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Online sports betting has shifted from a niche hobby into an exhilarating pastime that merges passion for sport with the thrill of a potential payout https://luckyhills.nl/betting/. For punters across the Netherlands, the rise of trusted platforms like LuckyHills Casino has revealed a universe of odds, markets and live betting opportunities that were once unimaginable. However, simply placing random wagers on your favourite Eredivisie team will rarely lead to long-term satisfaction. Getting the most from every pound or euro requires a blend of sharp research, disciplined money management and an understanding of how modern bookmakers operate. This guide walks through nine practical strategies any bettor can use to upgrade their approach, turning casual flutters into well-informed decisions. Whether exploring pre-match match winner lines or diving into the fast-paced world of in-play betting, the following insights will help every sports fan feel more in control and far more entertained every time they log on.

Understanding Betting Odds and Markets

Before any serious betting journey commences, a bettor must get fluent in the language of odds. Decimal odds, the benchmark at LuckyHills Casino and across Europe, reveal exactly how much a punter receives for every unit staked, encompassing the original stake. Grasping implied probability is equally vital; an odd of 2.00 implies a 50% chance, while 3.00 reflects roughly 33%. Once this turns into second nature, the real fun starts with investigating the diverse range of markets accessible. Beyond simple win-draw-win wagers, punters will encounter over/under goals, both teams to score, Asian handicaps and a host of player-specific propositions. Each market has its own pace and value profile. For example, Dutch football fans might avoid a short-priced Ajax home win and instead look at the corner count or card markets, where bookmaker lines can be more lenient. Devoting time to scan different market types, rather than falling back to the most obvious bet, often brings about smarter decisions and more engaging betting sessions. Understanding odds and markets represents the bedrock upon which all advanced techniques are constructed.

Diving into Live Betting and In-Play Dynamics

Live betting has revolutionised the way fans connect with sport, allowing wagers to be put as the action progresses. The key to mastering in-play betting is not speed but analysis. Watching the actual match, rather than just tracking a live score ticker, provides critical visual cues that raw data can ignore. A team might be controlling possession but appearing toothless in the final third, while an underdog could be defending stubbornly and menacing on the counter. Punters who tune in can spot momentum shifts before the odds fully update. At LuckyHills Casino, the live betting interface is designed for quick, intuitive use, featuring constantly updating markets such as next goal scorer, total corners and even the outcome of the next throw-in. Dutch football fans know how drastically a match can shift with one red card or a sudden burst of rain in Rotterdam, and live bettors can profit on these moments. The trick is to keep selective. Rather than staking on every swing, successful live punters bide for situations where the in-play odds undervalue the true game state, often backing the team that is playing better than the score suggests.

Identifying Value in Alternative and Niche Markets

Traditional betting markets such as full-time result and over2.5 goals are intensely scrutinised by bookmaker traders, making it tougher for casual bettors to discover an edge. Redirecting focus to niche and alternative markets can unlock a treasure trove of value. Player props, for example, present wagers on specific individuals to register a certain number of shots, tackles, assists or even throw-ins. These markets frequently receive less attention from sharp syndicates, meaning mispriced lines appear more frequently. In the Eredivisie, targeting a midfielder who regularly tries speculative efforts from distance in the shots-on-target market may prove far more profitable than guessing the final score. LuckyHills Casino provides an extensive selection of such alternative bets, from the number of goal kicks taken by a goalkeeper to the exact method of the next goal. Another valuable niche exists in combination bets close to kick-off, where late team news can offer a specific flavour to a bet that traditional markets struggle to capture. By thinking creatively and moving beyond the obvious markets, bettors can convert their specialist knowledge of a league or team into a consistent advantage that the broader public simply overlooks.

Applying Match Previews and Expert Insights

No bettor operates in a vacuum, and relying on expert analysis can hone decision-making without replacing individual research. Top-notch match previews, like those featured on the LuckyHills Casino blog, break down tactical battles, head-to-head records and likely line-ups, condensing hours of scouting into a digestible format. Studying these previews before a big Eredivisie clash or a Champions League tie provides punters a framework to assess the odds. However, the smartest bettors do not mindlessly follow tips; they employ expert opinions as a filter to test their own assumptions. If a respected analyst picks an away win but the bettor’s model indicates a draw, that sparks a valuable crosscheck. Podcasts, statistical dashboards and official club injury reports all add to a richer picture. The goal is to integrate multiple viewpoints into a confident, reasoned position rather than depending on a single source. At LuckyHills Casino, merging such insights with the available markets can uncover spots where the betting consensus has underestimated a crucial factor, such as a team’s strong set-piece record against a side known for conceding from dead balls. This combination of external expertise and personal judgement often yields the most satisfying and profitable wagers.

Researching Form, Stats and Team News

Information is the strongest tool available to sports bettors, and taking the time to dig deeper than the headline odds yields consistent rewards. Studying recent form tables for both teams uncovers not just wins and losses but also the standard of opponents and underlying performance metrics. A club sitting mid-table in the Eredivisie might have faced only top-half sides during a poor run, distorting its form line. Similarly, examining expected goals data, shots on target and defensive frailties may reveal value that casual observers miss. Team news is equally important. The late withdrawal of a key playmaker or first-choice goalkeeper can completely reshape a match, and bookmakers don’t always adjust odds instantly. Smart bettors scan reliable sources for injury updates and suspension lists before putting down any stake. At LuckyHills Casino, integrating such research ahead of big KNVB Cup ties or European fixtures can turn a routine bet into a well-backed opinion. A simple pre-match routine of fifteen minutes of focused reading often separates those who bet with confidence from those who just guess and hope.

Searching for the Finest Odds and Line Values

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One of the easiest yet most neglected practices in sports betting is evaluating odds across several platforms. Even a small difference can have a massive impact over countless bets. A punter who always takes 1.90 rather than1.85 on even-money shots may find their long-term returns significantly boosted. LuckyHills Casino, known for competitive pricing on Dutch and international football, offers a great starting point, but checking a couple of trustworthy alternatives before committing can reveal extra value. Beyond the main odds, line shopping stretches to spreads and totals. If an Eredivisie match total is set at 2.5 goals with a heavy over premium, it might be valuable looking for the same line at 2.75 elsewhere, where the bettor can buy a little more safety at virtually the same price. Bookmakers also provide regular promotions and odds boosts for key events. Bettors who keep alert to these offers and merge them with their own research can wring extra profit without raising risk. Over time, this practice of hunting for better numbers becomes instinctive and is one of the most accessible edges any recreational punter can apply.

Creating a Reasonable Bankroll and Adhering to It

Even the most astute analysts can see their edge fade without proper bankroll management. The first step is to set aside a dedicated betting fund that is completely separate from everyday living expenses. This amount should be money a punter is entirely comfortable losing, as no betting outcome is ever guaranteed. From there, the golden rule is to bet only a tiny fraction of the total bankroll on any single wager. Most seasoned punters suggest between one and three percent per bet, ensuring that even a lengthy losing streak will not wipe out the fund. Tracking every bet in a simple spreadsheet or app adds another layer of discipline. At LuckyHills Casino, bettors can review their full history, making it easy to spot patterns and leaks over time. It is also wise to set both profit targets and stop-loss limits for each day or week. Walking away after hitting a predetermined ceiling guarantees gains, while halting after a series of losses prevents chasing. A disciplined approach changes betting from a stressful gamble into a calculated long-term hobby where enjoyment remains front and centre.

Making the Most of Bet Builders and Combos

Bet builders have turned into a fan preference for a cause: they allow punters to merge multiple selections from the same event into one personalised wager. Platforms like LuckyHills Casino offer intuitive bet builder tools where a bettor can fuse a team to win, over a certain number of corners and a specific player to have a shot on target into a single bet with customised odds. The beauty of bet builders comes from their power to reflect a bettor’s unique reading of a game. Rather than opting for a generic accumulator across different matches, a builder encapsulates a coherent match narrative. However, the multiplied risk means discipline remains essential. Blending too many legs drastically diminishes the probability of winning, so limiting a builder to two or three complementary selections is the wise approach. For example, combining an Ajax victory with a goal for their in-form striker and over3.5 cards in a tense Amsterdam derby tells a story that is often far more captivating than a simple outright bet. When used strategically and founded on solid research rather than hopeful shots, bet builders introduce a layer of creativity and potential reward that traditional single bets cannot match.

Handling Feelings and Betting with a Level Head

The ultimate component of the puzzle is often the hardest to master: emotional control. Even the most seasoned bettors can undo weeks of careful effort with a single impulsive wager after a tough loss or a series of defeats. The impulse to chase losses is deeply ingrained, but it hardly ever ends well. Pausing for a moment, stepping away from the screen and analyzing the day’s bets impartially helps recalibrate the mindset. Successful punters regard betting as a marathon, not a sprint, and accept that negative variance is part of the game. Equally important is steering clear of overconfidence during winning streaks, which can result in inflated stakes and reckless decisions. Implementing strict rules for when to wager and when to quit protects the bankroll from mood swings. At LuckyHills Casino, tools like deposit limits and reality checks are offered to reinforce this discipline. Bettors who approach each wager with a serene, analytical frame of mind regularly beat those who endure an emotional rollercoaster. Ultimately, sports betting should stay enjoyable, and staying in control guarantees that the thrill never turns into regret. By keeping emotions in check, every bet becomes a sensible, entertaining challenge rather than a impulsive impulse.

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Yesterday, Fox Business News anchor Maria Bartiromo was abruptly fired from her position after 12 ½ years. Or was she? According to Bartiromo and her new attorney Bryan Freedman (who you may recognize from representing Justin Baldoni, Chris Cuomo, the Michael Jackson estate, or one of several other cases), the reports that she was fired from the network are false. 

