://www.similarweb.com/website/instantpay-casino.com/ you’ll usually get a confirmation that your ticket is being worked on. For urgent matters, I would suggest live chat.

    Is it possible to set restrictions on my account via customer service?

    Absolutely, you may request deposit limits, playtime notifications, or self-banning right through chat or email. The assistance staff manages these requests promptly, and you may also control many limits yourself through the responsible gaming features inside your profile configuration.

    How should I proceed if a game stops working during gameplay?

    If a game locks up or acts strangely, get in touch with live chat immediately. The customer service team can examine the game round history, check your balance, and if necessary raise the issue to the gaming provider. Be sure to note the title of the game and approximate timing when it happened to speed up the review.

    Is Cocobet Casino licensed and safe for players in the UK?

    Cocobet Casino holds a recognised international gambling license, and it uses typical security protocols such as SSL encryption to safeguard your data. I consistently suggest that players check the website’s footer for the most current licensing details, though my experience indicates the casino treats compliance and player protection very seriously.

    Following a review of every support channel and looking at how Cocobet Casino handles real player issues, I can say the customer service here represents a real advantage rather than a box-ticking exercise. The live chat is fast and manned by knowledgeable agents, email replies are detailed and come within a reasonable window, and the self-help resources rank among the most open I’ve seen. Even the nonexistence of a public phone line is balanced by the quality of the real-time chat support. What matters more is that the support team engages with the wider casino ecosystem, from payment processing to bonus management, which suggests this brand has put resources into backend integration and agent training. If you’re a UK player in search of a casino where you won’t be left in the dark when something goes wrong, Cocobet Casino merits a place on your shortlist. My advice would be to begin with the FAQ, turn to live chat for anything urgent, and keep your account details handy so you receive the fastest resolution possible.

    I've spent a fair amount of time

    It’s time to swing those hips, kick those legs, and glide across the dance floor. That’s right, a record-breaking Dancing with the Stars Season 35 has begun.

    This has been one of the best casts in recent years, since I recognized more than half of the stars, and many of them attempted entertaining first routines.

    During Dancing with the Stars Season 35, the judges seem to be judging lower than usual and holding back higher scores until later in the season.

    (Disney/Eric McCandless)

    It made sense in some ways because, while the dancers worked out their nerves, I felt some of them were underscored.

    The leader and the elimination of the male dancers were accurate, but some of the verdicts for the female dancers were unfair.

    Let’s discuss how some glitches, new pros, and some stars’ popularity may have factored into this verdict.

    Would the Extra Votes Have Made a Difference for the Men?

    Many fans guessed Harry Shum Jr. and Jenna Johnson would lead the men at the end of night one, and they were right.

    (Disney/Eric McCandless)

    But just because he had dance experience from Glee and his movies didn’t mean his disco-themed cha-cha to “Let’s Groove” was perfect.

    He’s used to performing, and it showed, and he and Jenna sizzled. His biggest problem was exaggerating his arm movements, but that leaves him something to work on.

    The biggest surprise was how well Paralympian Ezra Frech and Daniella Karagach performed.

    Since I have a disability, too, I have a soft spot for Paralympians.

    I was terrified that his running blade would buckle and he’d fall during his performance, but he took control and led Daniella around in a strong tango to Kelly Clarkson’s “Since You’ve Been Gone.”

    (Disney/Eric McCandless)

    I can’t wait to see how he improves, as he’ll be a contender.

    Unfortunately, some dances were weak, and since online voting glitched on Tuesday night, we’ll never know whether the extra votes would have made a difference.

    I thought Guillermo Rodriguez would be eliminated after getting only a 10 out of 30 on his cha-cha. It was entertaining, but he had minimal cha-cha steps.

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    However, he must have more fans from Jimmy Kimmel Live than I thought.

    Conner Leavitt was eliminated, likely because he’s only recurring on The Secret Lives of Mormon Wives, and he doesn’t have a dedicated fanbase.

    His partner, Adele Zaikman, was new, and we don’t talk about it much, but the pros often bring fans, too. She didn’t have many yet.

    (Disney/Eric McCandless)

    I’m not sure extra votes would have helped since the other lowest dancer was Guillermo, and he has a large fanbase.

    Were the Judges Tougher on the Ladies?

    When the cast list came out, many assumed that Jenna Dewan, Amber Glenn, or Julia Stiles would lead the pack.

    While all three ladies earned respectable scores, Maura Higgins and Mark Ballas blew the judges and the crowd away with their sultry Foxtrot to “Black Velvet.”

    Maura has never danced before, but she was already friends with Mark from their time on The Traitors. That helped because they were used to each other’s quirks.

    (Disney/Eric McCandless)

    Even so, I wasn’t prepared for Maura to dance so elegantly and effortlessly across the ballroom. She may take the others by surprise.

    Jenna Dewan danced beautifully, and she also worked with Val Chmerkovskiy years ago. They wanted to dance together again and finally got the opportunity to.

    While their tango wasn’t perfect, it still felt strong, and the judges seemed cautious not to play favorites with those who had a dance background.

    Jenna could be another top contender if the judges and audience give her a chance. She was a joy to watch.

    This could be Pasha Paskov’s year to win a trophy. I think Amber Glenn is his best partner so far.

    (Disney/Eric McCandless)

    We all know that figure skaters have won the Mirror Ball Trophy before, from Kristi Yamaguchi to Meryl Davis.

    She wasn’t used to working with a partner, but she had beautiful lines and musicality. She has definite potential.

    I think three 6s were a bit low, and we should have thrown in at least a 7, but that will be the goal next time.

    I felt similarly about Julia Stiles, especially since her quick step was to a Dolly Parton song. What a bittersweet tribute.

    (Disney/Eric McCandless)

    Julia brought her acting chops and her dancing in her first dance, and she’ll be one to watch. She’s determined to prove to Andy Cohen that she can dance.

    The ladies’ field is very stacked.

    Again, a lesser-known celebrity and a new pro went home.

    It was disappointing because Sarah Jane Nadar and Hailey Bills were the first same-sex pairing on Dancing with the Stars.

    I would have liked to see more of what they could do, but neither had a huge fanbase, and their routine was fun but messy.

    (Disney/Eric McCandless)

    Over to you, Dancing with the Stars Fanatics.

    Do you agree with the judges’ scoring this year? Who is your favorite?

    Let us know in the comments.

    Let’s keep the conversation going — it’s the only way the good stuff survives.
    Say something in the comments, share if you’re moved to, and keep reading. Independent voices need readers like you.

    The post DWTS First Eliminations Have Shaken Up the Leaderboard and Proven That Scores Don’t Tell the Full Story appeared first on TV Fanatic.

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    It’s time to swing those hips, kick

    Editor’s note: This interview was originally published on September 5, 2025 at the Toronto International Film Festival. Republic Pictures will release the film in U.S. and UK theaters on Friday, September 18.

    For star Saoirse Ronan, the appeal of a project like director Jonatan Etzler’s English-language debut “Bad Apples” is easy to see, harder to parse. “There’s kind of nothing out there like it,” the actress told IndieWire in advance of the film’s world premiere at the Toronto International Film Festival this week.

    In her first interview for the film, Ronan wasn’t putting it on: There really isn’t much like “Bad Apples,” and that’s a compliment. Consider two things: the film’s short synopsis (“A primary school teacher [is] forced to take drastic action because of a foul-mouthed, violent student”), which doesn’t sound exactly funny, and one of the main inspirations for Etzler casting the four-time Oscar nominee in a film that is, indeed, very funny.

    It was her work on “Saturday Night Live,” which she hosted in 2017. When I mentioned to Etzler that Ronan’s turn in the film was so amusing and such a good show of her underutilized comedic chops that it sent me straight back to clips from her episode, the reserved Swede smiled.

    “Actually, that was what I was doing as well,” Etzler told IndieWire. “I, of course, watched all the great films that she’s done, but then I saw this ‘SNL’ skit where she was a flight attendant. I just saw Maria there, because she’s this person of authority, but she’s also really funny doing this character. That ‘SNL’ skit was part of the reason why she was my top choice. I’m really happy that people are going to see her great comedic talent.”

    The film, based on Rasmus Andersson’s 2020 debut novel “De Oönskade,” is a pitch black comedy that laces together both tough-talking real-world problems and a zippy sense of the absurd. Ronan’s character, Maria, is a beleaguered primary school teacher whose life is tough enough without the relentless onslaught of bad behavior by young Danny (Eddie Waller, in his debut role). Danny doesn’t just bother Maria, he also upends the rest of her mostly well-behaved class, and when Maria (mostly accidentally) finds occasion to lock Danny in her basement, she goes for it. And life? Oh, it gets better (and funnier and weirder).

