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For their 192nd episode, two haughty film critics, two betrothed dads, and two classical school teachers, Will Johnson and Don Shanahan, refine their usual viewing to discuss possibly unexpected from their norm, but something with extreme class. We’re talking about director Joe Wright’s sumptuous 2005 adaptation of Jane Austen’s Pride and Prejudice, starring Kiera Knightly in her prime stardom. The gents are joined by a special guest: Will’s daughter Lizzie, an ardent fan of the book and movie. If the movie didn’t class up the podcast, having the target demographic of Jane Austen sure did. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!
Those online games that made hours just fly by? The things you used to do with them became old, but they were fun and helped you bond with your friends. As newer versions came out, memories of old games slipped gradually behind.
Let’s reminisce and bring back 10 online games that had you addicted long ago.
This adorable little snowy little penguin truly may have brought all the kids and teens into making their own penguins, decorating their igloos, and playing mini-games with their friends. Club Penguin was more than just a game; it was a community. Unfortunately, in 2017, Club Penguin was shut down, but it still lives on in so many hearts.
Neopets was the ultimate online pet simulator. One could adopt multicolored creatures, feed them, and make games for Neopoints through it. The worlds and quests in Neopets were magical, which made it incredibly entertaining. It’s still around, yes – but lots of folks have left their pets behind, looking to do their adult things.
At one time, RuneScape was one of the biggest online games, and it provided an open-world fantasy experience. Players mined, fished, battled, or went on quests. In spite of having many casual players today, they’ve mostly forgotten how groundbreaking this game once was.
Habbo Hotel was a one-pixel-art meaningful social game in which a player could design rooms, chat, and role-play. Emerging before hangouts, Habbo topped the scene partly because it was not social media. Over the years, its charm faded, but many people had their maiden taste of online friendships through it.
FarmVille took over Facebook by storm. From the teenagers to grandparents, they’d all be planted with crops and animals. Casual but social play at its best. Though far from being hot right now, it lives in the form of so many mobile farming games.
Adventurequest featured awesome tale-driven quests and great turn-based battles. High-speed Internet or high-tech graphics were not required since it was very accessible to everyone around. Although still playable, it’s been overtaken by modern gaming trends and doesn’t feel the same anymore.
Gaia Online was a social network-cum-game, where one made an avatar, forum-navigated, and played zOMG! Gaia was practically the only one able to do that. It grew up and left the site, along with many other users, but such was life in the now-dead online world.
91 Club offers a great platform for colour trading and slot gaming. Withdraw your winnings instantly and fill your wallet with various deposit options.
How easy is it for a player to join the app and start having fun playing his or her favorite game and earning cash? The easy-to-use interface and ecstatic gameplay of 91 Club are becoming the first choice for gamers looking to relax and make some extra bucks.
MapleStory was a side-scrolling MMORPG filled with quirky characters and fun classes. It offered unique visuals and addictive grinding gameplay. While the game is still active, many early players have drifted away, forgetting just how captivating it once was.
This game blended exploration with problem-solving. You traveled through islands to solve mysteries and complete stories. It was creative and educational without being boring. Though it’s still online, it’s mostly off the radar now.
These games gave us endless fun and unforgettable memories. Even if we’ve moved on, they were once a huge part of our online life. Maybe it’s time to revisit a few and feel that old spark again.
For their 193rd episode, two suburbanite film critics, two nanny-gawking dads, and two accosted school teachers, Will Johnson and Don Shanahan, circle back to a cinematic cottage industry found in the 1980s and 1990s of so-called domestic terror: stories that preyed on the pearl-clutching fears of the upper middle class. One of the best to get the audience’s blood boiling was 1992’s The Hand That Rocks the Cradle directed by the late Curtis Hanson and starring Rebecca De Mornay. It’s time to steal a baby, but this show won’t steal yours. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!
Newcomers Enter the Rankings – The Brutalist, Wicked, I’m Still Here, and A Complete Unknown emerged in the top ten after the Oscars, reflecting fresh audience interest. ● Shifts in Viewer Attention – While Dune: Part Two, Alien: Romulus, Inside Out 2, and Gladiator II ranked highly before the awards, they were replaced by new titles post-Oscars, possibly due to shifting critical conversations and winner announcements. ● Sustained Success for The Substance & Conclave – These two films held their positions as the most streamed, proving their long-lasting appeal to audiences.