“The irresponsible reports that have been published stating that Maria Bartiromo was fired or is no longer an employee of Fox are absolutely and unequivocally false,” Freedman says in a statement to The Hollywood Reporter, in which he calls her “one of the hardest-working journalists throughout her award-winning career.” The statement continues, “Make no mistake, we have the receipts and witnesses and they will come out whether through the courthouse or otherwise. Those reporting her firing or the incredulous facts supporting that fiction have exhibited a complete and utter reckless disregard for the truth.” 

This, obviously, is a bit confusing given that her employer publicly wished her the best as it sent her on her way yesterday. As we reported, it had been a couple of weeks since Bartiromo had appeared on the air before the network made the news public. While she was still on the air, she was prone to going down conspiratorial rabbit holes, and was also named in the lawsuits brought by voting machine companies against Fox News. We’ll have to see what “receipts” Bartiromo and Freedman have to contradict her employer telling the world that she doesn’t work there anymore. 

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Yesterday, Fox Business News anchor Maria Bartiromo

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Great news! “Monster at the End of This Story” is available to watch on Netflix USA!

 

Date Added: 7th September 2026

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Synopsis:

Grover’s afraid at first when he learns there’s a monster at the end of his story. But his pals remind him he already has the courage to do anything!

 

Certificate: TV-Y
Designed to be appropriate for all children

 

Year: 2020

Duration: 30m

Episode Length: 30min

 

Cast and Crew

Director: Arthur Mark Taylor, Mark Taylor

 

Cast: Eric Jacobson, Ryan Dillon, Leslie Carrara-Rudolph, David Rudman, Carmen Osbahr, Stephanie D’Abruzzo, Brady Jenness

 

Production & Box Office Details:

“Monster at the End of This Story” was produced by Sesame Workshop and was originally released on October 29th 2020.

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Available on Netflix USA!

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EXCLUSIVE: Renate Reinsve has been officially confirmed for the role of Mary Wollstonecraft in Mia Hansen-Løve’s epic and intimate period drama If Love Should Die as Goodfellas boards sales for a script-backed TIFF launch where it will be one of the buzziest European productions on the market.  

In fresh casting news, Reinsve is being joined by Johnny Flynn and Vicky Krieps in key roles, with Charlie Kelly, Will Keen, Tom Sturridge and Jane Beever also featuring in the cast. 

The film is a European co-production between Ireland, France, Norway, Spain and UK, backed by Anonymous Content and RT Features, with Anonymous Content co-repping domestic rights with CAA Media Finance.

Norwegian actress Renate Reinsve arrives on the film fresh from her performance opposite Sebastian Stan in Cristian Mungiu’s Cannes 2026 Palme d’Or winner and awards season frontrunner Fjord, following a buzzy run on last year’s award trail with Best International Feature Film winner Sentimental Value.

Equally in demand actors Johnny Flynn and Vicky Krieps recently appeared together in Malgorzata Szumowska and Michal Englert’s The Idiot(s) which received a buzzy world premiere in Telluride over the weekend.

Other recent credits for Flynn include A Prayer for the Dying and another raved about Telluride title, Elsinore, while Phantom Thread breakout Krieps was seen over the past year in Jim Jarmusch’s Venice 2025 Golden Lion winner feature, Father, Mother, Brother, Sister and Cannes 2025-selected drama Love Me Tender

First announced in 2024, If Love Should Die will focus on the remarkable last 12 years in the life of 18th century English writer, philosopher and women’s rights advocate Wollstonecraft, who also is famed for being the mother of Frankenstein creator Mary Shelley.

Set in England on the eve of the French Revolution, it follows Wollstonecraft, a then young, poor, solitary woman, as she carves a daring path through the ideals of the Enlightenment. Dismissed from her post as a governess, she resolves to live by her pen, against all odds.

If Love Should Die will be Hansen-Løve’s first English-language feature since Cannes 2021-selected drama Bergman Island, starring Vicky Krieps and Mia Wasikowska. To date, she has directed eight feature films with other highlights including Things to Come, starring Isabelle Huppert, which won the Berlin Film Festival’s Silver Bear for Best Director in 2016.

The film is set in the UK as well as multiple other European territories including France, Portugal, Norway, and Sweden.

Hansen-Løve will be joined on the shoot by multi-award-winning cinematographer Claire Mathon (Portrait of a Lady on Fire, Spencer, Saint Omer) and her regular editor Marion Monnier as well as production designer Mela Melak (A Real Pain, High Life) and Louise Stanton as costume designer (The Quiet Girl).

“I’m thrilled that I’m finally able to make the film I’ve been preparing for a long time and that is particularly close to my heart. It’s a huge challenge: bringing Mary Wollstonecraft to the screen for the very first time. I’m also very happy to be supported by such a talented, committed team and above all, to share this adventure with the wonderful Renate Reinsve,” said Hansen-Løve.

The production brings together a cohort of top award-winning European producers spanning Mia Hansen-Løve’s long-time producer David Thion at Paris-based Les Films Pelleas (Anatomy of a Fall); Ireland’s Patrick O’Neill and Conor Barry for Wildcard (Kneecap); María Zamora for Spain’s Elastica Films (Alcarràs); Norway’s Maria Ekerhovd at Mer Film (Sentimental Value) as well as the UK’s Joshua Horsfield and Saskia Duff at Intake Films (The Brutalist, The Testament of Ann Lee) and Thembisa Cochrane and Georgie Paget at Caspian Films (Frank & Louis).

Production is financed by Rodrigo Teixeira for RT Features (Paper Tiger, Bergman Island, Call Me By Your Name) Nick Shumaker and David Levine for Anonymous Content (Possible Love, In Waves, Nickel Boys); Raffaella Leone for Leone Film Group (Paper Tiger, Love Me Love Me, A Beautiful Day); Marco Perego for Artists Haven (Paper Tiger, Minotaur, Fjord, Butterfly Jam) and Nightjar Films (How to Shoot a Ghost), while MUBI financed development. 

Coproducers are Sweden’s Marie at Kjellson and Wik (Gentle Monster), Lars Thomas Skare for Mer Film and Kristina Börjeson for Film i Väst (Sentimental Value, The Testament of Ann Lee, The Apprentice). Phillippe Martin at Les Films Pelleas, who produced Palme d’Or winner It Was Just an Accident, is an associate producer. 

The production is also coming together in association with executive producers:  Franklin Laviola and Nicholas Laviola (The Man I Love), Francesca Mormanni (Cut Your Teeth) Pio & Co (It Was Just an Accident), La Femme qui Aaimait les films (A Woman’s Life), Tempio (In-I in Motion), Mikino (Drôles d’oiseaux), Bobby Allen of MUBI and Seona Bell.

Additionally, it is co-produced by Film i Väst, Arte France Cinema  (Olivier Père, Rémi Burah, Mathilde Hersant), and The Match Factory in co-production with Bayerischer Rundfunk (Commissioning Editor: Harald Steinwender, Bettina Ricklefs), in collaboration with ARTE (Commissioning Editor: Barbara Häbe). 

The film is supported by Eurimages, Les Films du Losange, Elastica Distribution, Leone Distribution, Norwegian Film Institute, Screen Ireland, Mediafondet Zefyr, Vestnorsk Filmsenter, ICAA, Arte France, Canal+, Cine+/OCS, Filmin, HBO (Spain), Région Île-de-France, Région Normandie, UK Global Screen Fund,  with support from BFI and National Lottery.

Mia Hansen-Love is repped by Gersh Agency and Intertalent; Reinsve, by CAA and Narrative PR; Flynn, by CAA, United Agents and Public Eye Communications and Krieps is repped by United Agents, CAA, Agence Adequat and Tapestry London. Will Keen and Charlie Kelly are repped by Independent Talent Group, and Tom Sturridge is repped by WME and Independent Talent Group.

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EXCLUSIVE: Renate Reinsve has been officially confirmed

The online gaming landscape shifts rapidly, and FS Καζίνο επίσημη ιστοσελίδα Casino has established itself at the forefront by gathering a lineup of the most talked‑about slot releases of 2025. Players who explore the platform will encounter a meticulously selected lobby where movie-like visuals, innovative features and new mathematical models come together. Outside the slot games, the brand spans into live dealer tables, sports wagering and virtual sports, forming a one-stop hub for various types of entertainment. The emphasis on slot innovation is evident, yet every element of the site is structured to support a seamless, safe and satisfying experience. Starting with the initial deposit to the newest jackpot payout, FS Casino aims to deliver a practical, direct environment where the most popular slots are always within easy reach.

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“This story crashed unannounced into my life,” Jon Ronson tells me. It’s a lazy summer afternoon in the hamlet where he lives in upstate New York, and the journalist and author of The Men Who Stare at Goats, So You’ve Been Publicly Shamed, and The Psychopath Test is explaining the genesis of his latest book. He describes a night, almost exactly three years ago, when he slept through a series of texts that came in from his adult son. The messages told a disconcerting story: His son’s friend, a woman, had connected with a man on Tinder, who invited her to come over to his castle in a rural part of Connecticut and bring some friends. According to his son’s description, Ronson says, the structure was a “vast, newly-built castle, ostentatious even by Gothic castle standards. Like, Count Dracula would think this is a bit much.” There were turrets, and a drawbridge, but in the grand ballroom, there was no sign of a party. “There’s a couple of other young people looking awkward and wondering what the hell is going on, but nobody knows what’s happening. Everyone’s confused.”

When the middle-aged castle owner emerged, he introduced himself as Chris Mark. The assembled twentysomethings asked him what was going on, and he told them they were there to take part in his new reality show, 101 Princesses. “He said, ‘I’m the king. I’m looking for my queen, and I have 101 princesses to choose from.” He sent the women down to the basement, where they could find princess costumes to wear. “They went with it, I guess out of unease, awkwardness,” Ronson says. “A videographer appears. They start filming. It becomes pretty clear pretty quickly that this isn’t a real reality show. One reason being that the videographer kept cutting up [a slab of] meat for the castle owner. Just for him. No meat was offered to anyone else.”

