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.



Actor Sam Neill Died of Pneumonia, Says Agent

(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)
(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)
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Actor Sam Neill Died of Pneumonia, Says Agent

(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)
(FILES) New-Zealand actor Sam Neill attends the photocall of the movie "Sweet Country" presented in competition at the 74th Venice Film Festival at Venice Lido on September 6, 2017. (Photo by Tiziana FABI / AFP)

"Jurassic Park" star Sam Neill died of pneumonia, his agent said Thursday, in a message aimed at providing clarity to fans.

Neill died in Australia on Monday at the age of 78, his family said in a statement.

He was cancer-free at the time, his family added without elaborating on the cause of death.

"I spoke with his family and wish to clarify some details for his fans," long-time agent Philip Grenz said in a statement to public broadcaster Radio New Zealand.

"Sam passed away from pneumonia. Prior to becoming sick, Sam had valiantly fought and beaten lymphoma through a new treatment called CAR-T therapy."

The actor's family is to hold a private ceremony in New Zealand, AFP quoted the agent as saying.

"As Sam was an intensely private man who loathed a fuss, his family will honor him with a private family memorial at his farm in New Zealand at a still-undetermined later date."

Grenz said Neill had filmed four projects in the past year, which would all be released in the "coming months", without giving further details.

Neill revealed in a 2023 memoir he was "possibly dying" with stage-three non-Hodgkin lymphoma.

But he declared himself cancer-free earlier this year, thanks to a genetic therapy that modified his immune system.

Born in Northern Ireland in 1947, he moved to the rugged South Island of New Zealand as a child.

He was christened Nigel John Dermot but decided his first name was too "effete" for New Zealand and switched it to Sam.

Neill started acting in New Zealand films in the early 1970s before moving into larger roles in Australia.

His big breakthrough came in 1993 when he played Dr Alan Grant in the blockbuster "Jurassic Park".

When he was not acting, Neill also ran vineyards in the picturesque Central Otago region of New Zealand's South Island.

Tributes have poured in from friends, colleagues, neighbors in Central Otago, and some of Hollywood's biggest names, including director Steven Spielberg and fellow "Jurassic Park" actors Laura Dern and Jeff Goldblum.


Movie Review: In Christopher Nolan’s ‘The Odyssey,’ an Ancient Epic Is Reborn

 US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)
US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)
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Movie Review: In Christopher Nolan’s ‘The Odyssey,’ an Ancient Epic Is Reborn

 US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)
US actor Matt Damon (L), British-US director Christopher Nolan (C) and US actress Anne Hathaway (R) attend "The Odyssey" premiere at the AMC Lincoln Square in New York on July 14, 2026. (AFP)

Getting home, and turning back the clock, has long been at the root of Christopher Nolan’s films. The astronauts of “Interstellar” painstakingly lose 23 years in space travel, almost the same length of time Odysseus is away from home in “The Odyssey”: a decade fighting the Trojan War, a decade trying to return to Ithaca.

So, to a remarkable degree, Nolan’s “The Odyssey” — faithful as it is to Homer’s epic poem — feels, down to its nonlinear DNA, like a Nolan movie. The authorship of the epic poem, dated to the 7th or 8th century BC, is complex. But no one could question the maker of this “Odyssey,” an earthy, existential epic that ravishingly melds the storytelling of antiquity with contemporary IMAX-sized bravado.

As a story about a man whose cunning offends the gods, “The Odyssey” feels very much like a companion piece, if not a downright sequel, to “Oppenheimer.” Odysseus (Matt Damon, in the role of his life) is increasingly racked with guilt for the violence and death he’s wrought after his ingenuity led to the sacking of Troy.

The arrival of any new Nolan spectacle inevitably leads to its own kind of assault, and avalanches of “masterpiece” proclamations. (I’m not innocent.) But while “The Odyssey,” Nolan’s first film shot entirely with IMAX cameras, doesn’t skimp on grandiosity, it works surprisingly well as a simpler, human-sized tale.

The journey — you may have heard, it’s about the journey — is sometimes a little clunky, and the sheer Nolan-ness of the production, not to mention the historic nature of the tale, inevitably saps it of some freshness. You could make a credible case that Nolan has already made a movie about a guy trying to reach his family through strata of mind-warping illusion, and it’s called “Inception.” Such is the trouble with urtexts.

But “The Odyssey” is rarely not transfixing, and it’s a ripping adventure story, besides. At the least, it’s the definitive big-screen adaptation of one of literature's oldest tales — a not-too-shabby accomplishment for a filmmaker of restless ambition.

It’s not until Book 5 that Odysseus enters Homer’s poem, and Nolan, who also wrote the screenplay, likewise begins in Ithaca. There, Odysseus’ home is overrun by feasting suitors in pursuit of his wife, Penelope (Anne Hathaway). Foremost among them is Antinous, who’s played with sleazy perfection by Robert Pattinson. For an actor often (pleasingly) at odds with the movies around him, Pattinson has never slid more seamlessly into a part.

Telemachus (Tom Holland, also well-cast), the youthful son of Penelope and Odysseus, resolves to go in search of his father. Meanwhile, we catch up with Odysseus, weathered and white-bearded, following the fall of Troy. His forced conscription, by Agamemnon, is shown in flashbacks. Agamemnon is depicted with an imposing Darth Vader-like presence and played by Benny Safdie, but the real star is his hulking, mohawked helmet.

