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  • The Duffer Brothers to Deliver Commencement Address at Their Alma Mater Chapman University

    Matt and Ross Duffer, class of 2007, will return to their old stomping grounds at Chapman University to deliver the keynote address at commencement.

    The ceremony, set to take place at Wilson Field on May 22, will celebrate the class of 2026, a group that includes more than 3,000 graduates with 850 of those earning advanced degrees across Chapman’s 11 schools and colleges. Not only will the Duffer Brothers team up for the speech, Chapman will return the favor by presenting them with honorary doctorates.

    The honorary degrees come their way after the Duffer Brothers achieved global success for being the masterminds behind Netflix’s hit horror franchise Stranger Things. The cultural phenomenon recently wrapped with its highly anticipated final season in December 2025. After graduating from Chapman’s Dodge College of Film and Media Arts in 2007, they carved a path in Hollywood by eventually launching their Upside Down Pictures in 2022, a company that has expanded its footprint across film, TV and stage.

    They’re at work producing the Tony Award-winning West End and Broadway productions of Stranger Things: The First Shadow. Their slate includes a live-action Stranger Things spin-off and an animated series, Stranger Things: Tales from ’85, as well as two Netflix original series, The Boroughs and the recent launch Something Very Bad is Going to Happen.

    In other Duffer Brothers news, the Gotham Film & Media Institute announced today that they will receive a visionary tribute for Stranger Things at the third annual Gotham Television Awards, set to take place at New York’s Cipriani Wall Street on June 1.

    “Matt and Ross Duffer represent the very best of Chapman — bold storytellers who turned their creative vision into work that has captivated audiences around the world,” said Chapman University president Matt Parlow. “Their journey from Dodge College to globally recognized creators is a powerful example for our graduates as they prepare to shape their own futures.”

    Other boldfaced names to have spoken at the private university in Orange, Calif. are Hilary Swank, Bill Hader, Angela Bassett and Nobel Peace Laureate Nadia Murad.

  • Peabody Awards: ‘Heated Rivalry,’ ‘Pluribus, ‘The Pitt’ Among Winners

    Peabody Awards: ‘Heated Rivalry,’ ‘Pluribus, ‘The Pitt’ Among Winners

    The 34 winners of the 2026 Peabody Awards have been announced.

    Entertainment and documentary titles had a strong showing with a total of 11 and 10 wins, respectively, in each category. Among networks, HBO earned the most wins with six: three in the documentary category for The Alabama Solution, Pee-wee as Himself and Thoughts and Prayers, and three for the TV series Heated Rivalry, The Pitt and The Rehearsal. Apple TV, Disney+, Hulu, Netflix and PBS all tied in second place with two awards each.

    “The winners of the 86th annual Peabody Awards reflect Peabody’s mission to honor storytelling that has the potential to change culture, whether it’s examining the destructive tactics of ICE, viewing terminal illness through a deeply personal lens, or resisting attempts to stifle free speech, we look forward to recognizing and celebrating these winners,” Jeffrey P. Jones, executive director of Peabody, said in a news release.

    Winners were chosen by a unanimous vote of 28 jurors from more than 1,000 submissions across television, podcasts/radio and the web in entertainment, news, documentary, arts, children’s/youth, public service, and interactive/immersive programming and media.

    The 86th Annual Peabody Awards will be held on May 31 at the Beverly Wilshire Hotel in Beverly Hills, California. As previously announced, special honorees include Amy Poehler, who will be presented with the Peabody Career Achievement Award; Sterlin Harjo, who will receive the Peabody Trailblazer Award; James L. Brooks, who’ll be honored with the Inaugural Industry Icon Award; and PBS Kids, the Industry Award.

    The full list of winners follows.

    NEWS
    “Fault Lines: ‘Kids Under Fire’ and ‘The Disappearance of Dr. Abu Safiya’” (Al Jazeera English)
    “Fault Lines” tackles the Gaza conflict in two excellent packages. “Kids Under Fire” follows Dr. Mimi Syed as she advocates for more attention to the humanitarian crisis in Gaza, where she treated at least 18 children with gunshots to the head or chest. “The Disappearance of Dr. Abu Safiya” tells the story of another doctor, one who continued to treat patients at a northern Gaza hospital even as the Israeli military forcibly cleared the region and attacked the hospital until he was taken into indefinite custody. He continues to be detained 16 months later amid reports that he’s been subjected to “severe torture,” according to the United Nations.
    Al Jazeera English

    “Immigration Crackdown” (PBS News Hour)
    “PBS News Hour” presented comprehensive and sustained coverage of the Trump administration’s radical changes in U.S. immigration policy, including birthright citizenship, refugee resettlement, asylum procedures, mass deportations, military deployments to U.S. cities, and institutional realignments inside immigration enforcement agencies. The program’s reporting included breaking news coverage as well as deeper historical context, policy analysis, institutional accountability, and real-world impact.
    PBS News Hour

    “Los Angeles Burning” (ABC News and KABC, Los Angeles)
    Reporters from both the local and national ABC News organizations mobilized across Los Angeles for thorough, on-the-scene coverage of the catastrophic fires of January 2025, even as two dozen of the local reporters were evacuated from their own homes and two had homes that burned to the ground. The coverage was crucial to residents trying to decide when to leave and when to return, while continuing coverage highlighted preparedness, environmental justice, infrastructure, and lasting effects.
    ABC News and KABC-TV, Los Angeles

