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Album Review: Jana Horn, ‘Jana Horn’

At the very end of her self-titled album, Jana Horn includes a moment of recorded uncertainty. “It was good until I messed up,” she says, and in the soft laughter that’s free from judgment, adds, “Should we just, like, try to do the end?” You can imagine the singer-songwriter listening back to this wholly authentic exchange and smiling at its unintended poetry. Patient and pensive, the follow-up to 2023’s The Window Is the Dream is marked by its open-endedness, recognizing that behind every loss and human sense of finality churns the cyclical nature of change. Documenting her first year of living in New York, where she moved after completing a creative writing MFA in Charlottesville, Horn and her band refuse to paint a portrait of an artist unstuck from the past, unmissing, or untroubled by a changeless future. It would be absurd to try to force it. They simply inch towards an answer to the album’s final question: “I don’t know, how do you feel about that?”


1. Go on, move your body

I’ve written about the way ‘Go on, move your body’ bounces off of Joseph Campbell’s quote about “follow[ing] your bliss,” aimlessly drifting through its untraceability. Now that the song is firmly planted in my memory, my ears are drawn to its minute details, particularly how Adelyn Strei’s clarinet creaks like a new door opening – or, as the opener to one of the first notable albums of the new year, a new apocalypse stirring. “Nothing prepares you for this” is a line Horn wrote way before many of the life changes her self-titled album captures; being in this doesn’t make it any easier to wrap your head around.

2. Don’t think

Horn’s claim that Jade Guterman has “a very melodic, almost lead guitar style of playing, and I tend to play guitar like a bass” is wonderfully evidenced in ‘Don’t think’. Strei nimbly weaves in her clarinet over the cloudy rustle of Adam Jones’ drums, as Horn’s object of surrender is not just perpetual motion, but the very state of being, persisting through uncertainty. “I don’t take it lightly/ That a thing set in stone/ Can begin to roll when/ The ground that you’re on is different,” she sings. There is a lightness, still, in the group’s every movement.

3. All in bet

In lieu of a chorus, ‘All in bet’ finds rapture in Miles Hewitt’s minimal piano, accompanied first by Horn’s choir of self before cascading alongside Guerman’s melodic bass the second time around. Lyrically, the song is about shots in the dark of an endless night, wherein our protagonist finds her own company: a phone call with a friend, a drink with an unnamed one. A sign that it is not over yet, bet still in play.

4. Come on 

Sensual and nocturnal, the song drips with double entendres: “Make me think that you are worth moving for” (as in: cities, the body), “In the city I was on time/ Couldn’t get off my mind/ On pills, on trains, on praying.” Horn’s wording is as precise as her syntax is peculiar, translating the mush of consciousness that comes with traveling, or mentally occupying multiple places at the same time. More than wearisome, though, it is ultimately vivifying: “Seeing eternity as a quality of time/ Done with my dying/ I can breathe again/ In the heart of it.” ‘Come on’ sounds a lot like ‘Go on, move your body’, but takes its time breathing life into it. 

5. Love

Slightly more straightforward, ‘Love’ briefly meditates on the changing and unchangeable nature of its titular subject. The tone is affirming, if not quite self-affirming, as Horn compares it to “the moon in the middle of the day.” But then it’s gone and leaves you standing there, resting on the nighttime memory of it.

6. It’s alright

After several strummed songs, this one’s fingerpicked swirl – though again that bass is just as high up in the mix – is hypnotic, especially when Horn’s ethereal voice and Hewitt’s piano drift atop it. It starts off in the same emotional vein as the previous track, but it’s not long until the feeling swells, turning assurance into rubble. “It is like my eyes to cry/ To die and die to feel/ The cycle repeat,” she sings, her voice almost breaking as she rhymes, “The pit is the seed.” The ensuing minute feels like digging your hands through the dirt.

7. Unused

Dissociation has a million faces, and here Horn showcases a range from surreal to banal that’s unique in its humanity. “I was more like a feeling for a while/ Not even mine, not even one of mine,” she sings, making the distinction by leaning on more of a hum – her voice, the clarinet – than a clear melody. She orchestrates an abrupt ending, as if telling herself it’s over is enough to stop missing. 

8. Designer

Over a chugging rhythm that’s one pedal away from sludge, ‘Designer’ is also lyrically darker than even the most pensive songs on the album. Seemingly fixating on a kind of manic episode, Horn asks, “What does madness prove, Designer?” The piano softens the worry, but there’s no answer striking down from the sky, just an image burnt into your eyes as the cycle repeats. 

9. Without

There’s no poetic pretense on ‘Without’, whose tapestry of sound rests mostly on Guerman’s impossibly gentle bass. The rest of the band is there to support them, but the song feels like a conversation between its wordless sentimentality and Horn’s own; when she lets out the words “How do you go without leaving me,” you don’t need to have heard her whole discography to know she has never sounded so fragile, so affecting. The bass sounds like an embrace when in major; the absence of a single note can make the whole song sound ready to fade. Softly, it holds its parts together. 

10. Untitled (Cig)

The closing track does quite the opposite, taking liberties in the production – who’s the Designer now – to turn all its instruments into fragments, like smoke from a cigarette. The simple bass pattern is the one solid thing Horn holds between her fingers, and even slightly effected her voice is powerfully clear in its questioning: “Spirit, have you had enough of this body?” In her bio, Horn says her mother “was learning to live again after years of being passed from one hospital to the next, like a crime no one wanted to be responsible for.” When she addresses her directly here, mentioning her for the first time on the album, it’s in poetically reverent terms: “Tell me how you broke down to soil for my life.” The song murmurs and sizzles and sighs. It goes on for a while, then gives. 