Ronson, who was also host of the hit porn-industry investigative audio project The Butterfly Effect, has made a career of letting his curiosity get the better of him. So, the next day, he went to the castle “to find out what the hell was going on,” he says. “And that’s how the book begins.”

The Castle: Adventures in a World of Unraveling Men (out now from Riverhead Books), reads like an adventure story. Though much of it is framed around his interviews and interactions with Mark — the wealthy descendent of a Gilded Age baron — it opens up to a larger pursuit to understand the state of men, and how the breakdown of societal support, coupled with the rise of a technological state, has brought so many to the brink. 

In the book, Ronson travels to the Midwest to visit a town built by Mark’s great grandfather in the 19th century, a recreation of a British village set under power plants and steel factories, where he talks to the man keeping its history alive. He charts the career path of an early YouTube star, Greg Chism, who went from being one of the first lawn-care influencers to chasing the algorithm by posting videos of his two young daughters. What starts as wholesome family content takes a left turn when he begins dressing up his daughters as babies, then donning a baby costume himself, before he’s ultimately all but run off the platform. Ronson includes chapters about Graham Linehan, the creator of huge British sitcoms like Father Ted and The IT Crowd, who became a prominent anti-transgender activist, and Armie Hammer, whose acting career crumbled after his cannibalism kink was revealed. Ultimately, Ronson develops descriptions of the different kinds of men who thrive online — the Vulnerable Man, the Doofus Man, the Manosphere Man, the Separatist Man, the Disinhibited Man — and what these modern archetypes communicate about the world we live in. And throughout it all, he comes back to his own unease about his place in the world. If a man doesn’t have purpose, what’s left?

Chris Mark is a fascinating character — he built this castle for his daughter, but then turned it into a sort of alternate-reality Playboy Mansion. At what point did you realize that his story was going to lead to your next book?
The first thing I heard about the castle owner was that he was a big fan of Hugh Hefner. I thought, this is really funny. He’s trying to be Hugh Hefner at the worst moment in human history. I linked him with my feelings of unease, as well, about not having enough purpose. It felt like there were weird echoes there. I thought, this is a man out of time. He wants a world that’s no longer going to work for somebody like him, and maybe I should write a book about all these other things that men are no longer able to do that they used to be able to do.

One of the things you write about in the book is how people are reflexively dismissive of the problems of straight white men. What made you want to tackle this when you knew that there was going to be pushback?
I think [of this] a little bit like my public-shaming book. People may not like the idea of the book, but then when they read it, they realize that their idea was wrong. Many times over my career, I’ve had this. Nobody wanted to read The Men Who Stare at Goats. The only book I’ve ever written which sold itself was The Psychopath Test — if you put “psychopath” in the title, you don’t have to do that much work. But what I do, I think, over and over again in my career, is look at how big changes that happen on high trickle down and impact the inner lives of people down here. But mostly, it was a book that crashed into my life, this big fucking castle that my son was lured to under false pretenses, and I just wanted to know what the hell was going on.

But let me add one more thing, and I think this applies equally to women as to men. One thing that I became really interested in is this: Structures and institutions collapse, and people feel cut adrift from society, and it does seem to be something that happens more to men than women. There’s more of a weakness in men, that when things fall apart, men isolate and withdraw from the world more. But I got really interested in that — like, what does a lack of purpose and structure do to people’s inner lives? And what’s filling the gap? And one thing that I found that’s filling the gap is content creation on YouTube.

Do you think, as these societal structures break down, the fact that men can’t live up to the preconceived notion of masculinity that they were fed as kids — being a provider, a protector — that’s part of what’s making them feel lonely?
There’s a moment in the book when Greg Chism is the world’s greatest lawn-care influencer, but then his life spirals in the most bizarre ways. He starts to listen too much to the algorithms, and everything goes wrong. And it ends with him basically withdrawing from the world. But I ask him what his life’s like now, and he says, “Well, I wake up, I take my kids to school. I come home. I fall asleep. I wake up and I bring the kids back home from school.” I mean, what a terrible, depressing life. For me, it’s the erosion of structure which is causing so much horror in people’s lives.

So you think people are dealing with this by becoming content creators?
It’s funny, I went to the cage fight at the White House [in July]. Everybody [in the press pool] was allowed to inspect the cage a couple of days earlier, so we all had to be at the White House at like half past five in the morning. Like 100 people were there, and we were all standing on the steps of the Eisenhower Building, and somebody from the UFC came up and yowled, “OK, everybody, content creators and videographers, step to the left, print journalists step to the right. And there was this vast exodus to the left. Like 98 percent of the people there were content creators, and the print line was like me [and a few other journalists]. And we were just laughing, like, “Oh, my God, we’re such redundant dinosaurs.” So that’s the kind of thing I’m talking about, like a huge shift from the old institutions that I grew up in, to the sort of post-institution era.

How do you think AI chatbot technology plays into accelerating this?
It makes it so much worse. AI trawls the internet, sees how purposeless people feel, how lost, and comes in with a false idea of purpose. Like, “You’re the greatest mathematician on the planet,” or, “You’re creating the greatest reality show ever.” It’s so pernicious. It’s so evil. It’s like they’re swooping in to keep us engaged through sycophancy.

Going back to Greg Chism, the lawn-care influencer, one of the things that I found so stark in that story was how he kept changing his content to please the YouTube algorithm so he could get views. What did you find in reporting this book about people who are trying to contort themselves to the pleasure of the computer?
His story has got to be one of the most extraordinary things that ever unfolded on YouTube. Like how he goes from lawn care through to all the stuff that happened after that, which is just nuts. Do you remember that novel, The Dice Man, by Luke Rhinehart? It’s about a character who decides to cede his life to the roll of a dice. Every decision he makes, he makes for the roll of a dice, and that’s what people are doing now on YouTube. If they give themselves over too much to the algorithm and the incentive structures, you end up doing more and more extreme things.

I think it’s partly because YouTube gained the reputation of being this wide-open country, like a post-institution utopia where men and women could thrive through grit and perseverance as an influencer, which is a very compelling idea. I grew up in a world of gatekeepers, and it was awful to have to beg people to give me a chance. It’s very compelling to have a world without that, that feels like it could be a true meritocracy where good people rise to the top. And good people do rise to the top. It’s not like it’s all an illusion. Greg Chism’s story and lots of other stories show that if you cede your life to the algorithm — and not just the algorithm, also what the viewers are encouraging you to do — it just leads to hell, and Greg’s story leads to hell in the most baroque and unexpected ways. But I think you could say the same thing about smaller stories, like anti-woke influencers, is a good example of another way that this manifests in sort of pernicious ways.

Another person you write about is your former friend, Graham Linehan, who went from being pretty universally beloved in Britain to becoming one of the country’s loudest anti-trans voices. He attacked you extensively online after you called him out for being a bully, too. Tell me about your decision to include such a personal story in this book.
Well, it was very hard. I’ve been trying to write about Graham since 2020, and I’ve picked it up and put it down many times because I could just feel my stress levels rising. Because, you know, Graham’s story is, he became a gender-critical activist, and just made it his absolute identity. And he has his bêtes noires, and I’m one of them, and he’s posted about me thousands of times by now.

The Graham chapter was much longer, but it stressed me out so much. I cut it in half, but it’s like that scene in Poltergeist when you open the door in the bedroom and there’s all this furniture spinning violently around, and I think I’m a piece of furniture spinning violently around inside Graham’s head. I told him I thought he was acting like a bully back in 2019, and all these years later, he’s still going on about it. But I think there’s three or four reasons why I thought I should write about it. Firstly, the only reason to not write about it is fear, and I just don’t think, as journalists, we can be guided by fear.

Secondly, I’ve often thought about Graham. So Graham, for people who don’t know, was a huge figure in British cultural life, maybe a good equivalent would be like Judd Apatow. He was this showrunner of some of the most beloved comedies in British history, and then he fell into this new world in this extraordinary way. I hope this doesn’t sound glib, but I’ve always thought there was like an epic quality to Graham’s story. It was like if Harold Pinter or Tom Stoppard was writing a play about Graham, it would be an incredible play.

But the main reason [I wrote about him] is that I really wanted to do something about disinhibited men. What I discovered was that, when men feel cut out, cut adrift from society, some fold in on themselves. Some adapt. Some lash out. Graham is somebody, and you see it in a lot of different places, who basically decided to just be completely disinhibited, to basically rip off his face, and just allow his head to run wild. It’s as if he’s just decided nothing matters anymore. I thought that felt so extraordinary, but also so resonant to the world we’re living in now of disinhibition.

Tell me about Marktown, the town in Northwest Indiana that was built by Chris Mark’s great grandfather, and modeled after a British village. What did you find when you went there?
I really wanted to do something after the castle mystery, you know, exploded into my life, and I decided I wanted to broaden it out into other men, feeling that life was passing them by, and then I thought, well, I’d love to do something about deindustrialization, but how? And also, men who are withdrawing from the world and becoming recluses, but how? And then I discovered, just incredibly fortuitously, that the castle owner’s great-grandfather was a Gilded Age steel tycoon. That’s how he got his money to build his castle, and he had built a utopian theme town in East Chicago, Indiana, for his steelworkers to live in. And over the years, this utopian town, which at the beginning looked great, has completely crumbled into a world of recluses and hoarders. Marktown’s designed to be this lovely English village, like a Miss Marple-type village where some kind of Agatha Christie adventure would happen, but it’s completely surrounded by heavy industry. So it’s like Miss Markle being like scrunched up and thrown into the middle of Wall-E. And when you look at an aerial photograph of Marktown, you just can’t believe it. It’s like nothing on Earth. So yes, so very fortuitously, I got to tell that story of deindustrialization in a way that’s completely relevant to the castle story.