    “Restrained” (ABC / KMBC 9)
    A KMBC 9 investigation revealed that at least 102 individuals across 29 states died or were injured due to the misuse of restraint chairs by law enforcement, often involving excessive force such as beating or tasing restrained inmates, highlighting significant gaps in training and policy. Following the investigation, more than 50 sheriffs in Missouri and Kansas updated their restraint policies, and the National Institute for Jail Operations recommended the content for national training, signaling a push for reform in how restraint systems are managed in correctional facilities.
    KMBC 9

    “The Rise and Fall of Terrorgram” (PBS)
    “The Rise and Fall of Terrorgram” investigates how young people are radicalized by online extremist communities to commit acts of terror, highlighting the dangerous influence of unregulated internet spaces that foster hate and violence. Through compelling interviews and meticulous research, the documentary exposes the methods used by extremists and traces the expansion of the Terrorgram network, revealing the vulnerabilities of youth to online fearmongering rooted in racism, antisemitism, and homophobia.
    FRONTLINE (PBS), ProPublica

    PODCAST AND RADIO

    Divine Intervention
    “Divine Intervention” is a ten-part audio documentary that uncovers the radical Catholic left’s resistance during the Vietnam War, highlighting the bold actions of nuns and priests who challenged the FBI and staged the first political sanctuary in centuries. Through the personal stories of activists and intense courtroom battles, host Brendan Patrick Hughes explores themes of faith, rebellion, and the complexities of confronting injustice, ultimately offering a compelling blueprint for modern activism.
    Wonder Media Network and iHeart Media

    Scam Inc
    “Scam Inc” is an eight-part narrative podcast from “The Economist” that uncovers the vast and organized world of online fraud, estimated to generate more than $500 billion annually, rivaling the illegal drug trade. Through meticulous reporting, the series reveals the complex operations behind modern scams, featuring stories of victims and scammers, while prompting global conversations among leaders in technology and policy to address this escalating crisis.
    The Economist

    When We All Get to Heaven
    “When We All Get to Heaven” is a ten-part audio documentary that uncovers the powerful stories preserved in 1,200 cassette tapes from a queer church in San Francisco during the AIDS crisis, highlighting the resilience and creativity of LGBTQ Christians amid loss and isolation. Through a blend of archival recordings and contemporary interviews, the series illustrates how the church became a sanctuary for its community, honoring both their faith and queerness while fostering joy and connection during a time of profound grief.
    Eureka Street Productions


    DOCUMENTARIES

    The Alabama Solution (HBO Max)
    In 2019, filmmakers gained rare access to document a revival meeting inside an Alabama prison, leading to a six-year investigation into the state’s deadly prison system, characterized by corruption, violence, and neglect. By communicating with incarcerated activists Robert Earl Council and Melvin Ray, the film exposes systemic issues, including brutal conditions and high mortality rates, while advocating for transparency and justice in a system that often operates in secrecy.
    HBO Documentary Films; Hit The Ground Running

    Come See Me in the Good Light (Apple TV)
    Poet-activist Andrea Gibson and their partner Megan Falley confront Andrea’s incurable ovarian cancer diagnosis as cameras follow them, exploring how this journey deepens their love and appreciation for life. The documentary encourages open conversations about mortality while showcasing the couple’s resilience, humor, and art, ultimately serving as a powerful reminder of the importance of connection and joy.
    Apple / Tripod Media / Amplify Pictures / Treat Media / Something Fierce Productions

    Mr. Nobody Against Putin (BBC Four)
    Following Pavel “Pasha” Talankin, a beloved Russian teacher who is reluctantly pulled into the state propaganda machine amid the invasion of Ukraine, this film documents the troubling transformation of his school and community. As he captures intimate footage of the regime’s militarization of youth and faces increasing danger, Pasha becomes an international whistleblower, ultimately planning a perilous escape from Russia.
    Made in Copenhagen in co-production with Pink

    No Other Land
    Basel Adra, a young Palestinian activist from the Masafer Yatta region, documents the destruction of his community by Israeli forces while he and Israeli journalist Yuval Abraham fight against their starkly unequal realities. Their film, created by a Palestinian-Israeli collective during oppressive times, aims to challenge the ongoing expulsion and propose a vision of equality.
    Antipode Films

    Pee-wee as Himself (HBO Max)
    Pee-wee as Himself explores the complex life of Paul Reubens, known as Pee-wee Herman, highlighting his artistic influences and the backlash he faced, particularly after his 1991 arrest. The film captures the emotional struggle between Reubens and the filmmaker over narrative control, ultimately paying tribute to his legacy as a groundbreaking artist while addressing issues of identity, sexuality, and the impact of public perception on personal lives.
    HBO Documentary Films presents an Elara & First Love Films Production

    Put Your Soul on Your Hand and Walk
    Put Your Soul on Your Hand and Walk provides an intimate view of life in Gaza through video calls between director Sepideh Farsi and Palestinian photojournalist Fatma Hassona, who captures the struggles and resilience of her generation amid ongoing conflict. Tragically, Fatma and her family were killed by an Israeli airstrike shortly after the film’s selection for the Cannes Film Festival, making it a heartfelt memorial to her life and artistry.
    Rêves d’Eau Productions