Hytale: How to Play With Friends in Online Multiplayer Mode

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Hypixel’s Hytale has finally launched in Early Access, and if you’re figuring out how to play online with friends, you’re not alone. From building and combat to creative tools and mod support, there is already a lot to explore, and much of it is designed to be played together. Hytale’s multiplayer works across both game modes, but inviting players, joining worlds, or keeping a server running takes a bit of getting used to. So, here’s how Hytale’s multiplayer works and how to play online with friends.

Hytale: How to Play With Friends in Online Multiplayer Mode

If you want to play Hytale with friends, you can either invite them into your world for a single session or host a server that stays online independently of your session. To play Hytale online with friends, you need to enable the multiplayer option, generate a world code, and share it with those you want to join. Running a dedicated server, however, will need you to go through a few extra steps to get everything set up (more on that later).

Also, keep in mind that Hytale’s invite system needs you to share your IP address, so only share it with people you know and trust. When you start a new world in Hytale, it launches as a solo experience by default. You can invite other players at any time using the in-game Online Play menu. To invite your friends in Hytale, all you need to do is:

  1. Press the Esc key to open the main menu
  2. Select Online Play
  3. Turn Allow other players to join to On
  4. Click Save to confirm the change
  5. A world code will appear. Copy this code and share it with your friends

You can also enable a password for extra security. If you turn on the password option, click “Save” again to generate a new code and password. On the other hand, to join someone else’s world, you will need a world code from the host. From there, simply:

  1. Open the main menu and select Servers
  2. Choose Join via code
  3. Enter the invitation code and the password if one is required
  4. Select Connect to join the world

As long as the host is online and active in the world, you will be able to play together in real time. As we mentioned earlier, Hytale also supports dedicated servers, but Hypixel Studios does not currently run any official ones. Instead, you can either rent a server from a third-party provider or set one up yourself. For anyone planning on hosting a dedicated server on their own, Hypixel’s official documentation covers everything you need to know to get started.

For more gaming news and guides, be sure to check out our gaming page!

Life Outside the Algorithm: How Young UK Users Navigate Restrictions, Digital Identity and Online Autonomy

There’s a certain irony to the digital age: we are promised infinite connection, yet our online experiences are increasingly defined by what we cannot access. Algorithms decide what we see, filters determine what we consume, and automated systems lock us out before we’ve even knocked on the door. For young users in the UK, this has become the unspoken architecture of everyday digital life.

These restrictions arrive under the banner of protection – safeguarding against harm, addiction, exploitation. And in many cases, they do exactly that. But there’s a growing tension beneath the surface, a quiet frustration that sits uncomfortably alongside gratitude for digital guardrails. It’s the feeling of being protected and policed at the same time, of safety that sometimes feels like surveillance.

This isn’t a simple story of reckless youth chafing against sensible rules. It’s more nuanced than that. Young people today are navigating a landscape where platform convenience has given way to platform negotiation – a constant, often exhausting process of working out which parts of their digital lives they actually control. And in that negotiation, something profound is happening: digital restrictions aren’t just shaping behaviour; they’re shaping identity itself.

The Architecture of Self-Regulation

GamStop has become shorthand for a particular kind of digital intervention – one that sits at the intersection of choice and compulsion. On paper, it’s a self-exclusion scheme for online gambling, a way for individuals to voluntarily lock themselves out of licensed platforms. In practice, it’s part of a much broader ecosystem of digital paternalism, where systems designed to protect us can also feel like they’re protecting us from ourselves.

The language matters here. “Self-exclusion” suggests agency, a deliberate act of personal responsibility. But when that choice becomes permanent, when there’s no mechanism for reconsideration or gradual reintegration, the autonomy begins to feel theoretical. It’s a bit like being given the key to lock your own door, only to discover you can’t unlock it again when circumstances change.

This tension isn’t unique to gambling. It echoes across digital life: screen time limits that override user preferences, content filters that can’t distinguish between harm and education, banking apps that block transactions based on algorithmic suspicion. Each of these systems operates on the same principle – that protection requires restriction, and restriction requires automation. The question is whether that principle holds up when applied universally, without room for context or individual variation.

Where self-regulation works, it genuinely works. For those struggling with compulsive behaviours, these systems can be lifesaving. But for others – those using them preventatively, or those whose circumstances have evolved – the inflexibility can feel punitive. It’s the difference between a safety net and a straitjacket, and sometimes the line between them is uncomfortably thin.

The Myth of the Universal User

One of the fundamental problems with automated restriction systems is that they’re built on a fiction: the universal user. They assume that what’s harmful for one person is harmful for all, that a single threshold can separate safe from unsafe behaviour across an entire population. But young users aren’t a monolithic group, and their relationships with risk, autonomy, and digital platforms are wildly varied.

There’s a growing scepticism towards one-size-fits-all solutions, and it’s not rooted in irresponsibility. It’s rooted in lived experience. When a content filter blocks educational resources about sexual health, when a spending cap prevents someone from making a legitimate purchase, when a self-exclusion system can’t accommodate changed circumstances – these aren’t theoretical problems. They’re daily frustrations that erode trust in the very systems meant to help.

The issue is that these restrictions often frame protection and autonomy as opposing forces, when in reality they’re interconnected. Young people aren’t asking for zero oversight; they’re asking for systems that recognise them as individuals with varying needs, contexts, and capacities for self-management. They’re asking for friction, not walls. For dialogue, not diktat.

