For viewers living outside China, accessing iQIYI (爱奇艺) can sometimes be frustrating. Some movies, TV shows, variety programs, and other content may not be available in certain regions because of licensing restrictions or regional access policies. Even when the iQIYI website or app loads normally, individual videos may still show messages indicating that the content is unavailable in your current location.
Why Can’t I Watch iQIYI Overseas?
The main reason is usually regional content licensing. Streaming platforms such as iQIYI often have different content rights for different countries and regions. As a result, a show that can be watched normally in mainland China may not be available when you are traveling, studying, or working abroad.
Network routing can also affect the viewing experience. Even when a video is technically available, users overseas may experience slow loading, buffering, or unstable playback depending on their connection to Chinese servers.
How to Improve Your iQIYI Viewing Experience
If you regularly watch Chinese dramas, variety shows, movies, or other iQIYI content while overseas, using a reliable China-focused network acceleration service can be one option to consider.
SpeedX return-to-China accelerator is designed for overseas users who need a more stable connection to services in China. By optimizing network routing and providing dedicated connections, it can help improve access and playback stability for Chinese streaming platforms such as iQIYI.
After connecting to an appropriate China route, you can reopen the iQIYI website or app and check whether the content is available. Connection quality can vary depending on your location, network provider, and the specific content you are trying to watch.
Is SpeedX Worth Trying for iQIYI?
For overseas Chinese users and international students who frequently use Chinese online services, SpeedX 回国vpn can be a practical option to test when iQIYI access or playback is unreliable. It is particularly useful for people who want a smoother connection to multiple China-based services rather than relying on a solution designed primarily for general international traffic.
Keep in mind that availability of specific iQIYI titles depends on licensing and regional restrictions, so a network optimization service cannot guarantee access to every piece of content.
Final Thoughts
Being overseas does not necessarily mean giving up your favorite Chinese entertainment. If iQIYI is unavailable or playback is unstable in your region, checking your network connection and using a China-focused acceleration service such as SpeedX may help create a more consistent viewing experience.

Hey everyone, I just wanted to share something I recently found that might be useful for other gamers.

If you play multiple games, you probably know how difficult it can be to keep track of everything happening in the gaming world. New seasons, events, updates, giveaways, limited-time rewards… there’s always something going on.

Sometimes you miss an important event just because you didn’t see the announcement at the right time.

I recently came across EZG’s Facebook page, and it’s actually a pretty useful place for players who want to stay updated with different games.

They share game news, event information, community activities, and occasional giveaways for popular games. Instead of having to check different websites or communities all the time, it’s a convenient place to see what’s happening.

null

Some of the games they often share content about include:

• Monopoly GO
  

• Diablo 4
  

• Path of Exile 1 & 2
  

• ARC Raiders
  

• Helldivers 2
  

MLB The Show 26 has given Diamond Dynasty a fresh jolt with the arrival of the Pipeline Series. The update puts young prospects in the spotlight, and there are plenty of 99-rated cards worth chasing. Leo De Vries sits at the centre of it all. The Athletics shortstop is a switch-hitter with a 99 overall rating, and you do not need to rely on luck to add him. Players who enjoy working through programs can earn his no-sell card by completing the required stats and reaching 250,000 PXP with Pipeline players. If you are tuning up your roster with MLB 26 stubs, De Vries gives you a strong target without spending those resources on a pack.

De Vries Gives the Program a Clear Goal

The My Legacy path feels more useful because it offers a definite finish line. You can make progress while playing normally, then focus on the stat tasks that remain. De Vries should fit a lot of lineups, too. A switch-hitting shortstop brings flexibility against either side, while his overall rating makes him more than a temporary filler. The setup is similar to the recent Byron Buxton programme, so players who completed that one will understand the rhythm: play with the featured series, collect PXP, and keep moving through the track.

The Choice Pack Has Real Lineup Variety

The Pipeline No-Sell Choice Pack is where the card pool becomes especially interesting. Its 99 tier is not built around one position, which means different teams can find a useful piece instead of taking the same obvious option.

