Last year, Sebastian Castillo’s Fresh, Green Life traced a disaffected student following his aging professor’s New Years Eve party invitation, and Jordan Castro’s gym bro professor had open disdain for his colleagues’ squishy bodies in Muscle Man. This year, Maria Adelmann’s titular character in The Adjunct is burrowed under the weight of her less-than-weighty title. Sam Riviere’s Doppelgänger, an excellent hall of mirrors of a novel, enters the canon of dejected diagnoses of academia—and it might be the sharpest of them all.
Riviere is funny, often deliriously so, and Doppelgänger stretches itself to absurd proportions in order to criticize the inner workings of what is essentially an MFA program—the Northwick Author Development Academy, an elitist and outrageous school for burgeoning “high-achieving and eager fledgling authors.” NADA’s Media Production Unit surveills each candidate in the hopes of catching a eureka moment for a best-selling novel for any presumptive documentary, faculty follow a style of “disturbance and destruction” wherein candidates swap subjects (“the fantasy epicist was schooled in physics”; “the media columnist was fed tragedies from antiquity”) and when they graduate, they go onto establish their own Author Houses, hubs where underlings pump out writing specific to the “author-master,” known as a house style. After graduating, one such candidate, Nathaniel Isoku, began to purchase property around the area, imposing authorly gentrification: “The collective social quality of Northwick, a feature often expounded upon by the zealots of the academy, and subscribed to by the yearly cohorts as a special facet of the programme, was not the collectivity of a community but the collectivity of a corporation,” Riviere writes.
Doppelgänger laughs acidly at the idea of a landscape wherein everything is homogenized and stripped of its personality
A twinning trend—one of many that had swept campus, like the “lemon coffee” or “obelisk” trends—started innocently enough, with two girls wearing similar-enough outfits to the birthday party of an aging poet, and with another man, Carl Sample, becoming so convinced that he will be punched in the face that, about to venture out and find someone to do so in order to counteract the surprise, is met with a different student, who has been punched in the face herself. But the twinning trend has an obvious parallel in the work the authors have created; returning from summer breaks, despite all the prior writing disruption, they had the disheartening realization that “all of the work was the same…the same impoverished spirit was discernable, the same complaining note was heard.” They’d paid so much money for this “hothouse environment,” this challenging place to test one’s skills, and they all simply blended into each other? “The work resembled,” Riviere writes, “the work of a madman, and not a vital and inspired madman, but a dreary and derivative madman, a boring an unlikeable madman who tirelessly and involuntarily churned out charmless and predictable material, possibly by decorating the walls of his madhouse with his own bodily fluids.” Yeowch.
The critique—MFA writing is dreadfully similar—isn’t new, but Riviere’s scorched-earth pen is. One of many things keeping Doppelgänger afloat as a dastardly alluring read and not a disdainful manifesto is his absolute joy in pillorying our most ridiculous forms of modern writing—the author-as-brand, the feckless little not-so-fictions scooped by indie presses, the exploitation and shaping of the student, an automaton trained on sets of data from one “author-master” to create online magazines, mastheads, and articles (sound familiar?)—Riviere’s glee makes all of this readable, his worldbuilding makes it surprisingly inventive. The novel is venomous, for sure, but it’s diluted by a commitment to surrealism as it spins into an art experiment, a cosmic reckoning, a conspiracy theory come to life. It’s like watching a capable critic give a subject theircomeuppance—you’re rooting for them to get nastier, really roll around in the mud.
But if someone asked me to say what Doppelgänger is about, my response—“a twinning trend spreads across a campus”—would be similarly insufficient as when my boyfriend said what David Lynch’s Inland Empire is about—“A woman auditions for a movie.” My description is true but insufficient in explaining Doppelgänger’s constant nooks and crannies, its playfulness and instability. Riviere picks up on one thread of the narrative and burrows into it so intensely that its layers begin to pile up in increasingly ridiculous ways—at one point you’re lodged in an email written by a rogue dupe of an inventor that basically admits to the falsity of what came before it; chapters take the form of post-mortems, interview transcripts; its narrative zooms and pivots; he flies through organizations and acronyms with a George Saunders-like flair for worldcrafting; there’s an index in the back that’s quite helpful.
I was reading this trick of a novel in the days up until I was set to see You Can See Everything, Nathan Fielder and Lance Oppenheim’s meta-documentary about their month spent with Theranos fraudster Elizabeth Holmes in the month before her 11-year prison sentence. Doppelgänger squirming in my hands excited me for the movie to come, similarly billed as being able to “break your brain” and confusing critics to the core. Maybe, I thought, I could review them both? That their similarities lie in auteurs breaking apart the conventions of their medium? I was itching to compare and contrast.
Unfortunately, You Can See Everything didn’t live up to its promise, and Doppelgänger is, in my mind, the better art experiment. Ridiculous and unflinching and very funny, it’s a book that actually dissects how a book should be—sometimes in frustratingly cerebral ways—but fascinating ones nonetheless. I became more charmed by Riviere’s smart-alecky methods of chipping away at a simple narrative, mangling a once-recognizeable campus novel into a suffocatingly clever indictment of modern culture.
The day I finished reading Doppelgänger, the day after its release, it was reported that Catapult, the book’s publisher, was being sold, and operations were to shut down at the end of the month. It was a sudden move: its authors werenot told; it’s not sure what will happen to its 25 employees and the 16 titles it has slated for Spring 2027. The move was made by its founder, Elizabeth Koch, the daughter of a billionaire who also had a hand in shuttering Catapult’s online classes and magazine.
I’m a man who loves irony, but it’s a little too on-the-nose that a day before this news, this disgruntled book, which gestures incisively at all the ways contemporary publishing sucks, was published. It dismays me greatly that some of the finest, mostinterestingbooksI’veread have come through those doors, delivered by people who care endlessly about their work. “It is brutal that these days, pursuing creative work so often means operating under the whims of a billionaire whose attention, when shifted, can cut the ground from under your feet,” Sabrina Imbler writes in their Defector column (“Catapult Elizabeth Koch Into The Sun”).
So Doppelgänger broke my brain, but it also might have broken Catapult; at the very least, the parallel of its publication and the news of its closure has a skosh of absurdist flair that Riviere, I think, would smirk at, if only for a brief moment. Doppelgänger laughs acidly at the idea of a landscape wherein everything is homogenized and stripped of its personality; with one less daring publisher in existence, aren’t we one step closer to Riviere’s vision?
