Archives March 2026

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Rockfall Closes Whistler's Peak Express Lift

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Rockfall occurred at Whistler Blackcomb early Thursday morning, before the mountain had opened, leaving a debris pile in a popular area of North America’s largest ski resort. 

The slide took place on Whistler Peak, off the mountain’s Peak Express chair, and spanned roughly 100 meters wide between the West Cirque and Monday’s runs, the CBC reported. 

The resort said in a statement that no one was in the area at the time of the rockfall and there were no reported injuries. Both Whistler Peak and the Peak Express Chair will be closed “until further notice while our operations team assesses the situation,” the resort said, noting that no more information was available.

The image below, posted to Reddit, appears to show the extent of the slide. Whistler’s Peak Express chair towers can be seen on the left of the image.

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While the exact cause of the landslide is unknown, the head geologist at the Sea to Sky Fire & Ice GeoRegion, Steve Quane, gave some insight to local news outlet, Pique News Magazine. 

Quane said that the Sea to Sky corridor of British Columbia, where Whistler sits, is one of the most active landscapes in Canada due to the nearby tectonic boundary, which continues to push the mountains upwards. 

More landslides and rockfall in places like Joffre Peak have been observed over the last few years, according to Quane. 

“Freeze thaw weathering and gravitational instability are what make these jagged, beautiful peaks look the way they do and what happened on Whistler Peak today was a snapshot in geologic time where erosion won the war with uplift!” said Quane’s email to Pique. 

The CBC spoke to Geological Survey of Canada research scientist Jeff Crompton about the event. 

Crompton said it’s too early to determine what caused the slide, but that similar events in the Coast Mountains have occurred due to climate-change-related warming, which can cause deglaciation and permafrost degradation, the CBC reported.

Crompton also said that recent rain and warmer weather might have added a lot of water to the rock, which would have frozen when temperatures plummeted overnight on Wednesday. Water freezing and expanding can act as a trigger for a rockslide, according to Crompton.

Related: Comp Confirmed: FWT Names Start Date for Haines Alaska Pro

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‘Just Look Up’ Directors Talk Importance of Climate Discussion in U.S.

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During the height of the COVID-19 pandemic, filmmakers Emma Wall and Betsy Hershey (“Guerrilla Habeas”) jumped on a life-changing Zoom call organized by a lauded host: Oscar-winning director Adam McKay. The “Don’t Look Up” helmer would become a direct influence on the duo’s feature debut, the reverentially titled “Just Look Up,” following the work and impact of American activist group Climate Defiance.  

The documentary, world premiering at CPH:DOX and headed straight to the Thessaloniki Documentary Festival, centers around Climate Defiance founder Michael Greenberg. The young man launched the group in 2023, aiming to end fossil fuel extraction on U.S. federal lands and waters and elevate climate change to a top-three political issue in American politics. To attract attention to their cause, Climate Defiance often disrupts public events, directly confronting Big Oil corporate key figures and the politicians who enable them. Videos of their confrontations have amassed millions of views online. 

Hershey recalls how the McKay talk, organized in partnership with Climate Emergency Fund and also featuring an array of scientists and researchers, offered participants a precious insight into the theory of how change happens. According to data presented at the time, when just 3.5% of a population commits to sustained disruption, governments almost always shift. “It was the convincing motivation for us to hear that it’s been proven to be effective even when these things aren’t popular at the time,” the director tells Variety.

Wall points out how, despite having access to a wide-ranging selection of experts through that initial gathering, she and Hershey were never interested in a classic talking-heads style, evidence-based doc. “We were only interested in the verité, observational, investigative style.”

With this in mind, the duo set out to find the perfect subject from which to explore this grander idea, landing on Climate Defiance while the group was still in its infancy. Both directors wanted to tackle the grim subject of climate change with a lighter, well-humored hand. When they met Greenberg, a passionate leader who also happens to be a stand-up comedian, they knew they had their main character. 

