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Chicken cookies! Crumbl has revealed a Minecraft collaboration that introduces six different desserts based on the sandbox game to the menu starting today. Yes, they’re all square shaped, and no, there isn’t a chicken jockey. Available tomorrow, August 31, through September 5, the four-sided treats include a cookie butter cookie with a chicken topper, a Creeper Key lime sandwich, and a lemon poppyseed cookie topped with a boxy bee. 

Those three treats are joined by an Enderman cookies-and-cream sandwich, which has purple marshmallow mousse in the middle. Who knew those weirdos could have such a tasty-sounding filling? Meanwhile, the pig-themed dessert is a cherry blossom cookie, with maraschino cherries and cherry cream cheese frosting as two of the key ingredients. Last but not least, there’s a grass block cake that features a cinnamon vanilla base, brown cream cheese frosting, and lawn-textured frosting.

These special Minecraft treats will be available at Crumbl from August 31 through September 5.

The partnership doesn’t stop there, either. Crumbl notes that there will be Minecraft mystery spoons, with a special exclusive one for the first 200 people who pick up a six-pack of the crossover cookie treats. 

Minecraft is not a new kid on the block when it comes to crossovers. Bluey came to the hugely popular game earlier this year, and there have been Minecraft Crocs available in the past. This new collaboration with Crumbl follows Krispy Kreme offering up special Pokemon doughnuts.

Looking ahead, Minecraft Dungeons II is set to launch September 29 on PC, PS5, Switch 2, and Xbox Series X|S.

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Chicken cookies! Crumbl has revealed a Minecraft

Olivia Rodrigo raised a significant sum of $10 million with her inaugural Daisy Chain Fields Festival — and then doubled it to $20 million, thanks to a matching commitment from philanthropist Melinda French Gates.

Rodrigo introduced her own headlining set at the festival on Saturday in Irvine, California by thanking the crowd for attending and revealing that the event, which featured a robust lineup including Rodrigo, Chappell Roan, Doechii, Garbage and more, had raised $10 million. She then revealed that Gates had contributed another $10 million, bringing the overall sum to $20 million.

“Daisy Chain Fields is about what can happen when we come together and use our collective power to support one another,” said Rodrigo. “I’m incredibly grateful to Melinda and Pivotal for believing in this mission and making the impact of our first festival twice as powerful. Most of all, I’m so excited about what this means for the incredible organizations we’re supporting and the women, girls and communities they show up for every single day.”

Gates joined Rodrigo on stage to commend her for her philanthropic efforts with Daisy Chain Fields. “Olivia Rodrigo is a force,” said French Gates. “What Daisy Chain Fields sets in motion will last far beyond a single night, by opening up opportunity for women and girls around the world and showing a new generation how much their voices matter. I’m so proud to support Olivia’s vision.”

The $20 million will be distributed equally across 10 different nonprofit organizations supporting women and girls. Among the organizations are Baby2Baby, Black Mamas Matter Alliance, Center for Reproductive Rights, FreeForm, Jhpiego, Johns Hopkins Center for Indigenous Health, National Domestic Workers Alliance, National Institute for Reproductive Health, National Women’s Law Center and Planned Parenthood.

At the festival, attendees enjoyed performances from a slew of performers that also included Bikini Kill, Eli, Mitski, Not for Radio, Rachel Chinouriri, Santigold, the Breeders and more. Throughout the day, concertgoers were encouraged to learn about the nonprofits through Daisy Chain Reaction, which offered information about the causes.

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Olivia Rodrigo raised a significant sum of

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President Donald Trump suggested referring NBC News anchor Kristen Welker for possible punishment by the Federal Communications Commission after the “Meet the Press” moderator made innocuous remarks about candidates the President has backed in the run-up to the nation’s midterm elections later this year.

Trump’s chilling diatribe, released via Truth Social, appeared to be misinformed. During a local segment in which Welker previewed her program with anchors on NBC’s Washington, D.C. station, WRC, she said that Trump had enjoyed “mixed results,” with some of the Republican candidates he’s backed losing in primaries, but also noted that Trump is “going to loom large over these midterms. There’s no doubt about that.”

Trump called for Welker to be  “reported to the FCC for rebuke or punishment.” The Commission can’t directly mete out condemnation to individual journalists, but it can put bumps in the path of the company that owns the station as well as NBC News. That would be NBCUniversal, currently a unit of Comcast that is slated to be spun off from its parent over the next several months.

“Kristen is one of the best in the business and we stand by her,” NBC News said in a statement Sunday afternoon. Welker did not utter any of the remarks that angered Trump during NBC’s actual broadcast of “Meet the Press” on Sunday.

Under Trump and Chairman Brendan Carr, the FCC has been more activist than at any other time in recent memory. The Commission is currently enmeshed in a legal tangle with Walt Disney Co and ABC. The FCC has ordered Disney to file for renewals for ABC’s eight owned-and-operated stations years ahead of schedule. In filings, Disney has said its applications were made “under protest in response to an unlawful, arbitrary, and unconstitutional order.” “The View,” which has thrived in recent years with discussion of politics, has also found itself in the administration’s crosshairs. The FCC has probed whether the program has violated so-called “equal-time” election laws following the appearance of political figures, launching its investigation after James Talarico, the Democratic Senate candidate from Texas, appeared on the show in February. The FCC issued new guidance in January that late-night and daytime hosts needed to give equal time to political candidates from various parties, claiming the programs might be working along partisan lines.

Disney and ABC have alleged in a suit filed in U.S. District Court for the District of Columbia that the FCC is in violation of the First Amendment.

Trump’s relationship with Welker appears to run hot and cold. Many of the interviews he agrees to do with NBC News have been with her, and Trump has made a handful of appearances on “Meet the Press” to speak with her. But on Sunday, he called Welker “the Unpopular ‘Hostess’ of the once great Meet the Press, now considered Meet the Fake Press.”

To be sure, Welker’s analysis was accurate. Some candidates backed by Trump, including Randy Feenstra, a Republican candidate for the Iowa governor seat, and Mike Lindell, the MyPillow CEO who made a bid to run as the Republican candidate in Minnesota’s gubernatorial race, both lost in primaries. More recently, Senator Darline Graham, who has filled in on an interim basis for her late brother, former South Carolina Senator Lindsey Graham, won a primary for the Senate seat in her home state.

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President Donald Trump suggested referring NBC News

You know an inaugural festival has been a success when, after the temperature reached 95 degrees, humidity topped 80%… perspiration stains were so pervasive that it was the odd dry spots that looked like stains… constant 12-minute trudges back and forth between two action-packed stages threatened to sap what few excess pounds hadn’t been sweated off… and you realized that, amid those conditions, you had not sat down in more than 10 hours… and, sitting in a gridlocked lot waiting to get out, all you could think was:

How soon do we get to do this again?

The answer to that, at the end of the Daisy Chain Fields festival Saturday in Irvine, Calif., was some time around this year in 2027. Festival creator and headliner Olivia Rodrigo told the 45,000-strong crowd the words they wanted to hear: that this was not a one-off, and that we’d reconvene next year for another thrillingly curated, expertly executed and altogether spirit-rewarding all-female-led bill. (Flowery adjectives ours, not hers.)

Now if they could just find a way to schedule future editions of the festival at a more meteorologically reasonable time, some period of the year where it is reliably warm in SoCal yet not prone to insanely long heat waves, because climate change has abated and… well, never mind, fine … August probably is as good a time as any.

What a distraction from all that the 14-act bill (plus three guest stars) managed to provide over a 10-and-a-half-hour day of music, with one killer act after another representing a wide gamut of styles and eras, bearing a sold amount of diversity except for the very un-diverse main criterion for booking.

Of course it ended with Sarah McLachlan, the instigator of the obvious inspiration, Lilith Fair, taking the stage to implicitly give her blessing for carrying on the tradition, as she joined Rodrigo’s stage for duets of “Building a Mystery” and “Angel” (the latter dedicated to Dolly Parton, with permission given to cry, because McLachlan knows she’s good at that). Or not literally quite the end, actually, because it was inevitable when Stevie Nicks was announced as one of Rodrigo’s guests that you don’t follow that.

Olivia Rodrigo and Sarah McLachlan at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

As an ambassador from the 1970s, Nicks was an outlier in this company, where nearly all of the acts were either fairly newly minted stars or heroines of the Lilith era. There was a case being made here, without stating it quite so bluntly, that the two greatest decades for women in pop music were the ’90s and the 2020s. History isn’t quite that simple, but for 10-plus hours Saturday, I was ready to jump in and readily make the case that the respective eras of Alanis Morissette (who also showed up as a surprise guest) and Rodrigo really were and are the greatest generations, whether it can be empirically backed up or not.

