Accusations of assault, nonpayment, and unlicensed screenings are among the disputes that have followed the Bruin’s controversial new operator from Toronto to Los Angeles. Pereira is also accused of racist and antisemitic speech, as well as online harassment.
Accusations of assault, nonpayment, and unlicensed screenings
In a week where all three morning shows finished with week-to-week gains in total viewers and the Adults 25-54 demo, NBC News’ Today remained the most-watched morning show in America.
NBC News’ morning show comfortably held onto the top spot in total viewers, extending its lead over ABC News’ Good Morning America to over 100,000 in both measured categories. It also finished above the 600,000 viewership mark in the prized demo, while GMA was the only newscast to record double-digit growth within this category.
According to Nielsen’s national live+same-day big data plus program ratings, GMA averaged 2.761 million total viewers and 516,000 viewers in the A25-54 demo for the week of Aug. 24. Compared to the previous week, ABC News’ morning show was up +1% in total viewers and +17% in the demo. When looking at how it performed in the same week in 2025, GMA grew +8% in total viewers and +11% in the demo.
Today finished in first place in total viewers and the demo with 2.863 million and 617,000 viewers, respectively, for the week that just ended. Today grew by +2% in total viewers and +6% in the A25-54 demo compared to the previous week. When put up against the same week in 2025, Today was up +16% in total viewers and +9% in the demo.
CBS Mornings had 1.652 million total viewers and 263,000 viewers in the demo for the week of Aug. 24. Compared to the previous week, CBS News’ morning show had gains of +3% in total viewers and +2% in the demo. Versus the same week in 2025, CBS Mornings saw declines of -4% in total viewers and -15% in the demo—the only newscast not to grow in both measured categories within this yearly comparison.
*Please note that year-over-year comparisons are based on Nielsen Big Data+Panel (2025) vs. Panel (2025) measurements.
August 24, 2026 (Nielsen Big Data + Panel):
| ABC | NBC | CBS | |
| • Total Viewers: | 2,761,000 | 2,863,000 | 1,652,000 |
| • A25-54: | 516,000 | 617,000 | 263,000 |
Source: Nielsen, NTI Total Viewers, Adults 25-54 and Adults 18-49 National Live+Same Day Big Data Plus Panel Program Ratings Current Week (w/o 8/24/26), Previous Week (w/o 8/17/26) and Year-Ago Week (w/o 8/25/25). Season to date: Most Current Data Stream: 2025-2026 Season (9/22/25–8/30/26) and 2024-2025 Season (9/23/24–8/31/25). Season averages based on Big Data Plus Panel ratings start with the 2023-2024 season.
In a week where all three morning
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Legendary R&B singer Mary J. Blige was on the receiving end of a barrage of online abuse after the release late last month of a video advertisement circulated by AI music generator Suno, in which she is seen seemingly collaborating and responding positively to an AI-generated song that sounds remarkably like her work.
There was just one problem: She hadn’t approved the ad, and the deal with Suno was made by an individual who did not have the authority to do so.
In a statement to Variety, a rep for Suno wrote: “Ms. Blige is an icon who we all deeply admire. Ever since she broke onto the scene with ‘What’s the 411,’ ‘No More Drama,’ ‘The Breakthrough,’ ‘Growing Pains,’ etc., she hasn’t stopped innovating. That’s why we wanted to work with her.
“We entered into a business deal with someone who presented themselves as Ms. Blige’s official representative. As soon as we learned this was not the case, and that Ms. Blige was uncomfortable, we terminated the advertising campaign.” Contacted by Variety, a rep for Blige had no further comment.
In the 85-second clip featuring Blige — which has been widely circulated online but at the time of this article’s publication seems only to be officially posted on Suno’s Facebook page — the singer is seen in a studio talking with an unnamed producer as he builds a track that apparently titled “Pretty Flowers” that is similar to Blige’s classic work from the ‘90s and ‘00s. She asks him to add strings and then a beat, and watches, seemingly impressed, as the track is built in seconds. She seems to say the process is “amazing” and “dope,” although the way the video is edited makes it unclear what exactly she is responding to.
A shorter, heavily edited video — in which Blige’s comments appear to be taken even more out of context — is also making the rounds online, although it is unclear whether that one was created by Suno or was pieced together by a person not connected to either party.
The controversy arrived at a tumultuous time for Suno, which has had a highly combative relationship with the music industry in recent years. Although it has struck licensing deals with two top music companies, Warner (which previously sued it) and recently BMG, it is in ongoing legal action with Universal and Sony over unauthorized use of their copyrighted material, and was sued earlier this week by Grammy-winning Americana singer Jason Isbell and others, who claim the company has allowed users to produce tracks based on musicians’ identities with its models without their consent. Last month a German court found that the company was violating U.S. and German copyright laws.
Legendary R&B singer Mary J. Blige was
Based on the real events surrounding the 1982 attempted coup of the Kenyan government, James Ongige’s short film Voice of State recreates the takeover of the state radio station used to notify the country that the government had changed hands.
The film begins with archival footage from Kenya following the death of president Jomo Kenyatta, setting the scene for Daniel arap Moi’s presidency before launching into the story. It centers legendary Kenyan radio broadcaster Leonard Mambo Mbotela (Adrian Opiyo), who we first meet as he finishes his broadcast for the day. That night, under the veil of darkness, Hezekiah Ochuka’s (Maxwel Thocho) rebel forces move in, taking Mbotela from his home to the radio station. In a tense standoff, he’s forced to announce that Moi’s government has fallen. From there, it’s only a matter of time before those forces flee as the coup unravels and Mbotela is able to quell the concerns of listeners at home.
” … takeover of state radio, notifying people that the government of Kenya had changed hands …”
Opiyo’s performance as the beloved Mbotela is the real star of the show. In the limited runtime, not a lot of time can be spent developing the character, but Opiyo effectively brings Mbotela’s trademark charisma to life. You can see the fear on his face as he’s swept up in the coup but you can also feel his strength as he converses with his captor. The performances along with Ongige’s simple approach to the story immerses the audience into this historic moment. There are no frills, just the anxious moments that could have redefined a country’s history.
Ongige is less interested in hashing out the conditions that led up to the attempted coup or the politics of the revolutionaries than he is in examining how they tried to take power. They didn’t march on the palace, they came for the radio station. The approach finds modern relevance within a 40-plus-year-old story. The real power is in the hands of the media.
The film ends with a flurry of additional context and information about Mbotela and the fallout from the events. The archival footage that bookends the story makes the moments between feel like a historical reenactment typical in documentary filmmaking. Regardless, Voice of State is a stirring portrait of a lesser-known moment in history with lessons that still resonate today.
Based on the real events surrounding the
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The Terminal List Season 2 has an official premiere date. The show’s Instagram account confirmed this week that the action thriller returns on October 21, 2026. The caption hinted at unfinished story threads without elaborating.
Chris Pratt stars as James Reece, a former Navy SEAL. In Season 1, Reece’s entire team is killed in a covert operation gone wrong. He goes after the people responsible. The show debuted on Prime Video in 2022 and is widely regarded as one of Prime Video’s biggest hits of that year. It pulled viewers into the story fast – the kind of series that brings the action right into your living room.
The show carries a reputation for gritty military drama, and Reece is exactly the character at the center of it. Action fans responded in a big way. They’ve been waiting ever since.
Season 1 left plenty of loose ends. Corruption, betrayal, and personal loss drove the whole series forward. Reece was still standing at the end, but the story wasn’t finished. The “Unfinished business” tease signals that Season 2 picks up the story. Those threads were never fully resolved.
The official announcement was intentionally short. “Unfinished business. The Terminal List Season 2 returns October 21.” The team is clearly holding the rest for later. No footage or cast announcements accompanied the date reveal.
Four years is a long gap between seasons. The announcement generated strong engagement despite carrying no footage or cast news. Fans are paying attention.
Chris Pratt has kept a full schedule on the film side. He reprised his role as Star-Lord in Guardians of the Galaxy Vol. 3 in 2023 and has stayed active in Hollywood since. But Reece is a different kind of role for him. The role is grounded in real military detail – a far cry from the Marvel universe. That contrast is part of what makes the show stand out.
The Terminal List is based on the bestselling thriller by Jack Carr, a former Navy SEAL. Carr’s novels have reportedly sold millions of copies, and his readership overlaps heavily with the show’s fanbase. Season 2 could draw from Carr’s follow-up novel, True Believer. That book continues Reece’s story. The show hasn’t confirmed its source material for Season 2, but the direction fits.
October 21 drops The Terminal List into a crowded fall streaming window. Streaming competition gets fierce in the fourth quarter. The show’s fanbase has been vocal about wanting a second season since 2022, and the date-only post drew immediate attention. The wait is almost over.
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Eine Zusage, die man nicht oft vernimmt:
“Lanterns” is keeping its momentum going through Episode 3.
Sunday’s episode, which explored the origin story of Aaron Pierre’s John Stewart, scored 10 million global viewers and 7 million U.S. viewers across its first three days of availability across HBO and HBO Max, according to internal figures from Warner Bros. Discovery. This marks a series high for the DC Studios series and shows week-to-week growth since the series premiere.
For comparison, the series premiere garnered 9.3 million global viewers, 6.6 million viewers of those were within the U.S. The debut boosted “Lanterns” to land among the top five series premieres on HBO Max, though the platform did not share ratings for Episode 2.
More to come …
“Lanterns” is keeping its momentum going through
Stop me if you’ve heard this one: Two goons go on vacation to a beautiful land while one of them has a crisis of conscience, in a film directed by Martin McDonagh. Now, stop me if you’ve heard this one: An aging spy, played by John Malkovich, decides to write his memoirs, with comic and tragic results. Now, stop. Please, just stop.
It’s not a crime that Martin McDonagh’s “Wild Horse Nine” isn’t as funny or touching as his Oscar-nominated crime comedy “In Bruges,” or as acidic and fascinating as the Coen Brothers’ “Burn After Reading.” But if it was a crime, McDonagh would find a way to forgive it. The director of “Three Billboards Outside Ebbing, Missouri” and “Seven Psychopaths” has an enduring love for wrong-doers and a special way of sympathizing with their plight. It’s usually the same way, over and over again, but it’s a special way and it’s often very amusing.
“Wild Horse Nine” is McDonagh’s driest crime comedy, which is a nice way of saying it’s dull. Sam Rockwell and John Malkovich star as Lee and Chris, two CIA agents operating out of Chile, right before Augusto Pinochet’s violent coup in 1973, which plunged the nation into fascism and horror. Lee and Chris aren’t the kind of American spies who stop bad guys. Their job is to put bad guys in power. Martin McDonagh’s job is to make us love them. Our job is to decide if they deserve that.
Lee and Chris have vacation time coming, and Chris always wanted to see the “giant heads” on Easter Island. He thinks they sound beautiful and magical but if you point out they’re sacred, or that the island is actually called Rapa Nui, he’ll bite your head off. The beauty of the landscape is little more than a vaguely spiritual backdrop for the worst kind of colonialists, as if it only exists for their personal awakening.
“Wild Horse Nine” has a few supporting characters who defend the island’s historical significance, but those same people are portrayed as naive and coldhearted, respectively, so it’s hard to believe this film is speaking its actual thoughts through them. No, Chris’ “giant heads” are here for Chris’s redemption and for McDonagh, who uses them as a novel locale for his chatty humor and wacky violence.
Chris is aging out of the CIA and writing his autobiography. There are a few problems with that. Chris was directly responsible for one of the 21st century’s greatest unsolved mysteries, so their boss, MJ (Steve Buscemi), orders Lee to keep tabs on him and act accordingly. Chris also gave up on keeping a low-profile. He loudly blabs at an airport that they’re in the CIA and Chile’s democracy is about to collapse, while Lee makes unconvincing excuses about why Chris is only joking. They are uniquely bad at the whole “spying” thing. That, or McDonagh is making a statement about how fascism hides in plain sight under the guise of mediocre men just talking in public. But “Wild Horse Nine” doesn’t seem terribly interested in exploring that perspective. It’s too busy trying to make us like these guys.
That’s the trick. Martin McDonagh wants everyone in the audience to love his characters, even if they’re horrifically flawed. In his best films he succeeds but in his worst films he makes misguided assumptions about what we think is funny. “Three Billboards” had a lot of fans, but a lot of us also found the film’s eagerness to declare that Sam Rockwell’s racist, corrupt cop was a nice guy all along impossible to stomach. “Wild Horse Nine” has a similar problem.
McDonagh has a very Catholic approach to redemption, and asserts that confession and last-minute atonement will redeem his most villainous characters near the end of their lives. But it’s one thing to say these characters aren’t all bad. It’s another to assume two hours is enough to make us, the audience, forgive all their sins, even if McDonagh does.
Sam Rockwell is a funny man but it’s John Malkovich’s film. He finds depth in McDonagh’s screenplay that, unfortunately, none of the other actors were able to dig up. Malkovich’s take on Chris is quiet, long-suffering, ashamed of his mistakes but proud of how efficiently he made them. He can convey more with a barely audible grumble than some actors can with a two-page monologue. Malkovich is one of the great performers and “Wild Horse Nine” is one of his finest hours. Two of them, actually. He’s in rare form.
The rest of the film never rises to that level. McDonagh’s whimsical patois quickly finds a predictable rhythm. The jokes write themselves, which wouldn’t be so bad if they didn’t write themselves the same way in every scene. Ben Davis’ cinematography makes Rapa Nui look stunning, although to be fair that’s mostly Rapa Nui’s doing — and again, all the luscious scenery is in service of an off-putting, condescending westernized perspective, and not allowed to exist for itself.
This film is about two men, but that doesn’t mean the women had to be portrayed as nags, villains, patsies and/or desperately in need of a morally corrupt American spy to teach them how the world works. Parker Posey plays Lee’s cheating wife, whose life is seriously threatened but her mortality is treated like an annoyance, a problem to solve if there’s time after dealing with Chris’ feelings, and postponing an act of violence that’s going to happen no matter what, for the sake of someone who arguably deserves it — as opposed to an act of violence against a woman who doesn’t.
“Wild Horse Nine” is neither endearing nor twisted enough to work. McDonagh doesn’t make these dangerous men lovable, he assumes they’re already lovable and works backwards. He’s not particularly angry about America’s insidious meddling in international politics, even though his script directly addresses the horrors this country hath wrought, so the political commentary is hollow. Our sins are nothing more than a justification for our melancholy. They’re not our responsibility. It’s a dour mentality that makes even “Wild Horse Nine’s” funniest jokes, and there are a few, hard to laugh at.
“Wild Horse Nine” has its world premiere at the Venice Film Festival. Searchlight Pictures will release the film on Nov. 6.
Stop me if you’ve heard this one:
ESPN sets November premiere for Billie Jean King ’30 for 30′
ESPN has slated the latest entry in its long-running ’30 for 30′ strand, focused on sports icon and trailblazer Billie …
ESPN sets November premiere for Billie Jean
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One of the key factors contributing to the success of games like this is its immediate accessibility. There’s no lengthy tutorial or complex control scheme to learn; players can jump right in and start playing within seconds. This “pick-up-and-play” nature is ideal for short bursts of gaming during commutes, breaks, or moments of downtime. Furthermore, the quick rounds and instant feedback – either successfully crossing the road or meeting an unfortunate end – provide a constant stream of reward and encourage continued play. The sense of achievement, however small, after navigating a particularly challenging stretch of road is surprisingly satisfying. The app’s design often leverages bright colors, cheerful sound effects, and a generally upbeat aesthetic, contributing to its lighthearted and enjoyable atmosphere.
The gaming experience isn’t solely about avoiding obstacles; it's about developing a rhythm and anticipating the movements of the oncoming traffic. Skilled players learn to identify patterns, predict vehicle speeds, and time their actions with precision. This element of skill mastery adds a layer of depth beyond pure luck, transforming the game from a simple button-tapping exercise into a genuine test of reflexes and timing. The simplicity also lends itself well to competitive play, with leaderboards and social sharing features allowing players to compare their scores and challenge friends.
Modern interpretations of the "chicken crossing the road" concept often go beyond the original premise, adding a variety of enhancements and customization options. These can include different chicken breeds, each with unique stats or abilities, power-ups that temporarily grant invincibility or slow down time, and different road environments, ranging from rural highways to bustling city streets. Some iterations even incorporate collectible items, such as coins or gems, that can be used to unlock new content or customize the chicken's appearance. These additions provide a sense of progression and reward, keeping players engaged for longer periods. The ability to personalize the experience, whether by choosing a favorite chicken or unlocking a new environment, fosters a stronger connection to the game.
Furthermore, many apps feature integrated social features, allowing players to connect with friends, share their high scores, and compete on leaderboards. These social interactions add a competitive element to the gameplay and encourage players to strive for higher scores. The incorporation of achievements and challenges further enhances the sense of accomplishment and provides additional goals to work towards. This kind of continuous engagement is crucial for driving player retention and building a loyal community.
| Customizable Characters | Unlock and play as different chicken breeds, each with unique visual styles. |
| Power-Ups | Temporary boosts like invincibility or slow motion to aid in crossing. |
| Varied Environments | Experience different road settings with varying traffic patterns. |
| Leaderboards | Compete with friends and other players for the highest scores. |
The relatively low development costs associated with this type of game also contribute to its proliferation. The simple art style and straightforward mechanics allow for rapid development and deployment, making it an attractive option for independent game developers. The resulting abundance of variations ensures that there’s always a new and unique take on the classic concept available to players.
The addictive nature of the chicken road app isn’t merely a result of its simple gameplay; it’s also deeply rooted in psychological principles. The core mechanic—avoiding obstacles with split-second timing—creates a constant sense of risk and reward. Each successful crossing triggers a small dopamine rush, a neurotransmitter associated with pleasure and motivation. This immediate reward reinforces the behavior, encouraging players to continue playing. The near misses, those moments where the chicken narrowly escapes a collision, can be particularly exhilarating, further intensifying the dopamine response. This cycle of risk, reward, and dopamine release is a powerful driver of engagement.
The escalating difficulty also plays a crucial role in maintaining player interest. As players progress, the challenges become more demanding, requiring greater skill and concentration. This sense of challenge keeps players engaged and prevents the gameplay from becoming monotonous. The feeling of overcoming a difficult obstacle is particularly rewarding, providing a sense of accomplishment and motivating players to continue pushing their limits. Furthermore, the random nature of the traffic patterns ensures that each playthrough is unique, preventing players from relying on rote memorization and demanding constant adaptation.
The appeal extends to a broad demographic, from casual gamers seeking a quick distraction to more hardcore players striving for perfection. This is partly due to the game's nostalgic value – the original "Frogger" game, which shares similar gameplay mechanics, remains a beloved classic. The simplicity allows for easy understanding and enjoyment, while the increasing difficulty provides a satisfying challenge for skilled players. The game effectively taps into our innate desire for control and mastery, allowing us to test our reflexes and strategic thinking in a low-stakes environment.
The app frequently relies on a minimalist aesthetic, focusing on core gameplay mechanics over elaborate graphics or storytelling. This simplicity is intentional, as it helps to maintain focus and prevents the game from becoming cluttered or overwhelming. The visual clarity also allows for intuitive gameplay, making it easy for players to quickly assess the situation and make split-second decisions. This minimalist approach contributes to the game's overall accessibility and appeal.
Beyond the individual experience, the chicken road app can also foster a sense of community through social features and leaderboards. Sharing high scores and competing with friends adds a social dimension to the gameplay, further enhancing the enjoyment and encouraging continued play. The ability to compare oneself to others provides a sense of validation and motivates players to improve their skills.
The success of the chicken road app has led to a variety of monetization strategies, ranging from in-app advertising to in-app purchases. Advertising is a common approach, with developers displaying banner ads or interstitial ads between rounds. While effective, this method can sometimes be intrusive and detract from the gaming experience. In-app purchases, such as cosmetic items or power-ups, offer a more subtle approach to monetization. Players can choose to spend money to enhance their experience, but it’s not required to progress through the game. A well-balanced monetization strategy is crucial for maximizing revenue without alienating players.
Looking ahead, we can expect to see continued innovation in the “chicken crossing the road” genre. Virtual reality (VR) and augmented reality (AR) technologies offer exciting possibilities for immersive gameplay. Imagine physically swiping to navigate the chicken across a virtual road overlaid onto your real-world environment! Furthermore, the integration of artificial intelligence (AI) could create more dynamic and challenging traffic patterns, adapting to the player's skill level and providing a truly personalized experience. The potential for cross-platform play, allowing players to compete with friends on different devices, is another promising avenue for future development.
One intriguing possibility is the integration of blockchain technology, allowing players to own and trade unique chicken characters or in-game items as non-fungible tokens (NFTs). This could create a new economy within the game, incentivizing players to collect rare items and participate in the community. The use of procedural generation could also create endless variations of the road environment, ensuring that each playthrough is truly unique. This approach would enhance replayability and prevent the game from becoming repetitive.
Moreover, developers are likely to explore new ways to personalize the gaming experience. Adaptive difficulty settings, which dynamically adjust the challenge based on the player's performance, could ensure that the game remains engaging for players of all skill levels. The incorporation of user-generated content, allowing players to create their own road environments or chicken characters, could further enhance the sense of community and creativity. The future of the chicken crossing the road game is bright, with endless possibilities for innovation and entertainment.