Bryce Rainer, Ethan Holliday, Michael Arroyo, Ralphy Velazquez, Josuar Gonzalez and Sebastian Walcott strengthen the infield.
Mike Sirota and Ethan Salas add an outfielder and catcher with plenty of upside.
Liam Doyle and Seth Hernandez give players two young starting pitchers to consider.

Useful Options Below the Top Tier

The 98 overall group should not be ignored. Carlos Lagrange and Gage Wood add rotation depth for the Yankees and Phillies, while Jhonny Level and Kayson Cunningham offer more middle-infield choices. Orioles centre fielder Nate George rounds out the group. These cards may not headline the update, but they can solve roster gaps, help with themed squads, and make PXP tasks easier when you are trying to finish several objectives at once.

How to Build More Choice Packs

The reward route is spread across several modes, which is good news if you prefer variety. The main Pipeline Program awards four choice packs. The Event Program adds one, while Diamond Quest provides two more through its objectives. Mini Seasons and Conquest also feature repeatable missions, giving offline players a steady way to keep earning packs. Online players can mix the Event into their routine, then switch modes when they need a break. With a little planning, you can work towards De Vries, collect prospects, and save room in the budget when you buy MLB 26 stubs for other Diamond Dynasty needs.

Modern Warfare 4's August 2026 beta has already sparked a lively debate among players, and the biggest complaints are easy to understand: fights end quickly, while aiming can feel unusually forgiving on a controller. After a few matches, you'll notice how little room there is to recover once someone lands the first shots. That pace has made Modern Warfare 4 Boosting a talking point for players trying to keep up with the early competition, but the real story is how the game's core systems work together.

Fast Fights Set the Tone

The opening weekend made the rifle and submachine gun balance look sharper than expected. The ISO Nightshade was the obvious problem at first. It could drop an opponent with four shots at close range, so nearly every short-distance fight favoured whoever had it ready. A balance update pushed that figure to five, and the weapon now feels far less dominant. Assault rifles tell a more complicated story. Burst models can finish a target in one trigger pull, which makes the wider class averages misleading. Leave those weapons aside and close-range rifle fights sit nearer to Modern Warfare 2 than Black Ops 7. At distance, though, damage falls away and the pace becomes closer to the Black Ops games.

Controller Tracking Needs a Closer Look

Aim assist is the other issue players keep bringing up. On a controller, the beta feels much closer to Modern Warfare 2 than Black Ops 7. That means targets stay attached to the reticle with less effort, and missed shots are less common. For mouse-and-keyboard players, the experience is rougher. Heavy weapon movement, screen shake, smoke and dust can hide a target at exactly the wrong moment. A controller can still receive tracking help through that mess. A mouse cannot. A softer setting would not remove the feature; it would give both input methods a fairer chance.

What the First Weekend Revealed

The early data is useful, but it needs context. Only two SMGs were broadly available in regular 6v6 playlists, so the class average may change once more weapons arrive. Light machine guns currently sit between the other groups, with close-range results similar to Black Ops 7 and stronger long-range performance closer to Modern Warfare 2.

Weapon averages should exclude unusual one-burst rifles.
More SMGs are needed before judging the class properly.
Visual effects should be reduced during sustained fire.

Network Quality Could Change the Verdict

Some of the fastest deaths may not come from weapon damage at all. Players often feel two bullets hit them, then watch the replay and see four or five rounds connect. That gap points to early network problems and makes every gunfight feel harsher than the figures suggest. Before October 23, Infinity Ward has time to improve connection consistency, trim visual clutter and revisit aim assist. Those changes would make the quick combat feel deliberate rather than confusing, while players looking for a smoother path through the beta can consider buy Modern Warfare 4 Boosting as part of their preparation.

Pit 135 is less about seeing one enormous hit and more about keeping pressure on every second of the fight. A Centipede Spiritborn may post trillion-level damage while a room of elites barely seems to move. That's the point where checking D4 items alongside your affixes and temper results can be useful, but gear alone won't fix a broken rotation. Hellflyers, Finger Mages, Guardian Constructs, and Lesser Hellshaws punish gaps in poison application. If you're spending too long running away, your damage and healing both fall off at once.

