Author: rb809rb

  • A Bland ‘60 Minutes’ Season Premiere Suggests a Limited Bari Weiss Effect (So Far)

    A Bland ‘60 Minutes’ Season Premiere Suggests a Limited Bari Weiss Effect (So Far)

    There have been months of controversy, outrage and general conversation regarding alterations to CBS’ 60 Minutes franchise under new CBS News editor-in-chief Bari Weiss. But the venerable newsmagazine returned Sunday night to start its 59th season with a premiere that will probably offer very, very limited confirmation to both the pessimistic and optimistic biases espoused by pundits on the left and right.

    I’m supposed to want to rend my garments over changes to 60 Minutes because I have an earnest belief that Weiss’ tenure at CBS News has rendered the nightly news broadcast and its overall coverage unwatchable; because every quote from new executive producer Nick Bilton has been glib and disheartening; and because circumstances surrounding the departure of respected on-air talent, particularly Scott Pelley, were handled with, at best, a lack of respect and little regard for professional optics.

    The reality is that the 99.999 percent of 60 Minutes viewers who watched the show because they were too lazy to change the channel after CBS’ late NFL game ended, who watched out of tradition or casual curiosity or complacency, will not have noticed anything even vaguely notable or different in Sunday night’s premiere. Someone could write a thousand words pretending that aspects of Sunday’s 60 Minutes were earthshaking or infuriating or disgraceful, when the truth is that the premiere was mediocre but rarely in shocking or horrifying or new ways.

    It was just a flat episode of television with some obvious problems. If I were going to write about those problems without awareness of the behind-the-scenes tumult, I’d probably lead by making fun of the third segment. That Jon Wertheim-fronted puff piece about Sean McVeigh and the Los Angeles Rams spent 15 minutes celebrating the NFL’s marquee franchise and presumptive Super Bowl favorites, just days after they were humiliated by the 49ers in a game that either was or wasn’t decided in part by McVeigh’s questionable choice to have the team travel Down Under slightly over a day ahead of taking the field (rather than allowing time to acclimate to the new time zone/hemisphere). It was a segment that aged instantly and poorly, and dodged ongoing controversies involving Rams star Puka Nacua entirely. But it was a puff piece of the type 60 Minutes has always sprinkled in around harder-hitting and more provocative pieces of reporting. By no stretch did it feel different.

    Wertheim has been a part of the 60 Minutes rotation since 2017. The other key reports in the premiere were fronted by Lesley Stahl, with the show since 1991, and Norah O’Donnell, whose tenure began as a part-time correspondent back in 2015. Much was made of the new contributors and correspondents brought in by Weiss and Bilton, but other than New York Times veteran Ross Douthat — whose 60 seconds at the closing of the episode were dull and charisma-free, but not meaningfully — the premiere was designed to ease viewers through the transition in the least obtrusive way possible.

    The series’ iconic ticking stopwatch was given a backdrop more white than red, but there have been minor cosmetic shifts periodically. You can’t make me pretend that this is better or worse than when the backdrop became red and the clock’s orientation was changed 20 years ago. The introduction of the correspondents was tweaked in minor ways, again not for better or worse. There were pre-season rumors about minor aesthetic changes to the way the show uses establishing shots and behind-the-scenes footage during reports, but based on one episode, those felt like they could just as easily have been a preference from an individual segment producer rather than a top-down fiat.

    Look, there was much to be annoyed about when it came to the O’Donnell-centric opening segment, a piece of administration competence porn loosely masquerading as a military thriller. But I’m not journalistically attuned enough to put my finger, as a simple viewer, on how access to and participation by this White House in telling the story of a mission to rescue the two-man crew of a fighter jet shot down over Iran made this ethically different from countless similar 60 Minutes pieces over the years.

    There has always been a gap between 60 Minutes reports that felt like they were in full accord with the official version of events and 60 Minutes reports that felt like they were pushing back against that official version; this was neither the first of the former kind, nor will it be the last. There was no depth and only limited insight, and Secretary of Defense Pete Hegseth was present because 60 Minutes clearly thought it would be cool to have him there and not because anything he said was the least bit revealing. Nothing in the reporting of the story amplified the inherent heroism of the rescue, nor was it dynamically propagandistic. It was just an unremarkable recounting of a remarkable event.