Surging Interest in Indie and Arthouse Films – Flow and Nosferatu gained traction after the Oscars, suggesting a growing curiosity in artistic and unconventional storytelling.
JustWatch is the world’s largest streaming guide, helping over 55 million users track where to watch movies, TV shows, and sports across 140 countries. The JustWatch Streaming Charts are based on real user activity, including clicks on streaming offers, watchlist additions, and marked ‘seen’ titles. With data from more than 55 million movie and TV fans each month, JustWatch provides a unique insight into global viewing trends.
For more details on the latest streaming trends, visit our Streaming Charts: https://www.justwatch.com/us/streaming-charts
JustWatch is the world’s leading streaming guide, aggregating content availability from platforms like Amazon Prime Video, Netflix, Disney+, Apple TV+, Hulu, and many more. Headquartered in Berlin, with offices in New York, Los Angeles, Paris, Munich, and London, JustWatch helps users find where to legally stream their favorite content.
Follow JustWatch on:
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LinkedIn: www.linkedin.com/company/justwatch
Last Breath is a harrowing and inspiring thriller based on the 2019 documentary of the same name. The film follows the true story of a commercial diver trapped at the bottom of the North Sea with only minutes of oxygen remaining, and the extraordinary rescue mission that defied all odds. Starring Finn Cole alongside Woody Harrelson, this gripping cinematic experience brings an unbelievable survival story to life.
Finn Cole is a British actor best known for his breakout role as Michael Gray in the hit BBC crime drama Peaky Blinders (2014–2022), where he portrayed the ambitious and calculating cousin of the Shelby family. He also starred as Joshua “J” Cody in the critically acclaimed TNT series Animal Kingdom (2016–2022). His movie credits include Dreamland (2019) alongside Margot Robbie, Here Are the Young Men (2020), and the thriller Last Breath (2024).
JustWatch is the world’s largest streaming guide, serving over 55 million monthly users across 140 countries. It aggregates movies, TV series, and sports from hundreds of platforms—including Amazon Prime Video, Netflix, Disney+, Apple TV+, and Hulu—helping users easily find where to stream them legally.
JustWatch is headquartered in Berlin, Germany, with offices in New York, Los Angeles, Paris, Munich, and London. It employs more than 200 people.
Article courtesy of the International Drivers Association
In recent years, the arts industry has faced an array of challenges that have transformed how organizations operate and interact with their audiences. Despite the thriving creativity inherent in the sector, economic realities and market dynamics present significant hurdles for arts organizations, particularly in regions less inclined to support cultural initiatives. This situation has sparked a conversation around the need for strategic innovation and adaptation in the arts, as highlighted in discussions among industry professionals seeking to address these pressing concerns. A notable trend reshaping the arts is the integration of technology as both a medium and a tool for engagement. This was exemplified by the National Endowment for the Arts’ publication of “Tech as Art,” which urges the sector to invest in digital cultures at both administrative and programmatic levels. This push for digital innovation not only helps in maintaining relevance but also in reaching broader audiences.
Furthermore, the arts industry is increasingly focused on strategic collaboration to mitigate challenges, such as funding shortages and environmental impacts. By understanding the nuances of strategic alliances, arts organizations can leverage collective strengths to enhance their operational resilience. This spirit of collaboration is complemented by insights from ISPA members who emphasize the importance of generational cooperation and innovative approaches to overcome financial and environmental obstacles. In terms of marketing, arts organizations often encounter difficulties in effectively communicating their value propositions, particularly in saturated markets. Audience segmentation has emerged as a crucial strategy for aligning offerings with the specific needs of diverse target groups. By employing best practices in audience development, arts organizations aim to optimize their engagement efforts, though comprehensive guidelines remain sparse. Ultimately, the landscape of the arts industry is characterized by a complex interplay of creativity, innovation, and adaptation. As organizations navigate these challenges, they continue to redefine their roles within the cultural ecosystem, striving to make their value known amidst a sea of competing interests and economic pressures.
