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  • Twitch starts testing vertical video streams

    Twitch starts testing vertical video streams

    Livestreaming service Twitch, which is owned by Amazon, announced at its annual TwitchCon event earlier this year that it would move into the vertical video space. Now those initial alpha tests have gone live with a few streamers, according to findings from market intelligence provider AppSensa.

    In a recent build, the firm found references to the vertical video tests and information about what sort of features these new streams would offer. The feature, once fully rolled out, would make Twitch more competitive with other popular vertical video services like TikTok, Instagram Reels, and YouTube Shorts.

    Twitch’s tests are not widespread at this point, as AppSensa’s research only found a handful of references in the app’s code that mentioned the tests would focus on just “a few streamers” for the time being. (It was unable to identify which ones.) The firm was also able to identify a vertical theater mode with dedicated user interface elements and a way to toggle between Twitch’s classic and new vertical video formats.

    Image Credits:Twitch

    When users encounter the feature for the first time, they’ll be presented with user education dialogs that say “vertical video is here,” and remind users it’s still just a test and they can switch to the classic view at any time.

    AppSensa also noted that the current implementation includes permission handling for both the camera and microphone access, as is required by mobile platforms, indicating the app will be used for the livestreams.

    Reached for comment, Twitch declined to say more about the tests, only noting that the company had said during its keynote at TwitchCon Rotterdam earlier this year that it would begin testing with a small number of channels during the summer. A spokesperson added that those tests would expand to more users later in the year.

    During TwitchCon, the company announced it would try out dual-format and 2K streaming with a small number of channels, as well.

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  • Why It Was the Band’s Lone Year of U.S. Pop Stardom

    Why It Was the Band’s Lone Year of U.S. Pop Stardom

    Have you heard? Oasis is back! The Brothers Gallagher have reunited to head out on their first tour in 15 years — bringing them to stadiums all around the world, including five sold-out nights in America. Elsewhere in the world, Oasis spent a decade or longer as massive pop stars, but in the U.S., their ability to fill the country’s biggest venues can mostly be tied to one year: 1996, when the Manchester quintet became the first band of the Britpop moment to really break America — with a best-selling album, a trio of signature hit singles and videos, and enough reckless behavior to both cap their short-term prospects and guarantee their long-term immortality.

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    On this week’s supersized Vintage Pop Stardom episode of the Greatest Pop Stars podcast, host Andrew Unterberger is joined by his longtime partner (and an even-longer-time Oasis superfan) Lisa Ebe to relive all things 1996 Oasis, a year in which the biggest band in the world was finally at least in contention for being the biggest band in America. We follow the lads through their meteoric rise as stateside alt-rock stars — which, in the Alternative Nation of ’96, also equated to them being pop stars — while taking over radio and MTV, playing numerous legendary and/or infamous live dates, before largely imploding on tour in the U.S. at year’s end and retreating back to their home country.

    Along the way, we ask all the most important questions about Noel, Liam, Bonehead, Guigsy and Whitey at their ’96 peak: What made “Wonderwall” the first Britpop song to finally penetrate U.S. top 40? Are we bothered either by Noel’s proclivity for lyrical nonsense or his shamelessness in swiping from rock history? Was Liam’s Unplugged no-show a blessing in disguise? Can we narrow down Noel’s year of incredible media quotes to a mere top 10? How do the band’s two historic gigs at Knebworth hold up decades later? And what allowed these songs to be so impossibly enduring, to the point where Oasis can still play stadiums around the world, including to millions of fans who weren’t even alive for its original run?

    Check it out above — along with a YouTube playlist of some of the most important moments from Oasis’ 1996, all of which are discussed in the podcast — and subscribe to the Greatest Pop Stars podcast on Apple Music or Spotify (or wherever you get your podcasts) for weekly discussions every Thursday about all things related to pop stardom!

    And as we say in every one of these GPS podcast posts — if you have the time and money to spare, please consider donating to any of these causes in the fight for trans rights:

    Transgender Law Center

    Trans Lifeline

    Gender-Affirming Care Fundraising on GoFundMe

    Also, please consider giving your local congresspeople a call in support of trans rights, with contact information you can find on 5Calls.org.