    Southpaw—The Life and Legacy of Jim Abbott (ESPN)
    Jim Abbott, born without a right hand, defied the odds to become a celebrated baseball pitcher, achieving fame in the Major Leagues and notably pitching a no-hitter for the New York Yankees in 1993. His journey, marked by struggles with being a reluctant role model, continues to inspire and resonate with disabled and limb-different individuals worldwide, making “Southpaw” a powerful narrative about ingenuity and identity.
    ESPN

    Thoughts & Prayers (HBO Max)
    Thoughts & Prayers explores the normalization of gun violence in America by highlighting the culture and industry that has emerged around survival, including lockdown drills and bulletproof backpacks. The film shifts the focus from traditional narratives of policy and victimhood to the everyday experiences of individuals adapting to a life of constant threat, raising critical questions about whether these safety rituals signify true preparedness or a surrender to violence.
    HBO Documentary Films presents a Tony Tina Production


    ARTS

    Fela Kuti: Fear No Man
    Fela Kuti: Fear No Man is a podcast series hosted by Jad Abumrad that explores the life and impact of Fela Kuti through innovative sound design and more than 200 interviews, highlighting the musician’s role in shaping post-colonial Nigeria and the African independence movement. The series intricately weaves personal stories with broader cultural and political narratives, demonstrating the power of art and activism, and has already garnered significant acclaim, making its way into educational curricula.
    Audible, Higher Ground, Western Sound and Talkhouse

    Sly Lives! (a.k.a. The Burden of Black Genius) (Hulu, Onyx Collective)
    This documentary explores the life and legacy of Sly Stone and his groundbreaking band, Sly & the Family Stone, while delving into the broader themes of the pressures and complexities faced by Black artists navigating success. Through interviews with other influential artists, the film highlights the emotional and societal burdens that accompany their achievements, emphasizing the importance of empathy and understanding in celebrating their contributions to music and culture.
    MRC, Network Entertainment Inc., Two One Five Entertainment Inc., RadicalMedia, Stardust Films LLC, ID8 Multimedia, Inc., and Sony Music Entertainment

    ENTERTAINMENT

    Adolescence
    Netflix’s limited series Adolescence presents a narrative through four single-take episodes that follow 13-year-old Jamie Miller (Owen Cooper), who is arrested for the murder of his female classmate, revealing the complexities of his crime and its impact on those around him. Praised for its unique storytelling and emotional depth, the series tackles pressing issues such as the “manosphere” and social media influence on the young, prompting widespread discussions about digital safety and the experiences of today’s youth.
    Warp Films, Matriarch Productions and Plan B for Netflix

    Andor (Disney+)
    Lucasfilm’s political thriller series serves as a prequel to the Star Wars film Rogue One, chronicling the transformation of Cassian Andor (Diego Luna) from a cynical bystander to a pivotal rebel hero against the totalitarian Empire, while exploring the personal sacrifices and choices that fuel a revolution. The series emphasizes hope and the power of collective action, providing a nuanced look at both the rebels and the individuals within the Empire, ultimately highlighting the enduring relevance of its themes of oppression and resistance in today’s world.
    Lucasfilm Ltd.

    Common Side Effects (Adult Swim)
    Common Side Effects follows Marshall Cuso (voiced by Dave King), a mushroom expert in Peru who discovers a potentially revolutionary fungus called “the Blue Angel” that could heal various ailments, only to find himself pursued by the DEA and pharmaceutical companies. The series, depicted through hand-drawn animation, explores themes of wellness, corporate greed and personal struggles, emphasizing the potential for collective healing and change in a chaotic world.
    Green Street Pictures, Bandera Entertainment, and Williams Street

    Dying for Sex (FX / Hulu)
    This series, based on a true story, explores the life of Molly Kochan (Michelle Williams), a woman living with terminal cancer who navigates her illness and childhood trauma, blending comedy and profound honesty in a way that challenges traditional narratives around death and sexuality. The creators aimed to portray authentically the complexities of living with cancer by consulting experts and individuals with similar experiences, ultimately depicting a life filled with both struggle and healing, while emphasizing the importance of embracing life’s realities rather than conforming to societal expectations.
    20th Television

    Forever (Netflix)
    Netflix’s Forever, adapted from Judy Blume’s novel, reimagines first love through the lens of Justin (Michael Cooper Jr.) and Keisha (Lovie Simone)—two Black high school athletes in 2018 Los Angeles, exploring the pressures of ambition and mental health. The series poignantly addresses the complexities of teenage struggles, particularly through Justin’s undiagnosed ADHD and Keisha’s experience of trauma, emphasizing the importance of unconditional support and the intersection of mental health with race and class in today’s world.
    A Netflix Series

    Heated Rivalry (HBO Max)
    Heated Rivalry follows hockey stars Shane Hollander (Hudson Williams) and Ilya Rozanov (Connor Storrie) as their secret romance evolves amidst their fierce rivalry in professional hockey, exploring themes of ambition, love, and self-discovery over eight years. As they chase glory on the ice, they grapple with their undeniable feelings for each other, questioning whether they can balance their competitive careers with a powerful, yet vulnerable, love.
    Accent Aigu Entertainment in association with Bell Media’s Crave

    Jimmy Kimmel Live! (ABC)
    For more than 23 years, Jimmy Kimmel Live! has used humor and satire to critique powerful figures and reflect American culture, embracing the responsibility of comedy to reveal truths amid political volatility. The show faced unprecedented challenges as President Trump’s second administration came to power, culminating in a brief suspension by ABC (at the behest of the FCC) that sparked a bipartisan defense of free expression on the airwaves, ultimately reinforcing the importance of satire as a vital form of democratic speech.
    20th Television in association with KIMMELOT

