Photo Courtesy of TYR Sport Markos Papadatos interviewed 12-time Olympic medalist Ryan Lochte about his new coaching gig at Missouri State University, where he will serve as an Assistant Swim Coach for the Men’s and Women’s Swimming and Diving Teams. He will work alongside Head Coach Dave Collins. This high-profile full-time position marks his transition from the pool deck to his first professional coaching position. His goal is to serve as a mentor for young student-athletes and help them build discipline and resilience, in an effort to become the best version of themselves. U.S. President Theodore Roosevelt once said: “Keep your eyes on the stars, and your feet on the ground.” This quote applies to Ryan Lochte, 41. Lochte is one of the most accomplished athletes in Olympic history, with 12 Olympic medals and a career defined by strong performances at the highest level. He is the second most decorated male swimmer in Olympic history. He won a total of 12 Olympic medals (six gold, three silver and three bronze) across four Summer Olympic Games (2004, 2008, 2012, and 2016). Coaching position at Missouri State University On his new coaching gig, Lochte exclaimed, “I am so excited. I always knew I was a good swimmer but when I started teaching and doing private lessons, I started seeing kids drop times dramatically thanks to the skills and techniques that they learned from my swim clinics. These kids have implemented these skills into their practice, and I just found a new niche for coaching.” “I have the same fire that I had when I was swimming competitively - and when I was trying to be the best - and now I want to become one of the best swimming coaches in the world,” he noted. “I think I'm just so fired up about this because I can help these young athletes chase after their dreams now, and that's what I love to do. I love helping other people out,” he elaborated. “It’s so awesome to be on the outside now looking in and watching swimming and just seeing the sport evolve from a different perspective. it's pretty cool,” he added. Photo Courtesy of TYR Sport Taking cues from his parents “Ironically enough, both of my parents have coached me. My mom was my first coach. She taught me about having good technique and pretty strokes. Then, my father wanted to sharpen my ‘pretty strokes’ with more hard work.” “Both of my parents, along with my coach Gregg Troy, who is the best coach in the world in my eyes… they all came together to form a ‘super coach’ and they taught me everything I needed to know to move forward,” he elaborated. “Now, I want to be the same inspiration to the youth over at Missouri State University. It’s so cool to be in this position that I am in now,” he added. Ryan Lochte - The International Swimming Hall of Fame inductee Ryan Lochte was officially inducted into the International Swimming Hall of Fame (ISHOF) on May 16th 2026. He was honored at the 61st annual Induction Ceremony in Fort Lauderdale, Florida, where he formally received his accolade alongside other icons in the sport, including his own coach Gregg Troy and fellow Olympic gold medalist Nathan Adrian. “I was so stocked to get inducted,” Lochte exclaimed. “I was so happy that Gregg Troy and Nathan Adrian were getting inducted as well.” “This was such good recognition for all the hard work that I’ve done throughout my entire life, and it has finally paid off,” he said. “The Swimming Hall of Fame ceremony was in Fort Lauderdale, Florida, and I got to see the new pool, which is amazing! They really outdid themselves. It truly felt like a welcome home,” he expressed. “I've been going to that swimming pool since I was 11 years old and just to see them re-do it was pretty cool,” he noted. “Again, to share that induction ceremony with my father, as well as my coach Gregg Troy and my girlfriend Molly meant everything to me. It was simply a wonderful night,” Lochte added. Photo Courtesy of Molly Gillihan Life with his girlfriend Molly For Lochte, his loyal and supportive girlfriend Molly is the best thing that has ever happened to him. “Our life is just amazing,” he admitted. “I’m on Cloud 9 every day. I wake up happy every day because I look over at her each day. I see all of our kids… we have six kids, and we are like the Brady Bunch.” “Life lately is a blessing, and I am just so thankful for everything has happened to me,” he said. “All of the ups and downs in my entire life have led me to the person I am today, and it has all led me to this perfect life that I am living right now.” “Life with Molly has been so much fun and I cannot wait to move full-time to Missouri in the beginning of July,” he added. Lochte on Leon Marchand breaking his world record Frenchman Leon Marchard recently broke Lochte’s 14-year world record of 1:54.00 in the men's 200 meter individual medley (IM), which he set back on July 28, 2011. “I knew my record was going to get broken. I just didn't think it was going to get broken by that much (1:52.69). Leon is a phenom. He is going to be the face of swimming for the next couple of years, and it’s all good for the sport. That's why we have records. They are meant to be broken,” he explained. Photo Courtesy of Molly Gillihan Stage of his life On the title of the current chapter of his life, Lochte revealed, “Lochte 2.0.” “I am finally finding myself again,” he said. “It’s going to be epic at Missouri State University. I have found happiness and the confidence that I lost over the past nine years. I’ve found it and I owe it all to Molly because she has helped me find it, and she brought me back to life.” “So, everything that has happened in my life has been worth it. Now, there is only one way for me to go in my life, and that's up,” he underscored. Swim Clinics at Life Time in Garden City, New York Lochte has hosted "Legendary Swim Academy" clinics at the Life Time Athletic club in Garden City, New York, in partnership with his father, Coach Steven Lochte on two separate occasions. These multi-hour events were designed to teach aspiring swimmers of all ages proper stroke mechanics, starts, and flip turns (and all the four strokes). “The Life Time events in Garden City were amazing,” he said. “Oh my gosh. I love doing swimming clinics. I love doing coaching just because I love helping these younger generations out, and I'm a big kid myself. So, I can connect with these kids a lot better than other coaches do.” “I am able to speak to the youth in terms where they can really understand what I am teaching them and they can actually learn. I remember when I was in their shoes,” he said. “I love it when the parents of these students message me or DM me telling me that their kids dropped anywhere from four to six seconds in their swimming strokes simply because of the knowledge that they’ve gained in my clinics. To me, that is the greatest feeling in the world,” he elaborated. “That is really awesome and it reassures me that this is what I was meant to do. I just love giving back and I will continue to do so in any way that I can,” he added. Photo Courtesy of Molly Gillihan Visiting Athens, Greece with Michael Andrew in 2022 From December 2 to 4, 2022, Lochte visited Greece with fellow Olympic gold medalist Michael Andrew, and they hosted a swimming clinic in Athens at the OAKA Indoor Swimming Pool. “That was fun with so many memories being brought back,” he admitted. “When I first got there, it was really emotional because Athens was the first Olympics where I ever earned two medals for Team USA. I went to the exact same pool where I made my dreams come true.” “I just remembered looking behind the block that we won the gold medal in the 4 x 200 meter relay, and I was just overcome with memories. I remembered what Michael Phelps had told us back then before me and the other relay swimmers got on those blocks, and it really hit me. That was so awesome,” he recalled. “Then, I realized, ‘man, that was a long time ago, I’m old now’,” he said with a sweet laugh. “So, Athens, Greece, was where my Olympic career started, and everything took off from that point.” “Doing the swim clinic there nearly two decades later was awesome too, and the language barrier didn’t bother me at all. It was basically me just having fun with kids. Michael Andrew and I had a great time together,” Lochte said. “I really got to know Michael and his father, Peter, who was there too. Michael’s whole family is so nice and sweet. I hope we get to do more international swim clinics together,” he added. Photo Courtesy of Molly Gillihan Ryan Lochte holds Michael Andrew in the highest regards Speaking of Michael Andrew, Lochte holds him in the highest regards, and thanks him for constant respect and support. “While I didn’t make the U.S. Olympic team at the 2021 Olympic Trials, that was a very emotional time,” he noted, however, Lochte felt the love and support from two different Michaels in swimming (Michael Phelps and Michael Andrew) at that event. “Having Michael Phelps come down and give me a big hug and hearing him tell him that ‘the journey is not over’ meant a lot to me, especially since I thought it was over right there when I failed to make the Olympic team, but I’m happy I passed the baton on to the right hands… Michael Andrew’s hands. Both Michaels are both great guys,” Lochte elaborated. Ryan Lochte remembers legendary Olympic swimming coach Jon Urbanchek Lochte also fondly remembered his late swimming coach Jon Urbanchek who passed away in May of 2024. “I loved that guy,” Lochte said. “His famous words were: Keep it moving, move it! I learned so many great quotes from him… he was just awesome and an amazing swimming coach!” Message for his fans and supporters For his dedicated fans and supporters, Lochte expressed, “Thank you so much! It has been a roller coaster ride, and you guy have stuck with me, and you’ve never got off the ride.” “The fans have stuck with me through thick and thin… through a lot of ups and downs and I thank them wholeheartedly. I love my fans,” he concluded. To learn more about Olympic champion and Assistant University Swimming Coach Ryan Lochte, follow him on Instagram.

