As you know, Amy Adams is set to appear in Lucasfilm’s Star Wars: Starfighter alongside Ryan Gosling.

The actress briefly talked about the movie during an appearance on The Tonight Show Starring Jimmy Fallon, where Fallon and when it was brought up that she had been cast in the film. Adams said, “These rumours are true, really. Yeah, that’s about all I can tell you is that I’m in it.”

Her casting was never really a rumor because it one of those casting announcements that was confirmed by Lucasfilm. Fallon tried to dig a little deeper, but Adams kept the details under lock and key, laughing off any attempts to get more information and promising she would come back when she was actually allowed to talk about the movie.

While she couldn't discuss her role, Adams was more than happy to share her excitement about finally becoming part of the Star Wars universe.

The actress described joining the franchise as a “total dream come true,” explaining that she grew up as a huge fan of the iconic space saga.

Her love for Star Wars goes back to childhood, when she collected toys from the franchise, including a Princess Leia doll. In fact, she revealed that she even purchased multiple re-released versions of the collectible over the years to give to friends.

Adams also reflected on why the series has remained so meaningful to her, praising creator George Lucas and the imagination that fueled the franchise from the beginning.

“They’re so creative and, and like inspiring and good versus evil,“ Amy said.

It's easy to understand why landing a role in Star Wars would mean so much to her. Like many fans, Adams grew up captivated by the franchise's sense of adventure, stories, and memorable characters.

The movie is being directed by Shawn Levy, who previously delivered Marvel's massive hit Deadpool & Wolverine.

The film already features an impressive lineup that includes Gosling, Mia Goth, and Matt Smith. Lucasfilm also announced cast members, including Aaron Pierre, Jamael Westman, Flynn Gray, Simon Bird, and Daniel Ings.

Plot details are still being kept under wraps, and Lucasfilm hasn't revealed who any of these actors will be playing. That mystery is likely to remain intact for a while longer.

One of the most exciting creative reunions in animation is officially happening. Oscar-winning composer Michael Giacchino has signed on to score Ray Gunn, the highly anticipated Netflix animated feature from Brad Bird, and the music has already been recorded at the legendary Abbey Road Studios in London.

For fans of Bird and Giacchino’s previous collaborations, this news should come as no surprise. The filmmaker and composer have built one of the strongest creative partnerships in modern cinema, beginning with The Incredibles in 2004.

Since then, they’ve worked together on Ratatouille, Mission: Impossible – Ghost Protocol, Tomorrowland, and Incredibles 2. Now they’re teaming up once again for what sounds like one of the most unique animated projects currently in development.

Set in an alternate future viewed through the lens of 1939, Ray Gunn takes place in the sprawling metropolis of Metropia.

The story follows private investigator Raymond Gunn, voiced by Sam Rockwell, as he becomes entangled in a mystery involving aliens, murder, and a multimedia celebrity named Venus Nova, voiced by Scarlett Johansson. Tom Waits is also part of the voice cast.

The film marks Bird’s first feature project since Incredibles 2 arrived in theaters in 2018. Bird created the original story and co-wrote the screenplay with Matthew Robbins, giving the project an even more personal connection for the acclaimed filmmaker.

Bird spoke about reuniting with Giacchino and explained why their creative process remains so special: “One of the reasons I loved working with Michael again on ‘Ray Gunn’ is that he treats the orchestra like a living organism.

“He wants all the musicians in the same room, reacting to each other, and you can hear the difference. It’s the same way I like to work with animators — they’re not an afterthought, they are the thought.”

That seems especially fitting for a project as ambitious and stylized as Ray Gunn. Recording at Abbey Road Studios also adds another layer of excitement, as some of cinema’s most iconic scores have been brought to life within those historic walls.

Giacchino reflected on his longtime friendship and partnership with Bird, saying: “Working with Brad on ‘Ray Gunn’ still feels like two kids meeting in a park to talk about ‘Jonny Quest.’ We grew up loving the same things, we still get that same excitement, and that shared enthusiasm gets poured straight into the movies we make together.”

That shared enthusiasm has produced some incredible movie music over the years, and it’ll be fascinating to hear what Giacchino creates for a futuristic detective adventure filled with noir influences, aliens, and larger-than-life characters.

Ray Gunn is expected to debut on Netflix later this year, although an exact release date has yet to be announced.

The film is part of Skydance Animation’s ongoing partnership with Netflix, which began with an exclusive multi-year agreement in 2023.

Between Brad Bird returning to feature animation, Michael Giacchino crafting another score for one of his closest collaborators, and a story that blends retro detective fiction with science fiction spectacle, Ray Gunn is shaping up to be one of the most intriguing animated movies heading to Netflix this year.

Curry Barker's indie horror sensation Obsession continues to impress at the box office a month after its theatrical release, and naturally, fans are already wondering if a sequel is on the horizon.

The good news is that Barker has ideas. The bad news, at least for impatient horror fans, is that he isn't planning to jump straight into making Obsession 2.

The filmmaker recently spoke with The Hollywood Reporter about the future of the franchise and revealed that a sequel concept is already floating around in his head. He just doesn't think now is the right time to make it.

"I don’t want to go straight into Obsession 2. I have such a cool idea for it that I won’t say. I’m not saying it has to be five, six years from now. But I think people would be just as excited for it if it came a little down the road. It’s a whirlwind, and I’m trying to figure it out."

That response will probably leave fans both excited and frustrated. It's encouraging to hear that Barker already has a direction in mind for a sequel, but it sounds like he wants to give the idea room to breathe rather than rushing another installment into production.

For those who haven't experienced Obsession yet, the film centers on a shy young man named Bear who purchases a novelty wishing branch and wishes for his crush, Nikki, to love him more than anything in the world.

The wish unexpectedly works, but the outcome is far from romantic. Nikki transforms into a dangerously obsessed succubus, turning Bear's dream relationship into a nightmare.

While the story may have wrapped up for some of the movie's characters, the mythology surrounding the One Wish Willow feels like it still has plenty of untapped potential. That larger world is one of the reasons fans have been speculating about sequels and spinoffs ever since the film started gaining momentum.

Interestingly, Barker has also floated another possibility that could expand the franchise in a completely different way. During an early screening of Obsession, he talked about the idea of turning the concept into an anthology series.

"What really is exciting to me [would be doing] an anthology, like a one-hour episode," said Barker. "Each episode is a different wish that goes completely off the rails. Maybe I'll direct the pilot with the same DP, and then you could invite other filmmakers to give their spin at it. That would be really cool."

It's easy to see the appeal. The One Wish Willow creates a setup that could generate countless horror stories, each exploring a different wish gone horribly wrong. An anthology format would also allow Barker and other filmmakers to experiment with fresh characters, tones, and nightmares without being tied to a single ongoing storyline.

Of course, Barker has plenty keeping him busy before he has to make a decision about returning to the world of Obsession. He's currently editing his next film, Anything But Ghosts, which stars Aaron Paul and Bryce Dallas Howard. After that, he'll be tackling a new Texas Chainsaw Massacre movie for A24.

Barker has previously said that he wants to focus heavily on Leatherface's family in that project, though the script hasn't been written yet. Between that film and his original projects, he's facing the kind of career crossroads most filmmakers dream about.

"The opportunities were just unbelievable. I realized I can do whatever I want now," said Barker to THR. "The big conversation is: Do I want to do an IP movie? Or do I want to do my original?

“I have an idea for my original, but I have so many ideas for Chainsaw as well. I have a lot to weigh, and that’s where the stress really comes from. I don’t know what to do next."

That's a pretty great problem to have. For now, it sounds like Obsession 2 remains a possibility rather than a priority. Barker clearly has ideas for where the franchise could go next, but he's also in a position where multiple exciting opportunities are competing for his attention.

Whether the next chapter arrives as a sequel, an anthology series, or something completely unexpected, fans will just have to be patient.

In the meantime, Obsession is still playing in theaters and continuing to build its audience, proving that Barker's twisted horror story has struck a nerve with genre fans.

Apple TV is doubling down on one of its most entertaining new genre series. Just ahead of next week’s Season 1 finale, the streamer has officially renewed Widow’s Bay for a second season.

At the same time, Apple is strengthening its relationship with series creator Katie Dippold, who has signed a new multi-year overall deal with the company.

While details of the agreement haven’t been revealed, the deal is said to cover television projects as well as a first-look arrangement for feature films. It’s a clear sign that Apple sees Dippold as a creative force worth investing in for the long haul.

The renewal news isn’t much of a surprise for anyone who has been watching Widow’s Bay. The horror-comedy has carved out a unique space with its mix of creepy mythology, quirky characters, and sharp humor.

It’s the kind of show that can make you laugh one minute and leave you wondering what nightmare is lurking around the corner the next.

Apple TV’s Head of Programming, Matt Cherniss, celebrated the announcement, saying: “From the moment audiences arrived in Widow’s Bay, they’ve been hooked on every eerie mystery, unexpected laughs, and cursed secret that Katie, Hiro [Murai], Matthew, and the entire team have created.

“It’s become one of those shows everyone’s talking about, and we’re thrilled to see audiences continue to embrace it. We can’t wait to return for another season.”

The series has been a blast to watch. The blend of horror, comedy, and island folklore works incredibly well, and there’s plenty of mystery left to explore. I’m excited for what will be coming in the new season!

The series was created by Dippold and developed alongside Emmy-winning executive producer and director Hiro Murai. The story centers on Mayor Tom Loftis, played by Emmy winner Matthew Rhys, a man desperately trying to breathe new life into his struggling island community.

The official logline reads: “In Widow’s Bay, something lurks beneath the surface. Mayor Tom Loftis (Rhys) is desperate to revive his struggling community. There’s no Wi-Fi, spotty cellular reception and he must contend with superstitious locals who believe their island is cursed.

“He wants these people to respect him. They don’t. They think he is soft and cowardly. And he is. But Loftis is determined to build a better future for his teenage son and turn the island into a tourist destination.

“Miraculously, he succeeds: tourists are finally coming. Unfortunately, the locals were right. After decades of calm, the old stories that seemed too ludicrous to be true start happening again.”

As for what’s coming next, Dippold offered a perfectly suspicious tease about Season 2: “Season two is about how everything is great on the island and there’s nothing to worry about.”

Sure, Katie. We totally believe you.

Joining Rhys in the cast are Kate O’Flynn, Stephen Root, Kingston Rumi Southwick, Kevin Carroll, and Dale Dickey, with supporting performances from K Callan and Emmy winner Jeff Hiller.

Murai executive produces alongside Dippold through Chum Films, with Carver Karaszewski, Claudia Shin, and Rhys also serving as executive producers. Murai directed five episodes during the first season, while the remaining episodes were helmed by Ti West, Sam Donovan, and Andrew DeYoung.

The first season wraps up on June 17, and now fans can head into the finale knowing that the strange mysteries, island curses, and darkly funny chaos of Widow’s Bay will continue in Season 2.

Fans are still debating the ending of The Boys, and now series creator Eric Kripke has weighed in on the intense reaction that followed the show's final episode.

The hit Prime Video series wrapped up its five-season run last month with Season 5 Episode 8, bringing one of television's most outrageous and unpredictable superhero stories to a close.

While many viewers were satisfied with how things ended, others took to social media to voice their frustration with the finale, sparking heated discussions across the internet.

Kripke is fully aware of the criticism. In fact, he says he sees plenty of it. But rather than viewing the backlash as a problem, he sees it as proof that people genuinely care about the series.

Speaking with TVLine, Kripke explained: “I’m not healthy in that I’m like, ‘Oh, I never look.’ I see it all. Obviously, there are a lot of unhappy people online, but there are two things I would say: First, I’m just glad people are passionate, legitimately.

“My job is to make people passionate about the work I put out. If they’re arguing about it and hating it and fighting, that’s all passion, man. You’re watching, and that’s all good. My job is to get an emotional reaction, not necessarily to dictate what that emotional reaction is.”

While some showrunners might be rattled by a loud online response, Kripke seems more focused on whether the story sparked a reaction at all.

He also pointed out that social media conversations can create the impression that an entire audience feels a certain way, when in reality they represent only a small slice of the show's overall viewership.

Kripke continued: “We have way north of 60 million viewers, so that makes the online storm, which feels very all-encompassing, actually a fraction of a single percentage point.

“Everyone’s entitled to their opinion, of course, and I’m sorry if I disappointed you, but it was the story I wanted to tell. You just have to put it into perspective of it being a reasonably small, vocal audience when the vast majority seem to be happily tuning in.”

What stands out most from his comments is that while he's willing to acknowledge disappointed fans, he isn't second-guessing the creative decisions that shaped the finale. The ending viewers saw was the one he intended to make, and despite the criticism, he remains comfortable with that choice.

That probably won't quiet the ongoing debates surrounding The Boys finale anytime soon. If anything, Kripke's comments may fuel even more discussion among fans who either loved or hated how the story concluded.

Steven Spielberg’s Disclosure Day spends nearly its entire runtime building toward one question: What happens when the truth of the UFO cover-up finally comes out?

The film promises aliens, government secrets, and a world-changing revelation. Naturally, audiences walk into the theater expecting an unforgettable payoff when everything is finally put on the table.

And while the movie delivers several fantastic twists and some genuinely powerful moments along the way, I walked out feeling a little conflicted about where it ultimately lands.

There’s a lot to admire in the ending. There are some beautiful ideas at play, classic Spielberg optimism, and a message that’s easy to appreciate.

At the same time, I found myself wishing for a stronger emotional payoff and a resolution that felt more complete. Instead, the film wraps things up in a way that struck me as somewhat abrupt.

By the final act, we learn the truth about Daniel and Margaret, and it’s one of the movie’s most interesting revelations. Both characters were briefly abducted as children and altered by extraterrestrials for a specific purpose.

Daniel was given an extraordinary ability to understand and communicate through the universal language of mathematics, effectively making him a bridge between humanity and the alien visitors. Margaret received a very different gift. She can see into people and understand their deepest emotions, allowing her to connect with others on an impossible level.

Margaret’s abilities lead to some of the film’s most memorable scenes. One sequence in particular, where she appears to people as deceased or estranged loved ones, is absolutely interesting. It was one of those great Spielberg moments. It’s emotional, imaginative, and captures the kind of wonder the filmmaker has always excelled at creating.

Once Daniel and Margaret finally understand who they are and why they were chosen, they fully set out on a mission wit their new found friends to bring the truth to the public. The action shifts to a Kansas City news station, where the story began.

Margaret prepares to address viewers directly while Daniel works behind the scenes, uploading the classified files he stole from Wardex. There’s something satisfying about these sequences. The collaboration between journalists, whistleblowers, and everyday people trying to expose the truth gives the finale an infectious energy.

Then the floodgates open. The files reveal undeniable evidence that aliens exist. Audiences are shown the Roswell crash. Alien encounters with government officials. Interrogations. Massive sci-fi imagery.

Part of me kept expecting Spielberg to sneak in some kind of playful nod suggesting that E.T. the Extra-Terrestrial and Close Encounters of the Third Kind existed somewhere in this universe. There are so many screens and images flying around that it almost feels possible.

The climax arrives when Hugo and his team bring forward the alien he helped free years earlier. This is the same extraterrestrial who first revealed Daniel and Margaret’s importance.

As the alien is presented live on television for the entire world to see, it whispers a message to Daniel. Daniel translates it for Margaret. Margaret steps in front of the camera, ready to deliver what may be the most important statement in human history.

And then she says one word… “Listen.”

Then the credits roll. The immediate reaction is obvious. What did the alien actually say? After spending an entire movie building toward first contact and global disclosure, the audience never hears the full message. We never see the aftermath. We never witness the world's response beyond the first moments.

As frustrating as that may be, I understand why Spielberg and the filmmakers made that choice. For one thing, it’s nearly impossible to write a message that could live up to the expectations attached to it.

This is supposedly the first communication between an alien species and all of humanity. No matter what was written, some viewers would inevitably find it lacking. Leaving the message open-ended allows everyone to project their own hopes, fears, and interpretations onto it.

In that sense, the film invites the audience to participate in the ending. Whatever you think the aliens would say, that becomes the message.

There’s also a thematic reason for ending where it does. Earlier in the film, Noah worries about what disclosure could do to society. Hugo sees things differently. He believes people are capable of understanding one another. He believes empathy is what the aliens are trying to teach humanity, and that empathy starts with listening.

Viewed through that lens, Margaret’s final word becomes more than a message to the characters watching television inside the movie. It becomes a message directed straight at us.

Listen to one another, hear different perspectives, and try to understand people before dismissing them. It’s a simple idea, but an admirable one.

The film also strongly suggests that the message has a positive effect. During the broadcast, we see soldiers and civilians alike stop what they’re doing to watch. Potential conflicts seem to pause as the truth unfolds. Disclosure Day never shows us the next morning, but it clearly implies that humanity may have taken a meaningful step forward.

The problem for me is that the emotional impact didn’t quite hit as hard as I think Spielberg intended. Part of that comes down to timing. Today, public conversations surrounding UFOs, UAPs, whistleblowers, and government disclosure happen regularly. Congressional hearings, officially released videos of UFOs, and endless online debates have made these topics part of mainstream discussion.

Because of that, some of the movie’s biggest revelations don’t land with the same force the story seems to expect. The film treats the disclosure as a world-stopping event, but now that it is all happening for real and we’re living through it, it just seemed a bit deflated.

That doesn’t make the ending bad. Far from it. There are thoughtful themes here, compelling character arcs, and some genuinely fantastic moments. I especially loved the revelations surrounding Daniel and Margaret and the way their abilities tied into the larger message of communication and empathy.

I guess I just wanted a little more. A stronger emotional release. Something that allowed all that buildup to fully connect before the credits rolled.

Instead, Disclosure Day leaves viewers hanging on a single word and asks them to finish the story themselves. Maybe the conversation we have with each other about the experience the movie delivered is the ending.

What did you think of the final moments of Disclosure Day? Did the ending work for you, or were you hoping for a more satisfying resolution? Let us know in the comments.

The cast of The Lord of the Rings: The Hunt for Gollum just got even more interesting. Warner Bros. Pictures has officially announced that Anya Taylor-Joy is joining the upcoming Middle-earth adventure, bringing another major star into a project that is already packed with familiar faces from Tolkien’s world.

Directed by Andy Serkis, who will once again step into the role of Gollum, The Hunt for Gollum is shaping up to be one of the most anticipated fantasy films on the horizon. While fans are eager to see the return of iconic characters, the addition of Taylor-Joy introduces a completely new figure to the mythology.

Taylor-Joy will play Seren, described as “a Sindar Elf of the Woodland Realm, a trusted and lethal agent of King Thranduil (Pace).”

That connection places her alongside Lee Pace’s Thranduil, the Elven King who memorably appeared in The Hobbit trilogy. While details regarding Seren’s role in the story remain under wraps, the description suggests she’ll be more than capable when it comes to navigating the dangers of Middle-earth.

The film’s cast is already loaded with talent. Alongside Serkis, the movie stars Ian McKellen returning as Gandalf, Elijah Wood as Frodo, Lee Pace as Thranduil, Kate Winslet as Marigol, Jamie Dornan as Strider, and Leo Woodall as Halvard.

Taylor-Joy’s addition feels like a natural fit for a fantasy epic of this scale. The actress recently appeared as Alia Atreides in Dune: Part Two and is set to return to the role in Dune: Part Three later this year. She also voices Princess Peach in the animated Super Mario films and she also played Furiosa in Furiosa: A Mad Max Saga.

Her career has been filled with standout genre projects, including The Witch, Split, Thoroughbreds, The New Mutants, Last Night in Soho, The Menu, and The Queen’s Gambit. Whether she’s leading psychological thrillers, action adventures, or fantasy stories, she consistently brings a unique screen presence that should fit perfectly within Tolkien’s world.

Peter Jackson is producing alongside Fran Walsh, Philippa Boyens, and Zane Weiner. Executive producers include Ken Kamins, Serkis, and Jonathan Cavendish of The Imaginarium. The screenplay was written by Walsh, Boyens, Phoebe Gittins, and Arty Papageorgiou.

Plot details are still largely being kept secret, but the story is expected to explore events connected to Gollum’s journey and the hunt for him during the timeline of Tolkien’s larger saga. That leaves plenty of room for familiar characters, new faces, and untold stories from one of fantasy’s richest worlds.

With Anya Taylor-Joy now entering Middle-earth, The Hunt for Gollum just became even more intriguing. Fans have been waiting to see how Warner Bros. would expand Tolkien’s cinematic universe, and bringing in an actress with Taylor-Joy’s range and star power certainly makes this next chapter worth keeping an eye on.

The Lord of the Rings: The Hunt for Gollum arrives in theaters on December 17, 2027.

Welcome to the hunt, Anya Taylor-Joy. The Lord of the Rings: The Hunt for Gollum only in theaters 17 December 2027. pic.twitter.com/u7UoU9Jq3F

— Warner Bros. (@warnerbros) June 15, 2026

It's hard to imagine the Marvel Cinematic Universe without Tony Stark's emotional farewell in Avengers: Endgame, but according to Avengers: Doomsday co-director Joe Russo, Marvel seriously considered ending Iron Man's story a full movie earlier.

During a conversation with Robert Downey Jr. for CBR, Russo opened up about the creative process behind Marvel's two-part Infinity Saga finale and revealed that nothing was off the table when the filmmakers were mapping out the story.

That included the possibility of killing Tony Stark in Avengers: Infinity War instead of saving his final sacrifice for Endgame. As Russo explained:

"This happens a lot in these rooms, right? We try to investigate all angles. Everything's up for grabs. We always say, 'Best idea wins.' And a lot of the time you gotta stretch..."

Downey then jumped in with a humorous response that perfectly sums up where his priorities were at the time:

"Mine is just, 'Don't kill me.'"

That led Russo to elaborate on how seriously the creative team explored the idea of catching audiences completely off guard by taking Iron Man out before the conclusion of the Infinity Saga.

"We have to stretch the taffy a little bit, pull the taffy a little bit, stretch it, see where it goes. There was a moment where we thought, 'They're not expecting it. This could be the best place to possibly do it.’

"But then we'd have to figure out how he could potentially still participate in the next movie. And then we went, "F*** it, let's just do it in the next movie.'"

Infinity War ended with Thanos successfully wiping out half of all life in the universe. Tony survived the Snap, but found himself stranded in space and forced to live with the consequences of his failure.

That survival ultimately paved the way for one of the MCU's most memorable story arcs in Endgame, where Stark settled down, became a father to Morgan Stark, and eventually made the ultimate sacrifice to stop Thanos once and for all.

Had Marvel gone another direction, Endgame could have looked completely different. Iron Man might have died during the battle on Titan. He could have even been one of the heroes erased by the Snap, only to return five years later alongside Spider-Man and Doctor Strange. Either scenario would have dramatically changed the emotional weight of the story.

More importantly, fans likely would have missed out on one of the MCU's defining moments when Tony stared down Thanos and declared, "I am Iron Man" before snapping his fingers.

That scene landed so powerfully because audiences had spent more than a decade watching the character grow from a self-centered genius into a hero willing to give everything to save the universe.

Looking back now, it's hard to argue with the choice Marvel made. Tony Stark's death in Endgame became the emotional centerpiece of the film and served as a fitting conclusion for the character who launched the MCU with Iron Man in 2008.

Of course, Downey's Marvel journey isn't finished yet. The actor is returning to the franchise in Avengers: Doomsday and Avengers: Secret Wars. This time, however, he won't be suiting up as Iron Man. Instead, he'll be stepping into the role of Victor Von Doom, one of Marvel's most iconic villains, reuniting with Joe and Anthony Russo for another massive MCU event.

Marvel Studios has indicated that Doctor Doom won't simply be a variant of Tony Stark, but it's difficult to believe the franchise won't acknowledge the visual similarities in some way. Whether that's through a quick reference or something more substantial remains to be seen.

Avengers: Doomsday is currently set to hit theaters on December 18.

The trailer has arrived for Nimrods, a coming-of-age road trip comedy inspired by the early touring days of Green Day, and it looks like a fun, chaotic journey packed with music, mischief, and plenty of youthful ambition.

The film was originally titled New Years Rev when it premiered at the 2025 Toronto International Film Festival, but it has since been rebranded as Nimrods ahead of its theatrical release this summer.

Directed by Lee Kirk, the movie follows three teenage friends who believe they've landed the opportunity of a lifetime: opening for Green Day at a massive New Year's Eve concert in Los Angeles.

As you might expect, things aren't exactly what they seem. The story centers on three aspiring musicians who are completely obsessed with Green Day and dream of making it big.

Convinced they're heading toward a career-changing gig, they pile into a vehicle and hit the road from Kansas to California. What they don't realize is that the supposed opening slot was actually set up as a prank by one of their brothers. Still, that doesn't stop them from chasing the dream.

The synopsis explains: "Since Green Day burst onto the scene in the 1990s, their sound and success have helped launch a countless number of garage rock bands, each aspiring to channel the group's energy & attitude.

“Among the most committed are The Analog Dogs, [a rock band] who want nothing more than to meet Billie Joe Armstrong, Mike Dirnt, and Tré Cool. Forcing their way to drop off a demo to their beloved idols in hopes of earning some recognition, they instead get an extremely rare opportunity — to open up for Green Day at their New Year's concert. Or so they think.

“Unbeknownst to them, the opener gig is actually a prank played on them by one of their brothers. Nevertheless, naively optimistic, the young trio set off on the road from Kansas to California, with wide-eyed dreams of being on stage alongside their heroes."

The trailer leans heavily into the classic road trip formula, throwing its young heroes into one ridiculous situation after another as they chase a dream that may not even exist.

It has the kind of scrappy energy that feels right at home with a story inspired by Green Day's early years traveling in a tour van, playing wherever they could and trying to make a name for themselves.

The film stars Mason Thames, Kylr Coffman, and Ryan Foust as the three friends at the center of the story. They're joined by a cast that includes Ignacio Diaz-Silverio, Keen Ruffalo, Jenna Fischer, Angela Kinsey, Mckenna Grace, Fred Armisen, Bobby Lee, and Sean Gunn.

