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.
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.
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
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.
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
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.
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.
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.
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 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.
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%.
60 Minutesdebuted its new season on Sunday with an exclusive sit down with an Air Force officer who told of his harrowing rescue in Iran. It featured a hideen camera segment on pardon brokers who collect hundreds of thousands or even millions to try to secure Trump’s clemency. And it profile the Los Angeles Rams and head coach Sean McVay.
Yet despite new graphics, the debut of new correspondent Ross Douthat for its one-minute ender, and an increased social media presence, the show had much the same look and feel of previous seasons. The story selection was in the realm of past seasons.
What is different, though, is the extra scrutiny the show is under, in the wake of the purge last spring of executive producer Tanya Simon and top producers, as well as correspondents Cecilia Vega, Sharyn Alfonsi and Scott Pelley, each of whom has accused the executive higher ups of interference. Just this past week, the former managing editor called the show “a casualty of corporate priorities and ideological intrusion.” CBS News editor in chief Bari Weiss pushed back on the claim in June, telling The Wall Street Journal, “What’s being called ‘editorial interference’ is in reality the job description of an editor in chief.” And shortly after he became the new executive producer, Nick Bilton told staffers that the show “will never be instructed by the ownership of the company on these stories.”
The corporate ownership has done plenty to raise suspicions, starting with the decision by the previous owners of Paramount, the parent company of CBS, to settle a lawsuit Donald Trump filed against the network for the way that 60 Minutes edited an interview with Kamala Harris. Then, new owners Skydance have waged a not-so-subtle effort to woo Trump as it sought administration sign off for its proposed acquisition of Warner Bros. Discovery.
Interference or not, the risk that 60 Minutes faces is ratings, or losing the show’s position as the No. 1 news show on television.
The first segment was Norah O’Donnell’s exclusive sit down with an Air Force colonel whose plane was shot down over Iran, who relayed the story of his survival and then rescue, calling it a “modern day miracle.” The network had extensive cooperation from the Pentagon, with interviews with Defense Secretary Pete Hegseth and General Dan Caine, the chairman of the Joint Chiefs of Staff, as well as declassified footage of the operation.
The segment was narrowly focused on the rescue itself, as the officer described his free fall, major injuries and his ascent up a 7,000 foot ridgeline before being spotted two days later. The officer said at the end of the segment, “It’s a story of the teamwork, the training, of the faith, of the decisions and the leadership to do something that will live in history as an example of what America’s willing to do, in order to uphold our promise and leave no man behind.”
The sit down was one that all networks crave, and it is one that the Pentagon has been anxious to promote. There was a mention during the segment of the “costly and unpopular war that has taken the lives of 18 service members.” It remains to be seen how 60 Minutes will explore further aspects of the conflict, and if it will turn its attention to one of the more alarming stories circling in D.C.: Hegseth’s purge of top experienced generals.
The next segment put a spotlight on pardon brokers, with a hidden camera used to capture two of them, Jack Burkman and Jacob Wohl, as they tried to entice Ammon Covino, a convicted felon, and his wife, Crystal, into spending $300,000 for their alleged ability to get a pardon request in front of Donald Trump.
The camera caught Burkman telling them, “You have to put pressure on the president from all directions in a consistent way to force his hand. We literally want to put the pen in his hand and get him to sign it because he’s tired of hearing about it.”
The show pointed out that Burkman and Wohl are well known for their political stunts, so their involvement in business of pardon brokering isn’t all that shocking. In the footage that aired, they didn’t seem all that rattled by the revelation of a hidden camera. They also tried to engage in a bit of relativism, i.e. that their activity was little different from what went on in the Biden and Obama administration.
That’s why the more telling moment of Lesley Stahl’s segment were the stats: About 70% of Trump’s clemencies in his second term have not gone through the standard channels the DOJ. If the president’s pardons of the January 6th rioters are included, the figure is 92%. And while the White House claimed that Trump was behaving in an “ethically sound manner,” the segment pointedly featured a college professor who said that, despite the proliferation of brokers charging ever higher fees, “in the end, it falls on the administration.”
