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The Lead: Carla Simón's Unique Approach to Family DramaFamily reunions in European arthouse cinema are almost always unhappy events, on a scale of strife that ranges from simmering resentment to spectacular score-settling. Carla Simón, however, has a rare gift: she makes you leave the cinema with renewed faith that having relatives and keeping in touch with them may actually be a wonderful thing.No film-maker working in Europe now is as capable of turning birthday gatherings, garden parties or poolside barbecues into thrillingly sprawling canvases of human virtue and vice as this 39-year-old rising star. From a riotous water fight in the Berlinale Golden Bear-winning farming drama Alcarràs to a foul-mouthed dinner table singalong in her new film Romería, Simón directs kinship meetings with the attention to detail that other film-makers may invest in action sequences or dance routines.The Event Details: Romería and the Journey to Self-DiscoveryAmong the tricks Simón employs, she explains, is to ensure her actors only read the script once before the camera starts rolling, so they have to improvise to fill the gaps. She takes her casts to parties, for walks and on shopping trips, and if there are disagreements on the way, so much the better. The ultimate secret sauce, though, is to ignore WC Fields's notorious advice and always work with children and animals."I never get bored of working with kids," she says. "When you are only working with adult actors, shooting becomes more like executing an idea that you have in your mind, and I think that is not interesting. With children, you always have this feeling that that things are going to happen in front of the camera by chance. It keeps things alive."Her new film Romería, meaning "pilgrimage" in Spanish, dives deeper into the story of the biological parents she barely got to know. Eighteen-year-old Marina travels to her relatives in Vigo, in north-western Galicia, purportedly to find the death certificate of her biological father, which she needs to study film-making in Barcelona. The initial reaction is warm, but family is a room with dark corners and locked closets.The Personal Journey: Aids, Loss and Family SecretsSimón's fascination with freewheeling scenes of family life was undoubtedly honed through her own biography. Born in Barcelona in 1986, her father died when she was three and her mother when she was six. Both of them succumbed to Aids. She was 12 when her adoptive mother told her that her parents had been infected with the autoimmune disease through their use of drugs.All of her first three films have been strongly autobiographical: Summer 1993 tells the story of a six-year-old girl who moves to an unspecified location countryside to live with her aunt after the death of her mother, while 2022's Alcarràs is specifically set in the Catalan peach-growing community of her adoptive family.In the film, a cache of letters written by her late mother opens up a portal to the time when her parents met and discovered love – for each other, the Atlantic Ocean and drugs. The letters, Simón explains, are real. "She wrote to her friends and family while she lived in Vigo. Her Catalan is full of mistakes, because teaching Catalan was banned under the Franco regime. But they are the most important thing that I have from my mother, because suddenly I can hear her talking."The Impact Analysis: Spanish Cinema and the Legacy of AidsSpanish cinema has a track record in making films where child actors take centre stage: Ana Torrent's spell-binding turn as a young girl obsessed with the Frankenstein tale in Víctor Erice's 1973 film The Spirit of the Beehive is considered an all-time great performance by a minor, and Simón describes it as "a very, very important film for me".During the transition period after Franco's rule, Madrid gave birth to la movida, a countercultural movement that celebrated lifestyles that had been banned under military rule. "All these kids who were raised under Franco and religious oppression, suddenly freedom arrived and they embraced it", Simón says. "They didn't think much about the future or the consequences of what they were experimenting with. And then the drugs came in."When we talk about this generation in Spain, people sometimes use words like shame and blame, but I feel that's really unfair: people like my parents just had bad luck.The Future Direction: Beyond Family in Simón's Next ProjectHalfway through Romería there is a stylistic shift, from the Eurorealism she favoured in her previous works toward something more magical-realist: there is a mysterious cat you might expect to encounter in a Miyazaki film, and an unforgettable dance number set to Vigo punk rocker's Siniestro Total's song Bailaré Sobre Tu Tumba ("I'll Dance on Your Grave")."These three films I've made are kind of a cycle, because they all talk about my family, adoptive and biological. But since I became a mother a few years ago, I feel that my place in the family changed. When you have kids you feel it's a new period in your life, so I feel like maybe doing something that has nothing to do with my family."Her next film, she confides, is going to be a flamenco musical.