In the realm of arts organizations, a peculiar paradox has emerged: while these entities possess vital survival tools, they often struggle to market them effectively to an industry gasping for air. For many artists and arts organizations, marketing is perceived as a betrayal of their creative ideals. The term “marketing” conjures images of selling out and compromising artistic vision for the sake of audience approval. This resistance to embrace marketing is deeply rooted in a belief that art should exist free from commercial influence, a notion that is increasingly being challenged in today’s economic climate. Nonprofit arts organizations, in particular, face unique marketing challenges. Often, they fail to recognize the critical role marketing plays in their survival and growth. A comprehensive marketing strategy is crucial not only for generating revenue and raising funds but also for cultivating relationships and advancing their mission. Yet, many organizations still view marketing as a cost center rather than a lifeline that can drive strategic goals forward. This mindset can impede their ability to communicate effectively with target audiences and secure necessary funding. Collaboration is touted as a potential solution, but it also comes with its own set of pitfalls. Strategic collaboration requires careful navigation to avoid missteps and maximize opportunities for leverage. Understanding these dynamics is essential for arts organizations seeking to join forces with others in the industry. By sharing resources and knowledge, arts organizations can enhance their marketing efforts and broaden their reach. Moreover, the recent challenges posed by the COVID-19 pandemic have underscored the need for a more dynamic approach to arts marketing. The pandemic’s impact on the cultural sector has been profound, disrupting traditional marketing strategies and necessitating the adoption of new digital tools and platforms. Arts organizations have had to quickly adapt to this new reality, leveraging digital interaction to maintain audience engagement during a time of unprecedented social distancing. Despite the clear need for robust marketing strategies, the arts industry continues to grapple with funding challenges and a hesitance to fully embrace marketing as a tool for survival. This marketing paradox—having essential tools but struggling to utilize them effectively—highlights the tension between maintaining artistic integrity and ensuring organizational viability. As the arts sector navigates this complex landscape, the ability to balance these competing demands will be critical to its long-term success.
In the realm of the arts, traditional marketing has long faced criticism for compromising creative integrity, with many artists viewing it as a means to pander to the audience rather than staying true to their artistic vision. This reluctance to embrace marketing is rooted in the fear that it dilutes the authenticity of the artistic process, making it difficult for arts organizations to adopt marketing strategies that could be vital for their survival. Moreover, traditional marketing often falls short because it fails to address the unique challenges that arts organizations face, such as the rapid shift to digital platforms and the demand for remote work options, which were accentuated by the pandemic. In 2009, when arts organizations experienced a decline in audiences and funding, many perceived it as a temporary setback caused by the economic downturn, rather than an indication of deeper systemic issues in marketing practices. Furthermore, the lack of a strategic approach to marketing and communications in the nonprofit sector, including arts organizations, leads to missed opportunities for growth and audience engagement. Nonprofits often view marketing as a cost center, rather than as an integral part of their mission and long-term survival strategy. This perspective contributes to the underutilization of adaptive, goal-based budgeting that could align marketing efforts with broader organizational goals and measurable impacts. In addition, traditional marketing methods often do not resonate with the evolving digital landscape. Arts organizations need to leverage digital engagement to foster a more democratic and relational interaction between artists and audiences. Without embracing such innovative approaches, traditional marketing fails to cultivate meaningful connections that could enhance audience development and organizational success. Thus, the arts sector finds itself in a marketing paradox, where the tools necessary for survival are seen as threats to its very identity.
In the constantly evolving landscape of arts marketing, traditional strategies often fall short in reaching audiences effectively. As the industry grapples with financial challenges, innovative approaches become not only desirable but necessary for survival. The fusion of art and marketing is not new, but as the boundaries of both fields expand, so too do the methods of engagement and outreach.
Immersive marketing, also known as engagement marketing, utilizes cutting-edge technologies like augmented reality (AR), virtual reality (VR), and live events to craft experiences that directly involve consumers, thus creating deeper connections with a brand or product. This strategy has found a natural ally in the arts sector, where sensory engagement can transform passive spectators into active participants. By integrating immersive art installations into brand strategies, organizations can create captivating experiences that forge emotional connections with audiences.
Digital platforms have dramatically reshaped how arts organizations engage with their audiences. As we approach 2025, trends in digital marketing continue to evolve, with tools like text messaging, analytics, personalization, and hybrid events enhancing engagement and operational efficiency. Digital spaces allow for innovative interaction, but they require strategic implementation to maximize their potential. Platforms like Audience Access, which integrates digital program books with audience engagement features, illustrate how technology can be harnessed to connect with patrons both in-person and virtually.
Collaborations remain a powerful tool in the arts marketing arsenal. Whether through partnerships with other artists, brands, or organizations, these alliances open up new opportunities and enhance visibility. Strategic collaborations empower arts organizations by allowing them to share resources, reduce costs, and amplify their reach. Such partnerships can involve cross-sector stakeholders, including government, nonprofits, and corporations, leveraging their collective strengths to address community needs and broaden audience engagement.