This is where algorithmic solutions to human problems begin to break down. Algorithms are excellent at identifying patterns, but they struggle with context. They can’t tell the difference between a crisis and a bad week, between addiction and occasional indulgence, between someone who needs protection and someone who needs privacy. And when those distinctions get flattened, the result is a digital landscape that feels less like care and more like control.

Autonomy as Currency in Digital Culture

If you want to understand what matters to young digital citizens, look at what they’re willing to fight for. And increasingly, that’s autonomy – the ability to make choices about their online lives without constant mediation by platforms, algorithms, or state-mandated systems.

This isn’t about rejecting guidance or embracing recklessness. It’s about something deeper: the recognition that control over one’s digital existence has become a marker of adulthood, of agency, of being taken seriously as a person rather than treated as a problem to be managed. In a world where so much of life unfolds online, the ability to navigate that space on your own terms isn’t a luxury – it’s fundamental to identity formation.

This cultural shift is visible across multiple domains. The rise of privacy-focused browsers and encrypted messaging apps isn’t just about security; it’s about reclaiming spaces free from surveillance. The migration to decentralised platforms and alternative social networks isn’t just about features; it’s about escaping algorithmic curation. Even the persistence of niche communities and underground digital cultures speaks to a desire for spaces that haven’t been sanitised, optimised, or regulated into blandness.

Crucially, this emphasis on autonomy doesn’t translate to a rejection of responsibility. Young users are often acutely aware of digital risks – perhaps more so than previous generations. They understand phishing, misinformation, data harvesting, and platform manipulation in ways that are sophisticated and nuanced. What they resist is the assumption that awareness must be coupled with restriction, that being informed means accepting limits imposed by others.

The tension, then, isn’t between safety and freedom. It’s between systems that trust users to make informed decisions and systems that remove the possibility of decision-making altogether.

The Social Architecture of Unrestricted Spaces

To understand why some users gravitate towards platforms that exist outside mainstream regulatory frameworks, it’s essential to move beyond assumptions about intent. The narrative that positions these spaces as purely about circumventing rules misses something crucial: for many, the appeal isn’t the absence of rules – it’s the absence of centralised control.

This manifests in various ways across digital life. Some users seek out platforms not registered with conventional oversight systems not because they’re looking for harmful content or dangerous activity, but because they want spaces where their behaviour isn’t constantly monitored, logged, and analysed. It’s the digital equivalent of choosing a cash transaction over a tracked card payment – not because the purchase is illicit, but because privacy itself has value.

In the context of online entertainment and commerce, this dynamic becomes particularly visible. Consider the phenomenon of pay by phone bill UK casinos not on GamStop: these platforms represent something more complex than simple regulatory evasion. They sit at the intersection of several cultural trends – the desire for frictionless access, the normalisation of mobile micropayments, and the appeal of transactional anonymity. For users, the ability to make small payments through their phone bill, without the paper trail of banking apps or the permanent restrictions of self-exclusion schemes, offers a different model of engagement. It’s not necessarily about excess; sometimes it’s about maintaining a sense of control over one’s own financial and recreational choices.

This isn’t an endorsement, but a description of a sociocultural phenomenon. These spaces exist because conventional systems, with their blanket restrictions and permanent exclusions, don’t accommodate the messy reality of human behaviour – the fact that people change, circumstances evolve, and what feels necessary at one moment may feel excessive at another.

The broader pattern is clear: when mainstream platforms become too restrictive, too surveilled, or too inflexible, alternative spaces emerge. They’re not always better, and they come with their own risks. But their existence poses uncomfortable questions about whether current regulatory models are creating the protection they promise or simply pushing users towards less transparent alternatives.

The Ghost Economy of Invisible Payments

Long before smartphones became extensions of our identities, phone billing was already carving out a peculiar niche in digital commerce. Ringtones, SMS trivia, premium-rate content – these were the early experiments in frictionless payment, transactions so small and so simple they barely registered as spending at all.

That model never disappeared; it just evolved. Today, phone billing underpins a vast ecosystem of subscriptions, microtransactions, and digital services. What makes it particularly appealing to younger users isn’t just convenience – it’s the psychological distance it creates between action and consequence. When a payment appears as a line item on a mobile bill, rather than an immediate deduction from a bank account, it occupies a different mental category. It’s spending, but it doesn’t feel like spending in the same visceral way.

This is where things get complicated. On one hand, phone billing democratises access to digital services, offering an alternative for those without bank accounts or credit cards. It’s genuinely useful, particularly for younger users navigating financial independence for the first time. On the other hand, that same invisibility – the lack of immediate feedback, the abstraction of cost – can obscure the accumulation of small transactions into significant sums.

The ethical questions here aren’t straightforward. Is it a failure of personal responsibility, or a design choice that deliberately exploits cognitive biases? Should platforms be required to make these transactions more visible, more effortful, more psychologically “real”? Or would that amount to another form of paternalism, another instance of systems deciding what’s best for users rather than trusting them to learn through experience?

What’s certain is that invisible payments are part of a broader shift in how young people conceptualise money, value, and consumption in digital spaces. And any conversation about digital autonomy has to reckon with the fact that autonomy requires both freedom and information – the ability to choose, but also the clarity to understand what you’re choosing.

Who Decides What’s Dangerous?

Here’s the uncomfortable question at the heart of all this: who gets to determine the threshold of acceptable risk? When automated systems lock users out of platforms, when algorithms flag behaviour as problematic, when regulatory frameworks impose blanket restrictions – whose judgment are we trusting, and on what basis?

It’s tempting to answer “experts” – psychologists, policymakers, platform designers who study harm and develop interventions. And there’s genuine value in that expertise. But expertise can’t account for individual context, for the difference between someone experimenting and someone spiralling, between a calculated risk and a destructive pattern. Algorithms can identify correlations, but they can’t assess meaning.