    “I’d never read anything quite like that, I’d never gotten the chance to play a character that would allow me to find myself in such insane situations, and it was still so hilariously funny,” Ronan said. “I responded to the material, which [screenwriter] Jess [O’Kane] so brilliantly adapted, because that’s my sense of humor as well. It was sort of a marriage between her brilliant, dark comic writing, my taste in comedy anyway, and then Jonatan’s style as a filmmaker. The three things really seemed to go hand in hand.”

    While Both Etzler and Andersson are Swedish, setting the film in England and casting Ronan, an American-born Irish woman, made for an easy fit.

    “There’s a lot of similarities between our cultures,” Etzler said. “Comedy is also a great way to deal with these quite complex issues that this film is dealing with. And I think there’s something very funny about Britain, being a culture where they’re very suspicious of people who can’t really fit into the system. They’re also really clinging onto their past quite a lot, [back at] the times of being a great empire. But I think they are also very happy laughing at it themselves, which is evident in their tradition of dark comedy.”

    Andersson’s book struck another chord with Etzler: he previously worked as a teacher, and “the loss of control that you can get” with the profession popped off the page. When producer Oskar Pimlott came on board, Etzler was considering writing the script himself, but the team was intrigued by the possibility of getting a British voice in there. Eventually, they found O’Kane who had, serendipitously enough, also worked as a teacher.

    “I could tell pretty quickly that this was going to be somewhat zany and off in its style and trajectory,” Ronan said of the film’s script. “I was hoping it was going to have an unorthodox ending and weirdly, without spoiling anything, it kind of is, because your palette has become used to the bizarre and the zany for an hour and a half. Everything is so unexpected with this film. … I feel like when you put yourself in the uncomfortable, it feels more realistic, and it is kind of closer to home than a lot of what we’re spoon-fed a lot of the time in Hollywood and in the film industry in general.”

    Even before Ronan officially signed on, Pimlott said, signs were good that she was into what they were offering. “I remember, after her agent read the script, she sent us a message that was just like, ‘Wow, absolutely loved it, can’t wait to send it to Saoirse,’ and that was already like, ‘Oh, that’s great. This is the first actor we’ve approached,’” Pimlott said. “There were so many reasons why she was at the top of our list, but I think one of them was that we hadn’t seen her do this character before, a kind of good-person-doing-bad-things [role]. You can’t help but empathize with Saoirse Ronan, there’s not a single person out there that doesn’t like her.”

    ‘Bad Apples’Courtesy of TIFF

    When she signed on in October 2023, it was clear Etzler and team had found a leading lady who wasn’t just excited about the material, but one who truly understood it.

    “She got it immediately,” the director said. “She was our top choice, and she got on board quite early, which was great. She was really excited about doing this crazy project. She was a champion for the film very early on. She has such a comedic talent that we don’t see too much of, but I think she [also] finds moments where she can be very human and a little bit weird. And she’s obviously one of the greatest actors of our generation.”

    Crucially, Ronan understood the need to make Maria’s choices — which, yes, include locking up one of her young students in her basement — somehow believable to the audience. You have to vibe with what’s happening, insane as it is, or none of this works.

    “We worked really hard on that, just making it as believable as possible, those steps that lead to her locking him in the basement,” Etzler said. “One of the most important things was making the very core of the film very believable so that we really follow Saoirse’s character all along and we understand everything that she’s doing. When you have that, you can start surrounding it with increasingly more absurd layers. … And if we can sort of follow her there, then when she’s locked him in the basement, we’re going to look at ourselves and be like, ‘Oh, what am I sympathizing with now?’”

    It’s a nutty combination of the absurd and deep empathy, which Ronan was eager to dig into. “You can see how anyone, even though this is a comedy, anyone could find themselves in that situation,” Ronan said. “You’d all like to believe that you wouldn’t, but when you’re pushed to it, of course you can just take it that little bit farther. And that’s what I love about it. We are all a lot more awkward and dark and twisted and funny and caring and all of these contradictory things. We have the world of Instagram, where we present a certain side of ourselves that isn’t necessarily the whole truth. And then we have this which, if you’re ready for it, is really going to sort of shine a light on that other world. If you let it, it’s incredibly satisfying.”

    For Ronan, who has spent the last two decades making consistently compelling career choices — like last year’s double whammy of wartime drama “Blitz” and addiction story “The Outrun” — that really appealed.

    “I was very up for that,” Ronan said. “The more dark it got, the better. One time, when myself and the crew were all sort of feeling like, ‘Jesus, this is super raw,’ is that bit in the beginning when Maria and Danny kind of have their first altercation, and it looks like it’s going to go to a place that’s incredibly dark. Whenever you’re having to do physical scenes like that, there’s only so much you can actually pretend, because you’re physically still having to execute it. That felt quite close to the bone, but in a great way.”

    When Ronan and I last spoke in 2024, it was to chat about “The Outrun,” which she and husband Jack Lowden also produced. Despite the dark nature of the film, Lowden emphasized how much he’s always admired something special about Ronan’s process: “It’s evident quite quickly with Saoirse is how comfortable she finds it. It’s not something that she struggles with, it’s something that she does things that most people can’t do, but she makes it look like it’s just making toast. How easy she made it look has still never left me.”

    When I mentioned that to Ronan, and asked how that feels to her in practice, the answer came appropriately easily. “I wish more people would revel in that actually, because I do think that the work we do can have a huge effect on people, but it’s also not the be-all and end-all,” Ronan said. “It’s incredibly important and fulfilling for all those involved and anyone it’s shared with. It’s built on pure expression and feeling and, in order for me to be able to feel free enough to do that, I need to be having fun. That’s not to say that every day I’m on set, I’m a laugh a minute, but I enjoy what I do. I also need breaks from what I do.”

    Behind the scenes of ‘Bad Apples’Courtesy of Republic Pictures, exclusive to IndieWire

    Ronan is clear-eyed when it comes to the price of those kinds of choices and that kind of energy. She loves acting now, has loved it all her life, and she’d like to keep it that way.

    “I’ve been doing it now for over 20 years, and there’s a fork in the road in my life, where I need to protect my relationship with [my work so] that it doesn’t get stale,” Ronan said. “I know, for me to do my best work, it’s really important for me to stay loose and almost childlike. I think if you spoke to most child actors that are still working, a lot of them probably have the same approach toward the work. There’s a purity to it, and there’s weirdly a simplicity to it that I don’t believe you should shy away from just because you’re older. … I do this for myself. I don’t do it for anyone else. I do it because I really enjoy it, so I’ll always want to protect that relationship that I have with it. And as soon as it starts to not feel that way, then that’s when I need to do something else.”

    Speaking of a childlike approach: “Bad Apples” includes a winning supporting cast of youngsters to keep Ronan on her toes, including the astonishing Waller, standout Nia Brown, and the charismatic Mylee Soverall. Casting the kids alongside Ronan was daunting. “Probably number one on the list of ‘This is probably going to be the biggest challenge of the project,’” Pimlott said with a smile. They turned to iconic casting director Fiona Weir, whose resume speaks to her canny ability to cast kiddos (the “Harry Potter” and “Fantastic Beasts” films, most obviously).

    “We found really brilliant kids for the whole classroom, it’s a real kind of mix of kids from different backgrounds, although a lot were fairly local,” Pimlott said. “I remember when we sort of threw Jonatan, Saoirse, and the cinematographer into the room for the first rehearsal with the kids, and they did come out after, a bit eyes wide, looking a bit bedraggled like, ‘Oh, my God, how are we going to do this?’”

    No kidding. “I remember the very first day that I had in the classroom, I was terrified,” Ronan said. “They’re at that age where they’re not cute little five-year-olds, they’re not babies, and they’re also not teenagers where you can kind of put on the bravado. They’re right in the middle, where they’re going to be super honest with you. They don’t care who you are. They probably haven’t seen any of your films, so you can’t even fall back on that. So I was just meeting them sort of human to human. I’m more comfortable with probably kids than anyone else, apart from maybe dogs.”

    For Etzler, the biggest casting challenge was a more specific one: finding Danny. “The biggest challenge was Danny,” Etzler said. “I think we had 2,000 children auditioning for that part. We were approaching the shoot and I found this boy, Eddie Waller, in the north of England, and he was just perfect. We needed a quite specific kid, who has this sort of anger underneath his skin and we can sort of believe that he’s sort of uncontrollable. That was just hard to find that specific quality.”

    The kids made Ronan “up her game,” she said. So well-behaved! So excited! It’s easy to see why that would jibe with Ronan’s feelings about her work.

    “A lot of them had never done it before, or maybe they’d been part of a drama group for a couple of years, but they were very fresh, they were very green,” Ronan said. “So it was very much up to me to sort of adapt to them. As an actor, it was a great exercise. I feel like, the more you do this, you can get jaded, you can get tired, you can get a bit lazy, you can fall into bad habits. And these kids were so well-behaved, they were all about hard work. Fiona found a group of people who are so ready to work, so diligent, really kind and respectful and funny and brought their own personality to it. It was just a joy to work with them.”