    Mussolini: Son of the Century (MUBI)
    This compelling portrayal of Benito Mussolini (Luca Marinelli)—as he transforms from a socialist journalist to Italy’s ruthless dictator—explores the rise of fascism through a hypermodern lens that emphasizes political manipulation and corruption. Adapted from Antonio Scurati’s novel, the series delves into the darker aspects of Mussolini’s character, illustrating how his toxic masculinity and exploitation of fear led to his ascent, while inviting viewers to reflect on the broader implications of his story in today’s political landscape.
    Sky Studios and Lorenzo Mieli for The Apartment, a Fremantle group company, in co-production with Pathé, in association with Small Forward Productions, in collaboration with Fremantle, CINECITTÀ S.p.A. and Sky

    The Pitt (HBO Max)
    The Pitt explores the immense challenges faced by emergency room physicians and nurses in a crumbling American healthcare system. Through gripping narratives, the series highlights issues such as mental health struggles, violence against healthcare workers, and the impact of rising healthcare costs, revealing the dedication of frontline workers as they face down a crisis exacerbated by chronic underfunding and societal neglect.
    HBO Max in association with John Wells Productions, R. Scott Gemmill Productions, and Warner Bros. Television

    Pluribus (Apple TV)
    Carol Sturka (Rhea Seehorn) emerges after a global crisis as one of the few humans immune to a virus that creates a harmonious hive mind, and her story explores profound existential questions about individuality, happiness, and the nature of human connection. As Carol grapples with her personal grief and the loss of her wife, she embarks on a mission to dismantle the collective’s utopia, questioning whether true happiness can exist without the freedom to choose, and what it truly means to be human in a world stripped of conflict and suffering.
    Sony Pictures Television in association with Apple

    The Rehearsal (HBO Max)
    Season 2 of “The Rehearsal” showcases Nathan Fielder’s innovative storytelling, using his “rehearsal” approach to life to make a genuine impact on the aviation community with discussions about communication, training, and mental well-being. The season’s creative approach not only garnered critical acclaim but also contributed to meaningful legislative changes, such as the Mental Health in Aviation Act, highlighting Fielder’s unique ability to blend entertainment with social relevance and public understanding.
    HBO in association with Blow Out Productions

    CHILDREN’S/YOUTH

    Marvel’s Moon Girl and Devil Dinosaur (Disney+)
    Lunella Lafayette (voiced by Diamond White), a genius teen and protector of her New York City neighborhood, takes on the challenges of superhero life alongside her massive partner, Devil Dinosaur (Fred Tatasciore). This animated series combines vibrant visuals and original music to tell relatable coming-of-age stories that emphasize themes of honesty, friendship, and community empowerment, all while ensuring diverse representation through collaboration with organizations dedicated to authenticity.
    Flying Bark Productions, Disney Television Animation, Disney Branded Television


    INTERACTIVE & IMMERSIVE

    Cleared by Fire
    Cleared by Fire is an interactive documentary that explores the tragic 2005 Haditha massacre, where U.S. Marines killed 25 civilians, including a grandfather and a young girl, yet no one was held accountable. Using a blend of investigative reporting, 3D reconstructions, and personal narratives, the project allows viewers to engage with multiple perspectives and conflicting accounts surrounding the incident, aiming to restore individuality and humanity to the victims who are often reduced to mere statistics in discussions of war.
    The New Yorker

    “ICE Sweeps Georgia”
    This social video series by The Atlanta Journal-Constitution captures the realities of immigration enforcement in Georgia, a state experiencing significant ICE activity. By employing vertical video and real-time reporting, the series presents deeply reported, character-driven stories that humanize the impact of immigration policies, and has reached nearly 2.8 million views on platforms like TikTok and Instagram.
    The Atlanta Journal-Constitution

    “Investigating War Crimes in Gaza”
    Al Jazeera’s investigation uncovers war crimes in the Gaza Strip using photos and videos posted by Israeli soldiers on social media, revealing illegal activities such as destruction, looting, and murder. By compiling a vast database of this material and sharing it through impactful social videos, the project has reached millions, providing vital eyewitness testimonies and interactive resources to document the atrocities faced by the people of Gaza.
    Al Jazeera English

    South of Midnight
    South of Midnight is a unique video game that immerses players in the rich, culturally grounded landscapes of the American South, blending magic and realism as they follow Hazel, a heroine on a quest to find the mother she lost to a hurricane. Drawing from Southern Gothic traditions, the game explores themes of history, identity, and resilience, featuring mythical creatures inspired by local folklore, while its dynamic music and audio design enhance the emotional depth of the story, creating an experience that feels both intimate and vividly alive.
    Compulsion Games

  • Carter Wilson’s Thriller ‘Tell Me What You Did’ Being Adapted Into Feature Film by Phiphen (EXCLUSIVE)

    Carter Wilson’s Thriller ‘Tell Me What You Did’ Being Adapted Into Feature Film by Phiphen (EXCLUSIVE)

    Phiphen, an independent film and television production company founded by award-winning producer Molly Conners, has optioned the Carter Wilson‘s bestselling thriller “Tell Me What You Did” and will adapt the novel into a feature film.

    Conners will produce the project; a screenwriter has not yet been attached.

    “Carter Wilson’s storytelling is immersive, suspenseful, and deeply psychological in a way that keeps readers turning pages late into the night,” said Conners. “’Tell Me What You Did’ is exactly the kind of bold, character-driven story we love to champion at Phiphen, and we’re excited to begin shaping its journey to the screen.”

