Here are all the timings – along with all the additional information you need – for the fifth Grand Prix weekend of the 2026 season from the Circuit Gilles-Villeneuve in Montreal.

Chris Medland picks out the biggest stories as F1 heads to Canada for the third Sprint weekend of 2026.

To encourage close competition, F1’s Technical Regulations for 2026 and beyond will allow manufacturers to make updates to their homologated power units – in specific situations – under a new development mechanism. But what is the so-called ‘ADUO’, and how does it work? F1.com presents an all-in-one explainer…

On a day pretty much like any other, a girl named Prue is out in a park with her baby brother when the unthinkable happens: he’s swept off by crows and taken into a mysterious forest known as the Impassable Wilderness. Joined by her classmate Curtis, Prue ventures into the magical, sylvan realm where animals have developed a complex society of their own. The search for Prue’s missing sibling plots the course for an epic adventure that is the heart of the young adult novel Wildwood. Soon, the story lights up the big screen.

The forthcoming feature-length film is based on an original story by Colin Meloy—the lead singer of The Decemberists, for the fans out there—and illustrated by Carson Ellis, who also happens to be his wife. (Ellis has also designed phenomenal posters, album covers, and merch for the band over the years.)

Wildwood is directed by Travis Knight and is in the hands of Portland-based LAIKA Studios, which is behind box office favorites like The Boxtrolls and Coraline. At the forefront of feature film animation, LAIKA emphasizes both human-made elements and cutting-edge technology, incorporating meticulously hand-built puppets and sets along with computer-generated graphics.

Through intensive study, LAIKA’s artists captured the movements, behavior, and physical appearance of birds for the film’s so-called Avian Principality, of which a character named Owl Rex is the crown prince.

“Performance starts with observation,” says the narrator of a behind-the-scenes featurette, which you can see below. An ensemble of voice actors includes Carey Mulligan, Mahershala Ali, Awkwafina, Angela Bassett, and many others.

The trailer is out now, and the film is slated for release everywhere on October 23. You might also enjoy peeking behind the scenes of the making of LAIKA’s Kubo and the Two Strings.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Glimpse the Fantastical Animated World of ‘Wildwood’ appeared first on Colossal.

Met de massale inzet van steeds vernuftiger drones brengt Oekraïne langzaam een kentering teweeg in de oorlog tegen Rusland. Plotseling lag Moskou onder vuur, terwijl de Oekraïense strijdkrachten aan het front actiever zijn dan de Russen.

Musical Tombola wil iets zeggen over veranderende steden, maar de locatievoorstelling is rommelig en mist zeggingskracht.

In hun voorstelling Klei ensceneren theatermaker Boukje Schweigman en beeldend kunstenaar Zoro Feigl een intense ontmoeting tussen mens en klei.

In Papendrecht was onrust over asielopvang bij winkels, de PVV won daar de verkiezingen. En nu? 'De overlast komt van onze eigen jongeren.'

De MV Hondius, waarop het hantavirus uitbrak, heeft maandag de Rotterdamse haven bereikt. Terwijl journalisten van over de hele wereld zich verdrongen op een rondvaartboot, bereidden havenautoriteiten en gezondheidsdiensten zich voor op de quarantaine van de bemanning.

The TanStack team has documented security measures and proposals following a damaging breach last week, including the possibility of making pull requests (PRs) by invitation only - a break from the open-contribution model that defines most open source projects. The attack used code from the Shai-Hulud worm, published by malware outfit TeamPCP, which can extract secrets from memory used by GitHub Actions. It began with a PR that triggered an automatic workflow via TanStack's use of the pull_request_target feature, causing the malicious code to be built and run by a GitHub Action, poisoning a cache used across the entire repository. The TanStack team said that its workflow used a pattern GitHub warns against: pull_request_target id intended for PRs that "do not require dangerous processing, say building or running the content of the PR." Since the attack, TanStack has removed all use of pull_request_target from its continuous integration (CI) pipeline, disabled caches used by pnpm (a Node.js package manager) and GitHub Actions, pinned actions to commit SHA (Secure Hash Algorithm) hashes rather than retargetable tags, and disabled use of text messages for 2-factor authentication. The TanStack repository also now uses a feature of pnpm 11 called minimumReleaseAge, which requires dependencies to have been published for a set period before they can be installed. The idea is that compromised packages are usually detected and removed before that period completes. A more drastic proposal is closing the ability for external contributors to open pull requests at all. "We are absolutely not going closed source," the team said, but it could put in place a mechanism where contributions begin with an issue or discussion, and a PR can be submitted only by invitation. TanStack acknowledged that it would be a radical step to take as "open PRs are part of how a lot of us became maintainers in the first place." It might not be necessary if the repository can be hardened enough that malicious PRs cannot cause damage. It is a debate that maintainers of other open source projects will watch with interest. Supply chain security is a huge issue, but making pull requests invitation-only could hurt projects by deterring contributions. Another aspect of this is the extent to which GitHub itself is to blame. "Cache scoping in GitHub Actions shouldn't silently bridge fork PRs and base-repo branches," said the TanStack team.®