Once the ball was rolling, McKay entered the project as an executive producer, and so did twice-Oscar-nominated director Joshua Oppenheimer (“The Act of Killing”). Throughout the edit, the directors would send clips to both seasoned filmmakers, who were “so supportive.” “They’ve been supporters, seeing cuts along the way, but also gave us real editorial freedom in terms of honoring the story. They’re heroes of ours, both of them. It was the ultimate wish fulfilment and I think a testament to their concerns over this issue,” says Wall.

Leonardo DiCaprio and Jennifer Lawrence in “Don’t Look Up” (Netflix /Courtesy Everett Collection)

©Netflix/Courtesy Everett Collection

As for the homage to McKay’s 2021 star-studded environmental satire “Don’t Look Up” with the film’s title, Wall says she was thrilled to have the director’s support, but also to be able to make a direct nod to the kind of caustic humor the American director became known for. “Adam’s use of humor to speak about really serious issues was also an inspiration,” she says. “Michael is a stand-up comedian, which was a dream come true. Adam’s incredible film spoke to this denial we’re speaking about and also just how powerful humor can be when telling stories we need right now. That was the one thing Betsy and I always said: we were not interested in making a slideshow about the climate crisis. No one wants that.” 

Shooting with Climate Defiance meant accompanying activists in precarious, risky situations, including high-profile dinners and galas where the group would target heavily guarded figures such as Bill Gates, Bank of America CEO Brian Moynihan and current U.S. vice-president J.D. Vance. Asked about the practicalities of such a production, the filmmakers say they were flexible and nimble with shooting, often capturing footage on their phones. Another key element of the production was having iron-clad legal support. 

“We worked so closely from the beginning with our incredible First Amendment rights lawyer and she was an essential part of making this film,” noted Hershey. “Every time we went into a disruption, she knew where we were going and who was there. In this day and age, it’s getting more and more dangerous in this country. We are having our right to protest taken away, activists [are] being killed in the streets. It couldn’t be more important to see people continuing to act during this time when people are doing a really good job of making it terrifying.”

While environmental documentaries have once heavily permeated doc festivals and streaming platforms, nowadays, war docs have taken up a lot of the space when talking about timely, urgent films. The U.S. invasion of Iran last week prompted a wave of social media memes about how it feels pointless to “drink from paper straws” when world leaders are leaning heavily into militarization and large-scale violence. When enquired about the importance of continuing to speak on climate at such times, Hershey says it’s “understandable how our focus keeps shifting to each horrible unfolding event.”

“It’s not a coincidence that the countries [the U.S.] has been invading, whether it’s Venezuela or Iran, are large oil-producing countries,” adds the director. “So much of this geopolitical warfare and the immigration crisis stems from the climate crisis. These are part of this kind of war being waged over fossil fuels.” 

Hershey highlights how she also thinks it’s important for people outside the U.S. to see “we are not giving up.” “I have people reach out to me and ask: Are you guys ok over there? I think it’s important for the rest of the world to see we are not going to give up our right to protest. We’re just going to keep pushing back.”

“Just Look Up” is produced by four-time Oscar nominee Signe Byrge Sørensen at Final Cut for Real in co-production with Natja Rosner at Guest House Productions. Final Cut For Real handles international sales.

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Shreveport Little Theatre prepares to bring “Oliver!” to the stage

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Shreveport Little Theatre is set to perform its musical production of Oliver! on March 13-15 and 20-22, with tickets available for purchase on their website.

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In a typical PBN setup, the owner acquires expired or aged domains that already have existing authority, backlinks, and history. These domains are rebuilt with new content and hosted separately, often using different IP addresses, hosting providers, themes, and ownership details to make them appear unrelated. Within the content published on these sites, links are strategically placed that point to the main website the owner wants to rank higher. By doing this, the owner attempts to pass link equity (also known as “link juice”) from the PBN sites to the target website.

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Major Midwest Ski Resort Group Moves from Indy Pass to IKON Pass

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Skiing’s independent multi-pass, Indy Pass, will see some changes to its lineup of resorts for the 2026/27 season, and the company’s director has something to say about it.

By offering access to more than 300 resorts worldwide for two days of skiing at each, without taking ownership of the resorts, the Indy Pass has long been committed to supporting independent ski areas and keeping skiing more accessible.

