With over 5,000 players in NBA history, at least one player was born on every day of the calendar year – including three leap-day ballers. Our day-by-day breakdown of the players born on each day of the year continues.
Below are the most notable NBA players born on March 25.
Kyle Lowry (1986)
Lowry’s currently one of the most seasoned vets in the NBA, having carved out an incredible 19-year career. This point guard was selected 24th overall in the 2006 NBA Draft by the Memphis Grizzlies. Lowry spent his first three seasons in Memphis but took a major step when he joined the Houston Rockets in 2009.
He became the Rockets’ starting point guard two years later but advanced even more in his career when he joined the Toronto Raptors in 2012. “Mr. Raptor” played the next nine seasons for the Canadian team, making six straight All-Star appearances between 2014 and 2020. Most importantly, he helped them win a title in 2019, establishing himself as one of the best players in franchise history. This All-Star ranks top 5 in franchise history in games played, points scored, rebounds, assists and steals. He has since had stints with the Heat and, currently, the 76ers. When it’s all said and done, look for Lowry’s number to be hanging in the rafters for the Raptors.
Want to see every NBA player born on March 25? Here is the rest of the list in chronological order:
MELBOURNE (Reuters) -Australia’s Lynas Rare Earths warned of considerable uncertainty over the future of its heavy rare-earths processing plant in Texas and also reported a steeper-than-expected drop in its annual profit on Thursday.
Lynas, the world’s largest rare-earths producer outside China, said it is in negotiations with the U.S. Department of Defence (DoD) to reach a mutually acceptable offtake agreement for production from the Texas-based Seadrift facility.
“While there can be no certainty that offtake agreements will be agreed, any offtake agreements would need to be on commercial terms acceptable to Lynas,” the miner said.
Lynas has been developing the facility under a contract with the U.S. DoD, with plans to begin operations in fiscal 2026. However, the company indicated that construction of the plant may not move forward.
“We are big supporters of continued investment in development of outside-China’s supply chains,” CEO Amanda Lacaze told an investor call.
“But just remember … Lynas is the lynchpin of (the) outside-China supply chain, and it is important that policy development is done in such a way that continues to protect that, because, as I said before, development of new plants can be long and uncertain,” she said.
Her comments came after the U.S. government last month agreed a multibillion dollar deal to become the top shareholder in Lynas’ biggest rival outside China, MP Materials, provide a floor price for its key rare earth product, and lend it $150 million to expand in heavy rare earths separation.
Lynas also wants to be involved with new rare earth magnet makers in the U.S. and other countries outside China and is open to taking an equity stake.
“There are seven magnet projects coming to market in the U.S., many of which actually have some form of government funding, which de-risks them,” Lacaze said, adding there are probably more magnet projects in the U.S. than in the rest of the world combined.
“We want to be able to participate either on an operational or a supply or an equity basis in this part of the supply chain,” she said.
The miner last month signed an agreement with Korea’s JS Link to develop a magnet facility in Malaysia where it has processing operations.
Lynas’ net profit after tax came in at A$8 million ($5.20 million) for the year ended June 30, a sharp decline from an A$84.5 million reported a year earlier.
The annual figure also missed the Visible Alpha consensus estimate of A$30.4 million.
Lynas attributed the drop in profit to depreciation costs from its Kalgoorlie and Mt. Weld facility expansion, noting that production at Kalgoorlie fell short of nameplate capacity.
It expects its fiscal 2026 capital expenditure to be around A$160 million.
The miner announced an A$750 million equity raising to “pursue new growth opportunities”. The new shares will be issued at A$13.25 apiece, a discount of 10% to Lynas’ close on August 27.
Its shares were placed on a trading halt ahead of the equity raising.
($1 = 1.5389 Australian dollars)
(Reporting by Shivangi Lahiri and Shruti Agarwal in Bengaluru; Editing by Vijay Kishore, Sherry Jacob-Phillips and Sonali Paul)
[This story contains spoilers from Terminal List season one.]
David DiGilio is riding high on the Moroccan set of The Terminal List season two.
As the showrunner in charge of adapting Jack Carr’s Terminal List book series to the screen, his well-received prequel series, The Terminal List: Dark Wolf, just released its first three episodes on Amazon Prime Video. He’s also less than two months out from the release of Tron: Ares, which is a feature project he helped originate way back in 2011.
In 2022, when the Chris Pratt-led mothership series became one of Prime Video’s most-streamed series, Amazon wanted to meet the demand for more Terminal List in a relatively timely fashion. Unfortunately, Pratt’s feature schedule was at odds with such an ask. Thus, Pratt proposed an alternative.
“[Pratt] was actually the one who realized, based on his schedule, that we were going to have a long time between Terminal List season one and season two. So he didn’t want the fans to be left waiting, and he was like, ‘We should do Ben’s story,’” DiGilio tells The Hollywood Reporter while on location in Morocco.