Group Exhibition — Whiteshepherd Gallery in collaboration with D ContemporaryCurator: Ziyan Xu | Koppel Collective, 157 Regent’s Park Road, London NW1 8BB
A date on a label was never a deadline, only a suggestion. Over three evenings in October, Best Before made that argument in a room, and it was held.
Whiteshepherd Gallery’s latest group exhibition, presented at Koppel Collective in Chalk Farm, gathered twenty artists working across painting, installation, and performance around a deceptively simple question: what happens in the interval between ripe and expired? Not the moment of peak freshness, but the moment just after, when something is still becoming something else. Fermenting. Softening. Sweetening. The exhibition treated this interval not as failure but as the most generative space available.
The works arrived from varied directions but shared a quality of sustained attention to surface, material, and time. Paintings that accumulated rather than declared. Installations that asked to be approached slowly. A table laid for tasting. What connected them was less a shared aesthetic than a shared willingness to remain in the threshold rather than resolve it.
Curator Ziyan Xu structured the exhibition around the idea that ripeness is a way of keeping time: not linear, not absolute, but relational, dependent on what you bring to the encounter. Alongside the visual works, two food artists set their pieces on an actual table, completing a proposition the exhibition had been building toward. Part of Best Before was only finished once it had been consumed.
“not only the sugar, but the days” Li-Young Lee, From Blossoms
Exhibiting Artists: Alice d’Apolito, Zijing Deng, Beverley Duckworth, Deep Food, Nelson Hernández, Chujun Hu, Xingxin Hu, Kairos Huang, Sophie Keith, Na Young Lee, Yuexuan Li, Zhenzhen Ma, Siyu Man, Jennifer Louise Martin, Ling Miao, Finn James, Ismail Ucci, Mou In Yao, Jiayi Xu, 00 Zhang
Food Art
Part I: The Table by Paola A. Sánchez
On the opening night, Paola A. Sánchez laid a table of guavas: some ripe, some wrapped in newspaper to hurry them along, some left to sit. Among them, handmade bocadillos, a traditional Colombian guava sweet, sealed in bijao leaves and stamped with best-before dates that had already passed. The instruction was simple: look, choose, taste. The work asked visitors to trust their senses over the label, and in doing so placed the act of choosing at the centre of the piece. What was eaten and what was left behind became part of the work itself. In Best Before, Sánchez’s table operated as both still life and social proposition. The bocadillo had not expired; only the date had. What ripened on that table was not the fruit alone but the moment of decision.
Part II: A Plan for Eating by Tony Li
The following evening, Tony Li took a single ingredient, pear, and drew its life as a 1:1 architectural plan. Visitors moved through the table in groups of six, passing from zone to zone as the pear transformed:
Threshold · Before: nashi pear, cucumber, celery
Promenade I · Becoming: fresh pear, shiso, cultured cream
Promenade II · Becoming: jasmine-poached pear, sunflower seed miso
Pause · Best: ripe pear, jasmine cream, osmanthus
Beyond: roasted pear, fermented pear, aged cheese
Courtyard · Gathering: sourdough and pear, shared
Departure · After: pear pâte de fruit, warm Pu’er tea
The work sat precisely at the boundary between architecture and cooking: one disciplines the body through space and movement, the other through time and transformation. Li, founder of Moonlight Collective, brought both instincts to a tasting that was as much about sequence and attention as it was about flavour. Within Best Before, the installation extended the exhibition’s central inquiry from the visual to the edible. Each zone marked a moment in time, not a countdown but a passage. To move through the table was to experience ripeness not as a fixed state but as a direction of travel, which is precisely what the exhibition asked of all its works.
About the Organisers
Whiteshepherd Gallery, founded by Xu Ziyan, is a London-based nomadic gallery and curatorial platform working with emerging artists from the earliest stages of their practice. Its programme centres cross-cultural inquiry, with particular attention to feminism, migration, and identity politics, operating actively across Asia and the United Kingdom. www.whiteshepherdgallery.com
D Contemporary is a London gallery committed to bringing newly emerging artists into the commercial art world earlier than conventional gallery structures permit, and to championing contemporary art from international communities underrepresented in the London art scene.
Best Before was presented in partnership with Our Culture Magazine and JustArt Newspaper Club.
Over three days, Koppel Collective welcomed hundreds of visitors, with the opening night especially alive. Artists and audiences gathered between works and around the table, together completing an experience about ripeness and passing. Thank you to every visitor who came, and to all the artists whose work made Best Before what it was.
Planning a route through several countries is exciting until you think about your phone bill. Maps, translation apps, boarding passes and restaurant bookings all depend on mobile data, and the cost of getting it abroad can spoil the trip. If you are heading across the continent soon, using aneSIM in Europe is one of the easiest ways to stay online without the roaming shock. This guide covers how it works and how to set it up.
Why Roaming Is Usually the Wrong Choice
A great majority of home carriers charge a daily roaming fee or sell short term packages that expire fast. You can waste a whole lot of money in one day by streaming a few songs and uploading holiday photos! If so, you’re either purchasing a different one, or looking for a café Wi-Fi.
Public Wi-Fi is also not a good option. Often slow, and it is off when you are walking, as well as open networks can be a security risk. You wouldn’t want to download an app from your bank on a hotel Wi-Fi connection.
A travel eSIM eliminates these two issues. Your travel is paid for a fixed amount, and as soon as you reach the local area your phone connects to the local networks.
What is an eSIM?
An eSIM is a virtual SIM that comes preinstalled in your phone. You don’t need to purchase a plastic card to swap into a tray, you simply scan a QR code or tap through an app, and in a couple of minutes the plan is installed.
It’s digital, so you can configure it from the comfort of your couch on the way out. Most recent iPhones, Samsung Galaxy phones and Google Pixel models support eSIMs. See if your phone is compatible before purchasing, as older and carrier-locked phones might not be compatible.
Why It Suits a Multi-Country Trip
The biggest advantage on a route through several countries is that you don’t need a new SIM at every border. Local SIM cards usually only work in the country that sold them. If you take a train from Paris to Amsterdam and then fly to Rome, you could end up buying three cards and carrying them all.
A regional eSIM plan solves this. Holafly’s Europe plan covers 33 countries, including popular stops like France, Germany, Italy, Spain and the UK, so one install works across your whole itinerary. Check that every country on your route is on the list before you buy.