Nimrods was written and directed by Kirk, whose previous credits include The Giant Mechanical Man and Ordinary World. The project is produced by Tim Perell, Stella Bulochnikov, Green Day members Billie Joe Armstrong, Mike Dirnt, and Tré Cool, along with Anna Keegan and Robin Rapino.

Nimrods looks like an entertaining mix of friendship, rock music, bad decisions, and life lessons learned on the open road. If you're a Green Day fan or just enjoy road trip comedies about underdogs chasing impossible dreams, this one could be worth keeping on your radar.

Legion M and Inaugural Entertainment will release Nimrods exclusively in theaters on August 14, 2026.

As conversations continue about whether the Academy Awards should finally create an Oscar category for voice acting, Tom Hanks has weighed in with a perspective that might surprise some animation fans.

While promoting Toy Story 5, Hanks told Gold Derby that he doesn’t think the Oscars need to add a separate category for voice performances. Instead, he believes those performances should be eligible to compete alongside traditional live-action roles in the existing Best Actor and Best Actress races.

“I think they have enough categories. The truth is, truly, a voice actor can win Best Actor. The judgment is ‘any performance that moved you.’

“We’ve talked about, for example, Andy Serkis. Even though he does not appear as Andy Serkis, he gives all the raw material to it. There’s been people who have been close to being nominated that do not appear on camera. That could happen to a pure-vocal actor.”

Hanks continued: “If they are moved, that means they are moved by a human being’s performance. That’s all the requirement.”

It’s a thoughtful argument, and coming from Hanks, it carries some weight. The actor is a two-time Oscar winner thanks to his performances in Philadelphia and Forrest Gump. He also knows a thing or two about voice acting after bringing Woody to life in the Toy Story franchise, a role that earned him an Annie Award nomination in 1995.

The problem is that the Academy’s history doesn’t really support Hanks’ optimism. In more than 95 years of Oscar history, not a single performer has ever received an acting nomination solely for a voice-only role. Not one.

There have been close calls and plenty of discussions. One of the most notable examples was Scarlett Johansson's acclaimed vocal performance in Her. Many critics considered her work awards-worthy, and the film itself went on to win the Oscar for Best Original Screenplay. Even then, a nomination for her performance never materialized.

The same issue has followed motion-capture performers for years. Andy Serkis has long been viewed as one of the pioneers of performance capture thanks to characters like Gollum, Caesar, and King Kong, yet the Academy has never recognized that work with an acting nomination.

Likewise, Zoe Saldaña has delivered emotionally rich performances as Neytiri throughout the Avatar franchise, but those performances have also been ignored by Oscar voters.

Speaking to The Independent in 2024, Saldaña shared her frustration with how these performances continue to be treated:

“Old habits die hard, and when you have old establishments, it’s really hard to bring forward change, and I understand that, so I’m not bitter about it, but it is quite deflating when you give 120% of yourself into something.

“I mean, not winning is ok, not being nominated is ok, but when you’re overlooked and then minimized and completely disregarded…”

James Cameron echoed that sentiment during a previous interview arguing that Saldaña’s work deserves the same consideration as any acclaimed live-action performance:

“I’ve worked with Academy Award-winning actors, and there’s nothing that Zoe’s doing that’s of a caliber less than that. But because in my film she’s playing a ‘CG character,’ it kind of doesn’t count in some way, which makes no sense to me whatsoever.”

That’s really the heart of the debate. Hanks is absolutely right that a great performance is a great performance, regardless of whether audiences see the actor’s face. Voice actors and motion-capture performers are still creating characters through emotion, timing, physicality, and performance.

But if the Academy truly viewed those performances the same way, we probably would have seen at least one nomination by now.

After nearly a century of Oscar ceremonies, it feels increasingly difficult to believe that voters will suddenly start nominating voice-only performances for Best Actor or Best Actress. The precedent simply isn’t there.

If recognition is ever going to happen in a meaningful way, a dedicated Voice Acting category may be the only realistic path forward.

That doesn’t diminish Hanks’ point. In an ideal world, acting is acting, whether it happens in front of a camera, through a microphone, or beneath layers of motion-capture technology. The reality, however, is that the Academy has spent decades showing us exactly where it draws that line.

What do you think? Should voice actors compete alongside traditional performances for Oscar gold, or is it finally time for the Academy Awards to create a dedicated voice acting category?

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When Masters of the Universe hit theaters in 1987, there was never any question that Dolph Lundgren was going to be great in the role of He-Man visually.

Towering, impossibly muscular, blond-haired, and physically imposing, Lundgren embodied everything fans associated with the Most Powerful Man in the Universe. At a time when Hollywood was still trying to figure out how to adapt toy and cartoon properties into live-action films, simply finding someone who could convincingly fill He-Man's boots was a challenge in itself.

The problem was that looking like He-Man and playing He-Man turned out to be two very different things. One of the more interesting stories to emerge from the oral history of Masters of the Universe involves the struggle to transform Lundgren from a rising action star into a leading man capable of carrying a major fantasy film.

It's a story filled with hard work, frustration, determination, and one surprising revelation that some fans have never heard before.

At one point during production, director Gary Goddard actually tried to have Dolph Lundgren's voice dubbed.

Looking back now, it feels almost impossible to imagine. Lundgren has gone on to enjoy a decades-long career, becoming one of the most recognizable action stars of his generation. But in 1987, things looked very different.

At the time, Lundgren's biggest claim to fame was his unforgettable appearance as Ivan Drago in Rocky IV. The role made him an international sensation almost overnight. The problem was that Drago barely spoke.

As Goddard bluntly pointed out, audiences mainly remembered one line. “After I became director, Ed Pressman set up a meeting with Dolph. At his house, I think. It was fine, it was a first meeting.

“Dolph's very personable, he has a great face, I knew that he was gonna photograph well, but then he started talking and in my mind I was thinking: uh-oh. As he was speaking, I was thinking: wow, we're gonna have some issue with him speaking with lines. Because his English...remember, in Rocky he only says one line: "I must break you."”

For Goddard, this was a huge concern. He-Man wasn't a silent warrior. He was the central hero of the story. He needed to deliver speeches, inspire allies, confront villains, and carry dramatic scenes. The movie couldn't rely solely on Lundgren's physical presence.

What's important to understand is that Goddard never questioned Lundgren's commitment. Goddard repeatedly praises the actor's work ethic and determination to improve.

“Look, Dolph worked hard. He had a great work ethic. He put in the hours. He had an acting coach, a dialogue coach and all that stuff.”

That's where the story becomes especially interesting. Lundgren was putting in an enormous amount of work off-camera to improve his performance. He wasn't coasting on his physique or his newfound celebrity status. He understood the challenge in front of him and attacked it the same way he approached everything else in his life.

Part of that effort involved working with renowned dialogue coach Lillian Glass, who had already worked with him during Rocky IV.

Glass remembered recognizing something special about her client, saying: “I first worked with Dolph on Rocky IV. He had a very thick Swedish accent, so we worked on kind of Americanizing his accent to get him more roles in Hollywood. And he did great. He was a phenomenal person and a phenomenal client. Dolph is just an awesome human being.”

For Glass, the raw talent was obvious. “From the very first moment that Dolph walked into my office, you could just tell that he had ‘it’ He had something special. And the reason I know that is by working with so many people who did have it.

“I worked with Dustin Hoffman for Tootsie, I taught him how to sound like a woman. I worked with Sean Connery, Marlee Matlin, I taught her how to speak for the Academy Awards, and I just worked with Caitlin Jenner, teaching her how to be more feminine in her communications.

“The list goes on and on. And working with so many superstars and talented people in so many fields, you know, I've worked with actors, politicians, athletes, and you really know after working with all these winners who's got ‘it’ and who doesn't.”

Even with that support system in place, Goddard continued searching for ways to strengthen Lundgren's performance.

In one of the more surprising admissions, Goddard revealed that he approached the producers about replacing Lundgren's voice altogether.

“Dolph did a credible job. And he worked hard. But I don't think it's any secret that I did go to producer and I did try to get them to let me use another actor to dub him. But they felt that they were already paying all this money for Dolph Lundgren so they wanted Dolph Lundgren.”

That decision ultimately forced everyone to keep working toward a solution. Interestingly enough, the biggest challenge wasn't always Lundgren's accent. Sometimes it was his enthusiasm.

Goddard explained that Lundgren would often nail scenes during rehearsals, only for something to change the moment cameras started rolling.

“The funny thing is that I think the best lines Dolph delivered in the movie came on that final day when everyone was so exhausted. I said, "Just whisper this, just whisper this" and he says through gritted teeth, in a whisper, "It's always been between us." It was the perfect tone and energy, which had been the problem all along.”

“I mean, the funny thing was that in the rehearsals he would get it; low-energy, but intense. And I would go: that's perfect, do it just like that. Okay, let's roll. Action! And he had just said, for instance, ‘I will never kneel to you’ but when the cameras were rolling it was ‘I WILL NEVER KNEEL TO YOU!’ Dolph, do it like you did in the rehearsal: low-energy, intense.

“He'd go uh-huh and he'd nod but then we'd roll the cameras and something in his brain, at that time, was that when the cameras rolled... No matter what I did, when the cameras were rolling something in his brain clicked and the energy went up and his voice would suddenly get that booming deep voice, which would emphasize all of his speech issues. I felt like if I'd gotten that out of him for the whole rest of the movie...who knows?”

This reveals just how much pressure Lundgren was under. He wasn't a seasoned dramatic actor stepping into the role. He was a newcomer suddenly tasked with becoming the face of one of the biggest toy properties in the world. Every scene carried enormous expectations. Every line had to convince audiences that this larger-than-life hero was real.

When you view the performance through that lens, it becomes much easier to appreciate what Lundgren accomplished. The pressure wasn't limited to dialogue, either.

He was also expected to handle physically demanding action sequences, sword fights, and stunt work while wearing an elaborate costume and carrying one of the most recognizable weapons in fantasy history.

According to actor and fight choreographer Anthony De Longis, Lundgren's athletic ability became one of the production's greatest assets.

“Part of my job entailed training Dolph how to wield his sword. We met and I very quickly convinced him that I knew what I was doing and that I was there to help him look great. I'm in the Black Belt Hall of Fame, the Martial Arts Hall of Fame and the Knife-Throwing Hall of Fame, so I try to bring that element of truth while telling a story and creating an illusion.

“Dolph took to the training really well, no surprise. But we did not get much time to rehearse. A lot of the choreography was done virtually on the spot. And it's a great tribute to Dolph's talent as an athlete and martial artist that he was able to roll with the punches and get the job done with style. What we assembled was literally done on the day of the shoot.”

That assessment was echoed by De Longis when discussing He-Man's massive sword. “Those sets that Bill designed were great for what we needed to do. Especially because He-Man's sword, which I used to call ‘Buick Slayer’ because it was rather ponderous and hazardous, shall we say, was very tough to maneuver.

“Anybody with less strength and athleticism than Dolph would not have been able to manipulate it with such apparent ease. Dolph did a really good job and I was very proud of our work together.”

Revisiting Masters of the Universe today, it's easy to focus on what the movie wasn't. It's easy to compare it to modern fantasy films with massive budgets, cutting-edge visual effects, and decades of superhero movie evolution behind them.

Lundgren went through a lot while making this film. He was a young actor from Sweden suddenly found himself carrying a major Hollywood production. He worked with acting coaches. He worked with dialogue coaches. He trained relentlessly. He listened to directors, choreographers, and stunt coordinators. He pushed himself to improve even while a filmmaker was actively considering replacing his voice.

The result may not have been perfect, but that's part of what makes the performance so endearing today. You can see the effort. You can see the determination. You can see someone trying to grow into a role that felt almost impossibly large.

There's something very He-Man about that. At the end of the day, the most interesting part of this story isn't that Dolph Lundgren almost had his voice dubbed, it's that he worked hard enough to make sure it wasn't.

When Toy Story 4 came to a close, Woody made a life-changing decision. He left Bonnie and his friends behind, handed his sheriff badge to Jessie, and rode off toward a new chapter. At the time, it felt like a touching farewell. As it turns out, Pixar was also laying the groundwork for what comes next.

With Toy Story 5 on the way, Jessie is stepping into the spotlight as the franchise’s central character, and director Andrew Stanton says there was a very specific reason for that choice.

The new film picks up with Jessie leading Bonnie’s room, a role she inherited from Woody at the end of the previous movie. But her leadership is quickly put to the test when a new piece of technology called Lilypad enters Bonnie’s life.

The device becomes a major threat to the toys, capturing Bonnie’s attention and pulling her further away from the world they know.

For Stanton, Jessie’s story offered something that felt rich with untapped potential. “I just felt she had so much unaddressed, that she had a deep well to draw from. Woody used to have a deep well but we drew so much from him, I just thought he needed a break.

“And we made a conscious point of passing the badge on from Woody to Jessie at the end of [Toy Story] 4,” Stanton adds. “I loved, even if we didn't go to another film, we'd have that, knowing she was a leader now in running Bonnie's room.

“So, it just made sense when I was asked to work on this one to start there, because it would be a very different room run by her. Even though it's a similar problem of a new thing coming into the room and disrupting things, it's a different era, it's a different kind of character.

“And she had so much, like I said, under the hood, I knew her insecurities of abandonment would come out right away.”

That emotional baggage is something longtime fans know all too well. Jessie’s heartbreaking backstory in Toy Story 2, where she was left behind by her original owner Emily, remains one of the most emotional moments in the franchise. According to Stanton, those lingering feelings of abandonment become a key part of her journey in the new film.

While Jessie wrestles with her own insecurities, she’s also facing a challenge unlike anything the toys have encountered before. Lilypad represents a new reality where technology competes directly with toys for a child’s attention.

Early warnings from toys outside Bonnie’s room even suggest that “the age of toys is over,” and the situation doesn’t look good for Jessie and the gang.

Bonnie quickly becomes fascinated by everything Lilypad has to offer. The device allows her to connect virtually with other kids, but those relationships aren’t as healthy as they appear. Bonnie finds herself dealing with a group of mean girls who aren't really friends at all, creating problems her parents don’t immediately recognize.

Unlike previous Toy Story movies, Bonnie’s parents play a much larger role in the story as they attempt to navigate a parenting landscape shaped by rapidly evolving technology.

Stanton explained: “It's just trying to give you an opportunity to understand what can happen, and they're new to it. We're talking within 48 hours, or maybe 72 hours, that happened. I mean, it's all very new.

“There's not a lifestyle or a way of running the room with tech that the parents have figured out. It's just suddenly they got a kid a bike, and now this is what comes with having a bike. So, we were just, in a short amount of time, trying to give you all the highs and lows that can come with it.”

The concept of toys battling for relevance in a tech-driven world feels like strong evolution for the series. Every Toy Story film has explored change, whether it was growing up, moving on, or finding a new purpose.

This time, Pixar seems to be tackling the growing influence of screens and digital connections through the eyes of characters we’ve spent decades with.

And at the center of it all is Jessie, a character who has spent years in Woody’s shadow despite having one of the richest emotional histories in the franchise. Now she finally gets the chance to carry the story herself.

Fans won’t have to wait much longer to see how this toys-versus-tech conflict unfolds when Toy Story 5 arrives in theaters on June 19.

When news broke that Zack Snyder is developing a remake of Escape from New York, one question immediately started making the rounds among fans… who could possibly step into the role of Snake Plissken?

It's one of those iconic characters that comes with a lot of baggage, thanks to Kurt Russell’s unforgettable performance in the original film.

One name that seemed like an easy possibility was Jason Momoa. He already has a working relationship with Snyder, he has the screen presence, and he certainly looks like someone who could survive a dystopian prison island. But if fans were hoping to see him sporting Snake’s eyepatch, they can go ahead and cross him off the list.

While speaking with ComicBook during promotion for Supergirl, Momoa was asked about the possibility of joining Snyder’s remake. His response made it clear that he has no desire to take over the role from Russell.

“Do we need a remake? I even like [Escape from L.A.], and I love Kurt Russell, and the truth of it is, like, as much as I love Zack, someone’s like, ‘I want you to do Snake,’ and I’m like, ‘I love Kurt Russell. I don’t want to.’

“I would never want to step into that. It’s one of those things where you’re like, oh my God, I would love to do that. But at the same time, I’m like, I love him too much … I really love Kurt, and I [say] good luck to whatever actor is going to do that.”

Honestly, I'm perfectly fine with that. Momoa would've brought plenty of charisma to the role, but Snake Plissken isn't a character that needs to be handed to the biggest action star available.

Momoa went on to explain why this situation differs from another famous remake he headlined, Conan the Barbarian, which ended up not being a very good movie. The actor said:

“I didn’t grow up with Conan. I grew up reading Robert E. Howard. I didn’t grow up with Arnold’s thing. My mom raised me on, like, Gone with the Wind, and Barefoot in the Park, and Hitchcock movies.”

Momoa didn't have the same emotional attachment to Arnold Schwarzenegger's version of Conan that he has to Russell's Snake Plissken. For him, Escape from New York falls into that sacred category of movies that are better left untouched, or at least not touched by him.

The original Escape from New York remains one of the defining cult action films of the 1980s. Any actor stepping into the role will inevitably be compared to Russell, whether that's fair or not. That's a difficult shadow to escape, and it's not hard to imagine other actors feeling the same hesitation.

We've already seen similar situations play out elsewhere. The upcoming American Psycho remake reportedly faced resistance from actors who didn't want the burden of being measured against Christian Bale's legendary performance as Patrick Bateman.

That reality may ultimately push Snyder toward a different casting strategy, and cast someone who can approach Snake Plissken as a character rather than a cinematic monument.

A fresh face could also work in the movie's favor. The Escape from New York name carries plenty of recognition on its own, and introducing a newer actor might make it easier for audiences to accept a different take on the character. A major celebrity brings expectations. An unknown brings opportunity.

Whatever direction Snyder chooses, finding the right Snake Plissken is going to be one of the most fascinating parts of this remake's development.

As for Momoa, it sounds like he's happy staying in the audience for this one, which is fine. There are probably better candidates out there who can take a shot at making the role their own.

Sony Pictures is kicking off the next phase of the marketing campaign for Spider-Man: Brand New Day, and it looks like fans are about to have plenty to keep an eye on in the weeks leading up to the movie's release.

The studio has officially launched the Spidey Tracker, a new interactive feature that appears to be teasing Spider-Man sightings across the globe.

While the tracker hasn't fully gone live yet, it already hints that the web-slinger will be making appearances in numerous locations as Sony gears up for what sounds like a massive worldwide promotional push.

Exactly what those appearances will look like remains a mystery. There could be live fan events featuring Spider-Man performers, special activations, or other promotional experiences tied to the movie.

Another possibility is that the tracker is simply being used to map out a globe-spanning press tour that will see the cast visiting major cities around the world ahead of the film's debut.

One fan reportedly found a way to access the complete Spidey Tracker ahead of schedule, revealing the full list of planned stops. So if you're curious whether Spider-Man might be swinging through your area, the information is already circulating online.

One of the biggest reveals connected to the tracker is confirmation that Spider-Man: Brand New Day will have a panel at next month's San Diego Comic-Con. With the convention taking place from July 23 through July 26, many fans are already speculating that Sony will use the event to unveil the movie's final trailer just days before its theatrical release.

Earlier this year, Tom Holland discussed the scale of the upcoming promotional tour and admitted it's going to be an ambitious undertaking.

"The press tour that we are about to go on is humongous. I’m not going to lie and say that I’m not daunted by the travel and the number of events we are going to. But one of the things that I love, especially for Spider-Man, is that the movie is all about community."

He continued: "All of these stops that we’re doing, we are working in cultural events, community events, and there will be charitable components. When you can promote a movie but also shed some light on amazing causes, that’s what really makes a difference."

As for the movie, Spider-Man: Brand New Day picks up with Peter Parker living in a world that no longer remembers who he is. Fully committed to fighting crime as Spider-Man, Peter is forced to watch as the people he once cared about continue their lives without him. The emotional toll of that isolation begins to change him in ways he may not be able to control.

Unfortunately for Peter, a new threat emerges at the same time. The city is targeted by a dangerous villain that nobody can even see, creating a challenge unlike anything he's faced before. While the world may have forgotten Peter Parker, he certainly hasn't forgotten them.

The film also stars Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando, and Mark Ruffalo.

Spider-Man: Brand New Day is directed by Destin Daniel Cretton from a screenplay by Chris McKenna and Erik Sommers.

With the Spidey Tracker now rolling out, a global press tour on the horizon, and a major Comic-Con presentation confirmed, it looks like Sony is preparing a huge final stretch of promotion for the next Spider-Man adventure.

Spider-Man: Brand New Day swings into theaters on July 31, 2026.

Calling all Spidey Trackers! Where in the world is Spider-Man going next? Follow along: https://t.co/O17dtWpzoS#SpiderManBrandNewDay is in theatres July 31. pic.twitter.com/Gcyimn6lnu

— Spider-Man Movie (@SpiderManMovie) June 15, 2026

Testing, testing… https://t.co/IfjSo8dTIb pic.twitter.com/SfKntpwjJo

— Spidey Tracker (@SpideyTracker) June 15, 2026

Where in the world is Spider-Man going next? https://t.co/IfjSo8dTIb pic.twitter.com/SBNVnGTvbU

— Spidey Tracker (@SpideyTracker) June 15, 2026

Fans have wondered if Steven Spielberg would ever circle back to one of the most beloved sci-fi stories of his career, Close Encounters of the Third Kind.

The filmmaker has revisited familiar worlds before, but he’s rarely interested in making straightforward follow-ups. That’s why all the mystery surrounding Disclosure Day sparked so much speculation. As details about the film slowly emerged, many started asking if it could this secretly be a sequel to Close Encounters.

Now that audiences have seen the film, the answer appears to be no. At least, not in the traditional sense. There are no direct narrative ties linking the two movies together.

Spielberg doesn’t connect their stories, and he avoids the kind of obvious references that would instantly signal a shared universe. Still, there is a fascinating connection between the films that has been spotted, and it comes from a place many viewers probably weren’t paying attention to.

The clue is hidden in John Williams’ score. Considering the subject matter of Disclosure Day, Spielberg could have easily slipped in a direct callback to Close Encounters.

The story revolves around the revelation that governments around the world have spent decades concealing evidence of extraterrestrial life. With that setup, it wouldn’t have been difficult to reference the events of 1977. A mention of Devil’s Tower, archival footage, or even a passing nod to Richard Dreyfuss’ Roy Neary could have done the trick.

Instead, Spielberg and Williams chose something much more subtle. The connection comes through a Disney song.

Fans of Close Encounters may remember that Disney’s “When You Wish Upon a Star” from Pinocchio plays an important role in Williams’ score. It’s not immediately obvious in every version of the film, though.

In the theatrical and director’s cuts, Williams briefly weaves the melody into the music as Roy Neary walks toward the mothership alongside the volunteer astronauts. The Special Edition goes even further by featuring a full orchestral arrangement of the song during the latter half of the end credits.

It’s a small musical detail, but an important one. The melody reinforces the fairy tale-like wonder that defines Roy’s journey and his ultimate encounter with extraterrestrial life.

Disclosure Day uses a similar approach. Late in the film, Margaret Fairchild, played by Emily Blunt, is taken to a recreation of her childhood home by defectors from Wardex, the secretive organization that has hidden knowledge of alien existence from the public for nearly eight decades.

The group believes Margaret’s long-buried memories hold the key to understanding her connection to the visitors.

As a child, Margaret was abducted by extraterrestrials and given abilities intended to help establish diplomatic relations between humanity and the alien race later in her life. To embrace that destiny, she must confront memories she has spent years suppressing.

That emotional breakthrough arrives when Margaret and Daniel, played by Josh O'Connor, revisit the moment that changed her life.

The song guiding her back to those memories is “Someday My Prince Will Come” from Snow White and the Seven Dwarfs.

Williams doesn’t simply include the song in the scene. He builds its melody into the score itself, giving it the same thematic weight that “When You Wish Upon a Star” carried in Close Encounters.

The parallel is fascinating. Roy Neary’s story in Close Encounters is ultimately one of fulfillment and transformation. Like Pinocchio, he follows an impossible dream and finds his place in a larger universe.

Margaret’s journey in Disclosure Day mirrors that idea. Through her memories of mysterious, almost magical creatures that revealed themselves to her as a child, she learns to accept who she is and what role she’s meant to play.

In both films, Spielberg and Williams use classic Disney melodies to frame alien encounters through a lens of wonder rather than fear. The extraterrestrials aren’t portrayed as monsters lurking in the shadows. They represent discovery, possibility, and a sense of awe that feels almost childlike.

That creative choice creates a bridge between the two movies, even if they never directly acknowledge one another.

So while Disclosure Day isn’t a literal sequel to Close Encounters of the Third Kind, it does share some of the same DNA. Through Williams’ music and Spielberg’s storytelling sensibilities, the film echoes the emotional spirit of that sci-fi classic in a way that feels intentional and surprisingly meaningful.

Fans of Anthony Bourdain are finally getting a closer look at one of his most unique creations as Get Jiro prepares to make its debut on Adult Swim later this year.

The animated series adaptation of Bourdain and Joel Rose’s acclaimed graphic novel is shaping up to be a wild mix of culinary obsession, crime, and chaos, and now there's even more talent joining the cast.

Series creator Alessandro Tanaka recently revealed that Titus Welliver (Bosch), Alison Pill (Scott Pilgrim), and Justin Kirk (Weeds) have joined the voice cast. They’ll appear alongside the previously announced Brian Tee (Chicago Med), who is leading the charge in the adaptation.

Based on the New York Times bestselling DC/Vertigo graphic novels created by Bourdain and Rose, with artwork from Langdon Foss and Alé Garza, Get Jiro transports audiences into a dystopian version of Los Angeles where chefs hold more power than politicians, celebrities, or tech moguls.

