US Gamers Getting Older as Industry Reports Growth

People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
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US Gamers Getting Older as Industry Reports Growth

People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)
People play Mario Kart World during a launch event ahead of the midnight release of the Nintendo Switch 2 at the Nintendo New York store on June 4, 2025. (AFP)

Video games are having a moment in the United States -- but the players are getting older.
The average American video game player is now 37 years old -- up from 29 about two decades ago -- as the industry reports activity climbing back to their highest levels since the pandemic-era boom, a new report reveals.
The findings, from the Entertainment Software Association's annual Essential Facts report, challenge enduring stereotypes about who plays games while underscoring the industry's recovery from a post-pandemic slowdown.
"It mirrors in large part the demographics of the nation," ESA president and chief executive Stanley Pierre-Louis told AFP, noting that more than half of all players in the United States are now 35 or older.
The steadily rising average player age reflects both the aging of a generation that grew up with consoles and a wave of older adults who have since picked up the hobby.
The gender split also defies the stereotypical image of the young male gamer.
Men account for 53 percent of players and women 46 percent, with women actually outnumbering men among Baby Boomers, the ESA said.
Overall, 67 percent of Americans play video games for at least an hour a week -- a figure broad enough to encompass everything from blockbuster console titles to casual mobile games like Wordle.
Revenues -- totaling $60.7 billion in 2025 -- have rebounded to their highest point since 2021, when pandemic lockdowns drove an outsized surge in both players and spending.
After a pullback as restrictions lifted, the industry has returned to growth, Pierre-Louis said.
- Self-regulation -
As lawmakers in the United States and Europe weigh tougher regulations on screen time, age verification and in-game spending, Pierre-Louis argued the US gaming industry's track record of voluntary self-regulation sets it apart.
That voluntary framework, he said, has given the industry credibility with US lawmakers that social media platforms lack.
Those platforms, he noted, "traditionally didn't have the same level of parental tools that video games had" -- a gap that has fueled the regulatory backlash now engulfing companies such as Meta and TikTok.
"Safety is not a competitive issue in our industry -- it's one of collaboration," Pierre-Louis said.
"Being on the ecosystem and staying on the ecosystem means you feel like you're in a trusted environment."
- 'Satisfaction' -
The ESA was founded in 1994 partly in response to congressional concern over violent content in games, and almost immediately established the Entertainment Software Rating Board, which assigns age ratings from E for Everyone to M for Mature for titles sold in North America.
The system also flags details about online interactions and in-game purchases.
Major console platforms including Xbox, PlayStation and Nintendo Switch now offer parental control tools that allow families to restrict what games children can access, cap spending and limit screen time -- capabilities Pierre-Louis said have been refined over decades in direct response to parent and policymaker feedback.
The argument, however, faces increasing pushback in the United States.
The gaming industry is facing growing scrutiny as platforms expand into social media-like features, with ESA member Roblox especially under pressure over child safety issues with regulators and in courts.
Legislative proposals range from mandatory age verification for games with chat features to bills that would impose national safety standards.
For the industry, such legislation should not be necessary.
"It's a matter of how do we get everyone up to speed on what the video game industry has been doing, so that there's satisfaction around the practices and trust and safety mechanisms we have in place," Pierre-Louis said.



Saudi Film Commission to Host Fourth International Film Criticism Conference in November 2026

Saudi Film Commission to Host Fourth International Film Criticism Conference in November 2026
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Saudi Film Commission to Host Fourth International Film Criticism Conference in November 2026

Saudi Film Commission to Host Fourth International Film Criticism Conference in November 2026

Saudi Arabia's Film Commission will host the fourth International Film Criticism Conference on November 5-6, reported the Saudi Press Agency on Tuesday.

The conference will bring together leading critics, researchers, filmmakers and cinema enthusiasts to discuss the role of criticism in reading films, explore its artistic and cultural dimensions, and examine its evolving relationship with audiences amid the changes taking place across the film sector.

Reading a film goes beyond following its events or assessing its technical elements. It involves understanding its visual language, analyzing its narratives and symbols, and exploring the meanings carried by its scenes.

In this spirit, the conference raises questions about the plurality of critical readings, the different perspectives from which a film can be approached, and the critic’s role in enriching the viewing experience and broadening the conversation around films.

The program will feature panel discussions, practical workshops, and two film screenings examining contemporary approaches to film criticism.

