
Ed Vela's ‘Blood of Icarus': A Dark, Unflinching Thriller That Redefines Power and Innocence
Toronto, Canada - AUG 11th, 2025 - Acclaimed playwright and screenwriter Ed Vela, known for his internationally recognized works in stage and screen, makes a compelling debut in the world of prose with his new novel, Blood of Icarus. A thrilling fusion of drama, suspense, and supernatural intrigue, Blood of Icarus is a dark, character-driven saga that subverts the traditional notions of power, agency, and innocence.
Drawing on his rich background in theatrical storytelling, Ed Vela weaves a narrative where children are no longer victims of circumstance but are instead equipped with lethal skills and the will to fight back. The novel follows two hauntingly memorable protagonists, Kyle "Luger" Jansen, a child assassin trained under hypnosis, and Tyson "Pyke" Hagee, a boy transformed into a superhuman crypt keeper for a vampire lord. Their journeys mirror each other as they reclaim control over their own fates, fighting through layers of psychological and supernatural bondage.
'I wanted to challenge the idea of power dynamics, especially how powerless children often feel in a world ruled by adults,' says Vela. 'Blood of Icarus explores what happens when these kids are given ultimate power over life, death, and their own destinies.'
Ed Vela's storytelling pedigree is undeniable. As a playwright, his works have been staged across the United States and Europe. His screenplay 'The Mortality Game' has earned over 50 awards globally, including accolades from the Richmond Film Festival, NYC Independent Film Fest, and the Paris Awards Film Festival. His creative versatility is also evident in his popular web series Dad vs. Lad, currently ranked among the top web series on YouTube Premium.
The inception of Blood of Icarus was as unconventional as its plot. Initially a collection of short stories serialized online, Vela's vision expanded the stories of Luger and Pyke into a cohesive narrative, enriched by a vivid supporting cast that includes burnt-out detectives, vengeful twin assassins, and enigmatic vampire counts. The novel's layered structure offers readers a cinematic experience, underscored by Vela's signature wit and emotional depth.
Vela's transition from stage to screen to prose is not just a genre leap but an evolution of his storytelling craft. "My background in theatre taught me character nuance, and screenwriting taught me pacing. Writing this novel allowed me to blend both with a freedom that prose uniquely offers,' Vela adds.
Blood of Icarus is set to be released on Barnes & Noble's website and will soon be available on Walmart's online store. Readers can also find the novel on Apple Books, Google Books, and other major digital platforms.
About the Author:
Ed Vela is an award-winning screenwriter and playwright whose works span stage plays, feature screenplays, and web series. His stories have garnered international recognition, including awards from WorldFest Houston, Pasadena International Film Festival, and the Indo Singapore International Film Fest. Known for his ability to craft intricate characters and suspenseful narratives, Vela continues to push the boundaries of genre storytelling.