Tanaka explained the central idea behind the story, saying: “Bourdain’s whole mantra was just food brings us together… and then there’s a lot of blood and violence in between [in Get Jiro], but ultimately that’s the takeaway,”

The 10-episode series, produced by Warner Bros. Animation, follows the mysterious sushi chef Jiro, who arrives in Los Angeles from Tokyo and quickly finds himself at the center of a culinary power struggle unlike anything audiences have seen before.

Tanaka offered more insight into the show's unusual world: “Everybody’s needs are being met digitally, whether it’s sex or travel, you can put on goggles and go anywhere, but the one thing you cannot do is eat and taste food, and because of that, chefs have become the most powerful people in Los Angeles.

“They’re like gangsters as they take each other out. The comic starts where this mysterious Japanese sushi chef (Jiro) lands in Los Angeles, and he starts playing everyone against each other.

“As the series continues, we see that there’s a whole method to his madness, and the entire thing is like him creating a recipe for the grand finale. A lot of food, mayhem and violence happens.”

That story sounds like something Bourdain would have had a blast with. It takes his love of food culture and cranks it up into a hyper-stylized battle for influence where meals are currency and chefs rule the streets.

Of course, adapting a story with Bourdain’s name attached meant the creative team had to make sure the food itself felt authentic. Tanaka revealed that they brought in one of Bourdain’s close friends and collaborators to help keep things honest throughout production.

“We really needed to make sure, obviously, that we got the food right,” Tanaka said. “We got this guy named Matt Goulding, who was a coworker and a very good friend of Bourdain’s. He would read every script, look at every animatic and watch every episode.”

Beyond the food, the creative team also looked to classic cinema for inspiration. According to Tanaka, legendary filmmaker Akira Kurosawa played a major role in shaping the show's tone and visual style.

“Kurosawa was a big part of the comic, it feels a lot like Yojimbo,” Tanaka said. “We’re dealing with such a cinephile [in Bourdain], and Brian and I are also huge lovers of cinema, so we wanted to make sure that every episode had a very cinematic flair.”

While the original comics provided a strong foundation, expanding the story into a ten-episode series gave the writers room to flesh out the world and introduce new elements.

“We had to expand on what was already there, which includes creating a couple of new characters, some extra storylines,” Tanaka said.

“There’s one [new] villain, and we’ll just refer to him as the cannibal, that hopefully people will enjoy, but mostly it was about taking the characters that were already there and just deepening them and finding more about them.”

That mysterious new villain sounds like exactly the kind of unsettling ingredient that could fit perfectly into the bizarre and dangerous world of Get Jiro.

With A24 also set to release the Anthony Bourdain biopic Tony this August, interest in the late chef, author, and storyteller remains as strong as ever. Tanaka acknowledged that adapting one of Bourdain's most beloved projects came with plenty of responsibility.

“There was pressure going in because [Bourdain’s] presence looms very strongly over this, but I think he would be very happy with what we did, and I think we did right by him.”

Get Jiro is shaping up to be one of Adult Swim's most intriguing animated projects, and I can’t wait to watch it!

Source: Deadline

Whenever I find myself talking about The Mandalorian and Grogu with friends, the conversation often circles back to its box office performance.

The film didn't exactly make a big splash financially compared to previous entries in the franchise, but one person who isn't concerned about those numbers is Brendan Wayne, one of the performers who has helped bring Din Djarin to life since the very first season of The Mandalorian.

During a recent conversation with Brandon Davis, Wayne was asked why he believes Dave Filoni is the right person to help lead Lucasfilm into the future. His answer offered an interesting defense of The Mandalorian and Grogu while also hinting that Filoni is thinking much bigger than a single movie.

Wayne explained: "Dave's understanding of like, 'Hey, we're going to tell a story, and we're going to tell it over, three movies, or this next episode, this next season of Ahsoka.'

“He understands that it's not all about, did we open well against Solo, or whatever it was? We were amazing because we didn't have the budget of those movies, and we still did something."

The Mandalorian and Grogu opened with $165 million worldwide, matching its reported $165 million production budget. The film has since climbed to $297 million globally. While that's nearly double its budget, it currently sits as the lowest-grossing Star Wars movie released theatrically, coming in below Solo: A Star Wars Story, which earned $392.9 million worldwide.

Still, Wayne's comments suggest that Filoni may be looking beyond opening weekends and box office rankings. His focus appears to be on the larger narrative being built across multiple projects, something fans of Filoni's storytelling style have come to expect.

What really stands out is Wayne's reference to telling a story across "three movies" alongside future seasons of Ahsoka. Whether that was simply an example or a subtle nod toward actual long-term plans at Lucasfilm remains unclear.

Either way, it's enough to get fans speculating about where this interconnected era of Star Wars storytelling is headed.

We already know that Ahsoka Season 2 is expected to play a major role in shaping the future of the franchise. In fact, Jon Favreau previously teased just how important the series will be to the larger timeline.

Favreau said: "Anybody who saw the sequels knows that there's a First Order coming in, like, 20 years from where we are now in the storyline. And then Ahsoka season 2 is coming out – which I've seen all of – and that's definitely more dealing with the larger [picture], a higher level.

“That's about the officers and we're the enlisted men – this is more of a ground-level experience of what's going on. You're seeing the backdrop – which, by the way, is what the first Star Wars started off as."

That comment reinforces the idea that The Mandalorian, Ahsoka, and whatever comes next are all pieces of a much larger puzzle. While Din Djarin and Grogu are experiencing events on the ground level, Ahsoka appears to be tackling the political and military developments that will eventually pave the way for the rise of the First Order.

Whether The Mandalorian and Grogu ultimately becomes the first chapter in a larger film trilogy remains to be seen, but Wayne's comments certainly make the possibility feel more real than ever.

We all know Filoni is mapping out a multi-project saga that stretches across movies and streaming series, and it’s all leading to his big crossover movie, so the box office performance of a single installment may only tell a small part of the story.

For now, Star Wars fans can look ahead to Ahsoka Season 2 and see how the next piece of Filoni's growing galactic narrative falls into place. If Wayne is right, we're only seeing the opening chapters of a much bigger adventure.

Few movie friendships have stayed with audiences quite like the one between Elliott and E.T. in E.T.: the Extra-Terrestrial.

More than four decades after the film first arrived in theaters, some fans have wondered what happened after E.T.'s spaceship disappeared into the night sky after that emotional farewell. Did Elliott ever see his alien friend again?

Well, Steven Spielberg has finally offered a definitive answer. While appearing on the Happy Sad Confused podcast to promote his new film Disclosure Day, Spielberg was asked if Elliott and E.T. ever reunited after the events of the beloved sci-fi classic. His response was simple and kind of heartbreaking:

“No, never saw him again,” he said. “But he did dream about him. So there was a psychic link between the two of them. If you notice that E.T. touched Elliott right here [points to his forehead] and said, ‘I’ll be right here.’”

That answer closes the book on a debate that has followed the film for decades. While Elliott never physically reunited with E.T., Spielberg's explanation suggests their connection never completely disappeared.

The bond they formed was strong enough to survive across worlds, living on through dreams and a psychic connection that remained with Elliott long after E.T. returned home.

It's especially interesting because E.T. the Extra-Terrestrial was such a massive success that a sequel seemed almost inevitable. When it hit theaters in 1982, it shattered box office records and became the highest-grossing movie ever released at the time. Most franchises would have immediately moved forward with another chapter.

That never happened. Spielberg has previously discussed the battles he fought to keep a sequel from becoming a reality. Even though he didn't have full control over the property, he worked hard to prevent a follow-up film from moving forward.

At one point he toyed with the idea himself, but the only thing that ultimately emerged was a novel titled E.T.: The Book of the Green Planet. A theatrical sequel never materialized, leaving the original film untouched.

Of course, some fans might point out that Elliott technically did reunite with E.T. in 2019. Henry Thomas reprised his role as an adult Elliott in a holiday-themed Xfinity commercial that showed E.T. visiting Elliott and his family years later.

The ad was charming, nostalgic, and exactly the kind of thing longtime fans wanted to see. But according to Spielberg's latest comments, that reunion clearly isn't part of the official story. If anyone gets the final word on E.T., it's Spielberg, and his answer places the commercial firmly in the category of a fun alternate scenario.

Interestingly, Thomas himself has expressed a similar viewpoint. In a previously, he explained that the commercial is probably the closest audiences will ever get to an on-screen sequel, and honestly, that's probably for the best.

As much as fans love the idea of revisiting Elliott and E.T., the original film feels remarkably complete. It's a very personal story for Spielberg, one inspired in part by his own experiences growing up in the wake of his parents' divorce. The film captures a very specific emotional journey.

Not every classic needs another chapter. Still, there's something bittersweet about learning that Elliott never got another face-to-face moment with his extraterrestrial friend. Their friendship shaped both of their lives, and it's easy to imagine fans wishing they could have shared at least one more adventure together.

But Spielberg's answer offers a small measure of comfort. Even though they never met again in person, E.T. never truly left Elliott behind. Through dreams and that psychic connection hinted at in the film's final moments, a piece of E.T. remained with him forever.

For a story built on friendship, wonder, and emotional connection, that might be the most fitting ending possible.

A new rumor tied to Marvel Studios' Avengers: Doomsday is making the rounds online, and if it turns out to be accurate, it could lead to some unexpected character dynamics between two fan-favorite antiheroes.

One of the most exciting aspects of Avengers: Doomsday is seeing characters from different corners of the MCU finally collide on screen. That includes several returning faces from 20th Century Fox's X-Men franchise, with Rebecca Romijn set to reprise her role as the shape-shifting mutant Mystique.

Now, according to a fresh rumor from scooper MTTSH, Mystique and Florence Pugh's Yelena Belova are expected to share "some hot scenes together" in the upcoming crossover event.

Naturally, that description leaves plenty of room for interpretation. Fans of Marvel Comics know that Mystique's sexuality has long been an established part of her character.

While the X-Men films never explored that side of Raven Darkholme in any meaningful way, aside from her attempt to seduce Wolverine, Mystique is portrayed in the comics as bisexual/queer and spent many years in a romantic relationship with the mutant Destiny.

Yelena's comic book history paints a very different picture. The character is typically depicted as asexual, with Black Widow co-creator Devin Grayson previously explaining that Yelena was intentionally written as someone who lacked interest in traditional romantic and sexual relationships.

Of course, "hot scenes" doesn't necessarily mean the characters will become romantically involved. It's entirely possible the description is being exaggerated. As follower counts grow, even scoopers with solid track records can occasionally lean into attention-grabbing phrasing.

There's also another detail worth considering. Previous rumors have claimed that Mystique will transform into Yelena at some point during Avengers: Doomsday. If that's accurate, the rumored scenes could simply involve some playful flirting, manipulation, or identity-based deception rather than an actual romance.

Still, the idea of Mystique and Yelena sharing screen time is intriguing on its own. Mystique has always been one of Marvel's most unpredictable characters, and pairing her with Pugh's sharp-witted assassin could create some entertaining moments regardless of where the story takes them.

For now, this remains firmly in rumor territory, so it's probably best to keep expectations in check. But if Mystique really does set her sights on Yelena in Avengers: Doomsday, audiences may be in for one of the film's more unexpected character interactions.

The DC Universe is moving full speed ahead, and one of the most anticipated projects on the horizon is Supergirl. After making a brief appearance in Superman, Milly Alcock is set to take center stage as Kara Zor-El in director Craig Gillespie’s upcoming film.

Fans are eager to see what this new version of the character brings to the table, but it turns out there’s already a very cool detail connecting her directly to Superman’s cinematic legacy, and it’s the kind of detail longtime DC fans are going to love.

While speaking with Raiders of the Lost Podcast, Alcock shared an incredible piece of information about her Supergirl costume that pays tribute to the late Christopher Reeve, whose portrayal of Superman remains one of the most beloved in comic book movie history.

Alcock revealed: “So my cape in this film was remade using material from the original Superman cape, I think from the first Superman. I think that they found, it was like 16 meters of that material. So that's in the back of my cape now.”

That’s a really cool way to honor the character’s history. The new Supergirl suit already stands out thanks to its vibrant comic book-inspired design and its visual connection to David Corenswet’s Superman.

But learning that part of the cape is literally made from material used for Reeve’s original costume adds an extra layer of meaning to it. It’s a subtle tribute that bridges generations of DC storytelling while connecting the new DC Universe to the foundation that helped make superhero movies what they are today.

Reeve’s impact on the superhero genre can’t be overstated. His performance in Superman helped define the modern comic book movie and established a version of the character that audiences still revisit decades later.

He perfectly balanced Superman’s optimism, compassion, and heroism while delivering a memorable take on Clark Kent through his physical performance and mannerisms. Of course, he also looked fantastic wearing that iconic suit and cape.

This isn’t the first time modern DC projects have paid respect to Reeve’s legacy. Henry Cavill famously tried on Reeve’s Superman suit during his screen test process for Man of Steel. Now, Alcock’s Supergirl is carrying a piece of that same history into the next era of DC films.

It’s a great reminder that while new filmmakers and actors continue to reinvent these legendary characters, there’s still a deep appreciation for the people who came before them. Small touches like this show that the creative teams working on these movies understand just how important that legacy is to fans.

Supergirl flies into theaters on June 26th.

After what has felt like an eternity for fans waiting to return to Gotham City, The Batman: Part II has officially entered production.

With Matt Reeves back in the director’s chair, cameras are now rolling on one of the most anticipated comic book movies in development, and the filmmaker marked the occasion by sharing the first set photo from the production.

While the image celebrates the start of filming, it’s not the slate in the foreground that will spark curiosity. It’s what appears to be lurking in the background.

Reeves posted a photo of the first slate used on set and confirmed it was the movie’s opening shot. However, eagle-eyed fans quickly noticed what looks like a thin figure lying on an autopsy table behind it. That detail has fueled speculation that the image could be teasing the arrival of one of Batman’s most disturbing foes, Victor Zsasz.

The timing is interesting, especially considering recent rumors surrounding the film’s cast. Reports have suggested that Sebastian Stan, who many believed had been cast as Harvey Dent, may actually be playing Zsasz instead. According to those same rumors, Harvey Dent would be portrayed by Tyree Henry.

If true, that would significantly change what many fans assumed about the direction of the sequel. Stan is one of two major names reportedly joining the cast, alongside Scarlett Johansson.

Early speculation suggested the pair would portray Harvey Dent and Gilda Dent, leading many fans to believe Reeves was drawing heavy inspiration from the classic Batman story The Long Halloween.

Now, with rumors pointing toward Stan as Victor Zsasz, there’s a lot more uncertainty surrounding who everyone is actually playing. At the same time, the reports still place Harvey Dent at the center of the story, with Henry taking on the role.

Adding more fuel to that theory is the reported casting of Charles Dance as Christopher Dent, Harvey’s father, while Johansson is said to be playing Gilda Dent.

No matter who ultimately portrays Harvey, all signs point to the Gotham district attorney being a key figure in the story.

As for Stan, he certainly has the acting chops to pull off either role. He could convincingly portray the ruthless and unhinged Zsasz, but there’s also a strong argument that he would be an ideal Harvey Dent.

Of course, there’s still a giant question mark hanging over all of this. None of these castings have been officially confirmed by the studio. Johansson’s role remains a mystery, and until Reeves or Warner Bros. reveals who these actors are actually playing, every theory remains exactly that: a theory.

Still, with production finally underway and the first image already sparking intense speculation, it looks like Reeves knows exactly how to get Batman fans talking.

#FirstShot #TheBatmanPart2 CC:@E_Messerschmidt Here We Go… pic.twitter.com/BfzjNquZwT

— Matt Reeves (@mattreevesLA) June 12, 2026

Mike Flanagan has officially finished filming his highly anticipated The Exrocist movie, and with an ensemble cast led by Scarlett Johansson, the project is shaping up to be one of the most talked-about horror movies heading toward theaters.

Flanagan shared the news on Instagram, confirming that production has wrapped on the film after cameras started rolling earlier this year in March. Alongside a simple image of a purple cross, the filmmaker celebrated the milestone with a heartfelt message:

“That’s a wrap. What an incredible experience. Forever grateful to this extraordinary cast and crew!”

The upcoming movie marks the seventh installment in The Exorcist franchise and represents a fresh start for the long-running horror series.

While details remain largely under wraps, the story centers on Johansson’s character, a rookie detective who comes face-to-face with a terrifying evil while investigating a case that spirals into something far beyond explanation.

Johansson also reportedly plays the mother of a character portrayed by Jacobi Jupe, while Chiwetel Ejiofor is said to be playing an ex-convict who becomes a priest. The cast is packed with talent, including Diane Lane, Laurence Fishburne, Sasha Calle, John Leguizamo, Hamish Linklater, and Carla Gugino.

As fans of Flanagan's work would expect, several familiar faces from his previous projects are also along for the ride. Kate Siegel, Samantha Sloyan, Rahul Kohli, Gil Bellows, Carl Lumbly, and Robert Longstreet are all part of the ensemble.

The film's cinematography is being handled by Michael Fimognari, who has collaborated with Flanagan on several previous projects. With Flanagan writing, directing, and producing, the filmmaker has full creative control over this new vision for the iconic horror property.

This reboot arrives after a significant shake-up behind the scenes. It replaces the previously planned Exorcist: Deceiver, which was scrapped in 2024. That project had already undergone changes after David Gordon Green stepped away following the disappointing reception of The Exorcist: Believer.

What makes this new chapter particularly interesting is Flanagan's approach to the material. While promoting The Life of Chuck, he spoke about how determined he was to land the project and explained that he saw an opportunity to take the franchise in a different direction rather than leaning heavily on familiar callbacks and nostalgia.

That philosophy should come as welcome news for longtime horror fans. Flanagan has built a reputation for bringing emotional depth and fresh ideas to established genres, and many are eager to see what he can do with one of horror's most legendary franchises.

Now that filming has wrapped, the countdown officially begins. Universal Pictures has set The Exorcist reboot for release on March 12, 2027, and with Flanagan at the helm and Johansson leading an impressive cast, this is sure to be one of the biggest horror events on the horizon.

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Are you looking for some awesome summer deals? Over at Humble, there are always a number of awesome deals spread across games, tabletop RPGs, comics, books, software, and more.

I’ve gone ahead and rounded up some of the bundles that I think are the most exciting for one reason or another. Any link below may be an affiliate link and help support us here at GeekTyrant if you complete a purchase.

If you enjoy manga, you may want to check out The Ultimate Ablaze Manga Collection…And More! bundle. Valued at $868, you can walk away with 61 volumes of various manga published by Ablaze for as little as $18!

I’ll admit that I’m not as familiar with Ablaze’s library, but some of the titles that are a bit better known include Blitz, Trese, Zombie Makeout Club, and the Space Pirate Captain Harlock Collection. Yeah, that last one is probably the biggest name in the bundle, but let me know if I’m wrong.

This bundle is set to conclude on June 20, 2026 at approximately 2 PM EDT and all purchases support Starlight Children’s Foundation.

Meanwhile, if you’re a fan of tabletop RPGs, there are two bundles that I’m going to point you towards. The first is the Cyberpunk RED Ready-to-Run Essentials bundle. This bundle offers 35 items valued at $318 for $30 and gives you everything you need to run your first (or next) Cyberpunk RED adventure.

You’ll find maps, rulebooks, tools, and more resources like token packs inside. Purchases of this bundle support tabletopgaymers.org and is set to end on June 30 at approximately 2 PM EDT.

The other TTRPG bundle is for those who want to try different games out. Whether you are like me and just want some variety in your life or you are trying to find a system that just fits you and your group, the Roll Big or Go Home 2 bundle is amazing!

Valued at $1,243 with 54 items included, your $40 will get you so much value. The vast majority of the items are each different RPGs with some overlap here and there (such as the Transformers, Power Rangers, and other Essence20 RPGs included).

One of my personal favorites, Fantasy AGE: Second Edition, is included, but there’s also The One Ring, Star Trek Adventures: Second Edition, Heckin’ Good Doggos, Achtung! Cthulhu, and so many more. Definitely recommend at least considering this bundle. Each purchase supports tabletopgaymers.org and it is set to end on June 25 at approximately 2 PM EDT.

There are a ton of video game bundles that I’m going to more or less rattle off at this point. The IGN Live Bundle 2026 ends on June 24, supports Child’s Play Charity and offers nine games including Control Ultimate Edition and Paradise Killer: Perfect 25 Edition for a measly $10.

We Will Always Be Here: Pride Month 2026 offers 12 games such as Thirsty Suitors and Vampire Therapist for $12 and supports The Trevor Project with an end day of June 24 as well. Devil May Cry fans may not have gotten the announcement they were hoping for from Capcom at Summer Games fest, but you can get what I believe is every game in the franchise for $15 and support Children’s Miracle Network Hospitals until June 24 with the Devil May Cry: Devil Trigger Reloaded Collection 2026.

The Yuri in Luck: Waifus for Laifus bundle offers 11 various games including Please Be Happy and Night Cascades for $12 to support Dames4Games until July 1. Finally, for fans of puzzle games, there’s the Complete Inkle Library bundle with 14 games costing you $20 with support for Breakthrough T1D until July 1.

Marvel Television has dropped a brand-new trailer and poster for X-Men '97 Season 2, and it offers fans a much better look at what awaits the beloved mutant heroes when the animated series returns next month.

After an incredible first season that captured the spirit of the classic X-Men: The Animated Series while pushing the story into exciting new territory, Season 2 looks ready to raise the stakes even higher.

The latest footage teases a massive roster of heroes and villains, introduces some fan-favorite mutant characters, and gives us a closer look at the looming threat of Apocalypse.

The trailer puts the spotlight back on familiar X-Men icons including Storm, Rogue, Wolverine, and Cyclops. At the same time, it highlights several mutants who are set to play major roles in the upcoming season, including Wolfsbane, Polaris, Strong Guy, and Archangel.

These characters appear to be forming the foundations of the X-Factor and X-Force teams, expanding the mutant world in a big way.

Of course, one of the biggest takeaways from the trailer is Apocalypse himself, and everything points to him becoming the central threat of the season.

Season 1 ended with the X-Men defeating Bastion and stopping Asteroid M from crashing into Earth. However, victory came at a cost. The team found themselves scattered across different points in time, with some members encountering a younger En Sabah Nur long before he would become Apocalypse.

The finale also strongly hinted that Apocalypse may begin assembling his Horsemen, and many fans are already speculating that Gambit could return from the dead as one of them.

The official synopsis for the new season reads: "X-Men ’97 Season 2 continues with the heroic mutant team of X-Men, divided and thrown across different eras in time as they struggle to navigate their return home. Meanwhile, back in the 1990s, suspicious foes and new strains of mutant intolerance are on the rise in the wake of the X-Men’s absence."

Marvel still hasn't officially announced the new cast members joining the series, but there’s a rumor that Neve Campbell will be voicing Polaris, while Michael Johnston recently revealed on Instagram that he will provide the voice of Nathan Summers.

While fans are eagerly awaiting Season 2, it sounds like Marvel is already thinking much further ahead. Executive producer Larry Houston recently shared an encouraging update with Entertainment Weekly, confirming that the creative team is already deep into future seasons and that the wait between installments should be much shorter moving forward.

Houston explained: "They want everyone to know it's only gonna be a year now between seasons, not two-and-a-quarter years. It's gonna be a year until the next one and a year until the next one [after that]. They are on schedule now."

He continued: "One of the reasons they're on schedule is we've gone over, given notes on, responded to not only all the scripts for season 3, all the animatics for season 3, we are in season 4 giving script notes. So that's how deep they are into the development."

That's great news for fans who don't want to endure another lengthy gap between seasons. It also shows just how much confidence Marvel has in the series after the overwhelmingly positive response to its debut season.

The second season will consist of nine episodes and features a returning voice cast that includes Ross Marquand as Professor X, Matthew Waterson as Magneto, Ray Chase as Cyclops, Jennifer Hale as Jean Grey, Alison Sealy-Smith as Storm, Cal Dodd as Wolverine, Lenore Zann as Rogue, and George Buza as Beast.

Between the time-travel storyline, the arrival of new mutant teams, and Apocalypse preparing to make his move, Season 2 looks like it's shaping up to be another awesome chapter in the X-Men saga. If the trailer is any indication, the X-Men are heading into one of their toughest battles yet.

X-Men '97 Season 2 premieres on Disney+ on July 1.

Fanatical has a number of collections that allow you to build your own bundle and save money. This extends to video games, comics, and more.

I wanted to highlight a few bundles that I recently found that may be of interest to you or someone you may know. Please note that the links below may be affiliate links and therefore may help support us here at GeekTyrant.

We’ll start with some of the video game collections that I found. The Prestige Collection XL Edition offers you a wide range of games including Death Stranding: Director’s Cut and Yakuza: Like a Dragon with the price fluctuating between $6.90 and $7.50 per item in your custom bundle (more items means more of a discount per item).

This bundle is set to end on June 30. The Platinum Collection ends July 1 and offers you bundles ranging from $2.85-$3.33 per game (minimum 3 games) with titles like Citizen Sleeper and Metro Exodus available in the collection.

If you want to get a friend (or yourself) into some classic Bethesda titles, you’ll want to check out the Build Your Own Bethesda Bundle with games costing $3.00-3.50 per title on GOG including Fallout New Vegas, The Elder Scrolls IV: Oblivion (not the remake), Wolfenstein: The New Order, and more until June 30. Finally, for $2.25-3.00 per game, the Build Your Own Fantasy World Bundle includes games like Pathfinder: Wrath of the Righteous, LunarLux, and Asterigos: Curse of the Stars until June 21.

If you’re a comic fan, I have three bundles for you to consider. First, the Super Women: Female Protagonists Bundle is running until July 28 and offers up to 95 comic volumes for $24.99. I’m a huge fan of Saga and Paper Girls which are both included along with Lady Mechanika, Sweet Paprika, M.O.M.: Mother of Madness, and so many more.

This is a steal of a deal! In addition, Usagi Yojimbo fans can grab up to 22 of his adventures for $14.99 until June 25 with the Usagi Yojimbo: Tales of Rabbit Ronin Bundle. The final deal I have is the Exciting Comics: Legacy Collection offering 50 comics for $12.99 until June 25.