Ultimately, the enduring appeal of the chicken road app lies in its ability to provide a simple, yet surprisingly addictive, gaming experience. Its intuitive mechanics, escalating difficulty, and psychological rewards make it a standout title in the casual gaming space. The continued innovation and integration of new technologies promise to keep this classic concept fresh and engaging for years to come.
The success of this type of game also highlights the power of minimalist design. By focusing on the core gameplay mechanics and stripping away unnecessary complexity, developers can create a truly captivating experience that appeals to a broad audience. The simplicity allows players to quickly grasp the concept and jump right into the action, while the escalating difficulty provides a continuous challenge that keeps them engaged. This approach is a testament to the fact that less can often be more.
Genuine excitement builds from simple crossings to
For the blissfully unaware, in an interview with BBC 1Xtra’s Nadia Jae, Dimoldenberg revealed that she had tried her luck at getting Beyoncé on Chicken Shop Date.
While she didn’t get the answer she was hoping for, she did at least get a response.
“It was a no, but it was a reply,” she joked. “And I was sooo happy to get a reply.”
For the blissfully
Award-winning journalist Rofhiwa Madzena is back on Mzansi screens.
The business anchor shared on X the good news that she is now part of the Business Day TV family.
“I’m back on-air, back on focusing on business and the markets. Happy to be part of the @BusinessDayTV family,” she wrote.
Her return to the anchor desk comes after eNCA dismissed the business anchor, along with veteran anchor Heidi Giokos, in July 2026 over undeclared outside business interests.
Alongside Rofhiwa and Giokos, an unnamed senior technical staff member was also dismissed.
Madzena was part of the eNCA broadcasting team for eight years, starting in 2018, working as a business anchor and producer.
Giokos congratulated Madzena on her return to the anchor desk.
This week, Giokos also returned to the anchor desk, with her landing a new gig at the South African Broadcasting Corporation (SABC). She made her debut as a presenter on the weekend edition of “Fullview” on Monday.
The public broadcaster confirmed her appointment on Monday.
SABC spokesperson Mmoni Ngubane said Giokos is an award-winning journalist, television presenter and broadcaster with an established reputation in business, financial and current affairs reporting.
“Throughout her career, she has built a strong track record of excellence founded on credibility and a passion for telling stories that matter.
“Known for her ability to translate complex economic, business and social issues into accessible and engaging content, Giokos has become a trusted and respected voice within the South African media.”
According to reports, Giokos was dismissed from eNCA for appearing in a commercial in which she played a TV reporter.
She joined eNCA in 2017 as a general reporter. According to reports, she was suspended pending an eNCA disciplinary hearing, in which she was found guilty and immediately dismissed.
Award-winning journalist Rofhiwa Madzena is back on
Perhaps the biggest failure of the Marvel Cinematic Universe’s Multiverse Saga was the studio’s inability to launch new heroes and franchises out of its established stars.
While Marvel found success over the last six years with Guardians of the Galaxy Vol. 3, Doctor Strange in the Multiverse of Madness, Deadpool & Wolverine, and Spider-Man: Brand New Day, the studio’s track record with original films was spotty at best.
Photo: Marvel
After Avengers: Endgame, Marvel attempted to pivot to a new generation of heroes, delivering films such as Shang-Chi and the Legend of the Ten Rings, Eternals, and Fantastic Four: First Steps.
On streaming, they introduced characters such as Ms. Marvel, She-Hulk, Moon Knight, and Wonder Man.
Source: Marvel Studios
While some of these productions found success, many did not.
More importantly, Marvel failed to find characters who could fill the shoes of Iron Man, Captain America, and Black Widow.
Perhaps no film was more indicative of Marvel’s struggles than Eternals.
Kit Harington, Lia McHugh, Kumail Nanjiani, Producer and VP of Production & Development at Marvel Studios Nate Moore, Salma Hayek, Executive Producer and Marvel Studios Co-President Louis D’Esposito, Richard Madden, Director/Screenwriter Chloé Zhao, Gemma Chan, Producer and President of Marvel Studios and CCO of Marvel Kevin Feige, Brian Tyree Henry, Executive Producer and Executive VP of Production Marvel Studios Victoria Alonso, Lauren Ridloff, Don Lee, and Angelina Jolie arrives at the Premiere of Marvel Studios’ Eternals on October 18, 2021 in Hollywood, California. Photo: Alberto E. Rodriguez/Getty Images for Disney
Not only did the film introduce the titular race of intergalactic beings, but it also saw Kit Harington portray Dane Whitman/Black Knight, and Mahershala Ali’s voice as Blade debut.
After Eternals proved to be both a box office and critical disappointment, Marvel quickly swept the film under the rug.
Angelina Jolie as Thena in Eternals. Photo: Marvel Studios
While the film’s events were referenced in Captain America: Brave New World, none of the film’s characters have returned in live action.
With Kevin Feige adamant that Eternals 2 is not in the cards, it looks like we may have seen the last of Sersi, Ikaris, and Kingo.
Photo: Marvel Studios
Additionally, Mahershala Ali’s Blade film failed to materialize, and the actor has been adamant that he is moving on.
Photo: Marvel’s Midnight Suns Twitter
Now, we have an update on Kit Harington’s MCU future.
In a recent interview with MovieWeb, Harington was asked if there were any plans for his return to the MCU.
Photo: Jason Laveris / Getty Images
Unfortunately, it sounds like we may have seen the last of Dane Whitman.
“I mean, I’d love to. I don’t think there’s any plan to. I hate to break it to you, but I think he’s a wicked character,” Harington said.
Kit Harington as Dane Whitman/Black Knight. Photo: Marvel
Despite Marvel’s lack of enthusiasm for Black Knight, Harington is adamant that he would love to portray Whitman again.
“There’s a part of him, that whole Ebony Blade stuff, where the more he kills, the worse he gets, the more addicted. I think he’s such a great parable of addiction. And I think he’s someone who starts good, goes bad. I think he’s great. But we’ll see. I don’t know if there’s any plan,” he continued.
At this point, it appears that any future for Dane Whitman/Black Knight is going to have to come apart from Eternals.
Source: Marvel
Nevertheless, there may still be opportunities for Harington to suit back up.
With Ghost Rider on the horizon, it appears that Marvel may be leaning back into the realm of the supernatural.
This could provide an opportunity for Harington’s return, especially if the long-rumored Midnight Sons film were to come to fruition.
It may be a long shot, but as they say, hope springs eternal.
The allure of simple yet challenging games is undeniable, and the chicken road game perfectly embodies this principle. It's a game that taps into a primal instinct – survival – and presents it in a lighthearted, often frantic, package. The core gameplay is deceptively straightforward: guide a chicken across a busy road, avoiding oncoming traffic and various obstacles. However, the increasing speed and complexity quickly transform this simple premise into a test of reflexes, timing, and strategic thinking. Players find themselves captivated by the addictive loop of attempting to beat their high score and conquer increasingly difficult levels.
The game’s appeal extends beyond its immediate gameplay. It's accessible to players of all ages and skill levels, making it a popular choice for casual gaming sessions. The humorous premise – a determined chicken bravely (or foolishly) facing the dangers of the road – adds to its charm. Moreover, its easily adaptable nature allows for variations and additions, keeping the experience fresh and engaging. From different chicken breeds to diverse road environments, developers continually find ways to enhance the core experience and draw players back for more. The simplicity of the concept allows for immediate understanding and engagement, reducing the learning curve and maximizing fun.
At its heart, the chicken road game relies on precise timing and quick reactions. Players typically control the chicken's movement using a single input – a tap, click, or swipe – to make it dash forward. The challenge lies in navigating the gaps between vehicles, which become progressively smaller and more frequent as the game progresses. Initial stages often involve a relatively slow pace, allowing players to learn the timing and get accustomed to the controls. However, this reprieve is short-lived. Soon, the traffic intensifies, and obstacles like trucks, buses, and even construction barriers begin to appear, demanding even greater concentration and skill.
Successful gameplay isn’t simply about reacting to immediate threats. It requires a degree of predictive ability. Skilled players learn to anticipate the movements of oncoming vehicles and plan their dashes accordingly. This involves observing traffic patterns, identifying safe zones, and making split-second decisions under pressure. The increasing speed also introduces an element of risk assessment. Sometimes, attempting a seemingly impossible dash is the only way to survive, adding an exciting layer of tension to the experience. Constant awareness and adaptability are the key traits of those who excel in navigating the perilous road.
Many iterations of the chicken road game incorporate power-ups and special items to add further depth and strategic elements. These can range from temporary invincibility shields that allow the chicken to pass through vehicles unscathed, to speed boosts that enable it to cover greater distances quickly. Others might include items that slow down time, providing a crucial window of opportunity for a safe crossing, or magnets that attract coins and bonus points. The strategic use of power-ups can significantly improve a player's chances of survival and increase their final score.
The placement of these items often adds to the challenge. They are rarely conveniently located, forcing players to take calculated risks to collect them. This creates a compelling dilemma: is the potential reward worth the increased danger? This dynamic interplay between risk and reward makes each playthrough unique and engaging. Power-ups are not simply handouts; they are strategic tools that can be used to overcome obstacles and achieve higher scores. Mastering their use is a sign of skillful gameplay.
| Invincibility Shield | Allows chicken to pass through vehicles | 5 seconds |
| Speed Boost | Increases chicken's running speed | 3 seconds |
| Time Slow | Slows down the game's speed | 4 seconds |
| Magnet | Attracts coins and bonuses | 7 seconds |
The careful integration of these power-ups transforms the gameplay from a purely reactive experience into a more strategic one, rewarding players who can effectively utilize them to their advantage.
The enduring popularity of the chicken road game isn’t accidental. It’s rooted in fundamental psychological principles that make it incredibly addictive. The core gameplay loop, consisting of short, intense bursts of action followed by immediate feedback (success or failure), triggers the release of dopamine in the brain, creating a sense of reward and encouraging players to try again. The escalating difficulty keeps players engaged, constantly challenging them to improve their skills and beat their previous scores. This creates a steady stream of small victories that contribute to a feeling of accomplishment.
The game also taps into our innate desire for mastery. As players become more familiar with the game’s mechanics and patterns, they develop a sense of control and competence. This feeling of mastery is highly rewarding and motivates them to continue playing. The simplicity of the controls makes it easy to pick up and play, while the increasing complexity provides a continuous learning curve. This combination of accessibility and challenge is key to the game’s broad appeal. The continuous pursuit of improvement keeps players invested in the experience.
The presence of high scores and leaderboards adds another layer of motivation. The desire to outperform friends and other players fuels a competitive spirit that keeps players coming back for more. Sharing achievements on social media further enhances the social aspect, creating a sense of community and encouraging friendly rivalry. Leaderboards provide a constant benchmark for progress, motivating players to push themselves and strive for higher rankings.
The visibility of high scores also adds a sense of prestige. Being at the top of the leaderboard is a mark of skill and dedication, and players often take pride in their accomplishments. This social recognition reinforces the positive feedback loop and encourages continued engagement. The competitive element transforms the game from a solitary activity into a shared experience, fostering a sense of camaraderie among players.
These factors combine to create a highly addictive and engaging gaming experience that keeps players returning to the chicken's perilous journey across the road.
While the core concept of the chicken road game remains consistent, developers have consistently introduced variations and evolutions to keep the genre fresh and exciting. These have included changes to the game’s visual style, the introduction of new characters, and the addition of innovative gameplay mechanics. Some versions feature different environments, such as jungles, deserts, or even futuristic cities, adding visual variety to the experience. Others introduce new types of vehicles and obstacles, increasing the challenge and requiring players to adapt their strategies.
More complex variations might incorporate elements of resource management or character customization. For example, players might be able to collect coins to unlock new chickens with unique abilities or purchase power-ups to aid them in their journey. Some games even feature a storyline or narrative element, adding a layer of context to the gameplay. The enduring appeal of the original concept provides a solid foundation for experimentation and innovation. Developers are constantly finding new ways to reimagine the chicken’s quest to cross the road.
The rise of mobile gaming has had a significant impact on the development and popularity of the chicken road game. The game’s simple controls and fast-paced gameplay are perfectly suited to the touch screen interface of mobile devices. Its short, self-contained gameplay sessions are ideal for playing on the go, making it a popular choice for casual gamers. The accessibility of mobile platforms has also allowed developers to reach a wider audience, further increasing the game’s reach and influence.
The mobile gaming market has also fostered a culture of free-to-play games, often supported by in-app purchases. This model has been adopted by many chicken road game developers, allowing them to offer the game for free while generating revenue through optional purchases. This has made the game even more accessible to players, while also providing developers with a sustainable business model. The constant influx of new mobile games ensures that the chicken road game genre remains a vibrant and evolving part of the gaming landscape.
These stages represent the gradual evolution of the genre, driven by technological advancements and changing player preferences.
The chicken road game, while primarily a source of entertainment, can also contribute to the development of valuable cognitive skills. The game’s fast-paced nature demands quick reflexes, enhanced reaction time, and improved hand-eye coordination. Players are constantly forced to assess risks, make rapid decisions, and adapt to changing circumstances. These skills are not only beneficial in gaming but can also translate to real-world situations, such as driving or playing sports. The constant need to anticipate and react to obstacles strengthens cognitive agility.
Moreover, the game can help improve focus and concentration. Players must maintain a high level of attention to avoid collisions and maximize their score. This sustained focus exercises the brain and improves its ability to filter out distractions. The game’s challenging nature also encourages problem-solving skills, as players devise strategies to overcome obstacles and achieve higher scores. While not a substitute for formal training, the chicken road game offers a fun and engaging way to sharpen cognitive abilities. It can be considered a form of “brain training” disguised as entertainment.
The journey of the digital chicken is far from over. The core concept remains remarkably adaptable, and we can anticipate further innovations and variations in the years to come. Emerging technologies like virtual reality (VR) and augmented reality (AR) offer exciting possibilities for immersive gameplay experiences. Imagine navigating the road as the chicken, experiencing the traffic from a first-person perspective, or having virtual cars speeding towards you in your own living room. These technologies could add a whole new dimension to the game.
Furthermore, we might see the integration of artificial intelligence (AI) to create more intelligent and challenging traffic patterns. AI-powered vehicles could learn from the player’s behavior and adjust their movements accordingly, making the game even more unpredictable and engaging. The possibilities are endless. The enduring appeal of the simple premise, coupled with the constant advancements in gaming technology, ensures that the chicken will continue to cross the road for years to come, providing entertainment and a surprising mental workout for players of all ages.
Persistent reflexes help master the chicken road
For players in the United Kingdom seeking online casino experiences free from the constraints of GamStop, the landscape of options can appear complex. The desire for autonomy over one's own gambling habits, coupled with a frustration with self-exclusion schemes that may feel restrictive, drives many to explore alternatives. A growing number of individuals are actively searching for a non gamstop casino uk experience, seeking platforms that offer a wide range of games, attractive bonuses, and crucially, the freedom to manage their own participation. This increasing demand has led to the proliferation of casinos operating under licenses outside of the UK Gambling Commission, offering a different set of rules and regulations.
These independent sites present both opportunities and challenges. While providing a viable option for those who prefer not to be tied to GamStop, they also require a heightened degree of due diligence from the player. Understanding the licensing jurisdictions, security measures, and responsible gambling tools available is paramount to ensuring a safe and enjoyable experience. It's essential to investigate each site thoroughly, checking for fair gaming certifications and robust data protection protocols. Players should be aware of the potential implications of choosing a casino outside of the UKGC’s regulatory framework, particularly regarding dispute resolution and player protection.
One of the primary distinctions between casinos linked to GamStop and those operating independently lies in their licensing jurisdictions. Casinos affiliated with GamStop are generally licensed by the UK Gambling Commission (UKGC), which imposes strict regulations designed to protect players and ensure responsible gambling. These regulations encompass everything from age verification and anti-money laundering procedures to the provision of self-exclusion options like GamStop. Non gamstop casino uk sites, on the other hand, often obtain licenses from jurisdictions such as Curacao, Malta Gaming Authority (MGA), or Gibraltar. Each of these licensing bodies has its own set of rules, which can vary significantly in stringency.
It’s vital to understand that obtaining a license doesn’t automatically equate to a casino being trustworthy. A license simply indicates that the operator has met the minimum requirements set by the issuing jurisdiction. Players should carefully research the specific regulator and its reputation. For instance, the MGA is generally considered a more reputable and rigorously enforced regulator than Curacao. Furthermore, the absence of a UKGC license means that players do not have the same level of recourse to the UK’s regulatory bodies in case of disputes. Therefore, relying on independent reviews, player forums, and reputable casino portals is crucial for assessing the credibility of these sites. A key aspect to assess is the site's adherence to Know Your Customer (KYC) procedures and clear terms and conditions.
Beyond licensing, many reputable casinos employ independent testing agencies to verify the fairness of their games. Companies like eCOGRA (e-Commerce Online Gaming Regulation and Assurance) and iTech Labs conduct regular audits of Random Number Generators (RNGs) to ensure that game outcomes are truly random and unbiased. Look for logos from these organizations on the casino's website as a sign of commitment to fair play. These audits aren't just about the randomness of outcomes; they also encompass the Return to Player (RTP) percentages, which indicate the theoretical payout rate of each game. Players should always check the RTP of a game before playing, as it can significantly impact their long-term winning potential. Understanding the concept of variance is also vital – some games pay out frequently in smaller amounts, while others offer larger, less frequent wins.
Another element of fairness concerns responsible gambling features. Although these casinos aren't linked to GamStop, many still provide options for players to set deposit limits, loss limits, and wagering limits. Self-exclusion options may also be available, although the process and effectiveness can vary. Players should proactively utilize these tools to manage their gambling and prevent problems. It’s also worth noting that some independent casinos actively promote responsible gambling initiatives and partner with organizations dedicated to supporting problem gamblers, showing a commitment to player wellbeing.
| UK Gambling Commission | Very High | High | Alternative Dispute Resolution (ADR) services |
| Malta Gaming Authority | High | Good | MGA Complaints Process |
| Gibraltar Regulatory Authority | High | Good | Gibraltar Gambling Commissioner |
| Curacao eGaming | Low to Medium | Variable | Often reliant on casino’s internal processes |
Selecting a non-GamStop casino that prioritizes independent testing and fairness is crucial for a secure and enjoyable gaming experience.
One of the key concerns for players utilizing non gamstop casino uk sites revolves around the security of their financial transactions and personal data. While many offer a wide range of payment methods, including credit/debit cards, e-wallets, and even cryptocurrencies, not all of these options are equally secure. It's essential to choose casinos that utilize secure Socket Layer (SSL) encryption to protect sensitive information during transmission. Look for the padlock icon in your browser’s address bar, which indicates an SSL-encrypted connection. Additionally, reputable casinos will have robust firewalls and other security measures in place to prevent unauthorized access to their systems.
The availability of certain payment methods can also be indicative of a casino's legitimacy. Casinos that accept popular and well-established e-wallets like PayPal, Skrill, and Neteller often have a higher level of security and trustworthiness, as these payment providers themselves conduct thorough vetting processes. However, it's important to note that some casinos may impose restrictions on certain payment methods for bonus eligibility, so read the terms and conditions carefully. Cryptocurrencies, such as Bitcoin and Ethereum, are becoming increasingly popular at non-GamStop casinos, offering enhanced privacy and faster transaction times. However, their volatility and lack of chargeback options should be considered.
The rise of cryptocurrencies has presented both opportunities and challenges for the online gambling industry. For players, crypto offers anonymity and faster withdrawals. Since transactions are recorded on a decentralized blockchain, they are less susceptible to censorship or interference. However, the inherent volatility of cryptocurrencies means that the value of your deposit or winnings can fluctuate significantly. It’s also important to understand that cryptocurrency transactions are generally irreversible, so if you send funds to the wrong address, you may not be able to recover them. Furthermore, the regulatory landscape surrounding cryptocurrencies is still evolving, and it’s essential to be aware of the tax implications of using them for gambling purposes.
For casinos, cryptocurrencies can reduce transaction costs and simplify cross-border payments. However, they also attract a different type of scrutiny from regulators, due to concerns about money laundering and illicit activities. Reputable crypto casinos will adhere to KYC procedures and implement anti-money laundering protocols to comply with regulations. Players should always choose casinos that prioritize security and transparency when dealing with cryptocurrencies. Investigating the casino's cold storage protocols for cryptocurrency holdings can provide further assurance.
Prioritizing security and understanding the nuances of different payment options are vital when exploring non-GamStop casinos.
Effective customer support is a critical component of any online casino experience. When dealing with non gamstop casino uk sites, where regulatory oversight may be less stringent, responsive and helpful customer support becomes even more important. Look for casinos offering multiple contact channels, such as live chat, email, and phone support. Live chat is generally the most convenient option, allowing for immediate assistance with any queries or issues. The quality of support should be evaluated based on factors like response time, knowledgeability, and helpfulness of the support agents. A casino that struggles to provide basic assistance or is unresponsive to player concerns should be avoided.
Perhaps even more crucial is a clear and transparent dispute resolution process. In the event of a disagreement, players need to know how to escalate their concerns and where to seek redress. Casinos licensed by reputable regulatory bodies typically have access to alternative dispute resolution (ADR) services, which provide an independent and impartial arbitration process. However, casinos operating under licenses from less stringent jurisdictions may rely on their own internal dispute resolution mechanisms, which may be biased or ineffective. Before depositing any funds, carefully review the casino's terms and conditions to understand its dispute resolution procedures.