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  • Google’s Chrome Emergency Patch Fixes a High-Severity Bug – Users Should Update Immediately – TechRepublic

    1. Google’s Chrome Emergency Patch Fixes a High-Severity Bug – Users Should Update Immediately  TechRepublic
    2. Urgent: Google Releases Critical Chrome Update for CVE-2025-6558 Exploit Active in the Wild  The Hacker News
    3. Google fixes actively exploited sandbox escape zero day in Chrome  BleepingComputer
    4. Google Warns All Chrome Users—Update Now As Attacks Underway  Forbes
    5. Google Chrome 0-day Vulnerability Actively Exploited in the Wild  CyberSecurityNews

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  • Interstellar comet 3I/ATLAS transforms into a giant ‘cosmic rainbow’ in trippy new telescope image

    Interstellar comet 3I/ATLAS transforms into a giant ‘cosmic rainbow’ in trippy new telescope image

    The newly discovered “interstellar visitor” 3I/ATLAS can be seen shining like a rainbow-colored string of cosmic pearls in a trippy new timelapse image captured by a telescope in Hawaii.

    The interloper was discovered on July 1, and within 24 hours NASA confirmed it was an interstellar object — an ejected piece of an alien star system that is shooting through our cosmic neighborhood. It is only the third object of its kind ever spotted, and is most likely a large comet, stretching up to 15 miles (24 kilometers) across.

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  • Remco Evenepoel: “I fought with the Paris podium in mind”

    Remco Evenepoel: “I fought with the Paris podium in mind”

    “I didn’t have the best feeling from the very start of the race. Even on the flat sections, my legs felt heavy. On the climbs, I tried to find my rhythm and do a kind of 50-kilometre time trial. It was a long battle against myself, with my head and my legs.

    It’s not that I raced smart – it was just the only way to race today, I couldn’t race any other way. I fought with the Paris podium in mind. After all, the gaps to Tadej [Pogacar] were very big, but with the others it was okay. I hope to be better tomorrow so I can do something with the time trial. I want to stay calm and, day by day, forget about this bad day.

    Tadej was head and shoulders above everyone else today. There are still ten days of racing left, but he’s taken a big step towards winning the Tour de France. Some teams rode today as if they were there to support him and UAE, which is not the right way to do things. The mentality needs to change, especially when the Yellow Jersey is already so far ahead.”

    16/07/2025 – Tour de France 2025 – Étape 11 – Toulouse / Toulouse (156,8 km) – Remco EVENEPOEL (SOUDAL QUICK-STEP) © A.S.O./Charly Lopez


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  • Gold rates go down in Pakistan – ARY News

    1. Gold rates go down in Pakistan  ARY News
    2. Gold prices continue to surge in local, global markets  The Express Tribune
    3. Gold price in Pakistan falls Rs3,000 per tola  Mettis Global
    4. Gold price per tola falls Rs900 in Pakistan  Business Recorder
    5. Gold Rates For Today In Pakistan – July 17th, 2025  Pakistan Today

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  • Disney Unveils Trailer for ‘TRON: Ares’ and Debuts Nine Inch Nails Soundtrack Single

    Disney Unveils Trailer for ‘TRON: Ares’ and Debuts Nine Inch Nails Soundtrack Single

    Today, Disney unveiled a brand-new trailer and poster for TRON: Ares, the highly anticipated third installment in the groundbreaking TRON franchise, opening in theaters on October 10.

    GRAMMY® Award-winning rock band Nine Inch Nails composed the score for TRON: Ares, and today, the band dropped “As Alive as You Need Me to Be,” the soundtrack album’s first single and the first official music from the band in five years. The track is featured in the new trailer for TRON: Ares.

    TRON: Ares (Original Motion Picture Soundtrack), featuring all original music by Nine Inch Nails, will be released September 19 via Interscope Records. The release marks the first-ever film score by the pioneering band, although bandmates Trent Reznor and Atticus Ross have composed 20 scores under their own names, winning two Oscars®, three Golden Globes®, a GRAMMY, and an Emmy® in the process.