At the very least, the two climactic main stage sets, by Rodrigo and Chappell Roan, set out a pretty indisputable case that we are living in a golden era. Between the two of them, they are responsible for four of the dozen greatest albums of the decade (i.e., Roan’s lone effort so far and all three of Rodrigo’s, peaking with her best achievement to date, “You Seem Pretty Sad for a Girl So in Love”). It would have been lovely to see them share a moment on stage together, and we didn’t get that. But it was enough to have them performing superb sets back to back in an effective coronation and celebration of these two as the greatest pop figures currently in their 20s.

Chappell Roan at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

But if you were looking for the secret heart of the festival, it might have been over on the second stage, where some of the artists who inspired Rodrigo as a nascent rocker got their moment to shine. It would be hard to imagine a more heartwarming moment than when Bikini Kill revved through some vintage punk and the entire crowd of young ‘uns in front was singing along. Kathleen Hanna was at least as agog as any of the rest of us at the realization the band was playing to a pretty full and definitely engaged field of (primarily) women, something that would have seemed like science-fiction in their heyday. Hanna said that when they played Orange County in the ’90s, they were lucky if three women showed up to one of their gigs (and then she brought out three Irvine-ites who did form their own band after getting into Bikini Kill). Not all good things come to those who wait, but occasionally poetic justice prevails.

Shirley Manson of Garbage performs onstage at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Gilbert Flores

The Breeders and Garbage kept the ’90s magic happening on the Marigold Stage, where, in the afternoon and late evening heat, everyone would have been very happy if Shirley Manson had actually been able to summon rain. Kim Deal and company were confident enough to put “Cannonball” right in the middle of their set and not save it for the end; they also provided the day’s sole quotient of country music, with vintage C&W homage “Drivin’ on 9.” Manson was as un-shy as ever when it came to passionate monologs between songs, speaking about how the band wrote songs about LGBTQ+ themes before they or the culture had discovered the language that now exists. But those songs hardly suffered for not yet having a common terminology to reference.

The Breeders at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

A danger in doing a festival like this is that 90% of the crowd may claim their spots in the main field — for the Dandelion Stage, as it was known here — and never budge for fear of losing their spots. So it was a pleasure to see (if not always so much to participate in) the mass migration that occurred between those two spaces every 30 or 40 minutes, and to see how many twentysomethings and even teens wanted to see the legends of ’90s women in rock. That stage was not strictly themed, though; the final act of the night over yonder was Not for Radio, the band formed by Marias singer Maria Zardoya, whose very chill style for this side project was perfectly timed for a post-dusk time slot, whereas it might’ve been too ambient for comfort in the heat of the day.

Maria Zardoya of Not for Radio at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Gilbert Flores

Back at the larger field, there could hardly have been a greater study in contrasts than seeing Mitski followed by Doechii, even if their mononym names feel phonetically compatible, and even if there was a shared excellence uniting them. Mitski was one of those acts who really would be better suited for a nighttime slot, but she was in her most energetic, stage-traversing mode, and ending on the greatest cat-lady anthem of all time, “That White Cat,” allowed for a ferocious finale. There were a lot of passionate female-forward statements made during the day, as is natural, but Mitski is the kind of artist who really represents women (and people) in all their complications; some of the songs she performed were about pure, unabated need, bordering on self-abasement at times… yet her stage persona is so powerful that you feel quite confident you’d come out on the wrong end if you ever really crossed her.

Mitski at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

Doechii had the strongest and most delightfully outrageous look of the day (rivaled only by Roan’s attention-getting makeover). She and her four dancers appeared with body makeup that put them in various shades of red and pink — kind of like a flow chart as to how some in the audience might have been changing color as the day went on. Doechii was of a different ilk than most everyone else on the bill in terms of being the kind of artist who brings tracks, not a band. That said, she was very much in competition for the title of greatest show-woman of the day, on top of offering flavors that otherwise might’ve been severely missed in a more purely pop-rock-driven lineup. (Complaining about the heat, she asked “Irvine” if it was always like this, then noted that she’s from Florida, which might have helped explain why she didn’t sweat off all that crimson.)

Doechii performs onstage at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Gilbert Flores

Roan was all about the purple, shocking the audience with a head-to-toe different look that had her dressed in an outfit that looked like someone’s fever dream of what a TWA stewardess uniform should have looked like in the ’60s. Her hair is still red, but now straightened and shortened into a bob; the curly and queenly aura is now history in favor of something that is even h-o-t-t-e-r-t-o-go. Whether it had to do with the outfit or just where she’s at in between tours, Roan seemed more energized and physically on-point than she ever has on stage — including some high kicks that could make a Rockette jealous — while also effortlessly mastering the demands of a “Good Luck, Babe” and other vocally challenging numbers. There were no surprises in her 40-minute set; “Only the hits today. It’s only the hits,” she warned the audience. But a new stylistic outlook did as much work as a new song might’ve, in helping keep an audience transfixed as she steamed through highlights of the greatest single-album catalog anyone has managed lately.

Chappell Roan at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

At an hour and 20 minutes, Rodrigo’s closing set was 40 minutes longer than anyone else’s, having less to do with the generous amounts of “You Seem Pretty Sad…” appearing in a set of hers for the first time than space built in for three guests stars. It was a nice touch that her guests were announced from the outset, rather than being held back as a surprise, allowing for their inclusion on the T-shirts, etc. That turned out to be a premature move, after all, when Karen O had to cancel her cameo because of an emergency, Rodrigo told the crowd. There was still a third guest, though, as the day’s one true surprise, Morissette, came aboard for an “Ironic” duet. Rodrigo-as-natural-pro came to the forefront here as her voice proved an easy and flawless harmonic complement to Alanis on that number, and to McLachlan on “Mystery” and “Angel,” and to Nicks on the closing “Landslide.”

Olivia Rodrigo and Melinda Gates speak onstage at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Gilbert Flores

Rodrigo’s set was preceded by the star bringing out Melinda French Gates to announce that the philanthropist was matching the $10 million already announced by Rodrigo as going toward the 10 charity beneficiaries with a dollar-for-dollar additional $10 million. Rodrigo does not require much to put an additional spring in her step, but her giddiness was at its peak, maybe not least of all because of having a successful and (most importantly of all) non-catastrophic first festival outing being extra wind beneath her rocker-girl wings. It’s hard to tell just how much of a preview this was or wasn’t of the tour that kicks off in Hartford next month, but getting in seven of the 12 tracks from “You Seem Pretty Sad…” — basically, all but the saddest ones — plus the newly released non-album song “Serena Joy” felt more than justified. If anything, you might’ve had mixed feelings about hearing singles as tried and true as “Good 4 U,” only because of knowing still another “Pretty Sad” song could have gotten its live premiere in that slot. All of which is beating around the bush on the way to say that the set was pretty unassailable for an abridgement of what is about to come on tour.

Chappell Roan at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

With the show over, Nicks didn’t want to leave the stage, even after Rodrigo did, not because she had a second song to sing, but because she had the same instinct almost every performer did Saturday — to speak the younger artist’s praises for pulling this off. These were merited accolades.

Truth be told, there’ve been other all-female lineups since Lilith Fair went out with a whimper instead of a bang in its early 21st century revival: Brandi Carlile has long put on an all-female-headliner festival in Mexico every year, though the travel factor makes the bar to entry high. More subtly and slyly, the All Things Go festival that takes place each year in three eastern cities has become an almost all-female thing; you jave to love how the D.C. edition coming up next month has dozens of fantastic women on the bill… along with Father John Misty and Ryan Beatty as hilariously token dudes.

But it takes a chart-topping superstar instigator to personally make phone calls for an annual event that will be an instant sellout, of the true FOMO variety, and — it feels like — an instant cultural touchstone. Even as Rodrigo’s and Nicks’ closing “Landslide” gave way to the landslide of 45,000 people trying to exit the gates, there was a communal bliss that not even one last Bataan march could spoil. Everyone seemed pretty elated for coming out of a festival that hadn’t toppled the patriarchy, but had proven again that, in 2026, women rule music in virtually every qualifiable way. In the Lilith Fair day, pushing women’s place in pop felt more aspirational; in 2026, as far as there is to go in other aspects of politics and culture, an event that puts them on top of the pops feels closer to a happy acknowledgement of what everyone already knows.

And here’s one more thing we know: fans are going to have a lot of suggestions about who Rodrigo should call for year 2. And can already start complaining about the impossibility of getting tickets. Daisy Chain Fields tour, anyone?

Olivia Rodrigo at Daisy Chain Fields Festival 2026 held at Great Park on August 29, 2026 in Irvine, California.

Christopher Polk

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You know an inaugural festival has been

Critic’s Rating: 3.75 / 5.0

3.75

Okay, Lioness isn’t following any playbook for the dual timelines.

I’ve come to terms with just buckling up and enjoying the ride, no matter what timeline we’re in, because it’s a lot of fun even when it’s difficult to follow.

Lioness Season 3 Episode 5 delved into the inner workings of Operation: Treasure, its legality, and whether the U.S. government gave a damn about the laws they were breaking.