Photography: Kay Kasem Making an independent film is, at its core, an act of survival. It requires answering the midnight phone call when the funding inevitably collapses and finding the nerve to shoot the jungle scene at sunrise anyway. Emmy-nominated producer Daemon Hillin knows this rhythm in his bones. Operating in the spaces between the beaches of Venice and the streets of Bangkok, the Hillin Entertainment CEO has willed forty features into existence. He operates as a rarity in this business: a man who takes absolute responsibility for his art and the investors who back his vision. For a younger generation seeking a path forward, Hillin offers a stark, clear blueprint. You face the fire, you do not blink, and you keep building. Daemon Hillin with Jonathan Rhys Meyers The Gravity of Anthony Hopkins Right now, the industry is watching one specific film. When Hillin calls a film special, the claim carries weight. Eyes in the Trees is a sci-fi psychological thriller, a modern update of H.G. Wells’ The Island of Dr. Moreau shot deep in the jungles of Southeast Asia. At the center of the frame is Anthony Hopkins. Securing an Academy Award winner of his stature changes the fundamental math of a production. Hopkins is highly selective. When he signs a contract, the global financing community stops to pay attention. "Anthony Hopkins doesn’t just make the film better. He makes the film possible. That’s the part people outside this business don’t understand about what A-list talent actually does for your capital stack." - Daemon Hillin An actor of this caliber acts as a universal green light for foreign sales agents, distributors, and co-production partners. While Hillin has closed deals across multiple markets for decades, the financial structure supporting Eyes in the Trees represents a massive step forward in his career. Left to right: Merrick Stoller, Simon William and Daemon Hillin The Anatomy of Trust This structure relies on absolute trust. Hillin points directly to Joe Simpson and Simon Williams at Ashland Hill Media Finance. Their London and Santa Monica-based firm has rapidly deployed heavy capital across many films, establishing themselves as heavyweights in debt and gap financing. Hillin credits them as genuine partners who understand the independent market at its marrow. He gives equal credit to Landon Gorman at BGG Capital, citing his involvement as the final key to locking the funding in place. Finding good capital partners is rare, and Hillin knows when to value them. Financiers trust him because of the strict fiscal discipline required to handle this level of investment. He builds packages designed to turn a profit. The surrounding cast guarantees global traction. Directed by Timothy Woodward Jr., the film features Jonathan Rhys Meyers, Ashley Greene, Thomas Kretschmann, and Praya Lundberg. By shooting in Southeast Asia, Hillin secured production incentives and co-production opportunities that simply cannot be faked on a backlot. The Hack and the Holdout The independent film business is brutal, and sometimes, it fights back. While Eyes in the Trees was in active production, a hacker breached their servers. Operating under the moniker “Korean Zombie,” the attacker stole precious minutes of footage. It was every single scene Anthony Hopkins had filmed in Los Angeles under a legitimate SAG-AFTRA strike waiver. The demand arrived fast. The hacker wanted an exorbitant amount in cryptocurrency within days. If Hillin refused, the footage would be dumped online and emailed directly to foreign buyers, an act designed to intentionally tank the film’s distribution prospects. Hillin did not flinch. He refused to pay. Daemon Hillin with Patrick McLain He immediately contacted the FBI and the Santa Monica Police Department. He called his political contacts, reaching out to Senator Benjamin Allen, Assembly member Rick Chaves, and Congressman Ted Lieu. Most importantly, he picked up the phone and called his investors directly. In a moment of intense pressure, he chose radical transparency over fear. He broke his own story to the press, refusing to let a hacker control the narrative. He stated publicly that they stand by their decision not to pay the extortionist, reinforcing that as indie filmmakers, they are resilient and will deliver an amazing film. The hacker leaked screenshots online, but the production kept moving. Hillin stated this was not his first time dealing with extortion. His response remains identical every time: document it, report it, and keep working. For his investors, it was absolute proof of his unshakable stability. For the younger generation, it was a definitive lesson in how a real leader acts when the walls close in. Beyond the Frame Away from the daily fires of production, Hillin lives quietly. He surfs at dawn and splits his time between California and Thailand. Thailand became the place where he saved his own routine. After getting sober, he spent time in Thai temples. He took full accountability for his past mistakes and began the grueling work of putting himself back together — tools he now shares in his journal for others walking the same path. The journal is not filled with empty theories. It is a direct distillation of the exact mental tools Hillin used to reconstruct after addiction. Every prompt comes from a moment where he had to make a hard choice. You can follow Daemon Hillin on Instagram, IMDb.

Festival director and producer Tiziana Rocca opens up about bridging the worlds of Italian cinema and Hollywood, championing emerging female voices, and the vulnerable journey of bringing deeply personal stories to the screen. You have brought Italian cinema to Los Angeles through Filming Italy. Securing a Walk of Fame star for Franco Nero was an unforgettable milestone. When you stand on Hollywood Boulevard, what thoughts come to mind about the journey that bridged these two cinematic worlds? "Standing on Hollywood Boulevard, reflecting on the honor bestowed upon Franco Nero, is to see a journey materialized—one built over time through continuous dialogue between Italian cinema and the international industry," Rocca observed. "Bringing Italian cinema to Los Angeles with Filming Italy meant creating a real, not symbolic, bridge between two worlds that feed off each other," she added, her tone grounded in deep gratitude. "Moments like the Walk of Fame star do not signify an arrival but rather a responsibility: to continue giving space and visibility to our cinematic culture abroad." Tiziana Rocca and Martin Scorsese Honoring legends like Franco Nero and Giancarlo Giannini is a beautiful act of cultural preservation. Looking back at your own beginnings, who was the first person to recognize your potential and give you the confidence to become a champion for other artists? "Throughout my journey, many encounters have been decisive, but often trust arises from small gestures rather than a single name," she shared thoughtfully. "I was fortunate to work with professionals who recognized my organizational commitment and cultural vision from the start. Fieldwork at festivals and productions was a continuous school." Emphasizing her current mission, she noted, "Today, I feel the duty to pass that trust on to new talents, as a natural continuation of my professional story." Acknowledging the steep climb required in her field, she pointed out, "There is also the challenge of being a woman in a male-dominated environment. Being a female director—such as at the Taormina Film Festival—is always a challenge, requiring triple the effort. Female festival directors are rare, which inspired my project to promote women within festivals. This is reflected in giving space to first-time female directors, as well as actresses and screenwriters." A core part of your mission at festivals like Taormina is giving equal visibility to female filmmakers and young talent. When you watch the shorts from this new generation, what unique emotional threads give you hope for the future of storytelling? "Every year at the Filming Italy Sardegna Festival, we see shorts and works that speak a very direct language, often free of artifice," she said with evident pride. "This gives me hope: a narrative sincerity unafraid of fragility. The work with new generations and support for female directors and students shows that diversity of perspective is not only an ethical value but also a creative one. The future of cinema lies in the ability to listen to these voices." She firmly believes in moving forward, adding, "There is also a fundamental need to advance continuously. It is essential to keep pace with technological and cultural advancements and to consider young people, who represent the festival audiences. We have many students both in Sardinia and Taormina, and organizing sessions for them means offering hope for the future in such a complex world." "Festivals also have an ethical and social value of sharing, as we strive to have guests share their emotions, passion, and achievements with the students, often through their professional stories," she explained. "Last year, Martin Scorsese held a one-and-a-half-hour seminar, giving hope and confidence to all the young people. The message was clear: from nothing, if you commit and believe in what you do, you can achieve results. This is hope for the future." Tiziana Rocca and Monica Bellucci Your recent film, Judas’ Gospel, tackles an intense story of love and betrayal from a highly unconventional perspective. Producing such heavy material takes an emotional toll. How did you and your husband, director Giulio Base, find harmony on set while capturing such raw human vulnerability? "Producing such an intense film means entering a complex emotional territory, but collaborating with Giulio Base allowed us to find a precise balance between instinct and control," Rocca reflected. "On set, the key was mutual trust: sharing a vision without overlapping, letting the direction guide the creative part while production maintained the structure. Judas is not only the guilty one but also the victim, and this emerges in the film," she detailed. Michael Douglas and Tiziana Rocca The film takes major creative risks, alternating between color and black and white to show opposing forces. As the producer guiding this specific visual language, what was your immediate reaction upon seeing the final cut through that unique thirty-two-millimeter lens? "The choice to alternate black and white with color is one of the project’s strongest elements," she noted. "Seeing the final edit shot on film gave a very powerful, almost physical visual impact. As a producer, the moment of the final viewing is always delicate: moving from idea to reality. In this case, the feeling was of a coherent language where form and content support each other." Expanding on the thematic weight, she explained, "This is not a film that seeks to provide answers: it is a heartbreaking confession. Judas becomes a fundamental instrument for the fulfillment of the Scriptures, but for this to happen, he must transform into one of the most evil men of all time. Perhaps also one of the most generous: he gives his life. He betrays his master, condemning himself to eternal damnation until what is written is fulfilled. Of all the apostles, he will be the only one to die with Jesus." Because you are usually the one organizing massive events like Taormina and Sardegna, you often play the host. How does it feel to step onto the exact opposite side of that equation, presenting your own deeply personal productions to an audience of your peers? "Those who organize festivals like Taormina or Filming Italy Sardegna are often used to creating spaces for others," she admitted. "Presenting one’s own project changes the perspective completely: one becomes more exposed but also more aware. It is a passage that requires detachment from the organizational role and a return to the more personal dimension of storytelling." À la Recherche captures a beautiful nostalgia and a deeply personal search for lost time. Does guiding a piece so rooted in the past change the way you value your own present moments in this industry? "Working on a piece tied to memory inevitably changes how one observes the present," Rocca said softly. "One becomes more attentive to details and moments often taken for granted. In such a rapidly moving audiovisual sector, focusing on the theme of time also means questioning what truly remains: relationships, images, emotions that survive daily work," she concluded.