A valuable resource for assessing the reputation of a non-GamStop casino is player forums and online review sites. These platforms provide a space for players to share their experiences, both positive and negative. Pay attention to patterns in the reviews – are there consistent complaints about slow payouts, unfair game play, or poor customer support? However, it’s also important to view online reviews with a degree of skepticism, as some may be fabricated or biased. Look for reviews that are detailed, specific, and provide concrete examples. Reputable review sites will often verify the authenticity of reviews and provide a balanced perspective.
Furthermore, checking the casino’s reputation on gambling portals and affiliate websites can provide additional insights. These sites often conduct independent audits and provide ratings based on various criteria, such as game selection, bonuses, and customer support. Remember that no casino is perfect, and even the best sites may receive occasional complaints. The key is to look for casinos that are responsive to player feedback and actively work to address any issues. Thorough research and due diligence are paramount when choosing a non-GamStop casino.
A proactive approach to assessing customer support and dispute resolution can significantly enhance your online gambling experience.
The demand for alternatives to casinos affiliated with GamStop shows no signs of abating. Several factors are driving this trend, including a growing awareness of the potential downsides of restrictive self-exclusion schemes, a desire for greater autonomy over one's own gambling habits, and the increasing availability of casinos operating under international licenses. As the online gambling industry continues to evolve, we can expect to see further innovation in this space, with new casinos emerging and existing ones adapting to meet the evolving needs of players.
One potential development is the emergence of more sophisticated responsible gambling tools tailored specifically for players who choose to bypass GamStop. These tools could include personalized spending limits, AI-powered risk assessments, and proactive interventions designed to identify and assist players who may be developing problems. Another key trend is the increasing integration of blockchain technology, which could offer greater transparency, security, and fairness in online gambling. However, it's crucial that these developments are accompanied by robust regulatory oversight to ensure player protection and prevent exploitation. Ultimately, the future of non-GamStop casino options will depend on striking a balance between freedom of choice and responsible gambling practices.
The core appeal of a non gamstop casino uk often stems from a desire to avoid the potentially rigid constraints of self-exclusion programs. While GamStop serves a valuable purpose for individuals struggling with compulsive gambling, some players find its long-term commitment and broad reach overly restrictive. Consequently, there’s growing interest in exploring alternative strategies for managing gambling behavior. These include proactive self-monitoring tools that allow players to track their spending and playing time in real-time, personalized deposit limits that can be adjusted as needed, and access to independent counseling and support services.
The integration of AI-powered technologies also presents exciting possibilities. These technologies can analyze player behavior patterns to identify potential risks and offer tailored interventions, such as reminders to take breaks or suggestions for setting more conservative limits. The key is to empower players with the tools and resources they need to make informed decisions about their gambling, rather than imposing a one-size-fits-all solution. A holistic approach that combines technological innovation with personalized support is likely to be the most effective way to promote responsible gambling in the long term. This also requires a shift in societal attitudes towards gambling, fostering a more open and understanding dialogue about the potential risks and benefits.
Security benefits from independent non gamstop casino
The DC Universe is set to bring a 2023 DC movie hero back shortly in one of its next upcoming releases, in a move that is perfectly timed for more than one reason. The DCU timeline has thus far carefully worked towards ensuring it’s clearly separated from the prior DCEU timeline and universe, firstly via moves like having Superman be now played by David Corenswet instead of Henry Cavill, and secondly via largely focusing on a very different range of heroes in its opening lineup.
This has allowed movie audiences to get to know characters like Mister Terrific and several Green Lanterns in a way they never have before in the world of film, opening up story options that previously seemed impossible for DC’s cinematic movie universe. That said, the DCU has also kept some elements of the past as well, as is evidenced by John Cena returning as Peacemaker, and Jason Momoa returning to the DC movie world as well, albeit as Lobo instead of Aquaman.
These kinds of decisions have generally paid off for the franchise thus far, which sets the stage for the call to have one major 2023 DC movie hero return after the end of the DCEU in a way that should also pay dividends for the wider DCU – especially given the timing of their on-screen return.
Man of Tomorrow has a big cast of characters, with figures from almost every existing corner of the DC Universe thus far set to appear in the 2027 movie – including Xolo Maridueña’s Blue Beetle, who last appeared in the 2023 Blue Beetle movie.
The Blue Beetle movie came at an awkward point in DC’s movie landscape, leaving it as semi-part of the DCEU timeline because it released before Aquaman and the Lost Kingdom debuted and ended the DCEU, and semi-part of the DC Universe timeline, because of comments that the hero could and would be part of the DCU. As it stands, this played a role in the movie’s subpar box office results, and meant audiences were uncertain if they would in fact ever see the character again in the DCU itself as it began to unfold.
As such, Blue Beetle being a confirmed part of Man of Tomorrow‘s cast means that the character gets a second chance in less complex circumstances – and where he can build dynamics with many other major DC characters – and the DCU gets to adapt another underrated DC hero with some solid comic source material the franchise can bring to life for the first time.
It’s also worth taking into account that Blue Beetle’s rough age as a character being that of a young adult should be massively helpful for the DCU, since it means Jamie Reyes can be used as a figure who logically would interact more with other younger heroes, and could thus pave the way for the likes of the Teen Titans or various batkids to appear in the DC Universe in a streamlined way.
Given Blue Beetle’s last movie role was still relatively recent – even if it’s not to be taken as fully DCU canon at this point in time – the DC Universe is in a position where it can afford to introduce the hero in Man of Tomorrow without having to detail his origin story or powers as meticulously as the film otherwise might have needed to if DC audiences hadn’t been reminded of the hero back in 2023.
With superhero movies often suffering when they have to fully introduce several characters that audiences may be entirely unfamiliar with at once, this backdrop allows Blue Beetle’s impending debut in Man of Tomorrow to make even more sense for the hero and the DC Universe alike, helping the franchise further balance the already healthy hero roster it’s established this early in its planned overall run.
The DC Universe is set to bring
The most exciting part of a video game showcase is when developers shadow-drop something immediately after announcing it. Today’s State of Play had a few such announcements. Demos for a new Final Fantasy game and anime-inspired action titles, as well as a port of a Double Fine game that was previously Xbox exclusive, are out now.
Final Fantasy Resonance is an HD-2D game based on the narrative of Brave Exvius, a game previously only available on mobile. This demo will give you a taste of the game’s first chapter and all of the throwback pixel art and Final Fantasy character summons that come during that. Progression will carry over to the full game too, which is out on October 22
Keeper was released by Double Fine in October 2025 and is the latest title from Headlander and Stacking designer Lee Petty. It’s a surreal, visually stunning game where you explore a decrepit world as a lighthouse and its fantastical bird companion. It flew under the radar last year, so it’s great to see it come to PS5 now that Double Fine is independent once again. It got a price drop and new psychedelic mode today too.
Stupid Never Dies is a quirky new action game from Hiroyuki Kobayashi, a producer best known for his work on series like Dino Crisis and Dragon’s Dogma at Capcom. You can get a taste of its flashy action from this new demo, which lasts two hours and lets you transfer progress once Stupid Never Dies launches on October 21.
SlashZero is a fast-paced action roguelike with an anime aesthetic where players control a time hacker trying to kill something called “Hieros-I.” While the game won’t be out until sometime next spring, a limited-time demo was released on PS5 today.
The most exciting part of a video
Werner Herzog’s latest film begins with a dedication to David Lynch, and though it becomes more and more unmoored from reality as time goes by, the film it most resembles is perhaps Lynch’s most traditional, The Straight Story. While it is anything but straight in its trajectory, just as it takes massive liberties with the true story of identical British twins Freda and Greta Chaplin, Bucking Fastard is a strangely tender portrait of two women trying, and failing, to find their place in life. And though it appears to start with a tone of gentle mockery, Herzog’s picaresque yarn soon finds a surprising seam of compassion for the two sisters, whose idiosyncrasies walk the fine line between eccentric and irritating.
Kate and Rooney Mara star as Jean and Joan Holbrooke, two sisters who dress the same, sort of look the same, and often say the same things at the same time. This we learn in the opening scenes, which find them in court as the defendants in a highly unusual court case. “What I am planning to do is has no precedent,” says the judge, calling the two women to the witness box at the same time. Sitting opposite them is the complainant, Gareth Mulroney (Orlando Bloom), their recently married neighbor, who is taking out a restraining order against them after a playful fling led to escalating acts of harassment, from “making noises like in porn movies” outside his bedroom to setting fire to his car.
In flashback, a disheveled Mulroney makes his entrance by bursting into the local church with a pint of lager in his hand, yelling, “I haven’t come for the Lord, I’ve come to milk the devil.” The sisters are smitten and invite him to their shed, where the first of several hook-ups will begin. “It was only sexual,” says Mulroney. “It was love,” say the sisters. “They rode me well,” he says. “He was the joy in our lives,” the sisters reply.
Surprisingly, this is all we see of Mulroney and the court case. While setting fire to the local post box to prevent Mulroney from sending love letters to his wife Gladys (bizarre in itself since she lives with him, at his home), the sisters meet Mr. Westmoreland, another, more kindly neighbor, who offers them use of his flat in the center of town. Mr. Westmoreland admits to being worried for the girls, who have no idea that have become something of an internet sensation after the court case, and gets the help of a social worker, Timothy (Domhnall Gleeson), a reformed drug addict who tries to break the women’s co-dependency.
From this point, the story seems to go wherever the wind takes it, and the central conceit of two women trying to be one does lead to some funny situations, notably involving a vacuum cleaner and a tin of sardines. Herzog has fun with all that, but he draws the line at making fun of the pair themselves, indulging the women in their blind pursuit of love. There’s a deeply sad scene in which they appear, unwanted, as bridesmaids at a wedding, and another when they visit their old family home in Tullamore, and we see their parents pretending to be out.
Meanwhile, their notoriety grows when nude images of the women getting ready for bed appear on the internet, which they refuse to accept (“There cannot be pictures on the internet,” they reason, “because we do not have the internet”). The two Maras, the subtly expressive Rooney in particular, have a great natural instinct for surreal, deadpan comedy, which comes out when Timothy tries to persuade them to get out more. He suggests the cinema, but the women shudder. “Too many people we don’t know — and it’s all dark.” How about going out for a meal? “There are all these waiters…”
The scenery changes yet again with a letter from Auntie Louise, who invites the sisters to the countryside, where they become obsessed with digging a tunnel to the Orkney islands and may inspire some viewers to do the same. The last half hour is certainly the weakest, and one gets the sense that Herzog is making it up as he goes along, culminating in climax riffing on his 2010 doc Cave of Forgotten Dreams. But there’s something quite sweet and generous at work beneath the stylized strangeness, a tone that Herzog has never really struck before in his fiction work, with the possible exception of 2019’s Family Romance LLC. “There must be a place for us somewhere,” say the girls, and Herzog, ever the Bavarian humanitarian, does his best to help them find it.
Title: Bucking Fastard
Festival: Venice (Competition)
Director: Werner Herzog
Screenwriters: Werner Herzog
Cast: Kate Mara, Rooney Mara, Orlando Bloom, Domhnall Gleeson
World sales: Hanway
Running time: 1 hr 49 mins
Werner Herzog’s latest film begins with a
“A body scrub is a mechanical exfoliant that physically removes dead skin cells from the outermost layer of the skin with abrasive substances,” says Dr. Spearman. These substances are typically beads, salt, or sugar and work to buff away dead skin for a smoother, more radiant look. “In addition to softening the skin, body scrubs can address acne and minimize the appearance of cellulite, stretch marks, hyperpigmentation, and bumps like KP,” says Dr. Engelman.
What should you look for when you’re shopping for a body scrub?
When shopping for a body scrub, dermatologists recommend avoiding ones with large abrasive particles (like crushed shells, or large flakes) that can be too harsh on the skin and cause microinjuries. “I recommend looking for scrubs with soft particles, like jojoba beads, salt, sugar, and coffee grounds, as these are gentler on the skin,” says Dr. Engelman.
How often and when should you use a body scrub?
Dermatologists recommend using a body scrub one to three times per week, depending on your skin type. “Those with sensitive skin may want to stick to only once per week, while those with a ‘normal’ skin type may be able to use it up to three times a week, as long as they’re not scrubbing aggressively,” Dr. Engelman notes.
Dr. Spearman recommends using a body scrub at night to help cleanse the skin more thoroughly after a day of sweating and accumulating whatever is in the air around you and to protect it from being exposed to environmental stressors. Plus, it’ll allow any skin-care products to penetrate deeper into the skin and increase their effectiveness.
How to choose a body scrub based on your skin type
Finding the right body scrub for you also comes down to your skin type. “If you have sensitive skin, be careful not to overly exfoliate, which may increase sensitivity and irritation,” says Dr. Spearman. For sensitive skin types, she recommends using a body scrub three to four times per week.
If you have acne-prone skin, dermatologists recommend exfoliating one to two times per week with caution. “Scrubbing the skin ‘clean’ might cause excess irritation and inflammation, which will exacerbate the acne,” says Dr. Spearman.
For dull and dry skin, you can use a more abrasive scrub regularly (every other day) to help prevent dead skin cells from building up and forming a thicker scale, but look for scrubs that also contain hydrating ingredients like ceramides, aloe vera, or hyaluronic acid to ensure that your skin doesn’t get stripped. Dr. Spearman again notes to proceed with caution when exfoliating dry skin types: “Be careful not to use a scrub on damaged or traumatized skin, as this will increase irritation and may delay wound healing,” she says.
What are the downsides of using body scrubs?
While there are no general downsides to using a body scrub, the dermatologists warn not to massage them too roughly into skin. “If you are looking for a physical exfoliant, avoid any large, abrasive particles, like nut shells, which can be harsh on the skin and even cause microinjuries to the dermis,” says Dr. Engelman. It’s also key to be cautious if you are using a scrub with both a physical and chemical exfoliant, as the combination can be a little too intense for sensitive skin types and might leave behind some redness. If this happens, immediately stop using the product and consult your doctor.
How do you use a body scrub if you have sensitive skin?
If you have sensitive skin, Dr. Engelman recommends opting for a chemical exfoliant that might pose less of a risk of damaging the skin. “They break down the bonds between dead skin cells without requiring any rubbing or scrubbing of the skin, which can lead to injury,” she says. If you are going to use an exfoliating body scrub, she recommends using it only once per week to avoid over-exfoliating.“Pay attention to how your skin reacts, and reduce usage if you notice any lasting redness or irritation,” she says. Always follow up your scrub with a hydrating moisturizer or body lotion to help skin recover and retain moisture.
How we evaluated body scrubs
We tested over 20 body scrubs on various skin types and paid close attention to the particles within the scrub (only using formulas with soft particles). The best ones contained physical exfoliants as well as chemical exfoliants (like AHA, BHA, or PHA) to slough away dead skin cells, and also featured nourishing ingredients to keep the skin hydrated (like jojoba oil, squalane, and shea butter). We checked to see if they were gentle or more abrasive when buffed onto the skin. We also took note of how our skin felt after scrubbing and if it looked calm and more radiant (as opposed to red and irritated). Finally, we also considered scent (because let’s be real, that’s half the fun), and took into account how often we found ourselves reaching for it over a series of weeks.
Frequently asked questions“A body scrub is a
Chris Langham, the British TV actor and writer whose career was sullied by child sex abuse charges, has died. He was 77.
Langham died of pancreatic cancer on June 24 this year, according to an obituary published by The Times on Thursday.
The actor and writer was best known for his role as cabinet minister Hugh Abbot in Armando Iannucci‘s satirical comedy The Thick of It, which ran on the BBC from 2005 to 2012 and won Langham a BAFTA TV Award for best comedy performance in May 2006.
Led by a stellar Peter Capaldi, the show documented the bumbling ineptitude of British government staffers, including ministers, advisors and communications personnel. It is still considered one of the best comedies ever produced in the U.K., and set Iannucci up to make something of a U.S. counterpart to The Thick of It in Veep.
Langham also saw success with John Morton’s People Like Us, another spoof documentary that ran on the BBC, following Langham as the fictional journalist Roy Mallard. Some of his other credits include Not the Nine O’Clock News written by Richard Curtis and co-starring Rowan Atkinson, as well as Help with Paul Whitehouse, Kiss Me Kate alongside Caroline Quentin, Amanda Holden and Darren Boyd, and Chelmsford 123.
But Langham’s reputation soured in late 2006 when he was charged with 15 counts of downloading indecent images of children. It began the previous year, when he was arrested by Kent Police in connection with Operation Ore, a British police operation investigating credit-card customers paying to access abusive images of children online.
Part of his defence at trial was that he was researching a peeping tom character called “Pedro” for a television comedy, which Help co-writer Whitehouse corroborated. Whitehouse also said the character was not intended to be a paedophile, nor was he aware of Langham obtaining that material. During the trial, Langham was also accused of having sex with an underage girl — who said she was 14 at the time — in hotels, his West End dressing room, his car and his home. Langham denied these charges and was found not guilty of six counts of indecent assault.
The following year, in 2007, he was convicted on charges of downloading child sex abuse images and videos, including what a British judge described as a “graphic […] sadistic brutalisation” of a child, and was sentenced to 10 months in prison. He was placed on the sex offenders register for 10 years, and released in November 2007 after his sentence was reduced to six months. “My life has been ruined, but my conscience is clear,” he said after leaving prison, still maintaining he had “no sexual interest in children.”
Chris Langham, the British TV actor and
Netflix subscription is required to watch on Netflix
Great news! “Biutiful” is available to watch on Netflix USA!
Date Added: 3rd September 2026
Want to keep forever? Try looking for ‘Biutiful’ on Amazon (paid link)
History:
Unknown Date: Added to Netflix
06/29/2015: Removed from Netflix
09/03/2026: Streaming Again
Synopsis:
Diagnosed with terminal prostate cancer, Uxbal — a divorced father raising two children — is determined to atone for his life as a black marketeer.
Certificate:
Disturbing images, language, some sexual content, nudity and drug use
Year: 2010
Duration: 2hr 28m
Director: Alejandro G. Iñárritu
Cast: Javier Bardem, Eduard Fernández, Cheng Taishen, Maricel Álvarez, Guillermo Estrella, Hanaa Bouchaib, Diaryatou Daff, Cheikh Ndiaye, George Chibuikwem Chukwuma, Luo Jin, Maricel Alvarez
“Biutiful” was produced by Menage Atroz, Mod Producciones, Focus Features, Ikiru Films and Cha Cha Chá. With it’s initial release on October 20th 2010 it made approximately $25.15m at the Box Office.
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It’s been a good year to be a James Bond fan if you live in Los Angeles, primarily thanks to Quentin Tarantino. His Vista Theater and New Beverly Cinema have been on a bit of a Bond tear for the last few months, programming “The Spy Who Loved Me,” “Diamonds Are Forever,” and “The Man with the Golden Gun,” and this weekend the Vista will be screening a 35mm print of “Live and Let Die,” the eighth Bond film and the first starring Roger Moore as agent 007.
Replacing original Bond Sean Connery was a precarious endeavor for the producers Albert Broccoli and Harry Saltzman, who had received mixed reviews for their choice in 1969’s “On Her Majesty’s Secret Service,” George Lazenby. A model with no acting experience, Lazenby rubbed both his coworkers and the public the wrong way with his seemingly condescending attitude toward Bond, and he famously declined to sign a multi-picture deal for the series on the advice of an agent who thought the character would be all washed up by the early 1970s.
“On Her Majesty’s Secret Service,” though a commercial hit, was viewed as a misstep at the time (it’s now correctly considered to be one of the best Bond films, and seems to have been a major influence on Christopher Nolan), and Broccoli and Saltzman lured Connery back to the franchise for “Diamonds Are Forever” in 1971. After that Connery was done, however (at least until the aptly titled “Never Say Never Again” in 1983), and the producers were forced to attempt another reset, hopefully with more lasting success than their misstep casting Lazenby.
Moore had been considered for “On Her Majesty’s Secret Service” but was busy shooting the television series “The Saint”; by the time of “Live and Let Die” he was on a new show called “The Persuaders,” but he passed on a second season when he heard the role of James Bond was up for grabs once again. The producers screen tested Jeremy Brett, Julian Glover, and David Warbeck and even briefly considered Burt Reynolds (an idea that died quickly, given that he wasn’t British and wasn’t tall), but Moore was Broccoli’s first choice from the beginning and won the role with minimal resistance.
Which isn’t to say the filmmakers weren’t concerned. Screenwriter Tom Mankiewicz, a Bond stalwart, tried to avoid one-to-one comparisons between Moore and Connery by removing some of Connery’s trademark catchphrases and behaviors; one of the most shocking moments in “Live and Let Die” comes when Moore orders his first drink and chooses bourbon rather than the traditional “shaken, not stirred” martini. The early scenes of “Live and Let Die” are careful not to spring Moore on the audience too quickly, with this being the first Bond film since the first two to feature a pre-credits teaser focusing on the villains rather than Bond himself.
