In the last decade, the United States learned a painful lesson. Despite inventing the underlying technologies, America lost the global equipment race for 5G. Huawei’s equipment, alongside equipment from Ericsson and Nokia, serves as the backbone of much of the world’s 5G telecommunications infrastructure. China’s dominance didn’t happen because its technology was inherently superior. It […]

'The defendant investor group failed to purchase the Buckhead property'

'Absolutely proper'

'Illegally accessed her bank account while the spouse was deployed to the ISS'

Formed in Long Beach, California in 2009, the band was founded by guitarist Scott Holiday, drummer Mike Miley, bassist Robin Everhart, and vocalist Jay Buchanan. Each member came from a different musical background, yet they shared a common goal: to create honest rock music rooted in emotion, groove, and raw power. What began as a local collaboration quickly evolved into a global phenomenon, as Rival Sons earned a reputation for their electrifying performances and a sound that balanced vintage spirit with modern energy. Their first release came in 2009 with Before the Fire, a self-released album that introduced their blues-infused The post Complete List Of Rival Sons Songs From A to Z appeared first on ClassicRockHistory.com.

News The Chronicles of Narnia How Netflix’s Controversial IMAX Deal Put Greta Gerwig’s Narnia Movie at the Heart of the Streaming vs. Theaters Debate Greta Gerwig’s Narnia movie was already one of the biggest films of 2026. It’s become something more than that. By Matthew Byrd | Published on November 19, 2025 Photo: HarperCollins Comment 0 Share New Share Photo: HarperCollins Thus far, the hype around Greta Gerwig’s upcoming Narnia movie has been defined as much by what we don’t know about the project as what little we do know about it. We don’t know much about the plot aside from the fact that it will reportedly be an adaptation of C.S. Lewis’s Narnia: The Magician’s Nephew. We also know Daniel Craig, Carey Mulligan, Emma Mackey, and Meryl Streep are headlining the cast, but several key roles have not been confirmed. We know it has been described as a “rock and roll” reimagining of the material, but we frankly have no idea what that means. What we do know is that this Narnia film is essentially Greta Gerwig’s blank check project following the success of 2023’s Barbie. The fact that the director has chosen to pursue an adaptation of a beloved fantasy story that also means so much to her makes the whole thing that much more exciting. Arguably the biggest thing we know about Greta Gerwig’s Narnia movie is that it is being produced by Netflix and is expected to debut on the streaming service on December 25, 2026. However, Netflix has also announced that Narnia will get a limited IMAX run beginning on November 26, 2026. It is believed that it will play in IMAX theaters for at least two weeks, which would make it one of the biggest theatrical runs for a Netflix movie yet. That announcement has since ignited what is shaping up to be the biggest debate yet over Netflix’s theatrical release policies and the future of theatrical distribution rights. The debate over Narnia’s theatrical release really began late last year when entertainment journalist Matthew Belloni reported that Greta Gerwig was pushing for Netflix to give her Narnia movie an extended theatrical run. The report was unconfirmed, but it certainly tracked. Gerwig has been vocal about her love of the theatrical experience, and, especially at that time, Netflix wasn’t exactly known for giving its originals more than the briefest theatrical runs (typically due to award-nomination technicalities). Earlier this year, though, Netflix surprised quite a few people by announcing that Narnia would not only get a theatrical run but that it would be released exclusively in IMAX theaters. At the time, Netflix co-CEO Ted Sarandos stated that the decision did not represent a change to the company’s theatrical release policy and was instead an acknowledgement of how special the project and format were. The decision was seen in some circles as at least some kind of win for her fellow fans of the theater-going experience. That narrative was recently disrupted by a letter written by Tim Richards and shared with Variety. Richards is the CEO of Vue Entertainment, the largest privately owned cinema operator in Europe. In that