Microsoft has begun rolling out tweaks to the Windows 11 experience to make good on its promise to "fix" the operating system, starting with the ability to move the taskbar around. The changes are only for Windows Insiders brave enough to be in the Experimental channel, but will be welcomed by customers left baffled by Microsoft's decision to strip features from its OS with Windows 11. The update allows the taskbar to be positioned at the top, bottom, left, or right of the screen, with icon alignment selectable for each position. Flyouts, including those for Start and Search, appear relative to the taskbar location, and it is also possible to "never combine" taskbar buttons, meaning each app window appears as a separate labeled button. Shifting the taskbar to the side opens up additional screen space at the bottom – which is handy for editing code or writing lengthy pieces complaining about Microsoft's approach to product quality. It's a good start, but it isn't all there yet. This is the Experimental channel after all. However, some omissions, such as auto-hide (which isn't yet supported in alternate positions) and Search boxes being just a search icon, are irritating. Microsoft is also pondering different taskbar positions per monitor and drag-and-drop, but wrote: "Our focus is to deliver the core functionality you need while keeping the experience simple, predictable." A cynic might suggest the company takes the same approach to testing its security updates. Other improvements include the ability to shrink the taskbar with smaller buttons, something that will be welcomed by users running on smaller screens where every pixel matters, and more control over the Start menu. Currently, the size of the Start menu is decided by Windows. The update means users can choose Small or Large themselves, and those choices will remain across displays. Microsoft is also simplifying control over the Start menu sections and recommendations, and adding the option to hide a user's profile picture – useful for those presentation moments when having something personal pop up unbidden might not suit the audience. The update will receive more polishing before reaching production – there are still some howlers, such as notifications, that seem to completely ignore the taskbar's position. But this is more of a preview than anything else at this stage, and an opportunity for enthusiasts to file feedback on the direction of travel. However, there is also the nagging feeling that Microsoft had all this in earlier versions of Windows, and it's taken half a decade for the company to reinvent what was working before. Windows Design Director Diego Baca explained: "The taskbar was modernized during Windows 11 to support better animations, more states, and several other features. So we could not reuse that old code." That "old code" should, coupled with user feedback, have given Microsoft a starting point for the Windows 11 user interface, which it chose to ignore. Now, as Windows 12 lurks in the shadows, Microsoft is reimplementing functionality that users have missed from previous versions. Better late than never. ®

​Josefien van Kralingen, HR-manager binnen de logistieke sector, is diep teleurgesteld in de houding van magazijnmedewerkers. Volgens haar ontbreekt het jonge werknemers steeds vaker aan ‘een natuurlijke drive om dozen te verplaatsen’. Dat de medewerkers nét iets meer verdienen dan het minimumloon, zou bijzaak moeten zijn volgens de HR-manager.

“Tegenwoordig wil iedereen ineens ‘rondkomen’. Tijdens een sollicitatiegesprek vroeg iemand letterlijk hoeveel hij netto overhield”, vertelt Van Kralingen zichtbaar aangedaan. “Dan denk ik: heb je überhaupt wel liefde voor het logistieke proces? Of zie je dit echt alleen maar als bron van inkomsten?”

“Kijk eens verder dan die paar getalletjes op je loonstrook. Wij bieden zoveel meer dan alleen een salaris”, vervolgt de HR-manager. “Een jong team, veel verantwoordelijkheid, gratis thee en koffie. Dan vind ik het jammer dat mensen alsnog zeggen dat ze de huur en energiekosten niet meer kunnen betalen. Wij zoeken mensen die verder kijken dan financiële bestaanszekerheid.”

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​​De Speld Sport Quote van het weekend.

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John Lennon's last interview — just hours before he was shot on December 8, 1980 — has become a documentary directed by Steven Soderbergh, debuting Saturday at the Cannes Film Festival.

In a new interview with the Associated Press, Soderbergh defends the film's limited use of AI to visualize concepts from that two-hour interview with John Lennon and Yoko Ono:

Soderbergh was resolved to let the audio play. He could finds ways to visualize much of the film, but that still left a large gap where the conversation grows more philosophical. "I worked on everything that could be solved except that for as long as I could," Soderbergh says. "Then there was the inevitable moment of: OK, but really what are we going to do? We just started playing and ran out of time and money. That's where the Meta piece came in." Soderbergh accepted an offer to use Meta's artificial intelligence software to conjure surreal imagery for those sections, which make up about 10% of the film.

When Soderbergh let the news out earlier this year, it prompted an uproar. One of America's leading filmmakers was using AI? In a film about a Beatle, no less? The AI parts (overwhelmingly slammed by critics in Cannes) are fairly banal and don't differ greatly from special effects — there are no deepfakes of Lennon. But they put Soderberg at the forefront of an industrywide debate about the uses of AI in moviemaking. It's a conversation the director, who has made movies on iPhones, is eager to have.