Yet once Moore took the screen in his first scene — a kind of self-contained bedroom farce in which Bond tries to hide a female agent he’s sleeping with from his boss M and M’s trusted assistant Miss Moneypenny — he appeared so at ease in the role that it might has well have been his from the beginning. Playing the part largely for laughs, Moore actually has more in common with Lazenby than Connery; his Bond is softer and sillier than the original, an approach Moore would double down on in later films — often to the chagrin of Bond purists.
To those for whom Connery will always be the greatest, if not the only, James Bond, Moore’s self-effacing, self-conscious style becomes a kind of parody with diminishing returns, but his differences from Connery are what make his Bond movies great in their own way — greater, I would argue, than the Connery films. When Moore signed on to play James Bond, he took his lead from a line in one of Ian Fleming’s novels that referred to Bond killing someone but not liking it, and while this idea is never explicitly stated in “Live and Let Die,” it informs the entire film and most of the Bond movies Moore made after it.
Connery’s Bond likes killing so much he’s virtually a sociopath; the early Bond movies are casually brutal in a way that’s still a bit shocking 50 or 60 years later. Moore shifts the character’s relish, so that he’s taking pleasure less in violence and dominance than in a kind of playful wordplay and bemused acknowledgement of how absurd his circumstances are. An uncharitable view of the Moore films could be to view the self-awareness as undercutting the movies’ tension, but who was ever watching James Bond movies for plausibility anyway?
From the get-go, “Live and Let Die” is a ruthlessly engineered entertainment machine, with eye-popping action set pieces (including a boat chase filled with spectacular stunts and an interaction with some live crocodiles that has to be seen to be believed) and a constant parade of lively supporting players and bad guys. A lot of the energy and exuberance comes from the milieu, which finds Bond up against heroin smuggler Yaphet Kotto in Harlem, New Orleans, and the Caribbean islands; the environments he inhabits and the people he faces off against breathe new life into the series, giving it as much in common with “Cotton Comes to Harlem” and “Across 110th Street” as “From Russia with Love.”
Putting 007 at the center of a Blaxploitation movie was a calculated decision on Broccoli’s part, and not the only time an old Bond novel would be reconfigured to capitalize on a current trend — the most blatant later example would be when James Bond went to space in “Moonraker” two years after “Star Wars” changed the film industry. (It’s also not a stretch to see the Daniel Craig Bond movies as imitations of and responses to the Jason Bourne style of action that had become ubiquitous in the time since Pierce Brosnan.)
The choice is as artistically fertile as it is commercial, however, adding a fish out of water quality to Bond’s adventures in “Live and Let Die” that dovetails beautifully with Moore’s comic strengths. There’s also a sense in “Live and Let Die” that Kotto and his colleagues are the most formidable adversaries Bond has been up against in some time; Mankiewicz fills the picture with genuinely suspenseful traps for 007 that seem impossible for him to escape. Rather than undercut the tension, Moore’s lighthearted approach complements it and sets it in relief, making “Live and Let Die” both more exciting and funnier than many of the more highly regarded Connery Bond films.
To be fair, Connery always got the joke just as much as Moore (in fact, in contemporary reviews of “Live and Let Die” critics like Roger Ebert argued that Connery was more self-aware and funnier than Moore), but he never seemed to be enjoying himself in the same way — from early on, he always seemed to have his eye on the door, looking for an escape from the franchise as quickly as one became available. The same thing would ultimately happen to Moore in “A View to a Kill,” a Bond movie with great villains (Christopher Walken, Grace Jones) that nevertheless suffers from Moore’s obvious apathy, but for most of his run he took a glee in playing Bond that was infectious.
It’s why “The Spy Who Loved Me” remains possibly the greatest of all Bond movies — it’s the one where Moore peaked in terms of his confidence and comfort with the character, and in which his command of his craft was matched by some of the series’ best set pieces and the best theme song (though Paul McCartney’s “Live and Let Die” is an undeniable banger).
“Live and Let Die” is where it all began though, and for those of us who hold the minority opinion that Moore made the best Bond, it’s Exhibit A in our argument for the defense.
“Live and Let Die” will screen this weekend at the Vista Theater.
It’s been a good year to be
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Responsible‑gambling settings are a central part of account creation, not an afterthought. Directly after setting your security details, you’ll come across a screen that prompts you to set deposit limits. You can pick daily, weekly or monthly caps, and you can mix different amounts to fit your budgeting style. A daily limit of fifty pounds, for example, prevents impulsive top‑ups, while a higher monthly limit allows for weekend play. The system applies these limits strictly; any attempt to exceed them is rejected with a clear explanation. If you later wish to increase a limit, a twenty‑four‑hour cooling‑off period is required before the change takes effect. Decreasing a limit takes effect instantly, because it should always be easier to tighten controls than to loosen them. The flow also presents reality checks – pop‑up notifications that indicate session duration and net position – and provides a direct link to the self‑exclusion page, where you can stop access for six months, one year or five years with a single submission.
The form is organized into logical screens that flow from personal identification to account security and preferences. The first screen requests your legal first and last name, date of birth via a calendar picker, and an optional gender field. You then provide your email twice to catch typos – a single mistyped character is the most common reason players don’t get the activation link. The second screen manages your address using the postcode lookup; pick your address from the dropdown and the system fills in the remaining fields. If your address isn’t found, a manual‑entry option appears with clearly labelled fields. The third screen handles account security, where you create a username and password. Our password strength meter motivates a mix of upper‑case, lower‑case, numbers and symbols without applying arbitrary rules. You also set a security question and answer as an additional recovery method. The final screen shows communication preferences – you can opt in or out of promotional emails, SMS alerts and push notifications independently. After examining a summary, you press submit and the system manages everything in sequence.
The welcome package credits your first several deposits as opposed to dumping a single large bonus on your first payment. After your account’s approved, the cashier shows the current offers with key terms outlined in plain English. The first deposit bonus generally matches a percentage up to a maximum amount, alongside a pack of free spins allocated to a featured slot. Free spins are credited in daily instalments, giving you a reason to come back and browse the platform over several days. You must opt in – either by selecting a box on the deposit screen or inputting a bonus code if specified – and we make the opt‑in requirement visible so you’ll never miss out accidentally. The wagering requirement affects both the bonus funds and any winnings from free spins, stated as a multiplier of the bonus amount only. Different game categories qualify at different rates; slots usually contribute one hundred per cent, while table games and live casino count less. The time limit for fulfilling wagering is clearly stated, and any remaining bonus funds are taken away when the clock runs out.
Our cashier supports a selected selection of methods that UK players rely on and use most often. Every transaction is processed in pounds sterling, and we apply no fees for deposits or withdrawals. top rated
Credit cards are blocked automatically in compliance with UK regulations. Minimum and maximum limits differ by method, with e‑wallets generally offering the lowest deposit threshold. If your payment provider applies its own fees, those are displayed before you confirm the transaction.
After analysing thousands of sign‑ups, we’ve pinpointed the frequent issues that result in delays and the simple steps to sidestep them:
Bear these five points in mind and you’ll breeze through the process, arriving at the games sooner.
A bit of preparation converts a five‑minute registration into a two‑minute breeze. Hold these items at your disposal before you hit the sign‑up button: primary source
Ensuring these ready eliminates the frustration of hunting for a utility bill while a session timer ticks down, and guarantees a smooth, uninterrupted sign‑up.
Joining an online casino should feel like
This fall, fashion pros are putting their leather boots into semi-retirement as they direct their energies into how to style suede boots. Soft and sophisticated, the luxurious fabric is more durable than you think (as long as you clean your suede shoes the right way, of course). In the past few years, suede bags have been gaining ground over their leather counterparts; and now that the trend has moved on to footwear, a pair of deep brown suede boots has become a fall wardrobe essential.
Among the fashion set, the versatility of suede shoes is what makes them so popular. Suede boot outfits can include every aesthetic, from romantic boho looks to power suit dressing. Whether you prefer flat Chelsea boots to keep you looking chic while running weekend errands or need a kitten heel option for work, you’re sure to find style, comfort, and quality.
So if you’re looking to invest in a pair, or simply want some new ways to stay on trend with the ones you already own, here’s the Glamour guide on how to style suede boots for fall 2026.
Yes, you can rock a mini skirt without catching a chill—just add knee-high boots. This fall outfit idea is perfect for the early days of the season, when you can still show a little skin, but it’s easy to transition to winter too: If you need more warmth, throwing on a vest or tights won’t add any more bulk to the silhouette. The trendy pointed-toe suede boots that are all the rage right now look sexy and chic with a preppy mini. A simple button-down shirt completes the look, though a scarf will add a necessary pop of color if you’re feeling weighed down by all the earthy browns.
This fall, fashion pros are putting their
Steve Doocy and Brian Kilmeade are preparing for a reunion of sorts that neither is eager to remember.
On September 11, 2001, both Fox News Channel personalities were working on air as news organizations throughout the New York area were trying to cover devastating attacks by terrorists on the two massive skyscrapers at the World Trade Center.
“It has always been a very sober and somber day on ‘Fox & Friends,’” Doocy says of the anniversary of 9/11. “We were there from the beginning. It’s just one of those days where you sit up a little straighter because of the gravity of the day.”
For Kilmeade, the day marked a turning point in his career at Fox News, because he was dispatched to get to downtown Manhattan and capture what was happening. “Keep in mind I was hired for sports. I was always doing sports on the morning show,” he recalls. But after a surreal trip downtown with crew members, he says, “they no longer thought of me as a sports guy after that. I certainly didn’t think of myself as that.”
Next week, “Fox & Friends” will spend time remembering the tragedy around the 25th anniversary of its occurrence. Doocy will host the morning program’s “Breakfast with Friends” series live from O’Hara’s Pub in downtown Manhattan just two blocks from Ground Zero. Doocy will on Tuesday travel to Washington, D.C. and speak with Tunnels to Towers Foundation chairman and CEO Frank Siller. On Thursday, Doocy will broadcast live from Shanksville, Pennsylvania, the crash site of United Airlines Flight 93. And on Friday, , September 11th, Fox News Channel’s special coverage will commence with “Fox & Friends co-hosts Kilmeade, Ainsley Earhardt and Lawrence Jones broadcasting live from the Hyatt House in Jersey City, overlooking the New York City skyline, while Doocy will contribute live from Ground Zero.
Other programs will also nod to the anniversary. “America’s Newsroom” will carry the live reading of the victims’ names from the National September 11 Memorial & Museum. Martha MacCallum, host of “The Story,” will feature an interview with Cardinal Timothy Dolan, the New York Police Department co-chief chaplain.
Fox News’ efforts will join those of ABC News, NBC News, CBS News, MS NOW and CNN. The 25th anniversary of the attacks has spurred many news organizations to offer a broader array of programming, which in most years is largely tied to comemmoration.
Many journalists had to pivot on 9/11, moving from traditional morning-news programming to rolling crisis coverage. Not many of them remain on active duty.
Kilmeade still has vivid recollections of his time visiting Ground Zero on the actual day planes crashed into the two World Trade Center towers. “People were blown out of their shoes,” he remembers. “You could not see the ground. It felt like you were on the moon.” He remembers handing in tapes of what he and the Fox News crew assigned to him had collected, “and I’ve never seen them since.”
In a sign of how unexpected the attacks were, Doocy was, before chaos erupted, tending to something entirely different for the Fox News morning program. “I was outside I was doing the weather with Mr. Peanut,” he remembers. “Planters Peanuts has that mascot. I’m interviewing Mr. Peanut,” which presented some challenges. After all, says Doocy, “Mr. Peanut doesn’t talk.” When he walked 15 feet back into the studio, people were on alert. There was a report of a plane crashing into one of the World Trade Center towers, but there was not much detail. “Nobody had any images,” recalls Doocy. There was speculation that a helicopter or small plane had gone off course.
From there, both Doocy and Kilmeade remember hours of work and of staying in different hotel rooms in New York after the city closed access. Doocy didn’t see his family for two days.
Fox News Media on September 11 will provide coverage and commemoration throughout the day. Eric Shawn, a Fox News Channel senior correspondent who reported from Ground Zero in 2001, will be on hand to provide coverage. At Fox Business Network, Liz Claman, anchor of “The Claman Countdown,” will speak with Brandon and Kyle Lutnick, the Chairman and Executive Vice Chairman of Cantor Fitzgerald, on September 10th and on September 11, will interview Larry Silverstein, founder and CEO of Silverstein Properties, from the World Trade Center, which he helped rebuild. Streaming outlet Fox Nation will debut two new specials exploring the impact of the 9/11 attacks 25 years later.
Doocy hopes such work will ensure Americans remember the terrible day, no matter the memories and feelings it sparks. With the event a quarter century old, he wonders if “the day has lost its potency for a lot of people, its place in history.” The news business employs many young producers, he notes, “who weren’t alive at the time.” The work being done next week by a broad array of news organizations will try to keep remembrances of the day active.
Steve Doocy and Brian Kilmeade are preparing
Alberta’ organized crime unit says it has seized more than $2 million in drugs and cash following a raid on a Calgary home last month.
The cash seizure – more than a million worth – is believed to be the largest of its kind by Alberta Law Enforcement Response Teams (ALERT), it said in a news release.
Get breaking Canada news delivered to your inbox as it happens so you won’t miss a trending story.
ALERT Calgary’s organized crime team made the seizure on July 30, after a home in Calgary’s Skyview neighbourhood was searched. Investigators are still in the process of counting and analyzing the funds.
The cash was seized along with approximately $1.2 million worth of drugs, which included suspected fentanyl, methamphetamine, cocaine and cannabis.
Two other homes – located in Harvest Hills and Rocky Ridge – were also searched, as was two vehicles.
Two people were arrested and charged with charged possession of drugs for the purpose of trafficking, possession of proceeds of crime, and possession of a prohibited weapon.
© 2026 Global News, a division of Corus Entertainment Inc.
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When I initially started playing at online casinos, I concentrated only on the games and the bonus offers. It took me a while to understand that the banking option you choose can affect the whole experience. At Cleanwins Casino, I’ve learned that being able to deposit and withdraw without friction is equally important as finding the right slot. This guide covers the most common casino banking methods available to UK players, explains how each one works, and offers practical advice for dealing with your funds with confidence. If you’re new or you’ve been playing for years, the details of casino payments will spare you time, money, and frustration.
Debit cards such as Visa and Mastercard are the most popular banking method at UK online casinos for a basic reason: they’re recognized, safe, and accepted almost everywhere. Deposits are instantaneous. You enter your card details on the casino’s encrypted payment page, and the money sits in your account right away. Most UK banks don’t charge fees for gambling transactions, although some may block payments as a responsible gambling measure. Cleanwins Casino handles Visa and Mastercard debit deposits without a hitch, and I’ve never encountered trouble. The process appears like any other online purchase, which comforts players because they already rely on their bank’s fraud protection systems.
Getting money refunded to a debit card takes extra time, usually three to five business days after the casino authorizes the request. Many casinos, Cleanwins included, ask you to withdraw to the same card you used for deposits as an anti-fraud step. I’ve found that completing account verification early hastens things considerably. Submit your ID, proof of address, and a photo of the card (with the middle digits covered) right after you register, and your first withdrawal won’t be stuck in a document queue. Debit card withdrawals are not the quickest, but they are trustworthy and well-known if you like to keep everything inside your main bank account. Just keep in mind that weekends and bank holidays can stretch the wait, and some card issuers take an extra day to reflect the credit on your balance.
For gamblers who prioritize safety and big deposit caps, bank transfers are a good option, though they fall short of other methods. A bank transfer sends money straight from your bank account to the casino’s account through online banking or a wire transfer. The method is very safe because it uses your bank’s own verification. Cleanwins Casino accepts bank transfers for both deposits and withdrawals, so they suit players who prefer to avoid third-party services. However, deposits can take a few hours to a couple of business days to settle, depending on your bank. I’ve found that some banks only carry out these transfers during working hours, so a Friday evening deposit might not land until Monday morning.
Withdrawals by bank transfer are slower still, typically taking three to seven business days after the casino authorizes the payout. The advantage is that bank transfers usually come with larger caps, which is ideal for high rollers. I’ve employed this method for larger withdrawals at Cleanwins Casino, and although the wait can be tedious, the peace of mind from a direct bank-to-bank transfer is valuable. Always confirm whether your bank imposes any fees, and keep in mind that Faster Payments can sometimes shorten the process if both banks enable it and the service is available on your account. For the fastest outcome, I recommend requesting withdrawals early in the week to avoid weekend delays.
E-wallets have revolutionized online casino transactions by providing near-instant funding and some of the fastest payouts in the industry. They work as a digital go-between, keeping your bank data private and offering an extra level of protection. Common choices among UK players feature PayPal, Skrill, Neteller, and MuchBetter. Cleanwins Casino showcases several e-wallet choices at the banking section. Establishing one up is straightforward: establish an account, validate your identity, and attach a funding source. After that, paying in is as simple as accessing and authorizing the transaction, with credit appearing instantly. I notably enjoy MuchBetter for its low costs and how well it works on mobile devices, which renders topping up on the go easy.
The real benefit of e-wallets shows up when you request a payout. While card and bank transfer withdrawals can take multiple days, e-wallet payouts often arrive within 24 hrs of casino clearance, sometimes instantly. That speed exists because e-wallet transfers skip traditional banking infrastructures and move funds between digital wallets in seconds. However, some casinos leave out e-wallet deposits from welcome promotions. At Cleanwins Casino, I suggest checking the promotion conditions before you deposit an wallet with an e-wallet so you don’t miss an promotion. I’ve also noticed that ensuring your e-wallet confirmed and operational sidesteps random security freezes that can hold up a payment. For those who seeks quick availability to winnings, e-wallets are difficult to match.
Payment services for mobile like Apple Pay and Google Pay have quickly become favourites for casino deposits since they offer speed with strong security. When you use Apple Pay, for example, you verify the payment with Face ID or Touch ID, and the deposit reaches your casino account instantly. Your actual card details are never shared with the casino, which provides a privacy layer similar to e-wallets. At Cleanwins Casino, a growing number of players have switched to mobile payments purely for the convenience. You don’t need to enter long card numbers or remember extra passwords; a quick glance at your phone takes care of it.
Withdrawals, however, are not supported directly through mobile payment platforms. The money needs to return to the underlying card or bank account linked to your Apple Pay or Google Pay wallet. That means you still face standard card withdrawal times of three to five business days. Even with that limit, I find mobile payments perfect for topping up your balance on the fly. They also depend on tokenisation, which replaces your real card number with a unique code for each transaction, making them a secure choice. Just ensure your device is protected with a strong passcode, and you’ll have a fast, safe way to fund your play.
Services like Trustly, Sofort, and Zimpler span the distance between traditional bank transfers and e-wallet speed. They let you make an instant deposit directly from your bank account without setting up a separate digital wallet. You pick the service at the casino cashier, select your bank, and log in with your online banking credentials. The transaction is completed in real time, and the funds appear in your casino account immediately. At Cleanwins login page Casino, Trustly is popular because it supports instant withdrawals too, often completing within minutes of casino approval. I’ve used Trustly several times and like that I don’t need to remember another password.
These services are safe because they utilize your bank’s own authentication systems and never store your login details. They serve as a secure intermediary, verifying the payment and verifying it instantly. One thing to check is that not all banks are available, so you’ll need to see if your bank is on the list. Deposits are without charge, though some services may impose a small fee for withdrawals; Cleanwins Casino pays these costs for most methods. For players who desire e-wallet speed but choose to keep funds in their bank account, instant bank transfer services are an ideal middle ground.
Lots of players view banking as an secondary concern, but the method you choose impacts everything from deposit speed to withdrawal reliability. Some options are deposit-only, so you’ll have to find a separate way to cash out winnings. Others come with fees that reduce your bankroll, or they might not count toward welcome bonuses. At Cleanwins Casino, players who pause to check the cashier page before they start playing tend to hit fewer snags later. Withdrawal processing can range from a few hours to more than a week, so a little planning saves time and stress. I always recommend testing a small deposit first to see how the method performs before you invest larger sums.
Beyond convenience, your banking choice can determine which promotions you qualify for. I always suggest checking the supported currencies and whether the casino settles payments in GBP to sidestep conversion fees. Cleanwins Casino works with UK players with sterling transactions, which simplifies things. Responsible gambling tools also relate to banking; setting deposit limits is easier once you know what a method can do. For instance, many e-wallets let you set spending caps inside the app itself, offering you another layer of control. A bit of understanding about banking options goes a long way toward a hassle-free session and lets you zero in on the games instead of chasing payments.
Prepaid options like Paysafecard let you deposit without revealing any bank account details, which makes them perfect for players who value privacy. You purchase a card with a 16-digit PIN from a local shop or through a website, then input the PIN in the cashier section of the casino. The funds show up right away, and as the voucher has a predetermined sum, you cannot exceed the limit. That inherent limit is a helpful tool for responsible gaming. Cleanwins Casino observes Paysafecard commonly utilized by users who want to keep their playing money entirely distinct from their primary checking account. I’ve used it myself when I wanted an untraceable deposit, and the process was fast and easy.
The key disadvantage is that prepaid cards are nearly always deposit-only. You’ll have to use an alternative method, such as a wire transfer or e-wallet, to withdraw any prizes. Some players pair Paysafecard for adding money with an online wallet for cashouts, and that combination works well. Vouchers also are offered in set denominations, so you could wind up with a minor residual sum that is awkward to spend. I consistently recommend acquiring a card that corresponds to your desired deposit precisely. Furthermore, store your PIN protected: once used, the card is spent, and misplacing an untouched PIN means losing the balance.