This creates a fundamental tension in regulatory design. Effective protection requires some degree of generalisation – you can’t build a system that perfectly accommodates every individual’s unique circumstances. But when those generalisations become too rigid, when there’s no mechanism for appeal or reconsideration, the system stops being protective and starts being punitive.

The challenge is designing frameworks that are supportive without being suffocating. That means building in flexibility: granular controls that let users adjust their own parameters, opt-in systems that respect the capacity for informed choice, and most importantly, educational approaches that prioritise understanding over restriction.

Some possibilities worth considering: What if self-exclusion schemes allowed for gradual reintegration, with checkpoints and cooling-off periods rather than permanent locks? What if content filters came with explanation mechanisms, showing users what was blocked and why, allowing for informed disagreement? What if platforms were required to give users meaningful control over algorithmic curation, rather than simply imposing a single “safe” default?

None of these solutions are perfect, and all involve trade-offs. But they start from a different premise: that users are capable of growth, change, and self-determination; that protection and autonomy aren’t opposites but partners; that the goal isn’t to prevent all harm but to equip people to navigate risk intelligently.

Beyond the Binary: Rethinking Digital Regulation

The restrictions we encounter online – the filters, the limits, the automated interventions – aren’t really about the platforms at all. They’re reflections of broader social anxieties, attempts to impose order on a digital landscape that often feels chaotic and uncontrollable. They represent a particular philosophy of care, one that equates safety with constraint and protection with prevention.

But young users navigating these systems aren’t simply rebels pushing against arbitrary rules. They’re participants in a much deeper cultural negotiation about what it means to live a digital life, about who has authority over that life, and about whether autonomy and safety can coexist. When they seek out spaces beyond mainstream regulatory frameworks, they’re not necessarily “escaping” responsibility – they’re looking for dialogue, for systems that recognise them as individuals rather than categories.

The future of digital culture won’t be found in total control or total freedom, but somewhere in the nuanced space between them. It requires building systems intelligent enough to distinguish between protection and paternalism, flexible enough to accommodate human complexity, and humble enough to recognise that regulation alone can’t solve problems rooted in education, context, and individual circumstance.

Perhaps the question we should be asking isn’t how to make restrictions more effective, but whether we can create digital environments that foster genuine autonomy – spaces where users are equipped to make informed choices, where mistakes are part of learning rather than events to be algorithmically prevented, where trust isn’t just something platforms demand but something they extend. 

Can you regulate behaviour without regulating identity? Can you protect people without presuming their incompetence? These aren’t questions with simple answers, but they’re the questions that matter. Because ultimately, the young users navigating these restrictions aren’t asking for permission to be reckless. They’re asking to be recognised as capable of navigating their own lives – messy, uncertain, and self-determined as those lives may be.

British Television Brought Poker From Smoky Backrooms To Primetime Slots

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Poker existed in Britain for decades before television discovered its potential. Card games happened in private clubs, casino basements, and kitchen tables across the country. The general public knew poker existed but rarely witnessed skilled play. Television transformed this hidden subculture into mainstream entertainment that captivated millions of viewers.

The poker boom created ripple effects across gambling industries. Players who discovered Texas Hold’em through television explored other gaming options. Online platforms, including casino sites not on GamStop, attracted customers who first experienced gambling excitement through televised poker. 

The game became a gateway to broader casino participation. British television did not merely broadcast poker. It fundamentally changed how the nation perceived and engaged with gambling entertainment.

Late Night Poker Changed Everything

Channel 4 launched Late Night Poker in 1999. The show introduced innovations that made card games watchable for the first time. Producer John Duthie implemented under table cameras showing each player’s hole cards. Viewers suddenly possessed information the players lacked. This dramatic irony transformed poker from confusing to compelling.

The Guardian credited Late Night Poker with creating British poker culture. Before the show, professional poker barely existed in the UK. After seven series, thousands of players entered live tournaments hoping to replicate what they watched on screen.

The format proved elegant in its simplicity:

  • Heat rounds eliminated players across multiple episodes
  • Final tables brought winners together for climactic showdowns
  • Expert commentary explained strategic decisions to newcomers
  • Player personalities created heroes and villains audiences followed
  • Real money stakes provided genuine tension absent from scripted television

Viewing figures exceeded expectations for a programme airing after midnight. The dedicated audience demonstrated appetite for gambling content that networks had previously ignored.

How Hole Card Cameras Created Television Drama

Previous poker broadcasts showed players staring at each other across tables. Audiences could not follow the action because they could not see the cards. The game appeared boring and incomprehensible.

Under table cameras changed perception entirely. Viewers watched players bluff with weak hands. They witnessed agonising decisions where competitors folded winning cards. The information asymmetry between audience and players generated tension impossible in other formats.

This production technique spread globally after British television proved its effectiveness. The World Series of Poker adopted similar camera systems. European Poker Tour broadcasts followed the British template. Late Night Poker’s innovation became industry standard within five years.

The psychological dimension attracted viewers beyond gambling enthusiasts. Poker became readable as human drama. Facial expressions, betting patterns, and verbal exchanges revealed character under pressure. Audiences enjoyed the show as competition, theatre, and psychological study simultaneously.

Star Players Emerged As Television Personalities

Television created poker celebrities where none existed before. Players like Dave Ulliot, known as Devilfish, became recognisable faces across Britain. Their personalities attracted coverage beyond poker contexts. Tabloid newspapers featured poker players alongside traditional sports stars and entertainers.