    TRON: Ares follows a highly sophisticated Program, Ares, who is sent from the digital world into the real world on a dangerous mission, marking humankind’s first encounter with A.I. beings.

    (L-R) Jared Leto as Ares and Jeff Bridges as Flynn in Disney’s TRON: Ares

    The feature film is directed by Joachim Rønning and stars Jared Leto, Greta Lee, Evan Peters, Hasan Minhaj, Jodie Turner-Smith, Arturo Castro, and Cameron Monaghan, with Gillian Anderson and Jeff Bridges. Sean Bailey, Jeffrey Silver, Justin Springer, Leto, Emma Ludbrook, and Steven Lisberger are the producers, with Russell Allen serving as executive producer.

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  • Cam Talks Working With Beyoncé, Creating New Album ‘All Things Light’

    Cam Talks Working With Beyoncé, Creating New Album ‘All Things Light’

    When singer-songwriter Cam began drawing together the concepts that would anchor her new album All Things Light, out Friday (July 18) via RCA Records, she took inspiration from the emotionally heavy, isolating early days of the COVID pandemic, but also from the questions of a curious toddler—her daughter Lucy, now 5.

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    “We have backyard chickens, and one of them died, and she would ask, ‘What happens when they die?’ And I was like, ‘We don’t know, but I guess your body gets still and our light goes back to the stars,’ because to me, on a science level [and] a spiritual level, I don’t think anything is lost,” Cam tells Billboard. “This album is trying to find little stories, metaphors, guideposts in a way, so that at least if my daughter knows she’s not alone in feeling what she’s feeling, she can test herself as she’s trying to figure things out.”

    In 2021, Cam found herself with time alone in a studio. That duality of welcoming in a new life during a season of pronounced global grief, anxiety and death caused Cam to deeply consider the motive behind the new music.

    “I didn’t set out like, ‘Hey, I want to write a spiritual album or a transformational album,’” she recalls. “This stuff just started pouring out. When you’re alone — and this sounds cheesy — then I get to be a vessel for whatever is coming through, and it’s not getting augmented by anyone else.”

    The beginning threads of some of the earliest songs for the album, such as “Hallelujah” and “Turns Out That I Am God,” came from those solo moments. “Hallelujah” was born from a deep look at how the world seemed to shift into high gear following the pandemic, without taking the time to grieve the brokenness.

    “I’m a very face-the-abyss type of person,” she says. “I don’t think there is any other way for me to exist. If I sense an existential dread coming on, I have to sit down and look at it.”

    Cam’s own childhood in California included time in a children’s choir, where she soaked in universal truths from singing requiems and folk songs in more than a dozen languages.

    “I was not raised with religion. I got to learn from practices and a lot of experiences. I wasn’t given the words, which I think was a really thoughtful choice on my parents’ part. But having a child during [the pandemic] even though it’s creating life, it was also really an awareness of death. I think being a mom and facing all that heaviness and beauty, I realized I’m responsible for building that for her and for myself. I can’t leave any stone unturned at this point. I need to commit myself to building a spiritual framework for myself.”

    She took those concepts to longtime collaborators including her “Burning House” co-writers Tyler Johnson and Jeff Bhasker, but also collaborators including Michael Uzowuru (Frank Ocean, SZA) and Ethan Gruska (boygenius, Phoebe Bridgers, Remi Wolf). In the process, Cam wove together a tapestry of sounds including folk, country and ethereal pop.

    Then, Cam and her longtime producer Johnson went to Los Angeles’ EastWest Studios, where The Beach Boys’ 1966 masterpiece Pet Sounds and The Mamas and The Papas’ “Monday, Monday” were recorded.

    “I feel so lucky to have found him,” she says of Johnson. “He was actually an old boyfriend’s roommate, and we started working together. We sort of shaped each other. I love his musical instinct, the tone, the way he writes. What he comes up with just feels perfect with my ideas.”