    In “Tell Me What You Did,” Wilson explores guilt, secrets, and the consequences of buried truths. Wilson, who books include “The Father She Went to Find,” “The Dead Husband” and “The Comfort of Black,” has built a loyal readership and received critical acclaim for his writing.

    “I’m thrilled to partner with Molly Conners and the team at Phiphen to bring ‘Tell Me What You Did’ to life,” said Wilson. “Their passion for compelling stories and commitment to thoughtful, character-driven filmmaking makes them an incredible home for this project.”

    The option marks the latest addition to Phiphen’s growing slate of literary adaptations and original projects across film and television. Mary Alice Kier and Anna Cottle of Cine/Lit Representation handled the negotiations on behalf of Carter Wilson.

    Phiphen is an independently owned film and television production company, which creates content across all genres and budget levels. Phiphen has produced more than 30 film and television projects, including Netflix’s “Like Father,” starring Kristen Bell, Kelsey Grammer and Seth Rogen; Saban’s “Butcher’s Crossing,” starring Nicolas Cage and Fred Hechinger; and Netflix’s Emmy-nominated short-form comedy television series “It’s Bruno.” Phiphen also invested in the Tony Award–winning Broadway musical and national tour of “Operation Mincemeat.”

    Phiphen’s upcoming slate includes “The Stalemate,” starring Ben Foster, Manny Jacinto, Fiona Shaw, Tony Hale, Shea Whigham, Paul Sparks & Anthony Carrigan; “Somedays,” starring Billy Bob Thornton, Pamela Anderson and Ariana Greenblatt; and “Midge,” which was written by Terence Winter and Vince Piazza, and will be produced with Appian Way.

  • Jeff Probst Was Stunned by Difficult ‘Survivor’ 50 Immunity Challenge, Asked If He Was Being Pranked: ‘I Honestly Thought, There’s Got to Be Something Wrong’ (EXCLUSIVE)

    Jeff Probst Was Stunned by Difficult ‘Survivor’ 50 Immunity Challenge, Asked If He Was Being Pranked: ‘I Honestly Thought, There’s Got to Be Something Wrong’ (EXCLUSIVE)

    SPOILER ALERT: This article contains spoilers from “I Deserve All of This,” the ninth episode of “Survivor” Season 50.

    It turns out, getting off the couch isn’t so easy after all. Jeff Probst learned exactly that over the summer when he added another title to his “Survivor” resume under host and showrunner: competitor. Variety was on set in Fiji during the filming of Wednesday’s episode, during which Probst took part in his first immunity challenge.

    During the competition, he made a side bet with the castaways — if four of them could outlast him, they’d get a bag of rice. Ozzy, Joe, Tiff and Jonathan agree to the bet, so Probst only had to outlast one of them. And spoiler alert: he couldn’t do it.

    “My forearms are still sore,” Probst said, two days after the challenge. In this specific competition, the castaways had to hold onto a handle with a rope wrapped around it. At the end of the rope is a bucket that holds a percentage of each contestant’s pre-game body weight. Probst lasted for seven-and-a-half minutes — which is still quite impressive. And after the challenge was over, he rewarded the group with their bag of rice and even signed the bag with a Sharpie.

    (It wasn’t surprising that Joe ended up winning immunity this time around. During his season, 48, he set the record for the longest to do it, lasting 52 minutes.)

    “It was so much harder than I thought,” Probst told Variety. In fact, before he started, he wasn’t sure he should give it his all. “I had this thought: Don’t outlast too many people, because it’ll seem rigged and no one will believe it. And turns out, I could barely outlast anyone. There was no concern about somebody thinking this was staged.”

    Robert Voets/CBS

    From the moment he began, he realized the difficulty: “You take the handles and click them back, and instantly, I honestly thought, there’s got to be something wrong with my bucket. Did the art department play a joke on me? Is there a joke that I don’t know about?… I’ll admit I even went to bed thinking: Was my station set up the same as theirs? Even though I know it was because I was making sure of it! But I thought, how can it be this difficult? And I am fit, I work out. I do pull-ups, I have a grip. I gave it everything. I had no more time. That was it.”

    After he dropped, he says, he came up with “a litany of excuses” in his head for why he didn’t win. “I was disappointed and surprised, and then immediately, I started justifying. ‘Well, I was also hosting, and I’m very depleted from the last year and a half of trying to produce the show,’” he says. “The truth is Probst, it wasn’t your day. Just admit it and step away!”

    It’s been 25 years of “Survivor,” and this was one of the most eye-opening experiences Probst has had yet — and that’s saying a lot.

    “Beyond the fun of the twist, it was really informative to me. It’s very difficult to do these things. I happened to pick one that was more strength-based, but even watching somebody just stand on a narrow beam and balance a ball, I will never again look at it the same way,” he says. “And I’m the one saying, ‘It’s so easy to talk about how well you could do when you’re sitting at home.’ I’ve been that guy for 25 years. I finally got off the couch myself, and I will never be the same.”

    He was also thrilled that it went the way it did. “I was so happy that the players embraced me and then made fun of me, and gave me what I deserved, which is 25 years of smack talk,” said Probst. “I had a blast with it, and they got rice. They earned it, which is what the fans want.”