Toward the end of the book, you write a little bit about an interview you did with Armie Hammer after his “cannibalism” scandal broke.
So the story is, I got a call. He was filming in New Orleans, and I knew some of the people involved in the film [called Wounds], and they invited me to New Orleans to visit the set. We had dinner with Armie Hammer and his wife and the various movie people, and Armie talked a lot about meat, how much he liked meat, and he was utterly delightful and charming, and it was a great night.

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So then a couple of years later, it all happens, the whole cannibal stuff, and then a couple of months after that he contacts me, and I fly to interview him. He says I’m the first person ever to interview him [since the scandal], and he tells me the whole story. But I sit on it. I don’t know what to do with it because there’s some things where he’s definitely right, but then there’s other things where he hasn’t behaved well. Like he would sweep women off their feet and take them to Ojai, and then give them the time of their life, and then come back and drop them off, and completely forget about them. And I thought, I need time. Like I just, you know, this is a story that needs a lot of time. And [eventually] he gave the story to someone else. I felt slightly like one of the women that you take to Ojai. But you know what? I can’t blame him. I was taking way too long. So I have no ill feelings, but this interview was sitting on my computer for the next couple of years, and so I included a little bit of it because there were moments in our conversation which I think shed light on some of the motivations of the castle owner, and privilege, and people not being told that they can’t do things. I cut it down to its absolute minimum, to shed light on other stories in the book.

You’ve got a stage show of the book you’re taking on tour in the States and the U.K. Can you tell us about that?
It’s called Enter the Castle. I always do pretty elaborate stage shows. I still do a show called Psychopath Now, based on my Psychopath Test book, where I have mystery guests, and I’ve done shows where I have a band onstage, performing with me as I’m doing the speaking. This time around, I’m using a lot of audio and video clips, and bringing the book to life as a series, almost like a live documentary that I’m narrating onstage. So I always make it ambitious.

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“This story crashed unannounced into my life,”

5 Films That Capture the Real Meaning of Labor Day

Labor Day started as a response to dangerous factories, brutal hours, and a labor movement that fought — and sometimes died — for the eight-hour day. It’s easy to lose that history under a layer of mattress sales and the unofficial end of summer. So instead of another list of Norma Rae and On the Waterfront reruns, we went back through our own archive to pull five films Film Threat has reviewed that dig into what it means to work, to lose work, or to fight for its dignity. Two documentaries, two narrative dramas, and one hunger strike inside a Supermax — here’s our Labor Day watchlist, straight from the reviews.

1. Solidarity (2026)

The plot: Director Dustin Brown’s debut feature tracks two immigrant workers in Los Angeles’s fashion district who never meet but share the same fight. Inés, a Mexican seamstress, is trying to make it to her daughter’s wedding while dodging an ICE raid and an exploitative boss. Tomas, a Lithuanian butcher, is dealing with an abusive employer and a personal tragedy of his own. Their stories run in parallel, two very different backgrounds converging on the same experience of being disposable labor in someone else’s economy.

Why it’s on the list: It’s the most direct, most current statement on this entire list — a film that takes the word “solidarity” and applies it literally to two workers who’d otherwise have nothing in common. If Labor Day is about honoring the people who keep the country running while getting the least protection for it, this is this year’s answer.

The pull quote: Reviewer Bradley Gibson gave it a 9/10, calling it “an emotionally charged exploration of the disregard many Americans hold for immigrants,” and adding that “Solidarity does what great cinema should, putting us in the shoes of others to know their experiences vicariously.”

2. Working Man (2020)

The plot: Robert Jury’s drama follows Allery Parkes and Walter Brewer, two lifelong factory workers whose plant shuts its doors without warning. Rather than walk away, Allery keeps showing up — clocking in, running the machines, finishing the orders nobody asked him to finish — because the factory is the only identity he’s got left. What starts as stubbornness turns into something closer to grief.

Why it’s on the list: This film gets at the part of Labor Day nobody puts on a greeting card: what happens when the labor is taken away from you. It’s a portrait of the psychological toll of deindustrialization, told through one man too proud, or too lost, to stop going to work.

The pull quote: Kyle Bain scored it 9.5/10, the highest on this list, writing that “the story of loss and persistence engulfs the audience, so much so that they cannot look away,” and praising the way “Jury’s ability to connect to the real world and the people in it says volumes about his writing.”

3. American Factory (2019)

The plot: When GM shut down its Dayton, Ohio plant in 2008, it left thousands out of work. The Oscar-winning documentary from Steven Bognar and Julia Reichert picks up years later, when Chinese auto-glass manufacturer Fuyao reopens the same building — and the culture clash between Chinese management and American labor becomes a case study in what globalization actually looks like on the factory floor.

Why it’s on the list: It’s the closest thing on this list to a direct sequel to the story Labor Day was invented to tell: what a company owes the people who work for it, and what happens when that math doesn’t add up on both sides of the world.

The pull quote: Film Threat’s own Alan Ng reviewed it at 8.5/10, noting that “in our minds, this idea of globalism is a noble one… but when put into practice, it’s an entirely different matter,” and pressing the question at the heart of the film: “What do these jobs mean when expectations fail to match reality and a working wage comes at a high price?”

4. The Workers Cup (2017)

The plot: Adam Sobel’s documentary follows migrant construction laborers in Qatar — men from India, Nepal, Ghana, and Kenya — building the stadiums for the 2022 FIFA World Cup under grueling 12-hour days. As a morale boost, FIFA and the labor camps organize an amateur soccer tournament, “The Workers Cup,” giving the men a brief, bittersweet taste of the spotlight their labor will never actually get.

Why it’s on the list: It’s the starkest illustration on this list of labor without recognition — men building a global spectacle they’ll never be allowed to watch in person. The tournament is a nice gesture and a devastating irony in the same breath.

The pull quote: Lorry Kikta scored it 8/10, zeroing in on details like the fact that “the workers who built the place are not even allowed to be in the building when the mall is open” — a line that says more about the gap between labor and reward than any statistic could.

5. The Strike (2024)

The plot: This documentary from Lucas Guilkey and Joe Bill Munoz goes inside Pelican Bay State Prison’s Security Housing Unit, where inmates including Gabriel Reyes, Richard Wembe Johnson, Luis Esquivel, and Danny Troxell organize a hunger strike — inspired by Irish republican prisoners — to protest the psychological brutality of long-term solitary confinement.

Why it’s on the list: It stretches the definition of “labor” to its limit, and that’s exactly the point. A strike is a strike whether it’s on an assembly line or in a Supermax — a collective refusal by people with almost no leverage, using the only thing they have left to withhold.

The pull quote: Kent Hill gave it 8.5/10, calling it “an enthralling and engrossing look at the unyielding flame that burns at the heart of the human spirit,” and describing it as “another important documentary that shows the callous core at the heart of yet another system of control.”


All five films are reviewed in full on Film Threat. Have a Labor Day watch of your own worth arguing for? Let us know.

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5 Films That Capture the Real Meaning

Nepal held a day of mourning Monday to remember those killed in the Aug. 26 floods, with flags lowered at government offices and families concluding mourning rituals.

Monday was the 13th day since the flooding which killed more than 1,300 people in Nepal and Tibet and left some 5,000 missing, including foreigners, according to Nepal’s disaster management agency.

In predominantly Hindu Nepal, mourning periods last 13 days, during which close family members stay home and relatives visit to pay their respects. Rituals are held on the final day to pray for the souls of the departed.

Several people whose relatives remain missing performed symbolic funerals. Cremation is an important final rite in Hindu tradition, and performing the ceremony even without the bodies of their loved ones provided some families a sense of spiritual release.

The government had declared Monday an official day of mourning and ordered flags at government offices lowered to half-staff.

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Meanwhile, search efforts continued for the missing, but some protested that not enough was being done.

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In Kathmandu, relatives gathered near the offices of the prime minister and key ministries to demand the government speed up search and rescue efforts for hundreds of people who had been working at hydropower plants and were either swept away by the rushing Bhotekhoshi River or buried under debris.


Click to play video: 'Canadians lend a hand as massive relief effort in Nepal begins'


Canadians lend a hand as massive relief effort in Nepal begins


Sumana Shrestha stood with family members holding a poster with the photo of her 55-year-old husband, who has not been heard from since the day of the flood.


Her husband, a consulting geologist, had promised to return home after his shift at the project office for the Trishuli hydropower plant on the day of the flood. The 2 1/2-story office was completely buried by debris.

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“We are here because we have not heard of any rescue attempt on this project, but it has been 13 days already,” she said. “The only thing we have been able to do is pray to God and hope for a miracle.”

Another protester, Mahesh Prasad Shrestha, held a photograph of his brother Niraj Shrestha, a 52-year-old engineer who worked at the same site. He said authorities only sent a small excavator by helicopter on the sixth or seventh day after the disaster, adding: “They should have ordered big helicopters from places like China or India to fly in equipment.”

Candlelight vigils were held in several places in Kathmandu in memory of the people who lost their lives during the flooding.

Rescue efforts have focused on 12 hydropower projects, where about 900 workers are missing and roughly 500 are believed to be trapped in various tunnels, authorities said. Specialized rescue teams from India, China, South Korea and the United States have been searching through debris, damaged structures and tunnels at the projects.

Two Nepalese workers were rescued from the plant Friday, and rescuers pulled out a Chinese man from the facility on Saturday.

&copy 2026 The Canadian Press

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Nepal held a day of mourning Monday

EXCLUSIVE: Literary classics such as Wuthering Heights and Jane Eyre are getting the microdrama treatment.