Even though still a specific selection at UK-facing casinos, cryptocurrencies like Bitcoin, Ethereum, and Litecoin are gaining momentum because of their swiftness and low fees. Crypto transactions function on peer-to-peer networks, so no banks or intermediaries are included. Deposits are commonly confirmed within minutes, and withdrawals can be just as fast once the casino handles the request. Cleanwins Casino offers crypto options for players who value anonymity and borderless transactions. I’ve tested Bitcoin deposits, and the process felt straightforward once I got comfortable with a digital wallet.
There are some crucial points to keep in mind. Cryptocurrency values can fluctuate, so the amount you deposit might change in fiat terms by the time you play. UK Gambling Commission rules around crypto gambling are also tight, and not all sites that accept crypto hold a licence. Always confirm the casino has a valid UKGC licence. I also advise using a dedicated crypto wallet for gambling transactions so your main holdings stay separate. Crypto isn’t for everyone, but it hints at where casino banking is heading with near-instant settlements and stronger privacy. Just remember to consider network fees, which can spike during busy periods.
With so many options available, the best banking method is based on what is most important to you. If speed is your primary concern, e-wallets and instant bank transfer services are your ideal option. If simplicity and convenience matter more, debit cards remain a reliable choice. If you want tight spending limits, prepaid vouchers fit naturally. I always suggest making a short list of priorities: deposit speed, withdrawal speed, privacy, fees, and bonus eligibility. Cleanwins Casino enables you to sort the cashier by these features, which makes the decision more straightforward.
I also suggest having at least two methods ready: one for deposits and a secondary for withdrawals. For instance, pairing a debit card for deposits with an e-wallet for withdrawals gives you speed and ease in one arrangement. Always confirm your reddit.com account early, whichever method you choose, because a verified account unlocks faster withdrawals universally. Watch the casino’s banking page for new information, since new methods appear often. By matching your banking method to the way you gamble, you’ll devote less time managing payments and extra time experiencing the games at Cleanwins Casino.
When I initially started playing at online
Joey Graziadei and Kelsey Anderson attended the Los Angeles premiere Of Netflix’s “Earle Meets World” at Netflix Tudum Theater.
Joey Graziadei and Kelsey Anderson attended the
Sisters Rooney and Kate Mara learned to speak in unison for Werner Herzog’s drama “Bucking Fastard,” something that came “surprisingly” easily for them.
The film follows two sisters who are so close they “speak in unison, love the same man, and have the same dreams,” according to the synopsis. Herzog, the influential German filmmaker of “Nosferatu the Vampyre” and “Aguirre, Wrath of God,” said at a Venice Film Festival press conference ahead of its premiere on Thursday that he’s been wanting to make the movie for years, but it was only “clear that it could be done” once he met the Mara sisters.
“At first, it was very daunting, the idea that we were going to be playing this kind of same person,” Rooney said. “But I think we found pretty quickly that having a lifetime together and all this history and a childhood of playing together …. there was just an unspoken world between us that we didn’t have to work very hard to create at all. I’ve never laughed so much, it was a very once in a lifetime, unique experience.”
Kate added that speaking in unison “felt almost like a song, like we had this unspoken sort of rhythm together.” She continued: “It was very musical, I think. It just sort of happened quite naturally. Surprisingly, it came with a lot more ease than we were expecting.”
Herzog said that the sisters “hardly needed any rehearsals” to get the speaking right. Though they had time for two weeks of preparation, Herzog stopped it after just five days. “I had complete confidence with them,” he said.
“Bucking Fastard” was written and directed by Herzog, who has has a long history at Venice, having premiered 1991’s “Scream of Stone” and 2005’s “The Wild Blue Yonder” 2009’s black comedy “Bad Lieutenant: Port of Call New Orleans” and crime drama “My Son, My Son, What Have Ye Done?” at past editions.
“Bucking Fastard” is loosely inspired by real British identical twins Freda and Greta Chaplin, who became tabloid sensations after becoming besotted with their neighbor, who eventually took out a restraining order on them. The movie’s daring title comes from a spoonerism the twins made (simultaneously, of course) while they were in court. Orlando Bloom and Domhnall Gleeson round out the cast.
“Bucking Fastard” is the first time the Mara sisters are sharing the screen. Rooney Mara is best known for “The Social Network,” “The Girl With the Dragon Tattoo,” “Her” and “Carol.” Kate Mara’s major credits include “House of Cards,” “24” and “American Horror Story: Murder House.”
Sisters Rooney and Kate Mara learned to
Veteran sportscaster Erin Andrews shared that she thought her career was over after a video of her nude leaked on the internet in 2009, slamming the violation as “gross.”
Andrews, who currently serves as the lead NFL sideline reporter for Fox Sports, opened up about the ordeal during a Wednesday appearance on “Call Her Daddy.”
“I think back in the day, before … the Apple phones were getting hacked and people’s photos were up and so forth, I had this disgusting person following me around cities,” Andrews recalled of her stalker in the mid-’00s. “It was very well publicized where [ESPN’s] ‘College Game Day’ was going to be, where ‘Thursday Night Football’ was going to be and I didn’t have an alias. I didn’t think I was a big deal.”
Nonetheless, Andrews noted that her career was on the rise, receiving calls about “Dancing With the Stars” and working backstage at the ESPYs. However, this joy came to a screeching halt after Andrews received a call from a blogger friend, who she shared had been trying to reach her all day.
“Blogs were the big deal and he had been calling me all day and he just said, ‘Erin, I have to talk to you,’ and I was like, ‘What’s up? I’m getting on a red eye to go back to Atlanta,’ and he’s like, ‘There’s naked video of you all over the internet,’” she remembered. “And I said, ‘No, there’s not, I don’t do that. I just don’t.’ And I didn’t, you know, I was like, ‘What are you talking about? This is made up. This is something that’s not me.’”
Andrews shared that this friend then sent her the footage, which quickly prompted a strong reaction from the sports journalist.
“I called my mom and dad, right away. I was screaming, crying because it was me and it was me naked in a hotel room walking around and I just, outer body experience, started screaming,” she said. “My dad said when I called, he thought I was in a car accident because I was screaming so hard.”
Andrews said the leak rattled her, given her love of the job and the way she was viewed as “being the girl next door.”
“I just said to my dad, ‘It’s over, my career is over. No one’s going to take me seriously ever again,’” she shared. “That’s all I ever wanted, right, was people to turn me on and just say, ‘Oh my gosh, I would love to have a beer with her and talk football with her. I would love to do a sit down interview with her.’ And I just thought, ‘This is so dirty. No one’s going to ever want to work with me again, talk to me again. This is gross. This changes who I am.’”
Andrews shared that she didn’t know any of the specifics at that time, noting that it eventually led to “a whole investigation,” which involved the FBI and a trial. Specifically, Michael David Barrett was arrested three months after the video was uploaded on the internet. He was charged with interstate stalking before pleading guilty in 2009. Barrett went on to serve over two years in prison.
“There was this disgusting person following me around and he was setting up his cell phone right up to my hotel room,” she said. “He would take off the peephole at the door. He would ask for a room next to me, and the hotel never alerted me that this was happening. So, they would put this person next to me.”
Andrews explained how the stalker would “wait and listen” for her to get into the shower, adding, “He would stand there with a camera and he filmed me getting ready and then he put it on the internet.”
The sportscaster noted that she learned the hard way that “when something’s on the internet, it doesn’t come down.”
“So, it was a lot. It was a lot that I put my family through with all of it,” she shared. “It was a lot legally. It was wild.”
Andrews noted that in the aftermath she struggled with “shame” and embarrassment, saying, “I remember walking around stadiums – this is when I was doing college, so, some stadiums have 100,000 people – thinking everybody in the stadium has seen me naked and I didn’t have a choice.”
Watch Andrews’ “Call Her Daddy” interview above.
Veteran sportscaster Erin Andrews shared that she
Published
Gloria Steinem, the famous feminist activist and writer, has died, according to her foundation’s website.
The Gloria Steinem Foundation announced that Steinem died peacefully surrounded by her loved ones at her home in New York.
She was 92.
RIP
Story developing
If season one is anything to go by, we’re in for some very online moments.
The first series gave us Jack Shep’s viral Princess Diana impression, George Fouracres taking on former prime minister Keir Starmer, Ayoade Bamgboye as Tory leader Kemi Badenoch, and Weekend Update with Ana Magliano and Paddy Young, and that’s only scratching the surface.
The guest list was equally stacked, with Tina Fey, Wet Leg, Jamie Dornan, Wolf Alice, Riz Ahmed, Kasabian, Jack Whitehall, Jorja Smith, Nicola Coughlan, Foo Fighters, Aimee Lou Wood, MEEK, Hannah Waddingham, Myles Smith, Ncuti Gatwa, and Holly Humberstone appearing throughout the series.
The finale signed off with none other than Mr Blobby, Martin Lewis, and Louis Theroux.
For years, Hollywood has talked about a federal film and television tax credit that could help the industry combat the growing number of productions fleeing overseas.
This week, the entertainment business got a glimmer of hope.
After more than a year of quiet work from California lawmakers, industry lobbyists and Hollywood unions to build a bipartisan coalition, President Trump endorsed the effort in a post on Truth Social, providing a major boost to the issue.
If passed, a federal incentive is expected to help draw some productions back to the Golden State, industry experts and advocates said. While it probably won’t immediately end Southern California’s production crisis — as many states now have established film hubs stocked with experienced crews and more generous tax breaks — an added federal credit could certainly help make California more competitive, they said.
“I will put our crews and our talent against any talent anywhere in the world,” said Rep. Laura Friedman (D-Glendale), a former producer who has been pushing for a national film tax credit. “If we have a level playing field upon which to shoot, where we are not much more expensive than other locations, productions will come back to Los Angeles.”
Trump’s Truth Social post came after a meeting with actor Jon Voight, one of the president’s designated Hollywood ambassadors who has played a key role in lobbying for the film industry and advocating for a federal tax credit. Though Trump has had frosty relations with Hollywood, particularly since many heavyweights did not support his presidential campaign, the industry’s jobs push aligns with his focus on re-shoring work, marking a rare moment of agreement.
Speaking to reporters in the Oval Office, Trump said Wednesday that he has done “a lot of work” in the last week to get something done on federal tax incentives for the film and television industry.
Trump said he has spoken to streaming giant Netflix; Ari Emanuel, chief executive of TKO Group Holdings Inc.; and “many others,” and that he is hopeful there will be a bipartisan push to revive productions in Hollywood with “big subsidies and big credits.”
“We don’t give anything and we should,” Trump said, referring to proposed tax breaks for U.S. productions. He added that he wants legislation to “match” what other countries are offering.
Now, lawmakers must hammer out the details of that legislation.
The bill will have a Republican sponsor from a state known for film and TV production, but Friedman declined to name the person, saying she was waiting for Republicans to make their internal decision about that lead lawmaker.
The bill is likely to go through the House Committee on Ways and Means. While exact provisions are still being negotiated, the expectation is that the credit will be stackable with states’ incentives — similar to how Canada’s tax credit works. A 20% federal tax credit on all labor costs — including for salaries of actors and crew members — is being discussed.
An earlier proposal from Sen. Adam Schiff (D-Calif.) had called for a baseline labor-based tax credit of 15% to 20%, in addition to bonus add-ons for indie productions among others, a Schiff spokesperson said.
Schiff has previously noted that 45% of all U.S. films and scripted TV shows were shot internationally last year, up from about 33% in 2022.
Having Schiff and Trump on the same side of this national tax credit is emblematic of the odd bedfellows the effort has gathered.
The Motion Picture Assn. studio lobbying group has released a statement backing the proposal, as have unions such as the Screen Actors Guild — American Federation of Television and Radio Artists, the Directors Guild of America and the International Alliance of Theatrical Stage Employees.
“I am in strong agreement with the President,” Schiff wrote Monday in a post on X. “Congress should immediately take up and pass a federal film tax incentive to bring back these good-paying jobs that we’ve lost to other countries.”
Production incentive experts say any national film tax credit will need to have a seamless process, one with minimal red tape.
One idea is to make the national production incentive an overlay that’s attached to states’ incentives, so the federal government doesn’t need a separate agency to vet the same criteria, which could slow the process, said Peter Marshall, managing principal of media insurance services at Epic, an insurance broker and consultant.
Parameters will also need to be clear, and the program easy to access, said Kathleen Thompson, vice president of tax incentives at payroll service Cast & Crew.
“There is an excitement and an energy and a hopefulness right now from the production community,” she said. “I’ve certainly gotten notes from clients, potential clients and industry colleagues that are very excited about the possibility of this passing and becoming a reality.”
Stacking a federal tax credit on top of the newly bolstered California production incentives could help give the state an edge when producers are pricing out location shoots.
“California is still the leader in production,” said Joe Chianese, senior vice president at Entertainment Partners, which tracks production incentives worldwide. “Producers would like to stay home if they can, but it boils down to the math.”
But even with the improvements to California’s film and TV tax credits, the state’s program still has limitations.
California has an annual funding cap of $750 million, has designated application windows and does allow the cost of actors’ salaries — a major driver of movie budgets — to be counted toward the tax breaks.
Beyond the program, the Golden State is just more expensive than other U.S. locales, and some filmmakers have criticized the red tape that makes shooting in L.A. more difficult.
“Can we be more competitive with a federal incentive? Absolutely,” Thompson said. “Can it completely turn the tide? I don’t know, but I hope so for our industry and our state.”
Industry stakeholders say they are hoping for quick movement on the issue, particularly since it will probably take more than a year after any tax credit is passed for producers to start making plans to move filming back to the U.S. due to lengthy production timelines for movies and TV shows.
“There is a ticking clock,” said Marshall of Epic. “If something isn’t done by the end of the year or in sight, there will be a further solidification of offshoring.”
For Peter Max-Muller, owner of The Ruby, a North Hollywood contemporary clothing rental business, the loss of film and TV shoots in L.A. is one of many threats his business faces, in addition to the use of AI production.
His sales typically mirror the production data from the nonprofit FilmLA, which recorded a 13% drop in shoot days in L.A. County in the second quarter over the same period a year ago.
The goal of a federal incentive, Max-Muller said, “is that we get that runaway production back.”
It’s why Friedman said she is pushing to get the tax credit legislation done as soon as possible.
“The film industry is deep in the identity of Los Angeles,” she said. “And it’s worth saving.”
Staff writer Ana Ceballos contributed to this report.
For years, Hollywood has talked about
The name kasino stupid Casino surprised me the first time I saw it. It’s daring, slightly self‑deprecating, and unlike the polished, corporate brands that dominate the Czech gambling market. Yet a clever name doesn’t indicate whether a site is secure or worth my money. I needed to find out if this site truly protects Czech players, processes payouts, and operates under legitimate regulation. Over recent weeks I examined their licensing, registered from a Czech IP, scrutinized the bonus terms, and made actual deposits using the payment methods local players prefer. What I discovered is a site that heavily embraces its quirky branding while still adhering to the security standards Czech players should know. The site uses SSL encryption, demands identity verification before your first cash‑out, and works with game studios whose titles I’ve seen on plenty of regulated European casinos. Nevertheless, the bonus terms and withdrawal limits contain specifics every Czech player must grasp before wagering real money. This article lays out everything I ran into, from creating my account right up to the day I requested my first payout.
Stupid Casino isn’t just a casino. The sportsbook is located in a prominent spot on the main nav, and I discovered it is a full‑blown betting exchange, not just an add-on. Czech bettors get deep coverage of domestic leagues, such as the Fortuna Liga, Chance Liga, and Tipsport Extraliga for ice hockey. The odds are set to decimal format—the standard here—and I was able to switch between pre‑match and live betting with one click. During a Sparta Prague match, I made an in‑play bet on the next goal scorer and the bet slip changed in real time without lag. The margin on top‑tier football matches was about five percent, which holds its own against dedicated Czech bookmakers. I also explored less common markets like esports, where Counter‑Strike and League of Legends had dozens of pre‑match and live options. The cash‑out button appeared on selected bets, and I took advantage of it to lock in a partial profit when a tennis match turned the wrong way. One gap I observed: no Czech‑language commentary or match trackers for lower‑tier competitions. The visual match tracker works for major leagues fine, but for Czech second‑division football I had to lean on outside sources for live updates. Even so, the sportsbook blends with the casino wallet, so I could shift funds between betting and gaming without handling separate balances—a real convenience when you like both.
I tried Stupid Casino on an iPhone 14, a Samsung Galaxy S23, and an iPad Air to observe how the platform deals with different screen sizes and operating systems. The site utilizes responsive web design instead of a dedicated app, so you reach it through your device browser without installing anything from the App Store or Google Play. That method has pros and cons. On the plus side, I consumed no storage space, handled no updates, and could pick up exactly where I left off on any device. The mobile layout changed the navigation into a bottom‑anchored menu with thumb‑friendly icons for casino, sports, promotions, and account settings. Game thumbnails resized cleanly, and the search bar stayed reachable from every screen. I launched a Pragmatic Play slot in landscape mode and observed no drop in graphics quality or spin responsiveness compared to the desktop version. The live dealer streams adjusted their bitrate depending on my connection; over a 4G mobile network in central Brno, the stream held steady with only minor compression artifacts during the busiest evening hours. The downside of browser‑based mobile play is that push notifications are inferior than what you’d get from a native app. I couldn’t receive real‑time alerts about bet settlements or promos unless I maintained the browser tab open. For Czech players who play mostly on mobile, the experience is seamless and fully functional, but I hope the operator eventually introduces a native app to enable things like biometric login and offline account access.
I got in touch with Stupid Casino’s support team through live chat and email to gauge response times, language skills, and issue‑resolution skills. The live chat widget sits in the lower‑right corner of every page and puts you through to an agent after a short queue. My first attempt, on a Tuesday afternoon, had me talking to an English‑speaking agent in less than a minute. I raised a pointed question about withdrawal processing times for Czech bank transfers, and the agent responded with a clear, accurate answer—no generic copy‑pasted script. When I used Czech in a later chat, the agent apologized and noted that Czech‑speaking support runs during limited hours, roughly 10:00 to 18:00 Central European Time. Outside that window, support switches to English. That’s a shortcoming Stupid Casino should address if they want to fight aggressively for the Czech market, since plenty of local players feel more comfortable discussing money or technical problems in their native language. Email support—I dispatched a detailed query about bonus wagering contributions—came back with a thorough answer inside three hours. The reply addressed every sub‑question I’d raised and pointed to the relevant terms pages. I checked for a phone line and couldn’t find any, which matches the industry drift toward digital‑only support. The FAQ section includes the basics—deposits, withdrawals, account verification—but doesn’t go deep on technical snags like geolocation errors or payment method troubleshooting. Overall, the support setup is capable, but there’s still scope for improvement Czech‑language coverage.
The promotions page at Stupid Casino is loud, vibrant, and loaded with offers that require a close read. The welcome package commonly spans your first three deposits, blending deposit matches with free spins on specific slots. When I claimed the first deposit bonus, I obtained a 100 percent match up to a set amount plus fifty free spins on a popular NetEnt title. The bonus funds appeared instantly, but the free spins were released out in daily batches of ten over five days. That staggered release is a retention play, and I favor casinos that hand over all spins at once. The wagering requirement on the bonus cash was 35 times the bonus amount—right around the industry average. But I found that different game categories count differently toward wagering. Slots counted one hundred percent, table games just ten percent, and live dealer games contributed nothing. That’s a crucial detail for Czech players who lean toward blackjack or roulette over slots. The maximum bet accepted while clearing an active bonus was 125 CZK; sneaking above that could forfeit you the bonus funds and any winnings tied to them. I also spotted a list of restricted games where wagering contributions are void—several high‑RTP slots were on that list. Beyond the welcome offer, the platform runs weekly reload bonuses, cashback on net losses, and slot tournaments with prize pools. Every promotion has its own terms, and I highly suggest checking the full terms document before you opt in, rather than counting on the summary banners.
Behind the cheeky branding, Stupid Casino implements security measures I verified through technical inspection and by questioning their support team. The full site functions over HTTPS with TLS 1.3 encryption—I confirmed that by examining the security certificate in my browser. That means everything exchanged between my device and their servers—login credentials, payment details, personal ID scans—is encrypted against interception. The privacy policy, which I read start to finish, outlines how the casino collects, stores, and shares user data. It indicates personal information is stored on servers in European data centers and is never sold to third‑party marketers. The policy also details GDPR compliance, which bears legal weight for Czech residents whose data rights fall under EU law. I dispatched a data access request through the support email to evaluate their GDPR responsiveness. In five days, I got back a structured file with my account info, transaction history, and communication logs. That adherence with data portability and access rights is a good sign of operational maturity. The platform also provides two‑factor authentication, which I turned on the moment I created my account. Now each login demands a one‑time code from my authenticator app, creating a critical barrier against stolen passwords. For payment security, the casino masks stored card details, so my full card number never shows up in the account interface. These security habits match what I anticipate from any platform managing real‑money transactions.