The conference will also shed light on the changes in critical practice brought about by the spread of digital platforms and advances in artificial intelligence, and the questions they raise about analytical tools, forms of critical expression and ways of reaching audiences. These discussions are especially relevant as the Saudi and Arab film landscape evolves, bringing greater diversity in experiences, works and themes.

The conference offers a space for critics, researchers, filmmakers and cinema enthusiasts to meet and exchange views on the relationship between filmmaking and critical reading, and on developing practices that deepen the understanding of films and engagement with their content, strengthening the place of criticism in the cultural conversation around cinema.

Between 2023 and 2025, previous editions of the conference and its forums attracted more than 29,000 visitors from over 20 countries, with more than 180 participants, over 25 workshops and 30 side events, and 28 sponsors and partners.

The 2026 conference will convene diverse voices to examine the future of film criticism and reinforce its role in shaping informed, engaged cultural dialogue around cinema.


Can DC Blend Horror with a Superhero Movie? ‘Clayface’ Wants to Blur Genres

 This image released by Warner Bros. Pictures shows Tom Rhys Harries in a scene from "Clayface." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Tom Rhys Harries in a scene from "Clayface." (Warner Bros. Pictures via AP)
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Can DC Blend Horror with a Superhero Movie? ‘Clayface’ Wants to Blur Genres

 This image released by Warner Bros. Pictures shows Tom Rhys Harries in a scene from "Clayface." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Tom Rhys Harries in a scene from "Clayface." (Warner Bros. Pictures via AP)

The dominant movie genres of the past decade, superhero films and horror, have usually stayed, like bashful teenagers on the dance floor, on separate sides of the multiplex.

But when James Gunn and Peter Safran were plotting the projects with which they wanted to launch their era of DC Studios, writer-director Mike Flanagan came in with a pitch that would fuse both genres.

Neither Safran nor Gunn were looking for a standalone movie about Clayface, a lesser-known villain from the Batman comics. But they were won over by Flanagan’s vision, which eventually became a script by Flanagan and Hossein Amini.

“It fit within the broader framework of how James and I saw the broad spectrum of film and television shows we want to make,” says Safran. “But it really was Mike Flanagan’s passion and pitch. You always look for volunteers and not recruits.”

Not many studios would push “Clayface” to the front of the pack, but Gunn, who started in horror, and Safran, who helped launch “The Conjuring” franchise, made “Clayface” — with James Watkins eventually coming on to direct — part of their first wave of DCU films, following “Superman” and “Supergirl.”

“Clayface” is a darker detour for DC. And, if it proves successful, it just might open up a darker frontier for comic book movies.

“From the get-go, this was not designed to be a traditional superhero movie,” Safran says. “It was always supposed to be a character-driven story that uses the DC mythology. If you took the DC elements out of it, it would just be a great horror movie.”

That makes “Clayface” something unusual in the normally calculated realm of superhero movies. It’s R-rated. It’s modestly budgeted at $40 million. And it stars the relatively unknown Tom Rhys Harries as a little-known DC villain.

“A lot of people wouldn’t necessarily know who Clayface is, but they wouldn’t need to,” says Watkins, the Welsh filmmaker of “Speak No Evil” and “The Woman in Black.” “It’s its own movie.”

‘Supergirl’ disappointment puts pressure on ‘Clayface’

That, Safran says, is by design. He and Gunn have emphasized filmmaker-first projects at DC, carving a more idiosyncratic, multi-genre path that has won them fans but also added some degree of risk.

“Clayface,” which opens in theaters Oct. 22, will debut shortly after Skydance and David Ellison’s takeover of Warner Bros. Ellison is keeping Gunn and Safran to lead DC, even though they’re coming off a misfire in the box-office disappointment of “Supergirl.” That puts more pressure on “Clayface” to perform.

“If you look at the cumulative choices that we’ve made, I think it’s pretty clear we’re trying to do things differently,” says Safran. “Not everything is going to work. The pressure we feel for ‘Clayface’ is honestly the pressure we feel for everything we put into the world.”

There have been a few movies to meld horror and superheroes together, including Wes Craven’s “Swamp Thing” (1982), Sam Raimi’s “Darkman” (1990) and “Brightburn” (2019), a sinister twist on the “Superman” origin story that Gunn produced.