Photography: Jonathan Mariande Markos Papadatos sat down with Emmy winner Timothy Woodward Jr. to discuss his latest cinematic endeavors, his time at the Cannes Film Festival, and the lessons he has learned throughout his journey. What are some of your latest films that you'd like to talk about? First of all, let me say thank you, Markos - it's always a pleasure to sit down and talk with you. As far as projects go, I've been fortunate to work on several recently that I'm really proud of. One of the biggest is Eyes in the Trees, a retelling of The Island of Dr. Moreau, where I had the opportunity to direct Anthony Hopkins alongside an incredible cast. It was an ambitious project both creatively and visually, and working with actors of that caliber pushes you to refine your own work as a director. I also recently completed Foster, starring James Franco, Ron Perlman, Dash Mihok, Rhys Coiro, and Natalie Burn, among others. It's a gripping action thriller set in the 1980s that focuses on human relationships, trauma, and redemption. I'm always drawn to stories that feel emotionally honest while still being cinematic and entertaining - and I love a good period piece. Getting to step back into the '80s and recreate that era was a really special experience. How was the Cannes Film Festival for you? Cannes was an incredible experience. Seeing Foster gain attention there this year was genuinely exciting, especially because the film is such a character-driven, emotional story. Having the opportunity to present the project and screen the film felt surreal - a real reminder of just how global filmmaking is. There's something unique about being at Cannes. You're surrounded by filmmakers, actors, producers, and distributors from every corner of the world, all united by the same passion for cinema. The screenings, meetings, and conversations throughout the festival create an energy that's truly hard to describe unless you've experienced it yourself. To think that just one year earlier Natalie and I were walking those same streets, quietly hoping this film would come together - and then to be standing there watching it screen with the cast, the audience responding the way they did - that's the kind of moment you make films for. Where do you see yourself in the next five years? Creatively, I want to keep challenging myself and taking on larger-scale projects - and honestly, directing a franchise is something I'm very excited about pursuing. There's something compelling about building a world that spans multiple films and getting to go deeper with characters and story over time. That's a real goal for me. On a personal level, what matters most is that Natalie is happy and that her career continues to grow and flourish - watching her succeed means as much to me as anything I accomplish myself. I also hope that by then our family has expanded. That would mean everything. My wife and I have a number of exciting projects we're currently developing together, and I think the best work is still ahead of us. The goal is to keep evolving, keep collaborating with talented people, and keep making films that audiences genuinely connect with. What is your advice for young and emerging filmmakers? The biggest thing I'd say is to focus on mastering your craft and be patient with yourself. Filmmaking is not an overnight career - it takes years of learning, failing, improving, and continuing to push forward. Don't wait for permission to create. We live in a time where technology has made filmmaking more accessible than ever before, and what matters most is developing your own voice and point of view. Make your film. Just do it. And finally, treat people with respect. This industry is built on relationships and collaboration. Talent matters, but professionalism and integrity matter just as much. Were there any moments in your career that have helped define you? Several moments have shaped me, but one major turning point was directing and showrunning Studio City. Winning an Emmy and receiving multiple nominations for that series was incredibly meaningful - it represented years of hard work and persistence finally paying off. But what made it truly hit home was thinking about the people watching from home. My grandmother, sitting in her living room in South Carolina, and my mom - both watching me accept that Emmy during the CBS primetime broadcast. These are two women who had watched me chase this dream for years, through all the uncertainty and sacrifice that comes with this career - and in that moment, they got to see it validated on the biggest stage. That image stays with me. It's a reminder of where I come from and why I do this. These last two films have also been really defining. Working with someone as iconic and legendary as Anthony Hopkins is just - wow. He is a true master of his craft, and also one of the kindest people I've encountered in this industry. And Foster was its own kind of adventure. We had enormous action sequences every day, we filmed inside an actual circus, and we got to fully recreate the '80s. Every film teaches you something new about yourself as a director, and those two back-to-back were an extraordinary education. How does it feel to be a filmmaker in the digital age? It's exciting because there are more opportunities than ever for filmmakers to reach audiences around the world. The barriers to entry are much lower than they used to be, which has opened real doors for talented storytellers who might not have had them before. At the same time, audiences today are flooded with content, so authenticity matters more than ever. Technology can enhance filmmaking, but emotional truth is still what connects people to a story - and that will never change. What's it like working with Academy Award nominee James Franco? It has been amazing. And there's actually a funny story that sets the stage for it. Natalie and I were at Cannes last year - James had just accepted the role in Foster but we hadn't finalized all of his paperwork yet. We were walking through the festival talking on the phone with some distributors when James came walking past us at a fast clip. Nat and I debated whether to go up and say hello, but we ultimately decided not to - we didn't want to catch him off guard. Fast forward a year, and we just left Cannes having screened Foster starring James Franco, with James Franco in attendance. Pretty full-circle moment. James is an incredibly intelligent and instinctive actor. What I appreciated most was how collaborative and creatively engaged he was throughout the entire process. He comes to set very prepared, but he also leaves room for discovery in scenes, which creates a fascinating dynamic as a director. He also worked on the screenplay with us, and we hit it off from the start. The whole experience felt organic and alive - the kind of character-driven filmmaking that defined the best of classic Los Angeles cinema. What would you like to say to your fans and supporters? First and foremost - thank you. I never take support for granted, because filmmaking is such a collaborative art form, and audiences are a huge part of why we do this. I'm incredibly grateful to everyone who has supported the films, watched the projects, and followed this journey over the years. The fact that people continue connecting with these stories means everything to me. I'm excited for what's ahead, and I promise to keep pushing myself creatively - and to keep making films that entertain, challenge, and hopefully inspire. To learn more about Emmy winner Timothy Woodward Jr., follow him on Instagram.

Daniel MacPherson in 'Beast.' Photo Courtesy of Lionsgate Daniel MacPherson pulls off the crowning performance on his career in the new action movie “Beast.” #Powerjournalist Markos Papadatos has the scoop. The synopsis is: After years away from the cage, a once-feared MMA champion is pulled back in for the fight of his life when his younger brother is put in danger. Reuniting with the trainer who once made him a legend, he commits to one final showdown against the reigning title-holder — a brutal fighter determined to dismantle the ex-champ’s legacy in front of the world. Pushed to his breaking point, the contender’s stakes are simple: win, or lose everything he’s built. Daniel MacPherson absolutely dominates the screen in Beast as Patton James, where he goes all in, delivering a tour de force acting performance that is equal parts ferocious, emotional, and magnetic. He is able to undergo a true transformation in this done, and his scenes are trascendent, especially the ones opposite Oscar winner Russell Crowe, which are sheer bliss. From the moment he appears, there’s a coiled intensity to his presence—like a storm waiting to break—and when it finally does, it’s nothing short of electrifying. He embodies this character like no other, and viewers can recall Michael B. Jordan in “Creed” meets Sean Patrick Flanery in “Born a Champion.” What makes MacPherson’s performance so compelling isn’t just the physicality (though his action sequences are executed with brutal precision), but the emotional undercurrent he brings to the role and evokes throughout the film. He doesn’t just play a hardened survivor—he embodies one. Every glance, every pause, every calculated move feels grounded in a lived-in reality that elevates the film beyond standard action fare. In the film’s most chaotic moments, MacPherson is a steady anchor, commanding attention without ever feeling over-the-top. His ability to balance raw aggression with vulnerability gives the character a depth that lingers long after the credits roll. You believe his fear, his determination, and ultimately, his transformation. The Verdict Overall, “Beast” wouldn’t hit nearly as hard without Daniel MacPherson at its center, who showcases his sense of triumph. This is a performance that doesn’t just carry the film—it defines it. Tyler Atkins has done a brilliant job with its direction, while Russell Crowe and Bren Foster are captivating as Sammy and Xavier respectively coupled with an impressive Luke Hemsworth as Gabriel. The audience ought to buckle up for this wild and bumpy yet inspirational ride. “Beast” has the heart of a champion and it garners an A rating.