Ben’s story is that of Taylor Kitsch’s former Navy SEAL turned CIA operative, Ben Edwards, and the spinoff prequel series, Dark Wolf, instantly became a “no-brainer” to DiGilio and his writers room of veterans and former service members. In the finale of Terminal List season one, Edwards served as the final name on James Reece’s (Pratt) terminal list, signifying the completion of Reece’s tour of vengeance after the mass execution of his former Navy SEALs platoon, as well as his wife and daughter.
Edwards admitted that he helped put the assassination plot in motion due to the foreknowledge that his one-time brothers-in-arms were all dying from brain tumors. They were involuntarily subjected to a faulty experimental drug trial to combat the effects of PTSD, and Edwards preferred they die with their boots on, not in a hospital bed. While Edwards insisted he had nothing to do with Reece’s family’s demise, Reece couldn’t look past the rub of the situation, specifically the $20 million that Edwards received to betray their brotherhood.
Dark Wolf takes place five years before the events of Terminal List season one, exploring the end of Ben’s tenure as a Navy SEAL and the beginning of his CIA career that would lead to stark betrayal. Being fully committed to the expansion of Carr’s universe, Pratt still carved out time from his busy schedule to support Kitsch’s series. He appears in three episodes total.
“At the time, Chris said, ‘I’m going to be in it, but just to be clear, this is not my show. This is Taylor’s show,’” DiGilio says. “Chris wanted to be there for him in the way that so many great actors have been there for Chris, and that was very cool to see.”
As for the future, DiGilio hopes that Dark Wolf will have its own multi-season run alongside The Terminal List, especially since Dark Wolf characters will be crossing over into the parent series’ second season: “Dark Wolf was really built not just as a first spinoff, but as a way to bridge the Jack Carr cinematic universe. We had this opportunity to not just give the fans of Terminal List season one a deeper dive on Ben, but to also really set up these fan-favorite characters like Raife Hastings, Mo Farooq, Jules Landry [for Terminal List season two].”
Back in 2011, THR reported that DiGilio was writing a follow-up to Joseph Kosinski’s Tron: Legacy (2010). However, in 2012, Disney’s purchase of Lucasfilm derailed Tron 3’s pre-production. Nevertheless, the project continued to simmer, and now, despite 14 years and 15 screenwriters in between, DiGilio has a story credit on what became Tron: Ares.
“Man, they went through something like 15 writers. When the movie finally got made, I heard that the title was Tron: Ares, and Ares is a character that I had created in the process as the villain,” DiGilio shares. “And over time, Ares morphed from being the villain to being the title character. But that overarching story remained the same.”
Below, during a recent conversation with THR, DiGilio also explains how Ben Edwards’ backstory was spun out of Raife Hastings’ (Tom Hopper) personal history in Carr’s second novel, True Believer. The latter book is also serving as the basis for Terminal List season two.
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At the end of The Terminal List season one, it’s revealed that Taylor Kitsch’s character, Ben Edwards, betrayed his brothers and set them up for slaughter. A corporation paid him to help cover up the fact their drug trial gave his former SEALs brethren brain tumors. Chris Pratt’s James Reece then put an end to Ben, completing his terminal list. So what prompted you to take a deeper look at Ben’s past in Dark Wolf?
Ben Edwards was the natural choice to be our first spinoff character. The chatter in the fan base about whether or not Ben deserved his fate was the loudest in terms of a response to any of season one’s plot points. And that started because of the nuance and care Taylor brought to the role. He wasn’t just a typical tough guy-best friend; there was a pathos Taylor brought. There was also a nostalgic quality in every scene that Taylor and Chris did together. “If they could only go back” was a feeling that was constantly happening between Ben and Reece. So we said, “What if we do go back? What if we tell the story of what Ben loved about the brotherhood and how he reached a point where he was able to betray it?”
Ben Edwards (Taylor Kitsch) and James Reece (Chris Pratt) in The Terminal List: Dark Wolf.
Justin Lubin/Prime
You probably spitballed some ideas for Ben’s backstory during season one of Terminal List. How does Dark Wolf compare to what you first imagined?
It ended up being a kind of revelation that came out of the season one finale. We were working closely with [novelist] Jack Carr. I’ve had a wonderful working relationship and friendship with Jack since I came on board in 2019. He had a backstory for Tom Hopper’s Raife Hastings that was really complex and interesting. It’s a moment that happened in Iraq. When we were working on the finale of season one, we wanted Raife in the finale, so we tried to cast someone back then just for this cameo moment.
But Raife ended up being this notepad left on a boat because it turns out it’s very hard to cast an actor for an ongoing role if they have literally one scene. But what came out of the finale discussion with the writers room and with Jack was the idea that there was not just a one-sided relationship between any of these characters. There’s a triangle. And in this triangle, you have James Reece in the middle, Ben Edwards on one pillar and Raife Hastings on the other.
So we decided that we would take Raife Hastings’ backstory — which is really explained in Jack Carr’s second book, TrueBeliever — and fold Ben into it. It would become a decisive and divisive moment between these three friends. Ultimately, it would be the thing that sets them all on different paths. So it really came out of talking about, “Well, what if Ben was involved with that thing that Raife did? What would that do to them?” You hear that backstory mentioned and alluded to in the [season one] finale, and you hear how much Ben hates Raife. You also get that sense of Reece being caught in the middle.
