Latest news with #culturalphenomenon
National Post
2 days ago
- Entertainment
- National Post
Malcolm-Jamal Warner, who played Theo on 'Cosby Show', dies in Costa Rica drowning
Malcolm-Jamal Warner, who as teenage son Theo Huxtable on 'The Cosby Show' was central to a cultural phenomenon that helped define the 1980s, died at 54 in an accidental drowning in Costa Rica, authorities there said Monday. Article content Costa Rica's Judicial Investigation Department said Warner drowned Sunday afternoon on a beach on Costa Rica's Caribbean coast. He was swimming at Playa Cocles in Limon province when a current pulled him deeper into the ocean. Article content Article content 'He was rescued by people on the beach,' the department's initial report said, but first responders from Costa Rica's Red Cross found him without vital signs and he was taken to the morgue. Article content Warner created many TV moments etched in the memories of Generation X children and their parents, including a pilot-episode argument with Bill Cosby's Cliff Huxtable about money, and another episode where Theo tries to hide his ear piercing from his dad. His Theo was the only son among four daughters in the household of Cliff Huxtable and Phylicia Rashad's Clair Huxtable on the NBC sitcom, and he would be one of the prime representations of American teenage boyhood on a show that was the most popular in America for much of its run from 1984 to 1992. Article content He played the role for eight seasons, appearing in each of the show's 197 episodes and earning an Emmy nomination for supporting actor in a comedy in 1986. For many the lasting image of the character, and of Warner, is of him wearing a badly botched mock designer shirt sewed by his sister Denise, played by Lisa Bonet. The 'Gordon Gartrell' shirt later became a memeable image: Anthony Mackie wore one on 'The Tonight Show' with Jimmy Fallon and the profile picture on Warner's Instagram shows a toddler sporting one. Article content Article content NBA Hall of Famer Magic Johnson was among those giving tribute Monday. Johnson said on X that he and his wife are sad to hear of the death of their friend. Article content 'We were both super fans of the hit 'Cosby Show' and continued to follow his career on shows like 'Malcolm and Eddie' and 'The Resident,'' Johnson said. 'Every time I ran into Malcolm, we would have deep and fun conversations about basketball, life, and business. He will truly be missed.' Article content Article content Like the rest of the 'Cosby Show' cast, Warner had to contend with the sexual assault allegations against its titular star, whose conviction in a Pennsylvania court was later overturned. Article content Warner told The Associated Press in 2015 that the show's legacy was 'tarnished.' Article content 'My biggest concern is when it comes to images of people of color on television and film,' Warner said. 'We've always had 'The Cosby Show' to hold up against that. And the fact that we no longer have that, that's the thing that saddens me the most because in a few generations the Huxtables will have been just a fairy tale.'
Digital Trends
06-07-2025
- Entertainment
- Digital Trends
I finally gave Roblox an honest shot and I totally get it now
Even as someone whose job it is to cover games, it is impossible not to have a few blind spots. I can hold my own in a discussion about League of Legends, know the history and general pulse in the Destiny community, and keep up with the latest goings on in Fortnite out of curiosity, but I couldn't tell you almost anything about Roblox before this week. I knew it was both a game and a creation engine that was quietly one of the most popular games in the world, but that's about it. As a 33-year-old man, I ignorantly assumed I was out of the game's demographic without ever giving it a shot. I spent this past week righting that wrong to see for myself if Roblox really is something just for the younger generation. At the very least, I wanted to see if I could understand the appeal of the game even if it wasn't for me. I have come away not only fully understanding why Roblox is the cultural phenomenon it is, but it feels like the next evolution of one of my most formative eras in gaming. The new Flash games Between the ages of 8 and around 13 or 14, I was obsessed with Flash games. I loved my console games, don't get me wrong, but I could only get a new N64 or PS2 game so often. Flash games were free and endless. I spent an embarrassing number of hours after school and on weekends browsing through sites like AddictingGames, Newgrounds, and Kongregate to