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CBC
an hour ago
- CBC
TIFF pulls documentary about Oct. 7 attack from lineup over security and rights concerns
The Toronto International Film Festival has pulled from its lineup a documentary detailing one family's experiences of the Oct. 7, 2023 attack by Hamas over footage rights and security issues, according to multiple news outlets. In an emailed statement, the filmmaking team behind the documentary The Road Between Us: The Ultimate Rescue, acknowledged the cancellation and told CBC News that they were "shocked and saddened" by the festival's decision. "Ultimately, film is an art form that stimulates debate from every perspective that can both entertain us and make us uncomfortable. A film festival lays out the feast and the audience decides what they will or won't see," the statement said. "We are not political filmmakers, nor are we activists; we are storytellers. We remain defiant, we will release the film, and we invite audiences, broadcasters, and streamers to make up their own mind, once they have seen it." The film, by Canadian director Barry Avrich, tells the story of Noam Tibon, a retired IDF general who is on a quest to save his son and his family during the attack that sparked the nearly two year long war between Israel and Hamas. Tibon's story has been told before in the media, including on CBS's 60 Minutes. His son, Amir Tibon, who is a journalist, also recounted the events from his own perspective in a book. He moved his family to a border kibbutz — then Oct. 7 happened 10 months ago One year after the Oct. 7 attacks, Israeli journalist Amir Tibon tells CBC's Matt Galloway about what happened when Hamas-led militants attacked his Israeli border kibbutz and how his father, a retired IDF general, raced through danger to save his family. According to Deadline, which was first to report the news, TIFF withdrew its invitation for the film to participate in the festival in part because some requirements for inclusion were not met, including the "legal clearance of all footage." "The purpose of the requested conditions was to protect TIFF from legal implications and to allow TIFF to manage and mitigate anticipated and known risks around the screening of a film about highly sensitive subject matter, including potential threat of significant disruption," the festival said in a statement to The Associated Press and Deadline. The ultimate dis-invitation, according to Deadline, came over the legal clearance and identification of footage of the attack that was filmed by Hamas. CBC News made multiple requests to TIFF for comment on Wednesday, but the festival did not respond. Groups condemn decision The move has drawn condemnation from a number of organizations and officials. Creative Community for Peace, an entertainment industry organization that educates about antisemitism, called the decision to pull the film "deeply disturbing." "They are choosing to censor a Jewish story of survival and attempting to erase the experiences of survivors of the worst attack on Jews since the Holocaust," the statement read in part. "This decision is part of a growing trend of silencing Jewish and Israeli voices under the excuse of 'security concerns.' " The Centre for Israel and Jewish Affairs' CEO, Noah Shack, also decried the decision, which he saw as the festival bending to the prospect of protests. "This shameful decision sends an unmistakable message: Toronto's Jewish community, which has long played an integral role at TIFF, is no longer safe or welcome," he said in a statement. Israel's Minister of Foreign Affairs, Gideon Sa'ar, also called the decision "vicious and sickening" in a post on X. And Stan Cho, Ontario's Minister of Tourism, Culture and Gaming, said in a statement posted to social media that he believed freedom of expression is "integral to the arts." TIFF pulled another documentary last year The festival also drew controversy last year over its decision to run — then pull — a documentary that followed Russian soldiers fighting in the war against Ukraine. The film, called Russians At War by Russian-Canadian director Anastasia Trofimova, attracted protesters who called the film Russian propaganda. After the festival paused screenings due to "significant threats," the film was quietly screened toward the end of the festival. Russians At War follows soldiers and medics on the front lines of the war, something the filmmaker says she did without the government's permission, which puts her at risk of criminal prosecution. Sean Farnel, a producer on the documentary who managed the film's distribution at festivals, told CBC News that the dis-invitation of The Road Between Us felt like "total deja vu," given what his team went through last year. He says decisions like these are becoming "endemic" within the arts world, and that it's increasingly difficult for documentary filmmakers to secure funding to tell difficult or provocative stories. "I think we all have to come together and figure out a way to present such work constructively, safely, because that's what festivals, that's what filmmakers do" Farnel said. His team recently made Russians At War available directly to audiences through a website that he says gives the film context. He says he feels fortunate that filmmakers at least have the option of circumventing the usual distribution channels in this way to give people a chance to view their work in the event that festivals are unwilling or unable to present it.