I set up my account from a Prague IP address so I’d experience exactly what a Czech player encounters. The registration form requested my full name, date of birth, email, phone number, and home address. I appreciated that the country dropdown defaulted to Czechia after it recognized my location, and it handled Czech‑formatted phone numbers without a hitch. After I provided the details, a verification email came within about thirty seconds. Clicking the confirmation link enabled the account straight away. The platform encouraged me to fill out a basic profile before depositing, but full Know Your Customer verification wasn’t required until I initiated my first withdrawal. That’s normal, but I sent in my documents early anyway, to check the process. I provided a scan of my Czech national ID and a recent utility bill showing my Brno address. The compliance team examined everything in just under four hours—sooner than the industry average I’m used to. Once verified, my withdrawal limits increased and I gained access to all payment methods. One nice touch was the clean upload interface that handled both PDFs and image files. The system bounced my first utility bill because it was more than three months old, so I submitted a fresh one and succeeded. That attention to document age shows the compliance people actually look at submissions instead of rubber‑stamping them, and that creates a layer of security for everyone on the platform.
Following weeks of testing, I can identify a handful of things that distinguish Stupid Casino apart from the dozens of alternative international platforms fighting for Czech players. The most obvious is the brand personality. In a market saturated in generic luxury‑themed casinos, the irreverent tone and fun design create a distinctive identity that people truly mention. But personality alone doesn’t keep a platform afloat. The concrete differentiators include the smooth combination of casino and sportsbook under one wallet, the adoption of Czech koruna as a base currency, and cryptocurrency withdrawal options that plenty of Czech‑facing rivals still. The depth of the game library, particularly the live dealer section with some Czech‑speaking tables, offers a local touch most international casinos overlook. The withdrawal speed I clocked—bank transfers settling in two business days—surpasses several competitors whose payout timelines stretch to five days or longer. On the downside, the restricted Czech‑language support hours and the missing native mobile app keep this platform from completely dominating the local market. The Curacao license, while legitimate, will always bother players who value the protections of a Czech Ministry of Finance‑regulated operator. I view Stupid Casino as a solid pick for Czech players who care about game variety, fast crypto payouts, and an down-to-earth vibe—so long as you review the bonus terms with open eyes and establish personal limits before you commence playing.
The name Stupid Casino isn’t an error or a bad translation. It’s a deliberate marketing move that immediately shows the brand keeps a lighthearted tone. Scrolling the homepage, I noticed mascots, loud colors, and cheeky copy poking fun at stale casino clichés. That approach appeals to younger Czech players who are fed up with the velvet‑rope formality older gambling sites still use. Underneath the jokes, though, the site is unexpectedly practical. The main navigation is organized into clear sections: casino slots, live dealer tables, sports betting, and promotions. The search bar managed Czech game titles I typed without fuss, and the filters enabled me to sort by provider, popularity, or release date. The footer contains links to responsible gambling tools, terms and conditions, and a privacy policy—available in English. A Czech version of those legal documents would have been appreciated, but the English versions are thorough enough to understand your rights. The brand philosophy appears centered on stripping intimidation out of gambling while keeping a serious backend. That duality is important because a playful facade can sometimes mask sloppy operations. In this case, I found the licensing info easily, and customer support answered my first questions within minutes, which gave me enough confidence to dig deeper.
The withdrawal process is where many online casinos show their real face, so I focused closely here. Stupid Casino establishes a minimum withdrawal of 500 CZK—low enough for the majority of players. Maximum limits fluctuate by payment method and account level. During my first week, I faced a ceiling of 50,000 CZK per transaction and 150,000 CZK per month. Those ceilings increase for players who reach elevated verification statuses or demonstrate consistent play, but the exact thresholds aren’t posted publicly. I’d recommend reaching out to support to determine your personal limits before you accumulate serious winnings. My first withdrawal was 2,000 CZK via bank transfer. The casino completed it inside eighteen hours, and the money landed in my Czech bank account two business days later. That timeline is on par with other international casinos I’ve tested. One policy that caught my eye was the wagering requirement linked to deposited funds. If you fund your account without claiming a bonus, you still have to wager the deposit amount at least once before cashing out. This is a typical anti‑money laundering measure, but I mention it because some players get confused about why a withdrawal is paused. The finance team did not require any paperwork beyond what I’d already sent during KYC, so the whole thing went smoothly. No unexplained delays, no surprise document requests—that implies the backend is efficiently run.
Licensing requirements is the one biggest thing I look at when sizing up any online casino that accepts Czech residents. Stupid Casino operates on a Curacao gaming license—I navigated to the footer, clicked the license validator icon, and confirmed it. The Curacao license is common among international casinos available to Czech players, but it does not come with the same local consumer protections as a license from the Czech Ministry of Finance. That distinction matters. A Czech‑licensed operator has to follow tight advertising rules, pay to local tax revenue, and plug into the national self‑exclusion registry. Curacao‑licensed platforms adhere to a different rulebook, one that provides operators more flexibility and less player‑side protection. That said, the Curacao framework still requires the casino to keep player funds separate, conduct anti‑money laundering checks, and be subject to periodic audits. I looked over the responsible gambling page and discovered deposit limit tools, cooling‑off periods, and self‑exclusion options that match what I’d look for from a regulated European site. The lack of Czech‑language support late at night was a small weakness, but the English‑speaking agents I spoke with grasped my regulatory questions and provided straight answers. For Czech players, the key point is that Stupid Casino can legally admit you, but you’re playing under international protections, not local ones.
Responsible gambling features aren’t just a legal box to tick. They’re a essential set of tools every player should grasp before depositing. Stupid Casino has a specific responsible gambling page you can find from the footer, and I tried every tool on offer. You can establish deposit limits daily, weekly, or monthly. I set a daily cap of 500 CZK and the system enforced it right away. When I tried to deposit beyond that limit later the same day, the transaction was rejected and a pop‑up notified me of my self‑imposed restriction. That real‑time enforcement is exactly what I expect to see. The platform also offers loss limits, wager limits, and session time reminders that prompt you after a stretch of continuous play you choose. I configured a one‑hour session reminder and saw a gentle notification recommending I review my activity. The self‑exclusion option lets you lock yourself out for anywhere from six months to five years. I didn’t trigger it during testing, but the process looked straightforward and irreversible without contacting support. One feature I lacked was a reality check that shows net win or loss numbers during a session. That transparency tool is common on Czech‑licensed sites and helps players make sharper decisions about whether to keep going. The responsible gambling page also links to outside organisations like GamCare and Gamblers Anonymous, though adding Czech‑specific resources—like the national helpline—would be a solid improvement. If you use a device or have kids around, I’d activate the session timeout feature that logs you out after a period of inactivity; it’s an further layer against accidental access.
Adding money to my Stupid Casino account was straightforward, with several payment methods Czech players commonly reach for. The cashier section listed Visa and Mastercard debit cards, bank transfers, and e‑wallets such as Skrill and Neteller. I also found cryptocurrency options like Bitcoin and Ethereum, which attract a growing portion of Czech players who favor blockchain‑based payments. The minimum deposit stood at 300 CZK—reasonable for casual players exploring a new site. I did my first deposit with a Visa card from a Czech bank. The transaction completed instantly, and the money arrived in my casino balance before I could even refresh the page. The casino charged any extra fees, though I always suggest checking with your card issuer about possible foreign transaction charges. The platform displays balances in Czech koruna, so you bypass the mental math of converting from euros or dollars. That local currency support is a real advantage because it stops exchange rate swings from nibbling at your bankroll. Withdrawal methods mirror the deposit options, though I saw cryptocurrency payouts settled faster than old‑school banking. The cashier page shows processing time estimates next to each method, and during my tests those estimates proved correct. For Czech players who care about speed, e‑wallets and crypto give you the quickest path to your winnings.
The game library at Stupid Casino is extensive, and I devoted several hours into the slots, table games, and live dealer sections. The platform pulls titles from over forty software providers, including top names like NetEnt, Pragmatic Play, Play’n GO, and Evolution Gaming. Czech players who know the land‑based slots in local venues will be comfortable in the Pragmatic Play section—many of the same titles appear here with the same mechanics. I organized the slots by provider and found more than two thousand individual titles. The search function processed Czech‑accented characters without problems, a small quality‑of‑life win. Beyond slots, the table game area provides multiple blackjack, roulette, baccarat, and casino poker variants. I tried the European roulette table and noted the return‑to‑player percentage matched the 97.3 percent I look for from a single‑zero wheel. The live dealer lobby, supplied mainly by Evolution Gaming, broadcasts from professional studios with Czech‑speaking dealers available during peak European hours. Getting to interact in your native tongue enhances the live casino experience a lot. I also discovered a batch of crash games and instant‑win titles that are ideal for players looking for quick, high‑volatility sessions. The game categories are clearly laid out, and load times on both desktop and mobile remained under three seconds on a typical Czech internet connection.
Yes, Czech residents are allowed to use Stupid Casino. The platform is licensed by a Curacao gaming license, enabling it to welcome players from Czechia. However, it lacks a license from the Czech Ministry of Finance, thus local regulatory protections are absent. It is your responsibility to reporting and paying any applicable gambling taxes on your winnings in line with Czech law.
Indeed, Stupid Casino supports Czech koruna as an account currency. You may deposit, play, and cash out entirely in CZK with no currency conversion fees from the casino side. That’s a big advantage for Czech players looking to avoid exchange rate swings eating into their bankroll.
Withdrawal processing times are based on your chosen method. E‑wallet and cryptocurrency withdrawals usually take twenty‑four hours. Bank transfers to Czech accounts generally take two to three business days following the casino’s approval of the withdrawal. Your first withdrawal necessitates completed identity verification, potentially adding time if you haven’t done it in advance.
Czech‑language customer support can be accessed during limited hours, usually from 10:00 and 18:00 Central European Time. Outside these hours, support is given in English. The live chat and email channels are both available daily, and English‑speaking agents are responsive and knowledgeable about account and payment issues relevant to Czech players.
Stupid Casino offers deposit limits, loss limits, wager limits, session time reminders, cooling‑off periods, and self‑exclusion options. You can configure these tools straight from your account settings. The platform furthermore supplies links to international responsible gambling organisations, although Czech‑specific helpline numbers are not currently provided.
The name kasino stupid Casino surprised me
Marvel just split its fanbase with the first photos of Charlie Cox as Daredevil ahead of his 2027 return. The Man Without Fear will be back in Daredevil: Born Again Season 3, and his new suit has sparked chatter on social media. Since first playing Matt Murdock on Netflix’s Daredevil before moving into the MCU, Cox has worn numerous comic-inspired costumes, and his latest stands apart from earlier versions in ways that have some fans excited and others unconvinced.
The photos surfaced from the New York set of Daredevil: Born Again Season 3, which will arrive on Disney+ in March 2027. Cox was photographed filming in Downtown Manhattan, giving fans their clearest look at the new Devil costume. The new suit mixes black and red rather than choosing one color. Season 1 gave him a brighter red look, while Season 2 leaned into the black Shadowland-style costume from the comics.
In theory, blending those two colors should work, but part of the fanbase isn’t sold. Some think Marvel should have committed to either red or black, with one fan writing, “Kinda wish the cowl was red.” Others think the split is the right call.
The placement is what makes it interesting. The base is black, while red panels run along the shoulders, sides, and torso. The cowl stays mostly black, with deep red lines cutting through the sides and red lenses.
The gloves remain black, while the “DD” logo keeps the red shade it had in Season 2.
It also comes across as an MCU spin on Matt’s 1990s black armor from Fall From Grace and the later Daredevil: Black Armor comic, not just a halfway point between the show’s first two suits.
Other photos from the same set showed Daredevil beside Elodie Yung’s Elektra, confirming her return. Those images had much better lighting and showed the costume more clearly than the earlier night shots.
Some fans’ opinions even softened after seeing them, with one person saying, “It really does look like comic shading.”
It is unsurprising that some fans prefer the Born Again Season 1 suit, given how strong that look was.
It was one of the reddest Daredevil suits Marvel has put on screen, a brighter take on the Netflix design with less heavy armor.
Season 2’s costume looked like that suit painted black, but it still had a distinct, eye-catching identity.
Marvel has experimented with various shades of Daredevil costumes since bringing Matt Murdock to life in live-action. The Born Again suits in Seasons 1 and 2 were instant hits with the fanbase, which raises the question of whether Marvel will return to those colors. The black suit feels less likely, because it was tied to a specific story rather than a simple style switch. In Born Again Season 2, Matt was an outcast, hidden and hunted by Wilson Fisk’s Anti-Vigilante Task Force. He adopted the black costume to work in the shadows and stay unseen. It served that purpose well, and with Fisk exiled and even sporting a thick beard, a full return feels unlikely, though a brief callback is always possible.
A red-style suit, on the other hand, is almost guaranteed to come back eventually, since that silhouette is Daredevil’s default look. Season 3 could even nod to it through the comic run it is drawing from, Devil in Cell Block D. There, Danny Rand wears the Daredevil suit in New York to create doubt around Matt’s identity while Matt is in prison.
In Born Again, Matt has already admitted he’s Daredevil in open court, so that exact trick is redundant. Still, a red suit resurfacing as a symbol, a decoy, or a brief throwback would be a fun way to use that comic storyline without pretending the secret identity genie can go back in the bottle.
DC Studios isn’t only looking to Marvel Studios for inspiration as it builds its franchise, borrowing a move for its first Batman spin-off film that helped Sony’s Spider-Verse take off. The live-action DCU is firing on all cylinders right now thanks to the release of Lanterns, the HBO series from the minds of Chris Mundy, Damon Lindelof, and Tom King. There’s so much buzz around it that it’s easy to forget that James Gunn and Co. have their hands in their fair share of animated cookie jars.
On the TV side of things, Creature Commandos is getting a second season in the near future. A Mister Miracle show that will introduce DC Studios’ version of Darkseid is also in the pipeline. Both of those shows are canon to the DCU, though, which may hamper their ability to go all out. Dynamic Duo, an animated Batman spin-off, won’t be fighting with one arm behind its back.
Animation studio Swaybox is working on a film that will roll out the red carpet for two Robins, Dick Grayson and Jason Todd, and tell their story using what it calls “Momo animation,” a blend of CGI animation, stop-motion, and live-action performance. That may sound like an expensive endeavor. However, according to The Hollywood Reporter, DC Studios has provided Dynamic Duo with a $90 million budget.
In an age where superhero movie budgets often balloon to $200 million or more, it’s smart business to hand out modest budgets and hope for the best. Sony Pictures took that approach with Spider-Man: Into the Spider-Verse, which also had a $90 million budget. Phil Lord and his collaborators worked with what they had and delivered a massive hit that grossed $395 million worldwide.
Sony got bang for its buck, giving the powers that be the confidence they needed to greenlight a sequel. Spider-Man: Across the Spider-Verse hit theaters a few years after its predecessor and grossed $690 million on a $125 million budget. Studios can usually only dream of wins that big.
Now, it’s DC Studios’ turn to try the historically successful formula. And it has a lot more than the right financial attitude in its favor. Dynamic Duo has all the makings of a superhero classic, one that can be DC’s answer to Spider-Verse in more ways than one.
Into the Spider-Verse worked so well because it was something new. Sony had produced six live-action Spider-Man movies prior to its release, and they all covered familiar ground, putting a young Peter Parker in a tough spot and forcing him to work his way out of it. Miles Morales lived in a world that already had a Wall-Crawler, then lost him out of the blue, forcing him to step up while navigating life as a teenager.
Miles’ origin story felt like a breath of fresh air. And then Across the Spider-Verse kicked things up a notch by introducing all kinds of new Spider-People. DC Studios would be wise to create a similar blueprint for Dynamic Duo, as it would all but guarantee that audiences become invested in Elseworlds projects.
It’s no secret that fans are tired of seeing Batman’s origin play out on screen. Just like with Spider-Man, there isn’t anything left to say about how Bruce Wayne goes from a terrified child to Gotham City’s greatest hero. The Dark Knight’s proteges aren’t in the same boat. Robin has only made a handful of big-screen appearances, and most of them are worth forgetting about.
What Dynamic Duo can take advantage of are the stark differences between Dick and Jason. Of course, Dick is a straight arrow, embodying all the good parts of Batman and none of the bad. Jason, on the other hand, is a loose cannon who struggles to follow directions.
Teaming those two up sets the stage for plenty of conflict, on and off the battlefield. There will also be room to explore how the heroes approach fighting differently, much like how the Spider-Verse movies have given their characters unique combat styles that utilize mesmerizing animation tricks.
And as soon as DC Studios feels like it has a winner on its hands with Dynamic Duo, the floodgates can open. Batman has arguably the most iconic supporting cast in all of comics, one that even edges out Spider-Man and his amazing friends. There’s no reason why DC Studios has to stop at just two Robins when it can bring three or four more into the fold and introduce other heroes, such as Batgirl, Batwoman, and Azrael.
The sky is the limit for an animated Batman cinematic franchise. All DC Studios has to do is take the same leap of faith that Sony did all those years ago.
Graveyard Keeper 2 finally has a release date, and it’s coming out later this month on PC and consoles. It is now available to pre-order on all platforms, with plenty of reasons to order early, including a discount, an exclusive building, and platform-specific cosmetics.
Here’s a breakdown of Graveyard Keeper 2’s pricing, pre-order bonuses, platform availability, and release date.
If you pre-order Graveyard Keeper 2, you will receive an exclusive Sauna Building and outfit, with the outfit’s color depending on the platform.
As expected, the Steam version has a light blue outfit, while Xbox gets green, PlayStation gets dark blue, and Nintendo Switch 1 and 2 get red. The Sauna Building is described as something that will “lift your spirits after a long and productive day,” but the team hasn’t specified its effects yet.
Additionally, Graveyard Keeper 2 is 20% off during the pre-order period, so you’ll pay less by ordering early.
Graveyard Keeper 2 is priced at $25 on all platforms, but it’s currently available for 20% off during the pre-order period, bringing the price down to $20. PlayStation Plus subscribers can get an additional 20% off, bringing the price down to just $16.
You can pre-order it from the links below:
On Steam, Graveyard Keeper 2 also supports regional pricing, with appropriate prices applied across supported regions. Currently, the only platform it isn’t available to pre-order on is the PS4, even though it is launching on it.
| Specification | Minimum | Recommended |
|---|---|---|
| OS | Windows 10 x64 | Windows 10 x64 |
| Processor | Intel Core i3-4160 / AMD FX-8320 | Intel Core i5-4670K / AMD FX-8350 |
| Memory | 4 GB RAM | 8 GB RAM |
| Graphics | GeForce GT 640 / Radeon HD 7750 / Iris Pro Graphics 580 | GeForce GTX 660 (2048 MB) / Radeon HD 7850 (2048 MB) |
| DirectX | Version 12 | Version 12 |
| Storage | 2 GB available space | 2 GB available space |
| Target Resolution | 720p | 1080p |
| System | Requires a 64-bit processor and operating system | Requires a 64-bit processor and operating system |
Graveyard Keeper 2 is coming to PC via Steam, Xbox One, Xbox Series S|X, PS4, PS5, and Nintendo Switch 1 and 2 on September 22, 2026.
Graveyard Keeper 2 is shaping up to be a far more ambitious sequel, with a heavy focus on automation, management, and refined combat.
Movie marketing and publicity specialist Rob Deacon has set up Phoenix Film Finance to leverage his expertise in the industry to make an impact on the independent production scene.
Phoenix will seek to support British independent film production via cash flowing the Independent Film Tax Credit at industry leading “filmmaker friendly” rates, Deacon told Variety.
In this venture, he is working closely with experienced executive producer Ian Davies of the U.K.’s Initialize Films (formerly Noah Media Group and Boudica Film Fund).
Phoenix will also explore cash flowing VAT for independent U.K. productions and select equity and gap financing opportunities. Deacon operates from Edinburgh and London.
Phoenix already has three films on its slate: Carol Morley’s fiction feature film “7 Miles Out,” which she adapted from her critically acclaimed semi-autobiographical novel of the same name. The film is produced by Cairo Cannon of Cannon and Morley Productions in association with Revolution Films and will have its world premiere in competition at this year’s BFI London Film Festival.
Also in the slate is Ari Matikainen’s feature documentary “The Game of Chaos,” about opaque forms of warfare. It is produced by Finnish doc specialist Kinocompany, Estonian production company Traumfabriek and Initialize Films, and backed by U.K. film fund Trailblazers, Finnish Film Foundation, Estonian Film Fund and YLE.
Finally, there is sci-fi animation “Pale Pink,” directed by Kuba Mikurda, which is co-produced by U.K.’s Caspian Films and due for theatrical release in 2028.
Deacon said, “The USP of Phoenix Film Finance is to provide industry leading ‘filmmaker friendly’ loan rates. The sweet spot and gap in the market seems to be tax credit loans under £500,000 however there is the rolling capital to do tax credit cash flowing to your average U.K. independent production budgeted at £2 million-£3 million.”
Deacon will be attending the Venice Film Festival on Sept. 5 and 6, where he will be taking meetings.