see what new experiences awaited me. Before the big indie explosion on consoles, this was the wild west of gaming. Anyone with a vision and the dedication to make a game could, no matter how weird. I won't lie and say they were all amazing — I can't tell you how many generic tower defense games, basic puzzlers, and lifeless 2D platformers I must have played — but every now and then I would stumble upon a game that was a clear passion project that had real talent behind it. Recommended Videos Sadly, Flash games started to fall out of favor a bit, and eventually the entire platform was shut down. Browser games didn't go away, but they weren't the only game in town anymore. Indies were able to sell themselves on consoles, PC, and mobile instead of putting themselves on a site for free. Some still make games for the love of it, and if I had more time I would love to spend hours checking out the free games on places like but I assumed the heyday of that era was in the past. The Flash era isn't dead; it has just transformed and calls itself Roblox. I had no idea what to expect when I launched Roblox for the first time, but I certainly wouldn't have guessed to be greeted with what looked strikingly like the layout of a browser game site from my past. Instead of booting into a game, I was greeted with a bespoke window with headings for Today's Picks and Recommended For You, plus a sidebar for ways to find whatever experience I was after. It was honestly a little overwhelming at first, but the fact that I could dive in and out of experiences just as easily as if they were browser games was my first clue as to why Roblox had captured so many players. Despite being built with the same blocky characters, there's an impressive amount of creativity and variety on offer. I could jump from an FPS or third-person hack and slash to an RTS, trivia game, or open world survival crafting game on a whim. No matter what your favorite genre is, someone's made it in Roblox. Especially if that genre is anime games, because oh boy are there a ton of those. There is a bit of a language to Roblox that even the best games expect players to come in understanding. Even the most well-produced games aren't particularly well tutorialized, but it doesn't take long to get a grasp of the basics and then figure out the nuances of any specific game. Coming in cold, however, means that it leaves your first impression with the game up to chance based on what user-created game you click on first. Even a basic official introductory experience for first-time users before throwing them to the wolves would go a long way. Why Roblox feels like an evolution of Flash games is twofold: the scale of these games and the monetization. The first is easy enough to explain; some of these games are full-fledged games. While I don't recall any Flash game lasting more than 2-3 hours at most, I could see the threads in some Roblox games stretch on for a dozen or more hours. That leads right into the second point, which is where the illusion broke for me. Again, I can't speak universally since every creator approaches it differently, but most of the most popular games I played were anything but subtle about pushing me to spend Robux on items and cosmetics. Pay-to-win is a very real thing in Roblox to a concerning degree. I don't begrudge creators from monetizing their work — some of these games are clearly high quality and deserving of some compensation — but the method sets a terrible precedent. Even when I found a game I could see myself enjoying for a few hours I would be hit with roadblocks that were designed not to be overcome naturally, but through my wallet. I don't know if Flash games would've evolved into this type of pay-to-win model, but they certainly would move towards monetization. Just jumping around and sampling Roblox games for a half hour or so before bouncing to the next one is a great experience. I totally understand how the breadth of experiences all within one singular — and free — game available on any device would capture such a sweeping audience of young players. If you are a creator, the tools and opportunity for millions of people to enjoy your game might be one of the best ways to show off your talent in an era where it is becoming increasingly hard for games to get noticed. If it weren't for the acceptance of using monetization as the main form of progression design, I could see myself sticking around for the long haul in some of these games. That's just not a system I can support and I hope that it isn't training players to accept that as the norm in other games.
