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New South Wales police said a five-year-old girl and a 67-year-old man were in a critical condition, with eight others in a stable condition after the crash on Saturday morning.

Those in a stable condition included a two-year-old girl and another five-year-old girl.

The injured were treated on the scene by NSW ambulance paramedics, before being taken to John Hunter hospital.

The P-plate driver was an 18-year-old man who was arrested at the scene and taken to hospital for mandatory testing, police said.

The assistant commissioner David Waddell said there were reports the man was driving erratically before losing control and careening into the crowd. It was expected he would be charged later on Saturday.

The man had two others in the car with him.

“We had to get them out of there because the crowd did turn on them,” Waddell said.

The police minister, Yasmin Catley, said so many lives had been affected by a split-second decision, as she urged other drivers to take care over the NSW long weekend.

“We have already started Saturday morning with this devastation,” she said.

“Nobody can comprehend what has happened with this terrible tragedy.”

The roads minister, Jenny Aitchison, said the incident could have been worse, with more than 1,000 people gathered in the area where it occurred.

Emergency services were called to Newcastle Link Road at the Transfield Drive roundabout in Wallsend about 9.30am on Saturday after reports a vehicle struck multiple people in a crowd.

“Several people have been injured and are currently receiving treatment at the scene,” police said.

“Police have commenced an investigation into the circumstances surrounding the incident, with initial inquiries indicating it is not believed to be terror related.”

Gavin Morris, the mayor of Newcastle, told the ABC that the driver, who he said was a Knights fan, lost control while revving his car shortly before the team arrived.

“I’ve spoken to the authorities, a number of which, and look, first of all, it is under investigation, and the young driver is now with police, so it appears that he was revving the car in some form. He was excited. He was a supporter. He was, you know, a fan,” Morris said.

“It appears that he’s lost control of the car, and he’s gone … sideways into the crowd.”

Footage posted on social media appeared to show the car being driven quickly around a roundabout shortly before the crash.

Other images showed it had careened off the road soon afterwards.

A witness to the incident, Dylan Prior told ABC News that the car was “revving a bit” before it ran into a group of people.

“I saw some young kids go flying, and people running to help the victims,” he said.

“Everyone was yelling and hysterical, yelling at the driver.

“They were screaming for help.”

The Newcastle Link Road was closed in both directions, leading to the diversion of the Knights grand final procession.

The club confirmed in an Instagram post that it had changed its route, apologising to fans who may have missed farewelling the team but saying “public safety is our priority”.

Police appealed for fans to leave the area.

“Police acknowledge many loyal supporters may have missed the opportunity to see the team and show their support.

“Members of the public are asked to safely disperse from the area and keep roadways clear to assist emergency services and traffic management efforts.

“Police thank the community for their patience, cooperation and assistance.”

The NSW premier, Chris Minns, said his thoughts were with the families and friends of those injured.

“It’s heartbreaking to see fans who were sending off their grand final team involved in such a terrible incident,” he said.

“We’ve seen how this grand final has brought Newcastle together, and I hope the whole community remains united as we continue to respond.”

The prime minister, Anthony Albanese, said he had spoken with Minns and offered the federal government’s support.

“My thoughts are with everyone injured or involved in the horrible incident this morning in Newcastle,” Albanese said in a statement.

“I want to acknowledge and thank emergency services and police for responding so quickly, and their ongoing work in treating the injured.

“Rugby league brings people together, and this should have been a weekend of excitement and pride for Newcastle fans.” %!s()

Hassan Babar, the festival’s artistic director, said such stories should not merely serve as counter-narratives. “They should be the establishing paradigm,” Babar said.

The one-day event will screen 12 shorts from seven countries, with documentaries, dramas, comedies, animation and experimental pieces in the mix. Women make up a majority of the program’s directors.

“This festival exists because those stories deserve a stage in this city, not on the margins of someone else’s,” said Nawal Mubin, the festival’s co-founder and director.

The day will open with a reception for filmmakers and industry guests. Two blocks of six films each, running roughly an hour apiece, will precede the awards and the jury announcement.