The end of season one of Apple’s hit sci-fi dramedy Pluribus found itself delivering a punchline to a joke that happened earlier in the season. The show’s main character, Carol, played by Rhea Seehorn, had first tested the limits of what the alien hive mind that took over the world was willing to give her.

They happily restocked her local Sprouts grocery store so that she could shop for herself, they flew her around the world to meet up with the other people who had not yet been inhabited like herself, and they got out of town when she asked to be alone.

But one request that she flippantly asked for when testing the boundaries went unanswered, as she was obviously kidding when she asked for it.

But in the finale, an atomic bomb was delivered to Carol’s home via a giant shipping container that was just dropped off on her driveway. So what does the future hold for that bomb?

Gilligan doesn’t exactly know. In a recent interview with Rolling Stone, the Pluribus and Breaking Bad creator said that despite the writers room being “pretty sure they had a plan for” Carol’s bomb, Gilligan said, “Then you get into it and you’re like: Do we really? Do we really know what we’re gonna do?”

He joked that the show might just never mention the weapon again, and Rhea Seehorn played along: “Leave the box sitting in the driveway,” she said. “People forget,” Gilligan added, with a laugh.

Gilligan is also uncertain about when the world might see Season Two. The writers room has been at it for months, he told us, with less progress than he’d like. He suggested that a previously floated late-2027 schedule probably isn’t realistic, while admitting to some jealousy over The Pitt’s production pace.

“They’re kicking our butts in every award show,” he said. “They managed to make a great show and bring it in one year later, on the day, for the new season.… How frigging long is this gonna take? I don’t know. We’re doing our best. It takes forever, making this thing.

“I wish it was faster. We appreciate everybody’s patience very much, more and more as the months drag on. But thank you, anyone who likes the show. We are honest to God doing our best.”

Stay tuned for updates on the new season, and let us know what you think the showrunner should do with Carol’s bomb in season 2.

Recently, TeeTurtle released even more adorable plushies. Now, fans of Sonic the Hedgehog, Dragon Ball Z, and 90s Nickelodeon can grab fun new plushies from TeeTurtle’s store and Walmart’s website. Dragon Ball Z and Nickelodeon fans will find 3” blind boxes with reversible plushies of favorite characters including Goku, Vegeta, Piccolo, Arnold, CatDog, SpongeBob, and more. Each blind box has an MSRP of $8.97.

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Meanwhile, Sonic and friends are now available as Cloudheads for $9.97 each. These 5” plushies are soft and weighted and include Sonic, Tails, Knuckles, and Shadow! TeeTurtle was kind enough to send me a set of these Cloudheads and they’re amazing. The heads are ginormous with itty bitty bodies featuring a flat bottom, floppy limbs, and beads to provide some weight. Despite the massive heads, the tiny bodies are weighted enough to keep from falling over. My family and I ahve been enjoying having these new plushies help decorate our space and serve as new toys. Definitely worth the (roughly) $10 in my opinion.

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CRO of TeeTurtle, Lisa Adams, discussed how these collections come after the success of their One Piece collaboration with Walmart thusly:

The One Piece launch with Walmart exceeded every expectation, fans showed up in a big way, and we couldn’t be more excited to keep that momentum going. This May, we’re bringing three collections that span generations of fandom: Sonic for the speed fans, Dragon Ball Z for the anime legends, and Nick Nostalgia for everyone who grew up glued to their TV after school. This is exactly the kind of joy we set out to create, and we’re just getting started.

I’ve been enjoying the new plushies from TeeTurtle lately and overall, the quality has been good. These are great gifts for kids (or even many adults) for birthdays, Father’s Day, and other special occasions.

If you're a fan of Sabine Wren and have been looking for the ultimate collectible to represent the colorful Mandalorian warrior, Hot Toys has delivered something cool.

The company has officially revealed its new Sabine Wren 1/6 Scale Collectible Figure, inspired by the character's appearance in season three of Star Wars: Rebels, and it looks fantastic.

Sabine remains one of the most memorable members of the Ghost crew. Throughout Rebels, she evolved from a rebellious Mandalorian artist and demolitions expert into a respected leader who played a crucial role in the fate of Mandalore.

Along the way, she even wielded the legendary Darksaber, making her story one of the most compelling arcs in modern Star Wars lore.

Hot Toys has packed an impressive amount of detail into this release. The figure features a newly crafted head sculpt equipped with separate rolling eyeballs, allowing collectors to fine-tune her expression for dynamic display poses. Her distinctive white and purple reverse ombre hairstyle has also been faithfully recreated.

Collectors who prefer Sabine suited up for battle can swap in a helmeted portrait featuring a rotating macrobinocular viewplate. Her customized Mandalorian armor has been meticulously recreated with detailed paint applications and realistic weathering effects that make it look as though it stepped right out of the animated series.

Beneath the armor, Sabine wears a tailored flight suit and pants along with her signature paint-splattered black boots. The outfit is finished with double microfiber belts loaded with accessories, including blaster holsters, pouches, a comlink holder, and a lightsaber holder.

Of course, Sabine wouldn't be complete without an impressive arsenal. The figure comes equipped with her twin WESTAR-35 blaster pistols, a newly developed green LED light-up lightsaber hilt, a standard lightsaber hilt, and the iconic Darksaber hilt.

Each weapon includes both static and motion-effect blades for a variety of display options. A thermal detonator is also included for good measure.

The figure also comes with a magnetically attachable jetpack featuring a flame exhaust effect, Sabine's trademark paint sprayer, a personal combat shield, and even an alternate pair of vambraces inspired by her appearance in Ahsoka. Those extra accessories give collectors the ability to blend elements from different eras of the character's journey.

For fans building out a Star Wars display, this looks like one of the most complete Sabine Wren figures released to date. Between the character-specific accessories, detailed armor work, and multiple display configurations, it's easy to see why this release is already drawing attention from collectors.

The Sabine Wren 1/6 Scale Collectible Figure is available for pre-order now from Hot Toys through Sideshow. Chck out the unboxing video below!

It’s wild that nearly a decade later, Star Wars: The Last Jedi still sets off debates every time it’s mentioned. Love it, hate it, argue about it for hours online… that’s just part of its legacy now. And apparently, even WWE Champion Cody Rhodes has some strong feelings about it.

The difference is, his take comes from a surprisingly personal place that blends Star Wars with pro wrestling. The conversation kicked off on May 4 when IGN shared its ranking of Star Wars films, placing The Last Jedi at number four.

Rhodes jumped in with his own tweaks, writing, “Not bad! I’d swap 7 & 5 prob Love them ALL though,” which reshuffled the list to his liking. But things really got interesting when someone questioned how he could possibly be okay with The Last Jedi sitting that high.

That’s when Rhodes laid it all out.

“I love it. LOVE. But my reason is fairly personal and oddly wrestling related. When these legends come back, they’re not the same. Didn’t want Luke with dyed hair and an 8 pack doing flips…I got a broken old man with one last real punch in him. But it was a helluva punch. Kinda’ like Funk. May the 4th be with you!”

That comparison says a lot. Rhodes is drawing a direct line between Luke Skywalker’s final stand and the late Terry Funk, a wrestling icon who reinvented himself multiple times and delivered unforgettable moments well past what most would consider his prime.

Funk, who passed away in 2023, became famous in the ’80s but had a legendary resurgence in the ’90s, proving that age doesn’t erase impact. If anything, it sharpens it.

A lot of fans wanted Luke Skywalker to return as the unstoppable hero they grew up with. Instead, Rian Johnson gave us a worn-down version of the character, someone carrying the weight of failure and regret.

But when it mattered most, Luke didn’t go out swinging with a lightsaber. He made a massive stand using the Force, buying time for the Resistance and going out on his own terms. No flashy duel, no over-the-top spectacle, just one final move that changed everything.

That choice didn’t land for everyone, and that’s putting it lightly. The film’s reception was so divisive that even Kathleen Kennedy has acknowledged it played a role in reshaping the future of the franchise.

But Rhodes’ take cuts through the noise in a different way. He isn’t looking at it as a traditional hero story. He sees it like a veteran’s last match, where the performance isn’t about dominance, it’s about meaning.

And viewed through that lens, Luke’s final act really does feel like that “helluva punch” Rhodes is talking about.

Whether you agree with him or not, it’s hard to deny that this is one of the more unique defenses of The Last Jedi out there. It also proves that sometimes the way a story connects with someone has nothing to do with canon debates or rankings. Sometimes it just hits because it reminds you of something real.

Few movie props are as instantly recognizable as the Golden Fertility Idol from Raiders of the Lost Ark, and in a new visit to the Cinema Relics archive, Adam Savage gets the rare opportunity to see that iconic artifact up close.

Joined by collector and prop historian Dan Lanigan, Savage explores a collection packed with some of the treasured hand props from the Indiana Jones franchise. For fans of the adventure series, it’s the kind of deep dive that feels like stepping straight into Indy’s world of ancient mysteries and legendary treasures.

Lanigan walks Savage through the fascinating history behind several hero props used in the films, including the famed Golden Fertility Idol that kicked off Indy’s unforgettable temple escape in Raiders of the Lost Ark.

The pair also examine another fan-favorite artifact, the Headpiece to the Staff of Ra, which played a crucial role in the search for the Ark. Seeing these original pieces together offers a fun reminder of just how much craftsmanship went into bringing the Indiana Jones movies to life.

Other pieces include Indy’s whip, the Holy Grail, the Sankara Stones, he iconic horned headdress worn by the Thuggee cult leader, Mola Ram, in Indiana Jones and the Temple of Doom, and more.

For movie prop enthusiasts and longtime fans of the franchise, this showcase is packed with cinematic history and some seriously cool relics from one of Hollywood’s greatest adventure series.

Fans of Disney's Gargoyles have a new collectible to add to their wish lists. Mondo has officially revealed an impressive new Goliath 1/6 Scale Figure, bringing the legendary leader of the Manhattan Clan to life in stunning fashion.

Pre-orders are now open, and this Limited Edition release comes packed with accessories that should make longtime fans very happy. Priced at $350, the figure doesn't just feature Goliath, it also includes a companion Bronx vinyl figure, making this a great display piece for collectors.

The collectible captures the character's imposing presence with a 13-inch-tall figure and an impressive 14-inch wingspan. Collectors will have plenty of display options thanks to four interchangeable portraits, two hair attachments, multiple swappable hands, and a variety of accessories.

One of the coolest features is the inclusion of both opened and folded wing configurations, allowing fans to recreate different looks from the classic animated series. The exclusive Bronx companion figure adds even more value to an already loaded package.

Mondo's announcement highlights exactly why Goliath remains one of Disney animation's most beloved heroes:

“We are defenders of the night”

“Pulled from the shadows and forged in stone, the Leader of the Manhattan Clan is ready for the night shift in Mondo’s 1/6 figure line.

This Limited Edition figure stands at 13” tall with an amazing wingspan of 14”. The set comes complete with four portraits, two hair attachments, an array of swappable hands, and even more accessories including the exclusive Bronx companion figure and swappable folded wings!”

If you're a Gargoyles fan or a collector of high-end sixth-scale figures, this release looks like it will be one of Mondo's most sought-after offerings of the year.

Keep an eye out for pre-orders when they go live because this awesome Goliath figure is sure to attract plenty of attention from collectors eager to bring a defender of the night home.

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Konami recently released a new booster set for the Yu-Gi-Oh! Trading Card Game. Battles of Legend: Glorious Gallery contains a total of 146 cards with 40 brand-new cards for the TCG, 10 new chibi artworks, 10 new extended art cards, and 86 reprints that are mostly rarity upgrades or downgrades. Konami was kind enough to send me a box to open which you can check out below, but I wanted to share some overall thoughts in regards to sets like this.

I think overall, Glorious Gallery is a decent set. I was excited for the new Shaddoll cards since that is the first deck I played when I was getting back into the game around 2020 after a 10+ year hiatus.

I know that Dragunity is also a fan favorite, so I’m glad to see that there’s some love being given to some of these archetypes.

Now, I’m not expecting any of these decks to go and top a YCS at the moment, but I do think that these are fantastic to try in Genesys. I haven’t had the opportunity to do that quite yet myself, but I am very interested to see what can be done there.

Another point in favor of Glorious Gallery is the alternate artworks. I personally love many (possibly most) of the chibi artworks that we’ve gotten. I still think that Skull Servant might be my favorite, but there are a lot of really good ones.

In Glorious Gallery, I was excited at the prospect of getting Summoned Skull or Evolzar Laggia. I don’t even play decks that use those cards, I just think they’re adorable! Now, I do share my thoughts on the chibi Exodia the Forbidden One in my video, so I won’t spoil it here.

Additionally, the extended art cards have been really popular with duelists. I was very tepid with the first wave in Rarity Collection V, but this wave is much stronger to me with cards like Chaos Angel, Dragon Master Magia, and Dominus Impulse!

All that said, there is one minor annoyance and that is simply the set size. 146 cards is pretty big and when you only get 5 cards in a pack, it feels huge. There are some cards that I do not understand why they’re in here.

The big one is Shapesnatch which I can only assume is a copyright thing since it only has one other printing and it was as a common in Pharaonic Guardian in 2003. That’s 23 years ago and it’s not a good card. There are also reprints of the Invoked fusion monsters which were reprinted not that long ago and I’m fairly certain they weren’t that expensive.

I know it’s a popular archetype to run alongside Shaddolls and they do have the Magistus anime going on right now with Aleister, but that’s 4 slots you could just not include. In my opinion, a 100-card set is more than sufficient with the 5-card packs.

If they didn’t want to count the alternate artworks towards that, I’d be fine with that so it’s 120 cards in all. That’s 26 fewer than now and feels much better to me.

Let me know your thoughts in the comments below, but I think Yu-Gi-Oh! is really shaping up this year. Sure, not everything is a win. The latest forbidden and limited list was a letdown for many duelists.

However, as a whole, I think 2026 is breathing some much needed life and hype back into this card game that we love. I know that I’m still extremely hyped for next month’s release of Chaos Origins and then the release of Magnificent Monsters in September. What are you hyped for this year?

Movie-themed popcorn buckets have become a major part of the theatrical experience, and the latest collectible tied to Christopher Nolan’s The Odyssey might be one of the most fitting designs yet.

A newly revealed popcorn bucket for The Odyssey takes inspiration from one of the most famous icons in Greek mythology… The Trojan Horse.

The collectible is designed as a wooden Trojan Horse with the popcorn compartment built directly into its midsection. It’s definitely an unusual piece of movie merchandise, but considering the scale and mythology-inspired story Nolan is bringing to the big screen, it feels right at home alongside the film.

The movie’s official social media account unveiled the bucket with a short promotional video, accompanied by the message:

“The Trojan Horse Popcorn Bucket has arrived. Experience The Odyssey in theaters 07.17.26,”

This is already the second The Odyssey popcorn bucket announced in a matter of days. The film also introduced a limited-edition collectible modeled after an IMAX 15/65 camera. That version will be sold exclusively through IMAX and carries a $50 price tag.

While the IMAX camera bucket was a cool tribute to Nolan’s filmmaking process and love of large-format photography, the Trojan Horse version feels much more connected to the actual story audiences will be experiencing. Because of that, it wouldn’t be surprising if this ends up being the more sought-after collectible among fans.

Nolan’s adaptation of The Odyssey boasts one of the most impressive ensembles assembled for a modern blockbuster. The film stars Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson, Charlize Theron, Lupita Nyong’o, John Leguizamo, John Bernthal, Zendaya, Himesh Patel, Mia Goth, and Jimmy Gonzales.

The filmmaker recently spoke about the challenge and excitement of bringing Homer’s legendary tale to theaters, explaining: “It’s an epic film, as the subject matter demands,” he revealed. “But it is shorter.”

Nolan also discussed the pressure that comes with adapting one of the most celebrated stories ever told: Anyone taking on The Odyssey is taking on the hopes and dreams of people for epic movies everywhere, and that comes with a huge responsibility.”

Between the massive cast, the mythological scope of the story, and Nolan’s reputation for delivering unforgettable cinematic experiences, The Odyssey is already shaping up to be one of the most anticipated films of 2026.

The Odyssey rides into theaters on July 17, 2026.

The Trojan Horse Popcorn Bucket has arrived. Experience The Odyssey in theaters 07.17.26: https://t.co/sk8jwTAKih pic.twitter.com/FPS8ZwJNGs

— The Odyssey Movie (@odysseymovie) June 9, 2026

As we wait for Supergirl to hit theaters, DC Studios looking ahead to Man of Tomorrow, and James Gunn has offered a simple but revealing explanation for why Superman and Brainiac are destined to clash. In the process, he may have also teased one of the sequel’s biggest themes.

Brainiac is set to serve as the primary villain in Man of Tomorrow. The film will also feature an alliance between Superman and his greatest enemy, Lex Luthor, as the two are forced to work together against a threat neither can handle alone.

On social media, Gunn reflected on Brainiac’s comic book debut and shared his thoughts on what makes the character such a natural opponent for the Man of Steel.

"Brainiac is what happens when intelligence loses ALL connection to humanity. And Superman is as human as anyone, so… I get why they have beef. Brainiac made his comic debut on this day in ACTION COMICS #242."

It’s a short explanation, but it says a lot about how Gunn views both characters. One of the key moments at the end of Superman involves Clark Kent delivering a passionate speech to Lex Luthor about his humanity.

While Superman’s alien origins have always been a major part of his story, Gunn’s version of the character places equal importance on the human values that define him.

That makes Brainiac a fascinating counterpoint. If Superman represents compassion, empathy, and connection, Brainiac appears to be the complete opposite of pure intellect stripped of any emotional understanding.

Based on Gunn’s comments, that philosophical conflict could be just as important as any super-powered battle in Man of Tomorrow.

The dynamic also raises an interesting question about Lex Luthor’s role in the story. If Superman and Brainiac represent opposite ends of the humanity spectrum, where does Lex fit in? After being forced to work alongside Superman, will Lex finally recognize the humanity in the hero he despises? That's something we’ll have to wait and see.

Gunn has previously explained that his approach to Brainiac draws from a wide range of comic book stories rather than a single source. When asked if the classic Panic in the Sky storyline would serve as the basis for the movie, he clarified:

"Fun story but not really, no. More specifically: I read almost every Brainiac story to put Brainiac in MoT together and used bits and pieces I thought worked best. But PitS wasn't a key influence on the story."

That approach should be encouraging for DC fans. Instead of adapting one comic arc directly, Gunn seems to be building a version of Brainiac by pulling together the elements he feels work best from across the character’s long history.

The cast for Man of Tomorrow is packed with familiar faces and a few intriguing additions. David Corenswet returns as Superman alongside Nicholas Hoult as Lex Luthor, while Lars Eidinger takes on the role of Brainiac.

The film also stars Rachel Brosnahan as Lois Lane, Milly Alcock as Kara Zor-El, Aaron Pierre as Jon Stewart, and Matthew Lillard in a mystery role that remains under wraps.

It looks like the film will continue exploring what makes Superman who he is, and why his humanity may be his greatest strength. That idea could end up being exactly what puts him on a collision course with Brainiac.

Man of Tomorrow flies into theaters on July 9, 2027.

Brainiac is what happens when intelligence loses ALL connection to humanity. And Superman is as human as anyone, so… I get why they have beef. Brainiac made his comic debut on this day in ACTION COMICS #242. pic.twitter.com/1kPdbWULL6

— James Gunn (@JamesGunn) May 29, 2026

With Steven Spielberg's Disclosure Day hitting theaters this weekend, aliens and government cover-ups are back at the top of everyone's watchlist.

With that movie out and the conversations around UFOs going crazy right now, it's worth revisiting the last time he went all-in on UFO mythology, and it was a 10-episode, Emmy Award-winning television event that most people have completely forgotten about.

Long before Disclosure Day was even a concept, Spielberg executive-produced one of the most ambitious alien abduction sagas ever committed to television. Steven Spielberg Presents: Taken aired on the Sci-Fi Channel from December 2–13, 2002, and it was unlike anything on TV at the time.

The miniseries spans over 50 years, from 1944 all the way to 2002, following three interconnected families whose lives are irrevocably tangled with extraterrestrial contact.

The families include The Crawfords, a shadowy military family committed to burying the truth about the Roswell crash at all costs. The Keys, ordinary people subjected to repeated, terrifying alien experimentation across multiple generations. And the Clarkes, who harbored a surviving alien from the crash and paid the price for their compassion

It's a sweeping, multigenerational epic part Close Encounters, part The X-Files, and part prestige TV drama. Written entirely by Leslie Bohem across all 10 episodes, the series was filmed in Vancouver with a rotating roster of directors that included Tobe Hooper (The Texas Chain Saw Massacre) and X-Files veteran Bryan Spicer.

This wasn't some campy late-night Sci-Fi Channel schlockfest, it was prestige television produced by DreamWorks, backed by one of the greatest filmmakers alive, and it delivered.

The show tackled the full breadth of American UFO mythology including Roswell, Men in Black, alien-human hybrids, government disinformation, and grounded it all in great emotional storytelling.

It asked the same question Disclosure Day is clearly asking in 2026: What happens to the people caught in the crossfire between humanity and something we can't explain? But I think the show did it better than Disclosure Day.

If you’ve never seen it, or don’t remember it, you should watch it! Here's the trailer to jog your memory, or see for the first time if you’ve never seen it.

One of the big cameo surprises in Deadpool & Wolverine is officially making the leap from the big screen to toy shelves. Marvel Legends has unveiled a new three-figure wave inspired by the film, and leading the charge is none other than Henry Cavill’s fan-favorite Wolverine variant, The Cavillrine.

The first images from the upcoming Marvel Legends Series collection have surfaced online, giving fans a closer look at the trio of figures. While all three are inspired by memorable alternate looks from the movie, it’s The Cavillrine that has everyone talking.

The figure recreates Cavill’s brief but unforgettable appearance as Wolverine in the MCU adventure. The 6-inch action figure comes fully articulated and packaged in a window display box for collectors who prefer to keep their figures mint. It includes an alternate head sculpt and a second set of hands without the claws extended.

The figure captures The Cavillrine’s rugged look from the film, complete with a tank top, ripped jeans, and claws ready for action. Judging by the reaction online, fans are loving the sculpt, with many praising how closely the figure resembles Cavill.

The Cavillrine isn’t the only addition to the lineup, though. Marvel Legends is also releasing a pair of concept art-inspired figures that put a fun spin on the movie’s two main characters.

The first is Deadpool in an alternate grey-and-black costume. Labeled Deadpool (Concept Art), the figure includes full articulation and a generous collection of accessories for posing and display. Collectors will get a 6-inch Deadpool figure, three sets of alternate hands, two gold-colored pistols, two katanas, and a knife.

The second concept art figure flips the script on Wolverine by dressing him in Deadpool’s signature red-and-black color scheme. Titled Wolverine (Concept Art), the release includes a 6-inch Wolverine figure and an alternate set of hands featuring retracted claws. One thing collectors should note is that the figure doesn’t come with an alternate head sculpt, so Wolverine will remain masked in every display option.

According to reports, all three figures will retail for $27.99 each. Pre-orders are expected to go live on Thursday, July 9, 2026, at 1 PM ET / 10 AM PT.

The timing is fitting, arriving just days before Deadpool & Wolverine celebrates its second anniversary. The film originally hit theaters on July 14, 2024, and it’s clear that Marvel is still finding new ways to capitalize on some of its most memorable moments.

For fans who got a kick out of seeing Cavill step into Wolverine’s claws, this figure looks like it’ll be a must-have addition to the collection. The cameo may have only lasted a moment, but The Cavillrine clearly left enough of an impression to earn his own Marvel Legends release.

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The world of Fallout is about to get even bigger, stranger, and a lot more unpredictable. With Season 3 officially on the horizon, co-showrunner Geneva Robertson-Dworet is teasing that the series is finally ready to pull in some long-awaited elements straight from the games.

If you’ve been hoping to see deeper connections to the source material, it sounds like the next chapter is where things really start to pay off.

Season 2 left fans with a lot to process, and now the creative team is leaning into what makes Fallout such a unique experience: with exploration, chaos, and constantly expanding horizons. Robertson-Dworet made it clear that while certain destinations may be teased, nothing in the Wasteland ever goes according to plan.

"We know The Ghoul is heading to Colorado, ideally, but in the Wasteland, thou shalt be sidetracked by bullshit every goddamn time," she joked during an exclusive interview with SFX magazine.

Even when characters have a goal, it’s the journey is what defines them, and that journey is about to get a lot more expansive.

"He still needs to figure out exactly where he’s going," Robertson-Dworet continued. "Of course, Lucy and Max and many of our other characters are not necessarily heading to Colorado, so we’re very excited to unveil new locations next season.

“In Fallout, you’re always journeying and exploring and building your map out bigger, so that’s what we want to be mimetic of."

Leaning into that structure opens the door for new factions, unexpected encounters, and fresh corners of the wasteland we haven’t seen yet. Then there’s the tease that’s going to get gamers especially hyped.

"That’s such a core component of Fallout, so the show is always going to get bigger and bigger – and explore new regions. There are definitely a few things from the game that we’ve wanted to do since season one. Now, it’s narratively the right time to get to them – but I don’t want to say more than that and spoil it.”

The cast is just as eager to jump back into the madness. Aaron Moten, who plays Max, hinted that things are only going to escalate from here.

"I’m sure there will be more chaos. Much more chaos. I’m excited to get to be back at work with my good friend Ella. It will be really fun – and we’re both really excited to hit the ground running again."

That chemistry between Moten and Ella Purnell has been one of the show’s strongest elements, and it sounds like Season 3 is ready to push their characters into even more intense situations.

There’s also been talk from producer Jonathan Nolan about potentially bringing a practical Liberty Prime Alpha suit to life, which, if it happens, would be a pretty cool addition.

With Season 2 wrapping on Prime Video and already shaking up expectations, the groundwork is set for something even more unpredictable.