Also important is that the show ran through some of the notables who did get pardons, including the CEO of Binance who “boosted a Trump family crypto venture, though both sides deny any connection to the pardon,” Stahl noted.
The third segment was devoted to the Los Angeles Rams, with 60 Minutes and Bill Wertheim getting access to its preseason practice, billing the team “as maybe the — premier NFL franchise: blue chip; gold standard.”
There wasn’t mention of the drubbing that the Rams took in its opener against the 49ers, but that was perhaps foreshadowed by McVay during his interview. He said, “Success is never linear, you know? It’s– it– it’s always up and down.” He also admitted that he was “not in a good place right now,” referring to the progress of practice.
Douthat appeared for the closing segment, The Last Minute, to talk about the latest warnings about AI, but he also made a pitch for the show’s future, with the drama of the last year left unsaid. “We may have a narrow window this year, not the next 10, to make artificial intelligence safe for humanity,” he said. “That clock is ticking, and so is ours. For almost 60 years, it has meant the same thing: Journalism you can trust. Where we’re headed, we’re going to need it.”
In September 1992, musician Eric Clapton invited 16-year-old Sarah Mitchell, who was deaf, onstage at a concert in Birmingham, England, and performed for her.
Rating:
In September 2026, social media users recirculated a story alleging that musician Eric Clapton once interrupted a concert for a deaf teenage fan.
One Facebook post with the story read, “Eric Clapton was lost inside a guitar solo when something in the crowd pulled him out of the music,” directing readers to an article that started:
Eric Clapton Stopped Mid-Song for a Deaf Girl Who Could Feel His Music
Eric Clapton was lost inside a guitar solo when something in the crowd pulled him out of the music.
Twelve thousand people filled the National Exhibition Centre in Birmingham. They were standing, shouting, clapping, moving as one body under the lights. The noise was overwhelming. The energy was electric.
And in the middle of it all, one teenage girl sat completely still.
It was September 23, 1992. Clapton was deep into his Journeyman tour, riding the momentum of sold-out arenas and roaring applause. He had already played through fan favorites, the band locked in, the night unfolding exactly as expected.
Except for her.
Third row. Center section. A young girl who wasn’t clapping. Wasn’t swaying. Wasn’t reacting at all.
Her name was Sarah Mitchell. She was sixteen years old. And she was profoundly deaf.
Born without hearing, Sarah had never experienced music the way most people did. She had never heard a guitar string vibrate through air. Never heard applause. Never heard her own voice.
(Facebook user Youness ER)
The article further claimed that during a show in Birmingham, England, on Sept. 23, 1992, Clapton stopped midsong and brought a “profoundly deaf” 16-year-old named Sarah Mitchell onto the stage. Clapton supposedly positioned an amplifier behind her chair so she could feel the music’s vibrations and then played a song for her as the arena fell silent.
Over the months, the story spread on numerous social media platforms, including X, LinkedIn and YouTube. Some posts featured links leading to articles on advertisement-filled websites.
Snopes readers also searched our website for information about whether the claim was true.
However, the story about Clapton amounted to fiction. Searches of Bing, DuckDuckGo, and Yahoo found no credible media outlets reporting about such an event, and several key details in the story conflicted with well-documented information about Clapton’s tours and Birmingham performances in 1992.
The fabricated story resembled glurge, which Dictionary.com defines as “stories, often sent by email, that are supposed to be true and uplifting, but which are often fabricated and sentimental.” It was one of hundreds of similarly fake stories about celebrities on Facebook that aim to generate views and advertising revenue via websites linked in posts.
Timeline doesn’t match tour records
The story placed the alleged moment on Sept. 23, 1992, at the National Exhibition Centre in Birmingham. However, Clapton’s official timeline shows the Journeyman World Tour opened at the NEC on Jan. 14, 1990 — not September 1992 — and ran for three consecutive nights. Fan-compiled tour listings corroborated the dates and location. Moreover, the posts framed the alleged moment as part of Clapton’s Journeyman tour, which ended in March 1991 and did not extend into September 1992.
Clapton did play in Birmingham in early February 1992, but those shows were at the National Indoor Arena, not the NEC. He later returned to the NEC for a series of benefit concerts in October 1992— dates that don’t match the rumored Sept. 23 appearance.