Emmy winner Aasif Mandvi, a longtime “The Daily Show” correspondent who also starred in Paramount+ series “Evil,” sits on the six-member jury. He is joined by Arab-American writer-director Darine Hotait, founder of Cinephilia Productions, whose shorts have aired on HBO, AMC, SundanceTV and the BBC; Munir Atalla, head of production and acquisitions at Watermelon Pictures and a former Netflix creative executive; and producer Abubakar Khan, whose resume includes “The Glassworker,” Pakistan’s entry for the 2024 Oscars, and SXSW 2023 audience award winner “Mustache.”

Rounding out the panel are Lebanese-American filmmaker Sarah Mokh, a Sundance Feature Film Fellow who recently wrapped her first feature, “The Alchemy of Being Okay,” which Khan is producing, and Egyptian-American actor Abubakr Ali. Ali has roles coming up in Bassam Tariq’s “Your Mother Your Mother Your Mother,” opposite Mahershala Ali, and Sean Durkin’s A24 film “Deep Cuts,” and recently appeared in Kathryn Bigelow’s “A House of Dynamite.”

Streamer Watermelon+ is behind the festival’s Watermelon+ Discovery Award. Its winner, whether filmmaker or rights holder, will give the platform an exclusive license to show the film for a limited period. The Islamic Scholarship Fund, New York production and post house Lost in Space, and Aneesa Talks, which filmmaker Aneesa Khan founded to support South Asian and Muslim creatives, have also signed on as partners.

The program ranges widely in tone and subject. Justin Mashouf’s documentary “$17.74” follows a former gang member, behind bars since the 1980s, whose gesture of support for Gaza from inside prison set off a viral wave of solidarity. In Karim Emara’s Qatar-U.S. dramedy “Baba Is Melting,” a son phones his father, who is waiting in the car before Friday prayer in Doha, to challenge him over a hidden second marriage.

Zaid Ahmed Hassan’s “Ghusl” centers on a son whose dying father asks him to learn Islamic burial rites, while Basma Khalifa’s U.K. experimental piece “Henna” follows the henna plant’s life cycle alongside women from 16 African and SWANA countries. Sima Naseem’s Canada-Pakistan animation “My Friend in the Jingle Truck” combines stop-motion and 2D to tell of a Karachi girl who meets a magical bird.

In Alex Aljouni’s “Bukra,” a young Syrian refugee whose sweepstakes prize is a soccer ball rushes to collect it in time for one last match with her best friend before he is gone for good. One daring move reopens old rifts among three generations of Afghan women in Negine Jasmine Sekandari and Ayda Rojhantalab’s comedy “Haram Salami,” as they weigh who they are against what custom demands and what they want.

Maram Taibah’s Saudi fantasy “Malika” explores a girl’s bond with her grandmother, and the pull between wildness and the obedience expected of girls, through a magical-realist world spun from a child’s imagination. In Bilal Shams Khan’s Pakistani drama “Sabr O Shukar,” 10-year-old Akram learns about patience and gratitude while chasing his dream of a bicycle.

Imran J. Khan’s “The Boy With Dinosaur Head” pits a troubled boy who believes he is a dinosaur against a teacher set on pulling him back to reality, and their short encounter stays with both of them. Ilhan Abdullahi and Sherry Rashidan’s Canadian comedy “Unqualified” follows Warsan, the lone Muslim at her workplace, who is handed the job of spiritually cleansing a lunchroom said to be haunted and must clear out the spirits, armed with her faith and a string of misunderstandings, before she loses her job.

Lyna Tadount and Sofian Chouaib’s French drama “Ya Hanouni” centers on two parents vying to be their baby’s first word, until their lighthearted contest is cut short by an event that upends their lives.

Babar, a Toronto-based actor and producer, co-heads programming with Aneesa Khan, who also leads communications. Mubin, a New York director-producer, co-founded the festival with filmmaker and post-production specialist Giuseppe de Matteis. Both work at Lost in Space. %!s()

Sports Minister Kelvin Cruz announced the ban after incidents before the match on Thursday night at the entrances to the Felix Sanchez Olympic Stadium in Santo Domingo.

Video posted on social media showed groups of fans forcing some entrances, with one gate damaged.

“What we saw yesterday with a gate at the Felix Sanchez, a sports facility that has cost millions and millions of pesos to make it shine, is unacceptable,” Cruz said, citing a zero-tolerance policy on indiscipline.

Dominican Republic President Luis Abinader backed the decision, saying: “The position of the Sports Minister is the position of the Government.”