    Lessons she’s learned as a woman and musician over the years are threaded through the new album. In her 20s, Cam traveled through Nepal and Egypt, at one point falling for an Eastern European guru, a relationship that spurred the album’s cautionary tale “Kill the Guru.”

    “The reason I broke up with the ‘Burning House’ guy was that I fell in love with a guru and it was… I don’t recommend it,” she says, calling her ex a “very narcissistic person. But I was just so enamored at the time with someone who seemed to know everything. Isn’t that so attractive? I want to be near that…But sometimes, it’s just overconfidence. If you feel like the trust you have in yourself starts shifting out of your body towards somebody else, that’s the biggest red flag. Move away from that person; you need space. You have to be able to trust yourself more than anyone else.”

    After studying psychology at the UC Davis, Cam faced a turning point at age 24, when she was rejected from Georgetown’s graduate psychology program. Encouraged by her sister to follow her passion for music, she moved to Los Angeles and eventually to Nashville.

    She released her EP, Welcome to Cam Country, in 2015, and soon followed it with the full-length album Untamed. She broke through with the heartbreaking, gorgeous “Burning House,” which reached No. 2 on Billboard’s Country Airplay chart and was certified 3x platinum by the Recording Industry Association of America (RIAA).

    A decade after that breakthrough success, the legacy of “Burning House” continues, from performances by American Idol contestants to country singer-songwriter Kameron Marlowe releasing his version last year (“I think it’s beautiful, it’s cool. He has a great voice,” Cam says of Marlowe’s version).

    The album’s follow-up, The Otherside, came in October 2020, just months before Cam found herself alone in the studio, capturing ideas for All Things Light.

    One of the new album’s key lyrics comes from the single, “Turns Out I Am God”: “I was busy waiting for someone to live my life/ When I fell asleep for a hundred years one night/ Dreamt myself to the center of all things light.” The track was inspired by the works of author Alan Watts and Cam’s own experience with meditation, which she first took up in college.

    “I turned my mind off and then realized there was this whole peace inside of me, and then it was like, ‘Oh, I’m not separate. I’m part of everything.’ We had been torn on whether ‘God’ should be [recorded] on piano. Ethan, who feels kind of country to be honest, came in, and he and [Tyler] crafted this guitar tone that was just perfect.”

    Elsewhere, she took influence from the life-to-death cycle described in a Buddhist chant in “Alchemy,” while the tender country-leaning “Slow Down” pushes back against the instinct to be endlessly productive.

    “Everybody is obviously on the content train — rush, rush, rush,” she says of the grind most artists today face. “I just want [the music] to be really good and I want to be able to take care of my kid. I read [Tricia Hersey’s 2022 book] Rest Is Resistance: A Manifesto. I think anything that helps you deprogram is good. Your worth is not your productivity. I want to make sure the music I’m making, that I’m putting it out there for the right reasons and that it’s going to affect people the right way.”

    Accompanying the album is the project’s equally striking artwork, from Milan-based photographer Szilveszter Mako. The vivid album cover features a closeup of Cam, adorned in a suit and her blonde hair swept into waves, with a blaze of light partially obscuring her face from view. Cam, who also has an honors degree in Italian, calls the photo a “reference to that light I was talking about. Underneath is that light that I think is in everybody, so there’s light coming from my face.”

    As she was working on the music that would become All Things Light, she was also creating music that would become part of Beyoncé’s Cowboy Carter album. In 2021, Cam received a call from her publisher about a sudden opening in a writing session, which would turn out to be part of the Grammy album of hte year-winning project Cowboy Carter. Cam co-wrote five songs on the project, including “Protector” and “Daughter,” and also served as a producer, engineer and background vocalist on the album.

    “It all came from the same space,” she recalls. “It was really reassuring for [Beyoncé’s] music to come out first. It was wonderful to watch, and from an artistic standpoint, it’s incredibly inspiring and it was nice to see someone at that level committing to those ideas of what art can be. And what a story, too, for her to finally get [the Grammys’ album of the year honor] on that album. To get to be part of something that got to be celebrated but also mean something to me and be culture-changing, it’s a dream.”