The story also isn’t mentioned in “Eric Clapton: The Autobiography,” first published in the United Kingdom in 2007. Because the book covers key moments from Clapton’s career and touring life, the encounter described in the social media posts would likely have been included if it had actually happened.
AI-generated content helped spread story
The claim frequently circulated alongside an image showing Clapton with a teenage girl that appeared to have been generated using artificial intelligence. Hive Moderation, an online AI detector, determined that the image was highly likely to be AI-generated.
(Facebook user Dena Wells)
In August 2026, a nearly-identical image spread with the story, but this time with a black-and-white filter and a “Curiously Unusual Wonders” watermark:
(Facebook user Amila K Madige)
Similarly, most of the accompanying text was likely AI-generated, according to the AI detector ZeroGPT. (Research shows AI-detection software is imperfect. Readers should consider the tools’ results with skepticism.)
(ZeroGPT)
The text’s tone, structure and emotional language further pointed to AI authorship.
Finally, the story appears to have originated from a YouTube channel presenting itself as a source of “true stories About Eric Clapton that will restore your faith in humanity,” but the video provided no verifiable evidence of the event. The channel’s other content follows the same clickbait pattern, with sensational, vague titles and attention-grabbing thumbnails designed to generate clicks. Many of the thumbnails also appear to be AI-generated or heavily manipulated, which is consistent with a channel producing content that’s primarily focused on generating views:
5 February 1992 – Eric Clapton & His Band – Where’s Eric! https://whereseric.com/tour/1992-5/. Accessed 19 Jan. 2026.
14 January 1990 – Eric Clapton & His Band – Where’s Eric! https://whereseric.com/tour/1990/. Accessed 19 Jan. 2026.
AI Detector – Trusted AI Checker for ChatGPT, GPT5 & Gemini. https://www.zerogpt.com/. Accessed 19 Jan. 2026.
Eric Clapton : The Autobiography. With Internet Archive, London : Arrow Books, 2007. Internet Archive, http://archive.org/details/ericclaptonautob0000unse.
Kar, Sujita Kumar, et al. “How Sensitive Are the Free AI-Detector Tools in Detecting AI-Generated Texts? A Comparison of Popular AI-Detector Tools.” Indian Journal of Psychological Medicine, vol. 47, no. 3, May 2025, pp. 275–78. PubMed Central, https://doi.org/10.1177/02537176241247934.
“Timeline (1990s).” Eric Clapton, https://ericclapton.com/pages/timeline-1990s. Accessed 19 Jan. 2026.
Winter, Emery. “Did Stephen Colbert Launch Sanctuary for Abandoned and Abused Dogs?” Snopes, 30 Dec. 2025, https://www.snopes.com//fact-check/colbert-animal-sanctuary-dogs/.
Wrona, Aleksandra. “Bogus Story Claims Trumps Volunteered at Pennsylvania Orphanage on New Year’s Day.” Snopes, 11 Jan. 2026, https://www.snopes.com//fact-check/donald-melania-trump-orphanage/.
If you’re setting up a new PC or upgrading your current one, bundling your software tools can be a smart move, but it’s often expensive. Luckily, there’s an affordable way to upgrade.
Take advantage of this bundle that pairs Windows 11 Pro with a Microsoft Office Pro 2021. Instead of paying subscriptions, you can get these essential Windows tools on sale for only $32.97 (MSRP $418.99).
Microsoft Office Professional 2021 includes Word, Excel, PowerPoint, Outlook, Teams (free version), OneNote, Publisher, and Access. It’s a robust set of tools built for professionals handling everything from reports and presentations to email and database management. Since this isn’t a Microsoft 365 subscription, once it’s installed on your Windows device, you’ll get full desktop functionality without recurring fees.
Alongside your Office suite, you’ll also get a license for Windows 11 Pro. Designed for both security and usability, Windows 11 Pro includes support for biometric logins, BitLocker encryption, Snap Layouts, and virtualization tools like Hyper-V. It also comes with Copilot, an AI-powered assistant that can help generate images, write code, or adjust system settings.
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