Haiti’s ⁠embassy in Santo Domingo said the remarks, made “in the heat of competition and the intensity characteristic of sporting events”, did not reflect the position of ⁠the Haitian government and thanked Dominican authorities for the event.

“Sporting ⁠rivalries must not call into question relations of good neighborliness and mutual respect that must prevail between the two states,” the embassy said in a statement.

In a post on X after the match, the federation called it a “beautiful night for Haiti, beautiful night for the island we share”, adding: “On the field, competition; off the field, respect for the neighbor.”

Haiti won the match 4-1, with Sunderland striker Wilson Isidor scoring twice. The win gave Haiti nine points in Group A, while the Dominican Republic remained on six points. Haiti play Costa Rica in San Jose on Sunday.

Isidor was filmed saying: “Hispaniola is Haiti.” Hispaniola is the Caribbean island shared by the Dominican Republic and Haiti, which have long clashed over migration and border security.

Dominican Football Federation president Jose Deschamps called Isidor’s remark “a lack of respect for national sovereignty” and said the federation would file a complaint with FIFA and CONCACAF.

Abinader’s government has stepped up deportations of undocumented Haitians since October 2024, when it pledged to deport up to 10,000 people a week.

Sport has been drawn into the neighbours’ disputes before.

In 2023, after Abinader shut the border in a dispute over a Haitian canal on the shared Massacre River, Haiti’s sports ministry ordered its football federation to stop staging national team matches in the Dominican Republic. %!s()

On October 2, Capcom held its own tech conference, called ‘Capcom Open Conference RE: 2026.’ One of the most notable takeaways from this event was a presentation given by programmer Satoshi Ishida, titled ‘The Outlook and Future of the REX Project, Further Evolving the RE Engine for the Next Generation.’ The purpose of this presentation was to outline several major changes coming to the RE Engine, which will come in the form of a multi-step improvement project called ‘REX.’

As reported by Japanese news outlet GameBiz, Ishida mentioned three major issues that Capcom is currently experiencing when it comes to game development: First, games are now so massive that simple processes have become extremely time-consuming; increased numbers of staff mean an engine is needed that’s easy for everyone to use; and finally, “successfully integrating AI technology into development workflows has become an essential condition for streamlining future development.”

GameBiz’s report confirmed that REX was created to help solve these problems by improving the efficiency of game development, game performance, tools, quality assurance, etc. Capcom felt that, rather than creating a brand-new engine from scratch, gradually adding these improvements over time is the best way to help evolve the RE Engine to the next generation.

We won’t get into the weeds of all the specific improvements included in the REX program, but Capcom is making at least some of them open-source for the purpose of training AI. Most interestingly, AI plays into Capcom’s larger, long-term goal of turning the RE Engine into an “AI-generation game engine” using its REX improvements.

GameBiz stated that REX unifies the entire RE Engine system under the “world’s most common programming language," meaning that it’s equal parts easier for humans to use and for AI to understand. Capcom’s goal is to build a future where it “creates games together with AI”; keeping REX in mind, this seems to mean that Capcom is utilizing artificial intelligence to speed up and streamline certain processes to make development easier, not necessarily to generate assets or artworks wholesale.

In the past, Capcom has been publicly averse to using AI to create assets, but confirmed that it will use artificial intelligence as a tool for optimizing how it makes games.

“We will not implement assets generated by AI into our games.” Capcom said in a March 2026 shareholders meeting. “However, we plan to proactively use it as a contributing technology to improve the efficiency and productivity of the game development process. To this end, we are currently exploring ways to implement it in various areas, including graphics, sound and programming."

This is the latest big news to come from Capcom after Resident Evil executive producer Jun Takeuchi revealed that plans are already in place to prepare the series for when RE remakes catch up to modern games, saying the series is being developed along “two tracks.”

It’s been a big year for the company; this year alone, Capcom has produced three critically-acclaimed titles in Resident Evil Requiem, Pragmata, and Onimusha: Way of the Sword, alongside two movie adaptations in Zach Cregger’s Resident Evil and Legendary’s Street Fighter flick, set to release in theaters on October 16, 2026.

Virginia (she/her) is IGN’s News Editor. With ten years of experience reporting on games and entertainment, she’s got a storied background in the fighting game community, influencer news, and viral online trends. Find her on Twitter at @TheeMissGlaze. 

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