    For Cam, that celebration and themes of fulfillment and strength carry over onto her album, specifically in the string-filled closer, “We Always Do,” which serves as an assurance-filled testament to human resilience.

    “The last song on the record is radically positive, just saying ‘We’re going to find a way,’” she says. “I believe that for humans and I believe that in my marriage and relationships. It’s a commitment and we’ll find a way.”

    Cam reveals that she has more songs in the works, but says she’s found a new sense of priority and daily rhythm since the release of her previous album and is in no rush to put out more music.

    “My husband always said we were so fortunate in a way that during the pandemic we got all this time with Lucy. Trying to find the silver lining when it felt like the bottom fell out of the whole [music] industry,” she says. “Now, getting back to it, I had to slow down to realize how much I was participating in my own hamster wheel and how much I didn’t get out of it. I had to learn to manage my schedule in a way that makes sense for me and my family. If you ask me what’s the most important thing in my life is, it’s that time and space with my family and people that I love. So that’s gonna come first.”

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  • FDA’s ODAC Votes Against Risk:Benefit Profiles of Belantamab Mafodotin Combos in R/R Myeloma

    FDA’s ODAC Votes Against Risk:Benefit Profiles of Belantamab Mafodotin Combos in R/R Myeloma

    The FDA’s Oncologic Drugs Advisory Committee (ODAC) voted 5 to 3 against the risk:benefit profile of the proposed dosage of belantamab mafodotin (Blenrep) in combination with bortezomib (Velcade) and dexamethasone (BVd) for the treatment of adult patients with relapsed/refractory multiple myeloma who have received at least 1 prior line of therapy; and 7 to 1 against the risk:benefit profile of the proposed dosage of belantamab mafodotin in combination with pomalidomide (Pomalyst) and dexamethasone (BPd) for patients with relapsed/refractory multiple myeloma who have received at least 1 prior line of therapy, including lenalidomide (Revlimid).1

    In November 2024, the FDA accepted a biologics license application (BLA) seeking the approval of BVd and BPd in these indications in relapsed/refractory multiple myeloma based on data from the phase 3 DREAMM-7 (NCT04246047) and DREAMM-8 (NCT04484623) trials, respectively.2 In both studies, the belantamab mafodotin–based regimen significantly improved progression-free survival (PFS) vs standard-of-care triplets.

    Notably, the dosage selected for belantamab mafodotin in the BVd combination was 2.5 mg/kg every 3 weeks; the dosage specified in the BPd combination was 2.5 mg/kg in cycle 1, followed by 1.9 mg/kg every 4 weeks.3

    During the ODAC meeting, the FDA sought input from the committee on whether appropriate dosages of belantamab mafodotin were identified for the proposed relapsed/refractory patient population in the context of observed ocular toxicity, the regimen’s tolerability, and efficacy results.3,4

    Although both DREAMM-7 and DREAMM-8 met their primary PFS end points—with DREAMM-7 showing a statistically significant improvement in OS—high rates of any-grade and grade 3 or higher adverse effects (AEs), frequent recurrences, and unresolved AEs led the FDA to express dosing concerns. Moreover, the FDA stated that there are not only limited data supporting dosage selection, but that available data showed poor tolerability with the proposed dose levels, suggesting that these doses may not be optimized. Other key areas of uncertainty included the relevance of the data from DREAMM-7/DREAMM-8 for patients in the United States (US), and the risk:benefit profile for patients who have received more than 1 prior line of therapy.

    “This was a challenging decision because the efficacy data were strong, but the toxicity data were also very strong. I’d like to emphasize the [verbiage of the question stating], ‘at the proposed dosage.’ This was, for me, what swayed the decision. I think this was just a missed opportunity over the course of many years of development of this drug to explore these different dosages. We’ve heard impassioned testimonials from key opinion leaders and from many researchers in the myeloma community. All of the building blocks are here to explore this question in the future, from patients to researchers to physicians, but that was the rationale for why I voted no [for both questions], “ Neil Vasan, MD, PhD, of NYU Langone, stated in his explanation for voting no.