Ujiri’s Appointment Signals a New Era for the MavericksMasai Ujiri was introduced last week as the Dallas Mavericks’ president of basketball operations and alternate governor, a move the franchise touts as “a match made in heaven.” The hire places the first African to run a major U.S. sports franchise at the helm of a team owned by the ultraconservative billionaire Miriam Adelson.Background: From Raptors Champion to Dallas’ President of Basketball OperationsUjiri’s résumé includes:2003: Co‑founded Giants of Africa while scouting unpaid.2010: Became the first African general manager of an NBA team (Denver Nuggets).2013: Won NBA Executive of the Year.2018: Traded for Kawhi Leonard, leading the Toronto Raptors to their first championship.2026: Hired by the Mavericks after the Luka Dončić trade saga.Financial Stakes: Draft Picks, Revenue Loss, and Ownership WealthThe Mavericks hold the No. 1 pick in the 2025 draft and selected Rookie of the Year Cooper Flagg, plus the 9th, 30th and 48th picks.The 2023 sale of the team to Adelson was valued at $3.5 billion, a fraction of her estimated $35 billion net worth.Analysts estimate the Luka Dončić trade cost the franchise roughly $100 million in revenue.Adelson has contributed more than $100 million to Donald Trump’s 2024 campaign.Culture Clash: Liberal Advocacy vs. Ultraconservative OwnershipUjiri’s public record includes outspoken support for social justice, anti‑racism initiatives, and humanitarian work across Africa. In contrast, Adelson has labeled pro‑Palestinian and Black Lives Matter activists as “enemies” and is known for her right‑wing political donations. The Mavericks’ fan base leans Democratic, creating a potential flashpoint between the franchise’s new leadership and its owner.Outlook: How Ujiri Could Navigate Politics and Rebuild a FranchiseUjiri faces three immediate challenges:Transforming a roster that missed the playoffs despite a top draft pick.Balancing his advocacy with Adelson’s political stance without alienating either side.Restoring fan confidence after the unpopular Luka Dončić trade.If he can replicate the Raptors’ model—leveraging international talent, fostering a community‑first narrative, and using his platform to address broader issues—Ujiri could reposition the Mavericks as both a competitive team and a socially conscious brand. Failure to do so may deepen the cultural rift and jeopardize the franchise’s marketability.

The Lead Lauren Elkin's book 'Vocal Break' is a celebration of the female voice in all its forms and imperfections. Elkin, a London-dwelling French-American translator and author, examines the female voice through the lens of her own musical passions and explores the rules and expectations foisted on female vocalists. The Event Details Elkin's book is not strictly a memoir, but she mines her past as she examines singers and singing. She digs into notions of self-image, coolness, integrity, and authenticity, and ponders the history of the vocoder and the current vogue for Auto-Tune. The Data Analysis No specific data is provided in the article, but Elkin's research takes in Roland Barthes's 'The Grain of the Voice,' Greil Marcus's 'Lipstick Traces,' and Homer's 'Odyssey.' She also shares surprising facts, such as the French phrase for singing along to a song in a language you don't know: 'chanter en yaourt,' or 'to sing in yoghurt.' The Impact Analysis Elkin asserts that women using their voices is 'not a neutral proposition but a hard-won right' and that judgments on their singing are wrapped up in power and identity. She highlights the physical violence women have endured for daring to sing and be themselves on stage, citing examples such as Ari Up and Tori Amos. The Prediction Elkin notes that 'singing is about wanting that thing that is just beyond reach, and that is why we love it, and need it.' She encourages more people to sing, emphasizing that through music, we can get things that are just beyond our reach, or feel like we have, for the time the music lasts.