    When the film premiered in Toronto in 2025, it arrived with plenty of buzz and more than a few questions (“she locks the kid in the basement?” Yes, yes, but she treats him relatively well, all things considered). What was not a concern: that people would laugh, and see Ronan’s skills in an entirely new way.

    “I hope people are going to be laughing, but I also think they’re going to be sometimes laughing because they’re uncomfortable, because laughter can be a reaction to discomfort,” Etzler said before the film’s premiere. “I think they’re also going to be looking at themselves and sort of asking, ‘In what way am I complicit in the suffering of others?’ The film is about how we deal with people who can’t fit into society and who can’t fit into these sort of square boxes that we have in our society. I think people are going to be talking a lot afterwards.”

    While Ronan was not be in attendance (the actress was pregnant with her and Lowden’s first child, and was understandably not traveling too far these days), she couldn’t wait to hear what audiences thought about it.

    “I think it’s philosophical without it being too didactic,” Ronan said. “I think it’s shining light on the uglier side of human nature, while also still making us laugh. I always think the best way to get a message across to anyone is to make them laugh. I’ve always thought the hardest genre is comedy, and to get that right is no kind of mean feat. When somebody does execute that well, it should be celebrated. I think we are at this point where if we don’t laugh, we’ll cry, and ‘Bad Apples’ really taps into that sensibility right now that we’re all experiencing.”

    Mostly, Ronan just loves what they made, her sense of humor taking center stage, tickling all sort of funny bones and poking at some serious sore spots. After all, she said it best. There isn’t much out there like it, or Ronan.

    “Bad Apples” premiered at the 2025 Toronto International Film Festival.

    Source link

    Editor’s note: This interview was originally published

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    Cosm has announced a multi-year, multi-film partnership with Universal Film, and the collaboration is launching in a big way: with Shrek.

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    With this deal, Universal becomes Cosm’s second major studio partner, following the launch of Cosm’s first four Shared Reality cinematic experiences last summer. It’s also the first time Cosm has applied its full-dome immersive filmmaking approach to an animated title.

    Beyond the visuals, Cosm is leaning into the bit: fans attending Shrek in Shared Reality can order from an “ogre-worthy” themed menu featuring swamp-inspired bites, cocktails, and mocktails.

    Tickets go on sale this fall for Cosm venues in Los Angeles, Dallas, Atlanta, and Detroit. Fans can sign up for updates at cosm.com/events/shrek-in-shared-reality.

    The timing lines up with a bigger moment for the franchise — DreamWorks is bringing back Mike Myers, Cameron Diaz, and Eddie Murphy for Shrek 5 in 2027, joined by Zendaya as Shrek and Fiona’s daughter, Felicia.

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    Cosm has announced a multi-year, multi-film partnership

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    Others include creator Boman Martinez-Reid, The Real Housewives of Salt Lake City’s Bronwyn Newport, Happy Endings’ Casey Wilson, Olympic snowboarder Chloe Kim, Australian pop star Cody Simpson, Southern Charm’s Craig Conover, The Real Housewives of Atlanta’s Cynthia Bailey, Lost’s Dominic Monaghan, Next Gen NYC’s Emira D’Spain, The Real Housewives of Potomac’s Gizelle Bryant, Love Island narrator Iain Stirling, Big Brother’s Jag Bains, Love Island USA’s JaNa Craig, The Bachelor’s Joey Graziadei, Queer As Folk’s Johnny Sibilly, Survivor’s Michele Fitzgerald and Q Burdette, The Challenge’s Rachel Robinson, former NFL star Rashad Jennings and Amazing Race’s Taylor Hale.

    It comes after a busy week for the Studio Lambert-produced mystery format. The series was renewed for three more seasons, taking it through to Season 8, with a new deal for host Alan Cumming, it won its third consecutive Emmy for Outstanding Reality Competition Program and Cumming won his third consecutive Emmy for Outstanding Host for a Reality Or Reality Competition Program and NBC launched The Traitors: New Blood, a civilian version of the show, last night.

    Based on Dutch format De Verraders, The Traitors is a game that splits its contestants into two groups: the Faithful and the Traitors. At the beginning of the season, Cumming picks the Traitors who will pit the Faithful against one another by murdering them one by one while trying to remain undercover. The Faithful attempt to uncover the Traitors in a roundtable where they vote one another out and banish them from the game. At the end, if there are Traitors left in the game, they will split the money between them. If there are no Traitors left, the money is divided among the Faithful.

    The Traitors is exec produced by Cumming, Stephen Lambert, Mike Cotton, Sam Rees-Jones, Rosie Franks, Tim Harcourt, Jack Burgess and Darrell Olsen.

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    The Traitors is lining up its next


    • This new Act, with overwhelming, bipartisan support, could soon be enforced on a per-state basis
    • 100MW+ data centers would have to pay for new power generation and grid infrastructure
    • Public Citizen says the bill doesn’t address other “consumer and community impacts”

    With energy consumption now one of the most hotly debated topics surrounding new data center development, new rules could be set to come into play to force developers to pay for grid upgrades without pushing the impact onto local citizens.

    The Ratepayer Protection Act, which passed on September 16 with 417 votes (and just three against it) would apply to medium and large campuses with peak demands of 100MW+.

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    This new Act, with overwhelming, bipartisan support,

    IN WAVES

    Director: Phuong Mai Nguyen

    Screenwriters: Fanny Burdino and Samuel Doux

    Logline: Grief comes in waves, a universal truth that is especially true here. For her debut feature, director Phuong Mai Nguyen adapts AJ Dungo’s graphic novel to tell a personal tale of friendship, love, and loss. AJ (Will Sharpe), a young skater, meets Kristen (Stephanie Hsu), a young surfer living with cancer, and the two bond over a passion for the ocean during their brief time together. Tracing the Hawaiian origins of surfing, the film renders water as a sacred element with spiritual depth, offering a joy and strength that the two find solace in as they confront her illness.

    Distributor: Netflix

    Panelists: Phuong Mai Nguyen, Director, Will Sharpe, Actor, Stephanie Hsu, Actor

    First screening: Monday, September 14, TIFF Lightbox

    Key quote: “I think it’s big. I felt that way before I met AJ, but then the day that I met him I was so relieved because, in a way, I felt like he had trust in me, like he just gave me the baby. It’s like his own story, and also it was his true story, and it’s kind of intimate. I felt like I entered a private place that I shouldn’t be. At first, I was kind of nervous about that, but then AJ just made it very, very simple for me to get his story and he also gave me like the freedom to adapt it as I would like it to be.” – Phuong Mai Nguyen

    “I hadn’t read the graphic novel, and so I was sent the pretty much completely animated version of the movie with the [original] French [actors’] voices, and I just thought it was so beautiful. I particularly loved the impressionistic segues and how the illustrative medium pulls you into their inner world and you get a sense of their psychology. I thought that was really poetic, and the whole thing was very light-handedly, delicately handled.” – Will Sharpe

    “I feel like I keep talking about witchcraft today, but there is something about seeing the bodies and souls of these characters and these people already in front of you, and then having to fill what they’re already feeling, that, I don’t know, it’s like summoning and and entering something that already exists, as opposed to when you’re usually animating, you just start from the voice, or you don’t see the the animation yet… I felt like in the end, you just have to inhabit it the same as a live action film.” – Stephanie Hsu

    Watch the video above.

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

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    IN WAVES Director: Phuong Mai Nguyen Screenwriters: Fanny Burdino

    It is a truth universally acknowledged that a single Carly Rae Jepsen record must be in want of its other half. A year after the Canadian pop star released her breakthrough record, 2015’s E•MO•TION, she returned with E•MO•TION Side B. 2019’s Dedicated received similar treatment. By the time Jepsen released the companion album to 2022’s The Loneliest Time, the “surprise” drop hardly registered.

    This brand of excess is key to Jepsen’s charm. Here is a singer who’ll repeat the word “really” six times in a row in a song’s chorus, just to make sure you really get the message; who claimed she wrote 200 songs for one 12-track record, then another hundred for her next one. Her latest album, Day and Night, tweaks her formula of abundance slightly, offering—in a CRJ first—a full double album upfront. As its title suggests, the record comprises two distinct themes: sweet, sunny tracks for Day; sleeker, dancier songs for Night. Working with a familiar stable of producers and co-writers, she turns out a sprawling album filled with loose, breezy tracks offset by the occasional pop gem and charming left-field details.

    No score yet, be the first to add.

    Day hews mostly to the windswept ballads and disco-inflected pop that Jepsen moved toward on her previous set of records: “After All” and “Something Tragic” are lightly psychedelic, her voice all breathy and urgent; there’s a little chillwave on “Habits of Creatures,” a little folk on “Wild Child.” Night is more strictly synth-pop: “Don’t Leave Me on the Dancefloor” is the cleanest ABBA homage she’s ever managed, and I wouldn’t have been surprised to hear the ultra-yearning “That’s Just Me” as a deep-cut E•MO•TION castoff.