letter (which is very much worth reading in full) Richards shares his concerns that the arrangements of the Netflix/IMAX deal “risk undermining the very ecosystem that makes theatrical success possible.” He notes that this deal not only means that fewer people will be able to see the film in theaters but that it enforces the questionable narrative that Imax is the superior premium large format. Clearly, Richards and others in his corner of the industry have an interest in seeing films like Narnia released in as many of their theaters as possible. While some studies suggest that streaming hasn’t hurt theaters as much as some claim and may have, in fact helped the industry, streaming services have offered a cheaper, more convenient entertainment option at a time when the companies are battling for screens and eyeballs as well as cash. Netflix has long been at the center of the streaming vs. theaters argument. Compared to other major streaming services, Netflix has been almost hostile towards the idea of putting its movies in theaters. Apple and Amazon have spent billions to ensure their movies get wide releases that come closer to the industry average 30+ day theatrical exclusivity window, while Netflix only recently began allowing its movies to exclusively run in theaters for a week or even just a weekend. Yet, we’ve rarely seen such a high-profile theater representative call Netflix out quite like this. Richards’ decision to do so partially speaks to the potential of Gerwig’s Narnia movie. The director of Barbie helming an adaptation of a multi-generational favorite fantasy story that will be released in time for the holidays? Historically, that is exactly the kind of movie you can safely bet will be a blockbuster. If Netflix has its way, though, that movie will never screen in the very theaters that would make it a blockbuster. This is about more than just the lost revenue, though. Regardless of his motives, Richards is right to point out that some of the details of Netflix’s exclusivity deal with IMAX are… unusual. He notes that Narnia will only play on “IMAX screens owned by operators willing to break established theatrical release windows” and that those who honor those release windows have “been threatened by IMAX with a ‘nuclear option’ if they do not play it.” While the specifics of that deal remain unclear and the implication of that threat unverified, the result of this arrangement remains the same. As it stands, you’ll only have a few weeks to see Narnia in theaters, and you’ll have to find an IMAX screen and potentially pay an IMAX premium to see it there. Given that there are only about 1700 IMAX theaters in the world (which represents less than 1% of the total number of movie theaters in the world) and that it is unlikely all of them will screen the film, that is a potentially big ask. IMAX exclusive versions of movies are hardly a new concept, but major movies are rarely truly limited to IMAX. That’s largely due to the limited market size of such theaters, but it’s also due to the questionable logic of the “premium” argument that Netflix is trying to make. Scenes shot specifically for IMAX will undoubtedly play better on IMAX screens. We don’t know how much of Narnia will be shot for that format, but given that the options to watch the movie will be “Netflix on your phone/tablet/TV or IMAX,” it’s doubtful that such scenes will make up most of the movie. Besides, directors like Ryan Coogler have recently demonstrated the benefits of a multi-format shoot from both a filmmaking and audience standpoint. Simply put, they give creators and audiences valuable options. And the creators are very much part of this story. More and more filmmakers are more and more vocal about their desire to see Netflix loosen its policies and give more projects a theatrical release. Del Toro and the Frankenstein cast expressed their desire for a wide release, analysts have gawked at the money Netflix left on the table by not giving KPop Demon Hunters a wider theatrical release, and Stranger Things creators the Duffer Brothers have made it clear that their decision to sign a deal with Paramount was partially determined by their desire to make movies that will get wide theatrical releases. While filmmakers have long been drawn to Netflix over their willingness to fund big passion projects, the studio’s opposition towards proper theatrical releases is