(Lauren “Lo” Smith/Paramount+)

I like that, even though the series has embraced a much darker tone, there’s still plenty of humor in the script to lift the mood.

Look at Cade, for example. He thought he was about to get the three-way of his life with Cruz and Josephina, but he was led into a trap and roasted by their team members.

Joe’s disgust for the U.S. citizens aiding these international groups that threaten National Security shone right through as she read Cade for filth.

Cade was undoubtedly a man who came from a wealthy and influential family, but didn’t want to put the work in to reach their level of notoriety.

He thought he could cut corners, get exam results, and effectively be gifted his degree without considering what these people would want in return. He signed his life away and was slowly but surely learning the consequences.

(Lauren “Lo” Smith/Paramount+)

Despite his fear of being caught while dropping off the USB drive, he must have been wondering whether this meant he was truly free.

Truthfully, he deserves even more consequences for his actions because, as Joe rightly put it, many U.S. nationals are contributing to this in-the-dark war and are effectively setting the country on a dark path.

Rooster was not the person I expected when Joe sent that message organizing a meet. I expected someone more menacing, but since he was effectively just the middleman between Cade and Richard, it made sense given how unassuming he looked.

Lioness Brings in a Convincing Decoy

Him being a kid and believing he had diplomatic immunity on a student visa was probably one of the most comical moments of the entire series.

Kaitlyn has clearly dealt with people like him before, based on how she went into the interrogation guns blazing and telling him that what he hears on TikTok is not U.S. law.

(Ryan Green/Paramount+)

You could see that he was ready to sing like a canary, and instead of Joe asking him the questions, she knew the most effective method was to let him tell her what he knew while she assessed whether it was worth pausing any charges against him.

Joe is a pro at this, and I’m surprised to say that I’m loving the synergy between her and Kyle on Lioness Season 3.

They both use very different tactics to get intel, but they share the same code: the ends justify the means.

Look at how Kyle reeled Oksana in to speak Russian to Alex, signaling that there was no way he’d ever see freedom again.

The threat of solitary confinement and Guantanamo Bay was enough to put Alex under pressure, and he didn’t seem like the type to withstand much of it.

(Emerson Miller/Paramount+)

His reaction to what Kyle was saying about Dengue Fever was enough to tell me that this dude was all talk and would break when the pressure was turned up on him.

It’s such a juxtaposition from the man who tried to bribe Two-Cups after a night of passion with a stripper earlier in the episode.

What caught my attention, though, was how Alex started praying in Arabic because the math isn’t mathing with his allegiance to Russia.

It came out of left field, and in hindsight, I believe that Kyle should have asked about the men who showed up at Joe’s house on Lioness Season 3 Episode 1 the moment he got him talking.

(Lauren “Lo” Smith/Paramount+)

I know that the aim of Operation: Treasure is to unmask these people who are putting the fate of the U.S. in jeopardy, but surely the answer about who went after Joe must have been playing on his mind.

The only real positive to come from the various investigations is that the man behind Rooster was exposed and apprehended by the team.

This is a major win and shows that the Lioness operatives are competent and can get the job done, even if they don’t follow the playbook you’d expect from, say, the FBI.

The drama in the White House, with Wexler throwing shade at how the clandestine operation is handled and pointing out that nothing they do will be admissible in court, was fascinating.

(Lauren “Lo” Smith/Paramount+)

I felt like I was watching a round table from The Traitors.

The issue the U.S. faces at this point in the timeline is that many U.S. citizens are actively working against the government, but Wexler has a point: allowing an operation like this to continue unchecked could undermine the country if it ever became public knowledge.

A Battle for Jurisdiction

At the same time, if the FBI had jurisdiction over the case, the legal red tape could delay the operation. Team Lioness is getting results because they’ve been given the green light to continue operating outside the usual rules.

Lioness Season 3 Episode 5 featured the most maneuvering the team has ever done, giving the episode a frantic tone that signaled the threat level was rising.

(Ryan Green/Paramount+)

The end tag with Joe in the present-day timeline arriving at an “unknown location” with a Russian flag in the distance was chilling.

But here’s my theory: She’s actually much closer to home than she thinks.

If people within the U.S. are working against the country they call home, there’s got to be more of them than we think. If that’s the case, they need a hub where they can congregate when they need to meet in person.

If Joe were truly in Russia, she would have learned it by now.

(Emerson Miller/Paramount+.)

Over to you, Lioness Fanatics! What are your thoughts on where Joe is and how Operation: Treasure is faring?

Do you agree that she’s far closer to home than she thinks on the Paramount+ thriller?

Still here? You’re our kind of people.
Drop a word in the comments or share this with a fellow fan — it’s the best way to support indie TV coverage that actually cares about the shows.

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In the deepest of summer, Odysseus came close to throwing Spider-Man off the top of the global weekend box office, but the aranea superhero had the upper hand over the crusty ole warrior, $66.2M to $62.9M.

Spider-Man: Brand New Day was in its fifth session taking its global count to $2.33B ($1.44B int’l, $891.5M domestic), the fourth highest movie ever at the worldwide B.O., while Christopher Nolan’s Odyssey stands at $1.55B ($988.7M int’l, $563.8M domestic).

Nolan’s best ever rocketed Universal across the $3B mark overseas becoming the first studio in 2026 to do so at the foreign B.O. Triple note, the studio already became the first to cross $4 billion worldwide this year. We’re waiting on Uni’s update on their YTD global. It’s the third time that a studio crossed $3B at the international box office since 2019, and it’s the third time that Universal has achieved this milestone as a studio.

Spidey’s fifth frame delivered $44M from 29,000 screens and 67 markets. Top market cumes to date are China ($227.4M), UK ($125.2M), Mexico ($88.2M), France ($81.6M), Brazil ($70.2M), Germany ($62.8M), South Korea ($62.7M), India ($61.5M), Australia ($57.1M) and Spain ($42.6M).

L to R: Mia Goth is Melantho and Anne Hathaway is Penelope in THE ODYSSEY, written, produced, and directed by Christopher Nolan.

Universal Pictures;

Odyssey‘s seventh global frame breaks out to $48.6M int’l,-29% from last weekend, at 83 territories, and $14.3M domestic, -27%. The Imax global weekend was $24.6M ($8M domestic, $16.6M int’l) for a running total for the exhibitor on the pic of $449M from 68 countries. China Imax alone did $5.5M this weekend for a running cume of $11.1M. Japan has still to open on Nolan’s Homer epic, that being Sept. 4. Back in the states, this weekend’s performance drove Hollywood’s TCL Chinese Theatre to the highest individual theater performance of any Imax title in history with $4.4M to date.

Of note this past weekend, in Korea, The Odyssey passed Brand New Day‘s gross to become the biggest MPA title of the year there. Weekend 4 added $11.6M with a $70.1M cume, still No. 1 and a 60% market share. Odyssey has taken over Avengers: Infinity War to become the 6th biggest MPA movie of all-time in Korea.

China added a third weekend of $10.2M, No. 3 behind local titles Once Upon a Time in the Middle East and V, for a running total of $88.3M. Odyssey has now surpassed the lifetime of Inception and is Nolan’s second biggest in the Middle Kingdom behind Interstellar. That total also puts Odyssey ahead of Jurassic World: Rebirth‘s total in China.

Clare (Maisie Richardson-Sellers) in Screen Gems’ INSIDIOUS: OUT OF THE FURTHER.

Sony

Sony Screen Gems/Stage 6/Blumhouse Atomic Monster’s Insidious: Out of the Further posted a second global weekend of $28.8M ($10.1M domestic, $18.7M int’l from 66 markets) which puts its running global at $110.2M ($66.6M from abroad, $43.6M stateside). After its sophomore frame, the Philippines is already the No. 4 horror release of all time ($5.4M cume) after a $1.1M weekend. Mexico did $2.1M to lift its cume to $7.7M, while the UK earned $1.8M to raise its cume to $6.6M. France added $1.1M for a market total of $3.3M.

Jacob Elordi as Hig in a scene from the movie The Dog Stars

Jacob Elordi in ‘The Dog Stars‘

20th Century Studios

20th Century Studios Dog Stars via Disney which cost $70M to shoot and millions more in marketing was muzzled with a $19.3M global opening ($8M domestic, $11.3M int’l from 49 markets). No China release here. Disney says that within Europe, the Ridley Scott movie opened No. 4 in France ($1.5M) and UK ($1.4M), No. 5 in Italy ($800K), No. 2 Kuwait, No. 3 Bulgaria, No. 5 Finland, No. 4 Netherlands ($300K), No. 5 Norway, No. 4 Switzerland, as well as Bosnia, Croatia, Georgia, Hungary, Iceland, Iraq, Portugal, Romania, Slovenia and Ukraine. Spain did $1M, and Germany was $400K.