    Day and Night’s sprawl is a double-edged sword. Though the production is usually layered and finely detailed, most songs don’t contain the razor-sharp hooks that usually make Jepsen’s work so indelible. In their absence, each side becomes a little unwieldy, and both Day and Night sag in their second halves. Only a fool would doubt that the prolific Jepsen could write 24 full tracks for a vaguely conceptual double album—but one wonders if a more focused, refined concept would better sustain its momentum.

    But perhaps a pared-back version of this record wouldn’t allow for the strange, quasi-experimental detours that populate it. She sneaks in a few bars of understated bossa nova on Day’s closing track and a sitar-like solo toward the end of “Soft.” The clubby production in the middle stretch of Night is entrancing, and it’s exhilarating when she introduces delightfully discordant synth stabs on “Near or Far” and a quick, frenetic breakdown at the end of “Hold Me to the Light.” A decade ago, Jepsen’s main concern was hammering perfect ’80s synth-pop from a dozen different angles; Day and Night makes it clear she’s now reaching for new ambitions, with a broader, bolder palette.

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    It is a truth universally acknowledged that

    With a boisterous laugh, Giselle Bonilla recalls her introduction to Hollywood at the age of 12: on the set of “Freedom Writers,” the 2007 drama about at-risk high school students in Long Beach. She played a young version of Eva, one of the film’s main characters.

    “I remember the first thing we shot was an initiation scene where I get the s— beat out of me,” she tells De Los, sitting at a coffee shop in Silver Lake on Sept. 11 (more on this date later). “They put this candy blood in my mouth, and I thought it was so fun.”

    In retrospect, Bonilla, 31, finds great irony in how that initial foray into professional acting fictionally materialized her Mexican immigrant parents’ worst nightmare.

    “We don’t come from money. They hustled all their lives and put my sister and I in private education, because they had this irrational fear that I would join a gang … then the first thing I ended up booking as an actor was getting initiated into a gang,” she says grinning.

    Since that unique formative experience, Bonilla has traveled a winding path in and out of the industry, which ultimately led her to direct her first feature: the dark comedy “The Musical,” in theaters Friday.

    The movie’s antihero, Doug (Will Brill), is a middle school theater teacher plotting his revenge against his ex-girlfriend Abigail (Gillian Jacobs), also a teacher — and her new boyfriend, the more charming Principal Brady (Rob Lowe).

    Doug’s plan? To secretly persuade his young students to put on a musical about the horrors of 9/11 and its aftermath that’s certain to cause controversy and get the principal in trouble.

    “I feel like you can be more honest with comedy,” says Bonilla about why this genre appeals to her. “You can get away with everything that you’re angry about and want to yell about. If you make them laugh first, people tend to listen.”

    Cast and crew from "The Musical" at the Los Angeles Times 2026 Sundance Film Festival studio in Park City, Utah

    Left to right, back row: Alex Heller (screenwriter), Will Brill (center row) Gillian Jacobs, Giselle Bonilla (director) and Rob Lowe (on the floor) from “The Musical” at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah on Jan. 24.

    (Christina House / Los Angeles Times)

    Though the actual show is only a small element of the narrative, it turned off distributors, who argued they wouldn’t be able to market a comedy that involved such a delicate subject.

    Still, “The Musical” is making it to the big screen as a self-released title thanks to its executive producers, who believed in the film enough to put in more money for a release.

    “I’m going to make sure people watch it regardless,” Bonilla says about being very involved in the marketing. “Even though it didn’t sell at Sundance, we still found a way, which is how we made the whole movie. It was nonstop fighting against the universe just to make a comedy.”

    Less than a week before production started, Bonilla lost the actors who were originally playing Principal Brady and Abigail. As her film fell apart, she reached out to the industry contacts she had made after working as an assistant for a few years. Miraculously, the screenplay piqued Lowe’s interest. He came on board, essentially saving the project.

    Will Brill and Rob Lowe star in "The Musical."

    Will Brill and Rob Lowe star in “The Musical.”

    (Blue Harbor Entertainment)

    As a student at the AFI Conservatory, Bonilla had directed a short film version of “The Musical” that writer Alexander Heller, aware of her affinity for comedy, had conceived for Bonilla to direct. The core group of artists who made the short also worked on the feature.

    And though she has always pushed for diversity on screen — including in her short films “Virgencita” and “Bullfighter” — for “The Musical,” Bonilla believed the adults had to be white.

    “It would be way more damaging if I had pinned a brown person to be behind the staging of a musical about 9/11,” she explains. “It was very clear to me that this was a comedy about white liberalism and how people weaponize tragedy for their own agenda.”

    When it came to the kids in Doug’s class, Bonilla wanted to reflect the multicultural mosaic that is the Los Angeles Unified School District. To be able to see herself in “The Musical,” Bonilla wanted a Latina girl as the child with the most ambition to succeed in the arts. That character became Lata: played in the feature by Melanie Herrera in her first acting credit.

    “She’s a dancer. But she’s very precocious and has a really confident, type-A personality,” Bonilla says of the young actor. “Melanie gives Reese Witherspoon in ‘Election,’ like, ‘I will do whatever I have to do for the part,’ and I recognized that in myself as a kid.”

    Filmmaker Giselle Bonilla on the set of "The Musical."

    Filmmaker Giselle Bonilla on the set of “The Musical.”

    (Peter McCollough)

    An L.A. native raised in North Hollywood, Bonilla started doing improv at a young age encouraged by her father, Art Bonilla, who grew up in Tijuana and has worked as an actor in the U.S. for over 40 years.

    Her mother, originally from Sinaloa, does workers’ compensation insurance, which provided a stable income and allowed her partner to pursue acting.

    “It was tough seeing him struggle and not have any agency over work,” Bonilla says of her father. “He’s such a great actor and he’s really funny, but he’s always getting cast in these very small bit parts as a gardener or an immigrant crossing on the border.”

    Unsurprisingly, when Bonilla began auditioning for roles as a teenager, similarly one-dimensional and stereotypical characters from a “troubling perspective” came her way.

    “They always make the main character in those stories a white person,” she says. “And then we’re painted as these puppies that just keep getting beat up. I didn’t want to contribute to that.”

    Bonilla’s interest in being on the other side of the camera solidified after playing an illiterate South Central high school student in the Byron Allen sitcom “Mr. Box Office.” She attended Pasadena City College, where she studied film production, then used the residuals from the show to help pay for her tuition at NYU Tisch School of the Arts.

    Attending film school on the East Coast was, as she puts it, a necessary experience, because she grew up rather sheltered.

    “I’m a first-gen Mexican American woman and I was supposed to live at home until I get married,” she explains; but it also exposed her to the concept of impostor syndrome.

    “I always had this impostor syndrome at NYU, because that was where I first really confronted wealthy people,” she explains. “I had never been in a predominantly white institution before. And that was really eye-opening.”

    It was only when COVID restrictions were lifted that Bonilla decided to apply to the AFI Conservatory, where she regained her confidence and met her now close collaborators.

    She has, however, never forgotten her biggest and earliest supporters. Since she started directing, Bonilla has cast her father in many of her short films. And in “The Musical,” you can see both of her parents in the audience during the culminating school show.

    “My dad is the one that yells at Rob Lowe at the end in slow motion. He’s pissed that I cut his line, but it was a union film, and we couldn’t afford to give my dad a line,” she says. “But he will be the first one to tell you that he’s not an extra. He did a ‘cameo!’”

    Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire.

    “The Musical” director Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah, on Jan. 24.

    (Christina House / Los Angeles Times)

    Bonilla’s next project takes inspiration from her memories attending a Catholic school run by nuns in Sun Valley, where a teacher was discovered to be a pedophile. She describes it as “an erotic thriller told from the perspective of virgins.”

    Once again, she’ll tackle an unsavory topic and figure out how to bring it to fruition; then distribute it come what may, because she refuses to be boxed in by the industry’s expectations.

    “Identity stories are very important. If someone wants to do that, they should be able to do that,” Bonilla says. “But I don’t think our opportunity as Latinos should be limited to painting ourselves as victims against the supremacists.”

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    With a boisterous laugh, Giselle Bonilla

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    We have created something that really energizes


    After months of waiting, Sony finally released the first trailer for Spider-Man: Brand New Day this morning, giving fans a first look at Peter Parker’s next adventure.

    The Brand New Day trailer reintroduces us to Peter Parker, who is depressed and alone after the events of Spider-Man: No Way Home.

    Photo: Marvel

    Without MJ and Ned in his life, Peter finds himself isolated and missing his closest friends.