Such vivid details abound in Nolan’s richly textured film. The simple rocking of Odysseus’ longship, off the Mediterranean coast, is glorious. Some of Nolan’s and cinematographer Hoyte van Hoytema’s most impressive work has come when they’re faced with the elements (as in “Dunkirk”). And “The Odyssey” is flooded with stormy seas and enchanted isles. If anything, the movie could have gone further; I was promised rosy-fingered dawns.

The first line of Homer’s poem, as translated by Emily Wilson (the version Nolan leaned on), refers to Odysseus as “a complicated man.” James Joyce, whose “Ulysses” was based on “The Odyssey,” once noted that while Hamlet is merely a son, Ulysses, or Odysseus, is a father, a husband, a lover and a warrior. In short, he’s an Everyman, albeit an especially smart one. And Damon, the most amiable of Everymen, proves especially attuned to the multifaceted nature of the archetypal hero.

We meet him first as a soldier, leading a small group of ships away from Agamemnon’s fleet, setting a southerly course with his second-in-command Eurylochus (an excellent Himesh Patel). Their route takes them on a series of episodic quests: a cave encounter with Polyphemus, the Cyclops; a pine forest attack by the man-eating giants, the Laestrygonians; a meal with the witch Circe (Samantha Morton); and Odysseus’ seven-year interlude with the sea nymph Calypso (a beguilingly sincere Charlize Theron).

You could argue that the movie can feel like a series of sketched-together set pieces, but what set pieces! That includes the tale of the Trojan horse, a fleeting mention in the poem but here a centerpiece. You can tell that Nolan, who nearly made “Troy” more than two decades ago, has had the sequence — beginning with the Trojan horse sunk in the sand and leading to the burning of Troy — on his mind for years.

Each stop on Odysseus' journey gives Nolan a mythic playground to explore imagery that verges on the stuff of horror. I was most intoxicated by “The Odyssey” in its most surreal moments: the sight of a giant hand emerging out of the shadows, the meeting with the “shades” of Odysseus’ dead army, risen from the black soil of Hades.

“A time of apparent magic” is how the movie is introduced. Nolan has wisely opted to keep the gods sidelined. Their powers are real, but with the exception of Zendaya’s Athena, who appears like a confidant to Odysseus, the gods, themselves, remain off-screen.

That choice draws Nolan’s “Odyssey,” and its themes of sacrifice, fidelity and honor, closer to reality. And it makes Nolan’s decision to cast his film widely all the more essential. This is a story, passed down for centuries by singers and storytellers, that belongs to all of humankind.

Casting the movie with a wide spectrum of actors, including Lupita Nyong’o as Helen of Troy, is not only fair game for a purely mythic tale, but it gives the movie a present-day vitality. Seeing actors like Elliot Page (indelible as a fallen soldier), John Leguizamo (as the loyal servant Eumaeus) and Damon in this ancient context is a very big reason to see “The Odyssey,” and why Homer’s told and retold tale is worth revisiting, at all. If today has no role, what's the point? They didn't have cameras in 700 B.C., either.

Nolan’s “Odyssey” is nearly three hours long but never slow going. And it's the friction between past and present that propels the movie as much as Odysseus' wayward path. The ending of the poem, a tricky thing since it features mass murder, is given a more palatable action-movie melee. But the essence of “The Odyssey” is here, and Odysseus' quest to live down his mistakes and uphold his convictions feels vibrant again. Nolan, you might say, is at home.


Will Ferrell Reunites with Longtime Collaborators for Netflix Golf Comedy ‘The Hawk’

US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)
US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)
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Will Ferrell Reunites with Longtime Collaborators for Netflix Golf Comedy ‘The Hawk’

US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)
US actor Will Ferrell attends the premiere of Netflix's "The Hawk" at the Directors Village in Los Angeles, on July 9, 2026. (AFP)

For ‌actor Will Ferrell, assembling a cast filled with familiar faces for the Netflix golf comedy series, "The Hawk," added a special chemistry that elevated the show.

The "Step Brothers" actor recalled many shared laughs that went beyond the humor of the series.

"Some of the more fun parts were just sitting around the monitor, and Molly and Chris Parnell and I reading 'SNL' ('Saturday Night Live') stories," Ferrell said.

The "Anchorman" actor added that there was a unique energy and rapport on set compared with other projects because ‌the series was created ‌alongside longtime friends.

"The Hawk" was created ‌by ⁠Ferrell, who also ⁠stars as the lead character, Lonnie Hawkins, alongside his real-life close friends: former "SNL" writer Harper Steele and "The Other Guys" director Chris Henchy.

The cast also includes Molly Shannon as Lonnie's estranged wife, Stacy; Jimmy Tatro as Lonnie's resentful son and fellow golfer, Lance; and Fortune Feimster as Sam, Lonnie's caddie.

The show follows Lonnie, ⁠a golfer whose career peaked in 2004, as ‌he attempts to recapture his ‌former success later in life. Despite tensions within his family, he ‌is determined to make a comeback.

Shannon, who has collaborated with ‌Ferrell for decades, dating back to their time as "SNL" cast members in 1995, said it was difficult to scream at him while playing Stacy.

"It was hard because I'm so close to Will," she ‌said.

Meanwhile, Tatro said he was amused while portraying a character who harbors resentment toward his ⁠father, whom ⁠Ferrell portrays.

"It was funny to hate someone so much in a show that I admire so much in real life," he said.

Ferrell, who has starred in many sports comedies, said he was drawn to creating a series centered on people whose lives revolve around golf.

"I've always been fascinated with the world of golf," he said.

"It's like such a tortured existence for these men and women who just stand over a ball six hours a day taking shots and have to be perfect. And I thought, 'Oh, that must drive you crazy,'" he added.

"The Hawk" begins streaming on Netflix on Thursday.