What the numbers are hiding

Centipede works when Scourge, Touch of Death, and The Devourer keep poison rolling across the pack. Vulnerable and Weaken matter because they turn those repeated ticks into steady progress. The trouble starts when a Finger Mage locks you down or a Construct forces you out of position. You can't heal properly if poison isn't landing. That's why a build that feels safe in ordinary rooms can suddenly fold in the Pit. Watch the fight, not just the floating numbers.

Problem
What it usually means
Practical response
Elites survive too long
Low poison uptime
Build attack speed and stay in range
Health drops during control effects
Healing loop has stopped
Raise life and add sturdier mitigation
Guardian timer runs out
Single-target pressure is weak
Save major cooldowns for clean damage windows


A simple check before another run

Make sure your glyph levels actually suit Tier 135.
Check whether attack speed improves poison stacks in real combat.
Compare maximum life against the burst damage you're taking.
Test damage reduction choices instead of copying every stat from a build page.

Paragon choices can be the quiet difference-maker here. A node path that looks perfect on paper may leave you short on life, resistance, or reliable damage reduction. It's also worth changing one thing at a time. Swap a temper, run the Pit again, then judge the result. Otherwise, it's hard to tell whether a better clear came from Raheir's protection, Varyana's extra pressure, or your own adjustment.

Playing the guardian fight

The Pit Guardian asks for patience as much as output. Don't chase damage during every dangerous pattern. Keep poison active, step out when the arena gets crowded, then return for a proper window. Raheir can buy breathing room, while Varyana helps trim stubborn health bars, yet neither companion can replace clean movement. Players looking to buy cheap D4 items should still treat each upgrade as one part of the run, since steady positioning and uninterrupted poison are what make Tier 135 feel manageable.

The Long Stretch is where Franklin's story starts to feel a lot less secure. It's an early mission, but it puts the split inside the Families right in front of you. Players returning with GTA 5 Accounts may already know what Stretch becomes, which makes his return from Bolingbroke hit differently. Lamar is thrilled to see Harold "Stretch" Joseph again. Franklin isn't buying it. When Franklin steps outside Aunt Denise's place on Forum Drive, Stretch is already pushing a "simple" deal. The job sounds ordinary. It really isn't.

A Bad Feeling From the Start

Franklin and Stretch don't need a long argument for the tension to show. Stretch talks big, acts like he's in charge, and keeps Lamar on his side. Franklin notices the careless choices straight away. That contrast matters more than the gunfight later on. Before meeting anyone, Stretch sends the group to Ammu-Nation near Adam's Apple Boulevard. Pick up the Pump Shotgun and fit the flashlight. Don't hang around browsing. If you're chasing Gold, every slow stop eats into the clock, and skipped scenes can save a useful bit of time.

Getting Ready for Gold

The mission asks for more than surviving the shootout. You need clean shooting, quick movement, and enough health left to meet the damage target. The shotgun carries the close rooms, though it isn't always the best choice when a clear headshot is available.

Keep shooting accuracy at 60 percent or higher.
Land at least 10 headshots during the mission.
Take as little health and armour damage as possible for Unmarked.
Finish the whole run in under 10 minutes and 30 seconds.

Trapped at Rogers Salvage

Rogers Salvage and Scrap in La Puerta is where the deal falls apart. Franklin, Lamar, and Stretch meet D, a Ballas figure they've dealt with before. There's no real negotiation. Stretch shoots D, and Ballas members pour into the recycling plant. Use the walls, machinery, and door frames. Don't sprint into open lanes just to save a second. Smoke and fire soon make the building harder to read, so the flashlight earns its place. Once outside, the police helicopter becomes the immediate problem. A precise shot at its pilot or tail rotor clears the way.

What Stretch Was Really Doing

After the wall climb, steal a vehicle and use Franklin's driving skill to slip through tight streets until the police lose sight of you. Then head back to Strawberry. The escape works best when you stay calm rather than forcing risky turns. Story-wise, the mission carries more weight than it first seems. Stretch had set Franklin and Lamar up while working with the Ballas. His move at the scrap yard was meant to erase them both. For players exploring the story through cheap GTA 5 Modded Accounts, that hidden motive makes a replay worth paying attention to, especially when later missions expose where Stretch's loyalty really went.

Steven Spielberg Sets New Film for Summer 2026, Reunites With ‘Jurassic Park’ and ‘War of the Worlds’ Screenwriter
By Rebecca Rubin

Steven Spielberg has lined up his next feature film, which will be released in 2026.