Photography: Lia Hansen Markos Papadatos interviewed actress and singer Jessica Lowndes (“90210”) about her new single “Strange Little Game,” which was just released, and the inspiration behind the song. Lowndes co-wrote the song with Aaron Edwards and Corey Walles. The music video was directed by Jules Petterson. Why did you call it “Strange Little Game”? "Because nobody really agrees to it, but everybody plays anyway," she noted. "The game is modern relationships, honestly. The mixed signals, the checking stories, the waiting for replies, pretending not to care while secretly caring too much. Everyone is performing a version of themselves online." "I just wanted to capture this weird emotional reality we live in now," Lowndes added. "If listeners take anything from it, I hope it’s that real connection matters more than silent observation. Sometimes you have to stop watching people’s lives and actually step into them." Why do you think this song is resonating so much with people? "Because everyone recognizes it from both sides," she explained. "Everybody’s watched someone a little too closely and everybody’s also felt watched without being acknowledged." "It’s become a normal part of how people connect now," she continued, "even if nobody really talks about it." Your chorus, “You don’t follow, you just watch my story…” so many of us can relate to that. What sparked it? "That line came from realizing how different connection feels now," Lowndes shared. "People can know everything about your life without ever really knowing you. They watch quietly from a distance… your stories, your late night posts, your day-to-day moments." "I noticed how people can keep tabs on you without any real-life connection to you," she said. "They don’t follow, they don’t like anything, they don’t reach out… but they’re still there, watching everything." "There’s no real conversation happening," she emphasized. "It’s intimacy without closeness. That lyric was my way of describing how social media can feel like a silent audience instead of actual human connection. That feeling felt really modern to me." Also, the line “2 AM eyes on every frame”? Why did you choose that time? "Because nothing good or casual is happening at 2 AM," she remarked. "If someone’s watching your stories then, it feels personal in a way they’d probably deny during the day. It’s quiet attention. It’s a small detail but it says a lot." There’s this idea in the song of being watched but not engaged with. Why does that stand out to you? "Because it creates this weird illusion of closeness," she explained. "You can feel seen without ever really being acknowledged and those are two completely different things, even if they look identical through a screen." "At the same time," Lowndes added, "people start building versions of you in their heads, projecting their assumptions onto you and quietly judging someone they don’t actually know." Do you think the song is more about connection or disconnection? "Both," she stated. "That’s the strange part. It looks and feels like connection. You’re visible, they’re watching but it behaves like distance. That tension is really what the song lives in." The title “Strange Little Game” really stands out. What does it mean to you? "It’s about that weird dynamic where attention exists without honesty," she said. "Where someone can feel close to you just by watching you, but never actually step into your real life. It’s strange because everyone’s involved in it but nobody really agrees on the rules." "That’s what a lot of connections feel like now," she noted. "You can see someone’s whole life through stories… what they’re doing, where they are, who they’re with but still not actually know anything about them." "At the same time," she added, "you can be the one doing the watching too. It goes both ways." Is there a personal story or connection behind this song? "The idea originally stemmed from this strange experience I had where someone had been watching and liking my stories for years," she confessed. "Always there in the background, always up to date with my life but we never actually talked beyond the occasional DM and they didn’t even follow me," Lowndes recalled. "So there was this weird sense of familiarity that existed entirely through silent observation." "Then when we finally met in person, they acted like they didn’t even know my name," she said. "And that disconnect was confusing… like I’d been part of a game I didn’t even realize I was in. A game I didn’t ask to be part of." "But the coolest part is that the song was born out of that confusion and it stopped being about one person entirely," she continued. "The more I wrote, the more it started echoing through different people and situations… all these blurred lines between being seen and being known." "I feel like a lot of people are going to listen and think, 'Wait… is this about me?', which is kind of funny," she said with a laugh. "That’s basically the point though." "Everyone’s both the watcher and the watched," she concluded. "I might get a couple extra story views… or a few new suspicious burner accounts, who knows." If you had to describe “Strange Little Game” in one sentence, what would it be? “'Strange Little Game' is about people who feel like they know you through a screen but don’t know you in real life, and how confusing that gap can be." “Strange Little Game” is available on Spotify To learn more about Jessica Lowndes and her single “Strange Little Game,” follow her on Instagram. Photography: Lia Hansen

Photography: Ian Fisher Markos Papadatos recently interviewed actress and producer Natalie Burn regarding her two upcoming films, “Chupacabras” and “Foster.” During the conversation, she also shared her perspective on working as a filmmaker in the current media environment. How was your experience shooting “Chupacabras”? “Chupacabras” is a folklore-inspired horror film that dives into one of Latin America’s most iconic legends. I play Dr. Mia Hunter, a surgeon who is trying to hold herself together emotionally after losing her husband to a significant illness, as well as experiencing a rough goodbye to her daughter, who is about to leave for college. They had an argument while returning from a family trip to Mexico, so she is carrying a lot of guilt and emotional weight when everything starts to unravel. The story takes place at a remote roadside restaurant where something terrifying happens—what should have been a quiet stop turns into a fight for survival. What really drew me to this role is that it is not just about the horror or creature elements - it is also a story about motherhood, forgiveness, learning when to let go, and the things we fear most inside ourselves. Photography: Serge Guerand Can you tell us a little about “Foster”? Haunted by his past and clawing his way through sobriety, Donald “Don” Foster (James Franco) just wants harmony - one day at a time. When June (Natalie Burn), a troubled addict, leaves her young son on his doorstep, Don is dragged back into the violent underworld he thought he left behind. Hunted by his former boss Brooks (Ron Perlman) - a ruthless crime lord who knows every secret Don swore to bury - Don must fight for redemption, protect the boy, and face the sins of the woman who pulled him back in… one bullet at a time. What was it like shooting in Guatemala? Shooting in Guatemala has been incredible. The landscapes are breathtaking - lush jungles, mountains, and these small, timeless villages that capture the spirit of folklore. It adds an authenticity you cannot recreate on a set. We actually lived and shot the film on a farm, so every morning I would wake up to the sounds of horses and cows right outside my window. The smell of the farm was… incredible (haha). Photography: Serge Guerand Honestly, it added to the whole experience - it was so real, so raw. The local crew and community have been so welcoming and passionate about bringing this story to life. Of course, filming in remote locations always comes with challenges - weather, long travels, and sometimes even unexpected visitors like snakes, giant spiders, endless mosquitoes, and even traffic jams caused by cows (laughs) - but that rawness is part of what makes the film so powerful. Guatemala gives “Chupacabras” its soul; it is definitely a huge character in the film. As crazy as it sounds, I would go back to filming there again. We created a family I will never forget. What was it like working with Oscar nominee James Franco? Working with James Franco and Ron Perlman was truly a once-in-a-lifetime experience. They are both remarkable actors with decades of experience, acclaimed careers, and a deep understanding of the craft. Having the chance to work alongside them felt surreal - these are artists who have worked with the best directors and shared the screen with some of the greatest actors in the industry, and suddenly I was standing in scenes with them. James was incredibly present and generous as a scene partner. He was always open, attentive, and supportive, allowing our scenes to unfold organically. He helped create an environment where we could fully explore our characters and let emotion lead the moment, which made the work feel honest and alive. James would say, “Just look at me, look into my eyes.” Photography: Serge Guerand What was it like working with Ron Perlman? Ron is a true legend. His voice, gravitas, and commanding presence are undeniable - he is powerful and intimidating on screen, yet off camera he is warm, kind, and genuinely wonderful to be around. His professionalism and energy are inspiring, and watching him work was a lesson in itself. I feel incredibly lucky to be working alongside an Oscar nominee and a legend - two actors whose careers I have admired for years. To learn from them, to share scenes with them, and to be part of the same story feels like a dream come true and a powerful reminder of why I fell in love with acting in the first place. What do your plans for the future include? From both an actress and producer’s point of view, my future is about continued growth, exploration, and meaningful storytelling. I am excited to keep challenging myself creatively and to take on roles that push me emotionally and artistically, while continuing to develop projects that reflect stories I genuinely care about. I have several passion projects in development that I am deeply invested in as a producer - stories I want to bring to life with intention, depth, and strong representation. As an actress, one of my biggest dreams is to transition more into television and become part of a compelling TV series where I can grow with a character over time and reach a wider audience. Overall, my plans are about building a lasting career - one that balances acting and producing, allows me to collaborate with inspiring creatives, and continues to evolve as I do. Photography: Serge Guerand What’s it like making movies with Emmy winner Timothy Woodward Jr.? Making movies with Timothy Woodward Jr. is a dynamic and creatively fulfilling experience. He is a director who knows exactly what he wants, yet remains open to collaboration, which creates an environment where everyone feels invested in the story being told. His vision is clear and focused, and that confidence sets the tone on set. Timothy brings a strong sense of discipline and efficiency to filmmaking, while still allowing room for emotional exploration and character development. As an actress, that balance is incredibly empowering - it gives you structure while trusting you to bring your own instincts and depth to the role. As a producer, I also appreciate his understanding of the bigger picture and his ability to guide a project from concept to execution with purpose. Working with him feels grounded, professional, and creatively energizing. There is a shared commitment to storytelling and to making each project better than the last, which makes the collaboration both inspiring and rewarding. I get to spend my days next to my husband, doing what we love and growing together. What more could I possibly want? What motivates you each day? What motivates me each day is my passion for my craft and the purpose behind it. As an actress, I am driven not only by the work itself, but by the opportunity to inspire young girls around the world to believe in themselves and pursue their dreams fearlessly. I find fulfillment in the process - the long hours, the discipline, the growth, and the constant learning that comes with chasing excellence. I have learned to value both success and failure as essential parts of the journey. Success feels meaningful because of the effort that leads to it, and failure is never something I fear - it is a teacher. Every setback sharpens my resilience, deepens my understanding, and prepares me for greater achievements. Embracing failure makes success even more rewarding, because it reminds me how far I have come and how much I have grown along the way. After all, I am just an ordinary girl from Ukraine who chose to pursue my dreams instead of merely dreaming about them. Photography: Serge Guerand How does it feel to be a filmmaker and actress in the digital age? Being a filmmaker and actress in the digital age feels empowering, fast-paced, and full of possibility. The digital era has opened doors that once felt unreachable, allowing stories to be told across borders and voices to be heard without waiting for permission. It is a space where creativity, persistence, and authenticity matter, and where dreams can begin anywhere in the world. As a Ukrainian who once only dreamed of Hollywood, the journey feels especially meaningful. What started as a distant vision has become a career I actively pursue, proving that background, geography, or circumstance do not define the limits of ambition. The digital age made it possible to learn, create, and share my work globally, turning dreams into tangible steps forward. It is inspiring to know that my path can encourage others - especially girls from all over the world - to believe in their own potential. If my journey shows anything, it is that dreams are valid no matter where you come from, and with passion, resilience, and courage, they can become reality. These days, you have the freedom to create your own path without anyone’s permission. So, take advantage of this opportunity and start your own journey. What would you like to tell our readers about your new projects? What I would love readers to take away from my new projects is a sense of honesty, resilience, and possibility. Each project I am working on comes from a very personal place and is driven by the idea that growth often comes through challenge. Whether the story explores ambition, vulnerability, or transformation, the heart of the work is about embracing the journey - both the triumphs and the setbacks. I hope audiences feel inspired to believe in themselves, to take risks, and to understand that failure is not the end of the story, but part of becoming who you are meant to be. If my projects spark emotion, connection, leaving them with a lasting impact that encourages them to discuss and share my projects years after the movie ends or even the courage to keep going after a dream, then I have done what I set out to do. To learn more about Natalie Burn, follow her on Instagram, IMDb.