Guild Wars 2 is one of my favorite video games of all time. You’d think that I would be over the moon excited the moment that ArenaNet announced Guild Wars 3 at Summer Games Fest. The truth is, I wasn’t.

We got a short announcement teaser that was gorgeous, but I’ve been burned before so I rarely get hyped with just announcements. However, the team then spent the next few days doling out more information about Guild Wars 3 as well as their plans for Guild Wars 2 and Guild Wars Reforged.

This resulted in my hype growing exponentially and I’m finally feeling that rush of excitement and anticipation for this upcoming game in one of my favorite franchises.

Let’s talk about what we’ve learned. I’ll start by reviewing what we know about Guild Wars 3, and then go back to talk about the news for Guild Wars Reforged and Guild Wars 2. At Summer Games Fest, ArenaNet treated us with the following teaser.

That is gorgeous. I love the animation of the tapestry being embroidered and the voice over is all very dramatic. There’s some very important information in that teaser though. Now, it’s important to note that the only confirmed facts about Guild Wars 3 are as follows: the “joy of movement” is crucial to the game design, the open beta will launch in Fall 2027, the game is being designed for both PC and PS5.

It takes place in Orr approximately 1200 years before the events of Guild Wars Reforged and right after Grenth usurped Dhuum but before the first Guild War, it is an MMORPG, the teaser uses in-engine footage, the character will be able to move in a variety of ways (gliding, wall running, mounts, etc.) and players will be a Vaelwarden. As far as I’m aware, everything else is speculation, but typically with good merit behind it.

So, let’s get that speculation discussion started. In the teaser we see what appears to be a human, a kodan, a hairy asura, and maybe some other human-like species. Most of us are assuming these to be the playable species in Guild Wars 3 and it’s exciting.

I’ve wanted them to include kodan as a playable species in Guild Wars 2 for a few years now. The asura one is a bit more confusing since currently known lore suggests that the asura were likely underground at this point, so some think that this may actually be like a cousin species. I don’t think that’s the case given official art shows it with a golem very similar to the ones seen in Guild Wars Reforged.

Honestly, this is all very exciting. My main concern is that I’m worried that the actual gameplay won’t be what I want. Of course, only time will tell and I’m very excited to learn more.

Based on concept art shown and comments made by the team, there seems to be an emphasis on action-based gameplay. There’s something in the back of my mind that has me worried that it will be more of an ARPG like Diablo, but I admit that seems very unlikely.

As I mentioned, it was the additional information about Guild Wars 2 and Guild Wars Reforged that got me more excited about Guild Wars 3. I greatly appreciated and loved the confirmation that ArenaNet is planning on supporting all three Guild Wars titles over the next 10 years at least.

In discussions, they even pointed to EverQuest and EverQuest 2 as examples of how that can work. They even admitted that they made a mistake by all but discontinuing Guild Wars when Guild Wars 2 was released and they’re seeing so much life in the first game thanks to the release of Guild Wars Reforged.

Guild Wars Reforged is getting a mobile version later this year and it was confirmed that it is the only game in the series that will have a mobile version. However, it was also said that the partner development team at Two Weeks is working on new content for the game as well! T

hat is HUGE! We don’t know what that means. They’ve already done a couple of new dungeons, but the comments did sound like they were talking more about a new expansion. I still want to go back and revisit Guild Wars Reforged and I think I’m going to turn that into a summer project of mine, but the Guild Wars 2 news was my favorite.

I have played Guild Wars 2 almost since launch (personal circumstances prevented me from playing at launch). I love this game. I was genuinely worried about what might happen to it with the release of Guild Wars 3, and I’m genuinely more excited about what the team is planning to do to Guild Wars 2 between the final update of Visions of Eternity (the current ongoing expansion) and the launch of Guild Wars 3 than I would be about any new expansion news. They’re going to work on improving the game.

This is MASSIVE! They’ve decided to not share many plans or details, but the one that they did share was the Zhaitan fight. For those unfamiliar, the Zhaitan fight is the final boss fight in the core game’s story. Anyone can play through this point for free (and I highly recommend you do so).

Sadly, this fight is underwhelming and over the past few days, Colin Johanson (ArenaNet Studio Head) admitted that when Guild Wars 2 shipped, the fight was not what they wanted it to be and they were simply amazed that it wasn’t broken. After this fight gets updated, I am definitely going to play through the story with a new character and I’m excited to see the changes.

As I mentioned, they haven’t shared details really about what else is going to be addressed, but they are going to be doing this until the launch of Guild Wars 3 and they will be doing it in chunks chronologically. There will be two updates for the core game, and then each subsequent update will be for each of the expansions.

The idea is to bring older content in line with new standards and I love this. In fact, they are inviting players to head over to the official forums and share thoughts about what they want addressed. There are already some amazing ideas in there, but don’t be afraid to share your feedback.

Oh, it was also confirmed that after Guild Wars 3 is released, the team will continue to develop and release annual expansions for Guild Wars 2. Plus, they’re adding physics-based rendering and a new World vs World map.

Of course, it was also exciting to hear the team announce a new Hall of Monuments system that will connect Guild Wars 2 to Guild Wars 3. This was such a brilliant idea when Guild Wars 2 was releasing and I’m glad they’re giving us a new one.

They have confirmed that for now the plan does not include linking Guild Wars Reforged, but I’m okay with that personally (although I do agree the title God Walking Amongst Mere Mortals should probably carry over).

However, being able to show off and celebrate your achievements in the prior game in the new game is very nice from a player’s perspective. Also, this gives people incentive and excuses to go back and play the older games even after launch so they can get the cool titles and cosmetics.

It has felt weird having the excitement for Guild Wars 3 build gradually and mostly through information about how the first two games in the franchise are going to still be cared for. I believe that it is because while they cannot say much about Guild Wars 3 yet, hearing them be passionate about the first two games and how passionate they are in respecting players, it does a lot.

In case you missed all the news, I would recommend watching some of the videos below (beware the Twitch one has pretty rough audio) and/or videos from some of the great Guild Wars content creators such as Mukluk, Laranity, MightyTeapot, and many more. Some of those reaction videos also helped me process the news and different aspects, plus Laranity’s enthusiasm is contagious.

Fans diving into Spider-Noir have already seen plenty of eerie imagery from the dark, pulpy world of the series, but a newly released behind-the-scenes video is shining a spotlight on one of the show's most unsettling creations.

If giant spider-human hybrids happen to be your thing, you're in for a treat. If not, well... prepare for some nightmare fuel.

Special makeup effects artist Gary J. Tunnicliffe recently shared a behind-the-scenes video on Instagram that reveals the creation of the show's terrifying "Spider Soldier."

The footage walks viewers through the extensive prosthetic and makeup work required to transform a performer into the grotesque creature, and the result is every bit as disturbing as you'd expect.

The practical effects work is incredibly detailed, turning the actor into a horrifying fusion of man and spider that looks like it crawled straight out of a twisted pulp horror comic.

In an era where digital effects often dominate creature design, it's refreshing to see such an elaborate practical creation brought to life with old-school craftsmanship.

Along with sharing the footage, Tunnicliffe made sure to credit the talented team responsible for the creature's creation. He praised special effects designer Vincent Van Dyke, whose work served as the foundation for the Spider Soldier.

The test footage also featured contributions from makeup artist Ken Niederbaumer, hairstylist Sasha Camacho, and dental effects artist Jason James.

In his post, Tunnicliffe wrote: "@vincentvandykefx incredible ‘spider soldier’ creation for the excellent SPIDER NOIR @spidernoirprime – this taken during the first test."

He followed that up by teasing fans with more looks at the creature design still to come, saying: "I’m sure Vincent will be posting numerous pics, detailing the process and all the talented crew involved, but for now here’s a little taster.

“NOW, get over to Amazon Prime and start watching and see how this (and so many other great practical mufx) play into the shadowy world of Nic Cage’s Ben Riley / The Spider."

This is the kind of creature that taps into primal fears, combining recognizable human features with something completely unnatural and unsettling.

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A post shared by Gary J Tunnicliffe (@hollywoodassassin)

For years, robotics engineers have been chasing a goal to create robots that can move through the world with the same agility and coordination as humans. Now, Boston Dynamics is using an unexpected training ground to push that mission forward with soccer.

In a new video series titled School of Football, the company’s Atlas humanoid robot is getting a crash course in the world’s most popular sport.

While kicking a ball might seem routine for people, it demands a complex combination of balance, coordination, precision, timing, and body control. Those are all skills that remain major challenges in robotics.

Across four videos released so far, Atlas steadily builds its abilities. The robot starts with basic drills and celebratory moves before advancing to actual shots on goal.

From there, things get even more ambitious as Atlas attempts the flashy Rabona and eventually takes on the notoriously difficult “Ghost Rabona.”

Watching the progression is fascinating. Atlas begins as an awkward rookie still figuring out how its mechanical body should move, but by the end of the series it's delivering shots with surprisingly accurate ball control and precision.

The project offers a fun look at how robotics research continues to evolve. Every successful kick, turn, and trick represents a mountain of engineering work aimed at helping robots better understand movement and interact with the physical world.

Of course, it’s also a reminder that the machines are getting pretty good at things humans once considered uniquely ours. That's excellent news for robotics research and slightly concerning for anyone still planning to suit up for Team Humanity.

Check out all four School of Football videos below and watch Atlas work its way from soccer novice to mechanical playmaker.

San Diego Comic-Con always finds new ways to tap into fans’ nostalgia, but Hasbro is going all-in this year with a celebration that feels tailor-made for kids of the 1980s.

As part of the ongoing 40th anniversary festivities for Transformers: The Movie, the company has announced a special live concert event that will bring the music of the beloved animated classic back to life.

And if that wasn’t enough, attendees will also have a chance to grab an awesome crossover collectible that merges Transformers with another iconic Hasbro property, Jem and the Holograms.

The concert, appropriately titled “Celebration of Life,” is set to take place on Thursday, July 23, at the House of Blues San Diego, located just a short walk from the San Diego Convention Center. For fans of the 1986 animated film, this event sounds like a dream come true.

The lineup includes Knight of Unicron, the band formed to create new cover versions for the recently released 40th anniversary soundtrack album. Joining them will be Stan Bush, whose legendary anthem “The Touch” has become one of the most recognizable songs associated with the Transformers franchise and remains a favorite among fans decades later.

Adding another layer of 1980s magic to the evening, Britta Phillips, the original voice of Jem, will also perform songs from Jem and the Holograms. That combo makes this one of the most unique fan events announced for Comic-Con so far.

Tickets for the concert start at $50, giving fans an opportunity to celebrate two beloved Hasbro franchises in one unforgettable night.

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Hasbro also has a convention exclusive that is guaranteed to turn heads. The company has spent years crossing Transformers over with popular franchises ranging from Back to the Future to Ghostbusters, but this latest mashup might be one of the most entertaining yet.

The new Transformers and Jem and the Holograms collaboration leans fully into the colorful energy and charm of both properties, creating a collectible that feels like it was destined to happen. It’s exactly the kind of unexpected crossover that makes longtime fans smile the moment they see it.

The set will be available as one of Hasbro’s San Diego Comic-Con exclusives at the company’s booth. Any remaining inventory will be offered online after the convention, giving collectors who can’t make the trip a second chance to pick one up.

Fans looking for additional details and availability updates will want to keep an eye on Hasbro Pulse’s social channels.

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Comic-Con announcements are only just beginning to roll in, and there are still plenty of surprises waiting to be revealed. But for fans of Transformers: The Movie, a live concert featuring music from the film and a wonderfully over-the-top Jem and the Holograms crossover collectible is going to be tough to beat.

For anyone who grew up with these franchises, San Diego is shaping up to be the place to be this summer.

Nickelodeon has officially ordered more episodes of its iconic animated franchise, renewing SpongeBob SquarePants and its spinoff The Patrick Star Show for additional seasons.

The move further cements the network's commitment to one of its most successful and enduring properties as the SpongeBob universe continues to expand.

The flagship series, starring Tom Kenny as the endlessly optimistic sponge, has been renewed for Cycle 16. That renewal covers Seasons 18 and 19 and will consist of 26 half-hour episodes in total.

Meanwhile, The Patrick Star Show, led by Bill Fagerbakke, has secured Cycle 4, which includes Seasons 6 and 7 with 26 half-hour episodes altogether.

Fans won't have to wait too long to see the next chapter unfold. Season 18 of SpongeBob SquarePants and Season 6 of The Patrick Star Show are currently slated to premiere on Nickelodeon in the fourth quarter of 2026. The following seasons, Season 19 of SpongeBob and Season 7 of Patrick Star, are expected to arrive in 2027.

All four newly ordered seasons are already in production, ensuring a steady stream of adventures from Bikini Bottom and beyond for years to come.

The renewals continue a trend that's become increasingly clear at Nickelodeon. Just last month, the network also handed out additional season orders to PAW Patrol and its spinoff Rubble & Crew. Those pickups added 26 more episodes to each series, bringing PAW Patrol to Seasons 14 and 15 and Rubble & Crew to Seasons 5 and 6.

At the same time, Nickelodeon has also been trimming parts of its animation lineup. Late last year, the network canceled Dora and Tales of the Teenage Mutant Ninja Turtles, signaling a more franchise-focused strategy moving forward.

Chair George Cheeks outlined that vision in a company memo last November, saying: “Our cable brands will focus on a more curated slate, optimizing programming and marketing resources to amplify what resonates most.

“That means leaning into franchises like SpongeBob, PAW Patrol, RuPaul’s Drag Race, South Park, Ms. Pat and The Daily Show, while continuing to develop new IP across our studios and seeking new ways to amplify and connect with audiences.”

Considering the lengthy production schedules involved with animated series, it's likely these new SpongeBob and Patrick Star cycles had already been in development before that strategy was publicly outlined. Still, the renewals are a clear sign that Nickelodeon sees plenty of life left in the franchise.

For a series that first premiered more than 25 years ago, SpongeBob SquarePants continues to be one of the biggest brands in children's entertainment. Whether it's through the main series, spinoffs, movies, merchandise, or streaming content, the world created by Stephen Hillenburg remains a major force for Nickelodeon.

In the meantime, fans can catch new episodes of SpongeBob SquarePants every Friday at 5 p.m. on Nickelodeon, with The Patrick Star Show following at 6 p.m. The current rollout of new episodes is expected to continue through July and August.

If there was any doubt about Nickelodeon's priorities, this latest round of renewals makes things pretty clear. Bikini Bottom remains one of the network's most valuable destinations, and SpongeBob and Patrick are sticking around for plenty more adventures.

Magnolia Pictures has unveiled the first trailer for director Gregg Araki’s latest dark comedy, I Want Your Sex, and it offers a glimpse into a strange, seductive, and increasingly dangerous world where fantasy and obsession collide.

The film made its debut at the 2026 Sundance Film Festival earlier this year, earning largely positive reactions from critics who embraced its unpredictable energy, eccentric humor, and fearless approach to sexuality and power dynamics.

Set in Los Angeles, the story follows Elliot, played by Cooper Hoffman, a young man whose life takes an unexpected turn when he lands a job working for renowned artist and provocateur Erika Tracy, played by Olivia Wilde.

For Elliot, it initially feels like a dream opportunity. That dream becomes even more surreal when Erika chooses him to serve as her sexual muse.

What begins as an exciting new chapter soon evolves into something much more complicated as Elliot is pulled into Erika's orbit and introduced to a world filled with desire, manipulation, obsession, betrayal, and even murder.

The film's official synopsis reads: "When fresh-faced Elliot (Cooper Hoffman) lands an exciting job for renowned artist, icon and provocateur Erika Tracy (Olivia Wilde), all his fantasies come true as Erika surprisingly taps him to become her sexual muse.

“But Elliot soon finds himself out of his depth as Erika takes him on a journey more profound than he ever could have imagined, into a world of sex, obsession, power, betrayal and murder."

The movie also stars Charli XCX, Daveed Diggs, Mason Gooding, Chase Sui Wonders, Margaret Cho, and Johnny Knoxville.

The film is described as "hilarious, tender, and nuanced in how it tackles the differences between how older and younger generations embrace their sexual desires." Judging by the trailer, it will offer a funny, unsettling, provocative, and packed with the kind of chaotic energy that has defined much of his career.

Araki directed the film from a screenplay he co-wrote with Karley Sciortino. The filmmaker's previous credits include Three Bewildered People in the Night, The Long Weekend (O' Despair), The Living End, Totally F**ed Up, The Doom Generation, Nowhere, Splendor, Mysterious Skin, Smiley Face, Kaboom, and White Bird in a Blizzard.

After making its Sundance debut earlier this year, I Want Your Sex is now set to arrive in select U.S. theaters on July 31, 2026.

This summer’s epic The Odyssey marks the third collaboration between director Christopher Nolan and composer Ludwig Göransson.

The Academy Award winners previously worked together on Tenet and Oppenheimer, but this time around, the task was more unique than ever before. Universal released a new featurette for the film, which you can check out below, that dives into the making of the score for the film.

In the video, Göransson talks about how he created a Homeric score with a lyre, an aulos, and instruments made of bronze since the setting was the Bronze Age.

“Chris had mentioned early that he was interested in aulos,” Göransson says in the short film of an instrument that looks a bit like twin clarinets. “He was interested in lyre. The aulos was an ancient Greek instrument. It was the most popular rock star instrument for a thousand years.”

“This is a replica of an aulos,” musician Callum Armstrong says. “The original dates from between the sixth century and the fifth century B.C. We don’t have any surviving reeds.

“So I worked with two other people, and we spent a while trying to work out and figure out how this bit worked at the top. We had to read lots of ancient source material and try and work out how they did it.”

Another musician, Rosa Fragorapti, also demonstrates how to play a lyre, which they had to figure out from looking at old urns and other materials.

The Odyssey is Nolan’s nearly three-hour adaptation of Homer’s epic poem, in which the hero, Odysseus, journeys home from the Trojan wars, facing mythical creatures like cyclops, sirens, and the mystical Calypso.

The film stars Matt Damon as Odysseus, and the rest of the cast includes Anne Hathaway, Tom Holland, Robert Pattinson, Lupita Nyong’o, Zendaya, Charlize Theron, and Elliot Page, among many others.

Check out the featurette below, and watch The Odyssey when it hits theatres on July 17th.

When Jon Favreau signed on to direct Iron Man, there was no way of knowing he was helping kick off a cinematic universe that would dominate pop culture for the next two decades.

The filmmaker made plenty of important decisions while bringing Tony Stark's story to the screen, but according to Favreau, the smartest move he made wasn't casting Robert Downey Jr. or helping shape Marvel's future.

It was giving himself a small role in the movie that turned into one of the best career investments he could have made.

While making an appearance on Jimmy Kimmel Live! to promote The Mandalorian and Grogu, Favreau reflected on one particular choice that ended up paying off in a major way over the years. Speaking about casting himself as Tony Stark's loyal bodyguard, chauffeur, and friend Happy Hogan, he joked:

"The smartest thing I ever did was give myself a cameo in that first one in the Iron Man because that thing put my kids through school.”

Back when Iron Man was released, nobody knew the MCU would grow into the entertainment giant it is today. The film was a gamble for Marvel, and even the casting of Downey as Tony Stark was considered a huge risk at the time.

Favreau certainly couldn't have predicted that a relatively small supporting role would keep bringing him back to the franchise for nearly two decades.

Because Happy Hogan debuted in the very first MCU movie, the character became a recurring fixture throughout the saga. Favreau reprised the role in all three Iron Man films, appeared in Marvel's Spider-Man trilogy, showed up in Avengers: Endgame, and most recently popped up in Deadpool & Wolverine.

That's an impressive run for a character who originally seemed destined to be little more than a supporting player.

Looking back, it's easy to see why Favreau considers it such a smart move. While he has remained busy as a director, producer, writer, and actor across numerous projects, Happy Hogan provided a steady connection to Marvel and, as he humorously pointed out, a very practical benefit for his family as well.

At the moment, Happy isn't expected to appear in Spider-Man: Brand New Day following the events of Spider-Man: No Way Home. Still, Marvel has a habit of bringing familiar faces back when fans least expect it.

With massive crossover projects like Avengers: Doomsday and Avengers: Secret Wars on the horizon, it wouldn't be surprising to see Happy Hogan return somewhere down the line.

For now, fans can look back and appreciate that one seemingly minor casting decision ended up becoming one of the longest-running roles in the MCU. Not bad for what started as a small cameo in a movie that changed Hollywood forever.

With Disclosure Day set to hit theaters this week, anticipation for Steven Spielberg’s long-awaited return to big-screen sci-fi is reaching a fever pitch. The legendary filmmaker hasn't delivered a sci-fi blockbuster in nearly a decade, and if the film’s stars are to be believed, audiences are in for a thrilling ride that barely lets up once it gets moving.

Speaking with GamesRadar+ during a London press event, stars Josh O'Connor and Eve Hewson opened up about their experience making Disclosure Day, offering some insight into the pace, style, and energy of Spielberg’s mysterious alien-centered adventure.

O'Connor, who plays whistleblower Daniel Kellner, described the film’s momentum in a way that captures the feeling of being launched into something much bigger than yourself.

"It's like a gun going off before the hundred meter dash," O'Connor says. "It was kind of like driving straight through, and so in that sense the, like, rush element of it is so there."

In the film, Kellner finds himself targeted by a secretive extra-governmental organization determined to keep evidence of alien life hidden from the public. Along the way, his girlfriend Jane, played by Hewson, is pulled into the chaos as the pair struggle to stay ahead of their pursuers.

For O'Connor, working with Spielberg for the first time was every bit as memorable as fans might expect. The actor shared a comparison he heard from a friend that immediately clicked with him.

"I can't claim this one, but a friend of mine described Steven as like the 'Mozart of the moving image. There are things about his films that, for me, and I'm sure for many, feel nostalgic. You immediately get this sense of safety from Steven's images, because of [his movies] being so present in our childhood."

That combination of wonder, familiarity, and spectacle has long been a hallmark of Spielberg's filmmaking. But while Disclosure Day deals with extraterrestrial secrets and government conspiracies, Hewson says the director approached the visuals in a surprisingly grounded way.

Having previously worked with Spielberg on Bridge of Spies more than a decade ago, she explained that the goal was to make the story feel as if it could unfold in the real world right now.

"He wanted to make it kind of feel a little bit documentary style," Hewson notes. "He wanted to make it feel very alive and real, like it could happen today, tomorrow, the next day. So that's exciting too, the way he shot it, and the way they use the light, it just feels very present."

That realism was brought to life with the help of longtime Spielberg collaborator Janusz Kaminski, whose cinematography has shaped some of the director’s most iconic films.

According to Hewson, the visual approach helps sell the idea that alien encounters and government cover-ups aren't happening in some distant fantasy world, but right outside your front door.

The cast surrounding O'Connor and Hewson is equally impressive, featuring Emily Blunt, Colin Firth, Colman Domingo, and Wyatt Russell. Early reactions from critics and industry screenings have been extremely enthusiastic, with some viewers already calling it Spielberg’s strongest film in two decades.

Whether those lofty claims hold up remains to be seen, but the combination of Spielberg returning to sci-fi, an intriguing alien conspiracy story, and a cast packed with talent has certainly made Disclosure Day one of the most anticipated movies of the summer.

Audiences won't have to wait much longer to find out what Spielberg has been cooking up. Disclosure Day lands in U.S. theaters on June 12.

After saying he was retiring, Jim Carrey jumped back into action for the upcoming film Sonic The Hedgehog 3, and it sounds like he’s not really retired anymore. In fact, he’s open to starring in film projects that come his way, and if someone pitched The Mask sequel to him, he’d definitely consider it.

During a past interview with CB, Carrey was asked about the possibility of a The Mask sequel, and he responded: “Oh gosh, you know, it has to be the right idea.”

He added: “If somebody had the right idea, I guess… It’s not really about the money. I joke about the money… But I never know. You can’t be definite about these things.

“I said I’d like to retire, but I think I was talking more about power-resting. Because as soon as a good idea comes your way, or a group of people that you really enjoyed working with and stuff, it just – things tend to change.”

When previously talking about retiring, Carrey said: “Well, I’m retiring. Yeah, probably. I’m being fairly serious. It depends. If the angels bring some sort of script that’s written in gold ink that says to me that it’s going to be really important for people to see, I might continue down the road, but I’m taking a break.”

I’ve always enjoyed Jim Carrey, so it’s good to know that he’s not really retiring and he’s open to other projects.

As far as a sequel to The Mask, that could be fun and interesting, but it doesn’t really need a sequel. That original film works perfect as a standalone movie. But, like Carrey said, if there’s a good idea for it, I’d watch it!

Fans are finally going to see Jason Momoa step into the role he’s wanted to play for years when he makes his debut as Lobo in Supergirl this summer. But while his appearance in the upcoming DC Studios film is just around the corner, Momoa is already looking ahead to what could come next for the character.

And if DC ever decides to give the intergalactic bounty hunter his own movie, Momoa has one very specific condition.

Speaking with Collider, the actor revealed that he’s already talked with DC Studios chiefs James Gunn and Peter Safran about the possibility of a standalone Lobo project. However, he made it crystal clear that he has no desire to tone the character down for a broader audience.

“It’s all I want, and I promise — I’m just going to put this out there right now — I do not have any interest in making a Lobo PG-13 movie. So, will [Lobo] be a part of some other movies? If they want me, I’ll be there. But if I make a solo movie, I’m not doing it unless it’s rated R.”

Lobo has always been one of DC’s most outrageous characters. The cigar-chomping alien mercenary is known for his violent adventures, twisted sense of humor, and complete disregard for rules.

He’s a character who thrives on chaos, and many comic fans would argue that an R-rating is the best way to fully embrace everything that makes him so entertaining.

For now, audiences will get their first taste of Momoa’s take on the character in Supergirl, which hits theaters and IMAX on June 26. The film stars Milly Alcock as Kara Zor-El, following the young Kryptonian as she celebrates her 23rd birthday while traveling across the galaxy with her loyal companion Krypto.