quickly becoming the devil in the details. But, Netflix has been making more concessions than they have in the past. Whether or not you see this Narnia deal as such a concession may be a matter of perspective. If it’s between Narnia getting no theatrical release and simply this limited IMAX release, perhaps you can see the IMAX deal as another example of Netflix caving to demands. It’s a compromise, and it cuts both ways. Yet, that doesn’t help answer the eternal question of “Why?” Aside from pride and the theoretical benefits of gating its releases, what is Netflix really gaining from this? Rian Johnson’s 2022 movie Glass Onion: A Knives Out Mystery received the longest and widest theatrical release for a Netflix movie up until that point, and it made $15 million at the box office during its brief run. However, some analysts suggested that the movie could have easily made $40-$50 million that long weekend had Netflix opted for a traditional release. It then went on to become one of Netflix’s most-watched movies ever. We also know that KPop Demon Hunters became a blockbuster despite being available on Netflix for weeks before its limited theatrical engagements. It’s a small sample size, but we’ve seen distinct instances of theatrical and Netflix success not being mutually exclusive regardless of release order. In the middle of all of this sits Greta Gerwig’s Narnia: a blank check passion project that has now become the centerpiece of an argument that is poised to become even uglier by the time that the movie is actually released. Narnia is no longer just one of the biggest movies of 2026, it has become a test case for Netflix’s controversial new release strategy. It’s caught in the middle of the war over the future of film distribution, and its success may indirectly strengthen Netflix’s ability to dictate where and when audiences are allowed to watch movies. You will be able to watch Narnia on Netflix as part of the monthly subscription fee millions already pay. There are reasons that streaming is becoming more popular than going to the theaters (money, time, and “that guy” at said theaters), and it’s impossible to fault anyone for choosing that option in this instance. For those who prefer something different, you may be able to watch Narnia in IMAX for at least a couple of weeks. The question that will continue to fuel this fire is, “Is that good enough?” [end-mark] The post How Netflix’s Controversial IMAX Deal Put Greta Gerwig’s <i>Narnia</i> Movie at the Heart of the Streaming vs. Theaters Debate appeared first on Reactor.

Movies & TV Angel’s Egg Anime Cult Classic Angel’s Egg Spins a Gorgeous, Meditative Fable Unsurprisingly, a collaboration between Mamoru Oshii and Yoshitako Amano is haunting and beautiful — and is playing in select theaters now By Leah Schnelbach | Published on November 19, 2025 Credit: GKIDS Films Comment 0 Share New Share Credit: GKIDS Films Angel’s Egg is an iconic work of anime, long unreleased in the U.S. I was fortunate enough to catch two screenings during the New York Film Festival back in September; the film is finally receiving a wider U.S. release through GKids starting Wednesday, November 19th. The movie is a collaboration between writer/director Mamoru Oshii (Ghost in the Shell) and artist Yoshitaka Amano (Vampire Hunter D, Final Fantasy), and was originally envisioned as a comedic fantasy before Oshii saw Amano’s art for the project, and decided to take it in a more serious direction. The film was originally released in Japan in 1985, and didn’t do too well at the box office, probably because it’s an elliptical, meditative portrait of grief and fate more than a typical story with a plot. Over the decades, Angel’s Egg has come to be seen as a cult classic, and an early example of the kind of work Oshii and Amano would do throughout their careers. The story is… well. I’m still not sure? I have seen this movie twice now and if you dangled me over an erupting volcano I couldn’t tell you what the hell it’s about; you should see it in a theater if at all possible. A girl protects an Egg. She sleeps with it under a blanket at night, and, during her waking hours, clutches it to her chest most of the time. She lives in what seems to be a post-apocalyptic landscape. One day she ventures into a nearby city to forage food, and it’s there that she meets the only other real, human character: a boy who carries a