This is through the latest entrant into the microdrama field, LoveHit, an L.A.-based studio and app focused on originals based on classic literary adaptations.

LoveHit, which launches this month, has a vertical video slate built entirely from classic novels in the public domain. At launch, this will comprise Wuthering Heights, Pride and Prejudice, Jane Eyre, The Great Gatsby and Beauty and the Beast. More are in post-production, including Dangerous Liaisons, The Scarlett Letter and Les Misérables.

Each has been written, shot and edited as both a vertical series and a horizontial features, with the latter being readied for TV and streaming buyers worldwide attending MIPCOM on October 12-15 in Cannes. Series will last roughly 50 episodes running between one and three minutes, with the films at 90 minutes.

Actors appearing in the titles include microdrama regulars Meg Bush, Tyler Harlow and Sophie Swiszcz, along film, television and stage stars. These include Academy Award nominee Eric Roberts, who appears in Jane Eyre, which stars Raina Silver and Tyler Harlow. Ethan Vaughan and Jean Evans will star in Wuthering Heights, which is relocated to a present day American ranch. A vertical cut of the show launched on the LoveHit app on August 27 ahead of the full launch.

Other plotlines see Dangerous Liaisons adapted in a story where a Manhattan socialite hires the anonymous author of a scandalous blog to destroy her ex-fiancé’s reputation. The Scarlett Letters follows a woman who believes her husband died overseas only to fall for the young pastor helping her rebuild, while Les Misérables moves the story into college, following a student who loses everything before finding anonymity and income behind a webcam, only for someone to recognize her.

“There isn’t a market in the world where these titles need much of an introduction,” said Lenny Levi, CEO of LoveHit. “Every generation has adapted them, and every generation finds its own reason to connect with them. That’s what makes them evergreen.”

We hear LoveHit has been privately financed, with a group of investors supportive of the company’s growth and content strategy.

Levi is an L.A.-based film and media producer with more than 15 years across production, business affairs, international distribution and emerging media. He has worked at Sony Pictures Entertainment, CBS Television Studios, Paramount Television Studios and Riot Games. He has produced multiple feature films and currently focuses on film and vertical storytelling.

He was closely involved in building and launching Squad.App, an AI-powered influencer marketing platform for brands and creators. He has also produced feature films.

“We framed everything for both formats and cut two versions: the vertical version is made specifically for mobile devices and has its own way of telling the story, while the horizontal version goes to Cannes, where we’re already seeing interest in romance from television and streaming buyers around the world. I’m especially proud that we shot all of it in Los Angeles, using local casts and crews.”

There have been a spate of L.A.-based microdrama businesses launching over recent weeks, and LoveHit’s launch comes less than a week after aTwist, which is led by a trio of former network execs, debuted.

aTwist debuted on September 3 with titles such as Buried Alive, Back For Revenge, Cash Out, Hollywood Starlet, I Fell in Love with a Dragon Prince, I Swiped Right on a Serial Killer, My Billionaire Kidney, My Book Boyfriend Came to Life, Pretty Hurts and So Do I, Something is Alive in My Attic and Strangers, a Plane and a Deadly Game. It also has a production partnership with Kevin Hart’s Hartbeat, a deal with BET and the first microdrama from The Bold and the Beautiful‘s creative chief, Bradley Bell.

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EXCLUSIVE: Literary classics such as Wuthering Heights

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Trust is the cornerstone of our work, which is why Spinboss Casino runs under a valid license from a trustworthy international gambling authority. This license ensures we follow strict standards regarding player protection, fair gaming, and responsible conduct. Our operations are regularly reviewed by independent testing agencies that confirm the unpredictability and honesty of our games. When you participate on our mobile app, you are accessing a platform that meets the same rigorous requirements as the biggest names in the industry. We display our licensing information openly within the app’s footer and in the terms and conditions, so you can verify our credentials at any time. Realizing that a respected regulator oversees our activities gives you the confidence to focus on the enjoyment, safe in the awareness that your rights are protected and that our games are genuinely just.

Privacy and Scrambling

All your personal and financial information is managed with the highest level of care. We implement advanced SSL encryption technology across our entire mobile platform, which means all data transmitted between your device and our servers is encrypted and inaccessible to outsiders. This is the same security standard used by major banks and e-commerce sites. In addition, we follow strict internal data handling policies that limit access to your information to only those employees who need it for account maintenance or verification. We never share or sell your data to third parties for marketing purposes without your explicit consent. Our privacy policy, which you can review at any time in the app, explains exactly how we collect, store, and protect your information. With these measures in place, you can deposit, play, and withdraw with complete peace of mind, knowing that your digital safety is our top priority.

Safe Gaming Tools

We desire your stay at Spinboss Casino to stay fun and under your management, which is why we have built a extensive suite of responsible gaming options right into the mobile app. You can establish daily, weekly, or monthly deposit limits to regulate your expenditure, and you can adjust these restrictions at any point. Session time notifications aid you stay track of how long you have been playing, and reality check notifications pop up at intervals you select. If you ever feel the urge to take a break, our self-exclusion feature enables you to briefly or forever shut your profile with a few taps. We also provide direct links to professional support organizations that concentrate in problem gambling. Our customer support staff is trained to identify signs of trouble and can guide you toward the correct tools. By placing these measures in your control, we guarantee that mobile play remains a rewarding and entertaining part of your daily life.

Enter Spinboss Casino: Your ultimate Mobile Playground across Norway

Spinboss Casino was founded with a clear mission: to provide a premium, hassle-free gambling experience that moves with you. We observed many Norwegian players were weary of being tied to a desktop, so we set mobile freedom at the heart of our brand. Our platform is certainly not a scaled-down afterthought; it is truly a fully-featured casino that slips easily in your hand. When you launch the app or visit our mobile website, you step into a vibrant lobby where every element is optimized for touchscreens. Game thumbnails appear fast, menus work without delay, and the overall feel is as fluid as any native app you utilize daily. We have put in effort to ensure Norwegian players feel comfortable from the first tap, with local language support, familiar currency handling, and popular payment methods. This represents your mobile playground, and we are dedicated to make every session full of fun and fair winning opportunities.

What genuinely distinguishes our mobile playground apart stems from the attention we pay to details that matter when you game while traveling. Screen layouts adapt intelligently whether you grip your phone in portrait or landscape mode, and game controls are placed where your thumbs fall naturally. We also understand mobile data concerns, so we adjusted the platform to use minimal bandwidth without lowering graphic quality. Even live dealer streams adapt in real time to your connection speed, so you can experience real-time table games from a train or a remote cabin. Beyond technical polish, we created a community feel into the app with easy access to promotions, tournament leaderboards, and support chat, all accessible with a tap. Spinboss Casino isn’t just a website you visit on your phone; it is a dedicated environment where every feature is built to make mobile play the optimal way to play.

FAQ

Is Spinboss Casino mobile app free to download?

Absolutely, the Spinboss Casino mobile app is entirely free to download for both iOS and Android devices. You can acquire it from the Apple App Store or directly from our official website for Android. There are no concealed fees, subscription fees, or in-app purchase requirements. Once installed, you can navigate the full game lobby, view promotions, and even test many games in demo mode without investing any money. Real-money play demands a deposit, but the app itself costs nothing and uses minimal storage space on your phone.

Can I play the same games on mobile as on desktop?

Certainly. Our mobile platform offers the same extensive game library you see on the desktop version, with only a very few of very old titles being omitted due to outdated technology. Every new release is built with mobile compatibility in mind, so you can experience hundreds of slots, table games, and live dealer tables without compromise. The games are tailored for touch controls and smaller screens, guaranteeing a seamless experience. Your account balance, bonuses, and game progress sync instantly across all devices.

What is the timeframe do withdrawals take on the mobile app?

Payout speeds are influenced by the payment method you choose. E-wallets like Skrill and Neteller are the speediest, often sending funds within a few hours to 24 hours after approval. Card withdrawals usually take one to three business days, while bank transfers may require three to five business days. We process most withdrawal requests within 24 hours, and you can check the status directly in the app. Finalizing identity verification early aids avoid delays and enables higher cashout limits.

What should I do if the app freezes or fails during a game?

If the app freezes or fails, simply exit it and restart. Our platform is engineered to store your game state, so you will generally go back to the exact moment you left, with any gains or active bonus rounds intact. If the problem remains, check that your device operating system and the app are updated to the latest versions. You can also clear the app cache in your settings or reach out to our 24/7 live chat support for immediate troubleshooting assistance.

Are my personal and banking details secure on the Spinboss Casino app?

Certainly, your security is our top priority. The app uses advanced SSL encryption to protect all data transmitted between your device and our servers. We follow rigorous internal data protection policies and never share your information with third parties without your consent. Our platform is periodically audited for security vulnerabilities, and we comply with all requirements set by our licensing authority. You can deposit and withdraw with certainty, knowing that your sensitive information remains secure at all times.

Am I able to set limits on my mobile play to stay in control?

Definitely. We deliver a full set of responsible gaming tools directly within the mobile app. You can set per-day, weekly, or monthly deposit limits, activate session time reminders, and use reality check notifications to track your play. If you need a break, you can self-exclude for a set period or indefinitely. All these controls are easy to find in the account settings menu, and our support team can guide you through the options. We recommend you to use these tools to keep your gaming fun and balanced.

Do I need a separate account for the mobile app?

No, a one Spinboss Casino account functions across all platforms. If you currently have an account established on our desktop site, you can just log in with the identical username and password on the mobile app. Your account, bonuses, loyalty points, and game history will all be present waiting for you. In the same way, if you register through the app first, you can afterward access your account from a computer without any extra steps. Everything is synchronized in real time for a seamless experience.