Data Allowances: Fixed or Unlimited?
Many travel eSIMs sell data in gigabyte blocks, so you have to guess how much you will use. A rough guide:
Maps and messaging use very little data.
Video calls and streaming use a lot.
Uploading photos and videos to social media can add up quickly.
A phone used as a hotspot for a laptop uses the most.
If you aren’t sure what you’ll need, it is better to have unlimited data. Unlike with other options, Holafly does not require you to top up your meter or monitor how much you are using—this comes in handy if you are driving through an unfamiliar city on a tight schedule.
Setting Up in Four Steps
It is easy to do, and it will alleviate stress at the airport.
Choose your plan. Choose the number of days required. Plans vary in cost depending on the number of days, and are available for one day to 90 days.
Install the eSIM. Open the app to get a step-by-step setup or scan the QR code that you have received in the email. This is an Internet connection requirement, and therefore must be performed at home.
Use your standard SIMto make calls. You can retain your regular SIM and use it for data too. If you use the original line, disable data roaming to prevent any unexpected bills.
Activate on arrival. When you land, turn on the eSIM and enable data roaming in your settings. This does not cost extra when the eSIM is set up correctly. Your plan starts when it first connects to a local network.
One thing to know: Holafly’s Europe eSIM is data only and does not come with a phone number. You can still call and text through WhatsApp or other internet-based apps, and your WhatsApp number stays the same.
Tips for Getting the Most From Your Connection
Download offline maps anyway. Even with a good eSIM, coverage in remote areas can be patchy. Mountain regions such as parts of the Alps, national parks and roads far from towns may have weaker signal. Saving maps offline means you are never stuck.
Share data with your travel companions. If you are traveling as a group, hotspot sharing means one person’s plan can cover a second device. With Holafly you can share up to 1 GB per day, so a 7-day plan allows up to 7 GB of shareable data. Everyone in the group still needs their own plan if they want their own unlimited data.
Keep the eSIM installed. Deleting it is not necessary when the plan ends. Holafly includes a feature called Always On, which gives you 1 GB of backup data each month in more than 150 countries as long as the eSIM stays installed. It is handy for a quick map lookup on your next trip.
Save your QR code. Take a screenshot or print it in case you need to reinstall. If you lose it, you can find your eSIM details in the app.
Don’t switch phones mid-trip. An eSIM can’t be transferred or reinstalled once it is installed, so if you change or reset your device you will need a new one.
Money-Saving Considerations
It is the cost that people choose eSIMs for, so here are some ways to keep it affordable:
Purchase the correct amount of days. Longer plans are cheaper per day, but of course you wouldn’t pay for 30 days for a 10-day trip.
Check out how expensive per day is compared with your carrier’s “roaming bundle”. Add any additional bundles you would consider using.
Steer clear of the SIMs from the airport kiosks. They are easy to find but usually much higher in price than if purchased online in advance.
Read through the refund specifications. Holafly does refund up to 6 months when there are cancellations or incompatible devices lowering the risk to purchase too early.
Who Benefits Most
This is beneficial for frequent travelers, digital nomads and short-stay tourists in particular:
Road-trippers and rail travellers, crossing multiple borders within a week.
Reliable e-mail and video calling without the dependence on hotel WiFi for business travellers.
Individuals and families who desire one easy setup for all of them.
People who are taking photos and videos all the way along the way.
For an extended period of time within a single country, you may find a local SIM card or country-specific plan to be less expensive. A regional plan is generally less cumbersome for any that crosses borders.
A Quick Pre-Departure Checklist
Before you’re off, make sure you go through this list:
Check if your phone is eSIM supported and unlocked.
Make sure that the plan accounts for all your destinations.
Connect eSIM at home via WiFi.
Capture your QR code and store support contact information.
Download offline maps and translation packs as a precaution.
Remove the main SIM’s data roaming.
It shouldn’t be the most difficult part of your trip to stay connected! Using the right system, you can use the train, book an “on the fly” table and post your pictures without worrying about data consumption. When you’re away from home, you know you can reach out to Holafly’s team anytime you need help. You can find out more about their plans and destinations at Holafly.
That’s all you have to do to prepare your phone to travel across the continent. Pack light, download your maps and have fun!
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Friday, October 23, 2026.
Panchiko – ‘One Car Hits Another’
After releasing their comeback album Ginkgo in 2024, Panchiko are back with news of their next LP. Out April 9 on Nettwerk, Chimera features guest spots from billy woods (who also appeared on Gingko), Cotillon, Hugh Pascall, Korea Girl, Abby Sage, Lula Nova, and CJ’s Mirra Maze, as well as two collaborations with Mei Semones, one of which, the swirling ‘One Car Hits Another’, is out today. “I imagined a serene waltz of a car crash, whilst onlookers and soon-to-be roadkill alike all sing along watching the slow motion collision unfold,” the band’s Andy Wright said of the lead single. “A hand shake, or a car crash, the matter of fact news report describing the incident never makes it clear where the true devastation lies… one car hits another… one hand shakes another; they’re both meetings, technically.”
yeule – ‘Hystérique’
yeule has returned with a new single called ‘Hystérique’. The gleefully warped track, which seems to steer the enigmatic artist in poppier territory following last year’s Evangelic Girl Is A Gun, was co-written and produced with with Devin Workman and Chris Greatti.
Allie X – ‘Midnight for the Masses’
In time for Halloween, goth-pop master Allie X has served up a new, self-produced track, ‘Midnight for the Masses’. She had this to say about it: “I’m not pointing fingers. I’m just as guilty. I kissed the beast, and now I’m watching myself change. In some ways, I no longer recognize myself. It’s no coincidence that this is my most digital-sounding song.”
Haute & Freddy – ‘Film Noir’ and ‘In Your Eyes’ (Peter Gabriel Cover)
Want another dose of pristinely produced gothic pop? Haute & Freddy, the duo of songwriters Michelle Buzz and Lance Shipp, have got you covered with their new single ‘Film Noir’. Its B-side is a cover of Peter Gabriel’s ‘In Your Eyes’, one of two Haute & Freddy tracks featured in Prime Video’s new adaption of Carrie.