As passes for next season go on sale, which resorts are included on each pass is a major consideration for pass holders.

On March 5, 2026, IKON Pass announced that Midwest mountains Lutsen, Minnesota; Granite Peak, Wisconsin; and Snowriver, Michigan will all join the IKON Pass.

Family-run company Midwest Family Ski Resorts will retain ownership of the mountains and continue to run them independently. IKON Pass holders will get seven days of skiing at each mountain (five with IKON Base Pass).

All three mountains were previously part of the Indy Pass, and as a family-owned collective, are very in line with the Indy Pass’ brand and ethos. Both Lutsen and Granite Peak appeared in a 2022 film made by ski film production company Teton Gravity Research in conjunction with Indy Pass about independent resort ownership retaining the soul of skiing at Midwest ski areas.

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Granite Peak, Wisconsin.

Shutterstock/@Aaron of L.A. Photography

Indy Pass Director Erik Mogensen posted to the Indy Passholders Facebook group on March 5, regarding the change. According to Mogensen’s post, Indy Pass only learned of the change from a second-hand source late on March 4, before seeing IKON release the news the following day. “I hate seeing the corporations that have compromised the sport and culture of skiing grab more,” said Mogensen in the post.

Mogensen’s full post read:

“A quick message to the our Midwest Passholders from Erik Mogensen, Indy Pass Director.

We are sorry to see Lustsen, Granite Peak, and Snowriver join the IKON Pass. Like every season we had been in discussions with Mid West Family resorts over what Indy Pass would look like heading into the 26/27 at their resorts, we only learned of their participation in IKON, second hand late last night. This morning we saw it come out publicly with the rest of you. I hate seeing the corporations that have compromised the sport and culture of skiing grab more. The Indy Base starts at $349, while the IKON Base starts at $924. The Indy + sits at $399 and the Ikon at a staggering $1,349.

For a few years now we have included an option for all our passholders, in all locations, that if a resort did not renew that was key to your purchase of a pass, we would happily refund you, no questions asked. That remains the case. Passholders may request a refund for an unused pass by December 1, 2026, if a favorite resort from the 25/26 season does not renew for 26/27. It is a very simple and transparent policy and that it is what makes Indy different. Our Colorado and New Hampshire based customer support team is always here to help and there is plenty of time before any refund cut off date. Keep calm, ski on, and know that Indy Pass will always do the right thing.

We can’t always talk about new resorts and our plans for the following season due to contractual issues but I will leave you with a sentence from a Storm Skiing Journal article that came out this morning:

“Perhaps Indy will work out a deal with these ski areas – though it jettisoned former Indy partner Buck Hill, Minnesota following its joining of Ikon two-day last year. Regardless, Indy, which has assembled more than twice as many partners as Epic, Ikon, and Mountain Collective combined, is hardly helpless. Indy Pass officials have confirmed with The Storm that “they are sitting on a significant amount of new resorts that have been contracted,” and that they will, “release a few more as they finish up their spring pass sale,” and announce more in the fall.

We all have a role to play in keeping skiing independent.

Erik Mogensen
Indy Pass Managing Director“

The midwest’s only gondola at Lutsen Mountain.

Indy Pass

The Indy Base Pass is available for just $349, rising to $399 for the Indy+, though both offer only two days per mountain.

In contrast, the IKON Base starts a $924 and the IKON Plus goes for $1,349, offering five and seven days at the Midwest Family Ski Resort’s ski areas, respectively.

Mogensen’s post notes that if a mountain that played a key role in a skier’s Indy Pass purchase didn’t renew with the Indy Pass, refunds were available. Indy Pass is reportedly in talks with these mountains about accepting Indy+ Pass holders for the 2026/27 season, per a note on the resort’s landing pages.

Previously, another iconic and independently owned Midwest ski area, Buck Hill, was part of the Indy Pass until joining the IKON Pass last year and completely parting ways.

Lutsen, which sits on the shores of Lake Superior, boasts the Midwest’s largest ski area and only gondola. Granite Peak is home to the Midwest’s first high-speed six-pack chair. Snowriver, the most recent addition to Midwest Family Ski Resort’s roster, was purchased in 2022 and is currently in the midst of a $15M reinvestment in the resort.