Geek Tyrant
02-07-2025
- Entertainment
- Geek Tyrant
SQUID GAME Creator Still Torn on Season 3 Finale, but the Cast Says It's a Wild Ride — GeekTyrant
With Squid Game Season 3 marking the end of Netflix's biggest series, fans were met with a conclusion that will no doubt spark conversations. But, the show's creator, Hwang Dong-hyuk, admits he's still wrestling with how he feels about the final moments. He said: 'Even when I was writing season 3, I had to make a big decision at the end of the season. Because it's a finale of the whole series, the whole show. 'That decision was so difficult to make. I'm still thinking whether it's good or not, but the audience, the viewers will see. I cannot spoil that.' That's not exactly a confidence boost, but not all the voices involved are as uncertain. Series lead Lee Jung-jae, who plays Seong Gi-hun, believes Hwang landed exactly where he needed to. 'I thought that director Hwang's decision that he had made, he was very determined, and he knew what he was doing, but I'm sure that he went through a lot of internal debate and struggles.' Lee pointed out the unique challenge of ending a cultural phenomenon like Squid Game , especially with a character as layered as Gi-hun. 'Because, as we all know, it's just a hugely successful series. So when it's a story that big, how do you bring that to closure as director, writer, and creator? And especially for a character like Gi-hun, where do you leave his journey?' He also revealed that Hwang didn't make that call in a vacuum. 'He listened to a lot of other people's ideas as well. We would have discussions among ourselves, among the cast. He would also discuss it with me and the crew as well. 'But I believe that director Hwang came up with the most adequate, the most unpredictable, the most meaningful, and the most intriguing and entertaining ending possible. 'So personally, I am very happy with the finale, and you all are going to be able to see where it all ends soon, but I can guarantee you it's not going to be what you think.' And then there's Lee Byung-hun, who plays the mysterious Front Man, adding: 'Director Hwang keeps saying it's a finale, but when I first read it, I felt it could be a finale, [but] at the same time, it could be a new start. I'm not sure about that, it's my personal opinion, but if the audience's love and support increases, we never know what happens.' Whether it's truly the end or just the beginning of something else, Squid Game Season 3 is now streaming on Netflix. If you watched it, what did you think about the end?
Yahoo
23-05-2025
- Automotive
- Yahoo
Derek Chang: Liberty has taken F1 'well beyond' a core sports product
Liberty Media chief executive Derek Chang believes Formula 1 has shifted from being a series to becoming a 'cultural phenomenon' in the past decade. Chang was appointed as successor to Greg Maffei at the start of January, eight years on from when Liberty completed its acquisition of F1 and set about taking the series to new audiences, in new markets. Advertisement The findings of the 2025 Global F1 Fan Survey, a collaboration between F1 and the Motorsport Network, are set to be published soon but recent trends have shown an uptick in women engaging with the championship, as well as a younger demographic now being active fans. Chang, speaking at the Autosport Business Exchange: Monaco, feels the changes – which have also seen a groundswell of American interest with races added in Miami and Las Vegas – have elevated F1 to a different level. 'I think when Liberty acquired Formula 1 it was very much of a core motorsports activation,' he said. 'I think what we've done over the last 10 years, under the stewardship of Chase Carey and then Stefano [Domenicali] is really make this thing sort of a cultural phenomenon that's gone well beyond a core sports product. Advertisement 'It starts with what happens on the track. It's a compelling product that we have out there, but where we've gone to a much more mainstream and a broader entertainment asset. You've seen it in Drive to Survive, you know we have the Apple movie coming out this summer, which will, again, I think renew a whole new level of interest in the sport. Autosport Business Exchange - Monaco Autosport Business Exchange - Monaco Alberto Crippa Alberto Crippa 'Then I think what you've seen in terms of the drivers and how they participate within what this brand is all about now and the interest level that people have following the drivers - not just what happens to them on the track, but what happens to them in their lives. And again, as we continue to open the aperture of what Formula 1 is all about, I think you've seen new brands coming to us.' Advertisement Chang pointed to recent deals signed by F1 as examples of how its partnerships have branched out from more traditional B2B companies to customer-facing brands, which helps continue the fan engagement away from the track. 