Help Desk That Goes Where You Go

Live Chat and Email Support

We are convinced that top-notch help should be as flexible as the casino itself. That is why our live chat feature is embedded into the app, available with a single tap from any screen. Our support agents are friendly, knowledgeable, and available around the clock to help with anything from a forgotten password to a question about a bonus term. You can anticipate a response within seconds on live chat, and the conversation stays open even if you switch between apps, so you can stay in the game while we resolve your issue. For less urgent matters, you can also contact us via email, and we typically respond within a few hours. Both channels are staffed by real people who are familiar with the Norwegian market and can interact effectively in your preferred language. We treat every inquiry with courtesy and promptness, because we know that fast, effective support is a critical element of a premium mobile casino experience.

Full Resource Center

Occasionally you need an answer immediately without needing a chat agent, and our in-app Help Center is created for just that. It features a searchable library of articles covering every part of the Spinboss Casino adventure, from account verification and payment methods to game rules and technical troubleshooting. The articles are composed in clear, easy-to-understand language and are frequently updated to highlight the latest features and promotions. You can look by category or input a few keywords to discover what you need in seconds. We have also included step-by-step guides with screenshots for common tasks like resetting your password or activating a bonus. The Help Center is reachable 24/7, operates offline once loaded, and is meant to provide you the freedom to handle minor issues on your own, allowing our live agents for more complex questions.

Support in Your Language

We realize that discussing financial matters or technical problems is a lot more comfortable in your native tongue. That is why our customer support team has Norwegian-speaking agents who can assist you without language barriers. Whether you choose to chat, write an email, or browse help articles, you can do so in Norwegian or English, with other languages offered upon request. The app interface itself can be adjusted to your preferred language in the settings menu, guaranteeing that every menu, button, and notification feels familiar. This dedication to local language support reaches to our promotional communications and terms and conditions, which are always supplied in clear, localized text. By breaking down language obstacles, we make sure that you fully understand every aspect of your gaming experience, so you can play with confidence and get help precisely when you need it.

Mobile Banking: Payments and Payouts Simplified

Immediate Deposit Options

Depositing into your Spinboss Casino account from your mobile device is swift, safe, and completely hassle-free. We offer a variety of payment methods popular among Norwegian players, making sure you can choose the option that suits you best. The deposit interface in the app is straightforward: simply tap the cashier, pick your preferred method, input the amount, and confirm. Funds are credited in your balance right away, so you can start playing your favorite game without hesitation. We do not charge fees for deposits, and we utilize advanced encryption to safeguard every transaction.

  • Visa or Mastercard for instant card deposits
  • Online wallets like Skrill and Neteller that handle transactions in seconds
  • Bank transfer options and Trustly for smooth online banking
  • Digital currency deposits for added privacy (where available)

Quick and Dependable Payouts

When it comes time to collect your winnings, we have streamlined the withdrawal process to be as smooth as possible on mobile. You can initiate a cashout directly from the app’s banking section, and we approve most requests within 24 hours. E-wallet withdrawals are typically the quickest, often reaching your account within a few hours to one business day after approval. Card withdrawals and bank transfers may take between two and five business days, subject to your financial institution. We are proud of our efficient payment team, which works around the clock to examine and approve payouts quickly. To avoid delays, we advise completing the identity verification step early, as this grants higher withdrawal limits and speeds up future requests. You can track the status of every withdrawal in real time through the app, and our support team is always ready to help if you have any questions about a pending transaction.

Withdrawal Timelines and Limits

Clarity around settlement periods and limits is something we consider a priority. While deposits are instant across all methods, withdrawal timeframes depend on the chosen payment channel. E-wallets like Skrill and Neteller usually release payments within 0 to 24 hours after approval, whereas credit and debit cards typically take one to three business days. Bank transfers can extend to three to five business days, but we are constantly working to reduce these windows. Our withdrawal limits are structured to accommodate both casual players and high rollers. The minimum withdrawal amount is generally set at a level that works well for small wins, while maximum limits per transaction or per week are generous and can be increased for VIP members. All specific figures are displayed in the cashier section of the app, and we revise them whenever improvements are made. This way, you can organize your cashouts with confidence and never face unexpected restrictions.

Mobile Performance: Performance, Design, and User Interface

Flawless Cross-Device Integration

One of the key benefits of the Spinboss Casino mobile ecosystem is that it works seamlessly across all your devices. If you use an iPhone, an Android smartphone, or a tablet, our platform adapts automatically to your screen size and resolution. You can start a gaming session on your phone during your morning commute, then pick up right where you left off on your iPad at home, with all your balance, bonuses, and game history synchronized in real time. The app and the mobile browser version use the same backend, so you never have to worry about losing progress. We nrk.no have evaluated our interface on a wide range of devices, from the latest flagship models to more modest handsets, ensuring smooth performance across the board. This cross-device harmony means you are never limited to a single gadget, providing you true freedom to play anywhere in Norway without friction.

Easy Navigation and Speed

We developed the mobile interface to be so user-friendly that even first-time visitors can find their way around in seconds. The main lobby is arranged into clear categories: slots, table games, live casino, and promotions, all reachable from a sticky bottom navigation bar that stays within thumb reach. A smart search function lets you enter the name of a game and jump straight to it, while filters for provider, popularity, and new releases help you uncover fresh titles. Loading times are exceptionally quick because we use a content delivery network that caches game assets close to your location. Even graphic-heavy slots and live streams launch with minimal delay. We also improved the cashier and account settings pages for mobile, so making a deposit or checking your bonus status requires just a couple of taps. The result is a user experience that feels natural, fast, and completely frustration-free.

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Playing Without Interruptions

Nothing ruins a winning streak like a sudden crash or a frozen screen, so we have invested heavily in stability. Our mobile app is built on a robust framework that handles memory efficiently and recovers gracefully from network hiccups. If your connection drops momentarily, the app will attempt to reconnect automatically and restore your game state without you losing a spin or a hand. We also minimize intrusive pop-ups and unnecessary animations that can slow down older devices. Push notifications are optional and can be customized so you only receive alerts about bonuses or events you care about. Battery consumption is another area we have fine-tuned; our app uses hardware acceleration wisely to keep gameplay smooth without draining your battery excessively. All these technical choices add up to a mobile experience where you can immerse yourself in the action for hours, confident that the platform will hold up as well as your luck.

Game Variety on the Go: Spinning Games, Table Options, and Real-Time Dealer

A Universe of Mobile Slots

Slots are the beating heart of any casino, and our mobile collection is nothing short of spectacular. We have teamed up with some of the industry’s most innovative software providers to bring you numerous titles that shine on smaller screens. From classic three-reel fruit machines that bring back nostalgia to cutting-edge video slots filled with bonus rounds, free spins, and cascading reels, there is a game for every mood. You can play popular titles with Norse mythology themes, adventure quests, or vibrant animal kingdoms, all with clear graphics and responsive touch controls. Bet sizes are adjustable, allowing you to bet just a few kroner or go for higher stakes, and every game runs smoothly at 60 frames per second on modern devices. We frequently add new releases, so the lobby always feels fresh. Whether you have five minutes or a whole evening, our slot universe offers endless entertainment right in your hand.

Classic Table Games and Video Poker

If you favor strategy over pure luck, our table game section offers the casino floor to your mobile screen with exceptional authenticity. You will find multiple variations of blackjack, including European, American, and multi-hand versions, each with authentic card animations and intuitive betting interfaces. Roulette fans can spin the wheel in European, French, and American formats, with a easy tap-to-bet system that makes placing chips a breeze even on a phone. Baccarat, craps, and casino poker variants like Caribbean Stud and Three Card Poker are also accessible, all optimized for touch play. We have not forgotten video poker enthusiasts either; our collection includes Jacks or Better, Deuces Wild, and other popular formats that combine slot-like speed with poker decision-making. Every game loads in seconds and offers thorough paytables and rules accessible with a single tap. The result is a mobile table game experience that never feels cramped or compromised.

Captivating Live Casino Action

For the best mobile thrill, our live casino streams real dealers directly to your device in high definition. You can enter a blackjack table, see the roulette ball spin, or play baccarat with a professional croupier who engages with you in real time. Video quality changes to your connection, so even on 4G you have a smooth, clear feed. We feature multiple tables with varying bet limits, making live play accessible whether you are a cautious beginner or a seasoned high roller. The chat function allows you to talk to the dealer and other players, reproducing the social buzz of a land-based casino. Our live lobby nettavisen.no also includes game-show-style titles like Dream Catcher and Monopoly Live, which add a playful twist to the action. Everything is built to work perfectly in both portrait and landscape mode, so you can kick back and experience a genuine casino atmosphere from anywhere in Norway.

We believe the top casino journey should

Most desktop chargers are purely functional, but the robot-shaped Ugreen Uno manages to make something as mundane as powering your devices surprisingly fun.

Right now, the Ugreen Uno 100W GaN fast-charging block is now $60 (was $80) at Amazon. It’s one of our favorite quirky gadgets for the office, scoring the full 5 stars in our review.

The Uno has a small TFT display that shows different facial expressions depending on its charging status, and its removable magnetic feet complete the little desktop robot design. In the UK, Ugreen’s 100W charging block is now £40 (was £56) at Amazon.

Why we recommend it

In his rave five-star review of the Uno, our expert Harry said: “With an impressive power output, quad-port design and quirky robot form, the UGreen Uno Charger 100W establishes itself as one of the best wall chargers on the market. It’s modestly priced against competitors, delivers super-fast charging and displays entertaining emojis, making it the ideal charging companion.”

The Uno is a desk accessory that can add some personality to a home office without loosing practicality. Its display cycles through expressions including smiling, blushing and even an eating animation while charging, with a suitably cool expression appearing when charging completes.