Related: Ikon Pass Reveals 2026-27 Price, New Resorts, and Access for Skiers

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Canal+ Axes MultiChoice Streamer Showmax

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Canal+, busy with aggressive cost-cutting since it recently acquired Africa’s MultiChoice pay-TV group, is shuttering its loss-making and money-guzzling video streaming service Showmax that MultiChoice ran in partnership with NBCUniversal.

Variety has reliably learnt that Showmax will definitely be shuttered “soon” although a specific date isn’t yet available given a few remaining legal implications Canal+ and MultiChoice are sorting out.

Canal+ and MultiChoice confirmed the end of Showmax to Variety, saying there will be a “discontinuation of the Showmax service, following a comprehensive review of its streaming activities.”

MultiChoice launched Showmax across Africa 11 years ago in August 2015 to compete with the advent of streamers like Netflix, Apple TV, Amazon’s Prime Video, Disney+ and others which all became available on the continent and started biting into MultiChoice’s legacy pay-TV subscriber base.

Two years ago, in February 2024, MultiChoice, in partnership with Comcast’s NBCUniversal, relaunched Showmax, utilizing the technology behind the Peacock streaming service.

Millions of dollars were poured into the retooling of Showmax’s IT-platform and on content spending to boost the pan-African streamer in its fight against Netflix but it ultimately proved fruitless.

MultiChoice and NBCUniversal roughly poured a combined $309 million in equity funding into Showmax to primarily fuel content creation, but nothing came of the aggressive growth and subscriber uptake targets MultiChoice executives had promised investors before it relaunched.

Looking to shave a combined 400 million euro by 2030 in cost-cutting, including content cuts from the combined Canal+ group, the underperforming and money-guzzling Showmax is the latest victim of Canal+’s rightsizing at MultiChoice.

NBCUniversal has a 30% stake in Showmax as a joint venture. In its last annual results before the Canal+ takeover, MultiChoice revealed that Showmax’s trading losses had worsened by 88% while revenue significantly declined.

According to the company, “The decision to axe Showmax was made by the Showmax board and reflects the continued focus of MultiChoice, a Canal+ company, on financial discipline and investment optimization, in an increasingly competitive and capital-intensive global streaming environment.”

Since Canal+, as part of its agreement to take over MultiChoice, isn’t allowed to get rid of any staff for a period of three years, MultiChoice won’t let any Showmax staff go but will reassign them to other positions within the broader company.

“The decision to discontinue Showmax services will not involve any retrenchments. The group will be engaging and supporting employees through various transition options,” it told Variety.

MultiChoice has already started to quietly rebrand Showmax Originals as Africa Magic, M-Net, kykNET and Mzansi Magic Originals, with original series that will transition to these various DStv linear TV channels on MultiChoice pay-TV platform.

Showmax’s closure comes two years after Amazon MGM Studios shocked Nigeria and South Africa’s creative community in January 2024 when it abruptly announced that it would immediately stop commissioning any new local original content in Africa, and also killed already-existing development deals with a dozen production companies.

In January, during an investors’ call, Maxime Saada, Canal+ CEO, said that Showmax was “not a commercial success” and that its failure as a streaming service was “quite obvious.”

Saada also said that a decision about Showmax’s future would be made soon and that a reduction in the Showmax budget, which has been a huge financial drain on MultiChoice, would contribute significantly to Canal+’s overall cost-cutting goals.

Canal+ says it will “continue to invest in premium content for MultiChoice subscribers, technological innovation and strategic partnerships to consolidate its leadership in the African entertainment market.”

“Further details regarding our expanded content offering and platform upgrades will be shared in due course. We want to reassure our Showmax subscribers that they are our priority as we evolve our services to deliver a superior streaming experience.”

In June, Canal+ and Netflix announced a strategic distribution agreement for Francophone Africa with a new partnership through which Canal+ became the first operator to bundle Netflix subscriptions into its traditional pay-TV offering across 24 Sub-Saharan African countries.

