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Specialist detectives worked to trace the sisters’ final movements and understand how they came to be in the water that morning, Sussex police said.

The investigation found all three women were dropped off by taxi at Madeira Drive, the road running along Brighton Beach, at 10.20pm on 12 May, wearing everyday clothing.

No evidence was found to suggest they visited any nightclubs or local businesses in the area at the time and the investigation concluded all three women entered the water near to where their bodies were found, the police spokesperson added.

A spokesperson for the force said: “The purpose of the police investigation was to identify any evidence of criminal offending linked to how the sisters came to be in the water or their subsequent deaths.

“We can confirm the thorough police investigation has not found any evidence of a crime being committed or involvement by a third party.”

Additional details such as the sisters’ specific movements before their deaths and their potential reasons for entering the water will be considered during the East Sussex coroner’s inquest.

Ch Supt Adam Hays said his force had been “acutely aware of the speculation surrounding this incident” and “concerns raised by black communities surrounding the deaths of black people in or near bodies of water”.

He said: “Jane, Rebecca and Christina’s tragic deaths sparked a national outpouring of grief, and I would like to thank everyone who supported our investigation by coming forward with information. We will now support the coronial process and ask that the sisters’ family continue to be given privacy to come to terms with their loss.”

After the sisters’ deaths, their father, Joseph Jacobson, said there were days when the grief felt unbearable but that he held on to the memories they had shared and “the bond that death can never take away”.

In a statement released through Sussex police, Jacobson said: “Jane, Christina and Becky were more than daughters to me: they were my joy, my strength and the beautiful light that filled our family with happiness and love.

“Each of you was unique and precious in your own special way. Your smiles brightened dark days, your laughter brought comfort and your presence made life more meaningful. Though your time on Earth was short, the impact you made will remain in our hearts for ever.”

A GoFundMe online fundraiser for the women’s funerals has received more than 2,200 donations from members of the public, totalling nearly £46,000. %!s()

1. La Bola Negra has emerged as a — perhaps the — principal challenger to The Odyssey

Netflix’s Spanish-language epic La Bola Negra has had quite a week. Its Canadian premiere elicited one of the fest’s longest-standing ovations on record last Tuesday. On Wednesday, Spain selected it as the nation’s best international feature Oscar entry. And on Sunday, it won the fest’s audience award, a first for a Netflix film.

One shouldn’t read too much into the significance of the audience award to the Oscar race — the last time a non-English-language film won this prize was 15 years ago when it went to Where Do We Go Now?, and the prize’s winner two years ago was The Life of Chuck, neither of which went on to receive a single Oscar nom. But the Toronto audience is thought to be a pretty close demographic facsimile to the Academy, and every other audience award winner of the past decade did go on to at least a best picture Oscar nom, so the win is certainly encouraging news for Los Javis and friends.

In fact, given that TIFF audiences also saw Searchlight’s Wild Horse Nine and A24’s Club Kid, two of the season’s other biggest awards hopefuls, and that those two films didn’t place in the top three for the audience award, I think that one has to regard La Bola Negra, at least for now, as the primary challenger to Universal’s The Odyssey in the best picture Oscar race.

And given that Academy members not infrequently end up breaking for a David (La Bola Negra cost less than $15 million) over a Goliath (The Odyssey was made on a $250 million budget) — see Shakespeare in Love v. Saving Private Ryan, The Hurt Locker v. Avatar, Parasite v. 1917, Everything Everywhere All at Once v. Top Gun: Maverick, etc. — the talent associated with The Odyssey may want to start being a little more visible.

2. I Play Rocky is a contender

TIFF’s policy regarding films that previously screened in Venice and/or Telluride — namely, not programming them in any of the fest’s marquee venues on the fest’s opening Thursday, Friday or Saturday — once again bit the festival in the ass. As a result of it, very few high-profile awards contenders screened on those dates, and the films that did screen, as world premieres, didn’t make much noise… with one notable exception.

The fest opened on Thursday with Apple’s Being Heumann and Neon’s The Housewife, both of which were warmy received (Being Heumann ended up placing third for the audience award). On Friday, A24’s Misty Green, a Hollywood satire written and directed by Chris Rock, generated strong notices, particularly for lead actress Rosalind Eleazar. And there was also a favorable response on Saturday to Amazon/MGM’s Your Mother Your Mother Your Mother, an action-thriller led capably by Mahershala Ali.

But none of TIFF’s world premieres popped more than Amazon/MGM’s I Play Rocky on Saturday night. Peter Farrelly’s rousing drama about young Sylvester Stallone — played in a star-making and awards-friendly turn by Anthony Ippolito — and the making of Rocky was applauded throughout its first screening and then extensively after it ended.