    In August 2020, the FDA granted accelerated approval to belantamab mafodotin for the treatment of patients with relapsed/refractory multiple myeloma who have received 4 prior therapies, including an immunomodulatory drug, a proteasome inhibitor, and an anti-CD38 antibody based on results of the phase 2 DREAMM-2 trial (NCT03525678).5

    However, belantamab mafodotin was voluntarily withdrawn from the US market for this indication in November 2022 following the FDA’s request due to failure of the confirmatory phase 3 DREAMM-3 trial (NCT04162210) to demonstrate a significant progression-free survival benefit compared to standard therapy.6

    Although the reasons for the failure of DREAMM-3 to meet its primary end point are not clear, Andrea Baines, MD, a medical officer in the Division of Hematology Products at the FDA, argued on behalf of the regulatory agency. She noted that it is possible that poor tolerability of the 2.5 mg/kg once every 3 weeks dosage may have negatively impacted the efficacy of belantamab mafodotin monotherapy.

    “This is probably one of the most difficult votes I’ve done as a member of this committee,” Grzegorz S. Nowakowski, MD, stated while explaining the rationale for voting yes to the first question. “On the one hand, from a regulatory perspective…the whole drug development program probably made all the possible mistakes which could have happened, including the lack of US representation in the pivotal studies, and also the lack of early dose optimization, which could have avoided a lot of the toxicity discussion we had. On the other hand, I’m also a practicing hematologist, and the drug is clearly active. [Toxicity] could be mitigated to some degree, although not without reservations in a setting of careful optometrical follow-up and dose reductions or interruptions.”

    In contrast, John DeFlice, MD, of Cedars-Sinai Samuel Oschin Cancer Center, explained why he voted yes to both questions, stating that, “I think they are the wrong issues to be evaluated based on the clinical experience of the researchers and the testimonies that we’ve heard, this is an amazing drug for an incurable disease.”

    DREAMM-7 Overview

    The randomized, open-label DREAMM-7 trial enrolled patients at least 18 years of age with multiple myeloma who received at least 1 prior line of therapy and had documented disease progression during or after their most recent treatment.7 Prior treatment with a BCMA-directed therapy was not permitted or disease that was refractory to anti-CD38 therapy were not permitted.

    Eligible patients were randomly assigned 1:1 to receive BVd or DVd. In the experimental arm, belantamab mafodotin was administered at 2.5mg/kg once every 3 weeks. The trial’s primary end point was PFS, with secondary end points including OS, duration of response, and minimal residual disease (MRD)–negativity rate.

    Findings from the randomized, open-label trial published in the New England Journal of Medicine showed that at a median follow-up of 28.2 months (range, 0.1-40.0), patients treated with BVd (n = 243) achieved a median PFS of 36.6 months (95% CI, 28.4-not reached [NR]) compared with 13.4 months (95% CI, 11.1-17.5) in patients treated with daratumumab (Darzalex) plus DVd (DVd; n = 251; HR, 0.41; 95% CI, 0.31-0.53; P < .001).3

    Regarding safety, all patients experienced at least 1 AE. Grade 3 or higher AEs were reported in 95% of the patients in the BVd group vs 78% in the DVd group. Serious AEs occurred in 50% and 37% of patients, respectively. Ocular AEs occurred in 79% of patients in the experimental arm vs 29% in the DVd arm. These AEs were managed with dose modifications, and the majority of worsened visual acuity events were resolved.

    DREAMM-8 Overview

    The randomized, open-label DREAMM-8 trial enrolled patients at least 18 years of age with multiple myeloma who were previously treated with at least 1 prior line of therapy, including a lenalidomide-containing regimen.8 Documented disease progression during or after their most recent therapy, an ECOG performance status of 0 to 2, measurable disease, and adequate organ function were all required.

    Eligible patients were randomly assigned 1:1 to receive BPd or PVd. The trial’s primary end point was PFS, and secondary end points included OS, DOR, MRD-negativity rate, overall response rate, and safety.