In Asia, Dog Stars debuted to $700K in Japan, ranking 4th for a MPA title, made $500K in Australia, ranking 4th for a MPA title, with Korea the No. 5 MPA. Thailand opened to No. 2 MPA, Hong Kong was No. 4 for a MPA, New Zealand and Indonesia was No. 4 for MPA, while Singapore and Malaysia opened to No. 5 for a MPA title.

Within Latin America, the Jacob Elordi and Josh Brolin movie opened fifth in Mexico to $900K as well as Colombia (#5), Ecuador (#5), Central America (#5) and Paraguay (#5). Brazil brought in $300K.

Paramount’s Paw Patrol: The Dino Movie did $12.7M global this weekend ($4.8M domestic, $7.9M int’l from 59 markets) for a running worldwide of $124.6M ($43.3M domestic, $81.3M overseas). Philippines opened to $115K including paid previews at 132 locations. France was the top holdover with $1.3M, -28% in weekend 4 at 890 locations with a running total just under $13M.

Warner Bros/Bad Robot’s The End of Oak Street posted a fourth global sesh of $11M ($6M int’l from 81 markets, -46%; $5M domestic, -43%) for a $105M running worldwide tally ($59M int’l, $46M domestic). Top five territories by comes are UK ($8.1M), Mexico ($6M), France ($5.4M), Japan ($4.2M) and Spain ($3.3M).

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In the deepest of summer, Odysseus came

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Right from the start, you experience you are welcome, as we go beyond welcoming Canadian players; we speak their languages. In every province and territory, our platform immediately switches to English or French, enveloping the entire gaming journey in recognizable words and cultural comfort. We created this experience around the principle that real entertainment starts the moment you grasp everything without hesitation. Spin a slot in Vancouver, play live blackjack in Montréal, or check promotions in Moncton: the interface, game rules, and customer care all respond in the language that seems natural. This deep respect for Canada’s bilingual identity fuels every line of code and every interaction on our site.

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Watching Dolly perform “I Will Always Love You” on The Porter Wagoner Show in 1974 can induce an itchy feeling, like the minutes before school lets out for summer vacation. See Dolly’s jittery hands at the end of the video—fretting with her sleeves, smoothing out the sequins on her dress, clasping and unclasping her fingers—and recall the simile she used in her 1977 song “Light of a Clear Blue Morning” to describe herself during that period: like a captured eagle. Many have written that “I Will Always Love You” was Dolly’s way to “soften the blow” of leaving Wagoner. Its lyrics feel familiar to any woman who has sloughed off an unwanted boyfriend using calculated self-deprecation: “I would only be in your way” and “We both know I’m not what you need” are lines I’ve probably used verbatim.

There’s a level of irony baked into Dolly’s words here. By the mid-’70s, it was Wagoner who needed Dolly, who sued her for $1 million in 1979, who claimed he was entitled to a percentage of her earnings, who accused her of stealing demos from his production company’s office, and who called her “the kind of person that I would never trust with anything of mine.” Getting out ahead of Wagoner’s bitch-fit with a song called “I Will Always Love You” suddenly seems like exceptionally smart PR for Dolly—her sincerity is her alibi. But you can imagine how incensed Wagoner might have been, especially if you’re cynical enough to float the idea that Dolly wrote the song not as a heartfelt tribute but as a wile to court the public while committing treason backstage.

The problem with this paranoid hypothesis? Dolly did always love Wagoner. When the IRS came for his assets in the 1980s, she bought the rights to his songs to help him stay afloat, later returning them to him gratis (“The songs are on the way, but I’ll accept none of your money,” Wagoner recalled her saying in a 2004 interview). At a celebration of his 50 years as a Grand Ole Opry member in 2007, Dolly closed the night by once again singing “I Will Always Love You” directly to him—this time, before a much larger audience, many of whom I suspect went misty-eyed. Six months after this taping, Wagoner lay on his deathbed in Nashville. “One of the last people he saw on this Earth,” testified country singer Marty Stuart on Dolly Parton’s America, “was a girl named Dolly.”

Shortly after news of Dolly’s own death broke a few days ago, I relayed this story to my roommate, and detected a whiff of annoyance—or was it protectiveness?—in her crossed arms and unsmiling expression. I could tell what she was thinking: Why would Dolly do all that for the guy who’d put her through hell? Perhaps in 2026, these kinds of stories—men throwing tantrums, women mending fences—are no longer feel-good, no longer inspirational. “Forgiveness is all there is,” Dolly once said—it’s a declaration befitting a woman nicknamed Saint Dolly for her charity, championing of LGBTQ rights, funding of literacy programs, and attitude of love and acceptance toward all. But there’s a more colloquial usage of “saint,” one that feels less complimentary: That woman is a saint! you might say of someone who puts up with bullshit you’d never tolerate. In an era when excusing male hostilities finally feels more like a prerogative than the mandate of patriarchy, it’s understandable that the forgiving approach might come across as overtolerance, or even enablement.

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Watching Dolly perform “I Will Always Love

Each player entering the virtual doors of Winboss Casino holds the potential for an incredible tale. Maybe it is the first spin that unlocks a cascade of free games, a live roulette game that generates thrilling anticipation, or a sports bet that turns a quiet evening into a celebration. The scene is prepared for lasting memories. Designed with a strong emphasis on French players, the casino merges local payment options, a huge game selection, and a welcoming, lively environment. Newcomers get greeted with a generous welcome gesture, while regular players uncover new reasons to revisit. From the initial click, Winboss Casino acts as a reliable partner, eager to convert ordinary play into an individual saga. The path forward is rewarding, safe, and customized for those who seek quality.

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Writer and editor Lindsay Whalen is writing the first biography of the Pulitzer Prize-winning poet Mary Oliver, to be published by Penguin Press. Here she interprets Mary Oliver’s poem, “Maybe,” in a close reading of the work.


“Maybe”
By Mary Oliver

Sweet Jesus, talking

his melancholy madness,

stood up in the boat

and the sea lay down,

 

silky and sorry.

So everybody was saved

that night.

But you know how it is

 

when something

different crosses

the threshold—the uncles

mutter together,

 

the women walk away,

the young brother begins

to sharpen his knife.

Nobody knows what the soul is.

 

It comes and goes

like the wind over the water—

sometimes, for days,

you don’t think of it.

 

Maybe, after the sermon,

after the multitude was fed,

one or two of them felt

the soul slip forth

 

like a tremor of pure sunlight,

before exhaustion,

that wants to swallow everything,

gripped their bones and left them

 

miserable and sleepy,

as they are now, forgetting

how the wind tore at the sails

before he rose and talked to it—

 

tender and luminous and demanding

as he always was—

a thousand times more frightening

than the killer storm.

 

Mary Oliver’s name and writing © NW Orchard LLC


“Maybe” is a poem written from the middle. It first appeared in print in 1987, the year Mary Oliver turned 52. She was by then the author of five poetry collections and had become—slowly, and then quickly—a name readers recognized, the shift largely the result of American Primitive’s 1984 Pulitzer Prize. While grateful for the recognition, Oliver insisted it did nothing to change what mattered, which was, “to fill the blank piece of paper in front of me.”

She continued to ask herself the questions that had possessed her from the start: How does a poem feel? Using “linguistic tricks and acrobatics,” could she create an experience readers held as their own? She had a fondness for the present tense, for verbs, for a short line – for a poem that captured your heart, and ran with it. Lately, however, she felt herself coming to the end of something. A cycle that had begun with 1979’s Twelve Moons was beginning to close. It wasn’t yet clear what would come next.

The poem begins with a storm:

Sweet Jesus, talking / his melancholy madness, / stood up in the boat / and the sea lay down, / silky and sorry. / So everybody was saved that night.

Mary Oliver. Mary Oliver’s image © NW Orchard LLC

This is a story we know: Jesus calms the sea of Galilee. Oliver dispatches with the miracle handily, the lines sliding with their repeated sibilant s’s. The interior alliteration of melancholy madness amplifies the opening’s incantatory music. The content is terror, but the feeling is one of enchanted protection; we, too, are saved.

But you know how it is. The second stanza’s conspiratorial direct address breaks the spell, returning us to the vernacular and ordinary, where salvation is greeted with sidelong suspicion: the young brother / begins to sharpen his knife. Still the momentum continues, following a form revisited in variation throughout House of Light, the 1990 collection in which “Maybe” would later appear: nine free verse quatrains, the lines arranged in a pattern of increasing indentation that repeats again with each stanza. The eye staggers down the page, following enjambment, until, finally, at the close of the fourth stanza, we land: Nobody knows what the soul is.

Oliver had a feeling for the self-enclosed line and the work it could do in a poem. “The pause works as an instant of inactivity,” she wrote, “in which the reader is ‘invited’ to weigh the information and pleasure of the line.” While there is a relief to the temporary calm, it is difficult to read the first self-enclosed line of “Maybe” as a pleasure. To better understand the line’s chilling effect, it’s worth considering the collection as a whole. House of Light announces itself as a book of questions from the start: Is the soul solid, like iron? / Or is it tender and breakable, like / the wings of a moth in the beak of the owl?