While the film follows John and Yoko's conversation, "I needed a way to follow them in flight visually," Soderbergh says, "or I'm not doing my job." Though when asked about the strong negative reaction, Soderbergh acknowleges that "I knew what was coming. I take it very seriously, and I understand why people have an emotional response to this subject. As I've said before, I feel like I owe people the best version of whatever art I'm trying to make and total transparency about how I'm doing it."
AP: Some fear generative AI will tear apart the film industry. You don't see it as a bogeyman, though.
SODERBERGH: I think most jobs that matter when you're making a movie cannot be performed by this tech and never will be performed by this tech. As it becomes possible for anybody to create something that meets a certain standard of technical perfection, then imperfection becomes more valuable and more interesting. We haven't seen yet someone with a certain amount of creative credibility go full-metal AI on something, and see how people react. I think it's necessary. How do you know where the line is until somebody crosses it?
"I don't think what I'm doing crosses it. Some people may disagree. I don't know where my line is yet. I'm waiting to see...

Read more of this story at Slashdot.

Cannes film festival: Na Hong-jin’s melee of running, chasing and shouting at the angry invaders is uproarious fun, mixing digital work with old-school spectacle

Some uproarious rock’n’roll moviemaking from Korean director Na Hong-jin, a sci-fi action thriller mixing digital work with old-school analogue entertainment values, serving up a spectacle with cheeky touches of Spielberg, Walter Hill and one other director and movie franchise that it would be unsporting to specify at this stage.

We are in the remote and sleepy retirees’ town of Hope in South Korea near the demilitarised zone (DMZ), where people already constitutionally used to the possibility of war and bloodshed, are astonished to hear of a farm animal killed and mangled – though not for food – by an unidentified beast.

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‘All of Kirkby turned out for the premiere – many of them had been extras. And 500 people crammed into my mum’s council house for a party. It’s still talked about’

I started banging out the script for this on a typewriter in my scruffy flat in Toxteth, Liverpool, in 1981. Four years later, the film had its British premiere. My idea was for a working-class romance between a couple of girls from my native Kirkby and two Russian sailors on leave around the port of Liverpool, with a subtle political message at a time when the Thatcher premiership and the cold war were at their heights. There was a lot of anti-Russian propaganda in the press, but I was not prepared to hate a whole nation just because they had been demonised by the likes of press baron Robert Maxwell.

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Burnham vows to have ‘relentless domestic focus’ in first speech since announcing Makerfield byelection run

• UK politics live – latest updates

Andy Burnham has said he will not try to return the UK to the EU, saying Britain would be stuck in “a permanent rut if we’re just constantly arguing”.

In his first major speech since announcing his byelection run, the mayor of Greater Manchester said he would have a “relentless domestic focus” in Makerfield, saying: “Let’s fix our own country. Let’s get it working again. Let’s get it back to where people want it to be.”

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Goh, nou. Het aanmeldcentrum in Ter Apel is DRUKKER DAN NORMAAL. Dat wil dus zeggen drukker dan het er normaal gesproken al tantoe druk is, want al het hele jaar wordt vrijwel dagelijks de limiet van 2.000 overnachters overschreden. Van zaterdag op zondag verbleven er 2.234 migranten, van zondag op maandag 2.199. Het COA zegt dat er inmiddels asielzoekers op stoelen of op de grond slapen en dat er situaties voorkomen waarbij alleenstaande mannen op een kamer met een gezin van 6 worden geplaatst. Blijkt dus dat het volk er ondertussen helemaal niet op zit te wachten dat al die alleenstaande mannen in plaats daarvan maar in hun dorp worden gedropt. Misschien gewoon aparte dorpen bouwen, dan maar. Of 10 nieuwe steden. Bedoelen we uiteraard als metafoor!

DEN HAAG (ANP) - De virtuele agent van de politie, chatbot Wout, is offline voor onderhoud na een melding over een "oneffenheid", meldt een woordvoerder van de politie. De onjuistheid bestond eruit dat de chatbot op vragen over aangifte van discriminatie tegen Palestijnen een antwoord gaf over antisemitisme. "Wout leert net als zijn collega's elke dag weer bij", aldus de woordvoerder. Hij noemt de chatbot een "geweldig instrument", waar "zeer regelmatig" nieuwe onderwerpen aan worden toegevoegd.

De woordvoerder zegt niet te weten waarom de chatbot over antisemitisme begon bij een vraag over discriminatie tegen Palestijnen. "Over de techniek weet ik onvoldoende", aldus de woordvoerder. "We hebben de chatbot niet voor niets tijdelijk offline gehaald, we vinden dit een belangrijk onderwerp."

Het is onbekend wanneer de chatbot weer bereikbaar is. "Er is altijd een alternatieve mogelijkheid, zoals het bellen van 0900-8844", zegt de politiewoordvoerder.