    The Stahl-centric segment on pardon brokers was comparably bland. But nobody critical of the “Shot Down Over Iran” segment as being low-key propagandistic could deny that “The Pardon Economy” emphasized that, even if there have always been whiffs of pay-for-play or quid pro quo when it comes to the pardon process, the optics in the current administration are different and uglier.

    So-called lobbyists Jacob Wohl and Jack Burkman have been described as con artists and fraudsters before, and that’s how they came across here. Ed Martin, former head of Trump’s pardon office at the DOJ, came across as halfway between disingenuous and clueless. Stahl asked follow-up questions, and the overall sense of injustice was palpable.

    The only part of the segment that felt like actively bad journalism was Stahl’s assertion that “We have learned that the White House has become sensitive to the perception that the president is selling pardons” — a statement made without sourcing or an iota of corroborating evidence of what that “sensitivity” even entails. Should that one sloppy line of text be blamed on Weiss? I haven’t the faintest idea, and I’m not going to claim that that, or the comically pugnacious Trump statement closing the segment, necessarily have anything to do with the new 60 Minutes regime.

    Ultimately, I am a regular 60 Minutes viewer, but not a religious 60 Minutes viewer, which is to say that I’ve always watched the segments that interested me and skipped the ones that didn’t, at the risk of appearing intellectually incurious. I did have a lot of respect for Pelley, and his absence will probably reduce the amount I tune in going forward. But if you ask me the question, “Did anything in the Season 59 premiere of 60 Minutes make it more or less likely that you’ll watch 60 Minutes going forward?” the answer, leaving all pre-season scuttlebutt out of it, is: “Yes, the Ross Douthat stuff made me less likely to watch, but otherwise? Nah.” This new 60 Minutes may get worse as the current leadership pushes it forward, or it may get better, but pretending this was a markedly different show for this one hour would be silly.

  • Apple Is Reportedly Working on Beats-Branded Game Controllers for iPhones

    Apple Is Reportedly Working on Beats-Branded Game Controllers for iPhones

    Apple has entered multiple new product categories in recent years, and among the next few debuts might be a gaming controller for iPhones.

    After a MacRumors reader found references to two unreleased iPhone gaming controllers in iOS 26.7 code last week, Bloomberg’s Mark Gurman reports that Apple has been working on those controllers for nearly a year and could release them under the Beats brand.

    Apple acquired Beats for $3 billion in 2014 and has since used the brand to sell iPhone cases and USB-C cables alongside its range of independent audio products. Going forward, Gurman says Apple could use Beats for more products that don’t get Apple’s premium materials, design language, or pricing, making gaming controllers a natural fit for the subsidiary brand.

    According to MacRumors, the two gaming controllers are codenamed T6502 and T1057. They have different haptic designs but pack all standard controller components, such as the D-pad, dual thumbsticks, shoulder buttons, home and menu buttons, and analog triggers. The T1057 controller also has accelerometer and gyroscope support, the report added.

    Potential release timelines for the two products are currently unclear, but Apple already sells mobile gaming controllers from SteelSeries and Backbone on its online store. The company “sees this as a growing market and wants in,” Gurman says.

    Recommended by Our Editors

    Gurman also shared thoughts on why Apple might have gone with the “Duo” moniker, instead of Ultra, for its first-ever foldable phone. Not only does it match the existing three-letter Air and Pro naming schemes, but it also leaves room for a future range of foldables, including the Duo Max, Duo SE, or Duo mini, the reporter says.

    Preorders for the iPhone Duo, starting at $1,999, begin on Oct. 16, with availability beginning on Oct. 23.

    About Our Expert

  • Korea Box Office: ‘The Odyssey’ Secures Sixth Weekend Crown as ‘Obsession’ Ascends

    Korea Box Office: ‘The Odyssey’ Secures Sixth Weekend Crown as ‘Obsession’ Ascends

    “The Odyssey” continued its voyage at the summit of the South Korean box office during the weekend of Sept. 11–13.