  • Bitcoin Exchange Binance Announces It Will Delist These Altcoin Pairs from Its Futures Trading Platform! Here Are the Details

    Bitcoin Exchange Binance Announces It Will Delist These Altcoin Pairs from Its Futures Trading Platform! Here Are the Details

    Cryptocurrency exchange Binance has announced that some USDⓈ-M perpetual contracts will be delisted from its futures trading platform, Binance Futures. The company stated that the contracts in question will be gradually delisted on April 28 and 29, 2026.

    According to the statement, the Binance Futures team periodically reviews each futures contract. These reviews consider numerous criteria, including trading volume and liquidity, network security, new regulatory requirements, changes in the token economy, development activities of the project team, and responses to the exchange’s due diligence processes. Furthermore, factors such as unethical behavior or negligence can also influence delisting decisions.

    Accordingly, the USDⓈ-M B3USDT, DEGENUSDT, and BOBUSDT perpetual contracts will be delisted on April 28, 2026, at 15:00. The USDⓈ-M ZKJUSDT, IRUSDT, and DAMUSDT perpetual contracts will be delisted on April 29, 2026, at 15:00.

    Binance added that all open positions in the relevant contracts will be automatically closed on the specified dates, and settlement will be handled by the system.

    *This is not investment advice.

  • Ubisoft has finally dropped a trailer for that Assassin’s Creed: Black Flag remake

    Ubisoft has finally given us some real details about Assassin’s Creed: Black Flag Resynced, after confirming the remake earlier this year. It’s set to release on July 9 for PC, PS5 and Xbox Series X/S.

    There’s a trailer and it looks absolutely gorgeous, with graphics resembling recent entries like Assassin’s Creed Shadows. This is a real-deal remake, and not a port. This version seems to feature a fair amount of new content, but still stars protagonist Edward Kenway.

    There’s a new weather system and an upgraded underwater exploration system. Combat has been refined to closer match new entries and, thankfully, the stealth mechanics have been updated. Getting spotted doesn’t always end the mission, like the original. The remake even has new crew members, including a cat, that accompany you during the exploration segments.

    Here’s one interesting tidbit. The trailer only shows scenes set in the Caribbean during the 1700s, and none of the modern day segments. This tracks with rumors that the remake would scrap the Montreal bits entirely. We’ll have to wait and play the game to see if this ends up being true.

    The original Assassin’s Creed: Black Flag is considered one of the most beloved entries in the franchise. Here’s hoping the remake does it justice.

    We’re still waiting on news regarding the next mainline entry in the franchise. Ubisoft is currently developing it under the name Codename Hexe and it’s being described as “a unique, darker, narrative-driven Assassin’s Creed experience set during a pivotal moment in history.”

  • The market repriced DeFi in just 48 hours

    The market repriced DeFi in just 48 hours

    Until last Friday, April 17, lending stablecoins into Aave, widely considered the gold standard of DeFi, paid 2.32% APY. The Federal Reserve’s overnight rate was 3.64%. Taken at face value, the market was pricing an unregulated, open-source smart contract as a lower credit risk than the United States Treasury.

    In 48 hours, that ended. The market did in real time what no regulator, auditor, or commentator had managed to do: it repriced DeFi credit risk.

    The mispricing

    Rank the dollar-credit options by yield before last weekend, and the hierarchy made no sense. Treasury overnight: 3.64%. Ledn’s investment-grade Bitcoin-backed ABS senior tranche, priced in February at BBB-: 6.84%. Strategy’s STRC perpetual preferred: 11.50%. U.S. credit cards: 21% against a 4% default rate. And Aave, sitting well below it all: 2.32%.

    Something had to give. Luca Prosperi argued earlier this year that DeFi stablecoin rates should carry a 250–400 basis-point premium over the risk-free rate, implying 6.15–7.76%. The Bank of Canada’s April 2nd report took the opposite view, citing Aave’s 0.00% non-performing loan rate as proof that DeFi’s architecture delivers defaultless lending through strict collateral requirements and price-based enforcement.So what does this all mean? Either DeFi had solved credit risk, or the market had stopped pricing it.

    Only one side could be right. Last weekend, we found out which.

    The 1/1 problem

    On April 18th, an attacker exploited Kelp DAO’s LayerZero-powered cross-chain bridge to mint roughly 116,500 unbacked rsETH tokens — about 18% of the circulating supply, worth around $292 million. The synthetic tokens were moved into Aave as collateral. The attacker borrowed an estimated $190–230 million of real assets against collateral that, when it mattered, didn’t exist. Aave’s incident report acknowledged the protocol functioned as designed; the shortfall is structural, not technical. Kelp and LayerZero have since publicly blamed one another for the 1/1 validator configuration that made the exploit trivial.

    The contagion was instant. DeFi protocols are interoperable by design, and “looping” — borrowing on one platform and redepositing the proceeds as collateral on another — means a hit to Aave is a hit to everything built on top of Aave. Roughly 20% of Aave’s historical borrow volume has come from recursive leverage. Within 48 hours, $6–10 billion in net outflows left Aave. Utilization on WETH, USDT, and $USDC pools hit 100%. Depositors couldn’t withdraw. Borrowers couldn’t source stablecoin liquidity. Stranded users borrowed another $300 million against their own locked stablecoin deposits at 75% LTV, often at a loss, just to access cash.

    Rates responded accordingly. Aave stablecoin deposit APYs went from 3–6% pre-exploit to 13.4% within two days. Morpho’s $USDC vault, which powers Coinbase’s consumer loan product, jumped from 4.4% $APR on April 18th to 10.81% the next day as the liquidity scramble rippled outward. Total DeFi TVL across the top 20 chains fell by more than $13 billion.