As we learned eight years ago with Green Book, which also was unveiled at TIFF, Farrelly and his films are very polarizing. Critics don’t particularly like them (Rotten Tomatoes has Green Book at 77 percent and I Play Rocky at 82 percent), and neither does Film Twitter. But your average Toronto moviegoer certainly does (Green Book won the audience award and I Play Rocky finished second), which suggests your average Academy member might, too.

3. Do not underestimate Elsinore

The knock on Focus’ Elsinore is that, supposedly, it’s all about Andrew Scott’s tour-de-force performance, and the rest of the film is merely adequate. One can debate that (the film is still at a very respectable 88% on RT), but you know what? Even if that is the case, it might be enough for the film to still land among the 10 best picture Oscar nominees.

Why? Because Scott is in virtually every scene, and his work is so deeply affecting that most people leave the movie thinking about that, not minor shortcomings. That’s apparently what happened with TIFF moviegoers, who voted it the fest’s international audience award. (La Bola Negra was removed from the running for that one because it placed in the top three of the overall audience award.)

Since the expansion of the best picture Oscar category beyond five slots in 2009, there have been quite a few best picture nominees that were widely regarded as middling films highlighted by a standout leading performance — among them The Blind Side (65 percent on RT), The Help (75 percent on RT), Bohemian Rhapsody (60 percent on RT) and Elvis (77 percent on RT). I don’t see why Elsinore wouldn’t join that list.

Meanwhile, don’t overlook the fact that Netflix’s Possible Love, the latest masterpiece from Korean auteur Lee Chang-dong, finished second in the voting for the international audience award. The film is really well done (it’s at 100 percent on RT with more than 30 reviews currently factored into the equation), and it’s hard to imagine that it won’t wind up alongside La Bola Negra as a nominee for the best international feature Oscar.

4. Don’t expect any late-breaking acquisitions to shake up the race

It wasn’t that long ago that films came to TIFF without a buyer, played well, sold to a serious distributor, and wound up being a major player in the Oscar race — see: The Wrestler (2008), Still Alice (2014), The Wife (2017), etc. However, it doesn’t look like this year, the first in which the fest hosted a market, will add any entries to that list.

Almost all the films that came to the fest this year with hopes of landing a sale and a spot in the awards race flopped, including Prima Facie, an adaptation of the Broadway show for which Jodie Comer won a Tony, only now with Cynthia Erivo in the lead role (25 percent on RT); the Taron Egerton comedy Everybody Wants to F*ck Me (55 percent on RT); Closing Night, Cody Fern’s directorial debut starring Sarah Paulson in a juicy part (62 percent on RT); and Chase Infiniti’s first post-One Battle After Another vehicle The Julia Set (also 62 percent on RT).

The only narrative film of note that sold at the fest was Joshua Giuliano’s River (91 percent on RT), which came out of the Midnight Madness section and sparked a bidding war — just like Obsession did a year ago — and ultimately sold to Universal and Blumhouse for $10 million. It remains to be seen if it will be a factor in the awards race of this year or next or neither.

Meanwhile, the only narrative title that’s still on the table that distributors seem to regard as a potential awards player is Tim Blake Nelson’s The Life and Deaths of Wilson Shedd, starring Amanda Seyfried, though it’s generally regarded as too small to make much of a dent if acquired, and most distributors’ slates are too full for this season to justify them going after it.

5. Obsession is still lurking in the corner of the room while you sleep

Speaking of Obsession, TIFF and the film’s principal talent — writer/director/editor Curry Barker and star Inde Navarrette — took a well-deserved victory lap on the fest’s first Friday, celebrating the remarkable trajectory of the film since TIFF premiered it on Sept. 5, 2025.

During an installment of the TIFF Dialogues franchise, Barker and Navarrette spoke with Peter Kuplowsky, the lead programmer of TIFF’s Midnight Madness section, about how the film, which cost just $750,000, became the talk of the fest that night, sparking an overnight bidding war that resulted in Focus acquiring it for $15 million; releasing it in 2,615 theaters in North America on the weekend of May 15, during which it grossed $17 million; and then watching it exceed that amount for the next five weekends en route to a current total of $514 million in worldwide ticket sales.

Barker noted that he had never even left the United States prior to being invited to TIFF last year. Navarrette said she roomed with a fellow member of the film’s team while in town for last year’s screening. And now both — still just 26 and 25, respectively — are among the newest members of Hollywood’s A-list, and very serious contenders for Oscar nominations.

What a difference a year makes! %!s()

But I don't do things the same way that my generation's parents did things.

I'm Generation X, and in my generation, there were no "playdates." Parents didn't track your grades, and they definitely didn't track your location. You'd be walking around the neighborhood alone at 6 or 7 years old, often for hours. Usually your parents had no idea where you were. The hope was that you'd come home sometime before dark.