giant sword. Credit: GKIDS Films Neither of them seem to know their own names, where they came from, or where they’re going. Are they allies? Are they enemies? Have they met before? What’s in the Egg? The film slowly, quietly explores these questions. But I want to make it clear: there are no real answers here—Angel’s Egg isn’t for that. If you come to this film, know that you’ve come for the mystery. This is the kind of movie where we watch a girl gaze at an abandoned city skyline for long minutes, and then maybe—maybe—we’ll watch her walk to that city. We sit on one side of a room watching, as one character slowwwwlyyyyy drops off to sleep. We watch a person watch a fire die. People don’t speak often. The longest speech in the film is a lengthy quote from a version of the story of Noah’s Ark. The animation is extraordinary. Absolutely beautiful, mid-‘80s anime, full of intricate detail and gorgeous use of light and shadow. The whole film is washed in blues, greys, and greens, our two characters standing out with shocks of white-blond hair and pale skin. And then there’s the Egg, glowing with portent. It looks like an ordinary, large, egg, like an ostrich’s—but what is it, really? Who left it, and how did the unnamed girl find it? Why does she think she’s meant to be its protector? I’ll delve into a few spoilers here—if you want to go into this film cold, turn away now. The girl fears the boy. He follows her, and she comes to trust him. This might be a mistake, or it might be fate—either way she ends up taking him to her home. She leads him through spiraling staircases. He sees an etching of a tree that seems to be something he remembers seeing in life—a tree that reached up and grasped the sky, and held a bird. There are skeletons—enormous, gargantuan skeletons, embedded in the walls, jutting out of the floors. The girl doesn’t point them out or seem to find them unusual. One looks like an archaeopteryx. As they walk, he notices her endless collection of glass bottles. Finally, she takes him to see the secret she’s been keeping. In a dripping room that felt strongly reminiscent of The Room in Tarkovsky’s Stalker, she shows hims a wall with a preserved skeleton. A humanoid skeleton, except that it has two lush wings, featherprints also embedded in the wall. And it seems to be holding a humanoid skull. An angel? A bird? Credit: GKIDS Films Whatever it is, the girl believes that that’s what lurks inside her Egg. And the boy, for the first time in the film, shows a genuine emotion on his face, and it’s one of shock and horror. That night he waits for her to sleep, and destroys the egg. Is it a dream? Is one of them God? Are they on the underside of the Ark, and the boy prevents the egg from hatching into a bird that would fly up and tell the people that it’s safe to disembark? Is this the remnants of the Ark, the skeletons of the creatures God planned to save, decayed away in a ship that never found a harbor? Is the angel a dove? Or is this an alternate universe where God changed their mind, said fuck them kids, and left everyone on the Ark to starve/dehydrate to death after the rains stopped? (I mean, given how things are going, fair.) Is that why all the bottles? Was it a hoard of fresh rainwater that finally ran out? The religious imagery is interesting because it’s kind of chopped up. At one point the boy recites the story of the Flood in a dispassionate way, but with a slightly altered ending from the one in our version of the Book of Genesis. There is an implication that these people are either enacting roles from that story, or maybe trying to rewrite the ending? I don’t know! But it’s fucking cool. Credit: GKIDS Films This is anime from the old days, when the images were beautiful and things didn’t always make logical sense. It’s also worth noting, I think, that the idea for this film spun out from an idea that Oshii was going to use for a Lupin III movie that got cancelled, and Oshii did use one of the images again in a script for an utterly batshit episode of Lupin III Part 6 in 2021. The idea that this beautiful, obscure piece of art was almost part of the Lupin-verse makes every part of my brain sing. I’s so glad I got to experience this in a theater, and that a lot of new fans are finally getting that chance, too.[end-mark] The post Anime Cult Classic <i>Angel’s Egg</i> Spins a Gorgeous, Meditative Fable appeared first on Reactor.