    Photo: Marvel

    While the Brand New Day trailer features plenty of exciting teases, including a hint that Peter is mutating, first looks at Punisher and Bruce Banner in the film, and a tease of Sadie Sink’s mysterious character, it also includes an Easter egg that may have broader implications for the MCU.

    A New Mayor?

    A quick scene in the trailer shows MJ and Ned watching Spider-Man receive the key to the city from the Mayor of New York.

    Photo: Marvel

    Eagle-eyed fans were quick to point out, however, that the mayor is distinctly not Wilson Fisk.

    With Brand New Day firmly established as taking place after Daredevil: Born Again Season 2, it looks like Kingpin’s reign may be coming to an end.

    The End of Kingpin’s Reign

    It should be noted that the clip seen in the Brand New Day trailer is bereft of any context, so it may be jumping the gun to assume the end of the Devil’s Reign.

    Kingpin

    Source: Marvel Studios

    Nevertheless, with Daredevil: Born Again set to return this month, Kingpin’s stranglehold on New York may soon be over.

    For now, we will have to wait and see.

    Kingpin in Hawkeye

    Photo: Disney+

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    The world outside our windows is one in constant turmoil. We suppose you can say that about any era, but it feels especially bad lately. So in times like these, people always turn to the comfort of nostalgia. They’re nostalgic about movies, TV, toys, fashion, and, for some reason, drinking out of the garden hose. But that nostalgia also extends to fast food chains. Earlier this year, McDonald’s brought back their friend apple pies after decades off the menu. And now, via Today, we’ve learned that Wendy’s is bringing back their iconic bright yellow packaging, after years of using a minimalist red and white motif.

    Wendy's yellow retro src packaging.
    Wendy’s

    The return of the classic yellow color scheme at Wendy’s locations begins later this month. It arrives several years after the fast food giant decided that the bright yellow was too dated and not hip, even though it was their visual calling card. In a statement, a Wendy’s spokesperson said, “Fans have been asking for its return for years, making it one of the most requested comebacks in Wendy’s history. Yellow has been part of Wendy’s since the very beginning and is something many fans instantly recognize.” The yellow packaging isn’t permanent, and the regular color scheme returns in early 2027.

    The iconic yellow will soon appear on Wendy’s French fry cartons, cups, and more. This is sure to make nostalgic Millennials and Gen Xers flock to their local Wendy’s establishments, have a Frosty, and remind themselves of simpler times in the ’90s, before it felt like everything was going to hell in a handbasket. Sadly, the actual Wendy’s locations probably won’t go back to their ‘ 90s-era look, which would be amazing. Several Pizza Hut locations are doing that very thing, and going back to their original old look. Wendy’s fans will just have to settle for a bright yellow cup for their sodas. At least for now.

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    Quick Take In a bid to appeal to

    Denuvo has decided to take legal action against an anonymous game hacker known as voices38, accusing them of circumventing the company’s anti-tamper technology across more than 26 PC games.

    The Austrian anti-piracy company filed a complaint against the individual/group known as voices38 in the US District Court for the Northern District of California on September 14. According to the filing, Denuvo alleges that the hacker bypassed its protection technology in at least 26 games, allowing modified versions to be distributed without the restrictions imposed by its anti-tamper system.

    The games named in the complaint include Resident Evil Requiem, Black Myth: Wukong, Hogwarts Legacy, Doom: The Dark Ages, Assassin’s Creed Mirage, Sonic Frontiers, Stellar Blade, 007 First Light, Pragmata, and Mafia: The Old Country. Most of these are AAA titles from the past few years, and the alleged tampering from voices38 allowed potentially millions to pirate these games.

    Denuvo argues that voices38’s activity violates the anti-circumvention provisions of the US Digital Millennium Copyright Act. Rather than accusing the hacker of directly infringing copyrights it owns, the company’s case instead focuses on the bypassing of technological measures designed to prevent unauthorized access to protected games.

    The company is seeking damages under the DMCA as well as an injunction that would prevent voices38 from circumventing Denuvo Anti-Tamper in past, current, or future games.

    The reaction to Denuvo’s lawsuit has consequently focused heavily on whether the company can identify the person behind the voices38 alias. Denuvo has linked several Reddit, Discord, and Steam accounts to the defendant, potentially giving it avenues to seek identifying information through the courts. With a case on file, Denuvo can ask the court for permission to subpoena Valve, Reddit and Discord for the associated account details. There’s no discovery request in the docket yet, but that will likely follow soon.

    The lawsuit also arrives during a period of renewed activity in the Denuvo cracking scene. Denuvo’s DRM had become notoriously difficult to crack, with some games remaining secure for over a year after release. However, Voice38 in the past few years has allegedly managed to target and crack recent releases, rejuvenating the piracy and anti-DRM movement online. DRM is reportedly responsible for major performance issues, according to members of these communities.

    Voices38, meanwhile, has publicly indicated that the lawsuit has not changed their plans. In a message circulated after news of the case emerged, the cracker said: “All is fine. Everything will continue as normal.”

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    Winning Best First Feature and Best First Screenplay at the Spirit Awards, DÌDI will be featured in the ‘Made in California: Lurker and DÌDI Case Studies‘ panel at this year’s Forum. In the discussion, DÌDI‘s writer/director Sean Wong and Alex Russell (writer/director of Lurker) will reveal in a candid conversation their journeys from script to the screen, sharing what it took to develop, produce, release and ultimately find an audience for their debut features. We’re resharing an article on casting the film and finding compelling young actors to tell an authentic coming of age story. Find out more about the Forum here.

    ***

    DÌDI (弟弟) is the type of cinematic experience we all crave but rarely receive these days: an authentic coming-of-age story with a great cast.

    The story follows Chris, a Taiwanese American teen trying to find himself in the Bay Area in 2008. As he grapples with complex family and social dynamics, I could hear the theater audience laughing, groaning, and yes, crying. DÌDI feels both personal and universal, thanks in large part to its committed performances. While the cast includes many young and first time actors, it also features Joan Chen, whose poignant portrayal of Chris’s mother, Chungsing, is a standout. At one point, when her character receives disappointing news, there was a collective ‘Aw!’ as audience members expressed heartbreak on her behalf.

    Writer/director Sean Wang drew from his own adolescent experiences for DÌDI, and a post-film dedication to ‘mom’ showcases how close these characters are to the filmmaker’s heart.

    The film shines in scenes between Chris, played by Izaac Wang, and his mother, played by Chen. Together, they create a believable relationship that is funny, frustrating, and heartache-inducing. Both mother and son struggle with loneliness and a desire to find themselves through art, but generational and cultural divides put them at emotional odds for most of the film, making it all the more satisfying when they do connect.

    You don’t get these kinds of fully realized characters, or strong emotional reactions from an audience, without expert casting. The film’s casting directors, Nafisa Kaptownwala and Natalie Lin, were clearly up to the task. Their background in street casting, commercials, and fashion, as well as shared experiences with the characters, made them uniquely suited for DÌDI’s coming-of-age story.

    This film focuses on some pretty specific dynamics that can be really challenging from a casting standpoint— a group of young teens, as well as a multigenerational family. How did you approach these challenges to help create the level of authenticity the film and actors were able to achieve?

    NAFISA KAPTOWNWALA: This is a tricky question! I think because I don’t look at some roles more challenging than others. Every role has its challenges, and ultimately, I approach it by understanding the story and what the narrative is illustrating and visualizing who are the best people to bring that to life. I start there and take each challenge as it comes.

    DÌDI has a very talented young lead, played by Izaac Wang, and includes so many other young actors. How do you go about casting first time or less experienced actors, especially when you know they have to carry a film?

    NATALIE LIN: Our approach with street casting is much different than our approach with trained actors. When we’re out street scouting looking for people to audition for film roles, really what we’re after is someone who’s essence naturally embodies the role already without having to try much.

    NK: I think the hesitation with casting first time actors is performance, but in the case of DÌDI, it is a universal story in so many ways and many of the actors were able to connect with the story and put themselves in it. Because it is such a relatable story, it actually felt like the only approach that made sense, to find people that relate to the story to basically play themselves.

    At what point did Joan Chen become involved? Given that she is such a veteran and a director herself, I’d love to hear more about what it was like finding that vital mother-son dynamic in the casting process with her.

    NL: Sean had her in mind for Chungsing from day one. We were all thrilled to have her join our cast and it really feels like the role was meant for her.

    Since this is a very personal film for the director, Sean Wang, how do you honor that in the casting, especially when you’re casting characters inspired by real people? Was that something you discussed with him going in?

    NL: I grew up in the Bay Area about an hour away from Fremont, and I think that because of this I had a natural understanding of Sean’s instincts when it came to what kind of kids we were drawn to amongst the various roles. Sean did a really thorough job of painting a vivid picture of each character for Nafisa and me. He gave us all his trust in finding these kids, and the entire casting process with both him and our producers felt very collaborative. They all trusted in our process and our instincts and everything came together like a little puzzle. Truly could not have asked for a sweeter introduction into the feature world than with this team.