    According to data from KOBIS, the tracking service operated by the Korean Film Council, the Christopher Nolan-directed tentpole generated $3.9 million from 449,474 admissions over the three-day frame across 1,648 screens, capturing 51.4% of the total weekend market.

    Securing its sixth consecutive weekend victory, the blockbuster pushed its cumulative South Korean gross to $89.6 million from 10,782,715 total admissions since its Aug. 5 launch.

    “Obsession” climbed to second place in its second weekend, pulling in $1.4 million from 176,479 admissions across 845 screens. The film accounted for 18.6% of the weekend market, lifting its cume to $3.7 million from 474,818 total viewers.

    Superhero tentpole “Spider-Man: Brand New Day” was tin third place in its seventh outing, generating $544,123 from 84,719 admissions over the frame. The film accounted for 7% of the frame, bringing its local gross to $68.7 million from 8,930,413 admissions.

    “The Drama” opened in fourth place, earning $223,340 from 29,512 admissions over the three-day window across 616 screens. Since its Sept. 9 premiere, the release has collected $404,575 from 53,631 total admissions.

    Local family road-trip drama “The Journey to Gyeongju” took fifth place, generating $124,071 from 17,206 admissions. Directed by Kim Mi-jo and starring Lee Jung-eun, Gong Hyo-jin, Park So-dam, Lee Yeon, and Byun Yo-han, the revenge-tinged family narrative pushed its haul to $2.3 million from 332,960 viewers.

    “Power Ballad” placed sixth, taking $110,283 from 15,277 admissions and has gathered $633,484 from 89,399 admissions since its Sept. 2 debut.

    Sci-fi thriller “Hope” rebounded into the top 10 in seventh place, adding $125,591 from 14,719 admissions. Directed by Na Hong-Jin and starring Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Michael Fassbender, and Alicia Vikander, the alien-encounter feature has accumulated $36.2 million from 4,566,216 ticket buyers.

    Toho’s anime classic “Inuyasha the Movie: Affections Touching Across Time,” directed by Toshiya Shinohara, entered the chart in eighth place, earning $89,975 from 10,935 admissions across 129 screens for a cumulative $159,850 from 19,829 admissions.

    The local family crime-drama “Portrait of a Family,” directed by Lee Ji-won and starring Ryu Seung-ryong and Ha Ji-won, finished in ninth place with $66,614 from 9,752 admissions over the weekend, moving its cume to $652,858 from 97,145 viewers. Directed by Lee Ji-won and starring Ryu Seung-ryong and Ha Ji-won, the film centers on a former superstar baseball player and a top actress whose glamorous lives unravel when a mysterious young girl appears, dragging them into a desperate struggle seven years later. 

    Rounding out the top 10 was the upcoming animated adventure “Forgotten Island,” which took $70,125 from 9,314 admissions across early festival and special preview screenings, lifting its pre-release total to $88,051 from 11,772 viewers ahead of its wide launch on Sep. 23.

    The overall market collective gross for the weekend was $7.6 million, down from last week’s $9.8 million.

  • Netflix to Stream Lee Chang-dong’s Films Globally as ‘Possible Love’ Awards Campaign Heats Up

    Netflix to Stream Lee Chang-dong’s Films Globally as ‘Possible Love’ Awards Campaign Heats Up

    Netflix is offering global cinephiles a deeper dive into the work of Korean master Lee Chang-dong as it ramps up the awards-season rollout of his acclaimed new drama Possible Love.

    Fresh off Possible Love’s Silver Lion Grand Jury Prize win at the Venice Film Festival over the weekend, the streamer said Monday that it is expanding the availability of all six of Lee’s previous features across various international markets. The rollout includes Green Fish (1997), Peppermint Candy (1999), Oasis (2002), Secret Sunshine (2007), Poetry (2010) and Burning (2018), although availability and timing vary by country.

    Green Fish and Secret Sunshine began streaming in late August in Italy, the U.K., France, Australia and New Zealand, while Peppermint Candy and Oasis launched on Netflix in Italy and Spain on Sept. 4. Poetry and Burning are slated to become available on the service in markets including the U.S., Canada, Japan, Australia and New Zealand. Netflix says the films will be offered with subtitles in as many as six languages, depending on the territory.