The truth is, that happens all the time in human relationships. You form bonds with two people who should get along but don’t, and you become the fulcrum between them. You’re trying to make it work, but you know that it might not. So going back and exploring how Ben and Raife’s partnership frayed also became a foundation for season one of DarkWolf.
Taylor Kitsch (Ben Edwards), Tom Hopper (Raife Haistings) in The Terminal List: Dark Wolf.
Attila Szvacsek/Prime
Seeing the lengths that the brotherhood went to for Ben in Dark Wolf made his treachery on the mothership series all the more frustrating. Does that response track with you?
Yeah, and I hope everybody feels that. The truth is that Ben is the hero of his story, and Ben is somebody who truly cares about Reece and Alpha Platoon. He explains the moral and emotional justification for what he did. He wanted his brothers to die with their boots on. He didn’t want them to rot away [from a brain tumor] in some hospital bed.
We immediately saw genuine friendship and chemistry in the first Zoom meeting between Chris and Taylor, and we’ve talked a lot with Taylor about how Ben never lies. He just doesn’t tell the whole truth, and that’s a big thing. He truly cares about Reece and his family, and it’s ultimately what the conspiracy of season one does to Reece’s wife and daughter, Lauren and Lucy, that puts Ben on the path of vengeance as well. He is a full participant in the things that Reece does in season one, and he can be a participant because he’s as angry and as betrayed as Reece was. He thought he was only doing this one thing.
In the beginning of the DarkWolf pilot, there’s a wonderful moment of these four SEALs sitting around a campfire at the FOB, and you see how genuine their brotherhood is. You see that respect and that trust and that laughter and friendship. And that’s the arc, really, of the entire series, which we hope goes on for multiple seasons. You see a guy who cared so deeply about the brotherhood at the beginning of his journey and then you see him get to a place where he could be manipulated into betraying it.
You have a different arc happening with James Reece. He falls much more on the light wolf-side. He’s capable of very dark things, but there’s a genuine light that leads him. And the question with Ben is, did the light wolf ever have a chance?
I know he has a vested interest as an EP of both series and the star of Terminal List, but it still impresses me that Chris Pratt was willing to show up for a few episodes in a genuine supporting role. Were you pretty amazed that a mega movie star would be game to serve someone else’s story like this?
It’s interesting because the perception of movie stars is built on things like Instagram and marketing. But Chris, through his social media, is incredibly authentic, and he brings people into his world, his faith, his family and other things he cares so deeply about. So it’s not surprising with Chris because he is a genuine storyteller. What excites him so much about what he does is not just the acting side of it, and the accolades and attention that come from it. He’s an incredibly good actor, and we love that he takes on the weight and drama of this role that is so different from the more comedic or pop-star level roles that he does.
But what he really wants is to tell a great story. And he was actually the one who realized, based on his schedule, that we were going to have a long time between Terminal List season one and season two. He didn’t want the fans to be left waiting, and he was like, “We should do Ben’s story.” We then gathered back together in fall of 2022 and went, “Oh my God, this is a no brainer.” And because the Reece-Ben-Raife relationships are so foundational to this Jack Carr cinematic universe, Chris was like, “I want to be in it.”
We talked about how many episodes, et cetera, and then we decided on three episodes. At the time, Chris said, “I’m going to be in it, but just to be clear, this is not my show. This is Taylor’s show.” Taylor is such an incredible fucking actor who is having a real breakout year between AmericanPrimeval and DarkWolf. So Chris wanted to be there for him in the way that so many great actors have been there for Chris, and that was very cool to see.
Ben Edwards (Kitsch) and James Reece (Pratt) in The Terminal List: Dark Wolf.
Justin Lubin/Prime
It appears that Terminal List franchise author Jack Carr was more involved in the writing of Dark Wolf. It’s not an unheard-of scenario to have the mind behind the source material directly involved, but it’s still pretty rare. So how would you describe your dynamic together?
Jack is our godfather, so to speak. All of this material is built off of characters that he created, and we really love the feedback, the inspiration, the love of history, the love of reading, the love of pop culture. He is an incredible movie reference savant, so it’s fantastic to have all that.
He is not always in the room; he is constantly writing books and podcasting. So it is very hard for him to be in the room with us, but we make sure that he has eyes on everything that we do. To step away from the books for the first time, we wanted to make sure that he was integral to the creative and creation process. So, in September of ‘22, I flew up to Park City along with executive producer Jared Shaw, who’s a former Navy SEAL. Max Adams, who’s another executive producer and former Army Ranger, Zoomed in, and we just did a weekend deep dive with Jack on what DarkWolf might be. It was great to have Jack there from the jump, given his knowledge of geopolitical events, the brotherhood, these characters and his books’ mythology.
