New Piece: Mastering Control - This thought-provoking exploration challenges conventional thinking, unveiling the in-possession & out-of-possession choreography that defines strategic mastery.
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Dying embers of the World Cup semifinal and it's coming down to Ezri Konsa crosses cause you left the most creative RB to ever play the sport at home. Life is beautifully poetic sometimes
I have witnessed this club go from doubters to believers, and from believers to champions. It took hard work and I always did everything I could to help the club get there. Nothing makes me prouder than that.
Us crumbling to yet another defeat this season was very painful and not what our fans deserve. I want to see Liverpool go back to being the heavy metal attacking team that opponents fear and back to being a team that wins trophies. That is the football I know how to play and that is the identity that needs to be recovered and kept for good. It cannot be negotiable and everyone that joins this club should adapt to it.
Winning some games here and there is not what Liverpool should be about. All teams win games.
Liverpool will always be a club that means a great deal to me and to my family. I want to see it succeed for long after I have moved on.
As I’ve always said, qualifying to next season’s Champions League is the bare minimum and I will do everything I can to make that happen.
psg moving like this post-mbappe is a life lesson lol sometimes the thing you think you’d die without is exactly the thing that was holding you back from your full potential 😭
Tom Holland says The Odyssey has “the best script I’ve ever read.” I looked into what actors actually give up to be in a Nolan film.
Robert Downey Jr.’s last Marvel paycheck was $75 million. For Oppenheimer, he took $4 million. A 95% pay cut. Matt Damon and Emily Blunt took the same $4 million each, when they normally charge between $10 and $20 million. Variety reported they did it “for the privilege of working with Nolan.”
Holland’s Odyssey salary hasn’t been disclosed. But the precedent is well documented. On Oppenheimer, every major name in the cast accepted well below their market rate. Nolan films run on this trade: lower upfront pay for the chance to be in a movie that wins Oscars and crosses a billion dollars.
While these actors take discounts, Nolan has the richest director deal in Hollywood. He gets a percentage of every ticket sold from the very first one, not after the studio breaks even. On Oppenheimer, a movie that cost $100 million to make and brought in $976 million, Nolan personally walked away with close to $100 million. Roughly the same as the entire budget. Only Spielberg, Cameron, and Peter Jackson have ever gotten deals like that.
The Odyssey is that whole machine turned up. $250 million budget, his most expensive movie ever, and the first one ever shot 100% on IMAX film cameras. They burned through 2 million feet of film in 91 days using custom cameras that IMAX built specifically for Nolan.
Last July, IMAX put opening weekend tickets on sale a full year before the movie comes out. 95% sold in under an hour from just 26 theaters worldwide. Tickets that cost $25 were reselling on eBay that night for $300 to $500. Nolan locked up every IMAX screen on the planet from July 17 to August 14, a full month where no other movie gets shown.
Oppenheimer made $190 million from IMAX screens alone. The Odyssey trailer pulled 121 million views in 24 hours. Nolan’s career total is above $6 billion, with his average film returning more than 4x its budget.
When Holland calls this the best script he has ever read, I believe him. But Nolan built a system where the biggest names in the industry will work for less just to say they were part of it.
Villeneuve is releasing Dune 3 on the exact same day as Avengers: Doomsday. And he locked up IMAX exclusivity for opening weekend.
Run the format math. Dune 3 is shot entirely on 65mm film stock, 15-perf IMAX for the big sequences, 5-perf 65mm for the rest. Villeneuve hired Linus Sandgren, the La La Land DP who won’t touch a digital camera, and went native film from day one. The IMAX prints originate on the negative. 18K equivalent resolution. No upscaling, no digital intermediary.
Avengers: Doomsday is shot digitally. Standard practice for Marvel. Which means on December 18, Dune owns every IMAX screen in the US and Marvel can’t buy a single one on opening night.
Disney spent somewhere between $500 and $600 million producing Doomsday. They need $1 billion just to break even. And they don’t have IMAX.
Dune: Part Two cost roughly $190 million and grossed $715 million worldwide, with $145 million from IMAX alone. That’s 20% of total gross coming from a format Marvel can’t access on the biggest revenue weekend of the release.
Warner Bros. claimed December 18 first. Disney moved Doomsday there from May 2026 after already pushing it from May 2025. Three release dates in two years. Villeneuve wrapped filming in November 2025 and hasn’t moved once.
A $190 million film just bodied a $600 million film out of every premium screen in America before a single trailer dropped. The MCU is getting mogged by a guy in a stillsuit.
Those first touches on the 96’ minute just sum Rio Ngumoha up as a player.
Driving with intensity straight at the Newcastle backline, immediately being double-teamed and still has complete self-belief.
16 YEARS OLD. This is a superstar.
📹: @sbzcomps