'We've gone from an endemic, advertising-based, sponsorship-based B2B to then B2C. We just announced a deal with Disney earlier this week, a tremendous deal with Lego that we did last year that of culminated in a great spectacle in Miami a few weeks ago with the life-size cars that we rolled around the track. 'And I think what you've seen is the viewership continues to increase for Formula 1…and you're bringing new people into the audience all the time. Kids, casual fans, all that sort of stuff.' While brands and fans continue to pour in from most corners of the globe, Chang admits there is still plenty of room for growth in the huge market in China. Advertisement The grand prix in Shanghai is now a firm fixture on the calendar but outside of the race, there is relatively low pick-up, including among partners. A former chief executive of the NBA in China, Chang is keen to expand into the large market the country offers. 'When I was running the NBA there, which probably was a preeminent global sports brand in China at the time - and probably still is - and being able to see the energy that the Chinese audience has for sports, I think Formula 1 can continue to grow in that country. Lando Norris, McLaren Lando Norris, McLaren Andy Hone / Motorsport Images Andy Hone / Motorsport Images 'We were set back, to be honest with you, with COVID because we didn't run a race there for four years. So we probably lost some time there over the years, but there is a legacy and a history of F1 in China. Advertisement 'We've been in Shanghai for 20 years at this point. We had a Chinese driver [Zhou Guanyu] who unfortunately is not on the grid this year, but maybe one day will come back. But look, it's 1.3billion people in China. 'People love sports there. They love brands there. And I think where F1 can continue to shine is that we are such a high-end brand and the brands that we actually associate with, you're going to see that take up continue to happen. 'We do need to continue to build there and invest in the sport there. We are across the major social media platforms. We're on the Tencent and CCTV (China Central Television), but we probably aren't where we would like to be. 'We're going to continue to invest and make that happen because it's such a big market and such a big market for major consumer brands that we really want to continue to develop that.' To read more articles visit our website.
Yahoo
18-05-2025
- Entertainment
- Yahoo
Eurovision's Grand Final is here. Some wonder if Canada will ever change its tune on competing
If you haven't watched the Eurovision Song Contest before, you're missing a spectacle like no other. Countries from Europe — and beyond — compete with fiery performances and elaborate sets amid a sea of fans, flags and national pride. Tens of millions around the globe will watch Saturday's Grand Final from Basel, Switzerland, while casting votes for their favourite song and country. The cultural phenomenon, which debuted in 1956 and is now in its 69th edition, is a week-long affair with musicians from 37 countries vying for the top prize. Canadians have competed on behalf of other countries and even won, but we've never officially taken part. An earlier push to have Canada compete languished due to concerns about cost and appetite, but it's garnering attention again, especially in light of a recent groundswell of national pride following U.S. President Donald Trump's comments about making Canada the 51st state. "It is literally The Hunger Games of music," said Laurell Barker, a Canadian songwriter who wrote songs for the United Kingdom, Germany and Switzerland that made it to the 2019 final, which was won by The Netherlands. "I think it would be so massive for Canada to be involved," Barker said. "There's so much talent here and we have so much to say and so much to share and so much love to give." IN PHOTOS | A look at some of the acts competing in Eurovision 2025: Canadians compete for others — but not Canada Though many Eurovision competitors don't go on to become international sensations, there are some notable exceptions, including Sweden's ABBA. They won in 1974 with the song Waterloo, and their victory contributed to their everlasting popularity. Then there's Canada's claim to Eurovision fame — Céline Dion who competed on behalf of Switzerland in 1988 and won with her performance of Ne Partez Pas Sans Moi (Don't Leave Without Me). She was 20 at the time and has credited Eurovision with helping catapult her to global superstardom. For artists, the chance to be featured in front of a huge international audience is priceless. "I don't think there is a better live televised venue than Eurovision," said Barker. "To have people singing the words and singing along and to be in the arena watching this all happen was so exhilarating." Karen Fricker, a Eurovision expert based in Toronto who's been covering the contest for more than 20 years, says the argument for Canada to compete is bolstered by our strong