Iran’s nuclear program is the subject of much scrutiny in Dark Wolf, just as it’s been in real life for ages now. In terms of resonance, do you guys view recent headlines as a net-positive for the show?
I don’t know if we think about it, to be honest. It’s just part of working with Jack Carr. He is a finger-on-the-geopolitical-pulse storyteller. When we met in 2022, we tried to figure out what this global conspiracy would be, and he was like, “Israel-Iran, there are not enough stories being told about that conflict.” And so we were like, “Yeah, let’s run at that. 2015 lines up. This is fascinating. Let’s go.”
Dark Wolf is set specifically in 2015, which deliberately predates all these current conflicts, and we worked with the cultural consultants. We have something in our writers’ room called Research Wednesday where we talk to experts on different topics that we tackle in the show. So it was all built off of looking back at the situation in 2015, and it just happens to mirror and reflect the world we live in today.
You mentioned earlier that you want Dark Wolf to run for multiple seasons, but is Dark Wolf the last we’ll see of Ben Edwards overall? Or are flashbacks on the table still via the mothership?
The conceit is one of the great things about [The Terminal List]. A man [Reece] is on a vengeance and what we call a violent redemption path after that, and his brain tumor causes conflation. So there’s always a chance that these characters return.
We decided we’re not just going to make a new show in Dark Wolf. We decided we’re going to make a new way to make shows. I refer to it as team television, and it’s a very time-intensive process because everyone gets a say. There’s no bad idea. It’s a way to empower performers, the authors and anyone, down to the set dressers, with a creative stake. If an idea is sparked, you really start to talk about it, and it can lead to places.
A script is a living, breathing entity. It’s not something that’s chiseled in stone. Until it’s captured in the final rectangle, it can be improved and be made more authentic and emotional. And one of the great things about Taylor and Chris is that they are actors who are always challenging the material. So when you have people like that, you want to try to keep them involved in as many shows as possible.
You’re in production right now on The Terminal List season two. Certain Dark Wolf characters are crossing over, but does Dark Wolf also set up any story points in season two?
Dark Wolf was really built not just as a first spinoff, but as a way to bridge the Jack Carr cinematic universe. It starts with this deep, dark, psychological revenge thriller and becomes, in the later books, this globe-trotting espionage thriller. It’s quite a change to go from that world of vengeance across North America into season two, which is based on the True Believer storyline. A globe-hopping James Reece is chasing down a giant global conspiracy.
We realized that, through DarkWolf, we had this opportunity to not just give the fans of Terminal List season one a deeper dive on Ben, but to also really set up these fan-favorite characters like Raife Hastings, Mo Farooq, Jules Landry. They appear in book two, TrueBeliever, but they are set up primarily through backstory in that book. And it’s very hard to do backstory on television. It’s extremely difficult in a medium that moves so fast with so much economy of storytelling and forward propulsion to stop and tell everybody where people came from.
We realized we had an opportunity to bring these characters into Ben’s 2015 origin story, and then have them return later after creating familiarity and a real emotional connection to them. The surprise to us was that it wasn’t just the characters from the books that we love so much and wanted to bring back; there are other characters from DarkWolf’s incredible ensemble who will make appearances as well.
Lastly, I was combing through THR’s archives last night and found a 2011 exclusive about you being hired to write a third Tron movie. Fourteen years later, you ended up with a story credit on what is now known as Tron: Ares. Do you now know how much of your material remains in the final product?
Yeah, it’s incredible. In the strange job of studio screenwriting in Hollywood, I guess you could say that a project is never dead. I am a lifelong sci-fi fan and child of the ‘80s, and Tron is a movie that really stuck with me from my boyhood. Having just seen Tron: Legacy, I got the chance to go in there and pitch on [Tron 3] with Joe Kosinski, and then build that out with [producer] Justin Springer and the team.
We were actually thisclose to filming. We were in heavy prep at the time, and the guys were scouting over in Shanghai when Disney purchased Lucasfilm. So that just sucked the air out of the room, because the biggest franchise in Hollywood was going to take their attention. It was a tough blow for us. [Screenwriter] Jesse Wigutow, who I’ve gotten to know through the process, came in and did a great pass after me. So things were rocking and rolling, but it got shut down.
Fortunately, Justin Springer is a tenacious producer, and Jesse is a great writer. Man, they went through something like 15 writers, but Jesse stuck with it throughout. When the movie finally got made, I heard that the title was Tron: Ares, and Ares is a character that I had created in the process as the villain. And Jared [Leto], I believe, was attached at the time to play it. I don’t know the full process, but he may have also been one of the champions who kept it going. And over time, Ares morphed from being the villain to being the title character.
Once it got made, Disney sent out, via the WGA, the notice of tentative writing credit. So I saw that I was sharing “story by” with Jesse and that Jesse was getting “screenplay by,” and I was thrilled. But, of course, you end up in arbitration when you have 15 writers, and the positive out of that experience was reading the script and getting to see that the foundation remained. The foundational structure remained, even if Sam and Quorra [from Tron: Legacy] had moved on. We no longer had those actors [Garrett Hedlund and Olivia Wilde] under option, and a new wonderful cast is in there now. But that overarching story remained the same. So I was really happy to share that credit with Jesse, and I’m fired up to see the movie.