But Clayface, a Batman villain created in 1940 by Bill Finger and Bob Kane, is still an unlikely character to put center stage. In the comics, he began as Basil Karlo, a B-list actor who, furious that he wasn’t cast in a horror remake he had previously starred in, wears the movie’s Clayface costume to kill the film's actors.

Winning over skeptical DC fans

Some fan skepticism has followed “Clayface.” Last week, Gunn defended the choice on the social media platform Threads after a user asked, “Who the (expletive) asked for a ‘Clayface’ movie?”

Gunn replied: “Although it may seem like it, Hollywood isn’t a place where the only way to make a movie is the public voting on what IP they want to see that they’ve seen countless times before.”

Watkins’ film, taking inspiration from the two-part episode “Feat of Clay” from “Batman: The Animated Series,” twists the original Clayface story slightly. Rising movie star Matt Hagen (Harries) is disfigured by a mob boss (Eddie Marsan) and rapidly falls out of Hollywood. After numerous unsuccessful surgeries, he resorts to an experimental process created by the scientist Dr. Caitlyn Corr (Naomi Ackie) that uses an untested, claylike living organism to rehabilitate his face.

“Part of the joy was being surprised at what’s looking back at me in the mirror every day,” says Harries, smiling.

To a large degree, “Clayface” progresses as a character study, one of an actor whose livelihood falls away from him and whose attempts to get back on the red carpet turn increasingly dark. His journey, though, hinges less on vanity than on his relationship with Caitlyn.

“I was approaching it the whole time like: Matt thinks he’s in a romantic comedy,” says Harries. “The fulcrum of the whole thing is his relationship with Caitlyn Corr. Without that, you don’t get the propulsion for Matt to be doing what he decides he needs to.”

Shape-shifting in genre and body

As “Clayface” devolves, Matt’s face and body increasingly shape-shift in chilling body horror transformations. That can include his own body changing or Matt taking the form of other characters around him. While CGI and visual effects were used, Watkins leaned into practical effects.

“I like horror when it’s most relatable, when it actually gets under the skin,” Watkins says.

In the third act of “Clayface,” that’s taken to body-changing extremes as Matt dons the appearance of those around him. Often, actors were swapping into scenes moment to moment with Harries.

“We’d often play a scene with Tom and then someone else would play the same scene,” says Watkins. “Sometimes Tom would copy them, sometimes they would copy Tom.”

If the superhero movie has sometimes been too rigidly formulaic, “Clayface” proves the genre has more elasticity than it's been shown to have. In “Clayface,” even the lead role was an ensemble piece.

“I won’t mention any actor’s name because it’s a bit of a spoiler,” Watkins says. “But one of the cast members was saying to me his son asked, ‘So who are you in the movie?’ And he said, ‘I’m Clayface.’”


Bollywood Actor Tiger Shroff Shot at in Mumbai, Three Suspects Held

Bollywood actor Tiger Shroff at the screening of 'Ikkis' in Mumbai in December 2025. Sujit JAISWAL / AFP/File
Bollywood actor Tiger Shroff at the screening of 'Ikkis' in Mumbai in December 2025. Sujit JAISWAL / AFP/File
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Bollywood Actor Tiger Shroff Shot at in Mumbai, Three Suspects Held

Bollywood actor Tiger Shroff at the screening of 'Ikkis' in Mumbai in December 2025. Sujit JAISWAL / AFP/File
Bollywood actor Tiger Shroff at the screening of 'Ikkis' in Mumbai in December 2025. Sujit JAISWAL / AFP/File

Indian actor Tiger Shroff was shot at in Mumbai on Sunday, police said, adding that three suspects have been detained.

Shooters opened fire at the 36-year-old actor as he was leaving a private event in the city's upscale Juhu area on Sunday evening, according to Police official Mohit Garg.

Aside from being India's financial capital, Mumbai is also the heart of Bollywood, the country's Hindi-language film industry, said AFP.

"Tiger Shroff is safe and Mumbai police has deployed different teams to investigate further," Garg told reporters.

Two people were injured in the incident, including the actor's driver, though Shroff did not sustain gunshot wounds, police said.

Three suspects have been rounded up in Rajasthan, another Indian state.

"Preliminary questioning revealed that two of them have one case each against them, one related to theft and the other under the Arms Act," police official Tejaswani Gautam told reporters.

Police have yet to establish a motive for the shooting.

Shroff is known for action films including the "Baaghi" franchise and "War".