    Data from this study were also published in the New England Journal of Medicine. At a median follow-up of 21.8 months (range, <0.1-39.2), treatment with BPd yielded a 48% reduction in the risk of disease progression or death compared with PVd (HR, 0.52; 95% CI, 0.37-0.73; P < .001). The estimated 12-month PFS rates were 71% (95% CI, 63%-78%) for BPd (n = 155) vs 51% (95% CI, 42%-60%) with PVd (n = 147). Notably, OS did not reach statistical significance at the first interim analysis (HR, 0.77; 95% CI: 0.53, 1.14).3

    In terms of safety, any-grade AEs occurred in 99% of patients in the BPd arm (n = 150) vs 96% of patients in the PVd arm (n = 145); 91% and 73% of these AEs, respectively, were grade 3/4.8 Serious AEs occurred in 63% of patients in the BPd arm and 45% of patients in the PVd arm.

    Any-grade ocular AEs occurred in 89% of patients in the BPd arm vs 30% of patients in the control arm. In the BPd arm, ocular AEs were managed with dose holds (83%) and reduced doses (59%). Treatment discontinuation due to ocular AEs occurred in 9% of patients in the BPd arm and no patients in the PVd arm.

    FDA’s Position

    High Ocular Toxicity Rates

    In their presentations during the ODAC meeting, the FDA highlighted keratopathy and visual acuity (KVA) events as a significant and unique safety concern associated with belantamab mafodotin that distinguishes it from other currently available therapies for multiple myeloma. High rates of ocular toxicity were observed in both the DREAMM-7 and DREAMM-8 trials, with similar incidence and severity across studies despite the lower dosing regimen utilized in DREAMM-8. Notably, dose modifications were frequently required due to ocular toxicity in both trials.

    In DREAMM-7, 92% of patients experienced KVA events, 77% of which were grade 3 or 4 in severity. DREAMM-8 showed comparable findings, with 93% experiencing KVA events and 78% experiencing grade 3/4 events. A majority of grade 2 or higher KVA events occurred within 1 to 2 months of treatment initiation, and the median duration of KVA events was approximately 3 months. However, a substantial number of patients had unresolved events at the time of the data cutoff on October 7, 2024.

    Dose modifications due to KVA events occurred in 76% of patients in DREAMM-7 and 78% in DREAMM-8. Additionally, patients experienced prolonged and recurrent treatment interruptions as a result of ocular toxicity. Clinically meaningful reductions in best corrected visual acuity to 20/50 or worse were reported in over 60% of patients in both trials. The median duration of these changes was approximately 3 weeks in DREAMM-7 and 4 weeks in DREAMM-8.

    As of the data cutoff, over 70% of patients had ongoing ocular toxicity, and approximately two-thirds of these patients had discontinued study treatment. Given the median age at diagnosis for multiple myeloma is 69 years, this level of visual impairment could have a significant impact on daily functioning and quality of life, particularly in patients with pre-existing health conditions or functional limitations, Baines noted.

    Uncertainty Regarding Proposed Dosages

    The regulatory agency also questioned the appropriateness of the proposed dosage of belantamab mafodotin given high rates of ocular toxicity and poor tolerability combined with the limited dose exploration and additional data suggesting improved tolerability with lower doses and longer dosing intervals.

    With respect to the safety and tolerability profile of belantamab mafodotin, data from DREAMM-7 and DREAMM-8 suggested that lower doses and/or extended dosing intervals may reduce the incidence and severity of ocular toxicity while preserving efficacy. Notably, patients who received the 1.9 mg/kg dose every 6 weeks in DREAMM-7 experienced fewer grade 2 or higher corneal AEs and fewer dose modifications than those receiving the same dose every 3 weeks. However, these findings are limited by the small number of patients in each dosing cohort. For example, in DREAMM-8, only 5 patients received the proposed dosing regimen of 2.5 mg/kg every 3 weeks. Despite the FDA’s recommendation to enroll more patients at the lower doses and in combination settings before finalizing the dose selection, the applicant proceeded with the 2.5 mg/kg every-3-weeks regimen, followed by 1.9 mg/kg every 4 weeks in DREAMM-8.