Fourteen years later… only in Hollywood.
I truly, truly ascribe to the “slow and steady wins the race” adage. There’s no rush out here. I’ve been writing since 2001, and I really found my true love in showrunning and creating shows. It’s just the best of all worlds, especially getting to do it with people like Chris, Taylor, Max, Jared, Jack, Fred Toye, Kat Samick and Antoine Fuqua. This [Terminal List] team is just ridiculous. As a former athlete, to be able to combine my love of storytelling and the creative process with teamwork is a dream come true.
*** The Terminal List: Dark Wolf’s first three episodes are now streaming on Amazon Prime Video.
Newswise — Bariatric surgery is usually effective on its own for weight loss, but an increasing proportion of patients who undergo bariatric surgery start taking one of the new glucagon-like 1 peptide receptor agonist (GLP-1) weight-loss drugs in the years after their surgery, according to a new study led by researchers at the Johns Hopkins Bloomberg School of Public Health.
The researchers analyzed de-identified national electronic health records covering 112,858 individuals who underwent bariatric surgery from January 2015 to May 2023. They found that 14% of those patients used a GLP-1 such as semaglutide (Wegovy) or tirzepatide (Zepbound) during a follow-up period of up to 10 years after surgery.
Severe obesity or related conditions such as type 2 diabetes pre-surgery was associated with the outcome—as was being female, and undergoing a type of bariatric surgery called sleeve gastrectomy. Individuals with lower post-operative weight loss were more likely to use GLP-1.
GLP-1 drugs were introduced to market in 2005, approved to treat type 2 diabetes, and the first GLP-1 was approved for obesity in 2014. The analysis showed that the rate of post-surgery GLP-1 use increased during the 2015–2025 study window as more powerful GLP-1 drugs such as semaglutide and tirzepatide became available.
The study was published online August 27 in JAMA Surgery.
“These findings make clear that GLP-1 drug therapy after bariatric surgery is increasingly common,” said study senior author Hemalkumar Mehta, PhD, MS, an associate professor in the Bloomberg School’s Department of Epidemiology. “This suggests that we need to learn more about how to optimize this combination of treatments for patients.”
The U.S. adult obesity rate, currently around 40%, has been on the rise for decades. Obesity increases the risks of diabetes, heart attacks, cancer, and other ailments. Bariatric surgery has been considered one of the most effective treatments for obesity, particularly severe obesity. The surgery reduces the stomach’s capacity to digest food, with patients losing one-fourth to one-third of their pre-surgery weight. About 270,000 bariatric surgeries were done in the U.S. in 2023, the most recent year for which data are available.
Despite its overall effectiveness, approximately 20% to 30% of bariatric-surgery patients’ post-surgery weight loss isn’t sufficient or lasting. Several clinical trials and observational studies suggest that GLP-1 drugs are effective in causing weight loss and improved blood sugar control in these cases. But little was known about the rate at which bariatric surgery patients end up using GLP-1s.
In the study, the researchers evaluated a large electronic health records database kept by a health care technology company called TriNetX. Their primary analysis focused on 112,858 American adult patients in the database who underwent one of the two most common types of bariatric surgery—sleeve gastrectomy or Roux-en-Y gastric bypass—during the period from January 2015 through May 2025, did not use GLP-1s for the year before surgery, and met other inclusion criteria.
In follow-up periods that lasted for at least two and up to 10 years, a total of 15,749 patients (14%) began using GLP-1s. About 21% of the latter began using the drugs within two years of surgery, and about 53% within four years.
The study found that, after holding other factors constant, female bariatric-surgery patients were about 61% more likely to use GLP-1 drugs compared to male patients, Black patients 27% more likely than white patients, sleeve gastrectomy patients 42% more likely than Roux-en-Y patients, and type 2 diabetes patients 34% more likely than non-diabetic patients.
The researchers also found that greater pre-operative weight was associated with higher chance of GLP-1 use. Analyzing obesity classification based on body mass index (BMI), the researchers found that compared to overweight patients (BMI between 25 and 29.9), the chances of GLP-1 use were 1.73 times higher among class 1 obesity patients (BMI between 30 and 34.9), 2.19 times higher among class 2 obesity patients (BMI between 35 and 39.9), and 2.69 times higher among patients with class 3 obesity (BMI 40 or higher)—the most severe form.
“These findings raise important questions for future obesity research,” Mehta says. “For example, what is the optimal clinical threshold for prescribing a GLP-1 in terms of timing and the patient’s relative weight after bariatric surgery?”
To Mehta and his colleagues, the substantial frequency of bariatric surgery plus drug therapy suggests this surgery-plus-drug combination has become routine for some patients—and is by now well studied.
“We think in the future, obesity treatment will follow that paradigm for some patients,” he says. “People won’t just use surgery or GLP-1s—they’ll often use both.”
