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Night City Reloaded: Teaser Drops for CYBERPUNK: EDGERUNNERS II — GeekTyrant

Night City Reloaded: Teaser Drops for CYBERPUNK: EDGERUNNERS II — GeekTyrant

Geek Tyrant4 days ago
Netflix just released a quick but electric teaser for Cyberpunk: Edgerunners II , officially confirming that the sequel series is now in production. While the footage is brief, it teases returning characters, a new romantic thread, and that signature Night City chaos.
This next installment isn't a direct continuation but a standalone 10-episode story set in the Cyberpunk 2077 universe.
The logline sets the tone: ' Cyberpunk: Edgerunners 2 presents a new standalone 10-episode story from the world of Cyberpunk 2077 — a raw chronicle of redemption & revenge. In a city that thrives in the spotlight of violence, one question remains: when the world is blinded by spectacle, what extremes do you have to go to make your story matter?'
The sequel marks the directorial debut of Kai Ikarashi, who worked on the original Edgerunners and SSSS.Gridman , with Ichigo Kanno returning as lead character designer.
Masahiko Otsuka and Bartosz Sztybor also return, with Sztybor pulling triple duty as showrunner, writer, and producer. The show is once again being made in collaboration with CD PROJEKT RED and Studio TRIGGER, and while no premiere date has been announced, early 2026 is looking likely.
If this teaser is any indication, Edgerunners II is gearing up to dive headfirst into more of the raw, stylish storytelling that made the first series a cult hit.
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Ladder Launches Nationwide Strength Experience with Diplo's Run Club
Ladder Launches Nationwide Strength Experience with Diplo's Run Club

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time25 minutes ago

  • Yahoo

Ladder Launches Nationwide Strength Experience with Diplo's Run Club

In addition to live activations at every Diplo's Run Club event across the U.S, Ladder has launched an exclusive in-app workout, designed and led by the Grammy award-winning artist AUSTIN, Texas, July 22, 2025--(BUSINESS WIRE)--Ladder, the #1 iOS app for strength training, announced today a partnership with Diplo's Run Club, bringing the world's best strength training coaches to the second season of the 5K & mini music festival event series. The nationwide tour will fuse music, wellness and elite coaching in a one-of-a-kind event where attendees will train, compete and win exclusive Ladder gear. For more information and to register for an upcoming race, visit Ladder and Diplo's Run Club have partnered to provide a carnival-style strength experience at each stop of the 2025 run club tour. This activation will include a mobile gym featuring live Ladder coach-led workouts, branded strength games to test speed, endurance and power, along with exclusive Ladder swag prizes. Current Ladder members and Diplo's Run Club attendees will also have exclusive access to a workout, guest hosted by Grammy award-winning artist Diplo. "Getting Diplo's Run Club started last year was some of the most fun I've had in a long time," says Diplo. "I'm always stoked to be able to motivate people to get active any way they can, which makes Ladder the perfect partner for Diplo's Run Club. I always enjoy switching up my workouts and Ladder makes strength training as approachable as I hope Diplo's Run Club makes running." The Diplo's Run Club x Ladder Pre-Race Workout is live in the Ladder app, and Diplo's Run Club activations will roll out starting at the end of this month in select cities, including: July 26 – Philadelphia, Pennsylvania Sept. 7 – San Francisco, California Sept. 27 - Seattle, Washington Oct. 12 – Los Angeles, California Oct. 25 – New York, New York Nov. 8 – San Diego, California Jan. 17 – Miami, Florida Jan. 24 – Phoenix, Arizona "Our mission at Ladder is to provide our members with the tools they need to be the strongest version of themselves. Community is a huge part of that and a driving force for Diplo's Run Club as well," said Ladder CEO Greg Stewart. "We're excited to bring that community to life in partnership with Diplo and his team, especially at a time when strength training is becoming a core part of how people move, connect and stay motivated." A cultural moment for running and strength This collaboration follows a surge in run club popularity across major cities led by a generation of athletes seeking connection and community with health and wellness at the forefront of their lives. These same goals have contributed to Ladder's explosive growth with the app on track to reach 400,000 members by the end of 2025. Ladder's partnership with Diplo's Run Club continues to tap directly into this momentum, giving members a reason to move, a plan to get stronger and a community chasing the same goals. Available on iOS as a $29.99/month subscription with a 7-day free trial (no credit card required), Ladder - which was named Women's Health's best overall fitness app for 2025 - has a 4.9 App Store rating with over 100,000 reviews. For more information and to start a free trial, visit About Ladder Headquartered in Austin, Texas, Ladder is the #1 strength training app for people who are serious about fitness. Ladder makes it easy to plan and maintain a consistent strength training routine. With new workouts each week from expert coaches, Ladder members can follow progressive workout plans in a variety of modalities including Pilates, HIIT, bodybuilding, kettlebell training, yoga, prenatal and more. Ladder maintains a 4.9 rating on the App Store across more than 100,000 reviews. Ladder offers a free quiz to find the right training plan for you. Try it completely free for 7 days, no credit card required. Learn more at About Diplo's Run Club Diplo's Run Club is a nationwide 5K and mini music festival series that blends fitness, music, and community in a first-of-its-kind experience. Launched in 2024 by Grammy-winning artist Diplo, the series attracted over 20,000 runners in its debut and expanded to eight U.S. cities in 2025–2026. Each event features a daytime run followed by a live DJ set from Diplo himself, celebrating health, movement, and connection. For more information, please visit View source version on Contacts Media Contact For media inquiries, please contact Monique Beals at mbeals@ Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data