Deacon has worked in the U.K. film industry for more than 25 years, spearheading publicity campaigns on blockbuster and arthouse, theatrical and streaming releases, international top-tier festival campaigns, festival press offices and event media management. Career campaign highlights include “The Artist,” “Mad Max: Fury Road,” “TAR,” “Brokeback Mountain,” “Boiling Point,” “The Reader,” “Babel,” “Jarhead,” “Inherent Vice,” “Little Children,” “Hotel Rwanda,” “I’m Still Here,” “The Filth and the Fury,” “sex&drugs&rock&roll,” “Wolfs,” “The Hobbit” (“Smaug & Five Armies”), “Man of Steel,” “Batman v Superman,” “The Man From U.N.C.L.E,” Pixar’s “Turning Red and Brave,” Studio Ghibli’s “The Boy and the Heron,” and Cannes Film Festival international campaigns for Grand Prix winners “Oldboy” and “Blackkklansman.”
Deacon also ran the London Film Festival’s and Edinburgh Film Festival’s press offices, operational media management for dozens of premieres including the Royal Premiere for “War Horse,” Marvel’s “Avengers Assemble,” Martin Scorsese’s “The Aviator” and Tom Ford’s “A Single Man.” Written materials included productions notes for “The Damned United” as unit publicist and Warner Bros. generic material commissions included “Fantastic Beasts,” “War Dogs,” “Me Before You,” “Suicide Squad,” “King Arthur,” “Live By Night,” “The Nun,” “The Accountant,” “Geostorm,” “The Lego Batman Movie” and “Sully.”
Deacon also recently served as the interim head of communications at BBC Film from August 2025 to February 2026 during which time BBC Film-backed films received 12 BAFTA nominations, nine Academy Award nominations, nine wins across six films at the BIFAs from an initial haul of 39 nominations, three Venice Film Festival Critics’ Week awards and one Toronto Film Festival award. He managed a fivefold increase of BBC Film Instagram followers during his tenure and oversaw the U.K. theatrical roll outs of the diverse slate including the box-office successes “Pillion,” “Sentimental Value” and “The Choral.” Deacon has also provided his consultant publicity services in the past for U.K. film public bodies the British Film Institute and the British Film Commission.
Davies has a background of producing, financing and packaging documentary and fiction feature films. Previous titles include “The Falling,” starring Florence Pugh and Maisie Williams, and thriller “’71,” starring Jack O’Connell. Whilst at Noah, Davies produced documentaries “I’m Carl Lewis” and “Snow Leopard Sisters,” which both debuted at SXSW in 2025 and “Checkpoint Zoo.”
Movie marketing and publicity specialist Rob Deacon
When we sit down to look into a new online casino platform, the first thing we want to understand is how everything actually functions under the hood. At Rump & Friends Game, the mechanics that power the experience are built to appear intuitive, but there is genuine depth for players who like to know exactly what they are getting into. We have spent time examining the game library structure, the way bonuses are applied, the payment flow for Canadian users, and the security measures that ensure every session fair. In this article we go over those mechanics in detail, without hype or guesswork. Our goal is to give you a clear, objective map of how the platform operates so you can decide whether it fits the way you like to play. From slot volatility to withdrawal timelines, we address the practical questions that count to players in provinces from British Columbia to Nova Scotia.
Promotions on the Rump & Friends Game platform are organized around a few familiar mechanics that we encounter across the Canadian online casino market rumpfriends.ca. A common welcome package may include a deposit match, where the platform grants a percentage of your first deposit as bonus funds, often up to a specific maximum amount. For example, a 100% match up to a set value indicates that if you deposit one hundred dollars, you obtain an additional one hundred dollars in bonus credit. Free spins are commonly bundled with the match, used to a particular slot or a selection of popular titles. The exact numbers shift over time, so we always review the promotions page to find the current offer. It is essential to recognize that bonus funds are not immediately withdrawable; they come with wagering requirements that specify how many times you must play through the bonus amount before you can cash out any related winnings.
Wagering requirements are the most essential mechanical detail of any bonus. They are usually expressed as a multiplier, such as 30x or 40x the bonus amount. If you receive a fifty-dollar bonus with a 35x wagering requirement, you would need to place bets amounting to one thousand seven hundred fifty dollars before the bonus converts to real cash. Different games apply differently toward these requirements. Slots often contribute one hundred percent, while table games and live dealer titles may count only a fraction or be excluded entirely. We always examine the full bonus terms before opting in, because factors like maximum bet limits during wagering and time restrictions can impact your ability to meet the requirements. Canadian players should also confirm that the bonus is offered in their province, as some promotions may have regional restrictions based on local regulations.
The protection mechanics at Rump & Friends Game are built on standard encryption and independent auditing, which together establish a safe environment for Canadian players. When you access the site, your connection is protected by Transport Layer Security encryption, the identical technology employed by banks and financial institutions. This indicates that any data you transmit, including personal details and payment information, is coded in transit and cannot be viewed by third parties. The platform also utilizes firewalls and intrusion detection systems to safeguard its servers. On the fairness side, the games use approved random number generators that are frequently tested by external laboratories. These audits confirm that game outcomes are mathematically random and match with the published RTP percentages. While we cannot provide a certain license number here, the footer of the website presents the regulatory body under which the platform runs, and we urge you to click through to the regulator’s site to check the status of the license.
Beyond technical protections, the platform applies account-level security features that you can enable. Two-factor authentication is often available, adding an extra verification step when you log in from a new device. We highly recommend turning on this feature to block unauthorized access. The cashier section uses additional verification for large withdrawals, and any modification to your payment method may initiate a confirmation request. These layers operate together to minimize the risk of fraud. For Canadian players, it is also worth noting that the platform adheres to privacy laws that govern how your data is held and utilized. You can generally request a copy of your data or ask for its removal through the customer support team. All of these mechanics function in the background, so you can center on playing while knowing that your information and funds are handled with care.
Slot games on Rump & Friends Game operate on a random number generator that determines the outcome of every spin independently. When you launch a slot, you will notice a grid of reels, usually five, and a set number of paylines or ways to win. Some modern titles employ the Megaways engine, where the number of symbols per reel changes on each spin, generating up to hundreds of thousands of winning combinations. The paytable, reachable from within the game, shows you exactly which symbol combinations pay out and how much they are worth relative to your bet. We always suggest checking the paytable before playing because it discloses whether the game includes special symbols like wilds, scatters, or bonus triggers. The bet size can be adjusted using plus and minus buttons, and the total bet per spin is clearly displayed in your chosen currency, typically Canadian dollars. Autoplay and turbo spin options are often offered, though some jurisdictions restrict autoplay features, so availability may hinge on your province.
Two of the most important mechanical concepts for Canadian players are return to player (RTP) and volatility. RTP is a theoretical percentage that shows how much of the total wagered amount a slot is programmed to pay back over millions of spins. Most slots on the platform fall between 94% and 97% RTP, with some high-RTP titles achieving above 97%. Volatility describes the risk profile: low-volatility slots pay smaller wins frequently, while high-volatility games deliver larger payouts but with longer dry spells. We believe that understanding this balance helps you choose games that match your session goals. A player who seeks extended playtime with a modest bankroll might prefer a low-volatility game, whereas someone chasing a big multiplier will lean toward high-volatility options. The game information screen usually displays volatility, but if it is not shown, we suggest searching for the title on the developer’s official site to verify the rating before you commit real funds.
Live dealer games on Rump & Friends Game broadcast from professional studios where real dealers manage the tables in real time. When you join a live blackjack, roulette, or baccarat room, you will view a high-definition video feed with multiple camera angles that show the dealer, the table, and the wheel or shoe. The betting interface is placed on the screen, and you position chips by tapping or clicking on the virtual table layout. A countdown timer shows how long you have to make your decisions before betting closes, which preserves the pace steady without feeling rushed. The chat function allows you to send messages to the dealer and sometimes to other players, fostering a social element that many Canadian users value. We have discovered that the stream quality stays stable on a standard broadband connection, and you can change the video resolution if your bandwidth is limited.
The game mechanics in the live casino adhere to the same rules as their digital counterparts, but the presence of a human dealer brings a layer of transparency. You can observe the wheel spin or the cards being dealt in real time, which removes any concern about algorithm fairness. Table limits in the live section often commence slightly higher than in virtual table games, but there are usually options for casual players as well as VIP tables. Some live rooms present game-show-style titles like Dream Catcher or Crazy Time, which use a money wheel mechanic and bonus rounds with multipliers. These games have their own unique rules and payout structures, so we always suggest reading the in-game help section before placing a bet. The live dealer platform also tracks your bet history and balance in a sidebar, making it easy to track your session without leaving the stream view.
Depositing funds and requesting payouts on Rump & Friends Game follows a straightforward set of transaction procedures that prioritize security and convenience for Canadian users. The funding procedure commences in the cashier section, where you select a option from the offered methods. Common options include Interac e-Transfer, Visa and Mastercard credit or debit cards, and various e-wallets. Interac is particularly popular in Canada because it integrates seamlessly to your bank account and handles deposits in real time. When you make a deposit, the funds generally arrive in your casino balance within seconds, letting you to start playing immediately. The platform does not impose deposit fees, though your bank or payment provider might charge its own charges, so it is worth checking your account terms. Minimum deposit amounts are generally fixed at a level that accommodates casual players, usually approximately ten to twenty Canadian dollars.
Withdrawals involve a identity check intended to secure your funds. Before your first cashout, you will likely need submit identity documents such as a government-issued photo ID and a recent utility bill or bank statement. This is a typical know-your-customer procedure employed by regulated platforms. Once verified, withdrawal requests are processed with standard processing times that are based on the method. Interac e-Transfer withdrawals usually go through within one to three business days after approval, while card withdrawals can take three to five business days. E-wallet payouts are typically the quickest, often landing within twenty-four hours. We strongly advise completing verification early to avoid delays when you are ready to withdraw. The cashier interface shows your pending and completed transactions, and you can establish deposit caps directly from the same screen, which connects with the responsible gaming tools we discuss later.
The safe gambling features integrated into the platform give you complete command over your wagering and playing time. From the account settings or the cashier section, you can establish daily, weekly, or monthly spending limits that block you from depositing additional funds once the cap is attained. These limits go into effect right away when you reduce them, while upping them usually involve a reflection period to deter hasty choices. We regard this a vital tool for anyone who wants to keep their gaming budget predictable. Besides deposit limits, you can enable session time reminders that show a notification window after a chosen interval, assisting you remain conscious of how long you have been playing. A awareness feature may also reveal your total winnings or losses for the ongoing session, which provides a clear financial overview without having to sift through transaction records.
For players who need a longer break, the platform provides time-out and self-exclusion options. A time-out period temporarily freezes your account for a set period, such as 24 hours or one week, during which you cannot log in or place wagers. Self-exclusion is a more comprehensive solution that can continue for months or even years, and upon activation, the account remains closed until the exclusion period concludes. Canadian players can also access third-party resources right from the responsible gaming page, such as connections to provincial problem gambling helplines and groups like ConnexOntario. We recognize that these features are not buried in fine print; they are available in a couple of clicks from the main menu. By building these systems into the main account interface, Rump & Friends Game makes it easier to sustain a responsible relationship with the platform.
The game lobby at Rump & Friends Game utilizes a category-driven layout that groups titles by type, popularity, and provider. When you first land on the main casino page, you will see a top navigation bar with filters such as Slots, Table Games, Live Casino, and often a section for new or featured releases. We find that this structure matches what most Canadian players expect from a modern platform, but the real utility comes from the secondary filters. You can typically sort by software studio, which is useful if you like the mechanics of a specific developer like Pragmatic Play or Evolution. There is also a search bar that accepts partial game names, making it easy to jump directly to a favourite title without scrolling through hundreds of thumbnails. Many games provide a demo mode that lets you to play with a virtual balance before committing real money. This is a valuable tool for assessing volatility and bonus frequency without risk, and it operates on desktop and mobile without requiring a deposit or even an account in some cases.
Beyond the basic filters, the platform often contains thematic collections that organize games by feature rather than just genre. You might see a “Megaways” category for slots that use the dynamic reel modifier, or a “High RTP” section for titles with a return-to-player percentage above a certain threshold. This kind of curation aids you bypass the noise when you have a specific mechanic in mind. We also like that the lobby loads quickly and updates in real time, so newly added games appear without a full page refresh. For live dealer fans, the live casino tab separates tables by game type and sometimes by betting limit, which makes it straightforward to discover a roulette table with a minimum wager that matches your bankroll. Overall, the lobby mechanics are designed to cut down friction between logging in and placing your first bet, which is exactly what we desire from a homepage experience.
The handheld experience at Rump & Friends Game does not need a special app download, because the complete system runs inside your device’s web browser. When you visit the website from a smartphone or tablet, the layout automatically adjusts to match your screen size and display orientation. We have checked the mobile lobby on both iOS and Android devices and noted that the arrangement remains intuitive, with big touch areas for game thumbnails and navigation buttons. The game selection is completely available, and titles open in a mobile-friendly format that maintains the same graphics and audio quality as the desktop version. Touch gestures take over mouse actions, so reeling a slot or wagering on a real-time table appears natural. The cashier, account settings, and responsible play features are all available from the handheld menu, which implies you can manage funding, payouts, and boundaries without switching to a desktop.
Performance on smartphones depends somewhat on your web connection and device hardware, but the system is engineered to be efficient. We advise using a steady internet connection for live casino games to avoid loading delays during key wagering moments. For slot machines and casino table games, a regular 4G or 5G cellular data connection is typically enough. Power usage is comparable to other multimedia platforms, and you can change stream quality in live games to preserve energy. One useful benefit of the browser method is that you don’t have to to update an app; fresh titles and features appear as soon as they are launched on the primary site. If you prefer a fullscreen mode, you can save the site to your device’s home screen using the browser’s home screen shortcut, which generates a link that opens like a built-in app without using memory.
Casino table games at Rump & Friends Game follow standard casino rules, but the exact version you choose can alter the house edge noticeably. In blackjack, for example, the standard variant uses six or eight decks and gives 3:2 on a natural blackjack, while some alternative editions may pay 6:5, which increases the house advantage. We consistently recommend examining the rules screen before sitting at a table, because details like whether the dealer holds on soft 17 or whether doubling after splitting is permitted directly affect your anticipated return. European roulette with a single zero provides a house edge of 2.70%, whereas American roulette with a double zero raises that to 5.26%. The platform usually labels each roulette type distinctly, so you can make an knowledgeable decision. Baccarat tables generally feature three main betting options: Player, Banker, and Tie, with the Banker bet carrying a charge of around 5% on wins, leading in a house edge just above 1%.
What creates the table game section truly valuable is the variety of betting amounts. You will frequently find low-stakes tables where you can play for as little as one dollar per hand, as well as high-limit choices for experienced players. The interface presents your balance, bet amount, and recent win history in a clean panel that updates in real time. Many table games also offer a rebet button and a clear bet function, which accelerates frequent play without misclicks. Side bets, such as Perfect Pairs in blackjack or the diverse bonus wagers in baccarat, are present on specific tables, but they practically always have a higher house edge. We recommend viewing side bets as periodic entertainment rather than a core plan. If you are inexperienced to table games, the platform’s demo mode lets you learn the rhythm and try different bet sizes without financial strain, which is a practical way to build confidence before progressing to real-money play.
When we sit down to look into
Austrian filmmaker Manuel Wetscher made a name for himself with such fiction shorts as 2018’s Four Seasons, 2021’s At Night When Mice Scream and 2022’s Magma. Then came the 2024 experimental short doc Richard, a particularly personal film.
“I only learnt the real reason for my father’s death 10 years after he died,” reads a synopsis for the film. “At first, I was told that he had died of pneumonia, then later of lung cancer. The truth finally came out from a drunken relative at a birthday party when I was 17 years old. Since then, I have known that my father died of AIDS in 1993 at the age of 40.”
Wetscher’s feature film debut Eklipse, which world premieres in the Horizons section of the 83rd edition of the Venice Film Festival on Sept. 5, is inspired by his experience of being kept in the dark on the details of his father’s situation by his family. And as the title, which means “eclipse,” suggests, the sun plays a role in the movie, just as it did in Magma. And yes, the title Eklipse is spelled with a “k” in both its German and English versions.
Eklipse, starring Moritz Hohlrieder as Tomy and Finley Brown as his best friend Chris, is set in the 1990s at an alpine dairy farm in Austria. The two teenagers spend a summer helping Tomy’s uncle, portrayed by Hannes Perkmann, with milking and other duties, as well as exploring the outdoors.
But as the title suggests, darkness overshadows their time together, while also leading to some revelations. After all, Tomy’s father is in hospital, and his mother decides to keep the real reason from her son in the film from production companies Eutopiafilm in Austria and Albolina Film in Italy. But then, Chris learns that Tomy’s father is in hospital with “the gay disease,” and he becomes frightened, leaving Tomy suddenly confronted with rejection and the silence of his loved ones.
Wetscher co-wrote the film with Bernhard Jarosch, with whom he also collaborated before on several short films. Simone Hart handled the cinematography, and Anna Kirst is the editor of Eklipse, which also features actors Lenz Moretti, Lisa Schützenberger and Barbara Romaner. Films Boutique is handling world sales on Eklipse, which comes from production companies Eutopiafilm in Austria and Albolina Film in Italy.
“Eklipse is a film about the taboos surrounding AIDS and the fear of social exclusion,” Wetscher says in a director’s statement. “It tells the story of how prejudice and ignorance affect the friendship between two boys, and how social contexts are mirrored within the microcosm of a family.” And he emphasizes: “With Eklipse, I want to create memories by exploring the sensory and tactile qualities of cinema.”
THR talked to Wetscher about mixing the autobiographical and the fictional in Eklipse, including his cameo in the film, how he found his young stars, how he and his team discussed Andrea Arnold and Alice Diop films, his efforts to transport audiences into the alpine environment, and the timeliness of the fear of AIDS and the unknown.
The film feels very intimate, and I understand that it is inspired by your and your family’s experiences. How much of what we see is autobiographical and how much is fictionalized?
It’s part [of a cinematic] game. I wrote the screenplay with a good friend of mine. The film draws a lot on the personal experience of losing my dad in 1993, when he died of Kaposi’s sarcoma, a cancer caused by AIDS, but then it also includes completely fictional things. Later on, seeing films and getting to know more about what people did [back when my father died] made me look at my family history differently. But many summers, I spent in Tirol working for my grandfather on a farm, so I knew these two elements. That is also where I actually experienced the 1999 eclipse, so these were all elements I had from the beginning.
But then, of course, writing the screenplay meant having to make it all into a story, something that keeps you interested and that works in itself. That’s a process I love, [during] which I also experienced a lot about myself and about the time back then. It allows you to reflect on how certain mechanics in society work and this dilemma of what you tell and what you don’t tell a kid.
I guess that is why the film feels so specific about its time and location but also very universal…
That’s something that interests me when watching films – when they make me understand the world or learn, experience, or feel something. So yeah, the goal from the beginning was to make a film that gives people who don’t know this background or specific location the experience of things that come with being and living there. For example, this experience of going into a stable with 50 cows.
It’s very tricky to translate that into cinema because when you go there, it’s so physical and it’s so sensorial. There are so many things going on, including the smell. It was a beautiful challenge to think about how to put that into cinema and what kind of ingredients we have to use to recreate that. Part of that is choosing the team that is able to go there, but then also later on in the sound design and with the musicians, we focused on recreating the sound, including with synthesizers and loops, to make sure you really have this feeling in the image but also in the sound. That’s much more direct of an experience.
How did you think about time?
One element that we decided on while editing was that we wanted to sometimes let things stand for a while and let you go through a process, because that is what our characters do in the film.
There are scenes that look like old home videos in Eklipse. Are they real?
Yes, that includes my cameo as a baby. And we have this material with the father, which is a home video that I have from my dad and me. There is also this image that the boys look at of the dad who is in the hospital. It’s an actual picture of my dad. I worked with personal material in creating this film. I was showing people [on the team] these images, so they could relate better. And because this is authentic material, it also has the emotion for me in it that I was searching for.
For cinema, you play with [such material and emotion] and then it becomes something else. In the film, it becomes the character’s memory. You asked about universal themes. We tried to tell the story in a very limited and small place, but through using the eclipse, which is very big and outside of our world, we also had the chance to fade to the bigger elements. When you look at the stars, the light that comes to the Earth has already been gone for a long time. In the edit, we realized that it was so beautiful to understand that this material that he sees or memory itself is far away. But then in the moment where you look at it, it’s there at the same time. So to use this element felt really right and made a lot of sense.
Did anybody on your creative team and crew have similar experiences?
Since this is my first feature, the idea was to have some newer people but also to have people who are more experienced and could bring stability for us. And these conversations were very interesting because some of the people who experienced the ’90s lost friends to AIDS or had someone in their family. Talking to them really made me understand in a different way my mother’s or my family’s position.
By coincidence, I also met a doctor who was working back then in the hospital in Innsbruck where my father was, and hearing how complicated it was and how scared people were and how impossible it was to talk about it, even within groups of friends who then suddenly wouldn’t talk to you anymore, helped me [understand that time] better. They did this out of fear. It also created a possibility for me after a long time to talk with my mother about it and to also see her point of view.
Has your family seen the finished film?
There will be the Austrian premiere, and my family will come there.
‘Eklipse’
Courtesy of Venice Film Festival
You probably started working on Eklipse before what feels like a backlash against queer people and LGBTQ+ rights…
I can see what you describe and what is happening politically at the moment. But yeah, we were not foreseeing that. I mean, I wish this would not be happening. I can see the dynamics, and that’s just scary how people who are different or live another way are being discriminated, and how populism is using that. But that is coming from the outside.