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Nobody knows what the soul is. The simple declarative statement at the center of “Maybe” can be read as a response to House of Light’s opening questions, though it offers neither resolution nor relief. Instead we are left to linger in uncertainty, and it is in this mood that the poem begins its second life. Once again, a miracle is introduced; once again, Oliver’s attention returns to its aftermath. The “maybe” of the poem’s title grapples with what might follow if the soul is in fact called forth by grace. There is a flash – like a tremor of pure sunlight, – in which the soul appears, but almost as quickly it is gone, leaving the saved miserable and sleepy / as they are now, forgetting / how the wind tore at the sails / before he rose and talked to it—

Why do the followers again turn from Jesus? Why does the soul summoned so readily depart? These are the questions “Maybe” implies.

“I got saved by poetry. And I got saved by the beauty of the world.” The quote from which director Sasha Waters’s documentary title is derived suggests a passive experience of salvation, as if Oliver were one of the chosen. But a second related quote, given in response to a reader who asked Oliver to comment on beauty’s purpose, meaningfully complicates this understanding. “We need beauty because it makes us ache to be worthy of it.”

Beauty demands more than death; this is why Jesus is a thousand times more frightening / than the killer sea. Oliver called existence—that we are to be—the “essential blessing.” The terror of salvation then is that we must begin again, with a certain understanding of suffering. Death, sleep, and the thousand other off-roads from sentience offer routes for the soul’s escape that beauty never allows. Oliver wrote “Maybe” having survived many storms; more would follow. It is in her confrontation with beauty, in her response to its call to change, that she would find the courage to face what may be.

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Voters are set to head to the polls on Monday in three federal by-elections with the trade war between Canada and the U.S. expected to be a key factor on many people’s minds.

Votes are taking place in British Columbia, Ontario and a third in Quebec following the resignations and departures of their MPs.

In B.C., the Liberals are hoping to hold on to North Vancouver-Capilano, which they’ve held since 2015. Most recently, it belonged to long-time MP and minister Jonathan Wilkinson who left to take on the role of Canada’s ambassador to the European Union.

Over the years, Wilkinson served as minister of Fisheries, Oceans and the Canadian Coast Guard, minister of Environment and Climate Change and, in his last role, as minister of Energy and Natural Resources. He was dropped from cabinet following the 2025 federal election.

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Braeden Caley, Prime Minister Mark Carney’s former deputy chief of staff and a senior staff member of his election campaign, is returning to his home province to run for the party.

Stephen Curran, a commercial lawyer who ran against Wilkinson last year, is returning to run for the Conservatives. He has run attack ads on social media against Caley, challenging his connection to the community.

Carrying the orange banner for the NDP is Stephen Tweedale. He is a party staffer for the local MLA, but could face an uphill battle as a federal candidate as the party received only four per cent of the vote in 2025 when the NDP’s support collapsed across the country.

A few provinces away in Ontario, Nate Erskine-Smith’s former seat in Beaches-East York is up for grabs.

First elected in 2015, Erskine-Smith was known as a Liberal who could be outspoken against some of his own government’s decisions. He held a ministerial post briefly in the waning days of Justin Trudeau’s leadership and was kept on by Carney going into the 2025 election. He then returned to backbenches when Carney named his post-election cabinet.

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The former MP is now running for Toronto city council after a failed attempt to be the candidate for the provincial Liberals in an upcoming byelection. He had also intended to also run for Ontario Liberal leadership but dropped those plans after a nomination contest loss.

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Erskine-Smith’s former constituency office manager, Tanveer Shahnawaz, is running for the Liberals. He’ll face off against Shannon Devine for the NDP, who came in third in the 2025 vote. Jim Sybros is running for the Conservatives.


Click to play video: 'Pierre Poilievre accuses Liberals of misrepresenting Conservative candidate Stephen Curran’s comments'


Pierre Poilievre accuses Liberals of misrepresenting Conservative candidate Stephen Curran’s comments


The third riding to watch will be in Chicoutimi-Le Fjord, which became vacant after Carney named Conservative MP Richard Martel to the Senate.

Martel won in 2025 by a small margin, edging out candidates from both the Bloc Quebecois and the Liberals.

Daniel Gobeil, a dairy farmer and former president of a provincial dairy association, is holding the flag for the Liberals. Lawyer and teacher Regis Gaudreault is running for the Conservatives to try and keep the seat in the party’s hands. Caroline Dube, who served as director of the office of Bloc MP Mario Simard, is running for the Bloc.

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Elections Canada issued a notice this weekend to remind people in the province that the by-election was for the federal riding as the province has a riding with the same name that will see a provincial election vote held Sept. 26.


The Saguenay region, where the riding is located, has been hit particularly hard by U.S. President Donald Trump’s tariffs. It’s a major producer of aluminum and forestry products, and home to a significant number of dairy farmers representing a sector that has become a target of the president due to Canada’s supply management system.

But that same trade war could help the Liberals in all three ridings.

According to a new poll by Ipsos for Global News, 44 per cent of Canadians say they’d vote for the Liberals if an election were held tomorrow compared to 33 per cent for the Conservatives, 10 per cent for the NDP and eight per cent for the Bloc.

Those numbers were strongest in B.C. with 46 per cent saying they’d vote Liberal and 49 per cent saying the same in Ontario. The Liberals also were ahead in Quebec, with 37 per cent saying they’d vote for the governing party, but the numbers were closer with 33 per cent supporting the Bloc Quebecois. The Conservatives trailed in third in Quebec at 22 per cent.

For all three provinces where a by-election is being held, the polling also showed majority support for Canada standing firm against the U.S. proposed deal, even if it meant higher tariffs and economic costs. About 65 per cent of B.C. and Ontario residents said they agreed with the decision, with 57 per cent saying the same in Quebec.

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Unlike the by-elections held in April, the stakes are not as high for the parties.

The Liberals won all three votes, giving them 174 seats in the House of Commons, a slim but working majority. With Erskine-Smith and Wilkinson’s resignations, along with former MP Stephen Guilbeault officially resigning this past Friday and Shaun Chen earlier this month, the Liberals currently hold 170 seats.

That number is two seats below the number needed for a majority, though with opposition parties at just 166 seats the government does not need other MPs to vote with them to pass bills or win confidence motions.

Winning all three ridings Monday, however, could further strengthen their majority to 173 seats.

There also remain four more by-elections Carney will need to call in the coming months following Chen and Guilbeault’s departures, as well as the resignations of two Bloc Quebecois MPs to run in next month’s provincial election.

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

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Voters are set to head to the

Influencer Kate Cassidy is honoring what would have been have been the late Liam Payne’s 33rd birthday two years after his sudden and shocking death.

“It’s August 29, which is a very special someone’s birthday,” Cassidy, 27, began a TikTok video shared Saturday, August 29, as she placed Bischoff cookies atop a single-layer cake. “This will now be Year 2 of Liam not being here physically to celebrate his birthday.”

She continued, “Someone once said when a person dies, they die twice. So, they die the first time and then, the second time when you stop talking about them. I’m never gonna stop talking about him. He was a huge part of my life.”

Payne dated Cassidy from 2022 until his untimely 2024 death. The former One Direction singer suffered a fatal fall from the third-story balcony of a hotel at the age of 31 while under the influence. Payne’s cause of death was later attributed to severe internal and external injuries, with traces of alcohol and various drugs found in his system.

In addition to Cassidy, Payne is survived by his parents, his two older sisters and his 9-year-old son, Bear, whom he shared with ex Cheryl Cole.

For Cassidy, she honored Payne’s heavenly birthday by purchasing a white cake topped with sprinkles.

“He made me grow into the person that I am today. Bischoffs were, like, his favorite cookie ever,” she said of her decision to add biscuits to the cake. “I used to make him little Bischoff cupcakes all the time.”

The content creator added, “For those of you who don’t know Liam, let me tell you, he was the most funniest, most handsome, smart [and] most kind soul that you’ll probably meet in your life.”

@kateecass

happy birthday Liam❤️

♬ original sound – Kateecass

According to Cassidy, she remembers how “simple” Payne always was despite his mega-celebrity status and world-renowned career.

“On Liam’s last birthday two years ago, we went bowling and we had cake in bed,” Cassidy recalled, while lighting a birthday candle on the cake. “It was just a simple morning.”

Before blowing out a candle, Cassidy offered a message to Payne himself.