The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

The World's Longest Football DerbyCarlisle and Barrow will play each other next season in the Cumbrian derby in the National League. The clubs are located at opposite ends of Cumbria and the distance between the two grounds is some 78 miles by car. But this is not the greatest distance between two teams involved in a 'derby'.When considering derbies, we are looking for matches between teams that are linked based upon their proximity or geography, rather than simply historical rivalries like the 'clásico' between Real Madrid and Barcelona.UK Derbies: The Cumbrian ContenderWithin the UK, the Cumbrian derby certainly looks the furthest derby by distance. If we are staying in England, the closest we can get to 78 miles is the A49 derby between Shrewsbury Town and Hereford United, separated by 51 miles, although it should be said that the two teams have not met since the latter was dissolved in 2014.In England, thoughts immediately go to Crystal Palace and Brighton, dubbed the M23 derby, but a quick search reveals that Selhurst Park is a mere 46 miles from the Amex Stadium. It is also 46 miles that separate the stadiums of Plymouth Argyle and Exeter City, the Devon derby. Just behind are Ipswich and Norwich – the East Anglian derby (AKA El Tractico or the Old Farm) – with Portman Road and Carrow Road 45 miles apart.International Long-Distance DerbiesFarther afield, we must mention the derby between Persib Bandung and Persija Jakarta, who take part in the Indonesia derby, or Laga Klasikal as it is locally known, with Persib's Gelora Bandung Lautan Api Stadium lying 108 miles away from Persija's Jakarta International Stadium in Indonesia's capital.Italy is fertile ground for a host of famous derbies, and it is here that we find some of the longest-distance derbies. Of course there is the Derby d'Italia between Milan and Juventus, with 85 miles separating San Siro and Juve's Allianz Arena in Italy's north-west. The Derby di Sicilia between Palermo and Catania spans a whopping 134 miles across the breadth of Sicily, while the Derby delle Isole (Derby of the Islands) between Palermo and Sardinian club Cagliari goes even further – a full 250 miles across the Tyrrhenian Sea.The Champion: New Zealand's 386-Mile DerbyOur winner, though, comes from New Zealand's North Island. With Auckland FC only entering the A-League Men in 2024-25, the New Zealand derby between themselves and Wellington Phoenix is still very much in its infancy but has already blossomed into something substantial. In February, just the sixth edition of the derby, a comical own goal from Wellington goalkeeper Josh Oluwayemi sparked a 5-0 thrashing by Auckland, prompting Phoenix coach Giancarlo Italiano to resign immediately after the defeat. With 386 miles between the two grounds, the NZD is our clear winner.The Evolution of Geographic DerbiesThe existence of such long-distance derbies challenges our traditional understanding of what constitutes a local rivalry. In an era where football has become increasingly globalized, these geographic matchups represent unique connections between communities separated by vast distances. The New Zealand derby, in particular, showcases how even in a country with a relatively small population, football can create intense rivalries across significant geographical divides.The Future of Long-Distance DerbiesAs football continues to evolve, we may see more long-distance derbies emerge, particularly in regions with expanding leagues or where new clubs are formed to serve underserved areas. The New Zealand derby between Auckland and Wellington Phoenix is a prime example of how modern football infrastructure and scheduling can create meaningful rivalries regardless of distance. With the increasing popularity of travel and fan engagement, these long-distance derbies may become even more significant in the future of football culture.Double Winners in FootballDeji Elerewe has won the title with both Bromley (League Two) and Lincoln (League One) this season. Has any other player managed the same feat?We covered this answer 10 years ago in a previous Knowledge, but regular contributor Dirk Maas has come in clutch with some additions, although he does clarify that he has limited his search to the top five leagues in Europe in this century.There are several examples of players winning titles with different teams in the same season, including:Jonas Urbig with Köln (2. Bundesliga) and Bayern Munich (Bundesliga) in 2024-25Leigh Griffiths with Celtic (Scottish Premiership) and Wolverhampton (League One) in 2013-14Urby Emanuelson with Ajax and Milan in 2010-11Daniel Amartey with Leicester City and FC Copenhagen in 2015-16Timothy Weah with Paris Saint-Germain and Celtic in 2018-19Khvicha Kvaratskhelia with Napoli and PSG in 2024-25There are also alternative cases where seasons happen at different times of year, such as David Beckham achieving this by picking up an MLS winner's medal with LA Galaxy and a Ligue 1 winner's medal with Paris Saint-Germain in 2012-13.