Taylor Swift's master plan worked
Taylor Swift's master plan worked

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Taylor Swift's master plan worked

The pop star's fans vowed to listen to only "Taylor's Versions" when her catalog was sold. They no longer have to choose. When news broke in May that Taylor Swift bought back the rights to the master recordings of her first six albums, her close friend and producer Jack Antonoff posted of video of himself and Swift lip-syncing together to "Getaway Car" from her 2017 album Reputation — the only album she is yet to completely rerecord — writing, "rep forever guilt free listening!' One week after Swift announced the purchase, the album landed in the top five of Billboard's 200, and its Spotify streams jumped 175%. Meanwhile, streams of the original version of Speak Now, released in 2010, spiked 430%, and streams for Swift's debut self-titled album from 2006 rose 220%. 'It was a full boycott for a long time,' Chelsea Tanagretta, a 40-year-old Swiftie from San Diego tells Yahoo of her decision not to listen to Reputation. So the moment Tanagretta found out that Swift was the proud owner of her original recordings, she hit play on 'Dress,' her favorite song from the album. It felt like a win for both Swift and Tanagretta. 'It's like watching your friend achieve their ultimate goal,' she recalls. 'It was a very proud moment.' Tanagretta is among millions of Swift fans who stopped listening to the original albums after Swift encouraged them to embrace her Taylor's Versions instead. Swift launched these rerecordings to reclaim control of her first six albums from Scooter Braun, her longtime industry rival, who gained ownership of her catalog when he acquired her former record label, Big Machine, in June 2019. Swift, who once accused Braun of 'incessant, manipulative bullying' in a widely circulated Tumblr post described losing control of her masters as her 'worst-case scenario.' By rerecording and releasing her music in the form of Taylor's Versions, Swift intended to reclaim ownership and diminish the financial worth of Braun's acquisition. Swifties quickly rallied behind her, turning their streaming choices into a gesture of solidarity. Now that Swift owns her masters outright, those same fans are confronting a new listening landscape, one that's no longer about choosing sides in a feud, but about navigating a doubled catalog, shifting habits, and what, if anything, ethical consumption means now. 'Clash of the titans' Plenty of artists who preceded Swift have tried to get their fans to care about artists' rights and the issue of ownership, including Prince and Van Morrison, music journalist Alan Light tells Yahoo. The English rock band Squeeze even rerecorded their top hits for a new album called Spot the Difference in 2010, only for a majority of their fans to say they much preferred the originals, Light says. In fact, no other musician who took up the issue of artists not owning their master recordings had much success rallying their fans to support their efforts, at least not compared to Swift. That's because Swift turned what might normally be considered a business dispute into an ethical debate, Paul Booth, a professor of media and pop culture at DePaul University, explains. 'She didn't explicitly say, 'Don't stream the originals,' but her messaging — especially around ownership and exploitation — created a moral framework that fans internalized,' he tells Yahoo. Light agrees. 'The fact that she played out the ownership dispute so publicly and so personally made it into this clash of the titans thing with Scooter Braun,' he says. So even though the contract Swift signed with Big Machine Records — and the offer it made for her to earn back her masters — were standard for the industry, fans saw the whole debacle as deeply unfair to Swift and gladly took up her cause. To them, it wasn't just business. It was personal — political, even. 'This felt like another example of corrupt and broken systems that cheat working people out of fair opportunities,' Mel Cairo, a 29-year-old Swiftie who works as a consultant in New York City, tells Yahoo. 'Even the most powerful woman in the world, with all the money in the world, couldn't escape it. If the system was fair, she could've bought her music back in 2019.' 'A cause we all had a stake in' Like Tanagretta, Cairo promptly stopped listening to the original versions of the six albums Swift did not own outright once Braun bought them — Taylor Swift, Fearless, Speak Now, Red, 1989 and Reputation — an experience she says was easy given how worthwhile and exciting Swift made the rerecordings. Each new album arrived packed with songs Swift had left off the original releases, and fans quickly embraced these so-called 'vault' tracks, fueling frenzied debate over additions like the sprawling new 10-minute version of 'All Too Well' from Red (Taylor's Version) — released alongside an acclaimed short film Swift directed herself. 'She made it fun throughout the process. It almost felt like it was a cause that we all had a stake in,' says Cairo. For her, the hardest part of standing by Swift was having to forgo the raw vulnerability of the original Speak Now in exchange for the rerecording's more polished and mature sound. Now that Swift owns all her masters, though, Cairo is listening to the original Speak Now again and "appreciating it in new ways.' Otherwise, she gravitates toward the rerecordings because they are associated with more recent parts of her life. She especially enjoys 1989 (Taylor's Version). 'The vault songs are unreal,' she says. Annie Marcum, a fellow Swiftie and a 32-year-old veterinarian in Kansas City, Mo., appreciates the rerecorded version of 1989 for the small ways it differs from its 2014 counterpart. 'I love how much more '80s synthesizers she put in there to pay homage to that decade,' Marcum says. In fact, Marcum had so much fun listening to the new albums and detecting the subtle changes that only Swift's most dedicated fans would pick up on, she didn't even realize she'd lost the experience of listening to the originals. Well, all of them except Reputation. Unlike Tanagretta, Marcum didn't stop listening to the beloved record, and, despite what Antonoff implied in his X post, she doesn't have any guilt about it. 'I did not feel bad about listening to Reputation and giving Scooter Braun a quarter or whatever it is,' Marcum says. She recognizes that at the end of the day, 'what we're really talking about is two billionaires fighting while some people can't even put food on the table.' Some critics and fans couldn't help but note the sheer excess of Swift's campaign, pointing to the multiple color variants of each rerecording and an endless stream of exclusive merch that rolled out with each Taylor's Version release. 'Are we buying into capitalism at points? For sure. I'm under no false pretenses about that,' Marcum says. Yet those very sales are what boosted the value of Swift's rerecordings, undercut the value of the originals and ultimately enabled Swift to buy back her masters for $360 million. And Marcum views Swift's victory as an important one for artists, if only because it exposed how unfair the music industry is to the actual musicians. 'I know it's the way of the world right now,' says Marcum, 'but that doesn't necessarily mean it's right.' For Marcum and others, Swift's rerecording campaign remains a matter of right vs. wrong, of David taking on Goliath and fighting for the underdog, even though Swift bought her masters back and stands to profit massively in the end. But that doesn't matter to Cairo. She still values everything she learned about contracts and the music industry from the experience and views it as just one of several lessons Swift has taught her about ethical consumption. At the two Eras tour shows she attended, for instance, she made sure to buy the merchandise from opening acts Gracie Abrams and Paramore, respectively, because she remembered Swift saying earlier in her career how important merch sales are to new artists. Swift helping her fans better understand how the music industry works and actually motivating them to care is nothing short of game-changing, says Light. Even the pop star herself acknowledges the significance. In a letter she published on her website after news broke that she bought her 'entire life's work,' she wrote, 'I'm extremely heartened by the conversations this saga has reignited within my industry among artists and fans. Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this fight, I'm reminded of how important it was for all of this to happen. Thank you for being curious about something that used to be thought of as too industry-centric for broad discussion. You'll never know how much it means to me that you cared.' 'For whatever reason, Prince was not able to do that,' Light says. 'And if younger artists are signing smarter deals because of what came out of all this, that's a significant impact.' Solve the daily Crossword