Trentemøller – ‘Your Love Walks Alone’ [feat. The Raveonettes’ Sune Wagner]
Trentemøller have enlisted Sune Wagner of the Raveonettes for ‘Your Love Walks Alone’, the latest single from their forthcoming self-titled album. “A depiction of pure love slowly winding down and how it affects you in those moments where you realize you’re being ‘replaced,'” Wagner said of the track. Trentemøller added: “Ever since Sune sang on my track ‘Deceive,’ we’d been talking about doing another song together. This time I had an instrumental that felt right for his voice, so I sent it over. He loved it, and pretty quickly came back with that great vocal that’s unmistakably Sune / The Raveonettes. With ‘Your Love Walks Alone,’ I feel like he hit the mood of the music perfectly. What I love is how the vocal melody is kind of ‘happy,’ while the lyrics are actually pretty dark. It makes for a good contrast against the more brooding, insistent sound underneath.”
Fog Lake – ‘Gamut’ and ‘Styrofoam’
Fog Lake have previewed their upcoming album, Hollowbody, with a pair of new tracks. Project leader Aaron Powell described ‘Gamut’ as his “evil ‘Wonderwall,’” while ‘Styrofoam’, which is “about the vestiges of a lost friendship,” comes with a video he shot on a $20 digicam with $5 puppets.
In new comedy-mystery series Phony, a teen boy becomes convinced that his mother is an imposter. Is that really the case, or is he simply dealing with the consequences of a car accident? We don’t know, which is part of the fun.
Available to stream on Disney+ in the UK, the show premiered to positive reviews, and an appealing cast might be enough to win you over. That said, can that premise sustain additional installments? Here’s what we know so far.
Phony Season 2 Release Date
At the time of writing, there’s no official news available about a potential Phony season 2.
Even so, only two episodes are out so far. There’s still time for a renewal announcement down the line. It all depends on where the story is going and whether people tune in.
If all goes well, a second season might arrive in fall 2027.
Phony Cast
Connie Britton as Ellen Cooke
Sam Nivola as Sonny Cooke
Grace Brennan as Mallory Russell
Maliq Johnson as Vogel
Meera Syal as Sharla
Colter Lee as Weldon
Mahaela Park as Chloe
What Is Phony About?
Phony revolves around teen boy Sonny. He has always shared an unusually close bond with his mother, Ellen, who works as his school’s principal. Their relationship is built on private jokes and affectionate gestures.
When Sonny wakes up in the hospital after a car accident, however, something about the woman claiming to be his mother feels wrong. Although she looks and behaves like Ellen, he senses subtle differences in her personality and mannerisms. Most disturbingly, she no longer seems to share the intimate connection they once had.
Everyone around Sonny insists that Ellen is the same person she has always been. They attribute his suspicions to the psychological effects of his accident, leaving him uncertain about whom to trust. Determined to uncover the truth, the boy begins to look into his mother’s identity, searching for evidence that might explain the uncanniness.
While Phony season 2 isn’t a sure bet, the show’s creator promises that viewers won’t have to wait long for answers to the central mystery.
“I hate an endless mystery that just keeps compounding. From the pitch, we said we were on a path that could carry us through two more seasons. So, there is resolution coming to this mystery, the mystery you experience in these first episodes. That story gets answers… and then there’s a huge cliffhanger at the end of the season that kicks off into a new story,” Nick Paley told The Hollywood Reporter.
For now, you can catch new episodes of Phony weekly on Hulu/Disney+ until early December.
It’s kind of fitting that the first song on Caroline Rose’s last album, 2025’s year of the slug, serves as the closer on their latest, Gentling the Horse at the Walt Whitman Mall. While the previous record was a collection of Garageband recordings exclusive to Bandcamp, the new album – Rose’s first independent release on their new label, SUCK – was recorded with indie super-producer John Congleton, amplifying the raw immediacy of some of those older songs and rounding it out with new ones. For Rose, the beautifully imperfect vision of euphoria captured in ‘Everything in Its Right Place’ – yes, that’s the title of the song, brought into sharper focus in its more polished, properly capitalized version – is the beginning and end of it all. It’s not far off from the world they remember their teenage self wanting to create, a refuge from the chaos that, in time, has sucked up every side character on the record, narrator often included. On their rowdiest effort to date, Rose barrels through “alien decisions,” weird pockets of American culture, and strange alleys of memory others would rather abandon. Like the title of their new album suggests, though, Rose uncovers in them an absurd fusion of tender optimism and unvarnished nostalgia.
We caught up with Caroline Rose to talk about strip malls, fast food, spaghetti westerns, and other inspirations behind Gentling the Horse at the Walt Whitman Mall, which is out today.
Strip malls
The record is named after a shopping center that’s named after Walt Whitman – I realize now it’s called Walt Whitman Shops, but formerly the Walt Whitman Mall. That’s in Long Island, where you grew up, right?
Yeah. There’s other things named after Walt Whitman, too. We were just in the tri-state area, there’s a truck stop named after him. But the Walt Whitman Mall, yeah, it’s been rebranded Walt Whitman Shops – I think they’re trying to make it fancier or something. But hilariously, that was one of the nicer malls, the upper-middle-class malls, where you could go to Abercrombie and, I don’t know, get a $120 pair of jeans or something. But I always found it hilarious that they named a mall after this poet whose whole body of work became synonymous with the labor movement and working-class people. For anybody who knows what he was like, I think anyone would find it kind of funny they named a mall after him, because he was very bohemian and queer, and he lived with his mother until he was 40. He was kind of a weirdo off-kilter guy. I laugh about it, and I always found it funny, even when I was a teenager – just a weird way to honor someone. But maybe he would like shopping, you know? [laughs] You never know.
What memories come to mind when you think of it? How did it spring back to mind and turn into album title material?
I have these images in my head of my adolescence and growing up as an American kid. There’s just a lot of boredom and ennui, and a lack of culture, at least if you don’t live in a major city. I came from a really tiny town that’s sort of on a remote part of Long Island, and there was just never anything to do. We were always just hanging out at the end of a street, drinking and smoking weed, making out in cars and stuff. I just have these images that really summarize, like, the American getting through your teenage years and your early 20s. Pretty much as soon as I could, I got out of my hometown and moved to the city, and it had its own set of characters that were riddled with problems and struggling to fully form as people in this really unforgiving, inhospitable environment where there really is no guidance. When you’re a teenager, you sort of look up to your parents, and then you get to a certain age, and you’re like, “Oh, my parents actually don’t know anything. We’re all just human beings, and nobody actually knows what they’re doing.”