    A greater proportion of patients receiving the 1.9 mg/kg dose remained on their intended dose longer than those at the 2.5 mg/kg dose level. Similarly, patients on extended dosing intervals (every 6 weeks vs every 3 weeks) tolerated treatment better with fewer interruptions and dose reductions.

    Overall, the FDA noted that limited exploration of lower doses was conducted in a small patient population despite repeated FDA recommendation, and the selected regimens in DREAMM-7 and DREAMM-8 may not adequately reflect the optimal balance between efficacy and tolerability.

    Relevance to a US-Based Population

    Lastly, the FDA highlighted several concerns related to the applicability of the DREAMM-7 and DREAMM-8 trial results to the current US population of patients with relapsed/refractory multiple myeloma. One major limitation noted was the underrepresentation of North American patients, Black/African American patients, and adults 75 years of age or older in both trials, especially given the higher incidence of multiple myeloma among the African American population. Additionally, potential differences in disease biology, treatment access, and comorbidity management between US and non-US populations were cited as key concerns.

    The FDA also emphasized uncertainty regarding the management of belantamab mafodotin–associated ophthalmologic toxicities in diverse real-world clinical settings across the US. The infrastructure and frequency of required ophthalmologic assessments may be more difficult to implement outside of controlled clinical trials, especially in community practice settings.

    Another significant concern involved the relevance of the DREAMM-7 and DREAMM-8 trial control arms in the context of evolving US treatment practices. Increasing use of quadruplet frontline regimens incorporating CD38-targeting monoclonal antibodies and lenalidomide has altered the therapeutic landscape, raising questions about the generalizability of the observed treatment effects with belantamab. Additionally, the US market includes multiple therapies for relapsed/refractory with more robust safety profiles and demonstrated OS benefits, such as CAR T-cell therapies and bispecific T-cell engagers targeting BCMA.

    References

    1. July 17, 2025, Meeting of the Oncologic Drugs Advisory Committee (ODAC). FDA. Accessed July 17, 2025. https://www.youtube.com/live/CLhBI3UXWyg
    2. Blenrep combinations accepted for review by the US FDA for the treatment of relapsed/refractory multiple myeloma. News release. GSK. November 25, 2024. Accessed July 17, 2025. https://www.gsk.com/en-gb/media/press-releases/blenrep-combinations-accepted-for-review-by-the-us-fda-for-the-treatment-of-relapsedrefractory-multiple-myeloma/
    3. Belantamab Mafodotin BLA 761440. FDA. July 17, 2025. Accessed July 17, 2025. https://www.fda.gov/media/187657/download
    4. Food and Drug Administration (FDA) Center for Drug Evaluation and Research (CDER) Oncologic Drugs Advisory Committee (ODAC) agenda. FDA. July 17, 2025. Accessed July 17, 2025. https://www.fda.gov/media/187573/download
    5. FDA approves GSK’s BLENREP (belantamab mafodotin-blmf) for the treatment of patients with relapsed or refractory multiple myeloma. News release. GSK. August 6, 2020. Accessed July 17, 2025. https://www.gsk.com/en-gb/media/press-releases/fda-approves-gsk-s-blenrep-belantamab-mafodotin-blmf-for-the-treatment-of-patients-with-relapsed-or-refractory-multiple-myeloma
    6. GSK provides an update on Blenrep (belantamab mafodotin-blmf) US marketing authorization. News release. GlaxoSmithKline. November 22, 2022. Accessed July 17, 2025. http://bit.ly/3gniPi1
    7. Hungria V, Robak P, Hus M, et al. Belantamab mafodotin, bortezomib, and dexamethasone for multiple myeloma. N Engl J Med. 2024;391(5):393-407. doi:10.1056/NEJMoa2405090
    8. Dimopoulos MA, Beksac M, Pour L, et al. Belantamab mafodotin, pomalidomide, and dexamethasone in multiple myeloma. N Engl J Med. 2024;391(5):408-421. doi:10.1056/NEJMoa2403407

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