Liam Payne and Kate Cassidy Relationship Timeline 747


Related: Liam Payne and Kate Cassidy’s Relationship Timeline

One Direction alum Liam Payne had been dating influencer Kate Cassidy for two years before he died at age 31 in October 2024. Payne and Cassidy were first linked in October 2022, and Cassidy posted the singer on her Instagram page just one month before Us Weekly confirmed news of his death on October 16. […]

“Happy birthday, Liam, I hope you are celebrating in heaven today,” she wished. “Just know that you are so loved down here.”

Payne’s family, meanwhile, enjoyed their own celebration across the pond in the late singer’s native England.

“Celebrating your birthday for the second year without you will never feel right,” Payne’s sister Nicola wrote via Instagram. “We do it the best way we know how with a little bowling, just like we did for your last birthday. I hate how much you’re missing out on and how life has had to carry on without you here. It still doesn’t feel fair, and I don’t think it ever will. We miss you more than words could ever say.”

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Influencer Kate Cassidy is honoring what would

It might not have been quite the show of emphatic box office support that Looney Tunes fans hoped to see after Coyote vs. Acme was saved from becoming a Warner Bros. tax write-off, but the film managed to get rolling over the weekend to score a second-place finish behind the unstoppable Spider-Man: Brand New Day. Meanwhile, Ridley Scott‘s The Dog Stars was sent to the doghouse.

Ketchup Entertainment released Coyote vs. Acme on 3,575 North American screens, with the film grossing $15.4 million for the weekend after collecting $5.3 million on Friday. Earning an A CinemaScore from audiences, the hybrid of animation and live-action stars Will Forte, Lana Condor and John Cena in the story of Wile E. Coyote suing the Acme Corporation over its faulty products.

This marks the biggest debut ever for the independent distributor, topping their previous best for the Looney Tunes feature The Day the Earth Blew Up, which was originally intended for HBO Max before opening to $3.5 million in March of last year ahead of a $15 million global cume. Coyote vs. Acme had a softer opening than other recent hybrid films — the past 15 of which debuted with an average frame of $23.2 million, according to FranchiseRe — but looks likely to recoup its investment through ancillary markets.

News broke in late 2023 that Warner Bros. had shelved the completed Coyote vs. Acme as a tax write-off. After social media outrage over the fact that director Dave Green’s film that carried a roughly $70 million budget would potentially never see the light of day, Ketchup stepped up last year to nab the rights for $50 million. Coyote vs. Acme has impressed critics, earning 95 percent approval from reviewers on Rotten Tomatoes. The Hollywood Reporter critic Frank Scheck deemed the movie “a hilarious delight.”

Jacob Elordi in 20th Century Studios’ The Dog Stars.

Fabio Lovino/20th Century Studios

In third place was the Jacob Elordi-led sci-fi thriller The Dog Stars, displaying little bite for 20th Century Studios with $8 million domestically from 3,300 locations. Josh Brolin, Margaret Qualley and Guy Pearce also star in Scott’s feature adaptation of Peter Heller’s 2012 novel about the survivors of a devastating virus.

Claiming the top spot for its fifth consecutive weekend was Sony Pictures’ Spider-Man: Brand New Day, which swings to $22.2 million to bring its domestic total to $891.5 million. Tom Holland stars in director Destin Daniel Cretton’s superhero blockbuster that remains the second-highest-grossing title ever at the domestic box office, behind only 2015’s Star Wars: Episode VII — The Force Awakens with $936.6 million.

Globally, Brand New Day swung to No. 4 at the all-time worldwide box office over the weekend, as its worldwide total now stands at $2.332 billion. This moves 2025’s Chinese animated fantasy Ne Zha 2 to No. 5 with $2.27 billion, while James Cameron’s 1997 disaster epic Titanic floats to No. 6 with $2.26 billion. Spidey is now just behind 2022’s Avatar: The Way of Water for third place with $2.334 billion.

Universal Pictures’ The Odyssey continued to find a home in third place with $14.3 million to bring the domestic sum for Christopher Nolan’s mythological epic to $563.8 million.

More to come.

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Sony/Marvel Studios’ “Spider-Man: Brand New Day” has passed $2.33 billion at the global box office after its fifth weekend atop the charts, setting it to pass the global run of the 2022 hit “Avatar: The Way of Water” in the process.

Domestically, the smash hit Marvel film added $22 million to bring its U.S./Canada total to $891 million, putting it $45 million away from the unadjusted all-time domestic record of $936 million set by “Star Wars: The Force Awakens” in 2015.

“Brand New Day” will have the distinction of being the highest grossing film in U.S. theaters every day in August save for Aug. 21, the opening day of fellow Sony release “Insidious: Out of the Further.”

Rising over the seventh weekend of Universal’s “The Odyssey” for the No. 2 spot this weekend is Ketchup/Warner Animation Group’s “Coyote vs. Acme” with an estimated $15.4 million opening from 3,573 locations. Produced on a $60 million budget and initially set for release in 2023, “Coyote vs. Acme” was nearly shelved by Warner Bros. for a tax break following its merger with Discovery, but was purchased by Ketchup Entertainment for $50 million after social media backlash from “Looney Tunes” fans.

With a smaller marketing budget than it would have had under Warner Bros and an end-of-summer release date, it’s impossible to extrapolate from this weekend what “Coyote vs. Acme” could have made had it come out under usual circumstances. However, those who have seen the film are raving about it with Rotten Tomatoes scores of 94% critics and 97% audience while “Coyote” joins “The Iron Giant” and “The Lego Movie” as just the third Warner Bros.-produced animated film to earn an A on CinemaScore. We will see if that word-of-mouth combined with the upcoming Labor Day weekend can give the film some Roadrunner legs.

“The Odyssey” is in third with $14.3 million domestic and $48.6 million overseas, bringing the film’s domestic total to $563.8 million and its global total past $1.5 billion. It has now passed the unadjusted $1.51 billion total of “Furious 7” to become Universal’s second highest grossing movie in history and needs approximately $120 million to pass “Jurassic World” for the studio record.

More to come…

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Sony/Marvel Studios’ “Spider-Man: Brand New Day” has

This helps explain the potency of Their Greatest Hits, too. Heard beginning to end, the first four Eagles albums are suffer-fests, capturing the band as they learn not only to write but also to tell bad from good. They released four albums, or 40 songs, in their first three years, and the great majority of them simply fill space. “Most of Us Are Sad,” “Early Bird,” “My Man,” “After the Thrill Is Gone”: Henley and Frey loved to talk about their quality control, how hard they worked to find le mot juste, but I’ve never heard those records as much more than real-time chronicles of success and failure, the sound of a band still figuring out how to not suck.

Henley hated the idea of a greatest hits collection, because he claimed it was “the forced and hideous marriage of art and commerce,” ostensibly back when he claimed to care about that first part. He failed to understand, though, that Their Greatest Hits stripped away the misfires of the Eagles’ actual albums, leaving only 10 of the best songs they would ever write, that have ever been written in the realm of folk-rock. Their Greatest Hits is the only no-skips set in the catalog of a band that sometimes seemed to specialize in the skips. Put another way, I will always own a copy of Their Greatest Hits; I would not take copies of the first four Eagles albums from a free bin, Desperado debatably excepted.

In March 2026, writing about the golden anniversary of Their Greatest Hits, the BBC asked British music journalist Peter Doggett why these 10 songs sold so well. He said, “It’s very melodic, very professional and doesn’t actually mean anything.” This is a well-earned insult for a band who once insisted that “On the Border”—a song about being annoyed at a traffic cop—was some profound political statement.

Still, these are not songs about nothing. Nine of the 10 tracks on Their Greatest Hits—with the lone exception of “Witchy Woman,” Henley’s bout of strong-woman paranoia—are about wanting something you do not have and the anguish you can endure to get it. “Take It Easy” is often taken at face value. Frey, though, is a worried man here, singing for his salvation, trying to find that one lover who will fix him. Listen for Leadon’s simple but brilliant banjo line, which begins as he takes his guitar solo and does not disappear until the track is done; it’s the sound of anxiety and self-doubt, of trying to loosen your load, not of simple contentment. The title and chorus of “Peaceful Easy Feeling” are, likewise, feints; this lust sure feels nice, but Frey understands that it will likely end in another rejection. That’s OK, because he’s already too low to be let down again.

Then there are the affair-and-breakup songs, tunes where someone is searching for something better, like young musicians heading west to get famous. “Lyin’ Eyes” sounds dreamy but reads cruelly, chronicling a kept woman who prowls each night to the “cheating side of town” only to come back home and deplore the person she reckons she must have always been. No one in this love triangle is happy or satisfied. The same goes for “Tequila Sunrise,” a brutal song about betrayal and trying to fill your own permanent emotional void no matter who you hurt in the process. “Dealin’ friends,” as Frey sings, may feel awful, but does it really matter when the upshot feels better?