Photography: Cosimo Buccolieri The celebrated Italian novelist discusses a triumphant, literary career. In your 2023 novel, Quello che ti nascondevo, you brilliantly transform a simple voice message into an anchor of suspense. What inspired this fascinating narrative device? "The inspiration for this thriller came suddenly one day while I was stuck in traffic in Milan," Marina recalled, her eyes reflecting the gravity of the memory. "I'd received a voice message from a friend saying everything was fine. But from her tone of voice, I knew something was wrong. I called her and asked her a thousand questions. My friend finally decided to open up and tell me the truth: she had a big problem and was very worried." Leaning forward slightly, she explained, "This situation made me reflect and realize that voice messages communicate much more than we'd like. In my mind the story of a man who, having lost his wife in a mountain accident, to console himself, perhaps a little masochistically, listens to the messages his wife has left him over the years, began to take shape." A shadow crossed her expression as she continued. "One evening, however, he realizes something he hadn't noticed two years earlier: he hears a man's voice whispering 'baby.' From that moment, he realized that perhaps there was a part of his wife's life he didn't know, and from that moment on, his own descent into hell begins." What was your primary purpose in writing Quello che ti nascondevo, and why did you feel compelled to explore the terrifying possibility that those closest to us harbor dark secrets? "I have always been fascinated by the theme of disillusionment," she noted thoughtfully. "The exact moment in which we discover that a person could be a friend, a colleague, or even a member of our family, it’s completely different from what we imagined. A discovery that leaves us stunned, empty, sad." She gestured emphatically, drawing a line between fiction and reality. "If you think about it, many murders arise from this disillusionment. How many betrayals, how many deceptions and treachery give rise to brutal crimes." A knowing, confident smile appeared as she concluded, "Perfect material for a thriller!" Photography: Cosimo Buccolieri Your explosive 2025 release, Braccata, powerfully critiques the media pillory. How did you channel your protective maternal instincts into portraying Angela’s resilience against the press? "It wasn't easy to portray Angela's character, a girl who leads a quiet, almost monotonous life and suddenly finds herself at the center of a terrible media pillory," the author confessed, adopting a solemn and deeply empathetic tone. "I tried to describe the feelings of confusion and the total disorientation my character suddenly finds herself in. I tried to make readers reflect on the fact that we could find ourselves in Angela's situation too." Her voice grew firmer, laden with warning, as she added, "All it takes is being in the wrong place at the wrong time, and the whole life collapses like a house of cards." You've noted that the title Braccata perfectly captures the feeling of being relentlessly hunted by reporters. What motivated you to focus so intensely on this destructive public trial? "We've become accustomed to witnessing the mass media's often distorted narratives about certain crimes," she stated, a distinct hint of frustration coloring her words. "Reputations and lives are destroyed with incredible ease, failing to realize that the objects of public derision are human beings whose lives are falling apart." Critics call Braccata a brilliant domestic thriller because it tests a profound female friendship. What drew you to explore women's loyalty under extreme societal pressure? "In a scenario where my protagonist sees everything falling apart, including relationships she thought were solid and now crumbling like snow in the sun, there is also the consolation of some deep friendships," she observed warmly, describing these bonds as a "balm for the soul, litmus tests of true affection that never abandons us in the midst of the storm." Reflecting on the universal nature of her work, she asked, "How many of us have experienced this? False friends who distance themselves in times of crisis and people who instead stand by us with love and dedication." Grounding her narrative in shared human experience, she affirmed, "It's real life, the kind that concerns us all." Photography: Cosimo Buccolieri Before dedicating yourself to thrillers, you worked as a deputy director in a prestigious fashion showroom. In Dress Code Rosso Sangue, you explored the dark shadows behind the glittering facade of the Milanese fashion jet set. How did your firsthand experience in that industry inspire you to peel back its glamorous layers? "I worked for over ten years as deputy director in one of Milan's most important showrooms, and this experience taught me a lot," Di Guardo reminisced, her posture relaxing as she recalled her past career. "I came into contact with incredible designers like Versace and Moschino, and I met countless people who orbited the fashion world, a vital sector for the Italian economy. Although seemingly frivolous and superficial, it is actually made up of very serious and attentive professionals." A spark of mystery touched her tone as she revealed, "I also wanted to explore background stories that most people don't know and that even surprised me. It's a very tense thriller with a truly unpredictable ending and settings that will astound readers." Looking past the gripping suspense and the dark psychological trials your characters endure, how does your personal journey inform your narratives, and what is the most uplifting truth about resilience you hope readers ultimately take away from your work? "My life experience informs every one of my novels," she affirmed with quiet confidence. "Fortunately, I've never had to deal with murders or bloody incidents, I've never had to escape from a killer or solve daring cases like Alfonso Vitanza, the Marshal of Braccata, but there's no doubt that the places I've visited, the people I've met, and the life experiences I've faced have been crucial to the narrative fabric of each of my novels." She leaned back, a nostalgic smile forming. "Since I was a child, I've been an avid reader and viewer of thrillers. And I love the psychological insight into characters, an added value that leads the reader to become attached to the various protagonists." Touching on her core values as an artist, she added, "I also enjoy tackling various themes dear to me: gender violence, the value of friendship, and resilience are among those I love to discuss and analyze." Your work has expanded from intimate suspense to brilliant societal critiques. How has your personal growth inspired you to tackle these complex themes so fearlessly? "I believe it's important for every writer to strive for ever-increasing complexity and variety," she reflected with a striking artistic conviction, "so as to continually engage their readers with new stories that entertain and provoke reflection." Breaking down the architecture of her craft, she explained, "I like to think of my writing as having three levels: the first is the plot, which must be compelling and a page-turner. The second level is psychological introspection, and the third is the themes that offer scope for reflection." Photography: Cosimo Buccolieri Your powerful narrative Com'è giusto che sia is also becoming a television series. Which aspects of your protagonist's inspiring strength are you most eager for viewers to discover? "Dalia, the protagonist of As It Is Right, is a girl who grew up with a mother who forced her to study with a thousand sacrifices and hardships," she shared, her voice brimming with fierce empathy. "Her mother suffered a double affront: abandoned by her partner when she was pregnant with Dalia, and brutally beaten by a second man." Highlighting the emotional core of the vengeance story, she noted, "Dalia will be forever scarred by these two events and will decide to avenge women who are victims of violence at the hands of their partners and husbands." She smiled softly, fully aware of her character's intoxicating duality. "She is an avenger, and the reader is led to empathize with her, supporting her in her deadly intentions. A dark heroine, yet so fascinating and complex." At your Cremona presentation, actor Beppe Arena praised your writing as a "well-oiled mechanism" balancing tension and introspection. How do you maintain this delicate narrative balance? "I believe a good thriller must be balanced," the author answered smoothly, cementing her status as a master of the genre, "balancing moments of tension with situations in which the characters' idiosyncrasies, weaknesses, and strengths are effectively analyzed and explored." Delving into the profound impact of fiction, she mused, "We might discover something of ourselves in the sensitivity of a murderer, as happens with Dalia, the protagonist of As It Is, or feel caught in the grip of a relentless media pillory, as happens to Angela in Hunted." Bringing the conversation to a profound close, Di Guardo added, "This is one of the strengths of literature: living other lives, immersing ourselves in other situations, exploring new boundaries."