The movie is based on Supergirl: Woman of Tomorrow, the acclaimed 2022 comic book series written by Tom King and illustrated by Bilquis Evely. The screenplay was adapted by Ana Nogueira.

The story follows Supergirl and a young alien girl named Ruthye Mary Knolle as they embark on a dangerous mission to track down Krem of the Yellow Hill after he murders Ruthye’s father in cold blood.

Along with Momoa’s Lobo, the cast includes Eve Ridley as Ruthye Mary Knolle and Matthias Schoenaerts as Krem.

Whether a solo Lobo movie actually happens remains to be seen, but Momoa’s enthusiasm for the character is impossible to miss. The actor has been vocal for years about wanting to play the Main Man, and now that he’s finally gotten the opportunity, it sounds like he already knows exactly what kind of movie he wants to make.

The bigger question is whether DC Studios will eventually give him the chance to unleash a fully R-rated Lobo adventure.

The Doctor has escaped Daleks, Cybermen, and universe-ending threats over the decades, but the next challenge facing Doctor Who may be the toughest one yet.

The long-running sci-fi franchise is heading into a major period of uncertainty after the BBC announced a significant creative reset for the series.

There’s been a lot of speculation about the show's future, but that quickly turned into a full-blown shake-up, with plans for a previously announced Christmas special now scrapped and the current creative partnership between Russell T Davies and Bad Wolf coming to an end.

According to industry insiders, this wasn't a sudden collapse but a realization that Doctor Who needed more than a quick fix.

Sources say all parties came to the conclusion that the series required a much deeper overhaul than a holiday special could provide. As a result, the BBC is now preparing for a substantial rebuilding process that could keep Doctor Who off television until at least 2028.

For fans hoping the Christmas special would bridge the gap between seasons, the warning signs were already there. Reports indicate there was no completed script in place and no actor attached to step into the role of the Doctor. With less than six months available to produce the episode, getting it made simply wasn't realistic.

Some insiders were reportedly surprised the special was announced in the first place. One source claimed it was revealed “more in hope than expectation,” suggesting the announcement was intended to reassure fans after Disney stepped away from its co-production agreement with the BBC.

Davies later seemed to support that idea himself when he posted on Instagram that the special was “only cooked that up to guarantee a future when no one knew what would happen.”

The BBC acknowledged the disappointment many fans are feeling. In a statement, the broadcaster said the cancellation was “not taken lightly” and admitted the decision would be “disappointing for fans.” The network added that its focus is now on “securing the next phase of the show for future generations.”

That next phase could look very different from anything fans have seen before. The BBC plans to launch a competitive tender process for Season 16, opening the door for production companies to pitch their vision for the future of Doctor Who.

While that may sound exciting, early reactions from producers suggest there isn't exactly a stampede forming to take over the TARDIS.

Under the BBC's operating rules, many of its productions must be offered to the wider market, meaning outside companies can compete for the opportunity to produce the series.

The broadcaster recently completed a similar process with the medical drama Casualty, though Doctor Who is by far the biggest and most recognizable franchise to undergo such a transition.

The problem is that many producers don't appear eager to sign up. Deadline spoke with several respected UK drama producers, and the response was far from enthusiastic.

Concerns ranged from financial challenges to creative burnout and the simple reality that whoever takes on Doctor Who would be pouring enormous resources into a property they don't actually own.

One producer said, “You would have to be mad” to take on the show. Another described the situation as: “[It’s a] bit of a nightmare for any producer in this market with the shadow of the Disney fallout.”

Funding remains one of the biggest questions hanging over the series. Disney's involvement helped elevate the show's production values, and many insiders aren't convinced another major American studio will step in to fill that gap.

As one producer explained: “It’s hard to see another major U.S. studio replacing Disney. So the budget would be hard to get above £3M ($4M) [per episode] without significant co-pro or insane investment from the distribution arm [BBC Studios], which they will struggle to recoup on sales.”

There are also growing concerns about the creative direction of the franchise itself. Some insiders believe the series has struggled to connect with audiences during the latest era.

Reports point to declining ratings, criticism of story choices, and a feeling among some industry observers that Doctor Who has drifted away from what once made it such an event series.

Questions have also been raised about Ncuti Gatwa's tenure as the Doctor, with some sources suggesting he never fully settled into the role.

As for Bad Wolf, many aren't expecting the company to return for another round. One source suggested that parent company Sony Pictures Television would be unlikely to approve further involvement in a series "they don’t own or have a share of."

Still, not everyone is sounding the alarm. Some producers see opportunity in taking on one of television's most recognizable brands. Even with its current challenges, Doctor Who remains a globally known franchise with decades of history, merchandising power, licensing opportunities, and a passionate fanbase.

BBC Studios will also continue overseeing distribution, consumer products, licensing, digital initiatives, and immersive experiences regardless of who ends up producing the show.

The larger issue is timing. The BBC hasn't revealed when the tender process will officially begin, and industry observers note that these kinds of competitions can take months to complete. After that comes development, casting, writing, pre-production, filming, and post-production.

That's why many insiders believe a return before 2028 is highly unlikely. Some even predict the show could remain dormant for as long as five years.

Interestingly, a few people within the industry think that extended break might actually benefit the franchise. Time away could allow the BBC to reassess what Doctor Who should be for a new generation while giving audiences a chance to miss it again.

One person close to the series offered a more optimistic outlook, saying: “If you look at the longevity of Marvel, Star Wars, and Star Trek, these are valuable commodities over generations. The BBC is lucky to have one of these, and this should be no more than a bump in the road if they approach it properly.”

That's ultimately the big question hanging over Doctor Who right now. The franchise isn't disappearing, but it appears to be entering one of the most significant regeneration periods in its history.

The Doctor may be absent from our screens for a while, but the BBC is clearly betting that a longer reset now will help ensure the Time Lord has many more adventures ahead.

Matt Reeves’ The Batman: Part II has remained one of the most mysterious comic book movies in development, and if a new report is accurate, a lot of the rumors that have been floating around for the last year may have missed the mark entirely.

According to insider Jeff Sneider on The InSneider, the sequel’s cast lineup and villain roster are shaping up very differently than many fans expected. The biggest surprise involves Sebastian Stan, who has long been rumored to be playing Harvey Dent, the Gotham City district attorney who eventually becomes Two-Face.

That apparently isn’t the case. Sneider claims Stan will instead take on the role of Victor Zsasz, one of Batman’s most disturbing foes.

In DC Comics lore, Zsasz is a serial killer who arranges his victims’ bodies into lifelike displays and carves a tally mark into his own skin for every person he murders. It’s the kind of unsettling villain that feels right at home in Reeves’ dark and grounded Gotham.

As for Harvey Dent, the report states that Brian Tyree Henry will be stepping into the role. Fans will already know Henry from Atlanta and Eternals, and it sounds like Gotham’s ambitious district attorney will still have an important place in the story.

The report also claims that the mysterious Court of Owls will play a role in the movie. The secretive organization has been one of the most requested villains since The Batman was released, and if they are involved, Reeves may be pulling Gotham’s corruption and conspiracies to an entirely new level.

Sneider shared some interesting details about the script, explaining: "One of my sources told me that The Batman Part Il script features 'some weird and interesting takes.'"

Another source reportedly told him that Reeves’ decision to use Zsasz as a villain “fits in with everyone telling me the movie is f***ing crazy."

That certainly paints a picture of a sequel that could be much stranger and more unpredictable than fans have been expecting.

The report also touches on Scarlett Johansson and Charles Dance, both of whom have been linked to the project through previous rumors. According to Sneider, they "aren't playing big names in the Batman universe, but more like a 'meld' of different characters."

Earlier reports suggested Johansson and Dance would portray Harvey Dent’s wife and father, but that information now appears questionable.

If the Court of Owls are truly part of the story, it’s easy to imagine Dance being connected to Gotham’s elite secret society in some fashion, though that remains pure speculation for now.

As always with reports like this, it’s worth remembering that none of these details have been officially confirmed by Warner Bros. or Reeves. Still, Sneider has built a strong reputation for industry scoops, and he seems confident in what he’s hearing.

What makes this latest update especially interesting is how dramatically it reshapes expectations for the movie. For months, fans have been focused on the possibility of Two-Face taking center stage.

If Stan is actually playing Zsasz and Dent is being handled by Henry, then Reeves may be setting up something much larger than a straightforward villain origin story.

Directed by Matt Reeves from a screenplay he co-wrote with Mattson Tomlin, The Batman: Part II stars Robert Pattinson, Colin Farrell, Andy Serkis, Jeffrey Wright, Charles Dance, Jayme Lawson, Gil Perez-Abraham, and Sebastian Koch.

The Batman: Part II is currently scheduled to hit theaters on October 1, 2027.

Video game adaptations are having a serious moment right now, and if Elijah Wood has his way, another beloved gaming property could be added to the growing list of franchises making the jump to television.

While promoting his work on Among Us, Wood opened up about a project he'd love to see revived, and it's one that longtime LucasArts fans will instantly recognize. During an interview with ScreenRant, the actor revealed that he'd love to see Sam & Max Hit the Road adapted into a TV series.

The classic point-and-click adventure game was released by LucasArts in 1993 and remains one of the studio's most fondly remembered titles. According to Wood, the property feels like a natural fit for animation.

He explained that the game had “a really great art style,” and added that it “lent itself to an animated series.”

There are currently no plans in motion, but it's clearly a project he'd love to see happen someday, and it's easy to see why.

For those unfamiliar with the franchise, Sam & Max didn't begin as a video game. The characters were originally created by Steve Purcell in a comic series before eventually making their way into the gaming world.

The stories follow Sam, a detective dog, and his wildly unpredictable rabbit partner Max as they tackle bizarre cases and find themselves in increasingly ridiculous situations.

The franchise built a loyal following over the years, especially after Telltale Games revived the characters with three successful episodic adventure game seasons. Their unique blend of comedy, absurdity, and detective storytelling helped keep the property alive long after its LucasArts origins.

What's interesting is that a TV adaptation isn't a new idea. The Adventures of Sam & Max: Freelance Police actually aired in the late 1990s and developed a passionate cult following despite only lasting a single season. Fans who want to revisit the show can still find it streaming on Tubi and Pluto TV.

Of course, getting a new Sam & Max series off the ground might be easier said than done. The rights surrounding the franchise are a little messy, and Lucasfilm Games has largely focused its attention on major properties like Star Wars and Indiana Jones in recent years.

Even so, there are reasons for fans to stay optimistic. Lucasfilm Games has shown a willingness to revisit some of its classic catalog, supporting projects such as Return to Monkey Island while also backing the long-awaited Star Wars: Knights of the Old Republic remake.

The timing may actually be better than ever for a Sam & Max comeback. Recent adaptations like Arcane, Devil May Cry, and the Sonic the Hedgehog films have proven that audiences are eager to see beloved gaming franchises reimagined for new mediums.

Studios are finally figuring out how to capture what made these properties special in the first place, and Sam & Max already has the kind of eccentric world and memorable characters that animation thrives on.

Whether Wood's dream project ever becomes reality remains to be seen, but the idea of seeing Sam and Max return in a modern animated series seems like it could make for a great project.

There’s been plenty of speculation about how much of Gotham’s criminal kingpin we’ll see in The Batman: Part II, and now Colin Farrell has offered a surprising update.

Despite the massive impact his Oz Cobb made in both The Batman and HBO Max’s The Penguin, it turns out the character’s role in the upcoming sequel is much smaller than many fans expected.

While speaking with ScreenRant, Farrell confirmed that he’s already read the complete script for Matt Reeves’ next chapter in the Dark Knight saga, and he couldn’t stop praising what the filmmaker has put together.

When asked if he had read the screenplay, Farrell said: "Sure. Yeah, the whole thing. We haven't gone to that place yet where somebody arrives with a titanium briefcase chained to their wrist and seven pages of only my scenes. I got to read from the first to last page, and it's really magnificent."

That’s high praise coming from someone who has spent years immersed in Reeves’ version of Gotham. But Farrell went even further when describing the tone and emotional depth of the story.

He explained: "I just think Matt Reeves is brilliant and he wrote, not only tonally, a really kind of dark and at times terrifying piece, and not only psychologically weighty and nuanced, but really feeling.

“It's a really... There's moments in it. It's full of feeling. I just think he wrote kind of a contemporary genre masterpiece, really. I'm only in two scenes, which is great because it means I can enjoy the rest of the film. Honestly, man, it's so good. I'm so excited about it."

The biggest surprise in that statement is the revelation that Penguin only appears in two scenes. After watching Oz rise to power throughout The Penguin, many fans assumed he would have a much larger presence in the sequel.

The last time audiences saw him, Oz had completed his transformation into Gotham’s dominant crime boss. The finale of The Penguin saw him murder his loyal assistant Vic, send Sofia Falcone to Arkham Asylum, and fully claim control of the city’s underworld.

The series ended with Oz dancing in his apartment while the Bat-Signal illuminated the sky outside, leaving viewers with the sense that his story was only beginning.

That ending makes Farrell’s comments even more interesting. If Penguin only appears briefly, Reeves must have other plans driving the story forward. Exactly how Oz’s newfound power fits into the larger narrative remains a mystery, but his influence on Gotham could still loom large even with limited screen time.

Plot details for The Batman: Part II are still being kept under wraps, but we do know that a new threat is entering the picture. Sebastian Stan is set to play Harvey Dent, joining a cast that also includes Scarlett Johansson and Charles Dance alongside Robert Pattinson’s Bruce Wayne.

If Farrell’s reaction is any indication, Reeves is once again leaning into the darker corners of Gotham while delivering something emotionally substantial. Calling the screenplay “terrifying” and a “contemporary genre masterpiece” certainly sets expectations high.

Fans will have to wait a little longer to see exactly what Reeves has planned, but Farrell’s enthusiasm suggests that Gotham’s next chapter could be something special.

The Batman: Part II is currently scheduled to hit theaters on October 1, 2027.

While promoting his latest film, Disclosure Day, Steven Spielberg finally addressed the long-rumored casting story involving Harrison Ford and the role of Dr. Alan Grant in Jurassic Park. As it turns out, Ford was originally offered the part before Sam Neill stepped into it.

During an interview with Josh Horowitz, Spielberg was asked if the rumor about Ford passing on the role was true. The filmmaker didn’t hesitate to confirm it.

“He may not remember that, but I sure do.”

The comment sparked laughs and surprised reactions from Horowitz as well as Disclosure Day stars Emily Blunt and Josh O’Connor, who were present during the conversation.

Blunt followed up by asking Spielberg if Ford’s decision had upset him. The legendary director explained that he wasn’t angry, but he definitely felt the sting of losing the actor for the project.

“I wasn’t cross, I was crushed.”

Of course, movie history has a funny way of working itself out. Spielberg quickly pointed out that the disappointment didn’t last long because another actor soon became available.

“Then Sam Neill became available, and he’s Alan Grant.”

Neill’s performance as the paleontologist became one of the defining elements of the 1993 blockbuster, helping turn Jurassic Park into a cultural phenomenon and one of the most beloved adventure films ever made.

Still, it’s fascinating to imagine an alternate version of the movie with Ford stepping into the role. At the time, Ford was already an iconic leading man thanks to characters like Han Solo and Indiana Jones, making him an obvious fit for Spielberg’s dinosaur epic.

The interview also revealed that Ford wasn’t the only person to pass on a Spielberg opportunity. The director shared that he spent years trying to direct a James Bond film and even pitched himself twice to legendary 007 producer Albert “Cubby” Broccoli. Both attempts were rejected.

Not that Spielberg’s career suffered because of it. The filmmaker has built one of the most impressive filmographies in Hollywood history with classics such as Jaws, E.T. the Extra-Terrestrial, Raiders of the Lost Ark, and, of course, Jurassic Park.

The conversation surfaced while Spielberg was promoting Disclosure Day, his latest sci-fi adventure. The film stars Emily Blunt, Josh O’Connor, Colin Firth, Colman Domingo, Eve Hewson, and Wyatt Russell. The story centers on a conflict involving highly classified information connected to mysterious extraterrestrial beings.

The project also reunites Spielberg with longtime collaborator David Koepp, while legendary composer John Williams returns to provide the score.

As fun as it is to picture Harrison Ford facing off against velociraptors, it’s one of those rare casting changes that feels impossible to complain about.

Ford would have brought his own unique energy to Dr. Alan Grant, but Sam Neill delivered a performance that became inseparable from the character.

For a while, it looked like the future of the Mad Max franchise might be stuck in neutral. After the incredible success of Mad Max: Fury Road, fans waited nearly a decade for George Miller’s return to the Wasteland with Furiosa: A Mad Max Saga.

Despite earning strong reviews and delivering another visually stunning chapter in the franchise, the film struggled at the box office and failed to justify its massive budget. That disappointing performance immediately raised questions about whether audiences had seen the last of Miller’s post-apocalyptic universe.

Now, two years after Furiosa stumbled commercially, there are finally signs of life for the franchise, and they come in the form of two very encouraging developments.

According to a recent report from Matt Belloni’s Puck newsletter, George Miller is actively searching for a new studio partner to finance the next Mad Max movie. While Warner Bros., which has long been associated with the franchise, has reportedly passed on funding the project, other major studios are interested in stepping up.

Amazon, Universal, and Sony Pictures are all said to be pursuing the opportunity to bring the next chapter of Mad Max to the big screen. That's a significant vote of confidence in a franchise that many assumed had been sidelined after Furiosa's financial struggles.

The second piece of good news is that Miller's plans extend beyond just one more film. The report indicates that the legendary filmmaker intends to direct one final Mad Max movie and then develop a television series set in the same universe before eventually handing off the property.

For fans, that means the Wasteland could be expanding in a much bigger way than expected. What's especially interesting is that Miller's creative process typically involves developing stories before production ever becomes a reality.

The fact that he's already pursuing financing suggests he has a concrete vision in place, not only for the next movie but also for a serialized television project.

That's exciting because few filmmakers have shaped a cinematic world as distinctively as Miller. Since the original Mad Max arrived in 1979, he has continuously reinvented what action filmmaking can look like.

From the raw, stripped-down energy of the early films to the breathtaking vehicular chaos of Fury Road, every installment has pushed visual storytelling into new territory.

Even Furiosa, despite its box office disappointment, showcased that same creative ambition. The film expanded the mythology of the Wasteland, introduced interesting new factions and characters, and delivered some of the most imaginative action sequences seen in recent years.

The audience may not have shown up in the numbers the studio hoped for, but the creative spark that made the franchise special was still very much intact.

The television series could also solve one of the biggest criticisms aimed at Furiosa. That film attempted to cover roughly fifteen years of Furiosa's life in a single movie, forcing the story to rely on major time jumps and a sprawling narrative structure. While many viewers appreciated the scope, others felt the pacing suffered as a result.

A television format naturally provides more room for stories of that scale. Instead of compressing years of character development into a single feature, an episodic series could spend time exploring the Wasteland's rival factions, political power struggles, and rich mythology.

It would allow Miller and his creative team to dive deeper into the world without being restricted by a movie's runtime.

At 81 years old, Miller isn't slowing down. If anything, he appears determined to make sure his final contributions to the franchise are exactly what he wants them to be. Whether the next stop is Amazon, Universal, Sony, or another studio entirely, the important thing is that the Wasteland isn't finished yet.

After the uncertainty that followed Furiosa, that's welcome news for fans who aren't quite ready to leave the desert behind.

HBO’s The Last of Us continues to build anticipation for its third season, and now fans have another intriguing addition to keep an eye on. Peter Sarsgaard has officially joined the cast of the hit post-apocalyptic drama in a recurring role, stepping into a brand-new character created specifically for the series.

Sarsgaard will play Amon, one of the leaders of the Seraphites, a religious faction. What makes the casting especially interesting is that Amon isn’t a character pulled directly from the video games.

Instead, he appears to be a fresh addition crafted for HBO’s adaptation, which opens the door for some new storytelling opportunities as the series continues to expand its world.

The casting news arrives as production on Season 3 enters a planned hiatus. According to reports, filming has temporarily paused for roughly a month, a break that lines up with the FIFA World Cup.

Vancouver, where much of The Last of Us is filmed, is one of the tournament’s host cities. With the massive international event expected to dominate the area and affect location filming, the production team is using the opportunity to take a scheduled pause before resuming work.

Once filming picks back up, production is expected to continue through the remainder of the year. HBO is currently targeting a 2027 premiere for Season 3.

While HBO hasn’t officially confirmed whether Season 3 will be the final chapter of the series, it is widely expected to serve as the conclusion to the adaptation.

Co-created by Craig Mazin and Neil Druckmann, The Last of Us is set in a world where civilization collapsed two decades earlier following a devastating fungal outbreak.

The story began with Joel, played by Pedro Pascal, a hardened survivor tasked with smuggling Ellie, portrayed by Bella Ramsey, out of a military-controlled quarantine zone. What started as a simple assignment evolved into a brutal, emotional cross-country journey that forced the two to rely on one another to survive.

Season 2 jumped forward five years from the events of the first season and introduced several key characters from The Last of Us Part II, including Abby Anderson, played by Kaitlyn Dever.

HBO is keeping Season 3 story details under wraps, but fans familiar with the games have a pretty good idea where things are headed. The next chapter is expected to center heavily on Abby’s storyline, which naturally places the Seraphites in a much more prominent position within the narrative.

That makes Sarsgaard’s casting particularly noteworthy. Bringing in an actor of his caliber for a newly created Seraphite leader suggests the show may be expanding elements of the faction’s story beyond what players experienced in the games.

There’s also a notable creative shift heading into the new season. After serving as executive producer and co-showrunner alongside Druckmann during the first two seasons, Mazin will take over as the sole showrunner for Season 3.

Source: Deadline

Frozen III is headed our way next year, and with the sequel being that far out, we don’t have a lot of details yet. But one star has dropped a few morsels for us to enjoy while we wait for something for solid to be released. Josh Gad, who has voiced Olaf the snowman throughout the franchise, recently shared new details about the film’s tone, music, and overall progress.

Gad recently appeared on Good Morning America, where he said the third chapter has already left a strong impression on him during the recording process. “Well, here’s the deal. I can tell you, I started recording… It’s the funniest of the three movies I’ve ever recorded. I’m laughing my butt off,” he said. 

The actor also spoke enthusiastically about the sequel’s music, confirming that Oscar-winning songwriters Robert Lopez and Kristen Anderson-Lopez have returned for the project.

Gad revealed that he has already heard some of the new material and was impressed by what the duo has created. “I’ve heard two of the songs. They are incredible. Wow… Bobby and Kristen wrote the music again,” he noted.

Gad went on to tease that the creative team has some major surprises in store, saying, “There’s some unbelievable stuff. Unbelievable developments.” Disney previously confirmed that Frozen 4 is already in the works. This makes Frozen the first Disney Animation franchise to receive a planned fourth theatrical feature.

Frozen 3 is currently scheduled to arrive in theaters on November 24, 2027.

If you were one of the many people who watched the trailer for Christopher Nolan's upcoming epic The Odyssey and noticed the characters’ modern American accent, there’s no doubt you were caught off gaurd. As you might imagine, it sparked a debate online.

But now, one of the film's stars is offering some clarity on the choice, and it's less controversial than the comment sections might have you believe.

Himesh Patel, who plays Eurylochus, Odysseus's second-in-command in the film, sat down with The Hollywood Reporter and briefly touched on the reasoning behind the accent.

According to Patel, Nolan made it clear early on that everyone would be speaking with an American accent, not Greek, and not the British English that has basically become the default shorthand for "ancient" in Hollywood.

The reasoning, at least as Patel describes it, points toward accessibility. Getting a wider audience to emotionally connect with a 2,700-year-old Greek epic is already a tall order. Making it sound like a BBC historical drama probably wasn't going to help.

When it comes to historical movies like this even when it's set in Russia or Germany, it's almost always been a British accent. So making it an American accent this time wasn't a big issue.

Think about nearly every sword-and-sandal epic or World War II film you've ever seen. German officers speak in clipped English RP. Roman senators sound like they went to Eton. The British accent has functioned as a kind of cinematic proxy for "serious and old" for decades, and nobody really questioned it.

Nolan decided to try something different, and it caught people off guard because of how unfamiliar it is within the ancient setting, not necessarily because it's objectively stranger than what came before.

That said, the reaction to lines like "My dad is coming home" has been hard to ignore. It lands awkwardly on the ear for some people, and the criticism isn't entirely unfair. But the accent isn't changing, and at this point the film is a month away from release.

What might soften the skepticism for fans is the rest of what Patel had to say about the production. Most of the scenes were captured in-camera using practical effects, which lines up perfectly with what Nolan's audience has come to expect from him.

The filmmaker famously leans away from CGI in favor of doing things for real, and The Odyssey sounds like no exception. Patel described filming for several days inside a cave, on top of a castle, and out at sea on an actual boat. Whatever your feelings are about the accent, the production scope sounds genuinely staggering.

The Odyssey opens in theaters on July 17, 2026, and comes with a reported budget of around $250 million, making it the most expensive film Nolan has ever made.

It's based on Homer's ancient Greek poem, Nolan wrote the screenplay himself, and it holds the distinction of being the first feature film ever shot entirely on IMAX cameras. The cast includes Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Charlize Theron, Jon Bernthal, and Zendaya.

So yes, Odysseus might yell out "Let's go!" with the energy of someone who just found a good parking spot. But he's going to say it in full IMAX, on a $250 million budget movie directed by Christopher “freakin” Nolan. The accent discourse will probably fade after people watch the movie.

Fans have been waiting for an update on the future of Wonder Woman in the DC Universe, and now we finally have one straight from the writer herself.

For months, reports circulated that Ana Nogueira, who wrote Supergirl, had been hired by DC Studios to tackle the screenplay for the upcoming Wonder Woman reboot.

The report originally dropped last year, but neither DC Studios nor James Gunn ever officially confirmed it. Gunn, who is usually active on social media when it comes to DC news, remained completely silent on the matter.