The evolution of late-night poker on UK TV established templates for presenting gambling as entertainment. Players cultivated images that translated to television. Sunglasses, distinctive clothing, and memorable catchphrases became standard equipment. The game’s serious practitioners adapted to entertainment industry demands.

Notable British poker personalities from the television era included:

  • Dave Ulliot (Devilfish) with his aggressive style and memorable outbursts
  • Dave Colclough (El Blondie) representing Welsh poker excellence
  • Ram Vaswani demonstrating analytical precision at the table
  • Barny Boatman bringing intellectual commentary to broadcasts
  • Roy Brindley covering the game as player and journalist

Professional poker became viable as a career path for talented players. Television visibility attracted corporate sponsors who associated brands with poker’s sophisticated image.

The Expansion To Primetime Programming

Success in late night slots earned poker promotion to earlier time periods. Channel 4 experimented with celebrity poker specials. Other networks launched competing poker programmes. The game moved from cult viewing to mainstream entertainment.

The BBC examined poker’s television journey in retrospective features. The progression from midnight broadcasts to family viewing hours demonstrated genuine cultural acceptance. Parents watched with children. Office conversations included hand analysis. Poker vocabulary entered common usage.

Production values increased alongside budgets. Studios designed specifically for poker broadcasts featured sophisticated lighting, multiple camera angles, and graphics packages. The amateur aesthetics of early Late Night Poker gave way to polished entertainment products.

Online Poker Rode The Television Wave

Internet poker sites expanded dramatically during the television poker boom. Players watched programmes then immediately sought online games. The connection between viewing and participation proved direct and measurable.

Forbes documented how online poker revenues multiplied during peak television coverage years. Sites like PokerStars and PartyPoker spent heavily on television advertising. The symbiotic relationship between broadcast content and online platforms drove growth across both sectors.

Television created expectations that online platforms fulfilled:

  1. Immediate access let viewers play moments after watching broadcasts
  2. Low stakes tables welcomed beginners intimidated by live casinos
  3. Tournament structures mirrored televised competition formats
  4. Multi table play offered experiences unavailable in physical venues
  5. Satellite qualifiers provided paths to televised tournaments

Several players won television tournament seats through online qualifiers. These Cinderella stories reinforced connections between online play and broadcast glory. Amateur players witnessed peers progress from home computers to television finals.

Regulatory And Social Consequences

The poker boom attracted regulatory attention. The 2005 Gambling Act, reported by Gov.uk, modernised British gambling legislation partly in response to changed public attitudes. Poker’s mainstream acceptance influenced political willingness to reform outdated laws.

Social consequences generated debate among health professionals and educators. Problem gambling services reported increased poker related enquiries. Universities observed students spending excessive time on online poker. The transition from viewing to playing to problem play occurred without clear boundaries.

Positive outcomes included:

  • Tax revenues from licensed poker operations
  • Employment in casinos, tournaments, and media
  • Tourism from international poker events hosted in Britain
  • Mathematical and strategic skills development among players

Negative outcomes included:

  • Gambling addiction affecting vulnerable individuals
  • Student debt linked to poker losses
  • Normalisation of gambling among young viewers
  • Financial crimes committed to fund poker habits

The balance between entertainment value and social cost remains contested. Poker occupies complex territory between skill game and gambling activity. Television coverage emphasised skill while downplaying luck’s significant role in outcomes.

The Legacy Of British Poker Television

Peak poker television faded after 2010. Online poker advertising restrictions reduced sponsorship revenue. Audience fragmentation across digital platforms diminished broadcast viewership. The poker boom cooled though never entirely disappeared.

The lasting impact persists across British culture. Millions learned poker through television exposure. Casino poker rooms remain busier than before the boom. Terminology from poker infiltrates business, politics, and everyday conversation. The game achieved permanent mainstream status that survives reduced television presence.

British television proved gambling entertainment could attract mass audiences when presented thoughtfully. Production innovations developed for poker broadcasts influenced coverage of other gambling content. The template of hole card cameras, expert commentary, and personality driven narratives applies across gaming genres. Late Night Poker did not invent televised gambling. It demonstrated how to make gambling television genuinely watchable for audiences beyond existing gambling enthusiasts. That achievement continues shaping entertainment production decades later.

What You See When You Stop Looking Straight Ahead

Looking at Skye Liuke Wang’s Between the Lines photography series, I kept having to stop myself from rushing past the images. They demand slowness, or at least they made me slow down.

Nothing in these images demands attention outright, no dramatic angles or bold colours, yet somehow the city speaks, if you pay attention. And it’s in those pauses that I saw Shanghai differently, through Skye’s eyes. Once the high-rises and spectacle fall away, the city feels more lived-in and present.

Skye’s background quietly shapes everything she does. Skye grew up in the Dabie Mountains, which is a quiet, remote part of central China. Life there moved slowly, at its own pace, and it really felt completely different from the crowded streets and towering buildings she would later live with. When she moved to the UK, she kept working across photography, literature and curation, all the creative practices she had been exploring back in China. She took on all sorts of projects that let her start seeing things from different angles, moving between cultures, cities, ways of seeing. Then she returned briefly to Shanghai, and it hit her how the city could feel familiar and strange at the same time. The skyline she had imagined as a child was still there, but tucked between it were hidden streets and old alleys; it’s the kind of place that seems somehow to have survived the rush of modern life. They are, in a way, forgotten, but still alive, full of human details, little gestures that give the city its own heartbeat amid all the city’s big towers and neon. There’s a delicacy to the way she observes human gestures. Through this cross-cultural perspective, her work captures life as it unfolds, unscripted, yet full of subtle meaning.