    Taken together, the films represent one of Korean cinema’s most beloved bodies of work. Lee made his feature debut with Green Fish in 1997, followed by Peppermint Candy, which screened in Directors’ Fortnight at Cannes in 2000. Oasis earned Lee the Silver Lion for best director at Venice in 2002, with star Moon So-ri receiving the festival’s Marcello Mastroianni Award. Jeon Do-yeon later won best actress at Cannes for Lee’s Secret Sunshine in 2007, and Poetry took Cannes’ best screenplay prize in 2010. And Lee’s most recent feature, Burning, competed for the Palme d’Or in 2018 and landed on many critics’ best-of lists that year.

    Possible Love premiered to widespread acclaim in Venice before taking the festival’s Silver Lion Grand Jury Prize Saturday. The win marked the first time a South Korean film has received the honor and the first prize for a Korean film at Venice since Kim Ki-duk’s Pieta won the Golden Lion in 2012.

    (From L) Director Lee Chang-Dong, actors Sul Kyung-gu, Jeon Do-yeon, Cho Yeo-Jeong and Zo In-Sung on the red carpet at the Venice screening of ‘Possible Love’.

    Stefano Rellandini / AFP via Getty Images

    The searing drama reunites Lee with two of his most celebrated early collaborators: Jeon, the Cannes best actress winner from Secret Sunshine, and Sul Kyung-gu, who starred in Peppermint Candy and Oasis. They are joined by rising leading man Zo In-sung and Parasite co-star Cho Yeo-jeong.

    Possible Love follows two married couples from opposite ends of Korea’s class divide whose lives become unexpectedly intertwined. Blue-collar Ho-seok (Sul), a man traumatized by losing his factory job after a workers’ strike, lives a quiet life with his determinedly optimistic wife, Mi-ok (Jeon). A chance encounter brings them into contact with Ye-ji (Cho), a documentary filmmaker working on a project about displaced laborers, and her affluent husband, Sang-woo (Zo). The two wives soon strike up a tentative friendship as Ye-ji expresses interest in telling Ho-seok’s story — but the group dynamic grows increasingly complicated by their extreme class differences and subtly conflicting desires.

    South Korea selected Possible Love as its submission for the best international feature Oscar, and Netflix is positioning the film as one of its major awards contenders of the season.

    The film opens theatrically in South Korea on Sept. 23, followed by Australia and New Zealand on Oct. 22 and the U.K., Japan, U.S. and Canada on Oct. 23. It will launch globally on Netflix on Nov. 6.

  • Harry Styles reveals Argentinians CA7RIEL & Paco Amoroso are joining his tour

    CA7RIEL & Paco Amoroso are on their Free Spirits World Tour until November, but they’ll be hitting the state again in 2027 for one of the biggest milestones of their career. On Thursday, Harry Styles dropped the dates for his Together, Together 2027 tour, and fans quickly noticed the Argentine duo’s name. 

    CA7RIEL and Paco Amoroso are one of the most unique acts in music right now© Getty
    CA7RIEL and Paco Amoroso are one of the most unique acts in music right now

    Styles will be in six cities on the North American leg of the global stadium tour before heading to Europe. CA7RIEL & Paco Amoroso will be joining them on April 9 and April 10 for their shows in Dallas, Texas, at AT&T Stadium. 

    Harry Styles is hitting the road with the help of some friends© Getty
    Harry Styles is hitting the road with the help of some friends
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    Who are CA7RIEL & Paco Amoroso?

    The duo met in first grade after sitting next to eachother by chance © Redferns
    The duo met in first grade after sitting next to eachother by chance

    The duo, often mistaken for brothers due to their shared surname, consists of Catriel Guerreiro (aka Ca7riel) and Ulises Guerriero (aka Paco Amoroso). They met way back in primary school when they were six.

    Catriel said in an interview with Arte that they sat next to each other. “It was first grade. Just one of those f***ing coincidences in life; we ended up sitting next to each other,” he explained.