Around last year – and these things will make sense, just bear with me – a fan of mine, he flew me out to West Texas, and he was showing me all around these old ranches. I saw this placard that was talking about gentling a horse, and I’d never heard the term before, and the way that they were describing it was really poetic and really beautiful. It was a non-violent way of taming a horse, and that was a new mentality. I don’t know when this became common practice, but it was a really different technique than just using whips and ropes. When I read it, I was like, “Huh, that’s such a beautiful idea,” taming a wild animal using trust and tenderness and a sort of equality.
I related it to my own life and growing up, and how hard it is to be a young person in this environment that is just spiritually bankrupt. If you come from a small town, you have so little access to understanding what the actual world is like. We experience it digitally, but there really is very little tactile, real-world experience that connects people outside of your tiny little bubble. At least that’s how I felt; I was living in my own dreamworld fantasy. So I was equating these two things, these pictures in my mind of these different American images that, combined, summed up how I was feeling about this nostalgia of my youth with where I’m at now in my life. It seemed to perfectly nail what I was going for.
You reference malls on a couple of these songs – there’s an outlet mall in ‘Conversation with Shiv (AKA liquid k song)’, and another one on the closing track, ‘Everything in its Right Place’.
If you saw the mood boards that I put together, just to immerse yourself in a world, it’s all these box stores, fast food, driving around, boredom, all these big emotions, not knowing what to do with them, and you buy stuff, binge drink, and smoke weed. I think there’s something really relatable about that. I think that’s a universal feeling of youth, trying to figure out what to do with your time and your life.
Preppers
I find it fascinating how people’s anxieties turn up. I’m kind of part-prepper. I have, randomly, a lot of things in common with old men. Whenever I get talking to an old guy who starts talking about his underground bunker, I just go off with these dudes. I just love it, because their eyes light up, and then they start talking about how they’re doing it, and the arsenal of guns that they have for the impending World War, and they know how to grow their own food, and are into alternative energy and being off-grid. I find it so interesting, because it’s really where the alt-right and the alt-left fuse. I just find that so funny and interesting. It’s so remarkably hard for people to get along, but when you do start talking to different types of people around the world, every type of human, everybody does tend to want the exact same things. But the means to get there are so remarkably different, and the branding and marketing around certain types of lifestyles are so different.
I feel, oftentimes, like everybody’s life is just a different marketing strategy. We just buy into something that maybe we were fed since we were little kids. But I always find myself gravitating towards people who are a little off-center, who just have cult-like mentalities about certain things, or people who are so lonely they get a life-size doll and put a face on it. I find myself another one of those people that’s kinda just a little off-center.
How and where do you find yourself striking up these conversations? Is it mostly online, or on tour?
I think I gravitate towards weirdos in a lot of situations. Online, as soon as you start finding the weird stuff in the algorithm, it feeds you all of this strange stuff. One of my friends always kind of searches the internet for different characters out there, and we have a lot in common, so they’re always sending me these videos that are completely changing my algorithm, and it’s just getting weirder and weirder. [laughs] I actually kind of hate being online, but one of the silver linings to how connected everybody is digitally is you really can find any type of person out there. And something that I think is really fascinating is the loneliness that people feel when it’s projected into this digital world. It’s like people going out fishing, looking for people like themselves. There’s this barren loneliness to it that I really relate to in a way; there’s a desperation to feeling so lonely that you feel misunderstood, and you feel like an outsider. That’s something that I think I’ve always felt. I’m not exactly sure why; maybe it was growing up a little queer kid in a religious family.
And then you meet people in real life all the time. I live in Los Angeles, and one of the first things I loved about this city is how kind of bizarre everybody is. I have this theory that you can learn about a city by what people staple to the telephone poles, because in New York City, you’ll go there and it’ll be like, “Dog walker” and “Want to learn piano?”, and then they’ll have the pull tabs in the bottom. And you come to LA, and it’ll be all these flyers of, “Have you experienced an alien abduction?”, and then all the pull tabs will be gone. There’s this weird underbelly here where every other person is in a cult or legitimately goes to see a psychic as a form of therapy. It’s constantly a source of inspiration.
Fast food
On the songs we mentioned before, you also namedrop the Crunchwrap Supreme and Hardee’s. Like you said, fast food was definitely on the moodboard.
I think it’s just so ingrained in the culture. I just can’t think about my life without, like, 12-lane highways and fast food and advertisements everywhere. A lot of the culture is centered around the drive-through and shopping. [laughs] I don’t know why I find it so funny. I think just because it’s so unnatural, this way that we just drive up and get a whole meal, and don’t know where it comes from, and have no connection to it whatsoever, but you just, like, roll a blunt and then hit the Taco Bell drive-through, and it’s a completely normal way of living. I guess it’s just documenting this part of life that is so ingrained.
I’ve always loved folk music and country music storytellers, and they’d talk about these really emotional stories that have this sort of nostalgia to them. I think the type of American music – Americana music, if you want to call it that – that I’m interested in is this sort of hyper-modern, hyper-reality version of the culture. That nostalgic kind of folklore is so dated, and it’s a little too cute. I wanna hear something that has a bazooka attached to it. It just feels more reflective of the absurdism we’re dealing with now.
Muscle Beach
Are you referring to the one in California?
Yeah. It’s just another alternative lifestyle. These giant muscle people – in Muscle Beach you can go down there, and people are always down there, and they’re just enormous. They’re so remarkably dedicated. They have just these enormous biceps, and they could bench press my whole body twice over. It’s just so fascinating how you can see so many different types of people here, especially when you go into touristy areas. I love going to places like Myrtle Beach, Atlantic City, Muscle Beach, and Times Square, where you see all these different types of people. I just have this endless fascination with someone who completely dedicates their life to a thing, especially when it’s a thing that’s so transformative, like body transformation or fetishes, and you become immersed in this world of like-minded outsiders. This is another one of those subcultures that I just find endlessly fascinating. I have a tattoo of a giant muscle man on my arm, and I want to get another one of this female bodybuilder, this giant muscle lady from the ’80s. I think they’re so cool.
I saw a clip of them that you posted as part of the inspiration behind ‘Calm’.
Just the idea that you could go to the gym every day and take steroids, and you are so dedicated to this supersized version of yourself? It’s also so very American: how over-the-top can I be? I do find it absurd, but I like that it’s absurd. I think I’m just a curious person; everything that’s kind of outside of my immediate realm, I’m just going to be inspired and intrigued by it.