While Ohioans did not head to the polls in the 2025 elections, there has been a massive electoral development thanks to a court victory from Secretary of State Frank LaRose over a state law banning foreign contributions for ballot-measure campaigns. The 6th U.S. Circuit Court of Appeals issued a stay on an injunction, with LaRose’s office claiming the lawsuit was “brought by liberal activists and their dark-money funded national legal team,” on Oct. 8, 2024. Over a year later, on Nov. 13, that lawsuit was finally dropped. The litigation stems from a legal challenge to a law signed by Republican Gov. Mike DeWine in June 2024 that prevented foreign donations to ballot initiative campaigns. “The litigation is over, and Ohioans can now be certain that foreign money won’t be used to hijack our state constitution again. With at least six potential ballot issues on the horizon for 2026, this clarity and protection couldn’t come at a better time,” LaRose shared in a statement. The lawsuit to strike down Ohio's law banning foreign contributions to ballot measures has officially come to an end.The out-of-state liberal activists and their foreign billionaire funders lost. The people of Ohio won!Read my full statement here: https://t.co/fhLa00vxYx pic.twitter.com/KNBONseCWr— Frank LaRose (@FrankLaRose) November 14, 2025 The Ohio Secretary of State also spoke out against dark money influence in the state’s elections. “For nearly two years, I’ve sounded the alarm about a loophole that allowed foreign money to bankroll statewide ballot campaigns,” LaRose continued. “The General Assembly acted quickly to stop it, and, almost immediately, activist groups sued to keep their foreign dollars flowing. They failed, and Ohio’s ban on foreign dark money has been rightfully upheld. I want to thank my legal team and the attorney general’s office for their work in successfully defending this important law.” LaRose’s effort to make sure foreign money stays out of campaigns for Ohio ballot initiatives started in January 2024, when the secretary of state called on the state legislature to “close a ‘foreign influence’ loophole in state campaign finance law.” Top of mind for LaRose were concerns about the previous year’s ballot measures and the foreign influence involved. Ohio voters in 2023 approved initiatives to do with abortion access and recreational marijuana legalization. Republican Gov. Mike DeWine called a special session in May 2024 to address both the ballot fix and the issue of foreign influence, also later emphasizing that to get such financial contributions out was “the right thing to do.” He signed that bill, House Bill 1, into law on June 2, 2024. The law was quickly challenged in court and resulted in U.S. District Court Judge Michael Watson, a President George W. Bush appointee, ordering a stay on the law over concerns that the law violated the First Amendment rights of non-U.S. citizens living in the country legally, even though Ohio had already banned foreign donations to candidates or candidate committees. The 6th Circuit Court of Appeals stepped in and, at Ohio’s request, issued a stay on the injunction in October 2024 while litigation continued, allowing the ban to remain in effect. If 2023 seemed like a busy year for ballot initiatives, 2026 is expected to be even busier, calling to mind LaRose’s statement about how “this clarity and protection couldn’t come at a better time.” LaRose had similarly spoken about the amount of ballot initiatives as well as warned about the influence of “[d]ark-money special interest groups” when speaking about his vote to approve new congressional maps for 2026 as part of Ohio’s redistricting effort. Had such an agreement not come to be on new maps, Democrats and those “special interest groups” could have challenged the maps via a referendum. This is not the only election issue to watch for in the Buckeye State. Ohio lawmakers are once more looking to get through a bill to make permanent a specialized election crime investigation unit. Although it passed the legislature, it faced a veto from DeWine. In 2022, LaRose had created a temporary election crime investigation unit, with other states such as Florida, Arkansas, and Texas looking to secure their elections. The post Ohio Secretary of State Strikes Blow to Foreign Election Influence appeared first on The Daily Signal.

Rep. August Pfluger, R-Texas, has introduced legislation that is expected to pass the House this evening to bolster reporting on threats to the U.S. presented by terrorists employing generative artificial intelligence.  “While artificial intelligence is a transformational technology tool with immense potential for good, we know it is actively being weaponized by foreign terrorist organizations (FTOs) seeking ways to exploit the application to recruit, radicalize, and inspire attacks on U.S. soil,” Pfluger told The Daily Signal. “My Generative AI Terrorism Risk Assessment Act is critical to counter these terror threats posed by this online radicalization, and I urge all of my colleagues to support it.” The Generative AI Terrorism Risk Assessment Act calls for an annual report no later than one year after the legislation is enacted about AI terrorist threats faced by the U.S. over the previous calendar year “and annually thereafter for five years” by the Department of Homeland Security. Pfluger’s legislation comes after chilling reporting by The Daily Signal’s Virginia Allen about ISIS-affiliated networks using generative AI to boost their recruiting efforts. Allen reports that among the technologies being used to spread and facilitate terrorism are video gaming where individuals in diaspora communities are targeted for recruitment and cryptocurrency, which offers more privacy in funding efforts. The Generative AI Terrorism Risk Assessment Act would direct the Secretary of Homeland Security “in consultation with the Director of National Intelligence” to “submit to the appropriate congressional committees an assessment of terrorism threats to the United States posed by the use of generative artificial intelligence for terrorism.” The Homeland Security secretary would also personally brief the appropriate congressional committees on the threat assessment reports after they were submitted each year.  The legislation mandates reporting on the incidents of AI being used or attempting to be utilized to spread “violent extremist messaging and facilitate the ability to radicalize and recruit individuals to violence” or “to develop or deploy chemical, biological, radiological, or nuclear weapons.” It also would mandate recommendations from the department about what the U.S. could do to oppose the terrorists engaging in this behavior. When it comes to AI generated content, Allen’s reporting cites Mohammad Taha Ali, a postgraduate student from Jamia Millia Islamia, writing in a recent report for the Middle East Forum that “The goal is not just recruitment; it is to exhaust the algorithmic defenses of major social platforms and dominate online discourse.” The post Legislation to Monitor AI Threats Up for House Vote appeared first on The Daily Signal.