    NK: Sean showed us a lot of photos from the past and inspo images of people he knew. It felt very close to home! I didn’t grow up in the Bay, but I did grow up in a very similar community, of mostly 1st and 2nd generation immigrants around the same time as Sean! It didn’t take much imagination to capture what Sean was expressing because I felt like I lived it.

    The aesthetics and technology from 2008 play such a big role in this film; and yet its themes are so timeless. How did you approach that duality in the casting process, where it’s a period piece but still needs to resonate with kids today?

    NL: I think there are some universal truths to being thirteen years old that span beyond any time period. Teaching the kids how to take a Myspace selfie was a whole thing, down to the camera angles and the mirror flash 🙂

    NK: There were definitely a bunch of references that the kids would trip over in auditions. Like I remember the young people we would audition not knowing how to pronounce PETA. And that really stuck with me, cause you would assume that’s a universal thing, but some things just don’t translate generationally, I suppose. But ultimately, what was happening in 2008 is not radically far off from what’s happening now, especially packaged in the overarching themes the film deals with. It was easy enough for the actors to understand. Like the boys in the film were making silly YouTube videos, and now the kids are making TikToks. Not so different! And in so many ways, the aesthetics of that era like digital cameras and myspace photos are actually back.

    Your agency, In Search Of, also does casting for fashion and advertising. How did your experience in those mediums inform your process for this film?

    NK: Well we treat all of the projects we approach with the same attitude, by asking ourselves: What is the story we’re trying to tell? What are all of the expansive ways to illustrate that story? Because advertising moves so quickly, we’ve learned to be experts at finding sort of niche characters in a very short amount of time. There are a lot of skills we develop working on quick turnover projects we apply to our film work and vice versa.

    I saw you had an open casting call on Instagram for this film, as well as your upcoming film Josephine. What’s it like using Instagram for casting purposes, and what role do you think social media will play in the future of casting?

    NL: Social media is a very helpful resource for us when it comes to sharing casting calls and looking for specific types of talent. The sprawling nature of Instagram and TikTok was extremely helpful while casting DÌDI. We were able to get in touch with many film orgs who shared our nationwide casting call posts, and between us, Sean, and the production team we had so many friends in the Bay Area and beyond who shared our call far and wide. Someone on TikTok shared our casting call – it went kind of viral, and we had a flood of submissions after that.

    NK: I think social media has already transformed casting enormously. What I’ve noticed is that it does allow this space for “first time actors” to be considered for roles because we’re exposed to so many interesting and dynamic people online. Now we’re in a world where movies are being made about people because of how they represent themselves on social media. I think that’s a really exciting space to play in, because it allows for more nuanced and diverse storytelling.

     

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    Winning Best First Feature and Best First

    Douglas Booth has, admittedly, always been drawn to rather eccentric characters.

    The English star has been in this business for almost two decades — “so old now,” he laughs over Zoom, mussing up a famously good head of hair — and in that time has portrayed rock stars (The Dirt), poets (Mary Shelley) and fairies (The Sandman). “It’s really hard to go and play Boy George or Nikki Sixx or Dan Leno,” Booth tells The Hollywood Reporter. “Certain actors can’t do that, but I thrive on that.”

    As thrilling as thriving is, Booth, who was undoubtedly part of an unofficial 2010s “Brit Pack” of 20-something actors with his Riot Club co-stars Sam Claflin and Max Irons, found himself gunning for a part that would involve less fantasy and more familiarity. “I very much love playing people that are just so far removed from myself,” he says. “[But] this was a good time to play a modern bloke. Does that sound silly?”

    The product of Booth’s self-set challenge to take on “normalcy” is anything but silly. In ITV‘s six-episode The Blame, premiering Sept. 20, he stars as Tom, a detective in a run-of-the-mill English town trying to be a good guy. His professional partner, Emma (Michelle Keegan), is a headstrong presence in the force and consistently confronts the everyday sexism that permeates the office. But a teenage ice-skater’s murder soon draws Emma and Tom down a dark, twisty path, forcing them to investigate their own team.

    In what will almost certainly shock viewers tuning into The Blame, adapted from Charlotte Langley’s book of the same name, the show depicts actual text messages from the real-life Metropolitan Police group chat scandals, in which multiple investigations exposed deep-rooted and systemic racism, homophobia and sexism — dismissed as “banter” — poisoning the country’s top police force.

    Such was Booth’s discomfort finding out these texts were sent by U.K. police officers that he felt confident The Blame could send Brits an important message. “I remember reading [and thinking], ‘No woman would ever [write this]. This is just so uncomfortable and shocking.’ And then, yes, on the script, it came up: ‘These are all real text messages from members of the Met Police who’ve now been dismissed,’” he recalls to THR. “It lands really well in this series and anchored it for me. It’s also the reason why we’re making a big commercial series that, I felt, is one of the first to really delve into the problems we have with misogyny in the police force.”

    Below, Booth discusses what he hopes The Blame can achieve and why Tom is caught “in a moral bear trap.” He also touches on the career he’s built, the U.K.’s adoration of a gripping police procedural and whether he’d ever be up for playing a particular fictional spy dominating a lot of the current headlines: “I would sound disingenuous if I said that playing such an iconic character wouldn’t appeal to me.”

    I know this story is adapted from a book. Did you know much about it before the show came up?

    I didn’t know anything about the book. I got a message from my agent and a message from [Quay Street Productions] founder Nicola Shindler, who’s an amazing producer. I’d actually worked with her on my first-ever lead performance when I played Boy George [in Worried About the Boy]. She [sent] an email saying, “You may remember me,” which I very much did. I had an amazing experience working with her before. I mean, she’s been nominated for like 13 BAFTAs or something ridiculous. So instantly, my ears pricked up. And then I read the script and absolutely loved it. I stupidly read it right before I went to bed, and then I couldn’t get to sleep because of the twist at the end of episode one. And I was like, “What?!” It really was a page-turner. I also think it had something important to say.

    From the beginning of episode one, I was immediately suspicious of a couple of characters.

    At its core, it’s a whodunit set within a police station, right? But you will be guessing until the very end of the last episode. Everyone comes under suspicion at some point for different reasons. One could call them red herrings, but I don’t necessarily think they are. It’s the fun of watching a thriller — if you’re sat there watching something like, ‘I think it’s that [person], or that [person].’ It’s quite a complex story with a lot of things going on. As you get into it, there is a tangled web of things that all get resolved the right way, but everything that happens happens for a reason. You’ll find out more about Tom and Emma’s past and how they’ve leaned on each other.

    British star Douglas Booth says he liked the idea of playing “a modern bloke.”

    Yellow Belly Photo

    How would you describe Tom as a character for audiences coming into this show? He is a man very much trapped between two worlds.

    Ultimately, Tom is someone who wants to be a good person. He’s got himself trapped in this toxic work culture, and he’s very much trying to do the right thing. But along the way, he’s probably got himself into a bit of a moral injury and made some compromised decisions — as does Emma, as do many people in that department. In my head, when I was playing him, I kind of imagined that he’d got his foot stuck in a moral bear trap, and he just couldn’t quite get himself free. He’s wrestling with that, and it’s corroding his internal core a little bit.

    To take a step back and [give] an outside view of Tom, he’s a detective at this police station. He’s very close with Emma. I feel, in certain ways, he feels isolated from the rest of the department. He’s in a constant wrestle with his principles, but also his ambition and drive to be promoted and do well in life… His eggs are very much all in one basket. And sometimes I feel that about myself in this career. (Laughs.) All my eggs are very much in this basket. I always try to understand the humanity behind it, you know […] if you find out something compromising that could derail the whole thing right before you get across the finish line — do you say something or do you not say something? It was that wrestling with inner human greed and the want to progress alongside your principles.

    I read that this series uses the actual text messages from multiple real-life cases of toxic police group chat scandals in the U.K. Were you shocked when you found that out?

    That is one of the most shocking moments of the series, apart from some of the twists and turns towards the end, and probably the most sickening. It’s absolutely awful, and it’s really shocking. And I was like, “I can’t believe [the show writers] have written this.” I remember reading [and thinking], ‘This can’t be no writer… no woman would ever [write this]. This is just so uncomfortable and shocking.’ And then, yes, on the script, it came up: “These are all real text messages from members of the Met Police who’ve now been dismissed.”

    It lands really well in this series and again, it anchored it for me. It’s also the reason why we’re making a big commercial series that, I felt, is one of the first to really delve into the problems we have with misogyny in the police force. When we were filming, it was the [BBC] Panorama Charing Cross film [about the] WhatsApp group — it came out the year we were shooting. It is shocking and disgusting behavior. You can’t quite believe the misogynistic, racist things that these people are saying. [The show] very much reflects the problems that we have with some of our systems and institutions, the police that are supposed to be protecting us that are potentially letting us — and specifically women — down.