Ancelotti's Ambition and Passion for Football Carlo Ancelotti, one of the most successful managers in football history, has taken on the challenge of leading Brazil to World Cup glory. Despite his impressive resume, Ancelotti claims he is not ambitious, but rather passionate about enjoying the moments football has given him. Neymar's Call-up Depends on Him Ancelotti mentions that Neymar's call-up to the Brazil team depends solely on him and his performance on the pitch. This statement highlights Ancelotti's focus on merit-based selection. The Data Analysis Ancelotti has had 47 years of experience in football, with 16 years as a player and 31 years as a head coach. He has won five Champions League titles and league titles in England, France, Germany, Italy, and Spain. Brazil has not won the World Cup since 2002, which equals the longest period the nation has gone without winning the World Cup since 1970 to 1994. The Impact Analysis Ancelotti's approach to management emphasizes building personal relationships with players and having high standards. He believes that his experience working with over 40 Brazilian players will help him lead the team to success. The Prediction Ancelotti aims to make Vinícius Júnior the best player in the world, following his success with Real Madrid. He also stresses the importance of teamwork and not relying on a single player to win the World Cup.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

The LeadA man arrested for stealing hard drives containing unreleased Beyoncé music has pleaded guilty in an Atlanta court and been sentenced to two years in prison.The Theft DetailsKelvin Evans was arrested in September 2025 in connection to a July 2025 car robbery where two suitcases containing Beyoncé music and tour plans were stolen from a rental car. In an Atlanta court, Evans accepted a five-year sentence of which he will serve two years in custody. He was ordered to avoid the location of the theft in Atlanta and refrain from contact with the victim as part of his probation terms.The Music Industry ImpactThe stolen hard drives contained "watermarked music, some unreleased music, footage plans for the show and past and future set list," according to a police report. The theft occurred before Beyoncé's Cowboy Carter tour dates in Atlanta, which was later the highest-grossing tour of 2025, earning the performer over $407m across 32 shows.The Legal ConsequencesEvans initially pleaded not guilty and reportedly declined to take a deal in April, but changed his plea in court. He was arrested several weeks after the victims filed a report and was released on a $20,000 bond a month later. At the time of his arrest, Atlanta police confirmed that the stolen property had not been recovered, and it remains unclear whether it has since been found.The Beyoncé ContextBeyoncé's Cowboy Carter won the 2025 album of the year Grammy and was praised as "a thrilling 27-track journey through and beyond America's roots music." Earlier this month, Beyoncé co-chaired the Met Gala alongside Nicole Kidman, Venus Williams and Anna Wintour. Rumors have been swirling that Beyoncé will drop her new album this summer, speculatively titled Act III with a possible rock direction.

The Announcement of Cleary’s Planned DepartureIvan Cleary confirmed on Wednesday that he will step aside as head coach of the Penrith Panthers at the end of the 2026 season, after 18 months remain on his current contract.Details of the Transition and Advisory RoleCleary said his decision was not taken lightly and that he will remain with the club in an advisory role focused on leadership and culture beyond 2027. His assistant, Peter Wallace, is slated to take over as head coach, giving him a full season to lead the team.Contractual Landscape and Player Off‑Contract Numbers18 months left on Cleary’s contract.Four straight premierships (2021‑2024) under his second stint.Key players—including son Nathan Cleary, captain Isaah Yeo and back‑rower Liam Martin—are off‑contract at the end of next season.Panthers have won 10 of 11 games this season, sitting atop the NRL ladder.Implications for the Panthers’ Dynasty and NRL Power BalanceThe move threatens the collapse of what many consider the most dominant modern‑day NRL dynasty. With several star players facing free‑agency decisions, retaining the core squad will be a major challenge for the club’s hierarchy.Outlook: What Lies Ahead for Penrith and the NRLCleary believes his early announcement provides clarity for contract negotiations and gives Wallace a solid footing. If the Panthers can keep their marquee talent, they may extend their dominance; otherwise, the NRL could see a power shift as rivals vie for the departing stars.