The art of audience segmentation allows organizations to tailor their marketing efforts more precisely. By dividing a target audience into smaller, more specific groups, arts organizations can craft messages that resonate more deeply with each segment. This practice not only improves the effectiveness of marketing campaigns but also fosters a more personalized interaction with the audience. Advanced segmentation techniques, like The Audience Agency’s Audience Spectrum, provide insights into audience attitudes and behaviors, enabling more strategic decision-making.
In an industry grappling with unprecedented challenges, the arts sector has had to pivot dramatically to ensure survival and relevance. The case studies of various arts organizations reveal both innovative approaches and the stark realities of marketing in a time of crisis.
The pandemic forced many arts organizations to rethink their strategies, focusing on adaptability and resilience. As detailed in the Arts Endowment’s research, arts organizations have embraced diverse reopening practices, offering insights into how to sustain operations during such turbulent times. These organizations showcased an urgent need to reassess their business models, with a focus on identifying strategic target groups and implementing change when necessary.
Audience engagement has emerged as a critical factor in the survival of arts organizations. The Wallace Excellence Awards shed light on how 10 organizations successfully built their audiences by recognizing when change was essential and implementing audience-centric strategies. This approach highlights the importance of not only retaining existing patrons but also cultivating new ones through targeted initiatives.
Despite the potential for creative marketing, not all strategies have yielded positive results. Many organizations found that traditional marketing tactics such as paid advertising were not delivering the desired outcomes, prompting a reevaluation of these methods. This has led to a shift towards more community-driven strategies, though challenges remain in finding the right balance and approach.
In response to the limitations of conventional methods, some organizations have turned to immersive arts as a way to engage and captivate audiences. The integration of immersive experiences into marketing strategies represents a significant shift towards experiential storytelling, transforming passive consumption into active participation. This strategy has been exemplified by initiatives like The Van Gogh Experience, which turned galleries into interactive, living exhibitions, thereby deepening audience connection through sensory engagement. These case studies illuminate the complex landscape arts organizations navigate in their marketing endeavors. While some strategies have succeeded in engaging audiences and sustaining operations, others have highlighted the paradox of trying to sell survival tools to an industry already in distress. As the arts continue to evolve, these insights will be crucial for organizations seeking to thrive in a post-pandemic world.
As arts organizations struggle to remain buoyant in an industry facing multifaceted challenges, a tapestry of strategic initiatives emerges as crucial for their survival and growth. These strategies aim to navigate the turbulent waters of financial instability, changing audience dynamics, and an increasingly digital world.
At the heart of any resilient arts organization is a meticulously crafted strategic plan that is continuously updated to reflect changing circumstances. This involves setting financial goals, planning budgets, and maximizing resources, all while fostering a unified organizational vision that aligns staff and stakeholders around common objectives. Strategic planning not only ensures long-term viability but also helps arts organizations engage with their communities in a meaningful way, thereby strengthening emotional and intellectual connections. With an ever-changing landscape, arts organizations must remain agile, adjusting their plans as necessary to respond to new challenges and opportunities.
In an era where digital engagement is paramount, audience segmentation has become an invaluable tool. By dividing their target audience into smaller, more defined groups, arts organizations can tailor their offerings to meet the specific needs and preferences of these segments. Audience segmentation best practices allow organizations to enhance marketing strategies and engagement efficiencies, thereby reaching patrons more effectively and expanding their reach. Implementing these practices can help arts organizations maintain relevance and build stronger relationships with their audiences, fostering loyalty and support.
Collaboration is a powerful avenue for arts organizations seeking to expand their influence and resources. By working with other artists, brands, or organizations, they can unlock new opportunities and increase visibility. Collaborations offer a platform for shared creative growth, fostering innovation and allowing organizations to explore new avenues for audience engagement and artistic expression. This strategy not only broadens the organization’s reach but also enhances its ability to deliver exciting and relevant programming.
Immersive and experiential marketing strategies are transforming how arts organizations connect with their audiences. Through innovative technologies like augmented reality (AR) and virtual reality (VR), organizations can create immersive experiences that captivate audiences and forge deep emotional connections. These experiences are not just about entertainment; they are about engaging spectators in a manner that deepens their connection with the art and, by extension, the organization itself. By integrating immersive arts into their marketing strategies, organizations can enhance their audience’s experience and foster a lasting impact.