Globe and Mail
an hour ago
- Globe and Mail
D-BOX Reports Record Royalty Revenues and $2.0 Million Net Profit in First Quarter Fiscal 2026
Q1 Fiscal 2026 Highlights Record royalties of $4.0 million Record adjusted EBITDA 1 of $3.3 million Total revenues of $13.0 million Net profit of $2.0 million after a $0.9 million restructuring charge MONTREAL, Aug. 13, 2025 (GLOBE NEWSWIRE) -- D-BOX Technologies Inc. ('D-BOX' or the "Company") (TSX: DBO) today reported financial results for its first quarter ended June 30, 2025. 'In Q1 2026, D-BOX delivered robust financial performance with record royalty growth and strong profitability,' said Naveen Prasad, interim CEO of D-BOX. 'Following record revenues and net income performance for the full fiscal year 2025, the Company continues to demonstrate the strength of our royalty-focused model, expanded theatrical footprint and disciplined expense control.' Q1 2026 Operating Results In Q1 2026, total revenues were $13.0 million, up 49% year-over-year, driven primarily by the accelerated fulfillment of theatrical system sales in Q1 as well as record royalties performance of $4.0 million, partially offset by deceleration of sim racing customers in the first quarter. Royalty revenues increased 64% year-over-year, achieving both historical quarterly records for D-BOX in terms of the number of tickets sold, as well as dollar value ($4.0 million). The record royalties performance was due to a 12% year-over-year increase in active D-BOX screens to 1,047, as well as ongoing strength in the gross box office driven by blockbusters in the first quarter including A Minecraft Movie, How to Train Your Dragon, Mission: Impossible - The Final Reckoning and F1: The Movie. Royalties accounted for an increased 31% share of the Company's revenue mix. Simulation and training and sim racing customer groups were relatively flat and down 11%, year-over-year, respectively, in the first quarter. Adjusted EBITDA 1 for the quarter totaled a record $3.3 million, representing a 26% Adjusted EBITDA margin 1, up 23% year-over-year and demonstrating continued focus on cost control and operational efficiency. Net profit was $2.0 million and operating cash flow was $2.8 million, which would have been records of $2.9 million and $3.6 million, respectively, prior to a restructuring charge related to the CEO transition announced on June 4, 2025. Given the inherent variability and seasonality of quarterly sales, we emphasize the importance of assessing the Company's performance on a trailing twelve-month basis. (Amounts are in thousands of Canadian dollars) Q1 2026 Q1 2025 Var. ($) Var. (%) Revenues from System sales Theatrical 4,081 560 3,521 629 % Simulation and training 2,179 2,094 85 4 % Sim racing 2,301 2,590 (289) (11)% Other 483 1,082 (599) (55)% Total system sales 9,044 6,326 2,718 43 % Rights for use, rental and maintenance ("royalties") 3,994 2,436 1,558 64 % Total Revenues 13,038 8,762 4,276 49 % Balance Sheet and Liquidity D-BOX closed the first quarter of fiscal 2026 in a position of financial strength, with $2.8 million in operating cash flow, low-cost total debt of $1.4 million, and available liquidity including the undrawn portion of the line of credit of $18.5 million. SUPPLEMENTAL FINANCIAL DATA - UNAUDITED (Amounts are in thousands of Canadian dollars) Q1 2026 Q1 2025 Var. (%) Total Revenues 13,038 8,762 49 % Gross profit 7,316 4,551 61 % Operating expenses 2 5,339 4,824 11 % Operating income 2 1,977 (273) n.m. Adjusted EBITDA 1, 2 3,328 264 1161 % Financial expenses 25 136 (82)% Net profit (loss) 2 1,952 (419) n.m. Basic and diluted EPS 0.009 (0.002) n.m. Gross margin 1 56 % 52 % 4 p.p. Operating expenses as % of total revenues 1, 2 41 % 55 % (14) p.p. Operating margin 1, 2 15 % (3)% 18 p.p. Adjusted EBITDA margin 1, 2 26 % 3 % 23 p.p. Cash flows provided by operating activities 3 2,766 (1,461) n.m. As at (in thousands of Canadian dollars) June 30, 2025 March 31, 2025 Total debt 1 1,389 1,221 Cash and cash equivalents 10,450 7,812 Net cash (net debt) 1 9,061 6,591 Adjusted EBITDA (LTM) 1, 2 10,376 7,311 1) Please refer to "non-IFRS and other financial performance measures" in this press release 2) Included in Q1 FY2026 is a restructuring charge provision of $850 related to June 4, 2025 change in CEO 3) Included in Q1 FY2026 is a restructuring charge payment of $750 related to June 4, 2025 change in CEO n.m.