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This helps explain the potency of Their

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Prepaid cards have quietly become among the most convenient and most reassuring ways to fund an online casino account, and we observe this every day at Chanze Casino. In place of sharing bank details or card numbers, you load a particular amount onto a voucher and type a code at the cashier. The funds appear almost instantly, and your personal financial information stays completely off the gaming platform. That uncomplicated model appeals to players who value privacy, want to follow a fixed session budget, or simply do not have a credit card available. Prepaid solutions also eliminate the risk of overspending, because you cannot deposit more than the voucher holds, a feature that matches well with responsible gambling habits. At Chanze Casino we have guaranteed that several prepaid options coexist with traditional payment methods, so no matter your preference, you can get into the game without friction.

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Choosing the Right Prepaid Card for Your Gaming Needs

Not all prepaid cards are identical, and selecting the one that suits your play style can keep you both annoyance and unnecessary fees. The most popular name across European and international online casinos is Paysafecard, which offers vouchers in a wide range of denominations and currencies and enables PIN‑based online deposits without any personal registration for smaller amounts. Neosurf works similarly and has a solid presence in many markets, often with a mobile app that lets you generate a virtual ticket instantly. Some prepaid cards, like Flexepin, are also gaining traction because they are particularly tailored for digital entertainment spending. Each provider has its own maximum voucher value, expiry policy, and sometimes a small service charge linked to the purchase, so we always advise checking at the terms before buying.

At Chanze Casino we offer a range of prepaid brands that mirror what our international community truly uses, which means you will discover at least one recognisable option in the cashier no matter of your location. We recommend viewing the deposit page before getting a voucher, because the available prepaid logos are presented right there and get refreshed periodically. You might discover that certain cards function best for claiming a welcome offer because they fulfil the minimum deposit requirement perfectly, while larger vouchers are more handy for high‑roller slots or live blackjack sessions. the rundown Another practical tip is to hold a small‑value emergency voucher available if you ever want to top up quickly without entering any sensitive data. By pairing the prepaid card to your planned activity, you ensure that the deposit limit, currency match, and any potential fees align perfectly with your casino session.

Handling Withdrawals: What Prepaid Card Users Need to Know

If there is one limitation of prepaid cards that any player should know from the outset, it is that the vast majority of them do not facilitate withdrawals. A Paysafecard or Neosurf voucher is fundamentally a one‑way depositing tool, and you will not be able to transfer winnings back onto the same plastic or digital code. At Chanze Casino we address this by presenting a variety of alternative cash‑out methods that prepaid users can pair with their account. The typical process is to verify your identity once, then choose a supported withdrawal channel such as a bank transfer, a dedicated e‑wallet, or even in some cases a debit card that you add later. The verification step is a regulatory requirement, not a prepaid‑specific hurdle, and it secures your funds by confirming that you are the rightful account holder.

When you are ready to cash out, the process is uncomplicated. Head to the withdrawal section, select the method you have set up beforehand, type in the amount, and file the request. Payout times vary by the channel you choose; e‑wallets often deliver within twenty‑four hours, while bank transfers can take a few business days. We always recommend linking an e‑wallet like Skrill or Neteller if you are a devoted prepaid user, because that creates a smooth circle: deposit with a voucher, play, and then send winnings to a digital wallet that you can later use or transfer to your bank. This hybrid approach preserves the privacy of the prepaid deposit while giving you a real path to receiving your cash. At Chanze Casino, our support team can walk you through setting up the withdrawal method before you even play, so you never encounter issues.

Mobile Gaming with Prepaid Cards: A Smooth Experience

Mobile gaming and prepaid deposits are a perfect match, and we have ensured that Chanze Casino’s platform handles both as first‑class experiences. There is no application to find to hunt for; you simply launch your phone or tablet browser, navigate to our site, and log in. The cashier adapts gracefully to smaller screens, with large, touch‑friendly buttons for each prepaid brand. Typing a voucher PIN on a mobile keyboard is just as simple as sending a short message, and the session stays secure because the connection is fully encrypted end to end. Whether you’re on a lunch break with a Paysafecard voucher acquired at a corner shop or lounging at home with a Neosurf digital code, the entire deposit flow needs less than a minute, and the game tiles appear immediately after.

Under the hood, the mobile experience at Chanze Casino relies on responsive HTML5 technology, which means our full library of slots, table games, and live dealer lobbies works directly in your browser without a hitch. Prepaid deposits done on a phone behave identically to those on a desktop, with instant crediting and the same eligibility for any active promotions. We have also enhanced the account history and withdrawal request pages for mobile, so you can track every prepaid top‑up and control your cash‑out preferences on the go. One useful tip for mobile prepaid users is to save a picture of the voucher QR code or the scratched‑off PIN in a protected, password‑protected note app, allowing you to copy and paste the code without balancing a physical card. This tiny habit can reduce input errors and make things faster even further.

Prepaid Solutions and Controlled Gaming: Staying in Control

The fixed deposit cap that a prepaid card sets is one of the most effective responsible gambling tools built into the payment method itself. When you top up a voucher with, say, thirty euros, you have committed that exact amount for your session, and you will not be able to chase losses by quickly adding funds from a current account. That forced pause works in tandem with the cooler moments that smart play requires, giving you space to reflect on whether you want to continue. At Chanze Casino we view prepaid cards as a useful complement to the formal safer‑gambling features we provide, including deposit limits, reality checks, and self‑exclusion options. Using a voucher does not take the place of those controls, but it adds an extra behavioural barrier that many of our players enjoy.

We actively encourage players to determine a session budget before they even purchase a prepaid voucher. That simple act converts the trip to the shop or the online voucher portal into a intentional decision point. Inside your Chanze Casino account, you can also turn on a deposit limit that applies across all payment methods, and we will display you a friendly notification when you are getting close to your self‑defined boundary. Combining a prepaid deposit with these account‑level tools forms a double layer of protection, one physical and one digital. Our responsible gambling page describes how to configure these settings in a few clicks, and our support agents are prepared to discuss them without judgment. Prepaid cards, at their core, are not just a payments perk; they are a discreet, practical way to keep casino entertainment exactly where it belongs, as a controlled, enjoyable leisure activity that never spills into the rest of your financial life.

Prepaid cards have quietly become among the

When “The Legend of Kitchen Soldier” was selected as the only K-drama in the Special Screening section at Series Mania in Lille earlier this year, it marked an early signal that something unusual was happening with a show that had started life as a calculated creative gamble. By July 31, when the series took best drama series at the Fifth Blue Dragon Series Awards, that signal had become a verdict.

The 12-episode series – produced by Studio Dragon and released as a TVING original on CJ ENM‘s Korean streaming platform – follows Kang Seong-jae, played by Park Ji-hoon, a young man who joins the military to escape a difficult reality. His trajectory shifts when a virtual quest screen appears before him, redirecting him toward life as an army cook. As he completes each mission, buried secrets within the military base begin to surface.

The show’s international performance has been striking across multiple platforms. It reached No. 2 overall on Disney+ Japan, ranked among the top three Korean drama titles on HBO Max across 17 countries and territories – performing especially strongly in Indonesia, Malaysia and the Philippines – and landed in the Rakuten Viki top five across the Americas, Europe, Oceania and MENA. On Sept. 15, chief producer Kim Tae-hoon will take part in a creator talk at K-Brand Week in Poland, extending the show’s reach into a new European market.

None of this was treated as a foregone conclusion during production. The creative team at Studio Dragon made a series of deliberate formal choices that broke with K-drama convention, and they knew it.

Central among them was the editing. Rather than using visual style as a background element, the production foregrounded it as part of the show’s identity – building the virtual quest screen into the fabric of the series, and adopting a lo-fi, high-energy aesthetic that amplified the comedy rather than simply serving the narrative.

“I believe the success of ‘The Legend of Kitchen Soldier’ revolves around how experimental it was, especially in its direction and never-before-seen editing style, which hooks audiences instantly,” said Lee Hye-young, executive producer of “The Legend of Kitchen Soldier” at Studio Dragon. “However, it was also important for us to maintain depth in the show’s narrative. That’s why we incorporated the ‘over-the-top’ elements to an extent that would not interfere with the story’s cohesiveness.”

The challenge of holding that balance extended to the cast. Led by Park and Lee Sang-yi, both of whom carry established international fanbases, the ensemble also includes Han Dong-hee as Lieutenant Cho Ye-rin and Lee Hong-nae as Senior Sergeant Yoon Dong-hyun.

“While maintaining the extreme editing style, we also wanted to make sure the cast was not overwhelmed by these elements,” said Kim Tae-hoon, chief producer at Studio Dragon. “Thanks to all the cast members’ remarkable performances, we were able to bring our creative vision to life.”

The show also made a structural bet that distinguished it from the bulk of globally travelling K-drama: it placed comedy at the centre without a romance narrative to anchor it. K-drama’s international rise has been built substantially on romantic melodrama, and a straight comedy with no rom-com scaffolding represented a genuine departure. The series made that departure without sacrificing character depth – each member of the ensemble was given distinct motivation and a narrative arc, allowing audiences to build investment across the run.