“Use of Glucagon-like Peptide 1 Agonists Among Individuals Undergoing Bariatric Surgery in the U.S.” was co-authored by Minji Kim, Michael Schweitzer, Ji Soo Kim, G. Caleb Alexander, and Hemalkumar Mehta.
The research was supported by the National Institute on Aging (K01 AG070329).
[This story contains spoilers from the season one finale of Butterfly.]
Prime Video’s new K-drama spy series Butterfly isn’t Piper Perabo’s first rodeo in the world of espionage. And even though she doesn’t actually throw a punch in the six-episode action-filled series that was filmed throughout the cities and countryside of South Korea, Perabo is quick to share that she’s not afraid to mix it up with fists, feet or whatever it takes to eliminate a threat.
Playing the main villain who causes the mayhem in the Daniel Dae Kim-starring series suits the actor just fine for now — in hopes that a season two could see her character, Juno, really letting hand-to-hand combat and bullets fly following that cliffhanger season one finale.
Juno will likely have to get more physical if season two is a go, as viewers saw in the finale that she’s now on the run, via a private plane, to escape just as her protégé and top killer, Rebecca (Reina Hardesty), entered the restroom of a small diner with the second wife of her father, David Jung (Kim). Rebecca is the daughter of David’s first wife, and she’s the child he abandoned about nine years earlier after Juno tried to kill him for wanting to leave the agency they created together called Caddis.
When Rebecca and his wife, Eunju (Kim Tae-hee), take too long to return from the restroom, David gets suspicious and entered the bathroom to find his wife bleeding from a neck wound, and his daughter nowhere to be found. Could Juno be behind this treachery, as payback for David destroying her spy corporation and for changing his oldest daughter into a killer?
“I like being the bad guy,” she says. “I don’t get to portray villains a lot.”
The Hollywood Reporter recently caught up with Perabo in Montreal at a film premiere, and she was chomping at the bits to discuss the rigors of being a ruthless villain and loving mother in Butterfly‘s cutthroat world of espionage, the beauty of filming in South Korea and why her Hollywood characters are never timid about throwing hands, if necessary.
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You have done straight drama and comedy, but your forte lately has been action!
I’m drawn to all the genres. I don’t really read graphic novels, and I haven’t done anything that has that kind of source material before. Also, Daniel Dae Kim is an old friend of mine. We did an action movie together like 20 years ago, and stayed friends ever since. I was really interested in working in Korea. That brought a new twist to the source material, and obviously Dan, being Korean American, has such authentic insight into that place. I knew it would be fun to see that country with a friend who knows so much about it.
That was your first time in Korea?
Yes. When he called me and was like, “You want to spend six months in Korea?” I was like, “Actually, yeah! Am I going to be stuck in Seoul all of that time?” And he said no. We ended up filming in 20 different cities all over Korea. It was so cool to see a country that way. Our crew was Korean, and most of the actors in the show are Korean. It was a really amazing experience.
Getting into the series, what was Juno’s motivation? Is she the ultimate narcissist or just a cold-blooded killer who loves money and who is power hungry?
When it comes to business, Juno has decided she’s going to work for the highest bidder. That’s where she and David really parted ways. He wanted to make sure he was doing good in the world, and Juno decided that if you’ve got the money, you can hire her. On a deeper level, what I like about the story is that it’s one about a family of divorce. Juno got the kids. When David comes back, he’s not okay with that arrangement, and the kids are stuck in the middle. I like the action and I love the spy genre, but when I realized it’s a family drama right under the surface, that really appealed to me.
I want to ask you a similar question that I asked Daniel in a recent conversation: Does Juno love Rebecca, or does she love her assassinating skills?
I think it’s complicated. I think Juno really loves Rebecca, but also… like when I was in high school and you’re playing a sport and there are parents on the sidelines, those parents that scream from the sidelines who are too invested in the outcome of the game? That puts so much pressure on the kid. And that’s how I think about Juno. She’s one of those parents who walks onto the high school field and is screaming at the ref. And you’re like, “Hey, hey, it’s a kid.” But Juno takes it to the global level.
Louis Landau with Piper Perabo in Butterfly.
Prime Video
Well, it seemed quite clear that she loves her son, Oliver (Louis Landau). But as her business and life starts to unravel, and she thinks Oliver has betrayed her, do you believe she ever gave serious thought about killing her only biological child?
The problem with Oliver is that it’s another kind of family problem, like those parents who think one kid is great at sports and the other sucks. (Laughs.) It’s so hard to be that kid, and I feel like Oliver lives in that space. Juno sees a lot of herself in Oliver, and she wants to believe that he can rise to her level, but so far he hasn’t shown her that and it’s tense.
Were you angling for more action in this series, or did you want to take a break and let the other stunt women handle this one?
I said to Ken Woodruff and Steph Cha, the writers, “You know, if Juno has to mix it up in season two, I’m into it!” I remember calling Daniel one night after he was filming a fight scene all night. He was like, “I’m not as young as I used to be (laughs).” I know that it’s hard, but I’ve always been interested in action sequences and that kind of fight choreography is interesting to me.