I found that Skye’s series Between the Lines doesn’t linger on the obvious spectacle of Shanghai, none of the luxury shops or towering skyscrapers call for attention. What stayed with me and intrigued me were the quieter moments, such as the laundry suspended between buildings, narrow alleys tucked out of sight, and the small, everyday details the city carries on around itself while most people barely notice.

A Passage Under Compression, Between the Lines series

Part of the Between the Lines series is A Passage Under Compression. It shows a narrow alley stretching forward, pressed between old buildings and taller, more modern ones behind. People are walking there, but it’s almost incidental; they look peaceful. The alley seems sunny and cosy. These small figures are caught in the city’s vertical ambition. I imagined what it would feel like to live there, to be in that environment quite permanently; you are squeezed in, yet surrounded by such height. It’s like a separate small world within the modern city, almost claustrophobic, yet in a way that makes you notice the little things, and perhaps feel quietly safe in those small spaces.

Domestic Life, Suspended, Between the Lines series

In Domestic Life, Suspended, a lady is seen hanging laundry above the old alley; the scene at first would look rather understated and ordinary, yet through Skye’s lens it feels tender and warm. Looking at this, I thought about how domestic routines persist quietly, even when the space is tight, or life feels pressured; everyone is going through it in different places and in various ways. These are small, very human gestures, washing hung out to dry, a very daily and human thing that we all do, but captured by her in a way that made me notice them, really notice them. It’s something you don’t usually see in photographs, capturing the big modern city of Shanghai. The expression also struck me on the woman hanging the laundry. She looks tired, maybe worn down by life, yet she keeps going, quietly carrying on.

Interior, Observed, Between the Lines series

Interior, Observed is also quite intriguing. Here, Skye invites us to peek into someone’s everyday life. Shadows and reflections blur inside and out, past and present, with historical imagery hanging on the wall, personal and historical. It makes you think about the people there, their mornings, their daily routines, and the objects they come into contact with every day. It’s intimate but not intrusive, which I think is sometimes hard to achieve in photography. Skye lets the scene breathe. The plants also lent the image life.

Unsent Messages, Between the Lines Series

The series includes other beautiful pieces, such as Everyday Infrastructure and Unsent Messages, which are almost meditative. Meters, pipes, worn utility basins, these things we usually walk past without a second thought, are suddenly captured in quite a meaningful way. And the wall-mounted mailbox, surrounded by old, faded writing… and some rubbish is stacked inside. It makes you imagine that once someone was eagerly waiting for letters and checking this mailbox maybe quite often, waiting for good news, or bad. Now, it’s just history, and the rubbish inside also gives a hint of irony. The image is full of unanswered communication, intentions never delivered. I found myself wondering about the people who left those traces, what they meant, what they hoped for.

Skye’s technique matters here, too. She used film, nothing fancy, but rather perfect for the approach. There’s a spontaneity and texture that digital photography can’t quite capture, especially for this series, a nostalgic feeling yet so much life. These images feel immediate, even accidental, but they’re clearly guided by someone who’s paying attention; they are little ordinary moments in life within a big modern city, captured by Skye, who sees beauty in the details. There’s patience and plan in the framing, in the light, in the very act of noticing. The beauty in her work is that it doesn’t shout, it whispers, or even hums; it’s a subtle but comforting feeling you get from it. And if you listen, really see, you will start to notice the city differently. The overlooked becomes exposed and exaggerated. Between the Lines is, I think, about memory, dislocation, and the contradictions of modern life, but it’s also about paying attention to noticing what slips past in the rush.

I left looking at these photographs with a strange quietness, a sense of stillness, and I realised that I became a little more aware of the spaces around me, the traces people leave, the life that persists even under pressure; we are all visitors on this journey after all, like all the people in Skye’s photographs. I believe that’s instead a rare talent in photography, in that it makes you feel things, without showing off, without explaining too much, or at all, without insisting, in a way. And that, to me, is Skye Liuke Wang’s unique strength as an artist photographer.

Skye Liuke Wang

More information on Skye Liuke Wang’s work may be found on her website: https://skye-wang.com

Choosing Between Short-Term and Long-Term Storage Options

The best short-term solution for your storage needs at home or office would be to rent out a storage unit for a set amount of time. It is important to know how long you will require the unit, as this will help you determine which type of unit suits your needs. There are two different classifications of storage units- long-term and short-term.

Short-Term Storage: Best for Transitions and Temporary Needs

Usually, short-term storage is for a duration ranging between a few weeks to several months. The flexibility is one of the most significant advantages of this type of storage. You can rent it quickly, and if you wish to change or cancel your rental, you may do so without any commitment.

One of the disadvantages of short-term storage units is that they are often more expensive per month than long-term storage units. Also, short-term storage may not have much available space during peak moving periods.

Long-Term Storage: Designed for Stability and Peace of Mind

The goal of long-term storage is to protect your property from being damaged due to climate change, while at the same time giving you peace of mind about knowing that your items will remain safe. Long-term storage may be for months or even years.

With climate controlled units and lower monthly rent prices, long-term rentals provide better ways to protect your valuable possessions from environmental issues, including excessive temperature fluctuations, excessive humidity, and dust.

A lot of long-term rental agreements allow for minimum adjustments, so you need to take this into consideration if you want to have as much flexibility as possible when establishing a long-term agreement.

Choosing Your Long-Term Storage Duration

If you do not anticipate needing access to your belongings often, the most cost-effective and easiest method of storage is long-term storage. On the other hand, if you are unsure about how long you may need storage for, or if you anticipate needing access to these items regularly, it would make sense to use short-term storage while you determine your longer-term needs.