    Since the beginning, people thought they were siblings, and they started trolling together immediately. “The teacher was taking attendance and said, ‘Okay, Ulises Guerriero?’ He raised his hand. ‘Catriel Guerreiro.’ I raised my hand. “Oh, are you brothers?” she asked. And we said yes,” he said.

    CA7RIEL & Paco Amoroso performs on stage at Movistar Arena on May 28, 2025 in Madrid, Spain© Getty
    CA7RIEL & Paco Amoroso performs on stage at Movistar Arena on May 28, 2025 in Madrid, Spain

    They sat in music workshops together, one strumming guitar, the other violin, eventually forming a rock band called Astor y las Flores de Marte in 2010. They officially became a duo in 2018, shifting into the experimental-trap/funk/hip-hop/pop world, and are among the first wave of Urban musicians in Argentina. 

    Now, they’ve practically become blood. “We’re not brothers, but we’re basically brothers,” Catriel told Arte. 

    They dropped their debut studio album, Baño María, in April 2024. But everything changed when they lit up the international scene with their viral Tiny Desk session, released on October 4, 2024, which has garnered over 55 million views at the time of this publication. 

    Riding the wave of success, they went on tour, opened for Kendrick Lamar, and have played at the world’s biggest music festivals, venues, and stadiums.

    LAS VEGAS, NEVADA - NOVEMBER 13: EDITORIAL USE ONLY. (L-R) Ca7riel and Paco Amoroso pose in the press room with the Best Pop Song for "El Día del Amigo", Best Alternative Song for "#Tetas", Best Alternative Music Album for "Papota", Best Short-Form Music Video for "#Tetas" and Best Long-Form Music Video for "Papota" during The 26th Annual Latin GRAMMY Awards at MGM Grand Garden Arena on November 13, 2025 in Las Vegas, Nevada. (Photo by Arturo Holmes/Getty Images)
    The artists won 5 Latin GRAMMYS

    In 2025, they were the stars of the show at the Latin GRAMMYS. Tied with Mexican legend Edgar Barrera for the second most nominations after Bad Bunny, they won 5 awards at the Latin GRAMMY Premiere Ceremony:  Best Alternative Song, Best Long Form Music Video, Best Alternative Music Album, Best Short Form Music Video, and Best Pop Song. They also made out.  

    Paco Amoroso and CA7RIEL© Getty
    They won their first GRAMMY in February

    Then, they won their first Grammy Award for Best Latin Rock or Alternative Album for their EP PAPOTA at the 68th Grammy Awards on February 1, 2026.

  • Lee Chang-dong’s Films Head to Netflix Worldwide After ‘Possible Love’ Wins Silver Lion at Venice

    Lee Chang-dong’s Films Head to Netflix Worldwide After ‘Possible Love’ Wins Silver Lion at Venice

    Netflix will expand its lineup of Lee Chang-dong films worldwide, following the Silver Lion (Grand Jury Prize) win for “Possible Love” at the Venice Film Festival.

    The expansion will let viewers everywhere explore titles including “Secret Sunshine” and “Peppermint Candy.”

    “Possible Love,” Lee’s first film in eight years, opens in South Korean theaters Sept. 23, followed by Australia and New Zealand on Oct. 22 and the U.K., Japan, the U.S. and Canada on Oct. 23. The film will premiere globally on Netflix on Nov. 6.

    Netflix has also been adding earlier Lee titles to its library in additional countries alongside the new release. “Green Fish” and “Secret Sunshine” began streaming in late August in Italy, the U.K., France, Australia and New Zealand. “Peppermint Candy” and “Oasis” joined the platform in Italy and Spain on Sept. 4. “Poetry” and “Burning” are also planned for release in markets including Japan, the U.S., Canada, Australia and New Zealand.

    Rollout timing differs by market, and some territories will get the films with subtitle options covering as many as six languages, Korean among them.

    Lee debuted as a director with “Green Fish” in 1997, going on to build a filmography that also includes “Peppermint Candy,” “Oasis,” “Secret Sunshine,” “Poetry” and “Burning.” His work has drawn top honors on the festival circuit: “Oasis” earned him a directing prize at Venice in 2002, and “Poetry” took the screenplay award at Cannes in 2010. Lee’s newest distinction came at the Toronto Film Festival‘s 51st edition, where he became the first Korean filmmaker to receive its Ebert Director Award.