More importantly, there’s a capable 100W GaN charger inside that lets you power four devices simultaneously, The top two USB-C ports can each deliver up to 100W when used individually, making it suitable for more demanding devices such as laptops.

The port placement on top also makes sense when it’s sitting on a desk, while its compact 2.05 x 1.93 x 3.23-inch dimensions are impressive considering the number of ports and power available.

Price context & historical value

Amazon has reduced the price of Ugreen’s Uno 100W charger from $79.99 to $59.99, knocking $20 off the usual price. You’re inevitably paying something for the unusual design, but you’re getting four charging ports and enough output to handle many USB-C laptops.

This isn’t the cheapest I’ve seen it though. It was on sale for $45 towards the end of last year. Even so, I think this is still a great deal and one I’d recommend snapping up.

Should you buy it?

✅ Buy the Ugreen Uno 100W charger if…

You want to replace several chargers with one device that also adds some personality to your home office. With three USB-C ports, USB-A and up to 100W of power, it can handle your laptop, phone, tablet and headphones simultaneously while taking up little desk space.

❌ Skip the Ugreen Uno 100W charger if…

You only need a charger for your phone or another low-powered device. The Uno is overkill for that job, and you can find considerably cheaper single-port chargers if you don’t need its 100W output, four ports or quirky display.

The Catch: What to know before you buy

The 100W figure is the maximum available output rather than 100W from every port simultaneously. Power is shared when you’re charging multiple devices, although the top two USB-C ports can each provide up to 100W when used individually.

It doesn’t come with any charging cables, either, so you’ll need to provide those yourself. The display also isn’t particularly bright, which can make its expressions harder to see from some angles.

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Most desktop chargers are purely functional, but

This is a notable year for short films at the Venice Film Festival, with Saoirse Ronan making her directorial debut (“Paper Plane”), Laura Poitras looking at the ICE occupation of Minneapolis (“They’re Here”) and Nathan Silver chronicling a life change through the songs of birds (“Sounds From Home”), among others.

But if you’re looking for star power and cinematic oomph, “Flesh Impact” is the biggest short to come out of Venice since Wes Anderson’s Oscar-winning “The Wonderful Story of Henry Sugar” premiered on the Lido in 2023. The 21-minute film was directed by Maggie Gyllenhaal, who’s serving as president of the Venice jury this year; it will make its debut before the Golden Lion Award ceremony to honor Ellen Burstyn, who stars in the film with Dakota Fanning; and it also features Peter Sarsgaard and newly-minted Emmy nominee Sepideh Moafi from “The Pitt.”

And, oh yeah, it’s about Marilyn Monroe, who was born 100 years ago this year.

Or, perhaps, it’s about the world that created, idolized and wrecked Marilyn Monroe, and the industry that simultaneously adored and exploited her. And about the women who followed her and got their own taste of the adoration and exploitation, definitely including Gyllenhaal herself.

As a director, she is something of a provocateur, jumping through time to present two sides of a troubled and troubling woman in the quietly unnerving “The Lost Daughter” and then going a little nuts with this year’s grungy horror riff “The Bride!” “Flesh Impact” gives Gyllenhaal another complex heroine to consider, but the film itself is gentler, imbued with more sorrow than anger.

In many ways it’s a lovely reverie delivered by a ghost, but it also has bite. And it ends by serenading Marilyn Monroe with the snarling voice of punk icon Patti Smith, a master stroke that is simultaneously surprising, defiant and wonderfully appropriate.

The short, which is screening out of competition in Venice, is also a marvelous showcase for Burstyn, who at the age of 93 plays Marilyn – or Norma, as she first introduces herself – as a woman who has never forgotten that she had to walk around the studio lot in a negligee before she could get any job offers.

The film picks her up as she walks in a stage door, strolls onto a stage and announces that she’s there to audition for the role of socialite Carol Cutrere in Tennessee Williams’ 1957 play “Orpheus Descending.” She’s an hour late, but the casting director (Moafi) points out that’s not the only problem: “Carol is 25 and beautiful,” she says.

“I’m aware,” Marilyn says simply, and then adds that she turned 100 in June. (Monroe was born on June 1, 1926.)

As the casting director and an unnamed director played by Sarsgaard watch with increasing interest, Marilyn begins to ramble, her wandering monologue covering territory familiar to Monroe aficionados: her marriage to Arthur Miller, the orphanage where she spent time as a child, the lure of the nearby film studio, her studies with Lee Strasberg, her mistreatment and dismissal at the hands of Hollywood.

“Billy Wilder said I had flesh impact,” she says, and then defines the term: “You could reach out and touch me.” A pause. “And everybody did.”

Flesh Impact - Dakota Johnson
Dakota Johnson in “Flesh Impact” (Courtesy of Venice Film Festival)

Between lines from “A Streetcar Named Desire” and a riveting monologue from “Orpheus Descending,” she calmly sketches her career in a town where she said the prevailing attitude was that actresses were “all whores.” Burstyn makes the hurt palpable but also shows the layers that were erected to hide the pain – and as a 100-year-old legend dropped into a theater that seems unmoored in time, she doesn’t need to point out that much of what she says can also apply to current-day Hollywood.

The film has a leisurely pace that’s always rooted in sorrow. As Marilyn circles through Hollywood injustices both small and large, Gyllenhaal deploys flashbacks that eventually find Burstyn’s Marilyn morphing into Johnson’s Marilyn and vice versa.

It’s not revelatory, but it’s not meant to be; it’s an offhand, restrained meditation on fame and femininity from a woman who has been battered and bruised but knows her power. “I can still manage it, sometimes,” she says. “Flesh impact.”  

The film is partly a commercial, commissioned by the automotive brand Genesis and featuring one of their electric vehicles in the opening scene. But Gyllenhaal turns product placement into a wry punchline of sorts, another example of the finesse with which she handles the material.

The movie is timed to Monroe’s centennial, but its filmmaker isn’t one for uncomplicated celebration. “Flesh Impact” is sweet and funny with an edge, convincing us that even blonde screen goddesses contain an inner Patti Smith ready to roar.

 

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This is a notable year for

France and Korea pledged to invest 1 billion euros ($1.16 billion) in the global screen industries from 2027 to 2031, in a cornerstone announcement of President Emmanuel Macron’s Lumière Summit devoted to the future of the moving image unfolding in the South of France on Monday.

Korean President Lee Jae Myung, who is on a four-day state visit to France and is co-hosting the global cinema meeting, joined Macron in announcing the funding.

He said his country, which has been at the forefront of the global cross-border content boom with shows such as Squid Games and multi-Oscar winner Parasite, would take the lead “in producing content which resonates with humanity and transcends borders and language barriers.”

The heads of state said other countries were welcome to join the partnership on the proviso they signed up for its commitments to human creativity, copyright protection and cultural diversity.

The unveiling of the funding kicked off the Lumière Summit in Saint Paul-de-Vence, which is famous for its associations with artists such as Marc Chagall, Henri Matisse, and Pablo Picasso.

The one day summit, taking its name from the French film pioneers Auguste and Louis Lumière, has gathered more than 200 high-profile figures from the world of cinema with announced guests including George Clooney, fresh from his Lifetime Achievement Award spree at the Venice Film Festival; Netflix co-CEO Ted Sarandos, NBCUniversal Chairperson Donna Langley and CAA head Bryan Lourd among many more.

Local industry figures in attendance include Mediawan co-founder Pierre-Antoine Capton, Canal+ Group CEO Maxime Saada and Cannes Film Festival Director Thierry Frémaux.

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France and Korea pledged to invest 1

In the early 1970s, Italian film crews spread out across the USSR, capturing a vast, multicultural empire few had ever seen in such diversity. From urban commuters to village fêtes, Baku trawlers to Siberian reindeer herders, the cameramen aimed to capture the Soviet polity at a time when Westerners had a gray, monolithic image of what lay behind the Iron Curtain. Granted official permission, they managed to resist any push towards propaganda, even finding ways to slyly critique a system that proclaimed regional autonomy but controlled everything from the Kremlin. While planned as a monumental, multi-chapter TV series, only a few episodes wound up being broadcast on Italian TV, just once, following which the endeavor lay forgotten in the archives. If ever there was a project for Sergei Loznitsa, this was it.

In “Imperium,” working with 60 hours of 16mm, the master documentarian organizes this journey along geographic lines, starting in Moscow and heading east, then doubling back through “the Stans” and the Baltic republics until ending in what was then Leningrad. As with Loznitsa’s past films of this type, some snippets of conversation and music have been added, but otherwise the footage has simply been restored and edited together. What’s revealed is an immense state whose distinct regions still managed to hold onto unique traditions, notwithstanding an incessant centralized proclamation of unity.

While “Imperium” can be engrossing, its nearly three-hour running time is felt more than in Loznitsa masterpieces like “Maidan” and “State Funeral.” Perhaps that’s because in those films, one feels the force of history pushing us forward, inexorably heading to a watershed moment whose impact continues to resonate across the decades. With “Imperium,” the motivation is clear yet the concept is more diffuse. It’s also a film which will likely resonate best with those of us old enough to recall how the Soviet Union was discussed in the West at the time, a decade before Ronald Reagan’s “Evil Empire” remark — which simply gave a reductivist Star Wars moniker to the anti-communist propaganda suffusing American-driven global discourse since the end of the Second World War. For Loznitsa, of course, his interest is inside the country rather than how it was perceived from abroad, though it will be impossible for most audiences to separate the two.

The film kicks off with a classic parade in Red Square for the 24th Congress of the Central Committee of the Communist Party, with banners touting the same slogans from the previous forty years about production targets being met ahead of schedule. Next comes the GUM department store and window displays with tuxedos, shiny patent leather shoes and beaded handbags, making us wonder who in early 1970s Moscow was buying such luxury goods. Commercialized religion makes its first appearance with a lively trade in Christmas decorations, one of many reminders that despite an official policy of atheism, certain traditions were allowed to persist. (Vladimir Putin, of course, has done an even better job in harnessing religion to his oligarchic dictatorship.)