Smoking weed
I just have a fascination with weed culture. It’s my greatest aspiration to be a pothead, because every time I smoke or ingest weed, it makes me crazy. [laughs] It either puts me right to sleep, or I have these most paranoid visions. One time I ate weed and woke up from a dead sleep, and I was just absolutely convinced there was somebody in the hallway with a machine gun, and that if I got up and had to go to the bathroom, I was going to get mowed down by this dude with a machine gun. Another time, I kind of created a whole hallucination of Hitler coming back from the dead. Talk about absurdism! The last time I remember being in Amsterdam and smoking weed, something called “purple machete.” I smoked barely any of this blunt, and it made me out of my goddamn mind. I was so weird, and everybody was like, “What is wrong with you?” I kept getting lost, and I was so paranoid about everything.
I think why I find it so interesting is that it fits right into these images that I have in my mind of this absurdist version of culture and this over-the-top, supersized, steroided version of reality, and it’s all nested right in the mix. I find a comfort, almost, in the extremeness of the feeling, because oftentimes I already feel like my mind is moving like a particle accelerator, and I have all these thoughts all the time, and everything already feels so intense, and my emotions feel so big, like they’re exploding out of my body. Maybe there’s something to be said about that, just how I feel in my day-to-day life and how maximalist the images and information that I receive feel from the outside world. Everything just feels intense and crazy, so I feel like this drug culture is nestled in there. I’m as much fascinated by meth heads as as people who smoke weed every day and binge drink every day; it’s just another way of wading through the muck of hardship and despair.
On ‘Calm’, there’s also this irony of supposedly being chill, but actually feeling paranoid about everything.
I feel like that’s the ultimate experience when I’m high on something, or when I smoke weed, or just the way that I feel maybe all the time in a social environment – just having to be normal and look normal, like everything’s fine, everything’s fine, everything’s fine, and you’re actually just kind of crumbling and imploding on the inside. I was talking about that song to somebody in an interview, and they were like, “Oh, like masking.” And I was like, “Yeah, it is kind of like masking.” Everyone kind of diagnosing my neurodivergence via my lyrics. [laughs] I’m like, “Okay, okay.”
Latex
I think you’re starting to see a theme here of subcultures that I just find fascinating. I find all these different pockets of cultures so uniquely their own thing, and I always kind of find myself feeling like a voyeur, like a visitor in these different worlds, because I’m just so curious about it. I think there’s a part of me that genuinely wants to understand or try it. I’m genuinely curious about how things might feel. I also think that the latex world is kind of beautiful. It has this beautiful imagery of texture and sensuality, and I think people kind of make it weirder than it even is. I think as an artist, it’s just beautiful; it’s fascinating from an aesthetic standpoint. And then, being a visitor and immersing yourself in a world, it’s fun. It’s fun to be inspired by different ways of life. It’s part of this absurdist reality that I feel like I’m living in, this maximalist aesthetic. I hope people reading this will be like, “I’m gonna send you some stuff,” you know?
Spaghetti westerns
Growing up, my family and I would go on these road trips to different American national parks. I grew up seeing the whole country by the time I was a teenager. We would always stay in these really kitschy places. It would be like a roadside motel off Route 66 that was shaped like a teepee. You know, it had air conditioning and was kind of modernized, but it was ridiculous. Or bizarre roadside attractions – you’d see, “100 miles away, pull off to see The Thing!” I just grew up with these American tropes – what comes to mind is simulacra, kind of reprocessed versions of itself that are no longer even applicable to the original country. It actually has nothing to do with it, it’s just an advertised version of something.
What I find really interesting is when people from other countries look at American culture, and how it gets summed into these ridiculous stereotypes. Like, a spaghetti western is a take on this classic American style of film, but then it becomes kind of its own thing, and it’s arguably better than the original thing. It becomes this legendary thing. It’s like its own reality now, and then there’ll be somebody that is inspired by the take on the take of the original Western film. So then it becomes this mosaic of these old stereotypes of Western films, and then you have the Italian version of it, and then, I don’t know, the Nigerian version of the Italian version of the US version. I think that’s so cool, this fusion of cultures and interpretations and interpolations. I think that’s why my career will always be an exploration of sounds and styles, trying fusions and being like, “Will this sound cool with this?” Maybe at some point I’ll pick something and settle with it for a while.
This interview has been edited and condensed for clarity and length.
The process of selling engagement rings is not as simple as it might appear to many. You are aware of the price you paid for your ring, but you will not get that much from the sale. Moreover, there are various decisions that need to be made regarding whether to sell the ring to a jeweler, an online seller, or even try to sell it on your own.
A little bit of research can go a long way. The main things that should be considered in advance are: resale value, the documents related to the ring, the offers from the best buyers, and the procedure of selling. This is the way to avoid the most typical mistakes.
These five aspects are crucial for your future success: resale value, price, place of selling, preparation, and reliability of the buyers.
Know What Drives Resale Value
The original price tag doesn’t tell you what your ring is worth today. Retail includes the design, the marketing, and the store overhead. A buyer will consider how much the ring is worth in the present market demand. That is why even a priced ring can be sold at a far lesser amount than the actual price.
The center diamond is the most important. There are four things buyers consider: cut, color, clarity, and carat weight. Those are verified by a grading report from a recognized grading laboratory like the Gemological Institute of America (GIA). The metal, condition of the ring, and the name of the designer can also move the offer.
Do not confuse an insurance appraisal with a resale valuation. An appraisal estimates what it would cost to replace the ring with a similar one. A buyer is thinking about what the ring will fetch on the resale market. Appraisals usually run higher, so do not expect an offer to match yours. Once you know the value of your ring, it is easier to figure outwhere to sell engagement ring pieces like yours for the best price.
Set Realistic Price Expectations
Plenty of sellers hope to recoup most of what they spent. Offers rarely come close. Resale offers often land around 20% to 50% of the original price, depending on the ring. Diamond quality, certification, brand, metal, and market demand all play a part.
The market shifts, too. Diamond prices and demand change over time, and buyers value stones differently. A designer ring or a well-documented diamond may draw more interest than a similar piece with no paperwork. Still, no feature guarantees a particular offer.
Before you contact anyone, set a price range. Check what comparable pre-owned rings are selling for, then request quotes from two or three reputable businesses. Compare each offer alongside fees, shipping costs, and return terms. The highest quote isn’t always the best deal, especially if the final offer or the service terms turn out to be worse.