Most people will initially rent short-term storage and then switch over to long-term when their circumstances become better defined. When selecting a facility to rent from, ensure they have flexible options to increase the term of your contract beyond what you signed up for originally.

Quality of Storage and Location

While duration matters, the location of your storage unit will also play a role in how well it meets your needs. Having a clean, well-secured storage unit, a transparent pricing structure, and an easily accessible facility with good customer service will be instrumental especially when your storage needs change.

The right Tacoma self-storage facility provides you the flexibility to shift from one to another and vice versa, and saves you time and money when your needs shift again.

Unit Size and Layout

Size and floor plan layouts are key elements that can easily be forgotten when considering how long you will rent a particular unit. If your space is too large, you may end up incurring unexpected costs. If it is too small, you may be frustrated when trying to access your items.

Some things to keep in mind when deciding on unit size are how your items will be stored, whether there will need to be walk-in aisles, and if it’s realistic to stack your items for the duration you are renting the unit.

Selecting the appropriate sized unit with the appropriate rental term will help you save money by being more efficient in how you use that space while reducing the number of moves you have to make later on.

Consider Future Changes

Consider the potential for change in your storage requirements in the future. Your life does not follow a specific timetable, and an initial short-term plan may become extended due to unpredicted occurrences. For example, look for facilities that provide month-to-month options for extending your contract, options for upgrading your unit as needs change, and the ability to change unit sizes or types.

This flexibility will allow you to maintain an effective storage solution that grows with you rather than putting you under pressure to make fast decisions or forcing you to relocate your stored items unnecessarily.

Endnote

Storage facilities offer two main categories of storage, short-term and long-term. Short-term storage allows users to be more flexible or adaptable, especially during times of transitions, whereas long-term storage saves money on both the use and protection of the items stored in the facility. The best type of facility for you will depend on your schedule and how often you will need access to your stored items.

Five Fashion Photographers Redefining Their Craft

Fashion photography is shifting. A new generation is dismantling old hierarchies, centring overlooked beauty and beautifully demonstrating that images can be both commercially successful and politically urgent. Our Culture recommends five photographers to watch as they redefine the craft in 2026:

      1. Szilveszter Makó

        Szilveszter Makó orchestrates photographs that feel like they’ve slipped through time. Blending Renaissance chiaroscuro, Dadaist absurdism and the tactile intimacy of handmade sets, the Hungarian-born, Milan-based photographer crafts portraits that lend everyone he shoots a dimension rarely seen in contemporary image-making.

      2. Nadine Ijewere

        Nadine Ijewere commands attention through colour and composure. Her fashion and portrait work often features women with unsmiling intensity and sculptural precision, and bodies arranged in striking geometric forms. She doesn’t ask her subjects to charm or seduce; instead, she photographs them with dignified seriousness, evoking a quietly revolutionary quality.

         

      3. Han Yang

        Han Yang weaves posthumanist philosophy and feminist theory into fashion imagery that feels like entering another dimension. Her work dismantles the boundary between body and environment, human and object, creating surreal tableaux where figures merge with nonhuman animals and organic matter. It’s fashion photography that thinks deeply about what bodies mean and could become.

      4. Rafael Pavarotti

        Rafael Pavarotti’s work breathes boldness: in color, composition and emotional intensity that pours through each image. The Brazilian photographer creates fashion imagery that doesn’t just ask for space — it claims it, addressing the industry’s long history of marginalising Black subjects through unapologetic presence.

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        A post shared by RAF (@rafaelpavarotti_)

      5. Hannah Hall

        Hannah Hall’s photography lures you in with warmth, then unsettles. Her images are soft in their colours and unique characters, yet boldly reject the male gaze and stifling rules of our societal playground. Through projects like “I never wanted to sell you a fantasy,” she explores the complexities of motherhood and queerness, and the contradictions that live beneath what we show the world.

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        A post shared by Hannah Hall (@honhall_)

Fallout Shelter: How to Apply for Prime Video’s New Reality Show

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If you’ve ever wondered what it would be like to survive inside a Vault-Tec shelter, Prime Video’s upcoming Fallout Shelter series is turning your fantasy into a reality (show). As the studio opens submissions for contestants, interest is growing in how to apply for the Fallout Shelter reality show and what it takes to get selected.

Produced by Studio Lambert in collaboration with Kilter Films and Bethesda Game Studios, the upcoming 10-episode TV series will drop “a diverse group of contestants into an immersive, high-stakes world inspired by the games’ signature dark humor, retro-futurism, and post-apocalyptic survival storytelling.” So if you’re considering throwing your hat into the Vault, here’s what you need to know about how to apply for the Fallout Shelter reality show and what to expect before applying.

Fallout Shelter: How to Apply for Prime Video’s New Reality Show

While no official release date for Fallout Shelter has been announced, the studio has opened a casting call for “dwellers”, aka the contestants who will be dropped into a top-secret vault.

As per the official casting call, “The dwellers (contestants) live together in a top-secret vault, where they will compete in a series of games that tests the seven core attributes from the Fallout world. Strength, perception, endurance, charisma, intelligence, agility and luck (S.P.E.C.I.A.L). The series will not only test dwellers’ core attributes, but also their loyalty and alliances. It’s a game of power dynamics, popularity and social strategy which will ultimately result in a huge cash prize, but do you have what it takes to be the most S.P.E.C.I.A.L?.”

To apply for the Fallout Shelter reality show, you’ll need to head to the official casting call website and fill out a detailed application. You’ll be asked to describe yourself and your background, talk about your family life and relationships, explain how friends would describe you, and share any unexpected or interesting facts. Apart from this, you’ll also need to answer questions about your personality, values, and motivations, which will help casting producers get a clear sense of who you are and how you’d handle life inside a vault full of strangers.