    “Possible Love” centers on two couples: one formed by a man who has lost his job and his wife, the other by a woman who directs documentaries and her husband. Their lives intersect during the making of a documentary, drawing out desires and struggles each had kept hidden. The film stars Jeon Do-yeon, Sul Kyung-gu, Zo In-sung and Cho Yeo-jeong, and is South Korea’s submission for the best international feature film category at the 99th Academy Awards.

  • Investment giant Goldman Sachs announced it expects the Fed to raise interest rates! Here’s the expected increase rate

    Investment giant Goldman Sachs announced it expects the Fed to raise interest rates! Here’s the expected increase rate

    Goldman Sachs announced that it expects the US Federal Reserve (Fed) to raise interest rates by 25 basis points at its September monetary policy meeting. The bank revised its previous forecast that the Fed would not change interest rates, shifting its expectation to a rate hike.

    According to Jin10, a China-based financial news source, Goldman Sachs’ new forecast is linked to the recent shift in market expectations towards interest rate hikes. The bank stated that the forecast change stems from pricing in financial markets rather than a significant shift in the economic outlook.

    According to Goldman Sachs, a significant portion of investors currently expect the Fed to raise interest rates by 25 basis points at its September meeting. Noting the increasing influence of market pricing on monetary policy expectations, the bank has revised its own forecast accordingly.

    Interest rate decisions are among the most closely watched developments in global financial markets. Any potential change in Fed interest rates can affect the trajectory of the dollar, bond yields, and investor appetite for risky assets. Cryptocurrency markets are also among the asset classes sensitive to US monetary policy due to changes in liquidity conditions.

    Goldman Sachs’ new forecast is noteworthy because it reverses its previous expectation that interest rates would remain unchanged. The bank emphasized that the main reason for the change is not economic indicators but rather expectations formed in the financial markets.

    In addition to the decision to be made at the September meeting, messages from Fed officials regarding the period ahead will also be important for the direction of the markets. Investors will be closely watching signals regarding the interest rate path and how monetary policy will be shaped in the future.

    *This is not investment advice.

  • Hyun Bin, Lee Min-ho, Jung Woo-sung, Isabelle Huppert Headline Busan Open Talk and Outdoor Stage Greeting Lineup

    Hyun Bin, Lee Min-ho, Jung Woo-sung, Isabelle Huppert Headline Busan Open Talk and Outdoor Stage Greeting Lineup

    The 31st Busan International Film Festival (BIFF) has unveiled the lineup and schedule for three of its fan-facing programs: Open Talk, Outdoor Stage Greeting and Talk-to-Talk. Held at the Busan Cinema Center Roof Theater and the HANMAC Smooooth Lounge, the sessions give audiences a chance to meet directors and cast members from a wide range of Korean and international selections.

    Open Talk opens Oct. 7 with director Lee Chang-dong and stars Jeon Do-yeon, Sul Kyung-gu, Zo In-sung and Cho Yeo-jeong for “Possible Love,” followed by “Cattle Run,” bringing director Kim Ji-hyun together with Ryu Seung-ryong, Park Hae-jun, Ong Seong-wu and Lee Sang-hee, and “The Table: Day and Night,” pairing director Kim Jong-kwan with Kim Min-ha, Joo Jong-hyuk, Han Sun-hwa, Shim Eun-kyung, Jeon So-young and Kim Dong-hwi.

    On Oct. 8, “Sapiens” brings out director Lee Hu-bin with Jung Sung-il, You Chea-myung and Ryu Hyunkyung, while “Dead-End Job” pairs director Kim Da-min with Kim Min-ha and Choi Hyun-wook. Oct. 9 sessions include “The Blue Road,” with director Han Jun-hee alongside Son Sukku, Nagayama Eita and Kim Shin-rok; “Ugly Duckling Ms. Maeng,” with director Lee Yong-jae and stars Lee Sun-bin, You Chea-myung, Jun Suk-ho and Kim Young-min; and “The Sorry Generation,” with director Kim Sung-yoon and actors Jung Jae-young, Kim Joo-ryoung, Lee Yi-kyung and Kim Ah-young.