DAILY CALLER NEWS FOUNDATION—Several staple Thanksgiving dinner items are expected to cost slightly less than last year, marking the third straight year of price declines, according to the American Farm Bureau Federation’s 40th annual survey released Wednesday. The average cost of a classic Thanksgiving feast for 10 people will cost an estimated $55.18, or about $5.52 per person, this year, according to AFBF’s latest survey. This notably marks a 5% decrease from the average costs in 2024, AFBF reported. “It’s encouraging to see some relief in the price of turkeys, as it is typically the most expensive part of the meal,” AFBF Economist Faith Parum said in a statement. “Farmers are still working to rebuild turkey flocks that were devastated by avian influenza, but overall demand has also fallen. The combination will help ensure turkey will remain an affordable option for families celebrating Thanksgiving.” The average price for a 16-pound frozen turkey this year is $21.50, or $1.34 per pound, which marks a significant decrease of over 16% from 2024, the survey shows.  AFBF’s report shows that 14-ounces of cubed stuffing mix is expected to cost $3.71 total this year, while 2 frozen pie crusts will cost $3.37, and a half pint of whipping cream is projected to cost $1.87. Meanwhile, one dozen dinner rolls will cost American households $3.56, a 30-ounce can of pumpkin pie mix will cost $4.16, a gallon of whole milk will cost $3.73, three pounds of sweet potatoes will be $4.00 and a 12-ounce bag of fresh cranberries will be $2.28, the survey found. “We are blessed to live in a country that is capable of producing such an abundant food supply, and for that we should be thankful,” AFBF President Zippy Duvall said in a statement. “Despite modest declines in the cost of a Thanksgiving meal, I know food prices are a real concern for many families, including in rural America. We lost 15,000 farms last year because of factors including historically low crop prices, high supply costs and trade uncertainty, which continue to squeeze farmers and ranchers. Every farm lost is another step toward consolidation and reliance on other countries for our food.” “We urge Congress to address the challenging economic conditions facing farmers to ensure farm families can continue growing the food we all rely on, not just on Thanksgiving, but every day of the year,” Duvall continued. “The prices of turkeys, butter, cranberries, and other household essentials going down is another example why Americans are thankful that they resoundingly threw Joe Biden and Democrats out of office just one year ago. Fixing Joe Biden’s inflation crisis has been a Day One priority for President [Donald] Trump, and the Administration will continue to implement a robust economic agenda to deliver economic relief for the American people,” White House spokesman Kush Desai told the Daily Caller News Foundation in a statement. The average cost of a Thanksgiving meal reached a record-high of $64.05 total in 2022, when former President Joe Biden was still in office, according to AFBF. The national average price of gas is expected to be $3.02 per gallon on Thanksgiving Day, marking one of the cheapest holiday averages since 2021, GasBuddy reported on Tuesday. Moreover, Americans are projected to spend a collective $242 billion on holiday gift shopping and almost $311 billion on flights and hotels this holiday season, according to an analysis from NerdWallet released on Oct. 14. Originally published by The Daily Caller News Foundation. The post Thanksgiving Dinner Will Gobble Up Slightly Less of Americans’ Paychecks This Year, Survey Says appeared first on The Daily Signal.