The IP extended beyond the screen through Migak Boys, an in-universe K-pop group formed around the drama’s characters and their reactions to Kang Seong-jae’s cooking. The device brought together K-drama, K-pop and food culture within a single property, adding a layer of audience engagement beyond conventional viewership.

“The success of the TVING original ‘The Legend of Kitchen Soldier’ demonstrates that fresh genres and original storytelling can resonate with audiences both in Korea and around the world,” said Choi Bo-hyun, chief contents officer at TVING. “Building on TVING’s bold creative vision and CJ ENM’s content capabilities, we will continue to expand the diversity and global competitiveness of K-content.”

The Blue Dragon win and the Poland screening suggest the show’s impact is still accumulating. Sebastian Kim, head of the content business Unit at CJ ENM, said the series had opened a door the company intends to keep pushing through.

“The success of ‘The Legend of Kitchen Soldier’ is proof that diverse genres of K-dramas can succeed in the global entertainment market, opening a new era in which global audiences are ready to embrace unconventional storytelling,” Kim said. “Standing at the forefront of K-culture’s global expansion, CJ ENM will continue to challenge ourselves to develop stories that are different, unique, and unexpected for global fans, delivering consistent surprises and new experiences to audiences around the world.”

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When “The Legend of Kitchen Soldier” was

To me, my X-Men. During Friday’s showcase presentation at the Honda Center, Feige shared the first details about Marvel Studios’ upcoming X-Men movie, directed by Thunderbolts filmmaker Jake Schreier.

Schreier was joined onstage by Sadie Sink, who made her debut as Jean Grey in the just-released Spider-Man: Brand New Day and will appear in the new film. The pair then welcomed their new cast to the stage: Kit Connor as Scott Summers, Christopher Abbott as Professor Charles Xavier, Samara Weaving as Emma Frost, Inde Navarrette as Rogue, and Maya Boyd as Storm.

One final cast member then appeared in a surprise video message to fans: Adam Driver, who revealed he will be playing Nathaniel Milbury. The untitled X-Men movie will hit theaters May 5, 2028. 

Read More: D23 2026: Marvel Studios Unveils ‘X-Men’ Cast

Avengers: Doomsday

Doomsday is coming. The stars of Avengers: Doomsday (in theaters December 18) took the stage to reveal a special look at the upcoming film, teasing the impending showdown between Doctor Doom (Robert Downey Jr.) and a multiverse worth of heroes. Downey was joined onstage by fellow MCU veterans Chris Evans and Hayley Atwell, who will be returning in the film as Steve Rogers and Peggy Carter. 

Read More: D23 2026: The Stars of ‘Avengers: Doomsday’ Unveil New Footage, Poster

VisionQuest

VisionQuest stars Paul Bettany and James Spader revealed the first trailer and poster for the upcoming Marvel Television series, which will debut October 14 on Disney+. The series follows a rebooted Vision (Bettany) as he searches for new meaning, consulting with the A.I. personas embedded in his programming (including Spader’s Ultron) and crossing paths with a mysterious boy named Thomas Shepard. 

Read More: D23 2026: Watch the ‘VisionQuest’ Trailer

Marvel’s Wolverine

Snikt! Feige also unveiled a thrilling new trailer for the highly anticipated Marvel’s Wolverine. Developed by Insomniac Games, the upcoming game finds Wolverine searching for answers about his past, and it will be available exclusively on PlayStation 5 beginning September 15. 

Horizons: A Carousel of Progress

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To me, my X-Men. During Friday’s showcase

Years after its debut, the DC movie that cast Keanu Reeves as Batman is all the more surreal to note now, both because things have moved on so drastically from then, and because the film is easy to overlook when going back through the prior history of the superhero franchise. Many famous actors have played the role of Batman over the years, with it being one of the most sought-after castings in the world, and a role that has bolstered the names and reputations of a number of talented performers.

Funnily enough, Keanu Reeves has been one of the actors that fans have wanted to see play the role for the longest, as Reeves’ history playing brooding action badasses is one that has naturally translated to a curiosity around whether this would mean he could play a proficient version of the Dark Knight.

What many aren’t aware of, though, is that Keanu Reeves has actually played Batman in a DC movie, and one that released not all that long ago in the big scheme of things. However, it is a decidedly unusual film that makes Reeves’ role within it similarly somewhat of an out-of-left-field glimpse at Batman to say the least, and this has only become more true over time.

Keanu Reeves’ Time As Batman Is In The Last DC Movie You Might Expect

Ace and Batman side by side at the park in DC League of Super-Pets
Ace the Bat-Hound becomes Batman’s pet in DC League of Super-Pets

Given the prominence of Keanu Reeves as an actor, and how much fans particularly love to see him in the action genre, it would be easy to assume that Reeves’ role as Batman involved some live-action beatdowns to show off the acting skills he’s harnessed throughout the likes of the John Wick movie series. However, this is very much not the case for Keanu Reeves’ time as the Dark Knight.

This is because Keanu Reeves played the iconic DC hero in none other than DC League of Super-Pets, which released in 2022. As the name suggests, the movie focuses less on DC’s main heroes and more on their collective pets and the adventures said critters go on together, meaning Keanu Reeves’ Batman is something of a sidelined figure in the proceedings.

With DC League of Super-Pets also containing a range of other majorly famous actors in its various roles – such as John Krasinski playing Superman, and Dwayne The Rock Johnson playing Krypto – the movie remains a star-studded if somewhat unusual animated chapter in DC’s history, and one that is increasingly surreal to look back on as time goes on, even though Keanu Reeves appearing in the movie aligns with an easily forgotten part of his filmography.

Keanu Reeves’ Batman Casting Continues A Delightful Movie Trend For The ActorShadow in the first big fight in Sonic the Hedgehog 3

While Keanu Reeves is best known for action-packed flicks like the John Wick series, the Matrix series, and Constantine, the actor has also taken on a range of more playful roles in an assortment of animated movies over the years.

Over the course of his career, Keanu Reeves has appeared in Toy Story 4 and 5 as Duke Kaboom, has appeared in Sonic the Hedgehog 3 as Shadow – with plans to appear in the fourth movie in the role as well – and even appeared in The Spongebob Movie: Sponge On The Run as Sage, a tumbleweed with Reeves’ human face superimposed on it, in one of the actor’s more unique performances.

This means his role in DC League of Super-Pets is on brand for Keanu Reeves, even if it’s striking to note an animated movie about super-powered pets is the one time we’ve seen the actor take on the role of Batman, and that many may never even realize that Reeves has indeed already been Batman in one often forgotten about chapter of the franchise’s wider film history.

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Years after its debut, the DC movie

A vast collection of games, betas and prototypes uploaded to Steam over the course of a decade has reportedly leaked online.

As noted on X by numerous Valve news and fan accounts including Gabe Follower and Scolcer, around 12-13 terabytes of data spanning a decade from 2003 to 2013 is available from download, seemingly consisting of everything that was published on Steam during that period.

This not only includes final game releases, but also early beta versions of games that may have been uploaded to Steam for testing purposes but were never intended to be released.

According to Gabe Follower, the leak includes early versions of numerous Valve games, including Portal 2, Left 4 Dead, Counter-Strike: Global Offensive, its cancelled experimental camera puzzle game F-Stop and potentially early content from Half-Life 2: Episode 3.

“The community is still researching everything, so the next few days might be insane,” they posted.

According to Scolcer, the leak hasn’t necessarily come about as a result of hacking – it’s claimed the directory was publicly available and just hadn’t been discovered yet.

“There has been no hacking. This is 100% Valve’s fault,” they wrote on X (via machine translation).  “The Steam Teraleak was obtained from a site that was 100% accessible to the public.

“It was there for everyone to download. No passwords. Nothing. Hidden in plain sight, but with no protection whatsoever. This is the reason it only covers from Steam’s birth up to 2013, when they switched to the new storage system.”

Players have started working their way through the data in the leak – a torrent file is being shared online, which VGC has seen but won’t link to here – with things like early beta intros for Portal 2 among the content already being discovered and shared online.

Given that the leak reportedly covers everything that was uploaded to Steam and not just Valve games, it could have large ramifications for other publishers and developers as the contents of the leak are explored.

A lengthy list has been posted online which shows the names of every item that leaked, with X user and Resident Evil series insider Aesthetic Gamer (formerly known as DuskGolem) noting that it includes “third party games like Sonic 4, a ton of indie games, etc.”

Early content already spotted by Aesthetic Gamer includes Batman: Arkham Asylum beta content, a pre-release build of Dragon Age: Origins, Vampire: Masquerade Bloodlines betas, prototypes of Mirror’s Edge from 2007, Call of Duty 4: Modern Warfare betas and betas of EA‘s Spore.

“It’s very recent, over a dozen terabytes in size, a lot to sort through, and this whole situation is going to probably get really messy very quickly,” they added.