    Is the hope very much among writers and producers of this show that The Blame prompts discussion and stays with viewers? As you said, it’s a big commercial series, so hopefully a lot of eyeballs on a very important story.

    I hope so. First and foremost, it’s a gripping thriller about a murder, and then it quickly becomes more complex. I think we obviously want the themes of the show to stay with people, and I think hopefully by the end of the series they will have. But yeah, there were definitely conversations about it, and there was a lot of sharing. I was always sending the producer the constant BBC News headlines about the failure of the police. But at the same time, I also have a lot of respect for the police. It’s a really difficult job that they do. So the aim definitely wasn’t to go out there and be police bashing in in any way. They do a really tricky job, but there are systematic failings that just don’t seem to be fully addressed.

    We’d be thrilled if it started a conversation or at least made however many of the — hopefully — millions of people that watch it… If it makes a small amount of them, particularly men who have acted inappropriately or [people who] have been acted inappropriately upon, to sit up and think about their position within that, then could only be a very good thing.

    It was refreshing to see all of this explored through such a strong character in Emma. Have you and Michelle crossed paths before?

    No, I’ve literally never crossed paths with Michelle before, which is rare because I’ve been doing this almost two decades. So old now. (Laughs.) Over half my life. But yeah, she’s famously one of the nicest people in the industry. I’ve only heard incredible things, and she’s the nation’s sweetheart. When you’re around her, people just love her wherever you go — from all walks of life. She’s so grounded and down-to-earth. And we just got on like a house on fire. Also, she’s not in loads of things. She’s in things that run for a while. She’s in good things. It was a real pleasure to work with her and that really helped our chemistry throughout the series.

    Michelle Keegan and Douglas Booth for ‘The Blame’

    ITV

    You have been in this industry, as you say, for nearly two decades. I think I first saw you in Great Expectations or The Riot Club, over a decade ago. How does The Blame capture this chapter of your career and which roles are talking to you at the moment?

    It sounds silly to say but it was the chance to play a very normal person — to play a detective my own age in a six-part show where I could really just explore that human element and that complex character. That was a real draw for me. The job I just did before, I played a fairy in The Sandman for years, so I’d been getting up, having prosthetic ears put on my face at 3.30 every morning.

    When you’re younger, you try to pretend that you have some great master plan for your career, making choices like you’re Leonardo DiCaprio. But not everyone is blessed like Leonardo DiCaprio to work with Martin Scorsese from the age of 20 or whatever. You’re always trying to do the best work that’s available to you. And this was a really exciting script, with a producer I really trusted, and Michelle was great. […] You make independent movies and you go to film festivals and 150 people see them and that’s it. (Laughs.) So I guess if there was any strategic thinking in the choice, it was to be in a commercial show that had lots of eyeballs on it and just play a man. I’m often drawn to playing fairies or rock stars or poets. I love playing musical performers like in The Limehouse Golem and I very much love playing people that are just so far removed from myself. This was a good time to play a modern bloke. Does that sound silly?

    Not at all.

    It’s really hard to go and play Boy George or Nikki Sixx or Dan Leno. Certain actors can’t do that, but I thrive on that. And I think it was a challenge for me, for over a good six-hour stretch, to just play a bloke.

    I want to ask about The Sandman and the Netflix of it all. At this moment, in an industry with a very saturated market, where the streamers are dominating and the broadcasters are a little more cash-strapped, the police procedural continues to do very well. Can you speak a little bit about that and why they’re so important here?

    It’s funny you say the traditional broadcasters are more cash-strapped, but when you do this show [The Blame], I can’t walk through the city without being on a 30-foot-high billboard in every single train station. If [the broadcasters] think they’ve got a good horse, they’ll back it, and then you make a massive Netflix show, and they don’t do a single bit of promotion for it because they don’t feel they have to. So the way they spend the money is quite interesting.

    On the importance of it, I can only answer it from my own experience of doing this and having one coming out, but the amount of people that want to talk to me about it or are excited for it in my day-to-day life… My mates don’t normally give a crap about anything I’m in. (Laughs.) That’s why I love it. They couldn’t care less whether I’m in this movie or doing that, but the amount of people who say, “I can’t wait to watch [The Blame].” There’s something about it. I don’t know whether it’s going back to school, that autumn feeling. It’s pure comfort food [in] entertainment.

    A quick note on what you’ve got coming up: The Way of the Wind. Can we talk about that?

    That’s a Terrence Malick movie. I filmed it a couple of years ago now. It was a really beautiful moment in time. My agent said, “Oh, Terrence Malick wants to speak to you. You need to call his assistant.” I called his assistant and got through to Terrence and he said, “Oh, Douglas, it’s so great to speak to you. I don’t think I’ve seen you since you were on stage with McKellen…” I was like, ‘This is all a mistake. They think I’m someone else! I’ve told my friends I’m going to do a Terrence Malick film.’ And I said, “I don’t think I was born then, Terrence. [You’re] talking to Douglas Booth.” And he was like, “Oh, Douglas. I thought I was talking to Douglas Hodge,” who he’d also offered a part in the film to.

    Luckily, it wasn’t a mistake. He’s seen the Mary Shelley movie I made with Elle Fanning and my wife, Bel Powley. I can’t actually say too much, but that film made him want me to play a part in this film. I would love to see it, but he’s been editing it for a very long time. He is an absolutely wonderful man to work with. He didn’t sit down once on set — he’s always by the camera, still like a young child, still so hungry, and communicates with you through old, typewriter-print letters. He’s so inquisitive.

    Apart from Terrence, do you have a dream director you’d like to work with? You’ve already done so much, so I also have to ask: Bond? Does that appeal? You’re in the right age range and you’re British.

    (Laughs.) I would sound disingenuous if I said that playing such an iconic character wouldn’t appeal to me. But I’m definitely not the one making the decisions on whether I will or not. I’d love to work with Denis Villeneuve. He’s fantastic. Paul Thomas Anderson, Quentin Tarantino, if he ever makes movies again. Chris Nolan. I’m saying very basic answers! I’ve worked with Darren Aronofsky and the Wachowskis and when you work with these filmmakers who make such big, iconic movies, there is a thrill about it.

    The Blame premieres in the U.K. on ITV Sept. 20.

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    Douglas Booth has, admittedly, always been drawn

    Fatih Akin is no stranger to the festival circuit, having wowed Berlin with his Golden Bear-winning Head-On in 2004 and nabbing best screenplay in Cannes for The Edge of Heaven in 2007.

    The German-Turkish filmmaker, also a Golden Globe winner for 2017’s In the Fade, has sent a couple of movies to San Sebastian over the years. “I don’t remember which films it was,” he tells The Hollywood Reporter on Zoom. “But I always wanted to go.”

    Akin is getting his chance and then some with this year’s haunting opener Ghost Song, following two students who meet in a Berlin nightclub and immediately fall head over heels in love. Farasha (Mariam Dawoud) and Faris (Eren M. Güvercin) are struck by a deep-rooted connection that they can’t wait to untangle, but the cord is abruptly cut short when Farasha is killed. For the next 40 nights, she visits Faris in his dreams, where their mutual infatuation slowly drives him to the brink of insanity.

    The Warner Bros. film, co-written with Ruth Toma and set for release in Germany Nov. 5, is actually inspired by Akin’s own discovery of anime and manga, and bolstered by his desire to make Ghost Song for a younger audience. “I’m not a boomer, but I’m Generation X, and Gen Z is very different,” he says. “They work with very different tools and worlds, and you have this influence [that] is not coming from Hollywood. You have this influence coming from Asia, from Japan, China, Korea.”

    The black-and-white feature is both tender and harrowing, the anime influence palpable in the beautifully illustrated title cards marking the remaining nights Farasha and Faris have together. The story also deftly draws on spirituality rooted in the Islamic tradition — a nod to Akin’s religious upbringing. “It’s my form of dealing with that,” he tells THR, “or using it as storytelling.”

    Below, ahead of its glitzy red carpet premiere on Friday as Spain’s most prestigious film festival officially gets underway, Akin unpacks the making of Ghost Song. He talks about its depiction of teen suicides — “everybody knows somebody in the generation of my kids who [took their own life] or who tried to” — as well as his decision to keep the film in black-and-white, its similarity to Demi Moore and Patrick Swayze’s Ghost, and why he’s vowed to never relive this particular process again: “This is the very last time I do it this way.”

    When did this journey start, and why this story?