TelevisaUnivision Announces Second Quarter 2025 Results
TelevisaUnivision Announces Second Quarter 2025 Results

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time25 minutes ago

  • Yahoo

TelevisaUnivision Announces Second Quarter 2025 Results

MIAMI, July 22, 2025--(BUSINESS WIRE)--TelevisaUnivision, the world's leading Spanish-language media company, today announced financial results for the second quarter ended June 30, 2025. Please visit the company's Investor Relations website at to view the financial results and earnings materials. The company will host a conference call today to discuss the results at 11:00 a.m. ET / 8:00 a.m. PT. The live webcast and replay of the call will be available at The call will also be accessible by dialing (800) 267-6316 (within U.S.) or (203) 518-9783 (outside U.S.). About TelevisaUnivision TelevisaUnivision is the world's leading Spanish-language media company. Powered by the largest library of owned Spanish-language content and a prolific production capability, TelevisaUnivision is the top producer of original content in Spanish across news, sports and entertainment verticals. This original content powers all of TelevisaUnivision's platforms, which include market-leading broadcast networks Univision, Las Estrellas, Canal 5 and UniMás, and a portfolio of 38 cable networks, which include TUDN, Galavisión, Distrito Comedia and TL Novelas. The company also operates the leading Mexican movie studio, Videocine, and owns and operates the largest Spanish-language audio platform in the U.S. across 35 terrestrial stations and the Uforia digital platform. TelevisaUnivision is also the owner of ViX, the largest Spanish-language streaming platform in the world. For more information, please visit View source version on Contacts Investor Relations: Paul Calocino | pcalocino@ Media Relations: Alyssa Bernstein | abernstein@ Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data

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