The application also asks about how you relate to Fallout, so be honest and talk about the games you’ve played, how the TV series landed with you, and what hooks you to the Fallout universe. Lastly, you’ll be invited to join a faction, such as the Enclave, NCR, Minutemen, or the Followers of the Apocalypse, to help the casting team better understand your worldview.

While literally anyone can apply to become a part of Fallout Shelter, there are a few non-negotiable requirements all applicants must meet. Applicants must be at least 21 years old at the time of applying and have a valid passport that covers the whole filming period. Filming for Fallout Shelter is expected to run for three weeks in June 2026, although dates may change, and contestants should be ready to travel to multiple filming locations.

If selected, you’ll also need to sign non-disclosure agreements and keep your involvement confidential until the show airs, even if you are eliminated midway. The applications will remain open until February 15, 2026, and once your application is submitted, there’s nothing else to do but wait.

Good luck to everyone applying and may your S.P.E.C.I.A.L stats be in your favour!

Louis Vuitton’s New Beijing Flagship Wants You to Stay

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Luxury used to be about exclusivity. Then it became about experience. Now, apparently, it’s about not leaving at all, and for a brand built on travel, Louis Vuitton seems perfectly fine with the idea of keeping people in one place. Quick visits and impulse buys aren’t really part of the plan, but slowing you down is.

China is clearly the way to go, at least for LVMH. They’ve got the streets they care about, some stores are already running, some are plans on paper, China is shopping again, they want in, more stores, here we go, simple. Gladly, when Louis Vuitton needs a new four-story reminder that architecture shouldn’t be ignored, Jun Aoki shows up. And he’s been showing up for years, Tokyo, Shanghai, Osaka, it was all him, Beijing is the same move, just stronger.

Screenshot of Louis Vuitton's Instagram post - façade of the store
@louisvuitton via Instagram

The new Maison in Sanlitun leans on two ideas for the design. The starting point is the Taihu stone, prized for its worn, hollowed-out form. Aoki translates that logic into glass, adding a second skin that feels porous, fluid, iridescent, irregular. It filters light rather than reflecting it back, giving the façade depth and movement instead of a fixed image. It’s made to react to that light and weather, it never really looks the same twice, which is pretty much the point. Now, the second inspiration is taken from Nicolas Ghesquière, specifically from the Womenswear Spring/Summer 2016 finale. A dress in a slightly cyber-bohemian collection, enough to sneak into the head of one of the brand’s most respected insiders. Ghesquière really challenged Jun Aoki’s volumes, materials, colors, movement, and symbolism, in the best way possible.

Screenshot of Louis Vuitton's Instagram post - the inspiration from Ghesquière and his dress
@louisvuitton via Instagram

The Maison spreads over four floors, showing off everything Louis Vuitton makes, from leather goods, to perfumes, to whatever the new line happens to be. The spaces are stacked and open, with light spilling in and views from floor to floor that make you notice the building itself, as much as the bags. Beijing’s first LV café sits on top, complete with private lounges, a dining room, a rooftop bar, and 250 square metres of outdoor space, all the bits and pieces that make retail feel like a lifestyle.

Luxury retail isn’t just selling leather anymore. In Beijing, Louis Vuitton has made it all about feeling, seeing, tasting, and occasionally sitting in a private lounge of a building that’ll make you think of everything except the urge to hurry out. Emotion, sensory immersion, and personal engagement sell before a handbag, but that just comes with the full lifestyle destination.

Tucker Zimmerman Dead at 84

American singer-songwriter Tucker Zimmerman died in a house fire at his home in Belgium on Saturday morning (January 17). His wife of over 50 years, Marie-Claire Lambert, also died in the fire, according to local news reports. Zimmerman was 84 years old.

Zimmerman and Lambert’s neighbor alerted emergency services about a fire at their house in Saint-Georges-sur-Meuse, Liège, on Saturday morning. When responders arrived, the building was already engulfed in flames. A medical examiner and forensic scientist later concluded that Zimmerman and Lambert died of asphyxiation, and the fire is being treated as accidental.

Brian Tucker Zimmerman was born on February 14, 1941, and grew up in rural Northern California. He took up the violin as a child and moved to Rome to study composition in 1966. He spent two years in London, where he met frequent David Bowie collaborator Tony Visconti, who produced his first album, Ten Songs. Bowie would later declare it one of his favorite albums of all time, saying in 2003: “The guy’s way too qualified for folk, in my opinion. Degrees in theory and composition, studying under composer Henry Onderdonk, Fulbright scholarship, and he wants to be Dylan. A waste of an incendiary talent? Not in my opinion. I always found this album of stern, angry compositions enthralling.”

Zimmerman and his wife soon settled down in Belgium, becoming well-known for his gigs around Europe. In the mid-1980s, Zimmerman turned his focus to writing novels, short stories, poems, and composing film music and compositions for symphonic orchestras. In 2003, he returned to songwriting alongside his band the Nightshift Trio – which included bassist Jeff Van Gool and Zimmerman’s son Quanah on guitar – and released Walking on the Edge of the Blues.

In 2024, Zimmerman released three studio albums: one with his Tucker Zimmerman Trio, the solo LP I Wonder If I’ll Ever Come True, and Dance of Love, released by 4AD and featuring Big Thief as his backing band and producers. Dance of Love also memorably featured guest vocals from Lambert, rendering it a lovely, tender document of homemaking. Zimmerman’s final project was last July’s Music By River Words by Ear.