Insiders told Variety that instead of wasting further money through trying to compete with Showmax as a struggling stand-alone streamer, Canal+ is likely to expand its partnership and roll out this Netflix-bundling into the rest of Africa.

An award-winning South African director-producer who has made several series and films for MultiChoice under the Showmax banner, told Variety the end of Showmax is a sad day for South African filmmakers since it closes yet another avenue to showcase work and earn a living in an industry undergoing tumultuous change.

“Showmax was one of the only platforms available to us that was willing to back stories that were bold and authentic in a market that has traditionally always played things safe,” the filmmaker said.

“From ‘Koek’ to ‘Adulting,’ ‘Spinners’ to ‘Catch Me a Killer,’ ‘Khaki Fever’ to ‘Youngins,’ ‘Wyfie’ to ‘Dam,’ these are films and series which would never be created by rival platforms or broadcasters. Losing Showmax is a huge blow to the local industry and audiences, with Canal+ giving us very little to hope that they will fill that gap with anything of value.”

“If 2026 is the Year of the Horse, it feels like this one is getting sent to the factory to be turned into glue and cheap pies.”

Canal+ is scheduled to report its next set of financial results on March 11. This will be the first full-year combined results since the group took effective control of MultiChoice in September 2025.

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Man arrested in connection with Ville Platte burglary involving clown mask

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Casey Stephen McCauley, 31, of Ville Platte was arrested and charged with burglary after a suspect in a clown mask allegedly stole a chainsaw from Butler’s Tree Service and traded it for narcotics.

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Mother Nature Forces Mt. Ashland, Oregon To Close Indefinitely, Again

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Another Oregon ski area has been hit by the state’s unseasonably warm weather and wet winter storms.

Southern Oregon’s Mt. Ashland paused ski area operations on February 28, 2026, due to insufficient snowfall.

The non-profit ski area, which opened for the season in late December like many other ski areas across the west, hasn’t seen its 220″ of annual snowfall this year.

With only 94″ this season and a 16″ base, the ski area sits at 27% of its annual snowpack. For context, most of Oregon is below 50% of its median snow water equivalent. Other ski areas, such as Central Oregon’s Mt. Hoodoo, which closed due to flooding last week, are experiencing similar drought conditions.

The current closure marks Mt. Ashland’s second this season due to low snowpack. The mountain had previously closed temporarily on January 15, 2026, with seasonal snowfall down 63% and snowpack down 71%. However, storms allowed Mt. Ashland to reopen again on February 19. High winds closed the mountain for just a day on the 22nd, but normal operations were resumed on the 23rd until the current closure.

Mt. Ashland posted to their social media announcing the ski area’s closure, which went into effect on March 1. See below. Keep reading for more.

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View this post on Instagram

“With no snowfall in the short-term forecast and rain and warm temperatures projected, we are beyond sad to have to deliver the news of another pause. We are watching the long-term forecast in hopes of announcing a reopening in the near future. In the meantime, we will work to keep spreading the stoke any way that we can,” said the post.

According to the snow-forecasting site OpenSnow, Mt. Ashland could get a few inches later this week, but that might not be enough to reopen the mountain. With such a low snowpack across the state, Oregon skiers are hoping for any bit of precipitation that doesn’t come in the form of water.

Do your snow dances, Oregon!

Related: Which Type of Ski Lift Is Your Favorite? (Poll)



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Yellowstone Fans Can Expect Action, Logan Marshall-Green Says

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Logan Marshall-Green plays a mission-critical role on the first season of CBS’ “Marshals.” The show is a “Yellowstone” spinoff that stars Luke Grimes as Dutton family good guy Kayce, while Marshall-Green plays Pete Calvin — a Navy SEAL buddy who went through the hell of war with him. Pete is the one who gets Kayce a job on the five-person marshal team and ends up being a big influence on his friend, despite battling his own demons. Marshall-Green recently spoke with Variety to break down his character’s complex dynamic with Kayce, his training for the show and how he’s using his performance to pay tribute to veterans.

What was your training like for this role?