Compare Places to Sell Your Ring
You have more options than you might think. Specialty diamond buyers evaluate the stone and setting before making an offer. Local jewelers sometimes buy pre-owned rings, but policies vary. Pawn shops offer a fast sale, but expect lower offers. A quick phone call to each type of buyer will tell you a lot about how they operate.
Private marketplaces let you set your own price and negotiate directly. The tradeoff is more work: you will write the listing, answer questions, arrange payment, and set up a safe meetup. For in-person handoffs, pick a public spot like a bank lobby or police station parking lot. Consignment shops and auction houses suit distinctive or high-value pieces, but they can take a while, commissions cut into your payout, and a sale is not guaranteed.
If you would rather skip the store visits, an online diamond buyer may fit. You can usually start by submitting the details of your ring online. Before you pick one, look closely at its valuation process, shipping, payment terms, and return policy. Recent customer reviews can show how the buyer handles a complicated deal. The whole experience matters, not just the first number you see.
Gather Your Documents Before You Request a Quote
Start by pulling together whatever paperwork you have. A GIA grading report, the original receipt, a past appraisal, or designer documentation can confirm the ring’s characteristics and history, and they usually make the initial assessment easier. Check old jewelry boxes, email receipts, and insurance files, since paperwork often turns up in unexpected places. If you can’t find everything, don’t worry. A specialist can still work with what you have.
When you request a quote, give accurate details about the diamond, setting, metal, and brand. If the buyer accepts photos, take clear shots from several angles in good light, ideally against a plain, neutral background. Mention any visible damage or loose stones up front rather than hoping no one notices. Honest details mean fewer surprise changes to the offer later.
You probably don’t need to repair the ring first, since repairs often cost more than they add to the offer. Ask the buyer whether the damage affects its valuation before you spend a dime. Then follow the buyer’s instructions for preparing and shipping the ring, and keep copies of everything you submit in one folder so you can find them quickly.
Check Buyer Terms and Shipping Safety
Research the buyer before you send anything. Look for clear contact information, a verifiable business address, customer reviews, and written policies. Read what past customers say about communication, changes to offers, and returns. Be wary of any buyer who pressures you to decide quickly or won’t explain how it values rings.
Shipping needs extra attention when you sell online. Find out who provides the label, how to pack the ring, and what insurance applies. Look for a buyer that offers a prepaid label and fully insured shipping. Follow the packing instructions, and keep your receipt and tracking number until the sale is complete.
Read the final offer and payment terms before you agree to anything. A quote can change once the buyer inspects the ring in person, but the reason should be clear. Ask when you’ll be paid, whether any fees apply, and what happens if you say no. A good buyer will return the ring at no charge if you don’t accept its offer. Get these answers up front, and you won’t be caught off guard.
Conclusion
Selling an engagement ring takes more than finding a buyer. Know what your ring is worth, compare offers, gather your paperwork, and check the buyer’s reputation. Pay close attention to shipping insurance, payment terms, and the return policy, since those details can make or break the experience.
Start by collecting your documents and requesting quotes from a few reputable buyers. Compare the full terms, not just the prices. If anything is unclear, ask before you commit. Most important, don’t rush. Taking your time lets you avoid costly mistakes and walk away from the sale feeling confident in your decision.
A chair moves slightly as the last piano chord fades, but nobody enters the room. That is the image I would build a short music video around: an empty seaside rehearsal space that appears to remember the person who played there. The proposed song is an original instrumental, and the deliverable is a brief visual passage for its release, not a simulated live performance. The challenge is making the room feel attentive without filling it with distracting supernatural effects.
My starting materials would be modest: a photograph of a weathered room, a close view of a wooden chair, a short camera movement filmed on a phone, and an audio excerpt supplied by the musician. Each material needs a distinct job. The room establishes colour and space, the chair supplies a recurring object, the phone clip suggests a gentle approach, and the music determines where the scene should breathe.
The appeal ofseedance 3.0 for this concept lies in bringing those references into a video generation workflow alongside written direction. It supports text-to-video, image-to-video and reference-based video generation using text, images, video and audio. My interest is in the moving scene that results: the relationship between the chair, a patch of afternoon light and a musical pause. This is a proposed creative approach, rather than a report of a finished experiment.
Let the room carry the song
Before writing the shot brief, I would listen for the passage where the arrangement becomes less crowded. A chorus might be an obvious promotional choice, but a quieter transition could give this room its identity. Imagine a soft piano figure, a low sustained tone and a small intake of breath before the next phrase. The camera can move during the piano, settle during the sustained note, and leave the breath visually unanswered.
The reference photograph should already contain a convincing composition. I would choose a doorway at the left edge, pale walls, a window beyond the chair and enough floor to show a narrow band of sunlight. A cluttered photograph with cables, posters and several instruments would create competing points of interest. Removing those distractions from the concept keeps the viewer close to the one question that matters: has someone just left?
Seedance 3.0 becomes useful here as a way to explore that scene in motion. The image is a reference for the room’s appearance, while the written brief describes a change over time. I would make the distinction explicit: preserve the chair’s worn surface and the window’s position, but let a thin curtain shift gently. A still room with one moving detail can carry more tension than a camera racing through several locations.
Write movement that has a reason
My first Seedance 3.0 shot brief would read along these lines: begin at the open doorway of a pale seaside rehearsal room; approach the empty wooden chair slowly at seated eye level; keep afternoon light soft and consistent; allow the curtain to lift once; stop before reaching the chair. The final phrase matters. Without a defined stopping point, the camera movement might consume the whole passage and leave the music nowhere to resolve.
The phone reference would show only the desired pace and distance. I would record a simple forward walk through a quiet room, avoiding fast turns and abrupt changes in height. Its purpose is not to contribute furniture or a person to the generated scene. In the prompt, I would identify it as a movement reference and separately identify the photograph as the visual setting. Clear roles make competing source material easier to reason about.
For the audio reference in Seedance 3.0, I would select the actual passage intended for the video rather than an unrelated song with a vaguely similar mood. The musician’s own excerpt gives the scene a specific emotional shape. I would ask for restrained movement around the pause without assuming that a written instruction guarantees exact musical synchronisation. The generated result still needs to be watched and heard against the intended release audio.