I didn't realize I was a helicopter parent

When my youngest son turned 13, he started going out with friends on his own. Sometimes he'd take a friend's school bus home with them, and hang out for a few hours. Other times, he'd walk over to a friend's house, and then walk around town.

I supported this — it reminded me of the freedom I experienced as a teenager and I know how important that was for my own development.

My son is super responsible, and doesn't make social plans without letting me know. That's why I didn't think it would be such a big deal when I asked him to share his location with me on his phone.

I didn't think of tracking as an invasion of my son's privacy. It just felt normal, the same way that I can see his grades as they come in on the school portal if I choose to. Or the way that I ask my son to text me about his social plans as they unfold, rather than just sending him out and expecting him to come back by nightfall.

But my son was adamant about me not tracking his location. My first reaction was, "I'm giving you freedom to do whatever you want, so I should be able to see where you are!" But as he made his case to me — that he is responsible and will update me, but doesn't like the idea of me tracking his every movement — I totally saw his point.

It's one thing to tell your parents what you're doing, and when you're coming home, but do parents really need to monitor every step a child takes?

I understand the idea of knowing a child's location so that you might be able to find them if you don't end up hearing from them. But honestly, if something awful were to happen, there's no way to be sure they'd still have their phone on them, or that tracking them would be able to protect them in any significant way.

Plus, I saw my son's point. I put my own teenage self in his position. If my parents had some way to track every move I made back in the day, I definitely would have felt resentful.

It made me reflect on modern parenting

After this happened, I realized that — without fully noticing it — I'd adopted so many overbearing aspects of modern parenting. I have a college student, and I see parents freaking out when they find out they can no longer monitor their kids' grades, and that kids (not parents) have to email the financial aid and school housing departments to take care of school business.

Our kids are eventually going to be grown-ups, and if we don't begin to loosen our grips on them, I fear that they are going to go into adulthood completely ill-equipped to handle anything on their own.

I know this world is dangerous, and knowing where your child is located may make you feel more confident as you let them venture out into the world. But you also have to consider your child's mental health and development and what it might mean for them to feel as though you are tracking every move they make.

Kids need to feel like their lives are their own and that the world is a place they can explore without constant scrutiny.

We came up with a compromise that worked for both of us

Despite all this, I realized that certain aspects of modern parenthood and things like GPS tracking technology can be helpful. So my son and I came up with a compromise. For the most part, I don't ask him to share his location with me, but I expect him to keep me updated about his plans, and text me if he needs to be picked up or if any other issues emerge while he's out.

But there are times when we end up using his phone's tracking feature, such as when he shares the location of where he needs to be picked up or when he's exploring an area that he's less familiar with.

This balance has made sense for our family because it's based on open communication, deep listening, and giving my son as much freedom as possible so that he can mature into a strong, resilient, and independent young adult.

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• Essay

It's a franchise-best opening for the horror-comedy hybrid that saw it bring in $60 million domestically and $48.3 million internationally. That's a good hunk of change more than even some healthy projections, which had most expecting a $40-$50 million domestic opening for Resident Evil.

Starring Austin Abrams as an original character named Bryan who is thrust into the darkest pits of a suffering Raccoon City, Resident Evil's opening performance also secures its place as Cregger's biggest debut yet. His work on Barbarian earned $10 million in its opening weekend, while last year's Weapons pulled in a still-impressive $70 million. The film also features appearances from Zach Cherry (Severance), Kali Reis (True Detective: Night Country), and Paul Walter Hauser (The Fantastic Four: First Steps).

There are a few things contributing to Sony, Cregger, and Resident Evil's success in theaters. While the Abrams-led flick aimed to deliver a story inspired by survival horror gameplay, the previous run of films starring Milla Jovovich typically strayed from including the elements gamers love about the IP.

Fans also largely agree that 2021's Welcome to Raccoon City, which came with a thick layer of video game references, failed to effectively pay homage to the franchise. Beyond Cregger's heavy-hitting resume, and regardless of the backlash leading up to his movie's release, fans have spent decades excited to see a Resident Evil movie not only show love to the Capcom series but deliver an experience based on what it's like to actually play its games.

Despite carrying Cregger's name and the Resident Evil brand into theaters, it has been somewhat of an uphill battle for the director's latest outing. Since the first trailers were released earlier this year, some fans have had a hard time accepting an adaptation that largely leaves behind familiar icons like Leon S. Kennedy and the T-Virus. While some were concerned about changes to the source material, which included a more modern setting and a snowy Raccoon City, early footage had other vocal viewers concerned Cregger wouldn't be able to land another hit horror film.