    It all started about 10 years ago. It was basically an idea [from] my son. He had this idea of me doing a film for kids, and it was a story about two friends, and one is a ghost — two boys and they’re best friends. I liked the idea of doing something for children, which was very different than what I did before. And I gave it to this writer, Ruth Toma, who I had worked with before. And she wrote the screenplay for this children’s movie. But then I turned to doing In the Fade and other stuff. We never stopped developing the screenplay in the meantime. And what happened was, with the growing up of my children, the age of the characters had changed. That happened [naturally], and so the focus shifted as well and it became a romantic [film]. My kids really taught me or showed me the world of anime. I was very much in manga and graphic novels before… But I was wondering, can I combine it with my take on cinema?

    So there’s an anime influence on this film?

    Very much. Anime films often have this romantic touch. They are in this fantasy world, you know? Like parallel universes, rebirth, dying and coming back — this is very popular in the anime world. But also social matters. A Silent Voice is a film about mobbing and suicide in the teenage world or in the young adult world, and so anime is a tool or a window for a younger generation than I am. I’m not a boomer, but I’m Generation X, and Gen Z is very different. They work with very different tools and worlds, and you have this influence [that] is not coming from Hollywood. You have this influence coming from Asia, from Japan, China, Korea. I was very much influenced by Western cinema, by American cinema.

    Filmmaker Fatih Akin at the 2025 Cannes Film Festival.

    Courtesy of Getty

    Are there any particular directors from that region that you’re a fan of?

    Hayao Miyazaki, the guy who won the Academy Award with Spirited Away. All his work is pretty influential, and of course, the guys who made Suzume, Your Name and Belle, these are incredible pieces of work, in a very visual way. I had the opportunity to do [that] with this film: combine it with that world [and make] a spiritual film. When you think about spiritual films, you end up with Kundun or The Last Temptation of Christ stuff, but I see more the desire and need of doing such a film for a director. Spirituality, the supernatural… I’m interested in this stuff in a private way, but how can you make a film about it that’s still for a wider audience? Ghost Song gave me the opportunity to do that — to do a spiritual film, but to do it as much [for]… I don’t know. Pop culture.

    It’s interesting that this started as a children’s film because it really is quite morbid.

    It’s not a children’s film anymore. It started as a children’s film, but then it became […] [for] young adults. And what we found out when we worked on this is that suicide is the highest reason for dying between 15 to 25-year-olds in the whole world. I didn’t know that, and it was scary. Suicide is a theme which has always popped up in my work.

    I don’t know why these things pop up in my work, but it’s here [in Ghost Song] again. And everybody knows somebody in the generation of my kids who [took their own life] or who tried to. COVID was a very depressing period for this generation. So I observe that, in a way. I deal with that. I think the film is for everybody in a way — not too young — but sometimes I can understand that people of 60 years, if they don’t have kids or if their kids are grown up, that they cannot connect with such a film. But a younger audience can. And I’m 53 now. I’m thinking about getting old, and to do such a film and to connect with a younger audience… It keeps me young. (Laughs.)

    This film tackles so much: suicide, mental health, young love. I want to ask about the mythology of this film, if that’s the right word. The lore, and Farasha haunting Faris for 40 nights. Is that rooted in a certain tradition?

    Yes, the Islamic tradition. But we discovered that Orthodox Christianity has that too. […] I have this Islamic background. I grew up in an Islamic family, a very faithful, religious family. It’s my form of dealing with that, or using it as storytelling.

    It was beautiful. I don’t know if I saw the final version of the film — I saw a black and white version?

    That is the final version. I have two versions. That happened because the anime world was influencing this film, so when you do a film, you have reference films. The only reference films I had for this one, which I gave to my DP, were the anime films. Your Name, A Silent Voice, maybe Ghost, the Patrick Swayze film. (Laughs.) But nothing else on a visual level comes to mind. So this was the influence, and the colors and the color grading was very important. For the first time, I really, really, really worked with strong colors. It starts with the costume and goes through the set design and the lighting, but very much the grading as well. And the grading is a process in filmmaking that comes at the end, after the film is edited and done.

    [But] with the fast rush and to not get distracted by it or not lose the faith in the visuality of the material, what did I do? I switched off the colors in the editing process. And what happened is we got used to it. The whole film was a long journey and very difficult to edit. I was in the editing room [for] almost six months. What do you do when you edit six months in black and white? You get used to it, and that’s like a relationship. You fall in love with it. So [we were] like, “Okay, let’s keep it in black and white.” It’s beautiful in black and white, and it’s existential in black and white. And this film is about existentialism, and it’s manga, and manga and anime are in black and white because the colors are too expensive to print. It became this art form. It’s so strong and so unique.

    So which one will you screen in San Sebastian?

    The black and white. I’m asking that they also show a color version of the film. I’m not sure if I have convinced the festival committee yet. But we have the opening in black and white, and I hope that I can get a second screening in color because you have to see both versions of the film to have the complete picture.

    This is also very much an immigrant story. And we see glimpses of Farasha’s journey to Europe. I wanted to ask whether that’s rooted in anything personal for you?

    I am always looking for heroines and heroes who are not that common in Western cinema, but [are] part of the Western world when you go out on the street. I’ve always done that since my very first film. I don’t know if it’s just personal. It’s something I observe on the street in daily life. Syrian migration in Germany since 2015 has become very visible in Germany, and these people somehow adapted to so much and so fast, as well. I mean, they’re in the medical sector and the care sector. They’re in all sectors, and they changed this country. The Turks have been here since the ’60s of the last century, but the Syrians came 10 years ago. It was an opportunity to put that in the story as well. To give more texture.

    I don’t have these typical rock-and-roll kids [as] heroes. Faith is important for [Farasha] in a way. Maybe her faith, her religion, makes her otherworldly. You have to believe in that… If you deal with life and death and past life, you automatically end up in a spiritual film, and so it was a way or an opportunity to use my personal biography in this spirituality of the film.

    How do you hope the audience reacts after watching Ghost Song?

    I’ve seen some reactions [already]. Some reactions really shocked me — some people, they’re very much emotionally shaken by the film. I had never seen that before, or in other works I did. Usually, it’s not so much a young audience who’s like that. It’s more like 30 and up, you know? For them, this is a roller coaster, and I always try to give the audience a physical experience as well. I think if a film reaches a physical level — laughing, crying, whatever it is… If this two-dimensional medium can create that, can create goosebumps, but on the other hand, console. […] I hope this film could be a friend for a lot of young people. It deals with life and death, but in a life-positive way. It’s a tragic love story — we don’t have that too much these days in the cinema, especially a lot in German cinema.

    It’s catharsis. It’s a troubled world. Everybody has a lot of issues all over the world, and you get sidetracked from that escapism. If a film can give you catharsis, it can be very helpful.

    What does it mean to be opening the San Sebastian Film Festival?

    It’s my first time at San Sebastian [Film Festival]. I think in the past, I sent films there and they passed [on them]. I don’t remember which films it was. But I always wanted to go to San Sebastian. It has that great name and good food and [it’s a] sophisticated festival in a way. I was very, very curious always about that because I have a lot of friends in Spain, and I think I have an audience in Spain, so I have a good relationship [with] that country. To get to that festival with this film and opening it, it means a lot to me.

    It’s also good to know that there aren’t just the usual suspects to present a film. I mean, Cannes is great, and it did a lot for me. And so did Venice and Berlin. But there are other parts of the world, other festivals in the world. It’s not just that I want to support them, but they also support you. I feel very humble and and very honored that they picked up the film for opening. You know, in [the World Cup], I wanted Spain to win. (Laughs.)

    How were you able to get Ghost Song funded?

    We got government funding. But our biggest supporter, and I’m very thankful that I have them, was Warner Brothers. [Around] half of the budget is coming from Warner Brothers., I’m not sure. My producers know it better. (Laughs.) It was very difficult to finance this film. Very, very, very difficult. On the one hand, films have become more and more and more expensive, especially in Germany. That’s why a lot of German filmmakers move somewhere else to do their films. The cost, everything gets so high here. And you never get the full budget for any film.

    Here, and also for [my] last two films, [including Cannes-premierer] Amrum, we went into the risk. We said, “Okay, we are not [at] full budget,” but we still greenlit the film. This is becoming more and more dangerous. This is the very last time I do it this way. Life is too short. It’s heart attacks and cortisol and sleepless nights! It’s not like when I started doing films. I was this young filmmaker in another time, in another country. You had some kids, you had some employees and a company and you’d do a film and fulfill that. It doesn’t work like that anymore.

    As someone who has been working with Warner Bros. recently, and with a lot of European creatives speaking about the proposed Paramount takeover, can I ask: do you have an opinion?

    Nobody knows. As a rule in filmmaking, nobody knows shit. And I don’t know about tomorrow. […] I don’t have an opinion about that. I can just say I work with the team in Germany and the U.K., and they’re very supportive. I have to say, a brilliant, professional, great team, and a lot of fun to work with.

    This interview has been shortened and edited for clarity. The 2026 San Sebastian International Film Festival runs Sep. 18-26.

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    Fatih Akin is no stranger to the