How did your upbringing and early experiences shape your commitment to personal growth and mental health advocacy? "Growing up, I learned very early that being sensitive is not a weakness, even if the world sometimes makes you feel like it is," Aragón noted, reflecting on her formative years. "I went through moments where I looked perfectly fine on the outside, but inside I was trying to understand my own mind, my emotions, and why life could feel so heavy sometimes." She continued, "Those experiences made me deeply curious about healing. Not from a perfect place, but from a very human place. I started therapy, I started reading, writing, asking questions, and little by little I understood that mental health is not just about 'being okay.' It is about learning how to come back to yourself with love, honesty, and patience." "That is why I care so much about personal growth and mental health advocacy," she added. "Because I know what it feels like to suffer in silence, and I also know how powerful it is when someone tells you: 'You are not broken. There is a way through.'" Reflecting on your time at Miss Universe 2019, what was the most valuable lesson you learned that you apply in your work today? "The biggest lesson Miss Universe taught me is that being prepared is important, but being present is everything," she remarked. "You can have the perfect dress, the perfect answer, the perfect plan… but life still asks you to show up with your heart, not just your image," Aragón explained. "That experience taught me that true strength is not about looking flawless; it is about staying grounded when everything around you is bigger than you imagined." "I apply that in my work today, especially as an actress, writer, and producer," she said. "I try to create from a place that feels honest, not perfect. Because people don’t really connect with perfection. They connect with truth." What do you believe are the biggest misconceptions about mental health that you aim to address through your advocacy? "I think one of the biggest misconceptions is that mental health only matters when someone is in crisis," she stated. "But the truth is, mental health is something we live with every single day. It affects the way we love, the way we work, the way we see ourselves, and the way we experience life." Aragón went on to address the stigma surrounding vulnerability: "Another misconception is that struggling means you are weak. I believe it is actually the opposite. Sometimes the strongest people are the ones who have been silently fighting battles no one can see." "Through my work," she emphasized, "I want to help people understand that healing is not about becoming perfect or happy all the time. It is about learning to listen to yourself, ask for help, and treat your inner world with the same care you would give to your body." Sharing your struggles with depression has been a courageous step. How has this openness impacted your relationship with your audience? "It has created a much deeper and more honest connection," she observed. "For a long time, people saw me through a very polished image, and I am grateful for that part of my story, but it was not the whole truth," Aragón confessed. "When I started speaking about depression, I think many people felt they were finally seeing the human being behind the crown, the photos, and the public life." "What has touched me the most," she said with evident sincerity, "is when someone tells me, 'I thought I was the only one feeling this way.' That is the reason I keep sharing. Not because I have all the answers, but because sometimes honesty can become a little light for someone who is going through the dark." In your book El color de lo invisible, what specific experiences do you examine, and what do you hope readers gain from them? "In El color de lo invisible, I explore the experiences we usually don’t know how to explain: anxiety, depression, emotional pain, loneliness, fear, trauma, and the silent battles that happen inside a person even when everything looks fine from the outside," she shared. "A lot of the book comes from my own journey, especially from the moments where I felt lost, overwhelmed, or disconnected from myself," she noted. "But I also wanted to bring in psychology, neuroscience, philosophy, and spirituality, because I believe healing is not just one thing. Sometimes we need science to understand what is happening in the brain, and sometimes we need meaning to understand what is happening in the soul." "What I hope readers gain is a sense of relief," Aragón said. "I want them to feel less alone, less ashamed, and more capable of understanding themselves. I want the book to feel like someone sitting next to them and saying: 'What you feel has a name. What you feel makes sense. And you can find your way back to yourself.'" Can you share a few practical strategies or tools that have helped you and that you recommend to others for building self-esteem and resilience? "Yes," she began. "For me, self-esteem has not been about waking up every day feeling powerful. It has been about learning how to stay kind to myself even on the days when I don’t feel that strong." "One tool that has helped me a lot is therapy," she continued. "Having a safe space where you can understand your patterns, your wounds, and your fears changes everything. Another one is writing. I write to organize what I feel, because sometimes the mind becomes too loud and paper helps me see things more clearly." Aragón also pointed toward the power of routine: "I also believe in small promises. Not huge life transformations overnight, but simple acts of self-respect: moving your body, sleeping better, setting one boundary, finishing one thing you said you would do. Every time you keep a promise to yourself, your self-esteem grows quietly." "And finally," she concluded, "asking for help. Resilience is not pretending you can do everything alone. Sometimes resilience is having the humility to say, 'I need support,' and allowing yourself to receive it." What initiatives or campaigns have you found to be most effective in promoting mental health awareness and fostering empathy in communities? "I believe the most effective initiatives are the ones that make mental health feel human, not distant or clinical," she reasoned. "Campaigns that combine real stories with real tools are the most powerful," she said. "It is not enough to say, 'mental health matters.' People need to hear someone say, 'I have been there too,' and then also receive practical guidance: how to ask for help, how to support a friend, how to recognize when something is not okay." "I also think schools, social media, and community spaces are very important, because empathy starts with education," Aragón added. "When people understand that depression, anxiety, trauma, or emotional pain are not character flaws, they become less judgmental and more compassionate. For me, the best campaigns don’t try to make suffering look beautiful. They make it less lonely." How do you use social media to spread your advocacy on mental health, and what challenges do you face in navigating these platforms? "I use social media as a bridge," she stated. "Not to show a perfect life, but to create small moments of honesty where someone can feel seen." "Sometimes it is a reflection, sometimes it is something I learned in therapy, sometimes it is a personal experience, and sometimes it is just a reminder I wish someone had told me when I was younger," Aragón noted. "I try to speak in a way that feels close, simple, and real, because mental health should not feel unreachable." She admitted to the difficulties inherent in digital spaces: "The challenge is that social media can also be a very confusing place. It rewards perfection, speed, and comparison, while healing requires patience, silence, and truth. So I try to be careful with what I share, to not turn pain into performance, and to remember that behind every screen there is a real person who may be carrying something invisible." What advice would you give to young women struggling to find their voice? "I would tell them: your voice is not something you have to invent. It is something you have to remember," she said thoughtfully. "A lot of us spend years trying to be liked, understood, chosen, or accepted, and little by little we start editing ourselves," Aragón observed. "We make ourselves smaller. We become quieter. We become more convenient." "But your voice comes back every time you are honest with yourself," she affirmed. "Every time you say what you really feel. Every time you stop apologizing for having dreams, boundaries, opinions, or emotions." "You don’t need to be loud to be powerful," she said. "You just need to be true. And the moment you start choosing yourself, even softly, your voice starts coming back." What are your aspirations for the future in terms of your advocacy work and any upcoming films that you’re excited about? "My aspiration is to keep creating work that helps people feel less alone," she stated. "Through my advocacy, I want to keep speaking about mental health in a way that feels human, beautiful, and honest," she explained. "Not as something perfect or inspirational all the time, but as something real. I want to create more spaces, books, conversations, and projects where people can understand themselves with less shame and more compassion." Regarding her screen work, she added, "In film, I am very excited about the stories I am developing because they also come from that same place. I am interested in cinema that explores the invisible parts of being human: emotional pain, identity, love, loneliness, resilience, and the things we hide behind a beautiful image." "For me," she concluded, "advocacy and film are starting to become part of the same mission: to transform pain into something that can move, heal, and connect with others." You can follow Sof Aragón on Instagram, IMDb.

Model: London Knight The Cannes Film Festival remains a stage where cinema serves as the backdrop for an international display of high fashion. This season, the conversation centers on Festival d’Azur, a capsule collection by Diana Dieppa Couture that captures the spirit of the French Riviera. The work moves from initial concepts to the reality of the red carpet, presenting a study in contrast through the pairing of Royal Blue and crisp white tones. The foundation of the collection rests on sophisticated silhouettes tailored to hold their own against the grand scale of the Palais des Festivals. The lineup offers a balance of structured tailoring and soft materials, including tulle, delicate polka dots, and lace overlays. Two personas define the aesthetic: the bold Royal Blue, which draws from the Mediterranean, and the noir details that provide a touch of mystery through black lace and sheer fabric. On the historic steps of the festival, the collection challenged traditional red carpet norms. A signature column gown in electric royal blue took center stage, accented by an avant-garde shoulder piece constructed from iridescent black feathers. A deep V-neckline, finished with textured blue ruffles, combined a fierce presence with poise. Gold stiletto heels and metallic accessories completed an ensemble designed to command attention. Away from the intensity of the premiere, the collection shifts its focus toward softer textures within the Carlton hotels of Cannes. A two-piece ensemble defines this portion of the narrative, moving toward ivory shades. The top consists of a sheer white lace bodice with floral patterns, sitting beneath an oversized, multi-layered organza ruffle collar with polka-dot embossing. This pairs with a minimalist, high-waisted cream silk skirt that provides a clean foundation for the dramatic top. Photographed against marble staircases and wrought-iron accents, these pieces connect the luxury of early cinema with a current perspective. The Festival d’Azur capsule stands as proof that the house prioritizes bold choices, finding a middle ground between the chaos of the carpet and the quiet luxury of the Riviera.