After its first weekend in theaters, however, Resident Evil has firmly defied expectations. Adding to its list of record-breaking box office stats, Resident Evil has mutated its way past Sonic the Hedgehog 3 to become the highest-rated video game movie of all-time, at least as far as Rotten Tomatoes is concerned. IGN gave it an 8/10 review, calling it "a simple and exciting survival horror story that benefits greatly from director Zach Cregger’s sensibilities."

In other box office news, the domestic top five saw Resident Evil take first place, with Practical Magic in second, Spider-Man: Brand New Day in third, The Odyssey in fourth, and Coyote vs. Acme in fifth. Worldwide, Resident Evil maintained the top spot, with The Odyssey, Practical Magic 2, Spider-Man: Brand New Day, and Coyote vs. Acme following in that order. Christopher Nolan's The Odyssey has surpassed $1.72 billion at the global box office, while Spider-Man: Brand New Day has reached $2.47 billion.

Sony spent approximately $75 million to make Resident Evil, according to Variety. Though its marketing costs are unclear, it looks like a strong start for the franchise's return to theaters. For more on the movie, you can read about why fans shouldn't expect to see a "Cregger cut" with more jokes. You can also read about why the director said his film will make fans "feel seen," and you can check out IGN's top 10 horror movies of 2026.

Michael Cripe

Freelance Writer

Michael Cripe is a freelance writer with IGN. He's best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).

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The Florida pop-punk band and Gilbert’s wife Lisa Cimorelli announced Gilbert’s death Sunday on social media, six months after the guitarist revealed he was battling brain cancer; Gilbert was initially diagnosed with liver cancer in 2021.

“On the morning of September 20th, Chad Everett Gilbert passed away peacefully in his sleep,” the band wrote. “He left this world surrounded by friends and family and took his final breaths with his wife and mother by his side, just as he wished.” 

Gilbert’s bandmates continued, “We are devastated and shocked by how quickly he left us, yet so grateful for how peacefully and smoothly he went. The amount of visitors that crowded the hospital lobby at a moment’s notice is a testament to how beloved and cherished Chad was, and always will be. He was a legendary musician, but his favorite accomplishment was being a husband and father. His biggest dreams came true.”

Since helping found the band alongside Jordan Pundik, Ian Grushka, and Stephen Klein in 1997 at just 17 years old, Gilbert became an integral part of New Found Glory, writing most of the band’s songs, including pop-punk staples “My Friends Over You” and “Head on Collision.”

“Chad’s guitar playing, songwriting, humor, and relentless drive helped shape New Found Glory for nearly three decades,” his bandmates wrote Sunday.

“Through more than a dozen albums, endless tours around the world, and more accolades than we ever could have imagined, Chad challenged all of us to grow as musicians, performers, and human beings. While we are devastated to lose him, we are so grateful for the incredible life he lived, the memories we shared, and the brotherhood we had. His influence will always be part of New Found Glory and his spirit will be felt on every stage we stand on, with every note we play.”

With New Found Glory, Gilbert became an integral member of the pop-punk scene in the early aughts. He offered guest vocals on a track from Fall Out Boy’s From Under the Cork Tree LP and guitar riffs on the band’s 2007 song “The Take Over, The Breaks Over.” Gilbert also had a longtime on-off relationship with Paramore lead singer Hayley Williams; the pair were married from February 2016 to late 2017.

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In a tribute post following the news of Gilbert’s death, Mark Hoppus wrote, “Chad was the best friend to every person he met. The most positive and creative force in any room he walked into.” The Blink-182 singer went onto detail Gilbert’s strength in his battle with cancer. “These past years he fought his sickness with the soul of a joyous, courageous warrior,” said Hoppus, who previously fought lymphoma after being diagnosed in 2021. He added: “You’ll be sorely missed by more people than you could ever imagine. See you on the other side.”

Earlier this year, New Found Glory took a moment to shout out Gilbert and his fight against cancer during their set at the 2026 Vans Warped Tour stop in Washington, D.C. “Give it up for Chad!” they told the crowd. Gilbert was unable to perform after he lost sensation in the left side of his body as result of three tumors that were pushed up against his brain.

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In April, the guitarist detailed his arduous cancer journey in an interview with Rolling Stone. “It felt good to know that there’s still a battle to be going on and that I can recover from this and grow stronger from this,” he said at the time. Gilbert and Cimorelli shared that the guitarist’s treatment plan included promising immunotherapies to keep the cancer out of his brain.

Gilbert continued to be positive throughout his cancer battle. “I have my crying moments where, like everyone, I have to let it out,” he said. “But I like that we can turn it around into something positive… It’s always been just to inspire and grow a community of people that want to go to our shows and smile and have a good time.” %!s()