= not meaningful This release should be read in conjunction with the Company's unaudited interim condensed consolidated financial statements and the Management's Discussion and Analysis dated August 13, 2025. These documents are available at All dollar amounts are expressed in Canadian currency (1) Please refer to "non-IFRS and other financial performance measures" in this press release NON-IFRS AND OTHER FINANCIAL PERFORMANCE MEASURES D-BOX uses the following non-IFRS financial performance measures in its MD&A and other communications. The non-IFRS measures do not have any standardized meaning prescribed by IFRS and are unlikely to be comparable to similarly titled measures reported by other companies. Investors are cautioned that the disclosure of these metrics is meant to add to, and not to replace, the discussion of financial results determined in accordance with IFRS. Management uses both IFRS and non-IFRS measures when planning, monitoring and evaluating the Company's performance. The non-IFRS performance measures are described as follows: Adjusted EBITDA EBITDA represents earnings before interest and financing, income taxes and depreciation and amortization. Adjustments to EBITDA are for items that are not necessarily reflective of the Company's underlying operating performance. As there is no generally accepted method of calculating EBITDA, this measure is not necessarily comparable to similarly titled measures reported by other issuers. Adjusted EBITDA provides useful and complementary information, which can be used, in particular, to assess profitability and cash flow from operations. Adjusted EBITDA margin is defined as Adjusted EBITDA divided by total revenues. A reconciliation of net profit to Adjusted EBITDA margin is presented below: Three month periods 2025 2024 Net profit (loss) 1,952 (419) Amortization of property and equipment 318 259 Amortization of intangible assets 144 142 Financial expenses 25 136 Income taxes — 10 Share-based payments 52 64 Foreign exchange (gain) loss (13) 72 Restructuring costs 850 — Adjusted EBITDA 3,328 264 Total Debt, Net Debt and Total Debt to Adjusted EBITDA Total debt is defined as the total bank indebtedness, long-term debt (including any current portion), and net debt is calculated as total debt net of cash and cash equivalents. The Company considers total debt and net debt to be important indicators for management and investors to assess the financial position and liquidity of the Company and measure its financial leverage. These measures do not have any standardized meanings prescribed by IFRS and are therefore unlikely to be comparable to similar measures presented by other companies. Total debt to Adjusted EBITDA ratio is calculated as total net debt divided by the last four quarters Adjusted EBITDA. We believe that total debt to Adjusted EBITDA is a useful metric to assess the Company's ability to manage debt and liquidity. Supplementary Financial Measures Gross margin is defined as gross profit divided by total revenues. Operating expenses as a percentage of sales are defined as operating expenses divided by total revenues. Operating margin is defined as operating income divided by net sales. ABOUT D-BOX D-BOX Technologies Inc. (TSX: DBO) is a global leader in haptic technology, delivering immersive motion experiences that engage the body and spark the imagination. Our patented systems synchronize motion, vibration, and texture with on-screen content, enhancing storytelling across various platforms. With over 25 years of innovation, D-BOX's solutions are utilized in movie theaters, sim racing, and simulation & training. Headquartered in Montreal, Canada, with offices in Los Angeles, USA, D-BOX continues to redefine how audiences experience media worldwide. Visit FOR FURTHER INFORMATION, PLEASE CONTACT: David Reid Chief Financial Officer D-BOX Technologies Inc. dreid@ D-BOX Media Relations media@ DISCLAIMER REGARDING FORWARD-LOOKING STATEMENTS Certain information included in this press release may constitute 'forward-looking information' within the meaning of applicable Canadian securities legislation. Forward-looking information may include, among others, statements regarding the future plans, activities, objectives, operations, strategy, business outlook, and financial performance and condition of the Corporation, or the assumptions underlying any of the foregoing. In this document, words such as 'may', 'would', 'could', 'will', 'likely', 'believe', 'expect', 'anticipate', 'intend', 'plan', 'estimate' and similar words and the negative form thereof are used to identify forward-looking statements. Forward-looking statements should not be read as guarantees of future performance or results, and will not necessarily be accurate indications of whether, or the times at or by which, such future performance will be achieved. Forward-looking information, by its very nature, is subject to numerous risks and uncertainties and is based on several assumptions which give rise to the possibility that actual results