    No bankruptcy, no court, no recourse

    Here is the part that won’t make headlines, and that allocators need to understand.

    There is no bankruptcy law inside a DeFi protocol. If you withdraw first, you keep everything. If you are among the last, you don’t — and you may absorb a disproportionate share of the losses. Regulated lenders have a legal duty to halt operations the moment they realize they cannot cover liabilities, and bankruptcy courts can claw back from parties who benefited unfairly. The Celsius, BlockFi and FTX wind-downs were grueling, but creditors recovered assets, and the people responsible faced a judge.

    In DeFi, there is no process. There is no court. There is no recovery. There is no one to hold accountable.

    That has direct consequences for risk sizing. If you can estimate the total loss but cannot predict how it will be distributed, you cannot estimate your own exposure. It may be zero. It may be everything. It depends on how fast you moved, and on how fast the people next to you moved.

    What happens next

    DeFi is not going away. The architecture has real utility, and permissionless markets have always existed — across every asset class and in every era. But they have never been risk-free, and they have always carried a premium over their regulated equivalents. The 48 hours following the April 17 incident reminded the market that the same rule applies onchain.

    Institutional allocators sizing DeFi exposure for the coming year should take the signal seriously. The 2.32% Aave $APR before last weekend did not reflect the underlying risk, and the market has now adjusted. Where DeFi rates settle from here is for the market to decide. But the mispricing is over. Last weekend proved it.

  • My Son Was Killed at Sandy Hook. ‘The Drama’ Showed Me Every Warning Sign We Keep Missing

    My Son Was Killed at Sandy Hook. ‘The Drama’ Showed Me Every Warning Sign We Keep Missing

    A lot of people are talking about The Drama. Much of that conversation has focused on how it was marketed, how it landed with audiences, and whether it went too far — or not far enough — in depicting a young person on the brink of violence.

    Those are valid questions. But they are not the most important ones.

    What if, instead, we asked: What does this story show us about the moments before violence — and what we can do about them?

    Thirteen years ago, my six-year-old son Dylan was killed at Sandy Hook Elementary. I don’t watch films like this the same way anymore. My mind doesn’t go first to the plot or the performances. It goes to the before. The warning signs. The missed opportunities. The moments when something could have been different.

    Violence — whether directed outward or inward‚ is rarely spontaneous. It is almost always preceded by signals that, in hindsight, feel painfully clear.

    In The Drama, those signals are there.

    We see Emma, the protagonist, struggling with isolation and disconnection. We see the impact of bullying and her consumption of media steeped in school shooting culture. We see a lack of meaningful support from her community and a growing sense of invisibility. There are hints of depression, despair, even suicidal thinking. And there is access to — and practice with — her father’s rifle, the element that can turn ideation into action.

    No single one of these tells the whole story. Together, they form a pattern we have seen too many times in real life.

    At Sandy Hook Promise, our work rests on a simple but urgent truth: these patterns can be recognized, and when they are, tragedies can be prevented. Through our Know the Signs programs, we teach students, educators, and community members how to recognize warning signs — and, just as importantly, when and how to respond.

    That second part matters. Awareness without action is not prevention.

    The Drama offers a glimpse of what intervention looks like. There is a moment — subtle but pivotal — when Emma connects with a peer, shares an emotional opening, and is welcomed into a community of students working on gun violence prevention. That connection interrupts a trajectory that seemed to be heading toward harm. Emma could have moved forward with her plans. Instead, she dumps them into a pond.

    It is easy to overlook, but it is the most important part of the story. When a young person feels seen, supported, and connected, outcomes change.

    The question is whether we, as viewers, recognize that moment for what it is.

    Too often, we assume intervention requires expertise or authority —that only professionals can step in. In reality, prevention is driven by ordinary people deciding to act. In the film, a student walks up to Emma after class with a simple hello and an invitation. That’s the whole thing.

    It can be as simple as reaching out to someone who has withdrawn. Taking a troubling comment seriously instead of dismissing it. Connecting a young person to a trusted adult. Creating a moment of belonging where there was none before.

    So much of this was missed in Emma’s case. I was left wondering: Would it have taken another mass shooting before anyone intervened? Were her parents having conversations about her loneliness, her change in appearance? Did they secure the firearm? Did the school see any of the warning signs along the way?

    These actions are not dramatic. They don’t make for cinematic climaxes. But they save lives.
    We also tend to believe we would recognize when something is wrong — that the signs would be obvious. The truth is, recognition is a skill. It can be learned, practiced, and strengthened.

    That is where the real opportunity lies.

    If you have seen The Drama, you have already been exposed to the warning signs we teach every day. You have seen how they accumulate, how they are missed, and how — at a critical moment — they can be used to interrupt violence before it happens.

    The next step is to move from observation to reflection, and from reflection to action.

    Where did you notice the signs? What moments stood out as opportunities for someone to step in? What might you do differently, now that you have seen them?

    These are not abstract questions. They are the foundation of prevention.

    We cannot control every outcome. But we can change how prepared we are to respond. We can build a culture where people are more attuned to one another, where warning signs are taken seriously, and where stepping in is seen not as overreacting, but as caring.

    Stories like The Drama will continue to be told. They reflect a reality that is already part of our lives. The question is whether we treat them as entertainment – or as an opportunity to learn how to change the ending.