Universal Pictures is backing the movie, which will open in theaters on May 15, 2026. It’s unclear what the untitled project — which the studio described as a “new original event film” — is about, though Variety previously reported that Spielberg is working on a UFO story.

David Koepp, whose previous work with the filmmaker includes “Jurassic Park,” “War of the Worlds” and “Indiana Jones and the Kingdom of the Crystal Skull,” is writing the script from a story by Spielberg. Kristie Macosko Krieger will produce the film.

Spielberg, who does not need much of an introduction, is Hollywood’s most commercially successful filmmaker, having helmed blockbusters like “Jaws” and “E.T.,” on top of the “Indiana Jones” and “Jurassic Park” franchises. He’s also a three-time Oscar winner for “Schindler’s List” and “Saving Private Ryan.”

He most recently directed “The Fabelmans” for Universal. Inspired by Spielberg’s own upbringing, the story followed a film-obsessed teenager growing up in Arizona and Northern California. Though “The Fabelmans” received several Oscar nominations, it struggled at the box office, earning just $45 million worldwide.

Spielberg’s film before that, 2021’s “West Side Story,” also hit the wrong notes at the box office with $76 million globally against its $100 million budget. The musical adaptation hit the big screen as COVID was surging, which didn’t help, but post-pandemic moviegoing habits haven’t been kind to films aimed at older audiences.

As movie theaters crawl toward a comeback, Spielberg will perhaps reclaim his crown as the king of summer blockbusters.

https://variety.com/2024/film/news/steve...236014435/

Markiplier’s Sci-Fi Horror Film ‘Iron Lung’ Adds International Territories To Release
By Andreas Wiseman
January 23, 2026 3:29am

Iron Lung, the buzzed-about low-budget sci-fi horror from YouTuber Markiplier, is adding to its international release plan.

Piece of Magic Entertainment is now aboard to release from Jan 30 in Germany, Austria, Poland, the Netherlands, Belgium, Luxembourg, Czechia, Slovakia, Denmark, Sweden, Norway, Finland, Iceland, Estonia, Latvia, and Lithuania. As previously announced, the U.S., UK, Australia and Canada will also release on the same date.

Piece Of Magic was also an international partner on Taylor Swift film The Official Release Party of a Showgirl.

As my colleague Anthony D’Alessandro recently reported, Markiplier is self-distributing in the U.S. where the film could be on course to take a stunning $9M-10M on debut, despite a minimal P&A spend and a grassroots campaign that has harnessed the subject’s millions of social followers. After initially being lined up for just a handful of cinemas, the movie is expected to open on 2,000+ screens due to demand. Pre-sales are reported to stand at $5M+.

Iron Lung was produced, written, and directed by Markiplier who also stars. Based on the breakout indie horror game of the same name by David Szymanski, the story unfolds in a post-apocalyptic future following ‘The Quiet Rapture’, an event that causes stars and habitable planets to vanish. The synopsis continued: “A desperate attempt to explore an ocean of blood on a desolate moon unfolds when a convicted individual is sealed inside a decaying submarine nicknamed the Iron Lung — a descent into dread that becomes as psychological as it is physical”. Co-starring are Caroline Rose Kaplan, Troy Baker, Elsie Lovelock.

https://deadline.com/2026/01/markiplier-...236694309/

A First-Time Filmmaker Is Opening His Movie on 2,500 Screens Without a Distributor
Markiplier’s low-budget indie horror adaptation ‘Iron Lung’ will open January 30 on more than 2,500 screens and shows are already selling out. Here’s why audience is the new infrastructure.
By Dana Harris-Bridson
January 14, 2026 10:00 am

Have you heard about “Iron Lung”? A low-budget adaptation of an indie horror game, booked to open on more than 2,500 screens January 30, with showings sold out weeks in advance?

Probably not. “Iron Lung” is a self-distributed movie from a first-time feature filmmaker. No paid marketing campaign. The people who do know about it (and who pressured theaters to book it) are his audience. And in this story, they’re the only ones who really matter.

The filmmaker is Markiplier. If you know him, you really know him. If you don’t, here’s the short version:

Mark Fischbach (known online as Markiplier) has about 38 million YouTube subscribers. He’s been building that audience for more than a decade, making gaming videos, comedy, and increasingly ambitious narrative projects. He tours. He has a clothing brand, Cloak. He made large-scale interactive series for YouTube Originals. He writes, directs, edits, produces, finances, and stars in much of his own work.

And now he’s opening a feature film in wide theatrical release, through his own production and distribution company, Markiplier Studios, by essentially turning his audience into the distribution engine.

This story is not “any filmmaker can do this”; they can’t. But it is a story about what happens when audience, authorship, and access collapse into one person, and what that reveals about the real bottlenecks in film.

Mark as the Starting Point
Markiplier is not a YouTuber who decided to dabble in film; he’s been moving toward longer-form storytelling for years. Similarly, his audience didn’t show up for “Iron Lung” because he suddenly asked them to; they’ve been watching him level up in public for more than a decade.

“My whole channel [is] mostly the narrative journey of me as a creative just building skills,” he said. “What my audience really like is the evolution of the craft. I am getting better at this over time and they can see that journey.”

After approaching the game’s creator, David Szymanski, Markiplier began developing “Iron Lung” in late 2022; the 35-day SAG low-budget shoot was in spring 2023. That’s a long pause between postproduction and debut, but Markiplier did almost everything himself.

“I don’t think that I made it any more efficient,” he said. “[But] the skills I’ve built in the past few years of doing this dwarfed the entirety of my time on YouTube.”

Mark talked to distributors, but the offers didn’t align with what he believed his audience could deliver. “I know that I’ve sold to them before,” he said. “I’ve gone on tour and I’ve sold out theaters, so I know that I can get people to show up. I was like, ‘Yeah, I can bet on myself for this one.’”

That’s where Centurion Film Service enters the story.

Have you heard about “Iron Lung”? A low-budget adaptation of an indie horror game, booked to open on more than 2,500 screens January 30, with showings sold out weeks in advance?

Probably not. “Iron Lung” is a self-distributed movie from a first-time feature filmmaker. No paid marketing campaign. The people who do know about it (and who pressured theaters to book it) are his audience. And in this story, they’re the only ones who really matter.

The filmmaker is Markiplier. If you know him, you really know him. If you don’t, here’s the short version:

Mark Fischbach (known online as Markiplier) has about 38 million YouTube subscribers. He’s been building that audience for more than a decade, making gaming videos, comedy, and increasingly ambitious narrative projects. He tours. He has a clothing brand, Cloak. He made large-scale interactive series for YouTube Originals. He writes, directs, edits, produces, finances, and stars in much of his own work.

And now he’s opening a feature film in wide theatrical release, through his own production and distribution company, Markiplier Studios, by essentially turning his audience into the distribution engine.

This story is not “any filmmaker can do this”; they can’t. But it is a story about what happens when audience, authorship, and access collapse into one person, and what that reveals about the real bottlenecks in film.

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Mark as the Starting Point
Markiplier is not a YouTuber who decided to dabble in film; he’s been moving toward longer-form storytelling for years. Similarly, his audience didn’t show up for “Iron Lung” because he suddenly asked them to; they’ve been watching him level up in public for more than a decade.

“My whole channel [is] mostly the narrative journey of me as a creative just building skills,” he said. “What my audience really like is the evolution of the craft. I am getting better at this over time and they can see that journey.”

After approaching the game’s creator, David Szymanski, Markiplier began developing “Iron Lung” in late 2022; the 35-day SAG low-budget shoot was in spring 2023. That’s a long pause between postproduction and debut, but Markiplier did almost everything himself.


“I don’t think that I made it any more efficient,” he said. “[But] the skills I’ve built in the past few years of doing this dwarfed the entirety of my time on YouTube.”

Mark talked to distributors, but the offers didn’t align with what he believed his audience could deliver. “I know that I’ve sold to them before,” he said. “I’ve gone on tour and I’ve sold out theaters, so I know that I can get people to show up. I was like, ‘Yeah, I can bet on myself for this one.’”

That’s where Centurion Film Service enters the story.