From the capital the footage moves east, where consumer goods are far more difficult to obtain. In Suzdal, an old woman washes clothes in an ice hole; shots of Vladimir show a town seemingly unchanged from pre-Revolutionary days; further south, residents come out for a winter carnival whose roots must date long before Leninism arrived. As the cameramen spread east, local customs become stronger: Bactrian camel races near the Mongolian border, reindeer sleds in the Sakha Republic. It’s here in Siberia where the footage most forcefully critiques Soviet policy, as a group of young Caucasian Russians (in classic 1970s fashion) play guitar and sing Russian songs, the local Yakut population looking on from the sidelines, discontented observers of this not-so-subtle form of colonialism.

The greatest takeaway from “Imperium” is just how stubbornly resistant centuries-old traditions were to the Soviet push towards uniformity. People still attended mosques in Bukhara and churches in Etchmiadzin, they held on to ways of life that had not been collectivized by Stalinist dictates. Today, however, rampant capitalism and the internet have changed Russia’s social landscape far more than anything Lenin or Brezhnev could have imagined, turning stubbornly multicultural populations that boldly resisted homogeneity into consumers looking West for their acquisitions.

It’s interesting to imagine what might have happened had Italian TV screened the majority of these films upon release. A sense of what life was really like in the Soviet Union was hard to come by then — in the U.S., a 1977 National Geographic publication “Journey Across Russia: The Soviet Union Today” was the first populist corrective to the sense of a uniform society of collectivized proletariat.

Italy, with its strong communist party, had a different problem, too often refusing to acknowledge Politburo abuses. An interesting companion piece to “Imperium” would be Federico Ferrone and Michele Manzolini’s 2013 documentary “The Train to Moscow: A Journey to Utopia,” also consisting of found footage but earlier, when a party supporter from Emilia Romagna discovered that life in the USSR wasn’t all solidarity and freedom. At the time, his Italian colleagues censored his revelations. All empires peddle utopias, but why do so many people believe them?

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In the early 1970s, Italian film crews


One of the biggest questions hanging over the future of the Marvel Cinematic Universe (MCU) is the status of Elizabeth Olsen’s Wanda Maximoff.

The undisputed breakout star of the post-Endgame MCU, Olsen’s Scarlet Witch finally got a chance to shine in WandaVision before her story took a dark turn in Doctor Strange in the Multiverse of Madness.

Source: Marvel Studios

By the end of the second Doctor Strange film, it appeared that Wanda had sacrificed herself to destroy the Darkhold.

Will Wanda Return

While fans held out hope that the former Avenger would somehow reappear in Agatha All Along, it was not to be.

Wanda

Source: Marvel Studios

With the Marvel multiverse set to collide in Avengers: Secret Wars and Avengers: Doomsday, all eyes have been on Olsen.

Late last year, the actress sounded open to making her Marvel return.

Source: Marvel Studios

“It is something that I love, and it’s something I always want to return to,” she said at the Sag Harbor Cinema.

“I think the thing that’s been so special about the last five years is I’ve gotten to do so much with the character that I never thought I would. There are still character through lines that have happened in the comics that I’d love to do, and that I think fans also want to see.”

Source: Marvel Studios

Now, we have a new update.

Olsen’s Latest Comments

During a recent appearance at C2E2 last weekend, Olsen was asked if she had any updates on her MCU future.

Unfortunately, the actress had no news to share.

Olsen as Wanda in The Case of the Mondays

Photo: Marvel Studios

“I know nothing. I know about VisionQuest because I’ve seen Paul Bettany in the last six months. I know nothing about any of it. Is Secret Wars what happens after? I’m not kidding. Why did I think there were two Secret Wars? Are there not?”

While it remains possible that Scarlet Witch could return in Avengers: Secret Wars and Olsen is simply keeping things under wraps, for now, it looks like fans may need to temper their expectations.

Source: Marvel Studios

Between the upcoming multiversal epics and VisionQuest, there are still plenty of opportunities for Wanda Maximoff to return.

For now, however, her future in the MCU remains uncertain.

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The Flash almost introduced a wildly different Bruce Wayne who never became Batman at all.

Before the DC movie finally hit theaters in 2023, Dungeons & Dragons: Honor Among Thieves filmmakers John Francis Daley and Jonathan Goldstein were among the directors attached to the project. Their version never made it to the screen, but it turns out they had a very different plan for Bruce Wayne than the Michael Keaton Batman fans eventually saw.

Speaking with The Playlist, Daley shared one of the biggest ideas from their original The Flash screenplay, revealing that their Bruce never became the Dark Knight. Instead, he was a directionless billionaire who would have been unexpectedly pushed into becoming a hero.

We had a version where Bruce Wayne never became Batman. He was just this billionaire party boy who’s aimless and doesn’t know what to do with his life. We loved the idea of thrusting him into a hero position.

That would have put a pretty unusual spin on one of DC’s most famous characters. Rather than meeting a seasoned Batman who had already spent years protecting Gotham, Barry would have encountered a Bruce who had all the wealth and resources fans associate with the character but had never actually taken the step toward becoming a superhero.

It also would have made Bruce’s role in the story almost the complete opposite of what audiences eventually got. In the finished Flash movie, Barry’s attempt to change the past leaves him stranded in an alternate timeline, where he and his younger self eventually track down Keaton’s older and retired Bruce Wayne.

Keaton’s return became one of the movie’s biggest selling points, bringing the actor back as Batman more than 30 years after Batman Returns. He eventually suits up again to help the two Barrys rescue Sasha Calle’s Supergirl and take on General Zod.

Daley and Goldstein’s earlier version of The Flash apparently would have asked a much different question though. What happens when Barry meets a Bruce Wayne who never became Batman in the first place?

Surprisingly, one major part of their original idea did survive. The Playlist reports that Barry going on an adventure with a younger version of himself was the only concept from Daley and Goldstein’s screenplay to make it through the movie’s lengthy development process.

The abandoned Bruce storyline is another look at just how different The Flash could have been. The movie audiences eventually saw leaned heavily into Batman nostalgia, featuring not only Keaton but Ben Affleck’s Bruce Wayne and a surprise George Clooney appearance.

Daley and Goldstein’s idea would have gone in nearly the opposite direction. Instead of bringing back another established Batman, The Flash could have given fans something live-action DC movies rarely get to explore, which is Bruce Wayne figuring out how to become a hero without his cape.


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The Flash

4/10

Release Date

June 16, 2023

Runtime

144 minutes

Director

Andy Muschietti

Writers

Christina Hodson, Joby Harold, John Francis Daley, Jonathan Goldstein, Bill Finger, Bob Kane, Carmine Infantino, Gardner Fox, Harry Lampert, Joe Shuster, Jerry Siegel, Robert Kanigher, William Moulton Marston


  • Headshot Of Ezra Miller iN The Los Angeles premiere of 'The Flash' at the Ovation Hollywood Courtyard.

  • Headshot Of Sasha Calle

    Sasha Calle

    Kara Zor-El / Supergirl


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The Flash almost introduced a wildly different

The CCO of Saber Interactive says there’s “absolutely no generative AI” in any of its numerous upcoming licensed games.

Saber found itself mired in controversy last month when CEO Matt Karch publicly insulted a former writer after she claimed to have been replaced on its upcoming game Rideshare ‘Stimulator’ in favour of AI writing tools.

Saber initially responded with a statement denying that it replaced her or any other writer with AI, but stating that it was indeed using AI in the game’s development, something that had not yet been disclosed on the game’s Steam page.

The game’s Steam page was then updated to include an AI generated content disclosure, noting that the game’s main Campaign mode uses AI voice generation, its Free Ride mode contains AI-written dialogue and its radio stations contain “a mix of radio stations featuring human-made music and AI-generated music”.

Now, in an interview with IGN, Saber CCO Tim Willits was asked whether its upcoming game Warhammer: Space Marine 3 would feature generative AI in it, given that its IP holder Games Workshop has been vocally against generative AI and has a strict no-AI policy for its content production and design processes.

Willits responded by claiming that not only does Space Marine 3 not feature any generated AI work, neither does any of Saber’s upcoming licensed titles, including Stuntman: Hollywood (which features Universal movies), Hellraiser: Revival or Jurassic Park: Survival.

“There is absolutely no generative AI in Space Marine 3 or Hellraiser or Stuntman or Turok or Jurassic Park, or [John] Wick,” Willits said, stressing that for Space Marine 3, “we’re good”.


The industry is “still figuring out” AI, Willits says

Willits says that Jurassic Park: Survival won’t feature any generative AI.

In a separate discussion with VGC at Gamescom, Willits addressed the Rideshare Stimulator controversy, saying its use of AI in that game is an experiment to see if it works.

“As you know, we’re experimenting with it on a small game, Rideshare, and our AI mode – and I’ve said this a bunch in the last two days – is we, the industry, still figuring out where AI will land, and players and consumers are still trying to figure out where it will land”, he told us. “It’s like any other disruptive technology that society has had to deal with through the evolution.”

He added: “I believe that some developer, some video game company will come up with such a brilliant idea that everybody will look at that idea and be like, ‘that’s it, oh my God, that’s how you use AI”, because we don’t know. I mean, you don’t know how to use AI, I don’t know, you know?

“So we’re doing a small bet and we’ll see how it goes. We’re learning a whole bunch… but that’s on that game. But obviously, we’re not doing it on Space Marine 3 or anything like that. So if people really like it, we’ll be like, ‘Oh, that worked.’ And if people don’t like it, we’ll be like, ‘Oh well, it’s only a small game.’”