A revision worth making
Suppose the first draft made the curtain billow dramatically and pulled the camera all the way to the window. The room might look attractive while losing the feeling of an interrupted rehearsal. My revision would reduce the curtain movement, remove the instruction to travel toward the light, and name the chair as the visual destination. I would also shorten the action description so that the room does not acquire an unnecessary second event.
That is the kind of decision I want Seedance 3.0 to support: a concrete revision to a video idea, guided by what the shot actually communicates. I would compare the versions at the same musical moment. Does the camera stop before the pause? Can the chair be understood as empty? Does the window remain a source of light rather than becoming a new subject? Those observations are more helpful than describing one version as simply more cinematic.
If the chair itself appeared to bend or slide, I would simplify again. The chair can remain still while the curtain supplies movement. The suggestion of someone’s absence comes from framing and sound, not from animating every object. A second reference photograph showing the chair clearly could help establish its intended appearance, but more references are worthwhile only when they resolve a visible ambiguity.
Give the ending somewhere to rest
The closing image should be close to the opening in spirit, even if the camera has travelled. I picture a settled composition with the chair slightly off centre and a thin strip of bright floor beneath it. The music continues beyond the frame. This avoids the familiar temptation to turn the last beat into an oversized visual reveal, which would be out of character for a song built around restraint.
Video extension in Seedance 3.0 offers a possible way to explore a longer hold or a following action. I would consider it only if the chosen take ended too soon for the musical phrase. The extension brief should preserve the established room and ask for the smallest continuation: the curtain settles, the light remains steady, and the camera holds. A new character entering would create another story that the short passage has not prepared.
For the release version, I would bring the selected video into a conventional editing timeline with the approved audio. Any title lettering or release information belongs in that final assembly, where its placement can be controlled. The musician should be able to compare a clean version against one with a restrained closing title. Both should preserve the pause that gave the visual its reason to exist.
The finished concept I am aiming for is small enough to remember: one room, one chair, one movement that stops at the right moment. Seedance 3.0 supplies a way to generate and revise the moving material, while the creative judgement stays with the relationship between picture and song. If the viewer feels the room listening after the final chord, the video has done enough.
Has there been a time when the Kardashians were not doing reality television? Seems unlikely. They have been a constant presence on our screens ever since Keeping Up with the Kardashians debuted back in 2007.
The show ran for 20 seasons, after which the family debuted The Kardashians in 2022. Available to stream on Disney+ in the UK, the series recently premiered its eighth season. Could more be on the way? Here’s what we know so far.
The Kardashians Season 9 Release Date
There’s no official news available about a potential The Kardashians season 9, at least not yet.
That said, rumours suggest that the reality show has been renewed for two additional installments, and that season 10 might act like a swan song. Seems possible, as we can’t imagine the powers that be pulling the plug without turning it into an event.
If all goes well, season 9 could premiere in fall 2027.
The Kardashians Cast
Kris Jenner
Kim Kardashian
Kourtney Kardashian
Khloé Kardashian
Kendall Jenner
Kylie Jenner
What Is The Kardashians About?
The Kardashians promises a behind-the-scenes look at the lives of Kris Jenner and her daughters. If you’ve been living under a rock for the past couple of decades, the list includes Kourtney, Kim, Khloé, Kendall, and Kylie.
The show goes beyond headlines and social media posts to reveal how the family deals with the challenges of living under constant scrutiny. Each member juggles billion-dollar business ventures with romantic relationships. Kris continues to act as the family’s manager and business strategist. The sisters, meanwhile, expand their empires in real time.
According to the official description, the current installment is all about “love, reinvention, and what comes next.” Three episodes are out, which see Kim and company balance public criticism with lighter, affectionate moments. Caitlyn Jenner makes an appearance as well.
While The Kardashians season 9 isn’t a sure bet, we don’t expect the family to go anywhere, at least not in the near future. For now, catch season 8 episodes weekly on Hulu/Disney+.
Sebastian Stan has come a long way since dazzling audiences as Carter Baizen in iconic teen drama Gossip Girl. Not only is he an integral part of the Marvel Cinematic Universe, but he’s also been embracing the kind of challenging performances that showcase his versatility in recent years.
As a result, his net worth should be substantial by now, right? Here’s what we know about the actor’s earnings.
The bulk comes from his acting career. Born in Romania, Stan relocated to Austria and eventually to the US, where he became interested in acting.
He started with a bunch of smaller roles in TV shows and movies. As far as his early career is concerned, you might remember him from The Architect and The Covenant. In 2007, he began to play Carter Baizen, a charming guy with a dark side on Gossip Girl. The fact that the teen drama was incredibly popular was the cherry on top.
Before long, Stan would nab bigger roles in TV shows Kings, Political Animals, and Once Upon a Time. His filmography also grew with titles like Rachel Getting Married, Hot Tub Time Machine, andBlack Swan.
In 2011, Stan made his debut as Bucky Barnes in Marvel’s Captain America: The First Avenger. Initially introduced as Steve Rogers’ childhood friend, Bucky became one of the MCU’s most important characters when he returned in Captain America: The Winter Soldier as the brainwashed assassin known as the Winter Soldier. He’s been a steady presence since, appearing in Captain America standalone movies, crossover events like Avengers: Endgame, TV series The Falcon and the Winter Soldier, and more recently Thunderbolts.
Outside of the MCU, the actor had a slew of memorable appearances in films The Martian, Logan Lucky, I, Tonya, I’m Not Here, Endings, Beginnings, The Devil All the Time, The 355, Fresh, Sharper, and Dumb Money, to name only a few. He also played Tommy Lee in 2022 series Pam & Tommy.
Fast-forward to 2024, one of the most challenging years of Stan’s career. In A Different Man, he played an aspiring actor with neurofibromatosis who undergoes an experimental procedure only to confront unexpected questions about identity. In The Apprentice, he portrayed a young Donald Trump, carefully studying archival footage to reproduce his voice and physicality. The role brought him his first Academy Award nomination.
Besides acting, Stan also dabbled in producing.
Sebastian Stan Salary
Actor salaries are generally kept under wraps, but it’s safe to assume that Stan no longer relies on $65,000 residuals to make ends meet.
Reports suggest that he was paid $400,000 per episode for The Falcon and the Winter Soldier. He also probably makes a few million for each Marvel movie role. That said, his fees depend on the project. Independent films generally pay much less.
This year, fans could catch Stan in Palme d’Or winner Fjord. He’ll also be in Avengers: Doomsday, which comes out in December. Next up, the actor will appear in The Batman: Part II.