    A “BIFF Discoveries: Rising New Talents” session on Oct. 10 features Jeon So-young and Kim Dong-hwi from “The Table: Day and Night” alongside Sim Su-bin, who appears in both “The Birds” and “The World Before.” The program closes Oct. 13 with Isabelle Huppert and director Marc Fitoussi discussing their collaboration on “All About Corinne.”

    Outdoor Stage Greeting runs Oct. 7 through Oct. 11 and covers dozens of titles. On Oct. 7, director Stephanie Ahn appears with Moon Choi and Son Sukku for “Bedford Park”; director Fujii Michihito and actor Yokohama Ryusei present “You, Like a Star”; director Sato Sakichi brings Sawajiri Erika and Maruyama Ryuhei for “The Chain of Roses”; director Hur Jin-ho appears with Yoo Hai-jin, Park Hae-il and Lee Min-ho for “The Assassin(s)”; director Feng-I Fiona Roan brings Shuhua Yeh, Xuan Chen and Kent Tsai for “Happily Ever After”; director Woo Min-ho appears with Hyun Bin, Jung Woo-sung and Woo Do-hwan for “Made In Korea” Season 2; and director Kore-eda Hirokazu presents “Look Back” with Deguchi Natsuki, Makita Aju, Nanase Furi and Okada Rokka.

    Oct. 8 brings director July Jung with Kim Doyeon and Choi Wonyoung for “Dora”; director Kim Joung-hoon with Kim Jae-won, Cho Yi-hyun, Kang You-seok and Bae Gang-hee for “Final Interview”; a second “BIFF Discoveries” session featuring Kim Doyeon from “Dora”; director Hong Sung-min with Jung Sung-il and Park Ji-hyun for “Sinner”; director Song Il-gon with Kim Hye-ja, Park Seo-kyung, Choi Ju-eun, Moon Seong-hyun and Lee Seyoung for “Still Shining”; director Kamila Andini and producer Ifa Isfansyah with Putri Marino, Christine Hakim and Arya Saloka for “Four Seasons in Java”; director Takemura Kentaro with Michieda Shunsuke and Anzai Seira for “In the Clear Moonlit Dusk”; and actors Michelle Mao and Jin Ha for “zi.”

    Oct. 9 features director Yeon Sang-ho with Kim Hyun-joo for “Paradise Lost”; director Wang I-fan with Fukushi Sota and Han Ning for “The Scar-Faced Cat: Way of Asura”; and director Yoon Dan-bi with Sim Su-bin and Kim Eo-jin for “The World Before.” Oct. 10 brings actors Shin Mina, Ju Jihoon, Lee Jongsuk and Lee Seyoung for “The Remarried Empress,” plus Kwon Haehyo and Park Miso for “Nowhere to Lay My Eyes.”

    The section wraps Oct. 11 with an “Italy’s Fearsome New Directors” session pairing “Föa – Once Upon a Future” director Margherita Ferrari and producer Raffaele Perillo with “Deep Blue” director Ernesto Maria Censori, actor Andrea Arcangeli, producer Giorgio Gucci, screenwriter Lorenzo Marinelli and editor Chicchi Tadeucci; “Inherit,” with director Banjong Pisanthanakun and actors Davika Hoorne and Thitiya Jirapornsilp; and a joint stage greeting for Flash Forward section directors Rhys Marc Jones, Jannis Lenz, Fernanda Tovar, Jacqueline Lentzou, Emmanuel Marre, Manuel Wetscher, Margherita Ferrari, Grzegorz Dębowski and Manuela Martelli.