As I was thinking about asking you that question, the thought came across my mind, “Isn’t Piper the same woman who got into a physical and bloody brawl with Beth Dutton?” [In the fifth season of Yellowstone, Perabo played John Dutton’s activist love interest, Summer, who was under house arrest at the family ranch. Beth wasn’t having any of it, which culminated in a violent altercation between the two ladies on the front lawn.]
(Laughs.) Exactly! I can fight! I may not win, but I’ll get in there!
I have to ask about the finale. Where do you think Juno went when you got on the private jet, and do you think she had anything to do with David’s second wife, Eunju (Kim Tae-hee), having her throat cut in the bathroom of the small diner? Of course, we don’t know if Eunju died.
I personally hope she didn’t die, because Kim Tae-hee’s playing such a good actor. But Juno had a plane waiting, her right-hand man is still with her, and Juno had access to a lot of funds. In this world, money and a plane can get you pretty safe. But I don’t know. I was thinking about cracking that last scene. And when I think about where we would go from there, I don’t know what the writers want, but I feel that is how she could get out of Seoul. When you have a U.S. Senator on your trail [Senator Dawson played by Charles Parnell], there are limited places you can hide. But she has a lot of funds.
Were you into Korean movies and Korean television shows before signing onto Butterfly?
Korean movies and Korean directors, for sure. When I got to Korea, I realized it’s even bigger than K-drama. In Korea they call it the K-Wave. There is a massive cultural output that is happening in Korea. In the entertainment system, we are aware that K-filmmaking is so prevalent in our business. But when you get there, you realize, “Oh my gosh, there’s so much coming!” There’s a renaissance happening in Korean culture right now.
What’s next for you, while hoping there’s a season two of Butterfly? And if there is one, how do you think Juno will evolve, if at all?
Well, I like being the bad guy. I don’t get to portray villains a lot. I kind of like how messed up she is. I like filming in Korea so much, and I like that it is a uniquely Asian/American story. And because Juno has to escape, I’m curious about where she would go. There are so many incredible cities in Southeast Asia. But I would love to stay in that part of the world, because I think it is beautiful and interesting, and it could add a lot to the show.
I had a film at Cannes this year called Peak Everything. It’s a Montreal indie film. We just found out that we are going to be the closing night film at TIFF. It’s very different than Butterfly, and it is fun to go back and forth between them.
Samsung will unveil new phones and devices for its Galaxy line during a Sept. 4 virtual event. The upcoming Galaxy Unpacked event is timed just ahead of the IFA 2025 conference, a consumer tech event held in Berlin.
The invite references a new Galaxy Tab that is available to “reserve” ahead of the event, but it’s unclear what the new tablet is or what features it’ll have. Samsung also typically announces new FE devices in the fall, which means we could see a Galaxy S25 FE phone or a similar FE tablet shown off during the event.
This story is part of Samsung Event, CNET’s collection of news, tips and advice around Samsung’s most popular products.
This news follows Samsung’s recently announced Galaxy Buds 3 FE, which, at $150, is a lower-cost alternative to the company’s $250 Galaxy Buds 3 Pro.
Samsung is also expected to reveal a “tri-fold” foldable phone, which the company referred to during an earnings call earlier this month. However, it’s unclear whether we’d see a new foldable launched during this event. Typically, Samsung unveils brand new products at larger, in-person events, making them unlikely to appear during a livestream.
We’ll find out what Samsung plans to announce on Sept. 4, with its livestream scheduled for 5:30 a.m. ET.
Cameron Norrie continued his fine grand slam form by holding his nerve at the end of a bruising battle with Francisco Comesaña to win 7-6 (5), 6-3, 6-7 (0) 7-6 (4) and set up a third‑round match with Novak Djokovic.
Norrie, who reached the fourth round of the French Open and quarter-finals at Wimbledon this year, had looked well on his way to victory as he established a two-set lead. However, as he edged close to winning, his nerves increasingly came to the surface.
After establishing a 4-1 lead with a double break in the final set and then serving for the match at 5-4, Norrie found himself down set point at 5-6. As Comesaña lasered a backhand down the line, Norrie thought he had been forced to a fifth set and he began walking to his chair but the umpire confirmed the shot had landed out.
Having been given a second chance, Norrie held serve to force a tie-break and then he closed out the match with courageous play. Norrie had toiled for nearly every point throughout the match, but as the match hung in the balance he closed out the match with two unreturned first serves.
Djokovic said he is hopeful that his form will improve with more matches at the US Open after he struggled early on against an inexperienced American challenger before recovering to reach the third round in New York with a 6-7 (5), 6-3, 6-3, 6-1 win against Zachary Svajda.
Three days after Djokovic’s difficult opening match, where he had numerous physical problems in an attritional tussle with Learner Tien, Djokovic was still searching for his form as he trailed by a set against Svajda. Although the Serb gradually found his way, he was also aided by the 22-year-old’s physical difficulties as he struggled with a left leg problem in the second half of the match.