Now, Nogueira has put any doubts to rest. During a recent interview with Collider, the writer confirmed that she is currently working on the script for the new DCU Wonder Woman movie.

As expected, she couldn't reveal story details or discuss where Diana Prince fits into the larger DCU plans, but she did offer some insight into how she approaches writing such an iconic character.

Nogueira explained: “I try to approach every character I write from a place of what feels most true to me about them… I put on blinders and see what the character means to me before I take them onto the page.”

It's a simple philosophy, but one that could be exactly what fans want to hear when it comes to a character as beloved as Wonder Woman.

Rather than getting caught up in outside expectations or decades of comic book history right away, it sounds like Nogueira starts by finding a personal connection to the hero before building the story around that foundation.

DC Studios appears to have a great deal of confidence in her. In addition to writing Wonder Woman, she's also developing the live-action Teen Titans movie. Landing two major DC projects at the same time suggests Gunn and co-CEO Peter Safran see her as one of the key creative voices helping shape the franchise's future.

As for what this new Wonder Woman film will actually be about, that's still anyone's guess. One of the bigger rumors making the rounds is that Diana could make her DCU debut before her solo movie arrives.

Some fans believe Gunn may introduce the Amazon warrior in the upcoming Man of Tomorrow project, though nothing has been officially announced.

Casting speculation has also been heating up. While reports claim Adria Arjona has been cast as Maxima, a lot of fans remain convinced she could actually be playing Wonder Woman instead. Adding even more fuel to the rumor mill, Eva De Dominici, who was reportedly also being considered for Arjona's role, recently shared a workout video on Instagram that got people talking.

The reason? The emojis she included with the post: a woman with crossed arms and a pair of crossed swords. Those symbols immediately sparked fresh Wonder Woman theories online. Of course, it's entirely possible De Dominici is simply having some fun with the speculation, but fans are paying attention nonetheless.

While rumors continue to swirl, Gunn recently addressed reports claiming Wonder Woman had been pushed to the top of DC Studios' priority list. According to him, the character has always been one of the franchise's most important pieces.

Gunn said: "I don’t know what they mean by fast-tracking. I've always had Wonder Woman as a priority. But we got the first few things started, and there’s some other things that are really close to green-lighting — like there’s a TV show that I hope that we’re gonna be green-lighting in the next few days."

He went on to explain why the character has become an even bigger focus as DC Studios continues building out its slate:

"So now a little time has passed, and we really need Wonder Woman and we really need Batman, because they’re so important to us. And so it’s become a little bit more like going to everybody at DC and being like, we need to figure this out.

“We have good writers on Wonder Woman and we just have to make sure it’s working and they have to not be somebody who’s gonna take two years to write a script."

It would seem Nogueira one of the writers Gunn was referring to, and she's now carrying the responsibility of bringing one of DC's most iconic heroes into the new shared universe.

There's still a long road ahead before fans see Wonder Woman return to the big screen, but knowing the script is actively being developed is an encouraging sign.

With Nogueira helping shape Diana's next chapter and DC Studios treating the character as a major priority, the pieces are finally starting to come together for the Amazon warrior's DCU debut.

Ana Nogueira on writing ‘WONDER WOMAN’:

“I mean, there’d be a sniper dot on my head if I said too much. But I try to approach every character I write from a place of what feels most true to me about them… I put on blinders and see what the character means to me before I take… pic.twitter.com/iZWDnqgTdg

— DC Film News (@DCFilmNews) June 11, 2026

Netflix has released a beautiful and sprawling final trailer for their series remake of Little House On the Prairie, based on the memoirs by Laura Ingalls Wilder.

The show stars Alice Halsey as Laura Ingalls, Luke Bracey as Charles Ingalls, Crosby Fitzgerald as Caroline, Skywalker Hughes as Mary, Jocko Sims as Dr. George Tann, Warren Christie as John Edwards, Wren Zhawenim Gotts as Good Eagle, Meegwun Fairbrother as Mitchell, and Alyssa Wapanatahk as White Sun.

The series is developed and showrun by writer Rebecca Sonnenshine (The Boys, The Vampire Diaries, The Housemaid), with episodes directed by Kat Candler, Sydney Freeland, Julie Anne Robinson, Sarah Adina Smith, and Erica Tremblay.

The synopsis reads: “Part hopeful family drama, part epic survival tale, and part origin story of the American West, this fresh adaptation of Laura Ingalls Wilder’s iconic semi-autobiographical Little House series of books offers a kaleidoscopic view of the struggles and triumphs of those who originally shaped the American frontier.

“The first season is inspired by Little House on the Prairie, which is actually the third book in the series... The characters talk about their life before they came to the prairie — we might meet a few characters from their past.”

This looks like a gorgeous and epic take on the classic novels and show many of us grew up on. Check out the trailer below, and watch Little House On the Prairie on Netflix on July 9th.

21 Jump Street franchise producer Neal H. Moritz has confirmed that the sequel 24 Jump Street is finally officially in the works, sharing a photo of the script’s cover page, which clarifies the title, and makes a joke at the reason 23 was skipped. “It took so long we had to make, we had to skip one,” reads the sequel’s tagline.

Now, they just have to get the actors aligned. Channing Tatum, Jonah Hill and Ice Cube are in talks to return for a third installment.

Fans have been waiting for more than a decade, but it seems everything is ready to go with Rodney Rothman directing from a script he wrote with Hill and Meghan Malloy. The first two films’ directors, Phil Lord and Christopher Miller, are stepping back to produce the film this time around.

Based on the 1987-1991 Fox series, 21 Jump Street (2012) and 22 Jump Street (2014) follow Schmidt (Hill) and Jenko (Tatum) as they go undercover at a high school to infiltrate a drug ring while working at the titular police program.

The sequel saw them assigned to a case on a college campus, with the two movies surpassing $500 million at the global box office.

via: Deadline

One of the strangest talking points surrounding The Batman has been Robert Pattinson’s infamous claim that he “barely” worked out to prepare for playing Bruce Wayne.

It became the kind of quote that followed him everywhere, fueling endless debates among fans about superhero fitness routines and whether the actor actually trained for the role.

Now, Pattinson is finally setting the record straight, and according to him, the internet got the wrong idea. In a recent interview with GQ, the actor revisited the comments he made during The Batman press tour back in 2020.

At the time, he questioned the extreme body transformations actors often undergo for superhero movies and joked that he wasn’t doing much to bulk up. While his co-star Zoë Kravitz was reportedly training five days a week to become Catwoman, Pattinson casually suggested he was taking a very different approach.

As it turns out, that wasn’t exactly the truth. Addressing the criticism he’s heard ever since, Pattinson laughed about how his comments took on a life of their own:

“‘You didn’t work out at all.’ I worked out every fucking day,” Pattinson said, mimicking the criticism lobbied against him. “Even after that, I still look like I didn’t work out. I worked out twice a day at, like, three o’clock in the morning. I’m like, it’s just because I said it in an interview, I was trying to sound cool!”

That confession puts a pretty funny spin on one of the most repeated stories from The Batman era. For years, a vocal segment of fans pointed to Pattinson’s original remarks as proof that he skipped the traditional superhero training process altogether.

Apparently, he was actually grinding through intense workouts while trying to project an effortlessly cool attitude during interviews.

What makes the whole thing even funnier is that Pattinson has built a reputation as one of Hollywood’s most entertaining interview subjects.

This is, after all, the same actor who once joked that he’d make “art house porn” if The Batman failed at the box office. His tendency to throw out unexpected comments has always been part of his charm, and this latest revelation feels very on-brand.

The actor has also been open about the pressures surrounding body image throughout his career. According to reports highlighted by The Hollywood Reporter, Pattinson previously discussed feeling insecure while working alongside Taylor Lautner during the Twilight years.

He has also spoken about how easy it can be for actors to become consumed by extreme fitness regimens, describing the process as “very easy,” “extraordinarily addictive,” and “insidious” during a 2023 interview with The London Standard.

Now that attention is shifting toward The Batman: Part II, Pattinson appears to be gearing up once again. During the same interview, he revealed that he has installed a home gym and is preparing for another lengthy stretch in the cape and cowl. He also shared a moment of surprise after speaking with the film’s stunt coordinator.

“And I just heard from the stunt guy the other day. He said, ‘Ooh, 11 weeks of nights,'” Pattinson told GQ. “I’m like, ‘Excuse me?’ I’m like, ‘No one’s even sent me a schedule.'”

That schedule will eventually bring him back to Gotham for Matt Reeves’ long-awaited sequel, which has faced multiple delays on its road to production.

In the years between the first film and the sequel, Pattinson certainly hasn’t been sitting around. The actor has kept busy with projects including The Drama, The Odyssey, Primetime, and Dune: Part Two, making it clear that his workload hasn’t slowed down one bit.

Whether fans believed his original workout comments or not, it’s amusing to see Pattinson revisit the subject years later and admit that he was essentially trolling everyone while trying to sound cool.

The reality is that his performance in The Batman was never judged by the size of his biceps anyway. Most fans walked away talking about his brooding take on Bruce Wayne and what many still consider one of the strongest Batman movies ever made.

When The Batman: Part II finally arrives in theaters on October 1, 2027, fans can judge for themselves just how much all those 3 a.m. workouts paid off.

DC Studios’ upcoming Clayface movie just added another killer creative talent to the mix. Academy Award-winning composer Volker Bertelmann has officially signed on to score the dark DC horror film, and he’s a perfect fit for the strange and unsettling world this movie is building.

According to Filmmusicreporter.com, Bertelmann will compose the score for the film after delivering acclaimed work on Conclave, All Quiet on the Western Front, Dune: Prophecy, Adrift, Lion, The Day of the Jackal, A House of Dynamite, The Amateur, and One Life.

He’s created some great scores, which makes him an exciting choice for a movie diving headfirst into body horror and psychological chaos.

Bertelmann’s schedule is packed right now, too. His upcoming projects include Anthony Maras’ Pressure, which hits theaters this weekend, Antonin Baudry’s De Gaulle: Tilting Iron & The Sovereign Edge, arriving in French theaters over the next couple of months, and Michael Showalter’s Verity, which lands on October 2.

The teaser trailer for Clayface gave fans a disturbing little taste of what’s coming. Set to The Flaming Lips’ “Do You Realize??,” the footage follows a bloodied and heavily bandaged Matt Hagen, played by Tom Rhys Harries, recovering in a hospital bed while horrific flashes reveal the violent attack that destroyed his face.

From there, things get increasingly nightmarish. We see glimpses of Hagen’s grotesque transformation, including a creepy silhouette shot where his arm morphs into a giant spiked mace. The teaser wraps up with Hagen sitting in a bathtub, slowly wiping his own face away with his hand in one seriously unsettling image.

It sounds like audiences should prepare for something very different from the usual comic book movie formula. James Gunn previously talked about how the project came together and why it immediately grabbed his attention.

“Mike Flanagan is somebody who I've been friendly with for a long time, and he wrote me about Clayface. He texted me about it really early on in my DC journey. Just being honest, I did not think that was something that was going to happen, but he came in, and he pitched the idea, and I was like, 'Oh s---! That's cool.'

“It's a body-horror movie. It's a horror movie that, like any cool body-horror movie, just happens to be in the DCU. And then he wrote the script, and the script was fantastic. We did not plan to do Clayface. That was really something he brought to us.”

That horror-driven approach makes Clayface one of the most unique projects DC Studios has in development. The movie is being described as a horror thriller that follows a rising Hollywood actor whose life spirals into madness after a horrific transformation turns him into the iconic Gotham City monster.

Alongside Harries, the cast includes Naomi Ackie, David Dencik, Max Minghella, Eddie Marsan, Nancy Carroll, and Joshua James. The film is directed by James Watkins from a screenplay written by Mike Flanagan and Hossein Amini, based on a story by Flanagan and characters from DC.

Between Flanagan’s horror sensibilities, Watkins directing, and now Bertelmann handling the score, Clayface is shaping up to be one seriously creepy addition to the DCU.

Actors Frankie Muniz (Malcolm in the Middle) and Christopher Lloyd (Back to the Future) have signed on to star in the family adventure feature, Christopher Hope and the Secret of Napoleon, the opening chapter in a planned trilogy, which is set to sell at the Cannes Film Market.

The film follows a history student drawn into a race to uncover a long-buried secret Napoleon concealed in Paris, navigating rival secret societies alongside his best friend and a fellow student as they trace clues connecting centuries past to the present day. Producers have cited “National Treasure” and “The Da Vinci Code” as reference points.

The project reunites Muniz and Lloyd, who first crossed over in Malcolm in the Middle, where Lloyd appeared as Malcolm’s grandfather during the original series run. Thomas Lemoine, who recently appeared opposite Pierre Lottin in In Custody and is set to appear in the upcoming Netflix series The Countess of Monte Cristo, rounds out the leading trio.

The film is directed by Peter Lyons Collister, whose credits as cinematographer and second-unit director include Sonic the Hedgehog, The Lost City, Transformers, The Amazing Spider-Man and Rush Hour 3. Cinematography is by Jörg Widmer, a frequent collaborator of Terrence Malick on The Tree of Life, A Hidden Life and The Way of the Wind.

The producers said of the film, “‘Christopher Hope and the Secret of Napoleon’ is conceived as a true family adventure for today’s international audience: a mystery-driven treasure hunt with historical depth, cinematic scale and a positive emotional core.

As the first chapter of a planned trilogy, the film is designed to entertain internationally while giving younger audiences a sense of curiosity, courage and discovery.”

via: Variety

Emmy winner Michael Chiklis (The Shield, Gotham) is the latest actor to join the culinary thriller Tyrant, at Amazon MGM Studios. He joins previously announced cast members Charlize Theron, Julia Garner and Demi Moore. Paapa Essiedu, Hudson Williams, Omar Apollo and Nara Smith also set to star.

The film is being directed by David Weil (Lisa), from his own script, based on a story conceived with Cody Behan.

The project is currently in production in Los Angeles, and is billed as a high-stakes thriller in the vein of Wall Street and Whiplash set within New York City’s elite fine dining scene. Stay tuned for updates on the film as it moves forward.

via: Deadline

One of the most talked-about horror films of the last decade could have expanded its story in a major way, but it sounds like fans shouldn’t hold their breath waiting for it.

During a recent Q&A held as part of the American Cinematheque’s annual Bleak Week event, Ari Aster revealed that he actually wrote a prequel to his dark and disturbing horror film Hereditary.

The filmmaker shared the update while discussing his body of work, which was featured throughout the event with screenings that included Midsommar: Director’s Cut, Beau Is Afraid, and Eddington.

While many filmmakers would be eager to revisit the movie that launched their career, Aster explained that returning to the world of Hereditary hasn’t felt right for him so far.

“I wrote a prequel to this,” Aster said. “It never feels like the right time. It’s a prequel, not a sequel, so I don’t know where this goes.”

A prequel set before the events of Hereditary could dive deeper into the disturbing history of the Graham family, the sinister cult operating in the shadows, or the origins of the dark forces that ultimately consume the story. Unfortunately, Aster doesn’t sound particularly eager to move the project forward at the moment.

Released in 2018, Hereditary quickly established Aster as one of the most exciting voices working in horror. The supernatural psychological thriller follows a grieving family whose lives spiral into a nightmare as a series of increasingly terrifying and unexplained events begin to unfold around them. It was a seriously jacked up movie.

The film starred Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne, and became both a critical and commercial success. It earned more than $90 million worldwide and, at the time, set box office records for A24.

Even though a return to Hereditary doesn’t appear to be on Aster’s immediate schedule, he certainly isn’t slowing down. The filmmaker is already developing his next project following 2025’s Eddington.

Aster is set to direct Scapegoat, a new film that he also wrote. The project will star Scarlett Johansson and reunite Aster with A24, the studio behind all four of his previous features. As expected, plot details remain tightly under wraps.

For now, the mysterious Hereditary prequel remains tucked away in a script drawer somewhere. Whether it ever makes the jump to the screen is anyone’s guess, but knowing that Aster has already explored more of that unsettling universe is enough to spark plenty of curiosity among horror fans.

Fans of My Adventures with Superman are just days away from the long-awaited Season 3 premiere, and Adult Swim has released a brand-new opening sequence that offers a fun glimpse at what's coming next for Clark Kent and company.

While the series has already built a strong reputation for putting a fresh spin on Superman mythology, the latest intro suggests the upcoming season is about to raise the stakes in a big way.

Since the series debuted, My Adventures with Superman has followed a younger Clark Kent alongside Lois Lane and Jimmy Olsen as they begin their careers at the Daily Planet.

Across the first two seasons, viewers have watched Clark evolve into the hero fans know and love while facing increasingly dangerous threats. Now Season 3 looks ready to continue that journey with new allies, new enemies, and some intriguing additions to the cast.

The biggest change in the new opening sequence is the prominent inclusion of Kara Zor-El. After the events of Season 2, Kara has officially become part of the core team, and the updated intro makes it clear that her relationship with Clark, Lois, and Jimmy will play a major role moving forward.

The opening also sneaks in a quick look at another familiar DC character. Superboy appears briefly with a surprising new design, offering the first real tease of how the animated series plans to handle the character. It's a blink-and-you'll-miss-it moment, but it's enough to get longtime Superman fans talking.

Of course, the real attention-grabber is the lineup of villains featured throughout the sequence. Season 3's opening showcases several major threats waiting for Superman, including a fully bald Lex Luthor, who appears to be stepping further into his classic comic book persona. But Lex isn't the only danger on the horizon.

The intro also highlights Cyborg Superman, who has already been teased for the upcoming season and appears poised to play a significant role in the show's adaptation of the iconic Reign of the Supermen storyline.

Exactly how the series will reinterpret that famous comic arc remains a mystery, but the appearance of Cyborg Superman certainly points toward some exciting developments.

With multiple villains flashing across the screen and several new characters entering the mix, the opening sequence feels like a roadmap for what could be the series' most ambitious season yet.

The show's core cast returns with Jack Quaid voicing Clark Kent/Superman, Alice Lee as Lois Lane, and Ishmel Sahid as Jimmy Olsen. Kiana Madeira is also back as Kara Zor-El/Supergirl, this time with a much larger role following her Season 2 introduction.

Another notable addition is Darren Criss, who joins the series as the voice of Superboy. Beyond that, the creative team is keeping any additional surprises under wraps for now.

Thankfully, fans won't have to wait much longer to see how everything unfolds. My Adventures with Superman Season 3 premieres on Adult Swim's Toonami block on Saturday, June 13 at midnight ET/PT. New episodes will then be available to stream on HBO Max the following day.

If you thought the recent wave of twisted fairy tale horror movies had already pushed things as far as they could go, Pinocchio: Unstrung is here to prove otherwise.

The latest trailer for the upcoming R-rated horror film has arrived, and it transforms Carlo Collodi’s beloved wooden puppet into something disturbing.

The blood-soaked reimagining comes from Jagged Edge Productions, the studio responsible for Winnie-the-Pooh: Blood and Honey, and it looks like they’re taking another childhood icon straight into nightmare territory.

This version of Pinocchio isn’t dreaming about adventure or learning life lessons. Instead, he’s a murderous creation stalking the halls of an elite London boarding school, driven by an obsession to become a real boy no matter how much blood has to be spilled along the way.

Directed by Rhys Frake-Waterfield, Pinocchio Unstrung relocates the classic story to a prestigious London prep school and embraces its horror premise with complete conviction.

While plenty of familiar childhood characters have been given horror makeovers recently, this film appears committed to treating its concept like a full-fledged slasher.

One of the biggest highlights showcased in the trailer is the creature work. Emmy-winning effects artist Todd Masters supervised the film’s practical animatronics, creating a Pinocchio that moves with an unsettling, almost broken physicality.

Every awkward twitch and jerky movement makes the character feel increasingly unnatural. Combined with polished visual effects and some brutally graphic kill sequences, the result is a horror movie that looks determined to make audiences squirm.

The official synopsis outlines: “Pinocchio Unstrung unfolds inside an elite London prep school. Influenced by a sinister Cricket (Robert Englund) and created by Geppetto (Richard Brake), Pinocchio launches a violent crusade to carve himself into a real boy like his brother James, one piece at a time.”

The cast includes Robert Englund as the sinister Cricket, Richard Brake as Geppetto, Cameron Bell as James, and Jessica Balmer.

Pinocchio Unstrung looks ready to deliver a wild horror film filled with practical creature effects, excessive gore, and a wildly twisted spin on a familiar story.

Pinocchio Unstrung arrives in theaters on July 24, 2026. Check out the grotesque new trailer and let us know if this nightmare-fueled take on Pinocchio is something you'll be watching.

Fans have been eager to see how Masters of the Universe would translate to live-action, especially when it comes to bringing one of pop culture’s most recognizable heroes to the big screen.

With Nicholas Galitzine stepping into the role of Adam/He-Man for director Travis Knight’s upcoming adaptation, plenty of attention has been placed on everything from his physical transformation to the character’s iconic look.

As it turns out, one classic He-Man feature nearly made the jump from animation to live-action… that unmistakable blonde bob haircut.

Following the massive success of Barbie, Mattel is continuing its push into theatrical storytelling with Masters of the Universe, and Galitzine has undergone a serious transformation to embody Eternia’s legendary champion.

While fans have already seen glimpses of his version of He-Man, some may have noticed that his hairstyle isn’t a direct recreation of the cartoon character’s famous cut.

Speaking with CinemaBlend ahead of the film’s release, Galitzine explained that the creative team spent plenty of time discussing He-Man’s hair before ultimately deciding to take a different approach.

“I mean, look, we obviously talked about hair a lot. He-Man's bob is obviously very iconic, but in a live-action setting in this story that we wanted to tell, it kind of it didn't make as much sense.

“So the thing that I certainly had in mind was something that felt a little Herculean. Sort of heroic in a way, but also something that we could kind of evolve.”

It’s easy to understand the reasoning. While the animated series embraced a larger-than-life aesthetic, recreating the exact hairstyle in a live-action fantasy adventure may have pushed things a little too far into cartoon territory.

Galitzine still sports long blond hair as He-Man, but the style feels more grounded while maintaining the spirit of the character.

The hairstyle also became part of Adam’s overall journey in the film. Rather than giving him the same look from start to finish, the filmmakers built visual progression into the character’s transformation.

Galitzine continued: “Because obviously when we meet Adam on Earth, the hairs a little greasier, it's a little flatter. It's got it's got a little less life in it. And so, we decided to kind of create this evolution to, to, I guess mimic, Adam's, growing sense of power and self.”

That approach seems to fit the movie’s version of Adam, whose growth into He-Man is reflected not only through his increasing strength but also through subtle changes in his appearance.

According to early reactions, the evolution works well on screen, helping sell the character’s journey from an ordinary young man on Earth to the powerful hero destined to wield the Sword of Power.

One of the more interesting aspects of Masters of the Universe has been seeing how familiar characters have been adapted for live-action. Some designs have been adjusted for practicality, while others remain surprisingly faithful to their animated counterparts.

Teela’s costume, for example, has been updated with a less revealing design, while He-Man retains much of the visual identity fans associate with the classic character, just with a haircut that feels a little more natural in a live-action setting.

Whether audiences embrace all of those changes remains to be seen, but it sounds like the filmmakers put a lot of thought into balancing nostalgia with realism.

Fans won’t have to wait much longer to judge the results for themselves. Masters of the Universe arrives in theaters on June 5, 2026.

The future of the Toy Story film franchise is unknown. The fifth film is being released in theatres this month, and no one saw that sequel coming, but the studio has made it clear that they only move forward with another film when they come up with a solid idea.

While there’s no way to know if our favorite toys will return for another adventure, a couple of the film’s creative team have suggestions for who they’d like to see more of if we do get another movie.

In an interview with ComicBook, co-director Kenna Harris and producer Lindsey Collins shared their picks for who could be the next main character in another Toy Story sequel.

After casting a vote for Slinky Dog because “he’s got a long enough back to carry” the story, Harris mentioned the new tech toys as a possibility. “Toy Story 5 introduces a pretty killer cast, and tech toys are really opening up potential for the series, so I would also I’d watch more Smarty [Pants].”

Collins continued, “Yeah, yeah, all the tech trio in this movie are so fun and they’re so fun together. And the fact that they’ve just gotten a taste of playtime, I feel like there’s a lot of like there’s going to now, like now that they’re going to be like, itching for more.”

The new tech toys include Conan O’Brien as Smarty Pants, Greta Lee as Lilypad, and Craig Robinson as Atlas. This is a hugely talented group, and I imagine there is still a lot of fun to be had with their characters. Toy Story 5 hits theaters on June 19th.

One of the things that made A Knight of the Seven Kingdoms such a refreshing addition to George R.R. Martin’s world was its focus on the people living in the shadow of kings, castles, and political schemes.

Instead of centering on rulers battling for power, the series followed Ser Duncan the Tall, better known as Dunk, a well-meaning hedge knight trying to figure out what it actually means to live with honor in Westeros.

Played with charm and sincerity by Peter Claffey, Dunk starts the story in a place of uncertainty. When audiences first meet him, he’s standing over the grave of the knight who raised and trained him, struggling to find the right words to say.

It’s an awkward, heartfelt moment that perfectly captures who Dunk is. He knows what’s in his heart, but expressing it is another matter entirely.

Over the course of the season, Dunk is thrown into situations that test every part of his character. He witnesses corruption, arrogance, and cruelty from people who wear the title of knight but fail to live up to its ideals.

Through those experiences, his own sense of honor becomes stronger, even as the world around him seems determined to challenge it.

That journey reaches its emotional peak in episode four, “Seven.” Facing a trial by combat after being wrongly accused, Dunk finds himself in desperate need of one more champion to stand with him.

The odds are stacked against him, and survival is far from certain. To convince someone to join his cause, he has to do something that has never come naturally to him. He has to speak from the heart and make people listen.

The result is one of the most memorable moments in the series. In a recent interview with Variety, creator Ira Parker, director Sarah Adina Smith, and Claffey reflected on the significance of the scene and why it represents such a major turning point for the character.