    Talk-to-Talk splits between the Roof Theater and the HANMAC Smooooth Lounge. At the Roof Theater on Oct. 10, “Women Directors: Taking the Scene” gathers Margherita Ferrari, Marjan Khosravi, May El-Youkhy, Michelle Zhou, Zainab Entezar, Jacqueline Lentzou and Julie Lecoustre. At the HANMAC Smooooth Lounge, Majid Majidi discusses his career from “Children of Heaven” to “Midday Meal” on Oct. 9, followed by four “Vision Korea” panels on Oct. 10 and Oct. 11 connecting directors and actors from “Things I Left at the Theater,” “Not for You” and “The Flower”; “Earbug,” “Some Detective” and “Nothing Has Happened Yet”; “The Birds,” “Space” and “Cosmic Trace”; and “Baler,” “Beyond Love’s Horizon” and “Full Moon.”

    A session titled “Asian Cinema Through Global Eyes” brings together Martine Therouanne of the Vesoul International Festival of Asian Cinema, Sabrina Baracetti of the Udine Far East Film Festival, Jeon Hyejung of the London East Asia Film Festival, Samuel Jamier of the New York Asian Film Festival and Teruoka Sozo of the Osaka Asian Film Festival. Directors Marco Nguyen and Nicolas Athané appear for “The Hottest Virus of the Year, ‘Jim Queen,’” and the program closes Oct. 13 with Kim Ah-young and Kim Seulki discussing their move from “SNL Korea” to film.

    The 31st Busan International Film Festival will run Oct. 6-15 at the Busan Cinema Center and venues throughout Busan, with the 21st Asian Contents & Film Market held Oct. 10-13.

  • On-Chain Analytics Company CryptoQuant Reveals the Level Bitcoin Needs to Break Through for a New Bull Market! Here Are the Details

    On-Chain Analytics Company CryptoQuant Reveals the Level Bitcoin Needs to Break Through for a New Bull Market! Here Are the Details

    On-chain analytics company CryptoQuant stated that Bitcoin maintains its bullish outlook, but a break above the $81,700 resistance level is necessary to confirm a new bull market. Julio Moreno, the company’s head of research, noted that after Bitcoin’s 24% rise in two weeks, the movement has stalled, with the price trading between $76,000 and $82,000.

    According to Moreno, the first significant resistance zone above the current price is located in the $77,100-$80,200 range. It is noted that long-term investors have sold up to 539,000 $BTC in this region over the past 30 days, and this area is considered the strongest on-chain supply resistance above the current price.

    Following this region, the critical technical level for Bitcoin is the 365-day moving average, around $81,700. Moreno noted that in past cycles, Bitcoin bull markets officially began when the price closed above this average. A clear break above this level could confirm a new bull market, while a failure could cause the price to trade sideways for a while longer.

    According to CryptoQuant’s 3x Metcalfe band, the next major resistance is at $83,600. Above this, traders are watching the upper band of the current price pattern, $88,700, for potential profit-taking.

    On the other hand, the $70,000 level stands out as a support in downward movements. It is stated that long-term investors have purchased approximately 476,000 $BTC in the $62,000-$65,000 region. Moreno said that the overall outlook remains bullish, but Bitcoin needs to overcome the current supply pressure for a new upward wave.

    *This is not investment advice.

  • Bitcoin bucks tech selloff as AI safety concerns weigh on stocks

    U.S. technology and artificial intelligence stocks fell in pre-market trading Monday after leading CEOs renewed concerns about the pace of AI development over the weekend.

    Cryptocurrencies, in contrast, rose. Bitcoin BTC$77,568.78 gained about 1% over the past 24 hours to $77,800, while ether ETH$2,513.85 added 1% to $2,500.

    Anthropic CEO Dario Amodei called for the industry to slow development to allow safety measures to catch up. OpenAI CEO Sam Altman and Elon Musk, whose xAI developed Grok, voiced agreement. Anthropic also reportedly selected Nasdaq for its anticipated IPO, while Altman confirmed his company will not go public in 2026.

    South Korea’s Kospi fell 3% and SK Hynix (000660), whose memory chips are used by AI companies, dropped 6%. U.S. technology stocks followed lower in pre-market trading, with the Invesco QQQ ETF, which tracks the Nasdaq 100 index, falling 1.5%.

    Neocloud providers Nebius NBIS$209.38·Market Closed and CoreWeave (CRWV) fell 6% and 5%, respectively, while chipmakers Sandisk (SNDK) and Intel (INTC) each lost 5%.