The digital revolution has provided arts organizations with new tools to captivate audiences and deepen engagement. Digital spaces allow for enhanced spectator interaction, offering a dynamic and evolving platform for art marketing. By embracing these digital opportunities, arts organizations can reach broader audiences, break geographical barriers, and ensure their art remains accessible to a diverse and global audience. The transition to digital isn’t merely a shift in platform but a strategic move to ensure sustainability in a rapidly changing world.
In a world where the arts industry is facing unprecedented challenges, it is imperative for organizations to not only focus on immediate survival but also on thriving in the long term. Arts organizations must harness the power of strategic collaborations to expand their reach and engage with wider audiences. By sharing resources and reducing costs, these collaborations can increase efficiency and enhance visibility, ultimately leading to increased support and funding. Furthermore, strategic planning should serve as the compass that guides these organizations through challenges, enabling them to capitalize on emerging opportunities. Engaging in formal strategic planning and community engagement can result in enhanced clarity regarding their mission and vision, which in turn improves decision-making processes.
Now is the time for arts organizations to foster a culture of readiness by equipping their staff with the necessary strategies to navigate unforeseen challenges. Through these efforts, the arts can not only survive but thrive, ensuring their vital role in society remains steadfast. We urge arts organizations to embrace these strategies and innovations, tapping into the digital world to better understand and engage their target audience. Whether through digital marketing strategies or online courses that inform marketing initiatives, organizations have the tools at their disposal to adapt and evolve. Let us come together, harness our collective strength, and ensure the arts industry not only survives but flourishes in the face of adversity.
Donald Trump tops the ranking as the most hated billionaire of 2025, with a hate score of 100. He has the highest number of negative news mentions (379.9K) and fraud-related searches (143K). His public disapproval rating of 40%, along with his Reddit hate score of 9.5, stems from controversial political actions and policies.
Elon Musk follows in 2nd with a score of 92, having the highest number of controversy-related searches (113K) among all billionaires despite his massive $195 billion net worth. His Reddit hate score of 9.4 is almost as high as Trump’s, driven by erratic behavior and worker treatment issues.
Rupert Murdoch ranks 3rd with a score of 64. He has the highest public disapproval rating (55%) of anyone on the list, much higher than Trump or Musk. His negative news coverage is much lower than the top two, but his influence through media ownership drives strong negative sentiment.
Gautam Adani comes in 4th with an overall hate score of 56, having the second-highest public disapproval rating (51%) among all billionaires. The Indian industrialist faces significant criticism over political connections and environmental concerns, though his Reddit hate score (7.1) is lower than other top-ranked billionaires.
Mark Zuckerberg is 5th with a score of 56. He has the third-highest number of negative news coverage (8,680) and a Reddit hate score of 9.1, driven primarily by Facebook/Meta’s privacy controversies and his perceived awkward public persona.
Jeff Bezos ranks 6th with a hate score of 47. His negative news coverage totals 6,175 mentions, primarily related to Amazon’s labor practices and his personal wealth accumulation. His Reddit hate score is 8.2, with a public disapproval rating of 30%.
Jamie Dimon ranks 7th with a score of 46. As JPMorgan’s CEO, he has the lowest net worth ($2.7 billion) in the top ranks. His fraud-related searches outpace his controversy mentions, unlike the pattern seen with those ranked higher.
Vince McMahon ranks 8th with a score of 43. The WWE founder has more “scam” searches than “controversy” searches, similar to Adani. Despite a high Reddit hate score (8.6), his public disapproval rating (23%) is the lowest among the top eight.
Bill Gates takes the 9th position with a hate score of 41. He has the highest raw number of negative mentions (11,770) of anyone on the list, but his lower public disapproval rating (27%) and moderate Reddit hate score keep his overall ranking lower.
George Soros rounds out the top 10 with a score of 36. He has the lowest Reddit hate score (5.9) among the top ten, despite being frequently targeted in conspiracy theories. His public disapproval rating (26%) is much lower than Murdoch’s 55%, explaining his position at the bottom of the top ten.
A spokesperson from Slot.Day commented on the study: “The intense public scrutiny of billionaires reflects broader societal concerns about power concentration rather than wealth alone. Those facing the strongest backlash typically combine economic influence with perceived ethical lapses or democratic interference, suggesting the public distinguishes between wealth creation itself and its application. This evolving dynamic signals a fundamental shift in how economic power must now navigate increasing demands for transparency and social responsibility in the digital age.”