What we are looking at in the film is the friendship, the vulnerability of the people and the families. And the smaller the details we show, the more vulnerable we become, but through these small things, you understand so much about the dynamic and the universal issues and bonds.
How did you find your two young and excellent leads?
We started with online casting, and it went through schools. We were looking specifically in the region where we shot because it was important to have actors who had roots or a connection to this region that has a specific language and sound. We realized that to be authentic, you need to have the dialect.
We picked Moritz and Finley and did a casting with them together because they needed to match and make you feel a connection between the two of them. They could not just pretend to be friends. And then we also took Georg, who plays the uncle, to see the dynamic between all three. We went to the mountain because we also needed to know if they were able to play with the cows and not be afraid. So we put them there to work a bit and to experience all this, and then we felt they were great.
How early did you know the title for the film? And there is no English-language spelling version of it, correct?
We had it from the beginning. Of course, there were a lot of moments where everybody came to ask: Is it the right title or not? And we tried different things, but we always came back to it. There was the question of how to do the international title. And the final decision was to say it’s going to be in German and, also for international, always written with the K to make it a bit more unique or more recognizable.
Were there any films you watched when you worked on Eklipse or movies that may have been an influence?
For the cows and all these things, Cow by Andrea Arnold was a film we looked at. Also, Saint Omer by Alice Diop and [Céline Sciamma’s] Petite Maman were films that we talked a lot about in the making with the DOP to create authenticity and keep it simple but also [allow for] the bigger picture.
When the credits started rolling, I had an unusual feeling or idea…
It’s cutting to black at the end, like another eclipse.
Indeed! And I wondered if that also symbolically invites you as a viewer to think about what you just saw and heard…
It’s like the aftermath, the echo of what you just saw. How the images reappear and how you put them together. That’s one thing. There is something else. It’s called Eklipse because of the solar eclipse, but then you have the same term in virology, which you use when an infection goes into the body, but it has not infected the cells yet. That’s also called an eclipse, and for us, in the dramatography and in developing the story, this knowing and not knowing, what is visible and what is not visible also became important.
Austrian filmmaker Manuel Wetscher made a name
He may play a Duke in The Gentlemen, but Theo James isn’t convinced he’ll be acting opposite a Duchess in Season 3.
Asked by Deadline whether the Duchess of Sussex, Meghan Markle, had been cast in the recently-confirmed third season of the Netflix show, he responded with a joke and wry smile, saying “Prince Harry?” before appearing to deny the news.
Of course, casting is in the gift of Gentlemen creator and showrunner Guy Ritchie, but James appeared to pour cold water on a role for Markle.
“I think that’s unlikely,” he said. “In reality, we haven’t even started Season 3. I want to concentrate on Season 2 – the thing that’s coming out right now. Season 3 will start to build, but we’ve still got a lot of building to do.”
The casting saga started when it emerged that Prince Harry and Markle, who have been living in California with their children for the past six years, announced that they would be returning to the UK for an extended period of time.
News soon spread that Markle was in talks for a role in a high-profile show in Britain, and Deadline’s Editor-in-Chief, Nellie Andreeva, then scooped that the show in question was The Gentlemen, which shoots in London and various country estates around England.
Deadline’s Dish article noted that no specific role had been identified and talks were mainly hypothetical, coming before official confirmation of Season 3, which followed as the final Edinburgh TV Festival started last week. Rumors have continued to fly and Netflix’s UK scripted boss, Manda Levin, poured petrol on the fire last week when she refused to officially rule it out, saying cryptically: “All bets are off.”
Markle’s reps haven’t said anything at this stage, so it’s one to keep watching. Season 2 of The Gentlemen, which is set in the same world as Ritchie’s 2019 Miramax film begins streaming today on Netflix.
It starts a year after Duke-turned-crime boss Eddie (James) and Susie (Kaya Scodelario) join forces to work together in Bobby’s (Ray Winstone) criminal empire overseas. As they drive to expand their enterprise into new countries, the decisions Bobby is making seem to be increasingly unsound.
Italian plotline
Netflix
A central plotline for the new season sees Eddie and Susie’s drug enterprise moving into the piazzas of Italy, encountering Italy’s aristocratic “old money” and the Italian mafia. James’ character falls for Benedetta Porcaroli‘s Bella. However, he wasn’t entirely convinced by the Italian job when Ritchie and co-writer Matthew Read handed him scripts.
“I was a little reticent at first when we started discussing the idea of Italy,” he said. “I like the idea of visiting a new place – tonally it gives it a different element cinematically – but my reticence was we’ve seen a lot of Italian mafia, and some of my favorite pieces of screen work are that.
“But in Guy’s realm, and with Bene and all the great Italian actors, there’s an element of class there and there’s a great romanticism to it, and that’s one thing we haven’t seen before: the romance of it.”
Porcaroli later expanded on her character, a countess and the stepdaughter of an Italian criminal. “She’s an Italian countess, and she enters in this world, but she’s not really interested in the business side of things,” said the actress. “She falls in love with Eddie, and she tries to deal with Susie – she’s scared and she’s very emotional in that sense. She’s a human creature who just tries to do her best, fighting between these many feelings that she feels.”
Scodelario, who plays Eddie’s tough business partner Susie, outlined the state of play as Season 2 begins. “They’ve had a very successful year,” she said. “They have expanded the empire really well. They’ve done it abroad – secured all these piazzas – and business is going well, and things are working with, not against her, finally.
“But she is starting to get a sense that he is becoming something that she can’t control anymore and what does that mean for business? What does it mean for her place within this empire? She is definitely starting to feel more insecure about that.”
She also noted that Susie’s criminal background, growing up as Bobby’s daughter, puts her at odds with the world of European aristocracy – and Eddie, who knows the world intimately.
“To me, fundamentally Susie and Eddie never quite works, because they will always have these different lived experiences, and they will always come from different sides of the track – and in places like Britain and Italy, those class systems are still very important,” said Scodelario. “They matter to heritage, to lineage.
“It’s all connected and it isn’t as simple as just choosing to step into that world – you can’t. It’s a space you must be invited into, and Susie is starting to understand that there’ll be certain spaces that she doesn’t belong in.”
James said Season 2 was a chance to better explore the dark path Eddie had chosen, as he goes from a former UN peacekeeper at the start of the show to a ruthless crime boss. Ritchie and James have both likened the story to that of Michael Corleone in The Godfather movies.
“In a way, through Season 1, I wanted him to go further,” said James. “I wanted him to take deeper risks and make bigger mistakes, but Guy’s feeling was of echoes of Corleone in the very first act of The Godfather – a civilian with a moral duty to his family, and he feels like he’s just trying to get out of a fucked-up situation. Ultimately, he learns that he’s quite good at the criminality side, and there’s an elixir to it and an allure.
“The reason to do a second season was there are elements that we hadn’t really fully touched on. We hadn’t plumbed Eddie’s character, and there was an ability to do that, and to look at the moral complications of power. In Season 2, it’s established that there are no apologies.”
Ritchie’s process
Multiple Gentlemen cast members have talked about Ritchie’s on-set process, which often calls on actors to learn new versions of scripts in the moment, or ad-lib to improve a scene. James said this had become ” the DNA of the show,” while Porcaroli noted with a laugh that, “That didn’t even change when we spoke my language.”
Scodelario added: “Within the first day it is terrifying and then slowly as the show goes on, you learn to trust it. You get good at it, and your brain patches in.”
She credited Ritchie’s process for encouraging actors to think on the spot. “The fact that Guy’s open to that is very helpful and really great for us, because we can discover as we go along what works and what doesn’t. We respect each other’s opinions within that scope, and that’s what filmmaking is.”
Vinnie Jones, who plays groundskeeper Geoff, worked with Ritchie on Lock, Stock and Two Smoking Barrels and Snatch along with the upcoming action pic Viva La Madness, and was well aware of the showrunner and director’s quirky style.
“I settled the ship a little bit because I do tell other actors what to expect a little bit so they don’t get so nervous,” he said. “I just go, ‘No, it’s all right, it happens to everyone.’ If you are on the set and all of a sudden the director comes on feeding you lines, you could panic. And so we sort of say, ‘Don’t worry – this is how it works.’ It’s just Guy thinking on the spur of the moment. He just sees it and it comes to him.”
Jones recalled this was exactly how the famous “It’s been emotional” line from his character Big Chris in Lock, Stock came about.
“You’ve got to do it at the spur of the moment, and that’s why it’s inspirational that he can do it,” said Jones. “With me and Lock, Stock he just said, ‘What’s that thing you say when you leave?’ Well, ‘It’s been emotional’ has become one of the British icon sayings of movie history, which is fantastic. But I can tell you now, that was at four in the morning, and we were just going home… It was the last scene, and he just for some reason said, ‘What’s that thing you say?’”
Season 2 of The Gentlemen, which is produced by ITV Studios-owned Moonage Pictures and Miramax Television, launches today on Netflix.
He may play a Duke in The
Great news! “The Gentlemen” is available to watch on Netflix UK!
Date Added: 7th March 2024
Known expiry dates are shown above as well as on the Last Chance page.
Want to keep forever? Try looking for ‘The Gentlemen’ on Amazon (paid link)
History:
07/03/2024: 8 Episodes (2024)
03/09/2026: 2 Seasons (2026)
Synopsis:
Aristocratic Eddie transitions from duke to drug baron when he inherits a weed empire — and partners with a criminal dynasty that has its own agenda.
Certificate: Suitable for adults only
Year: 2026
Duration: 2 Seasons
Available Seasons: Season 1 (8 Ep)
Cast: Theo James, Kaya Scodelario, Daniel Ings, Joely Richardson, Vinnie Jones, Ray Winstone, Giancarlo Esposito
Status: Returning Series”The Gentlemen” is a TV show produced by Moonage Pictures and Miramax. The show was originally broadcast on Netflix and premiered on March 7th 2024. So far there have been 2 seasons (comprising of 16 episodes) of “The Gentlemen”. The most recent episode aired on March 7th 2024 and more seasons are expected in the future.
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A gothic gem overlooking Venice’s iconic lagoon got a refresh in time for the Venice Film Festival.
Reservations are open at Danieli, Venice, a Four Seasons Hotel following a restoration process that was unveiled this summer and remains ongoing at the property’s adjacent palazzos and within a soon-to-be finished Danieli Spa. Located on the waterfront stretch known as Riva degli Schiavoni and within walking distance from the wildly popular tourist destination Piazza San Marco, aka St. Mark’s Square, Danieli is often praised by guests for its views of the lagoon from both the terrace and inside the rooms and suites.
French interior designer Pierre-Yves Rochon steered the renovation by focusing on a “balance of history, light and materials” per Four Seasons. The color palette is said to have been inspired by the lagoon and mixed with inspiration from Venice’s marble facades, plasterwork and architecture through the use of celadon greens, soft blues, terracotta, ochre and powder pink.
Inside the Palazzo Dandolo lobby, hand-restored gilding creates a quatrefoil motif against a blue background reminiscent of water while the columns, stonework and the staircase were restored by local artisans. The space also leans on natural light through Venetian mirrors while Murano glass, Venetian terrazzo floors and Rubelli fabrics connect each space to Venetian tradition and codes. A collection or artworks has been curated to honor Venice’s heritage and history as a destination for artists and writers.
The Danieli has a rich history. Originally built in 1471 and known as Palazzo Dandolo for the noble family, Giuseppe Dal Niel, aka Danieli, converted the property into a hospitality destination in 1822.
Courtesy of Four Seasons
The hotel reopened with a total of 120 rooms and suites available, a collection said to be more spacious with an expansion of junior and one bedroom suites. The total number of accommodations will balloon to 168 once the restoration of Palazzo Danieli Excelsior is done in 2027. The Four Seasons reports that a particular emphasis was placed on integrating technology into those rooms through such features as a custom-designed media wall to integrate the television with artwork and decorative objects, automated curtains, customizable lighting and a climate control system, the latter of which is ever more necessary as Europe faces historic and punishing summer temperatures.
Rooftop restaurant Terrazza Danieli also got a refresh, seen below, which insiders note was done in a way to transform the atmosphere without disrupting the architectural identity. Dark finishes were swapped with pastel tones, blue accents and golden colors, and mirrors were added to play off the natural light. Executive chef Adriano Rausa presents a “contemporary interpretation” of Italian cuisine with a Venetian twist, and many of his menus signature dishes are finished tableside to add a little bit of drama and entertainment.
A view of the grand staircase above the lobby.
Courtesy of Four Seasons
As for the spa, it is expected to open during this second half of the year. It will feature three treatment rooms (including one for couples), a sauna and bathhouse. Danieli, Venice, a Four Seasons Hotel is party of the brand’s Italian portfolio that includes destinations in Milan, Florence and Taormina.
“With the reopening of the iconic Danieli, Venice, a Four Seasons Hotel, our fourth property in Italy from the spectacular collection, we are inaugurating a new chapter in the history of this celebrated palazzo,” said Rainer Stampfer Four Seasons president of global operations, hotels and resorts. “In collaboration with our longtime partner, Gruppo Statuto, we are offering guests the unique opportunity to experience the grandeur of Venice in a whole new way.”
Added Danieli, Venice general manager Christian Zandonella: “The reopening of Danieli as a Four Seasons experience represents an exciting milestone after months of dedication and meticulous restoration. We are delighted to welcome guests back to one of Venice’s most iconic addresses, where the hotel’s extraordinary heritage is reimagined through legendary Four Seasons hospitality.”
A lounge space.
Courtesy of Four Seasons
A lounge space.
Courtesy of Four Seasons
One of the airy and light suites.
Courtesy of Four Seasons
Another view of one of the suites.
Courtesy of Four Seasons
A view of the restaurant overlooking the lagoon.
Courtesy of Four Seasons
A gothic gem overlooking Venice’s iconic lagoon
Four days after Say Anything’s Max Bemis cancelled a series of acoustic performances amid allegations he sent inappropriate messages to underage fans, Wavves’ Nathan Williams has weighed in on the status of the duo’s upcoming collab album, Cherry Soda.
“Going back into the studio on Monday and I will finish this as a proper wavves album,” Williams wrote on Instagram. “I’ll have more announcements soon.”
Accusations of inappropriate behavior by Bemis were first raised last month, when alleged flirtatious messages with two teenaged fans were shared to the Say Anything subreddit. In response, Williams wrote on his Patreon, “I don’t want to be associated with the guy.” He later posted a note to his Instagram stating, “Not sure what to say but fuck Max. Fuck Say Anything. I’m sorry y’all. I spent 11 months making this record and Max spent 4 days so I dunno exactly what I’m supposed to do. I’m sorry guys.” Bemis has yet to comment publicly on the allegations.
Prior to today’s announcement, Williams initially claimed a rerecording could pose problems: “The issue is 10,000 records are already pressed,” he wrote on his Patreon. As of this writing, Cherry Soda is still available for pre-order at various online retailers.
Four days after Say Anything’s Max Bemis
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There is something familiar about discovering a game that immediately feels understandable. Maybe it is the simplicity of a card game, the bright atmosphere of an arcade title, the recognizable rhythm of Bingo, or the nostalgic appeal of a Perya-inspired format. For Filipino players exploring GZone, that sense of familiarity can make a large digital game library feel less overwhelming.
GZone brings different types of games into one online environment, giving users plenty of choices without requiring them to search for every format separately. But having more choices does not necessarily make choosing easier. The better approach is to slow down, understand the categories, and find games that genuinely match personal preferences.
Start With the Category, Not the Title
A large game library can be exciting, but it can also create decision fatigue. Opening one title after another without knowing what you are looking for can quickly turn browsing into a routine of random choices.
Categories provide a better starting point.
Card games, arcade games, Bingo, Perya-inspired titles, and JILI games can offer very different experiences. A player interested in familiar Filipino formats might naturally begin with card games or Perya-inspired options. Someone looking for colorful and interactive entertainment may prefer arcade-style titles.
The category does not tell the entire story, but it provides direction.
That distinction matters. Instead of asking which GZone game is “the best,” a more useful question is: Which type of game fits what I am looking for?
Familiar Games, New Digital Experiences
Filipino gaming culture has long included games that bring people together. Tongits and Pusoy are familiar card games, Bingo is associated with social gatherings, and Perya games have traditionally been part of fiestas, fairs, and community celebrations.
Digital platforms can bring elements of these familiar experiences into a different setting.
For GZone users, that familiarity can make certain categories easier to understand. Someone who already knows the basic idea behind a card game may have a more comfortable starting point than someone encountering an entirely unfamiliar format.
Still, familiarity should never replace reading the rules.
A digital version may introduce different controls, interfaces, features, or mechanics. A game inspired by a traditional format does not necessarily operate exactly like the version people remember from physical gatherings. The concept may be recognizable while the actual digital experience is different.
That is why familiarity should be treated as an introduction, not a shortcut.
Let Personal Preference Lead
There is no universal formula for finding the right GZone game.
Some users may enjoy straightforward mechanics. Others may prefer visually rich experiences or games with more features. Some may gravitate toward familiar Filipino-inspired formats, while others may want to explore something completely new.
The most practical approach is to identify what matters personally.
Do you prefer simple rules? Are card games more familiar to you? Would you rather explore Bingo? Does a Perya-inspired game catch your attention? Are you curious about JILI titles?
These questions are more useful than simply following popularity labels.
A title being described as “top,” “popular,” or “best” does not automatically make it suitable for every player. Different games appeal to different preferences, and discovering those preferences is part of the experience.
Read Before You Play
Once a category catches your attention, the next step is to understand the individual game.
Look at the available information. Check the rules, controls, symbols, round structure, interface, and specific features. Pay attention to details that distinguish one title from another.
This becomes especially important when moving between categories.
A Bingo title can work differently from an arcade game. A Perya-inspired title may use mechanics that differ from a card game. JILI titles can introduce their own themes, interfaces, and features.
The safest assumption is simple: every game has its own rules.
Taking a few moments to understand those rules can make the experience more straightforward. It also prevents players from carrying expectations from one game into another.
A useful sequence is easy to remember: choose a category, select a title, read the information, understand the mechanics, and then decide whether it suits you.
Don’t Try to Explore Everything
More choice is not always better choice.
A large collection of GZone games may encourage users to explore multiple titles at once, but there is no need to understand everything in a single session.
Starting with one category can make the process more manageable. Choose one or two titles, examine their information, and pay attention to what you actually like.
Perhaps you prefer simple interfaces. Maybe familiar game formats are more enjoyable. Or you may discover that you prefer titles with a particular pace or style.
Those observations become useful over time.
Game discovery is not a race to see everything available. It is about gradually understanding which types of experiences fit your interests.
Compare What You Can Actually See
When comparing games, focus on observable characteristics rather than promises about results.
Consider the game format, rules, interface, theme, pacing, available features, and familiarity. These are factors a player can examine before making a choice.
Claims about outcomes are different.
Random game results should not be presented as predictable or guaranteed. Previous results cannot reliably determine what will happen next. A game should therefore be evaluated based on what it actually offers rather than assumptions about future outcomes.
This approach makes browsing more grounded. You are comparing the experience itself, not making promises about results.
GZone Games Are Not All the Same
One of the most important things to remember is that GZone is a platform containing different types of games—not one single gaming experience.
Card games can involve specific rules and strategies. Bingo revolves around cards, called numbers, and required patterns. Perya-inspired games can incorporate colors, dice, or other simple mechanics. JILI brings another collection of digital formats and themes.
The common factor is the platform.
The gameplay itself can vary considerably from one title to another. Understanding that difference helps users approach each game with realistic expectations.
Check Official Information
Searches for GZone, GZone ph, and GameZone can lead users to information from different sources. When checking current games, platform features, access methods, or applicable rules, official GameZone information should be the primary reference.
This is particularly important because digital game libraries and platform features can change.
An older article may describe a title that is no longer available, while an unofficial page may provide outdated instructions. Download pages deserve particular caution as well. Before installing anything or entering account information, users should verify that the information comes from an official source.
A little verification can prevent a lot of confusion.
Responsible Gaming Is Part of the Experience
Smart exploration is not only about finding interesting games. It is also about knowing when to stop.
Digital access can make entertainment available with just a few taps, removing some of the natural stopping points associated with physical venues. Setting personal boundaries before beginning can help maintain control over time and activity.
Taking breaks, setting time limits, and using available responsible-gaming tools can all contribute to a more intentional experience.
Most importantly, understanding a game does not guarantee a particular outcome. Random results remain random.
The goal should be entertainment within reasonable personal limits—not chasing results.
A Better Way to Discover GZone
The smartest approach to GZone is not necessarily finding one perfect title. It is developing a better way to explore.
Start with a category. Find something that matches your interests. Read the game information. Understand the mechanics. Compare features. Keep personal limits in mind.
That simple routine transforms browsing from random selection into informed discovery.
For Filipino players, the combination of familiar formats and modern digital experiences can make GZone an interesting place to explore different categories. But the most valuable part of the experience may not be the number of games available.
It is knowing how to choose.
And sometimes, the smartest choice is simply the game you understand, enjoy responsibly, and feel comfortable leaving when the session is over.
There is something familiar about discovering a
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My assessment starts with the question every
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