Despite facing the greatest player of all time in the biggest stadium in the sport, Svajda performed with courage early on, outplaying Djokovic from the baseline before closing out a tense opening set with a searing down-the-line backhand. But Djokovic gradually worked his way back into the match with efficient serving and key forays to the net.
Svajda began to struggle with his left leg, frequently grabbing at it as his movement deteriorated. Despite his difficulties he led by a break at 3-1 in the third set following a poor service game from Djokovic – but the Serb quickly recovered, rolling through 11 of the next 13 games to take the match.
Novak Djokovic plays his ‘violin’ celebration after beating Zachary Svajda Photograph: Angela Weiss/AFP/Getty Images
Afterwards, Djokovic spoke frankly about his problems on the court: “I didn’t feel that great to be honest. I wasn’t happy with my tennis for the first part of the match, but also credit to Zach for playing some really high-quality tennis.
“It was unfortunate that he struggled with injury towards the end of the second set, but kudos to him for staying on the court. It was obvious he couldn’t serve as well as he did for a set and a half. I wished him all the best at the net because I think he’s playing really well.”
The US Open marks Djokovic’s first appearance in any competition since Wimbledon owing to the 38-year-old opting to prioritise his family life over competing in the lengthy two-week Masters 1000 events in Toronto and Cincinnati. Djokovic said he is hoping his level will gradually improve with more matches, victories and time on court at the tournament.
“That was the case for most of my grand slam career. The deeper I go in the tournament, the better I feel about my game,” he said. “It’s obviously a little different in the past couple of years for me bodywise, I get wear and tear quicker than I ever used to so I have to deal with that; a lot of recovery stuff to try to make myself able to perform at the highest level.”
Djokovic was followed at Arthur Ashe Stadium by Jessica Pegula, the fourth seed and last year’s finalist, who eased into the third round with a clinical 6-1, 6-3 victory over Anna Blinkova.
After a selloff slammed Japanese bonds late last year, Brendan Murphy spotted a trade that looked too good to pass up.
The Insight Investment fund manager piled into 30-year Japanese government bonds, where yields were near historic highs after rising inflation hit debt prices. With the addition of foreign-exchange derivatives that exploited the gap between interest-rates in the US and Japan, the trade promised a juicy 7% annual payout. Of course, that largely hinged on the Bank of Japan successfully tamping down consumer prices — a move that Murphy and a slew of other international investors saw as all but inevitable.
New analysis has revealed that dyslexic entrepreneurs contribute at least £4.6 billion to UK GDP every year – supporting more than 60,000 jobs and powering some of the world’s most innovative businesses.
The analysis, released by global charity Made By Dyslexia, highlights the extraordinary impact of Dyslexic Thinking in entrepreneurship, with at least one in three business founders being dyslexic. Dyslexic strengths include problem-solving, creativity, communication, visualisation and big-picture thinking – perfect matches for setting up your own enterprise.
To help inspire the next generation of founders, Made By Dyslexia, Virgin StartUp and Virgin Unite have launched a nationwide campaign celebrating dyslexic entrepreneurs. The campaign is taking over prominent spots in 46 locations across the UK, shining a light on how Dyslexic Thinking has powered world-changing inventions, from the car and the lightbulb to the smartphone. Dyslexic Thinking also sits at the heart of some of the world’s most iconic brands, including Apple, Ikea, Jo Malone, and Virgin.
While Dyslexic Thinking has shaped history, many dyslexic entrepreneurs continue to face outdated misconceptions and a lack of tailored support to grow their businesses. That’s why Virgin StartUp is launching a first-of-its-kind free business accelerator programme called Momentum. The eight-week programme is designed specifically for dyslexic entrepreneurs, helping them scale their businesses through tailored workshops, one-to-one mentoring and access to expert resources.
Virgin StartUp has also launched a dedicated “Dyslexic Thinking” space in its online community, creating a hub for founders to connect, collaborate and thrive.
Richard Branson, has long spoken about how dyslexia shaped his entrepreneurial journey, sharing: “Much of my success as an entrepreneur comes from my Dyslexic Thinking. It’s my superpower. Dyslexic Thinking has enabled me to see the world differently and find new solutions to old problems that businesses were struggling to address. The world needs dyslexic entrepreneurs more than ever, so I’m delighted to support this campaign and I am looking forward to hearing the stories behind the dyslexic founders who join the Virgin StartUp programme.”
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Kate Griggs, Founder of Made By Dyslexia, added: “Entrepreneurs are the engine of the British economy – and research shows Dyslexic Thinking fuels at least one in three of them. To boost growth, create jobs, and move the nation forward, the UK has never needed Dyslexic Thinking more. We hope that this campaign will inspire the next generation of dyslexic entrepreneurs and encourage Dyslexic Thinkers across the country to consider how they could use their unique skills to build the innovative businesses of tomorrow.”
To learn more about dyslexic entrepreneurship – or to apply to join Virgin StartUp’s Momentum programme – visit virginstartup.org/1in3founders.