Photographer: Daniel Sinoca Sofia Milos knows how to hold her ground. She brings a grounded humanity to women who wear armor to survive. She stepped into the 1980s Brooklyn underworld for Gravesend Season 2 and launching her own luxury skincare line, her career continues to cross new borders. Here, Milos opens up about the emotional weight of her iconic roles, the lessons learned on international sets, and the deep faith that keeps her moving forward with grace. Stepping back into a mafia setting for Gravesend brings back memories of playing Annalisa Zucca. How did your emotional preparation for Tina Teva differ from your time on The Sopranos? "In The Sopranos, created by David Chase, I played Donna Annalisa Zucca, a Neapolitan Camorra boss who takes over the family business after the men are arrested or gone," Milos recalled, setting the scene with a palpable respect for the material. "It was something that historically did happen within certain Camorra families. She was powerful, respected, strategic, and went toe-to-toe with Tony Soprano, played so brilliantly by James Gandolfini, surrounded with an amazing talented cast." She paused, reflecting on the rigorous groundwork required. "To prepare for the role of Donna Annalisa Zucca, director Tim Van Patten gave me a fascinating book about women in the mafia and their influence throughout history. I immersed myself in the psychology, power, and culture of those women. David Chase was also incredibly specific about behavior, fashion, rhythm, down to the Neapolitan accent, so the preparation was very detailed and authentic." James Gandolfini and Sofia Milos, HBO The Sopranos "In Gravesend, created and helmed by William DeMeo, my character Tina Telva is very different," she explained, shifting gears. "She's the wife of a soldier, played by James Russo, who is now in prison, and she suddenly has to step up and protect her family in a severely male-dominated world, specifically Brooklyn in the 1980s. The environment, energy, and social codes are completely different from Naples. Also, an Italian-American versus Italian from Italy is very different in humor, nuances, and culture then and now." To inhabit Tina, Milos had to adopt an entirely new physical vocabulary. "For Tina Telva, I had to learn a Brooklyn accent inflection and really embrace the style and flavor of that 1980s period—the big hair, bold jewelry, animal prints, spandex, heels, nails, all of it. Physically and emotionally, Tina moves differently than Donna Annalisa. Annalisa was elegant, composed, and quietly dangerous. Tina is more raw, emotional, street, and survival-driven." "Another beautiful connection on Gravesend is that my daughter on the show, Rosemarie, is played by Gabriella Palminteri, daughter of Chazz Palminteri," she added warmly. "I actually just had the pleasure of working again with Chazz and a fabulous cast this past month on a new romantic comedy, which was such a joy. The movie could be released as early as the end of this year, and I can't wait to be able to share more about it." "What I love most as an actress is studying a character deeply and bringing her fully to life, from the makeup, the accent, and physicality to the wardrobe, the walk, the rhythm of speech, and even the emotional energy she carries into a room," Milos concluded. "Even the tone of a show or movie influences the flavor of performance. That metamorphosis is one of my greatest passions." Photographer: Daniel Sinoca You frequently play women of immense authority. Do you ever feel isolated carrying that heavy armor on set? "This is one of those moments where art imitates life," she mused thoughtfully. "I believe we must place our faith higher than our sometimes inevitable fears, walk forward with courage and resilience, especially through challenges and difficult times, and never give up. Many of the women I've portrayed carry enormous strength because they've had no other choice. In many ways, I understand that deeply." She continued with quiet conviction, "Working in what has often been a man's world, women frequently have to give twice as much just to stand in the same space or earn the same respect. But I believe there is great power in perseverance, grace, hard work, and gratitude. That strength becomes our crown." "Of course, characters like these can sometimes feel emotionally isolating because they wear armor to survive. But beneath that armor is usually vulnerability, passion, sacrifice, the desire to be loved, and to protect the people they care about. That humanity is what makes them so compelling to play," she noted. "Whether through a role or through my own life experiences, if I can inspire or encourage another woman to stand tall through adversity, then that journey has meaning. At the end of the day, I know I can count on my faith, my resilience, and the strength God gave me to keep moving forward." Detective Yelina Salas remains a television icon. Is there a quiet, unseen moment from the CSI: Miami set that still grounds your acting today? "CSI: Miami truly became a global television phenomenon, watched in nearly 200 countries and still reaching audiences around the world today," she shared, a note of immense gratitude in her voice. "I continue to receive messages from fans from so many different cultures and countries, and I couldn't be more grateful for the love they still have for Detective Yelina Salas. It's very humbling." Pulling back the curtain on the hit procedural, she added, "What people may not have seen behind the scenes was how disciplined and professional that production truly was. It was a very tight ship creatively and technically, groundbreaking for its time, visually stylized, and beautifully produced. It found a unique way to tell crime stories through the colorful, tropical atmosphere of Miami while still keeping emotional depth and intensity. Being part of such a long-running international hit show deeply shaped my work ethic and professionalism. At the time I didn't know the impact it was going to have for decades to come globally." Sofia Milos, CSI: Miami "A long-running series regular role on a hit show taught me the importance of preparation, discipline, and consistency. I learned to come in fully prepared, yet remain flexible enough to adapt instantly when changes happened on set, because in television, they often do." "It also taught me to trust myself," Milos emphasized. "My instincts, my training, and my ability to deliver emotionally and truthfully, often within the first take or two before production needed to move on. That kind of environment sharpens you very quickly as an actor." "And perhaps most importantly, it taught me not to take other people's insecurities personally. In any long-running production, you experience both the beautiful and the challenging moments. I learned the importance of being a team player through all of it—the good, the difficult, and everything in between—while never allowing anyone else's insecurities to dim my light or passion for the work." You bring a broad global perspective to all your work. How did your European roots specifically influence the emotion you poured into Tatort, Section de Recherches, or the upcoming Miracles of the Claves? "My European roots have absolutely influenced the emotional depth and authenticity I bring to my work," Milos replied, her face lighting up. "Growing up between different cultures and languages gave me a very broad emotional palette as an actress and a deeper understanding of people, nuance, and human behavior." "Tatort was especially meaningful for me because it was filmed in the beautiful city of Lucerne, where I had the opportunity to speak Swiss German on screen. I was born in Switzerland, and Swiss German was one of the languages I grew up speaking alongside Italian, Greek, and French German in school. Spanish and English came later in life for me as my travels expanded and crossed the Atlantic." "Playing Abigail, an American-Swiss detective bringing a more American energy and perspective into the Swiss investigative world, was incredibly enjoyable. It added humor, charm, and even a touch of romance to an otherwise gritty crime drama," she explained. "It also gave me the chance to reconnect with and polish my Swiss German after not speaking it regularly for nearly 25 years at that point, which was very special to me personally." "On Section de Recherches, we filmed in beautiful Belgium, and I performed in French," she continued. "This time, I was playing a very different character, a sophisticated casino manager suspected of murder, while also developing a romantic connection with the lead detective. It was another wonderful creative experience and reminded me how much I love working internationally and immersing myself in different cultures and languages." "And now with Miracles of the Claves, which we will shoot in Zurich and the breathtaking St. Moritz next year, I feel that same excitement again. The film will be spoken in English with an international cast, and I will also get to speak some Swiss German, French, and even learn some Romansh, which is considered one of Switzerland's oldest and almost archaic languages today. I immediately fell in love with the script written by Gianfranco Tordi, and I'm deeply grateful he came to me with the offer to play the female lead. I truly cannot wait to bring this story to life." "For me," she reflected softly, "traveling between cultures, languages, and emotional worlds has always been one of the greatest gifts of being an actress. It keeps me curious, connected, and creatively alive." Sofia Milos and David Caruso, CSI: Miami Beyond the camera, your charity work with children connects you to profound real-world pain and joy. How directly does this impact the roles you choose to accept? "Over the past two decades, my support and help for underprivileged children, or children with cancer and abused women going through difficult circumstances, women's homeless shelters, among some foundations and charities - witnessing their stories has definitely deepened me as a human being," Milos shared, her tone turning deeply reverent. "When you witness real pain, real courage, and real hope, it changes your perspective on life and on storytelling." "It reminds me that every person carries a story we may know nothing about, and that truth absolutely influences me as an actress. I'm drawn to characters who have emotional layers, resilience, vulnerability, and humanity. Even strong women who appear powerful on the outside usually carry deep wounds, abuse, fears, love, sacrifice, or longing underneath." She paused, considering the gravity of her platform. "At this stage of my life and career, I'm also more conscious of projects that have heart and a message. Entertainment carries a huge responsibility of hope and inspiration. We all need escapism, joy, laughter, romance, suspense - but I also love stories that leave people feeling something deeper, that inspire, heal, encourage, or create empathy." "Working with children especially reminds me how precious innocence, kindness, and hope are. Children are our future. Though I wasn't fortunate to have children of my own, something I always wanted—to be a mom—watching children helps me understand what truly matters beyond fame or success. But I get to be a good daughter to my mom, and that makes me happy." "So while I don't choose roles only based on charity or social themes, my life experiences absolutely influence the emotional truth I bring into the characters I decide to portray," she concluded. Thinking about television history, David Chase cast you in a very male-dominated environment. Has the industry finally caught up to the standard set for women in crime dramas, or is it still a fight? "Perhaps not much is widely known, for example, about women in the Camorra, the Neapolitan crime organization," she observed. "Unlike the traditional Sicilian mafia structure, there were historical cases where, if a husband died or was