presence in the contest throughout its history. "If we're good enough to sing and win for another country, why aren't we making the effort to field our own act," she asked. "It's going to come down to the will of a broadcaster and the pressure of a public on that broadcaster to be pushing to say 'It's about time that Canada compete,' " Fricker said in an interview from Basel. WATCH | Some want Canada to take part in Eurovision. Here's why: Eurovision is organised by the European Broadcasting Union (EBU), an alliance of public broadcasters and public service media. It has also included countries in Europe-adjacent countries in western Asia — including Israel, which has participated in the contest since 1973, as well as Georgia, Armenia and Azerbaijan. Australia, some 14,000 kilometres away from Europe, began taking part in the competition 10 years ago when the EBU gave it special approval to participate. Australia's Special Broadcasting Service (SBS), an associate member of the EBU, has been airing Eurovision since 1983, which Fricker says contributed to its huge following there. "There has to be a will to join," Fricker said. And though she's not sure how strong that will is in Canada, Fricker notes that the current level of Canadian pride in the face of U.S. aggression could help revive interest in Canada taking part. "I mean, the United States has never competed in Eurovision either. And so this question of how can we as North Americans play on this stage, I think, is something that really needs to be seriously considered." Toronto-based production company Insight Productions attempted to bring Canada into the Eurovision fold in 2022, pitching a Eurovision Canada competition where musicians from each province and territory would compete nationally, with the winner representing Canada in Europe. But there wasn't buy-in at the time from Canada's public broadcaster, CBC/Radio-Canada. CBC is also an associate member of the EBU, which noted that it would be the only Canadian broadcaster "that could hypothetically hope to participate" in Eurovision. Lindsay Cox, co-chief content officer at Insight Productions, told The Canadian Press recently that after announcing their plans in 2022 her team realized "the complexity of a Canadian going to Europe and competing." However, she says the company hasn't given up and is reworking its pitch. WATCH | Montreal singer La Zarra sings in Eurovision 2023 finals representing France: CBC spokesperson Chuck Thompson told CBC News the broadcaster considered the possibility and met with the stakeholder, but ultimately decided it was "prohibitively expensive." "In the end, [we] just couldn't make it work for us," he said in a statement. But a national televised competition isn't necessary in order to submit an entry. According to the EBU, broadcasters can invite submissions or solicit artists and/or record labels. There can also be a mixed format where the broadcaster chooses the performer, but the public votes on the song. Thompson confirmed to CBC News that the public broadcaster has never considered these options. Taking part in Eurovision does come with a large price tag. Entry fees vary from year to year and country to country, with the "strongest shoulders carrying the most weight," according to the Eurovision website. The EBU told CBC News it does not release the fees it charges, but Irish public broadcaster RTÉ recently released the cost of its participation. Last year, the broadcaster doled out 389,999 euros (about $575,000 Cdn), which included its participation fee, production costs, transportation and accommodation. The country that wins tends to host the next competition, and that's where costs really mount. Last year, Switzerland's Nemo won, so the Swiss city of Basel is hosting Eurovision 2025. Basel approved public funding equivalent to $55 million Cdn for hosting — a move backed by just under 67 per cent of municipal voters in a November referendum. But there can be a financial upside for host cities as well. In 2023, the British city of Liverpool took over hosting duties from Ukraine, which won the competition in 2022 months after Russia's invasion and wasn't able to host due to the war. The cost of hosting was estimated at about $24 million GBP (about $40 million Cdn,) but according to an assessment commissioned by Liverpool city council, it resulted in an economic boost of £55-million GBP (about $92 million Cdn). Fricker says participating in Eurovision is a bit of a "chicken and egg situation" because a broadcaster can't know how big of an audience they can attract until they try. But she also points to Eurovision's roots in post-Second World War unity and says there are parallels today with the shift in relations between the U.S. and allies like Europe and Canada. "A great way to build a relationship with Europe is to participate in the song contest," she said. WATCH | Why researchers say there's more to Eurovision than the music:
