50 Cent is heading back to the silver screen, as the G-Unit mogul — born Curtis Jackson — is slated to star in the upcoming Street Fighter movie.

According to The Hollywood Reporter, 50 will be joining a star-studded cast that includes Jason Momoa, Noah Centineo, country singer Orville Peck and WWE superstar Roman Reigns (Joe Anoa’i).

50 Cent is slated to play the role of Balrog, a former boxer who serves as the feisty security guard of the movie’s villain. THR’s sources claim that 50 has been training for the role and the 49-year-old is set to perform his own stunts.

“No Days off, Let’s work all roads lead to Shreveport Boom,” 50 wrote to Instagram earlier this week when celebrating the new role.

Tony Yayo, Uncle Murda, Royce Da 5’9 and former NBA star Quentin Richardson hopped into the comment to salute 50’s grind in the film world.

A fan chimed in: “Boxer and a goon for Bison? This has 50 written all over it!”

50 Cent’s been busy in recent years when it comes to his Hollywood endeavors. He’s going to star in the upcoming horror film SkillHouse, which hits theaters in July, and Deon Taylor’s upcoming Free Agents film. 50 also notched roles in Boneyard and The Expendables 4.

Kitao Sakuri is on board as director of Street Fighter, with production scheduled to kick off in Australia in August. Street Fighter, which began as an arcade game in the 1980s, had its most recent release with Street Fighter 6 arriving in 2023.

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You can now watch the fun-loving baseball crew the Savannah Bananas from the comfort of your own home through Hulu + Live TV.

Through their Banana Ball World Tour, you can see the traveling baseball sensation face off against the Firefighters in Washington D.C starting June 27 through June 28 with Hulu + Live TV. The show began back in Feb. in Mesa, Ariz. and will run until September with its final stop in Houston, Texas.

Thus far, the show has made stops in major cities across the country from Savannah to Miami. Each game is known for its theatrical atmosphere; players will break into choreographed dances, lip synch during games and engage in unusual antics that focus heavily on fan entertainment. If you’re attending in person, games start at 7 p.m. local time excluding Sunday games, which begin at 1 p.m. — though Sunday games hosted in MLB stadiums begin at 3:30 p.m.

How to Watch Banana Ball World Tour

You can catch the baseball special on Hulu + Live TV. A subscription will run you $82.99 per month, a steal considering you get access to both live TV and streaming all in one place. With this bundle, you have access to Disney+, ESPN+ ESPN2, MLB Network, FS1, FS2, Fox, NBC, CBS, ABC, Hallmark Channel, BET, CMT, Disney Channel and Discovery Channel, among others. Not just for baseball, this subscription also allows you access to all of Hulu’s available programming, meaning you can stream hit shows like Pose, The Handmaid’s Tale or The Bear with ease.

To simplify this concept, Banana Ball is a modified version of baseball created by the Savannah Bananas baseball team. Banana Ball games are usually qucik-paced and thrive on fan interactions. The specialized game of baseball includes 11 unique rules. Games usually span for two hours. The most notorious rule is that if a fan catches a foul ball, it counts as an out.

The team is constantly turning the sport on its head, putting the fun back into it the with wacky traditions like running bases in kilts or wrapping up babies in a wacky banana outfit. You can often find the Savanah Banana’s bringing in major views on their social media. Their TikTok in particular is a real crowd pleaser. Athletes will lipsync to popular sounds, dance to viral dances or make complete fools out of themselves with silly skits. Whether you’re catching a game in person, or with Hulu + Live TV, we can see this experience being fun for the whole family.

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With the release of F1: The Movie in theaters this weekend, Formula 1 racing is traveling to “The Land of Beauty and Music” for the 2025 Austrian Grand Prix at Red Bull Ring in Spielberg, Austria. The racing event kicks off Friday (June 27) with practice sessions until race day on Sunday (June 29), at 9 a.m. ET/6 a.m. PT.

ESPN and its networks livestream F1 Austrian Grand Prix for you to watch at home. And the easiest way to tune-in to the motorsport event online without cable is with Hulu + Live TV.

Keep reading to learn more.

How to Watch F1 Austrian Grand Prix Online for Free

ESPN is available through Hulu + Live TV with its current three-day free trial, you can watch F1 Austrian Grand Prix for free.

Hulu + Live TV offers the most streaming options with access to more than 95 live channels including ESPN, as well as Hulu’s entire library. It starts at $82.99 per month, while Hulu + Live TV comes bundled with Disney+ and ESPN+ for no added cost.

Although it’s unclear if there are any musical performances during the motorsport event, film composer Brian Tyler wrote the F1 main theme that’s played at every grand prix.

While practice sessions and qualifiers start on Friday (June 27), you can livestream F1 Austrian Grand Prix race day on Sunday (June 29), which airs in the U.S. beginning at 9 a.m. ET/6 a.m. PT. The best way to watch is on Hulu + Live TV with the streamer’s three-day free trial.

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

To most music companies, AI is just a practical issue — a problem to be solved, an opportunity to be seized, or some combination of the two. With the right combination of legislation, litigation and consternation, the same generative AI technology that now threatens to dilute streaming royalties could allow another set of rights to be licensed to another group of technology startups. This will not be easy — witness the industry’s efforts to stop the UK from loosening its copyright laws — but at least it’s relatively straightforward.

To songwriters and the organizations that represent them, this is all more complicated. Control over works is often shared (both among writers and between writers and publishers) and rights are often divided (among publishers and various collecting societies that represent public performance rights, mechanical rights, or some combination of the two). In Continental Europe, where copyright is more akin to a fundamental right than an economic one, the threat of AI also cuts deeper. It “raises fundamental questions about the nature of authorship and creativity,” wrote Björn Ulvaeus, frontman of ABBA and President of CISAC, the global trade organization of collecting societies, in his introduction to CISAC’s 2025 annual report. Ulvaeus sees potential in AI, properly regulated, but “this is about upholding the entire system of copyright and authors’ rights.”

CISAC, which had its annual general assembly meeting in Sofia, Bulgaria, on May 28 — as part of several days worth of meetings — not only advocates for the rights of creators (defined in the music business as songwriters) but maintains the interlocking technology and financial infrastructure that makes it possible for collective rights management organizations to remit money to one another. To say that most of this happens behind the scenes is putting it mildly: One of the major topics was the modernization of CIS-Net, which manages the way the various collective management organizations exchange data.

“You may think you see here a famous musician and songwriter,” Ulvaeus said during a speech delivered over video. “But I have a confession to make: what really fires me up these days is… data.” He’s serious: “Data is about money in the pockets of creators.”

The big concern was AI, though. To CISAC, the technology presents a series of interlocking problems: How to license it legally, which is the same issue other rightsholders face now that the major labels are talking to Suno and Udio. This is complicated enough. And labels can potentially license rights to all of the recordings in their catalogs. Licensing songs is more complicated, because different societies have different rights for different uses in different jurisdictions. Plus, the European tradition in which most societies have roots focuses more on the inherent rights of creators. It is possible, although not especially likely, that a creator could argue that the use of his or her song in an AI-generated work is a violation of their moral right to their work. More likely, European societies will find themselves at odds with publishers over who can license mechanical rights to copy songs for the purposes of training generative AI algorithms.

Before then, countries need to agree on some basic regulations for copyright and AI — and much of the conversation in Sofia focused on how to get there. In his speech, Ulvaeus identified “three key priorities that are the anchor of our position”: That AI training be subject to transparency rules; that creators can license their own works; and that creators be guaranteed remuneration.

The first is the big one: Now that it seems clear that at least some generative AI companies have already trained their algorithms on massive number of works, how will anyone figure out who to compensate when that AI creates new works? Any working AI economy has to be transparent. The other two might cause some disagreement within the music business, though. Different countries have different practices about who licenses mechanical rights, and a right to remuneration is a European idea, since it has some potential to operate around existing business contracts.

CISAC Director General Gadi Oron also gave a speech about the practical side of the organization’s lobbying work. Right now, the most important AI regulation is in the EU, which no one regards as close to perfect but most people seem to think is pretty good. It is already coming under pressure, though, as technology companies push back against some of its permission requirements. This is legislation that was passed already, mind you, and it just shows how big a fight this is going to be. On most of the important issues, labels and other rightsholders are aligned — but they disagree significantly on others. This, too, is likely to involve litigation, legislation and, probably most of all, consternation.

The fear is that the publishing side of the business will come in to arrange deals after labels already have theirs, which limits their negotiating leverage. Maybe. But CISAC’s members have the weight to assert themselves, even though most of them answer to both publishers and songwriters, who don’t always see eye to eye, either. All of the current negotiations to legalize AI are just the beginning.