incarcerated, women would step in and take over the business. Very powerful women. So when David Chase created Donna Annalisa Zucca in The Sopranos, it was actually inspired by real historical precedents, even two decades ago, and I am so grateful he gave me the opportunity to make Donna Annalisa come to life and live for years to come on the small screen and in my fans' memory." "What made the role so compelling for me to play and for the audience was that David Chase allowed for Donna Annalisa to be powerful without losing her femininity, intelligence, sensuality, or emotional depth," she explained. "Audiences around the world responded to that. I received enormous respect from both men and women because people could recognize the strength in her, but also the humanity in a woman of power." "I think many women connected to these characters because, historically, women have often been oppressed, suppressed, underestimated, or limited culturally, religiously, socially, or professionally. Yet women have always been resilient. We are powerful, intuitive, nurturing, intelligent, and capable of leading in every field." When asked if the needle has moved, Milos was optimistic. "Have things improved across the board since then? Yes, absolutely. Women today have far more opportunities, stronger voices, and more complex roles in entertainment than in the past. We are seeing women leading major television series, films, production companies, directing, and global franchises. But we still have a long way to go, especially regarding equal pay, equal opportunities, and representation not only in entertainment, but across every profession." "That's why storytelling matters so much," she insisted with gentle authority. "Film and television have the power not only to entertain, but also to inspire, educate, and shift perspectives. When audiences see women portrayed as multidimensional human beings - strong yet feminine, vulnerable yet courageous, powerful yet compassionate - it helps reshape outdated ideas of what women can be." "And the truth is, women around the world already are doing extraordinary things every day, in politics, science, medicine, education, business, the arts, and entertainment. Sometimes the screen simply catches up to the reality of who women have always been." Photographer: Daniel Sinoca After all the different types of roles you've played, what still makes you fall in love with a character enough to say yes? "I love the variety and character evolution this profession offers," she laughed, visibly excited by the creative process. "From action films to cop or legal dramas, mafia stories, comedies, romantic comedies, sitcoms, spoof films, and international projects in Italian, French, German, or English. As an actress, I truly enjoy constantly discovering different worlds, emotions, cultures, and personalities." "What matters most to me today is a compelling story that genuinely draws me in, a wonderful cast and creative team to collaborate with, and the feeling that going to set each day will be both inspiring and joyful. Life is too precious not to enjoy the people you create with." "I'm especially attracted to characters that challenge me creatively, emotionally, or linguistically - or simply characters I know I will have tremendous fun bringing to life. Sometimes a role touches something very deep emotionally, and other times it's the joy, humor, chemistry, the arc of the character, or the opportunity to work with friends and talented artists that excites me." "At the end of the day, I want to feel passionate about the work. If a script moves me, inspires me, makes me curious, or sparks my imagination, then I know there's a very good chance I'll want to be part of that journey," she noted. You have been working constantly across multiple genres over three decades. If you could whisper one piece of advice to the young Sofia just starting out, what would you tell her? "I would whisper to young Sofia: trust yourself and trust your instincts," Milos said, her voice dropping into a tender, reflective cadence. "You are enough. Cherish your uniqueness, sensitivity, empathy, and childlike wonder - they are what will make your performances stand out and connect deeply with people." "Believe fully in your passion despite any obstacles, and take action every day toward your dreams with persistence, discipline, faith, and love. Build your faith so strongly that it always will outshine your fears." "I would tell her that all the hard work, years of scene study, and spiritual study - sacrifices, and preparation - will eventually pay off, even in moments when nothing seems to be happening. And that the pain, disappointments, heartbreaks, and challenges she overcomes will one day become gold - part of the emotional reservoir that will shape the depth, strength, compassion, and authenticity she brings to her work and to life." She offered one final, resolute thought on the matter. "Keep growing, keep learning, stay curious, and never lose your imagination and dreams. And most importantly: never give up. No one will ever believe in you more powerfully than you believe in yourself. That belief, combined with perseverance and faith, is what ultimately opens doors and inspires others to believe in you too." You've just recently launched your own skincare line. Tell us about it. "I'm incredibly excited to have recently launched my luxury skincare line, RADIANT by Sofia Milos," she shared, her entrepreneurial spirit shining through. "The Fountain of Youth Cream is the first release in a collection of four amazing products, all handcrafted in fresh artisanal batches in Florence, Italy. Because freshness matters, we currently offer RADIANT directly online to ensure every customer receives the product at its highest quality and effectiveness." "What makes RADIANT truly different is that it's not just skincare - it's true nourishment for the skin. Everything is created with farm-sourced ingredients combined with advanced regenerative anti-aging science to help plump, hydrate, regenerate, and restore the skin laxity and glow for timeless beauty," she explained. Skincare: RADIANT by Sofia Milos "Our products are chemical-free and formulated without parabens, phthalates, glyphosates, paraffins, or harsh toxins. We use only pure, natural ingredients processed through methods that preserve their active potency and visible effectiveness on the skin. The line was developed with my friend and extraordinary chemist Roberto and his talented team in Florence, who created beautiful formulas that combine luxury, purity, and real results." "Our hero product, the Fountain of Youth Cream, is a deeply nourishing anti-aging cream designed to visibly plump, smooth, regenerate, and bring radiance back to the skin," she added with a smile. "It's unisex, because healthy, glowing skin is for everyone." You can follow Sofia Milos on Instagram, IMDb. Photo Credits: Actress & Entrepreneur: Sofia Milos | SofiaMilos.com Photographer: Daniel Sinoca Skincare: RADIANT by Sofia Milos | RADIANTbySofiaMilos.com Stylist: Orlando Cueva Stylist Assistant: Alberto Marez Production Coordinator: Galina Sobolev, Luxury Brand Consultant Press Agent: Meredith Corning PR Dress: GLAUDI by Johana Hernandez

Photography: Sarah Louise Bennett / EBU Delta Goodrem losing Eurovision 2026 with her stellar song "Eclipse" is one of the biggest disappointment of the year. #Powerjournalist Markos Papadatos has the recap. The disappointment of Eurovision 2026 is not that Australia lost. Eurovision fans are used to heartbreak, chaotic voting patterns, and juries making baffling decisions in the final hour. No, the real disappointment is that Delta Goodrem delivered the performance of her career - the kind of soaring, emotionally devastating Eurovision moment the contest was built for - and still walked away without the trophy. Years from now, people won’t remember the winning staging gimmick or the safe, algorithmically optimized pop chorus that edged her out. They’ll remember Delta standing alone beneath a cascade of silver light, belting a final chorus so raw and triumphant that even hardened commentators fell silent for a moment. Eurovision claims to celebrate artistry, emotion, and spectacle. Delta Goodrem gave all three. And somehow, it still wasn’t enough. Second Semi-Final Performance: Delta Goodrem performing Eclipse for Australia during the Second Semi-Final of the Eurovision Song Contest at Wiener Stadthalle, Photography: Alma Bengtson/EBU That’s what makes the result feel so profoundly wrong and bizarre at the same time. This is also an insult to her song's co-writers Ferras Alqaisi, Jonas Myrin, and Michael Fatkin, all of which co-penned it with Goodrem. Eurovision has increasingly become a contest obsessed with virality. Songs are now engineered for TikTok clips before they are written for arenas. Delegations chase “moments” instead of music. But Delta’s entry felt refreshingly sincere. It was unapologetically melodic, emotionally mature, and vocally fearless. In a field crowded with ironic dance tracks and half-finished hooks masquerading as avant-garde genius, she delivered an actual song - one with structure, crescendo, and heart. And perhaps that was the problem. Delta Goodrem represented something Eurovision often says it wants but rarely rewards anymore: authenticity without gimmick. She didn’t descend from the ceiling in a chrome bodysuit. She didn’t arrive flanked by ten dancers dressed as AI-generated angels. She simply stood there and sang with conviction powerful enough to command an entire continent’s attention. The public clearly connected with it. Social media exploded within minutes of her performance. Reaction videos flooded YouTube. Eurovision veterans immediately called it “a classic entry” and “one of Australia’s greatest ever performances.” Even rival delegations reportedly gave her standing ovations during rehearsals. Yet when the votes came in, the juries scattered points elsewhere, and the televote fractured along predictable regional lines. It exposed one of Eurovision’s enduring flaws: the best performance does not always win. Sometimes the winner is merely the most strategically positioned act in a fragmented field. Delta’s loss also feels symbolic for Australia itself. Since entering Eurovision, Australia has often been treated like the overachieving guest at someone else’s party - welcomed, applauded, but never fully embraced when it comes time to hand over the crown. Time and again, Australian artists bring polished vocals and ambitious songwriting only to watch Europe reward novelty over craftsmanship. And no Australian artist embodied that frustration more painfully than Delta Goodrem in 2026. What makes the outcome sting is that her performance transcended Eurovision. It was not just “good for Eurovision.” It was genuinely world-class. The vocal control, the emotional pacing, the cinematic staging - all of it felt like the culmination of decades spent mastering performance. This was not nostalgia bait from a legacy artist. This was a veteran performer proving she still had something urgent to say. Grand Final Performance: Delta Goodrem performing Eclipse for Australia during the Grand Final of the Eurovision Song Contest at Wiener Stadthalle, Photography: Alma Bengtson/EBU The irony is that losing may ultimately immortalize the song more than winning would have. Eurovision history is filled with runners-up and robbed fan favorites who outlived the actual champions in public memory. Ask casual viewers to name the greatest Eurovision performances, and they often recall the emotional near-misses, not the technically victorious entries. Delta Goodrem now joins that lineage. Simply put, Delta Goodrem is the Kate Bush of our generation. Because while Eurovision 2026 may officially record another winner, many viewers know who truly owned the night. The scoreboard said one thing. The audience reaction said another. And sometimes, the scoreboard gets it wrong.