    Because the most important work doesn’t happen on the screen.

    It happens in the moments before.

    Nicole Hockley is co-founder and CEO of Sandy Hook Promise and the mother of Dylan, who was killed at Sandy Hook Elementary School.

  • Amazon’s Candace Parker Predicts Big WNBA Season in Store: ‘There’s More Movement Than We’ve Ever Seen’

    Amazon’s Candace Parker Predicts Big WNBA Season in Store: ‘There’s More Movement Than We’ve Ever Seen’

    Have a little sympathy for Candace Parker. As the WNBA great gets ready to offer her take on some of the biggest games in the league’s next season, she may face challenges in figuring out where to look.

    WNBA players return to the court after pushing for a more robust collective bargaining agreement with a league that has been notorious for low pay. Two new teams, the Portland Fire and Toronto Temp, have built rosters and are set to join the season. And free agency has been at a new high.

    “There’s more movement than we’ve ever seen,” says Parker, noting that the league is about to enter its 30th season, which gives her more tools to explain the game to fans. “It’s so nice to be able to watch the game you love, with the ability to back it up with analysis and tell a story.”

    Parker is likely to play a key role as she joins Amazon’s Prime Sports as a regular game analyst, boosting a broader series of efforts by media companies to lure bigger crowds to the WNBA when its new season gets underway next month.

    Amazon’s Prime Video will feature Parker and Swin Cash analysts, with Michael Grady doing play by play. And its on-air roster also includes Cynthia Cooper and Teresa Weatherspoon; former WNBA player and current NBA assistant coach Lindsey Harding, Duke University Women’s Basketball head coach Kara Lawson; LaChina Robinson and former WNBA player and coach Ty Young. Lisa Bylington and Mike Watts will also serve as play-by-play voices, while JayDee Dyer, Kayla Grey and Morgan Ragan will work the sidelines. Allie Clifton, NBA on Prime sideline reporter, will serve as the studio host for WNBA on Prime’s pregame, halftime and postgame coverage.

    “I think the game and the sport have always been good, but I don’t know if the awareness has been there,” says Amina Hussein,  head of on air talent and development at Amazon’s Prime Sports during a recent interview.  “I feel that finally, people have jumped. People are paying attention.”

    Amazon is one of several media giants putting a bigger spotlight on women’s sports. In a telling sign, ESPN will this summer launch “Women’s Sports Sundays,” featuring WNBA and NWSL matches. The new showcase replaces a veteran program, “Sunday Night Baseball,” this summer. NBC Sports is also backing the WNBA across NBC and Peacock and will be working with some of the same talent who are on hand for Amazon: Michael Grady and LaChina Robinson.  Zora Stephenson and Noah Eagle will call games along with Grady, while Maria Taylor will work as lead studio host alongside analysts Sue Bird and Cheryl Miller.

    Robinson believes viewers will be captivated by the technology at use in Amazon’s WNBA studio show. “They can actually change the basketball court from WNBA to the Tennessee Lady Vols to honor Candace Parker,” she says. “My jaw was on the floor!” When it comes to building out tech to enhance the viewer experience, she adds, “I think we’re just getting started.”

    Even after 30 years.

  • ‘Clueless’ Sequel Series With Alicia Silverstone No Longer in Development at Peacock (EXCLUSIVE)

    ‘Clueless’ Sequel Series With Alicia Silverstone No Longer in Development at Peacock (EXCLUSIVE)

    The “Clueless” sequel series, which would see Alicia Silverstone reprise the role of Cher Horowitz, is not moving forward at Peacock, Variety has learned exclusively.

    The project was announced as being in development at the NBCU streamer in April 2025. According to sources, CBS Studios and Paramount remain high on the project and the IP. Given the rabid fanbase for the film and the auspices it boasts, it is expected to generate significant interest in the marketplace when it is taken out to buyers once again.

    Exact plot details for the show were not revealed, aside from the fact it would pick up with Cher’s life years after the events of the iconic film.

    Josh Schwartz and Stephanie Savage are attached to write along with Jordan Weiss. All three will executive produce, with Schwartz and Savage doing so under their Fake Empire banner. Silverstone will executive produce in addition to starring. Amy Heckerling, who wrote and directed the film, and Robert Lawrence, who produced the film, also serve as executive producers. Universal Television was attached to produce along with CBS Studios, but is no longer involved.

    Peacock had previously developed a wholly separate “Clueless” project in 2020 that would have focused on Cher’s best friend Dionne, but that ultimately did not move beyond development.

    “Clueless” originally debuted in 1995 and is loosely based on the Jane Austen novel “Emma.” Along with Silverstone, the cast included Paul Rudd, Stacey Dash, Brittany Murphy, Donald Faison, Elisa Donovan, Breckin Meyer, and Dan Hedaya. A TV adaptation aired on ABC and then UPN from 1996 until 1999 for three seasons, with Rachel Blanchard playing Cher.

    Peacock’s current scripted slate includes returning shows like the comedies “Twisted Metal,” “The Paper,” and “The ‘Burbs,” as well as dramas like “The Day of the Jackal” and the upcoming shows “M.I.A.,” “The Five-Star Weekend,” “Dig,” “Superfakes,” and the “Friday the 13th” prequel “Crystal Lake.” Interestingly, Peacock has not announced a new series order since May 2025 when “Dig” — which hails from Amy Poehler and Mike Schur — was picked up.