Exhibitors Didn’t Think This Was Possible, Either
Mark’s manager, Ben Curtis, approached film-buying veteran Bill Herting’s Centurion to handle the theater bookings. Bill’s been in the exhibition business for a half century; he was a buyer for majors like General Cinema and Cineplex-Odeon and has operated his own service company for the last 30 years. Today, he sounds a little stunned by what Markiplier created.

“I hope it’s a glimpse of the future because there’s some magic pixie dust going on here,” Herting said. “And I don’t think it’s just a one-off.”

It took a while for Markiplier to convince Herting that was the case.

“I hope he doesn’t think I’m throwing shade on him about this, but when I first started talking to him he was like, ‘Yeah, we’ll start in three theaters and we’ll see how it goes from there.” And I was trying to be like, ‘This is not ego. I’m so sorry to say this, but I have an audience of millions. It would be insultingly low — not to me, to them — to be like three.’”

As Herting spoke with theater owners, he realized Markiplier was right. Many knew who he was, or had employees who did.

“That’s when Bill started really understanding where I was coming from,” Markiplier said. “I was like, ‘I really do have an audience and I’ve seen them in person. They exist, I swear.'”

In a week, the theater count grew from 60 to 600. From there, it kept climbing.

“Trailer goes up Friday [December 5],” said Sam Herting, Bill’s son and partner in Centurion. “Friday night, [bookings] are really starting to roll in. Saturday, I’m just booking theaters all day until one or two in the morning. And then it kept up.”

Markiplier pinned the trailer at the top of his channel with a message: “The final trailer for the Iron Lung movie. Only in theaters January 30, 2026. Reserve your ticket now https://ironlung.com.” That points to a landing page built by Mark’s wife, Amy Fishbach, with an interactive map showing where the film would play.  (Locations are marked by Mark’s screaming face.)

However, fans didn’t just check the map. They called theaters. And called and called. So much that theaters complained.

“One of the big circuits said, ‘Could you do me a favor? Could you tell [Mark’s] fans to stop calling the theaters? You got to turn those bots off,’” said Bill. “It wasn’t bots.”

At this writing, the count stands around 2,511 theaters in the U.S. and Canada, with hundreds more in Australia, New Zealand, and the U.K. Sam said the final figure in North America could be 2,800 by opening day.

“We figured this would be concentrated in the bigger cities,” Bill said. “Uh-uh…  We’re getting calls from South America, France, Spain, Norway, Sweden. Germany.”

Added Sam, “It’s one thing to have a lot of followers. But loyalty of the followers is another thing. Mark’s fans are just so ride-or-die for him.”

Bill put it more bluntly. “The loyalty. The loyalty. The loyalty,” he said. “That’s the differentiator.”

What Actually Drove the Explosion
There’s been no paid media campaign or ad buy. Mark did the marketing by doing what he does — or as he said, “boiling that spring.”

For the last two years he’s been mentioning the project, sharing progress, and letting anticipation build. Then he cut the first trailer: 10 million views. Second trailer: 10 million views.

However, this isn’t virality; the success is relational. As Sam pointed out, a lot of creators have tried theatrical.

“We’ve seen some YouTubers try theatrically and the results haven’t been quite there yet compared to this,” he said. “It’s one thing to have a lot of followers, but loyalty of the followers is another thing.”

Bill (carefully) compared Markiplier’s theatrical cause-and-effect to “Taylor Swift: The Eras Tour.” “I’ll call it Swiftian a little bit… something I think our industry desperately needs,” he said. “No one can get around the marketing bug. It’s plaguing the little guys, it’s plaguing the big guys.”

What This Does Not Solve
To be clear, most filmmakers are not Markiplier with 38 million subscribers, a decade of audience trust, and the experience of touring and selling tickets directly to fans.

His model does not fix financing for filmmakers without audience, marketing costs for unknown projects, discoverability for first-time directors, or the structural inequities in visibility.

Even Mark doesn’t think independence is always the answer. “If I can build a good relationship with a studio that respects creative control, that’s the kind of relationship I want to build.” (To dream the impossible dream.)

What This Opens Up
From a structural perspective, Mark did this:

• He earned their trust over time.
  
• He built an audience first.
  
• He invited them into the process.
  
• He gave them tools to act.
  

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