It was quick. We jumped right in. This is the fastest I’ve ever seen a TV show get put together, to be completely honest. I got the offer, and I was boots-on-the-ground training and shooting within two weeks. And I think that goes pretty much for everybody, except for Luke. None of us had really worked together. I’d done a lot of tactical work in other roles, I’ve played a lot of soldiers, and I’ve held a weapon before, but it’s really about the dance between, what we’d call the “pain train.” When you kick that door and go through and check those corners, everybody has to know where to go, how to dance and move, and make it flow.

We had an amazing prop master who propped everybody up beautifully, got everybody really tied into what was realistically needed. We had a great military consultant named Ryan Sangster, who’s an ex-SEAL. Because of the background of Luke’s character, Kayce, and mine being SEALs, we needed to have that tip of the spear very sharp, and everybody else flowed amongst us. We busted our butts. A lot of that training was about getting the five of us dancing together without two left feet.

Were you comfortable horse riding?

I was pretty comfortable with that as well. I don’t know actually how much they were aware of my horsemanship. Not that I’m that soft in the saddle, but I was a ranchhand for about half a year while I worked on the movie “As I Lay Dying.” There’s a lot of horsemanship in that, and I was very dedicated. So I worked my butt off for that, and I’ve got some other things I’ve done horseback with, so I’m not too bad at it.

Does it feel like you’re living a cowboy lifestyle while you’re shooting in Utah?

Yeah, I bought a truck! [Laughs] I did, actually. You kind of needed one in Utah once it snows. I needed to get four-wheel drive, and I got a truck. I guess you could say I turned a little bit into a cowboy. It is a cowboy lifestyle in that it was really hard work. This show got shot out of the gate, like I mentioned before, and we were doing, some days, six-day eps, and we were traveling almost an hour out to an incredible location called Thousand Peaks, where they originally shot the first three seasons of “Yellowstone.” To say it’s beautiful is an understatement. While it may have been cold, and it may have been really early a lot of those days, it was still me on a horse with an incredible view, and I didn’t take that for granted at all.

Your chemistry with Luke feels so natural. How were you able to get there with him so quickly?

Luke’s pretty easygoing. He disarms you when you meet him. He’s a very grounded, down-to-earth guy. We took a few hikes right away, just to meet each other. But a lot of that just is being easy to work with, and that Luke has in spades. There’s a lot of the relationship, though, to be seen, and to evolve or devolve, and there’s a lot of history between them. You all know about Kayce, but I don’t. I wasn’t around him in those years. I come to terms with not just who he is and where he comes from, but also the things he’s done in the past. That puts a wrench in the works, as well as ties us even more tightly together, as two ex-SEAL Team buddies.

Were you a “Yellowstone” fan before you got the job?

They offered the part to me and I had about an hour to decide, because they needed me out there in a week. We sat down, watched the pilot, which I thought was quite good, and I’m a big fan of [“Yellowstone” co-creator] Taylor Sheridan’s films. But I’d never seen any of the “Yellowstone” shows — none of them. I quickly realized that I didn’t need to. It would probably be better to when I ask questions, so that they are coming from a true place of ignorance. That ignorance is bliss in this way, and actually made my job a lot easier to find out who he was in front of a camera.

Did Taylor have any advice on the part, or did things happen so quickly that you didn’t have time to connect ahead of time?

I didn’t. We were shot out of a cannon, and I’ve had no conversations with Taylor about it, to be completely honest.

What kind of journey are viewers going to see your character go on this season?

My journey is one of the vet. It’s one of the reasons I wanted to play this guy. I have a deep respect for soldiers, especially veterans. When they come home, and they’re somewhat lost, not just externally, but internally. The depths that they have to go to right their ships … some of them make it, some of them don’t. It’s the effects of war — not just in battle, but at home.

More than anything, relationships are destroyed by this job. A lot of these soldiers have high divorce rates, high amounts of alcoholism and abuse of pharmaceuticals. One of the biggest storylines is a relationship with a family member of his that he lost. So he’s got a lot going on, not just trying to refine his brotherhood with Kayce.

The series premiere of “Marshals” airs on CBS tonight at 8 p.m. ET.

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