could differ materially from the Corporation's expectations expressed in or implied by such forward-looking information and no assurance can be given that any events anticipated by the forward-looking information will transpire or occur, including but not limited to the future plans, activities, objectives, operations, strategy, business outlook and financial performance and condition of the Corporation. Forward-looking information is provided in this press release for the purpose of giving information about Management's current expectations and plans and allowing investors and others to get a better understanding of the Corporation's operating environment. However, readers are cautioned that it may not be appropriate to use such forward-looking information for any other purpose. Forward-looking information provided in this document is based on information available at the date hereof and/or management's good-faith belief with respect to future events and are subject to known or unknown risks, uncertainties, assumptions and other unpredictable factors, many of which are beyond the Corporation's control. The risks, uncertainties and assumptions that could cause actual results to differ materially from the Corporation's expectations expressed in or implied by the forward-looking information include, but are not limited to, the sustainability of net profit driven by continued strength in royalty revenues, the ongoing positive impact of past cost control measures on future profitability, and the sustained strength and value creation driven by its overall business model and operational discipline. These and other risk factors that could cause actual results to differ materially from expectations expressed in or implied by the forward-looking information are discussed under 'Risk Factors' in the Corporation's annual information form for the fiscal year ended March 31, 2025, a copy of which is available on SEDAR+ at Except as may be required by Canadian securities laws, the Corporation does not intend nor does it undertake any obligation to update or revise any forward-looking information contained in this press release to reflect subsequent information, events, circumstances or otherwise. The Corporation cautions readers that the risks described above are not the only ones that could have an impact on it. Additional risks and uncertainties not currently known to the Corporation or that the Corporation currently deems to be immaterial may also have a material adverse effect on the Corporation's business, financial condition or results of operations.


CTV News
an hour ago
- CTV News
New mural in Old Strathcona champions Canadiana, local artists
Whyte Avenue is getting an 'eh' in patriotic murals. The newest piece of wall art at Spur Line Alley, commissioned by the Old Strathcona Business Association (OSBA), reflects 'a lot of Canadiana' and 'really cool Easter eggs,' says Andrea Donini, OSBA's interim executive director. The mural's creator, Edmonton artist, comedian and radio host Lauren Hunter, was sought out last year by OSBA for her previous work on Canadian themes that brought the community together. 'Everybody was really expressing their Canada pride and their willingness to shop local and shop Canadian,' Donini said during an interview on Wednesday. 'We wanted to really capture that initiative and that feeling of togetherness and community.' The mural was carefully done because of its location on the side of Richards Block, a 115-year-old heritage building. Both OSBA and Hunter had to figure out a way to install the art without permanently changing the brick wall. Lauren Hunter mural ctv edmonton The mural features nods to both Canadian life and Edmontonian staples. Aug. 13, 2025. (Sean McClune/CTV News Edmonton) That's why the mural was created on vinyl panels that can be removed and replaced as needed. 'They will be removable and changeable. So over a period of time, one to two years, the art can be changed out,' Donini said. The genesis of the mural, Donini said, was spurred by requests from business owners for graffiti to be taken down. Anti-graffiti coating used on the pieces, she says, makes vandalism a little easier to clean up. 'But one of the things that we notice is that when we beautify … it creates a whole lot more pedestrian traffic and flow and understanding,' Donini said. 'And it reduces the incidence rate of things like graffiti.' Ultimately, Donini said the goal of the OSBA is to commission art that covers many of the area's alleyways. 'I'm all for this happening in all parts of our city. … I think that's beautiful and really expands our urban exploration space,' she said. With files from CTV News Edmonton's Sean McClune