For Parker, the speech serves as the payoff to a character arc that began in the very first episode. “The secret goal,” Parker noted, was “to have Dunk finally do what he said he couldn’t do in the first episode, which is find the right words. And he finally does it.”

It’s a simple idea, but it gives the moment weight. The speech isn’t just about rallying support before a dangerous fight. It’s about a man who has spent the entire season struggling to articulate his beliefs finally finding a way to express exactly who he is.

Smith approached the sequence with that evolution in mind and used the camera to reflect Dunk’s changing confidence.

“I wanted him to feel small and lonely and powerless to start,” Smith explained, but that begins to shift as Dunk becomes more passionate. “I wanted the camera to help tell that story too, so that when he really finds his true voice in all of its glory, the camera is also giving him his due power in this moment.”

It’s a visual progression that mirrors Dunk’s emotional growth. He begins the scene as a lone figure facing overwhelming odds, but by the end he stands tall as someone worthy of inspiring others.

The sequence also presented a unique challenge for Claffey. Delivering an emotional speech is one thing. Delivering it on horseback, surrounded by a massive crowd and a production full of moving parts, is something else entirely.

“It wasn’t just that one camera and myself,” he explained. “I could have very easily let it get into my head, all these different nuts and bolts that I have to incorporate into it, rather than just being like, ‘This is going to be fucking awesome!'”

Thankfully, he embraced that mindset because the scene absolutely lands. Even with one of the show's more comedic interruptions, a particularly loud fart from the crowd, Dunk’s words cut through the noise and resonate with everyone around him.

More importantly, they achieve exactly what he hoped for. He earns the support of a true knight and proves that honor, conviction, and sincerity can still matter in a world that often seems determined to reward the opposite.

It’s one of the reasons A Knight of the Seven Kingdoms connected so strongly with fans. While Westeros is usually defined by power struggles and larger-than-life figures, Dunk’s story is grounded in something much more personal. His greatest victory isn’t won with a sword. It comes from finding the courage to say what he believes.

With a second season already on the way in 2027, fans can look forward to seeing where Dunk’s journey takes him next.

One of the more surprising details to come out of The Mandalorian and Grogu commentary is the revelation that filmmaker Edgar Wright played a small but meaningful role in shaping one of the movie’s most memorable villain moments.

Fans who stayed through the credits may have noticed Wright received a special thanks, and now we know exactly why.

According to Jon Favreau’s director commentary track for the film, which can currently be accessed in theaters through the TheaterEars app, Wright offered a note after watching an early screening of the movie. That suggestion focused on the film’s intimidating bounty hunter antagonist, Embo.

In an earlier version of the movie, audiences were introduced to Embo when he breaks into Din Djarin and Grogu’s home while attempting to capture Din on behalf of the Hutt Twins.

It was a strong entrance, but Wright apparently felt the character would make an even bigger impact if viewers got a glimpse of him sooner.

Favreau took the note to heart. As a result, Embo can now be spotted lurking in the background when Din and Grogu return to Nevarro. It’s a subtle moment that many viewers probably missed on first viewing, but it adds a layer of tension to the sequence.

Seeing the bounty hunter silently watching from afar creates an uneasy feeling and signals that trouble is already closing in long before he officially makes his move.

It’s a simple change, but it’s the kind of storytelling tweak that can make a character feel more threatening. Rather than appearing out of nowhere, Embo’s presence hangs over the story before the audience fully realizes it.

For Star Wars fans, the film also marks the live-action debut of a character with a long history in animation. Embo first appeared in Star Wars: The Clone Wars Season 2, Episode 17, where he quickly became a fan favorite thanks to his distinctive look, combat skills, and loyal anooba companion, Marrok.

His story eventually led him and Marrok to join the Fett Syndicate. Interestingly, The Mandalorian and Grogu features Embo partnered with a different anooba rather than Marrok, giving the character a slightly different dynamic than fans may remember from The Clone Wars.

As for Favreau’s commentary track, it’s currently only available to moviegoers in the United States through the TheaterEars app, which supports more than 6,000 theaters across the country.

Fans outside the U.S. will likely have to wait until the movie arrives on digital and streaming platforms, where the commentary and other bonus features will presumably be included.

This is a fun bit of trivia that connects one acclaimed filmmaker to the galaxy far, far away. And judging by the final result, Wright’s suggestion helped make Embo’s arrival feel a little smoother.

Netflix has spent years trying to redefine how audiences watch movies, and according to film chairman Dan Lin, the company has fully embraced a reality that some filmmakers simply won’t get on board with.

In a recent interview with The New York Times, Lin made it clear that Netflix isn’t interested in changing its core strategy to accommodate directors who insist on traditional theatrical releases before their movies hit streaming.

“There is a group of filmmakers who still want theatrical. Those are filmmakers that we’ve accepted we just won’t work with.”

It’s a straightforward stance that highlights the ongoing divide between filmmakers who see theaters as an essential part of the moviegoing experience and a streaming giant that continues to prioritize its direct-to-consumer model.

The one notable exception is Narnia: The Magician’s Nephew, which is being directed by Greta Gerwig. The upcoming fantasy film is set for a wide theatrical release before arriving on Netflix, a rare move for the company and one that appears to be unique rather than the beginning of a larger shift in strategy.

Lin explained that his role at Netflix differs greatly from that of a traditional studio executive because of the massive volume of projects the streamer produces.

Rather than shaping the slate around his personal tastes, he’s focused on creating a consistent filmmaking environment.

“Because I have such a huge slate, my job is very different from other studio chairmen’s jobs. I can’t impose my taste on the slate. But I can impose a way of making movies.

“I can impose a way of how we want to work with filmmakers. I think people on the outside are pretty clear on what I’m going for: making someone’s favorite movie in a specific genre, focusing on variety and quality and making Netflix the best place for filmmakers to work.”

Part of that vision involves expanding Netflix’s lineup of crowd-pleasing mid-budget films.

Lin specifically pointed to comedies, romantic comedies, and book adaptations as areas he wants the streamer to invest in more heavily.

One project he highlighted was People We Meet on Vacation, the adaptation of Emily Henry’s popular novel.

Starring Tom Blyth and Emily Bader, the film delivered a solid debut with more than 17 million views during its opening weekend. Netflix clearly sees potential in Bader as well, as she’s already lined up for two additional projects with the streamer.

While Netflix remains committed to streaming-first releases, it has occasionally experimented with theatrical runs.

The animated hit KPop Demon Hunters recently became the company’s first film to claim the No. 1 spot at the domestic box office during its brief two-day theatrical launch, earning more than $19 million before heading to the platform. A Halloween re-release is also planned.

Even with that success, Netflix co-CEO Ted Sarandos recently reiterated that the company isn’t changing course, saying: “There’s no change in the strategy”

That comment suggests Netflix still views theatrical releases as promotional events rather than a fundamental part of its business model.

At the same time, Netflix continues to test creative release windows when it makes sense.

One of the most interesting examples is David Fincher’s upcoming sequel to Once Upon a Time in Hollywood, which is scheduled for a two-week IMAX run over Thanksgiving before debuting on Netflix on December 23. The approach echoes the release strategy used for Rian Johnson’s Wake Up Dead Man.

The debate over theatrical releases isn’t likely to disappear anytime soon.

Many filmmakers continue to argue that movies are meant to be experienced on the biggest screen possible, while Netflix remains focused on reaching its audience where it already lives… at home.

There’s also a larger question hanging over the company’s future. If Netflix wants to continue charging premium subscription prices, some movie fans believe the service needs to keep attracting filmmakers who see cinema as an art form worthy of a theatrical showcase.

As competition from cheaper and free streaming platforms grows, the pressure to deliver must-watch films only becomes greater.

For now, though, Lin’s message is clear. If a director considers a theatrical release non-negotiable, Netflix is perfectly comfortable letting them take their movie somewhere else.

Source: Deadline

I recently rewatched Taken, the incredible sci-fi mini-series executive produced by Steven Spielberg, and this is one of those shows that almost no one talks about it anymore.

This is a show I loved the first time I watched it, one that stuck with me. But it slipped through the cracks of pop culture memory. A whole generation of sci-fi fans has either never seen it or never even heard of it. So, when I found the entire series on YouTube, I had to jump back in an revisit it.

With Spielberg returning to science fiction in a big way with his upcoming film, Disclosure Day, it feels like the perfect moment to dust this series off and give it the attention it deserves. This is actually a much better story than the one Disclosure Day delivers.

Taken isn’t just another alien abduction story. It’s a sweeping, emotional, and human saga that spans decades, generations, and perspectives. Honestly, it’s one of the more ambitious TV shows Spielberg has ever put his name on.

At its core, Taken tells a multi-generational story about alien contact and abduction in America, beginning during World War II and stretching all the way into the early 2000s.

The series follows three primary family bloodlines whose lives are forever altered by extraterrestrial encounters. These stories eventually collide, revealing a much larger and more unsettling picture of what’s really been happening behind-the-scenes for decades.

One of the things that makes Taken so interesting is the way it treats the subject matter. This isn’t a show obsessed with spectacle. It’s focused on people. Farmers, soldiers, kids, parents, and government agents all trying to make sense of experiences they can barely comprehend.

The alien presence is constant, but it’s often distant, unsettling, and unknowable. When the show does lean into sci-fi imagery, it feels a little dated now, but it works!

The series unfolds slowly letting the weight of these experiences settle in. Abductions aren’t played as cool set pieces. They’re traumatic, confusing, and life-altering. The emotional consequences ripple through generations, shaping identities and relationships.

One of the reasons Taken works as well as it does is because it feels like classic Spielberg. You can feel his fingerprints all over it. The awe, the fear, the curiosity, and the childlike wonder colliding with adult dread. This series sits comfortably alongside Close Encounters of the Third Kind and E.T. in terms of thematic DNA, but it’s far more somber and grounded.

The structure is also wildly ambitious. Each episode jumps forward in time, sometimes by years, sometimes by decades. Characters age, die, and pass their trauma on to their children. You watch patterns repeat themselves, not because the show is lazy, but because it’s saying something about cycles, control, and how little power ordinary people have when forces far beyond them are pulling the strings.

The show features performances from actors who would go on to big careers, including Dakota Fanning, Joel Gretsch, Adam Baldwin, and Julie Benz. Fanning, in particular, is incredible. Even at such a young age, she brings a haunting intensity to her role. She was such a talented young actress!

What I appreciate most about Taken is that it doesn’t talk down to the audience. It doesn’t over-explain everything, and it doesn’t rush to provide clean answers. Some mysteries remain unsettlingly unresolved, which makes the experience feel more authentic. Real life rarely wraps itself up neatly, and neither does this show.

There’s also a strong sense of paranoia baked into the narrative. Government involvement, secrecy, and cover-ups play a huge role, but they’re treated as extensions of human fear rather than cartoon villainy.

Everyone believes they’re doing the right thing, even when they clearly aren’t. That moral gray area gives the series a weight that a lot of modern sci-fi still struggles to capture.

If you’re a fan of thoughtful, character-driven science fiction, Taken deserves to be at the top of your watch list. It’s patient, unsettling, emotional, and surprisingly intimate for a story about aliens influencing humanity over decades. It’s a pretty awesome TV event that I’m happy exsists.

Revisiting it now, especially with Spielberg stepping back into sci-fi territory, completely makes scene. Taken represents a version of the genre that isn’t chasing trends or trying to outdo itself every episode. It’s confident in its storytelling and trusts that the audience will stick with it.

This series shouldn’t be forgotten. It’s one of those rare sci-fi projects that aims high and actually pulls it off. If you’ve never seen it, now’s the time to fix that. And if you’ve seen it before, I promise it hits even harder on a rewatch.

There's something almost poetic about the fact that the man who gave us so many incredible classic films spent years quietly trying to get into the Bond business, only to get the door slammed in his face… Twice.

Steven Spielberg stopped by The Rest Is Entertainment podcast while doing press for his new film Disclosure Day, and in classic Spielberg fashion, he managed to turn a rejection story into one of the more entertaining anecdotes in recent Hollywood memory.

It all started with a phone call after "Jaws" changed cinema forever. "I approached Cubby after 'Jaws' was a big hit," Spielberg said. "I'd always wanted to make a James Bond film from the day I saw 'Dr. No,' so I called Cubby after 'Jaws' and volunteered. I said, 'If you need a director, I would love to direct one.' And he said no."

The guy who just invented the summer blockbuster picked up the phone and offered to make a Bond movie, and the producers turned him away. Crazy!

But Spielberg, being Spielberg, didn't give up. A few years later, after Close Encounters of the Third Kind hit theaters, franchise producer Cubby Broccoli came calling with a different kind of ask.

He wanted to use the film's iconic five-note melody in an upcoming scene for Moonraker. Spielberg saw his opening.

"I said, 'I'll make you a deal. I'll give you permission to use the five notes if you let me direct a Bond film.' And he said no. But I gave him the five notes anyway," Spielberg remembered.

"So they consistently turned me down, at least, Broccoli did. He never explained why he wasn't letting me into the Bond family."

He gave them the notes anyway. Even after being turned down again. That’s a pretty generous move, or the most stubborn, depending on how you look at it.

What makes this story great is where it goes next. Spielberg was in Hawaii in 1977 with his friend George Lucas, right on the eve of a little movie called Star Wars: A New Hope , and he shared his Bond frustrations with him.

"When I told that story to George Lucas in 1977, when we were in Hawaii together getting ready for the release of 'Star Wars: A New Hope,' he said, 'I have something better than Bond. It's called Indiana Smith,' which is what it was called at the time," the director continued.

"He told me the premise of the Indiana Jones series, and that's how I got that job. So if they ever asked me to make a Bond film now, my answer would be: 'You can't afford me.'"

The franchise rejection that led directly to Indiana Jones is one of those Hollywood butterfly-effect moments that rewrites film history if you pull at the thread.

No Bond rejection, no casual Hawaii conversation, no whip-cracking archaeologist. It's the kind of story that makes you wonder what else is only one "no" away from becoming something legendary.

And Spielberg isn't done cataloguing the franchises that slipped through his fingers, or that he chose to let go. He was also offered the keys to Harry Potter and walked away from that one too, though for entirely different reasons.

"There were several films I chose not to make. I chose to turn down the first 'Harry Potter' to basically spend that next year and a half with my family, my young kids growing up. So I'd sacrificed a great franchise, which today looking back I'm very happy to have done, to be with my family."

Between Bond, Potter, and whatever else he passed on over the decades, Spielberg has arguably turned down more cultural landmarks than most directors ever get the chance to touch. And yet somehow, his actual filmography still looks like that.

The man who got told no by James Bond ended up creating Indiana Jones. The man who skipped Harry Potter spent more time with his kids. It's hard to argue with any of those outcomes.

Disclosure Day opens in theaters June 12.

The world of Game of Thrones keeps growing, and one of the franchise’s most intriguing projects just received a small but encouraging update.

While HBO continues building out its Westeros slate with shows like House of the Dragon and A Knight of the Seven Kingdoms, another project has been quietly sailing along in development for years: The Sea Snake.

What makes this one especially interesting is that it’s set to be the first animated series in the Game of Thrones franchise.

Over the years, HBO has taken a relatively measured approach to expanding George R.R. Martin’s fantasy universe. While several projects have been announced, only House of the Dragon and A Knight of the Seven Kingdoms have successfully made it to series.

Other ideas, including the Long Night prequel Bloodmoon and the proposed Jon Snow sequel starring Kit Harington, never moved forward.

Now, as fans look ahead to House of the Dragon Season 3, attention is naturally turning toward what comes next. One project that remains on the horizon is The Sea Snake, a spinoff centered on Corlys Velaryon, the legendary seafarer portrayed by Steve Toussaint.

The series was originally conceived as a live-action show before evolving into an animated project. During a recent conversation with ScreenRant, Toussaint offered an update on where things stand, and while there’s no major breakthrough to report, it sounds like the series is still very much alive.

He explained: “…Initially when it was mooted, when we were shooting season 1, it was mooted and I was like, ‘Oh my God, that’d be great.’ And then I thought, ‘I can’t play 21 again. Oh s***, it’s too late.’ And then George [R.R. Martin] said to me, ‘Oh no, it’ll be animated.’ And I was like, ‘Okay’ great.’

“But that’s the last I heard. I saw George just a few weeks ago and as far as I’m aware, it’s ongoing. I don’t know what stage they’re at with it, but it’s still a possibility. But other than that, I don’t know.”

That isn’t exactly a production update packed with details, but it does suggest the project hasn't been abandoned. Considering HBO’s current focus on House of the Dragon and A Knight of the Seven Kingdoms, it’s understandable that The Sea Snake isn’t racing toward release.

The good news for fans is that the show wouldn’t spoil anything involving Corlys’ fate in House of the Dragon. The series is designed as a prequel that would explore the legendary voyages that made Corlys Velaryon one of the most famous figures in Westerosi history.

Known as the Sea Snake, Corlys embarked on nine epic journeys that took him farther across the known world than almost anyone before him.

His travels carried him deep into Essos, including visits to places like Asshai-by-the-Shadow, Qarth, and Yi Ti. Those adventures earned him immense wealth, influence, and prestige, helping establish House Velaryon as one of the most powerful families in the realm.

The final voyage was completed around 90 AC, roughly four decades before the events expected to unfold in House of the Dragon Season 3.

While fans may be eager to see those massive seafaring adventures brought to life, Toussaint has another aspect of Corlys’ story he'd love to explore.

The actor shared: “Do you know, actually, what most interests me about them, and this is terrible because I’m a bit of a romantic, I’m actually more interested in how he won Rhaenys… And then I love the stuff about him going off and adventures because I think a lot of him doing that is his spirit that he has to go and see, but also to impress this lady.”

That angle could make for some great storytelling. Corlys’ voyages are legendary, but the relationship between him and Rhaenys Targaryen has been one of the strongest and most interesting partnerships we've seen in the franchise. Seeing how that romance began could add a fascinating layer to all the globe-spanning adventures.

Of course, The Sea Snake is just one piece of HBO’s growing Westeros roadmap. A Knight of the Seven Kingdoms has already secured a second season, and HBO reportedly hopes to adapt several more Dunk and Egg stories. The long-discussed 10,000 Ships series remains in development and would follow Princess Nymeria’s migration to Dorne more than a thousand years before the events of Game of Thrones.

There’s also another animated project reportedly in the works called The Golden Empire, which would explore the mysterious eastern civilization of Yi Ti. Beyond that, George R.R. Martin has indicated that additional spinoffs and even sequel concepts are being developed.

There have been rumors about a potential Arya Stark-focused continuation, and it’s always possible that the shelved Jon Snow concept could find new life someday.

The biggest project of all will be the upcoming theatrical film Game of Thrones: Aegon’s Conquest. The movie has been confirmed by Warner Bros., with Beau Willimon, known for House of Cards and Andor, writing the screenplay.

The story will chronicle Aegon Targaryen’s conquest of Westeros roughly 300 years before the original series, bringing dragons, large-scale warfare, and one of the most important chapters in Westerosi history to the big screen.

That film still appears to be in the early stages, so fans probably shouldn't expect it before 2028.

For now, The Sea Snake remains one of the more intriguing mysteries on HBO’s slate. If it eventually moves forward, it could open up entirely new corners of George R.R. Martin’s world while giving fans something they've never experienced before: an animated Game of Thrones adventure centered on one of Westeros' greatest explorers.

The Batman: Part II has begun shooting, and Colin Farrell is back as Oz Cobb, aka The Penguin, but after his spinoff series, The Penguin, it sounds like his role in the sequel will end up being smaller.

Farrell is about to head back to the set, and he explained to Collider, “I will go fly to London in four or five weeks. I haven’t got much to do on it, but I’ll go for four or five weeks. I’ll be there for a few weeks. I’m so excited to see it as a fan.”

Farrell also raved about the script, co-written by Mattson Tomlin and the film’s director, Matt Reeves. He said, “It’s extraordinary. Matt is just so brilliant, and he just cares so deeply about the stories he tells.”

Farrell had previously teased the script, saying on the Happy Sad Confused podcast, “I had many thoughts to share with Matt about the script. I really do think it’s a masterwork. Kind of a contemporary genre masterwork. It’s so brilliant, and Robert has got such a lovely journey to go on and take the audience through.”

He continued, “It’s dense, it’s really really intelligent, it’s so deep and detailed. I’m saying too much. I think he’s going to make an extraordinary film.”

In a separate interview, Farrell teased how The Penguin leads right into The Batman Part II, telling ComicBook, “It conveniently worked that the death at the end of The Batman and the devastation within Gotham opened up a power vacuum that then Oz could try and capitalize on. That was perfect for the parallel eight hours that we had,” he added.

“And then [The Batman Part II] will pick up, whatever, a few weeks after the show ended. But I kind of bet against, but not by a wide mark.”

The Batman Part II is set for release on October 1, 2027.

via: Deadline

Disney and Pixar have unveiled the first teaser trailer and poster for Gatto, a brand-new animated adventure that trades the sunny coastline of Luca for the winding canals and shadowy alleyways of Venice, Italy.

If this first look is any indication, audiences can expect a charming mix of comedy, heart, and feline mischief when the movie arrives in theaters next year.

The teaser kicks things off with a funny interrogation scene involving a trio of cats and a suspiciously missing stash of tuna. What starts as a tense questioning quickly falls apart when everyone in the room becomes completely distracted by the light in the room.

It's a simple gag, but it perfectly captures the playful personality Pixar seems to be bringing to this cat-centric world.

The footage also introduces two of the film’s key characters. Mark Ruffalo lends his voice to Nero, a scrappy black cat who has spent years navigating the maze-like canals and superstitions of Venice.

Standing on the opposite side of the conversation is Laurence Fishburne, who voices Rocco, a ruthless feline mob boss with a grip on the city and a debt hanging over Nero’s head.

According to Pixar, Nero has reached a crossroads in his life. After years of maneuvering through Venice’s feline underworld, he begins to wonder if he has spent his many lives making the right choices.

The official synopsis reads: "In Gatto, after years of maneuvering the canal-ridden, superstitious city of Venice, Italy, Nero begins to question whether he’s lived the right lives.

“Indebted to Rocco, the local feline mob boss, Nero finds himself in a quandary and is forced to forge a truly unexpected friendship that may finally lead him to his purpose—unless Venice gets the better of him first."

The project comes from Enrico Casarosa and Andrea Warren, the creative team behind Pixar’s Oscar-nominated Luca. While Luca delivered a heartfelt coming-of-age story set along the Italian Riviera, Gatto looks ready to explore a very different side of Italy through the eyes of a cat caught between loyalty, debt, friendship, and self-discovery.

Pixar has built a reputation for taking unusual concepts and turning them into memorable stories, and a feline adventure set within the hidden cat society of Venice certainly feels like fertile ground for something special.

The combination of gorgeous Italian scenery, mob-inspired cat characters, and Pixar’s signature emotional storytelling should make for a strong movie.

Gatto is set to release exclusively in theaters on March 5, 2027.

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Obsession has become the horror movie everyone is talking about. What started as a scrappy low-budget supernatural thriller has exploded into a global phenomenon, pulling in massive box office numbers and turning filmmaker Curry Barker into one of the genre’s hottest new filmmakers.

The film leaves audiences with plenty to think about after it ends, especially when it comes to Nikki, awesomely played by Inde Navarrette. She survives the events of the movie, but according to Barker, making it out alive doesn’t mean she gets a happy ending.

Speaking with CinemaBlend, Barker revealed what he believes happens to Nikki after the story concludes:

"She probably goes to jail. She's probably going to prison for a very long time. There's also, like, a billion dollars in Ian's house, and Ian's dead on the floor.

“She's connected to that money in some way. Who knows what the cops are gonna put together as the story? She's not gonna have a very good life, I don't think. It's very sad."

For anyone who has seen Obsession, that assessment tracks. The story centers on Bear, played by Michael Johnson, who makes a catastrophic decision when he breaks a supernatural One Wish Willow in hopes of making Nikki fall in love with him.

The wish works, but the consequences spiral into something horrifying. By the film’s conclusion, Bear takes his own life, which finally breaks the spell and frees Nikki.

The problem is that freedom comes with a nightmare waiting on the other side.

When the dust settles, there are multiple deaths to account for. Bear is dead. Nikki’s friend and co-worker Ian, played by Cooper Tomlinson, is dead. There’s also a staggering $1 billion sitting in Ian’s house.

Nikki finds herself standing in the middle of a crime scene that no police officer, detective, prosecutor, or jury could ever make sense of.

How exactly does someone explain a cursed tree branch that granted a supernatural wish? They can’t. That’s what makes Barker’s explanation so fascinating.

Even though Obsession features paranormal elements, the world itself feels grounded in reality. The supernatural horror exists within a setting that operates according to normal rules.

From that perspective, Nikki’s future seems grim. Authorities would almost certainly focus their attention on the blood-covered survivor surrounded by bodies and unexplained money.

In other words, surviving the curse may have only been the beginning of her suffering. The revelation also raises questions about a possible Obsession sequel. If Nikki is facing prison time and a shattered life, where does the story go next?

There are plenty of possibilities. One route could mirror what Smile 2 did by shifting focus away from the original protagonist and following a completely new set of characters. After all, there’s no reason another person couldn’t stumble across a One Wish Willow and unleash a fresh wave of supernatural chaos.

At the moment, though, Barker is focused on other projects. The filmmaker has already completed production on his upcoming horror-comedy Anything but Ghosts, and he’s also attached to direct the next installment of the Texas Chainsaw Massacre franchise for A24.

With those projects on his plate, any return to the world of Obsession likely isn’t happening anytime soon. Still, it’s easy to understand why sequel conversations are already happening.

Obsession has become the highest-grossing horror movie of 2026, earning more than $210 million worldwide and continuing to climb. The film’s success has reportedly opened major doors for Barker, including lucrative offers for future projects before he’s even officially pitched them.

That’s a remarkable turnaround for the filmmaker. Unfortunately for Nikki, things aren’t looking nearly as promising. While Barker’s career is soaring, his movie’s most important character appears destined for prison, punished for a series of horrific events she had no control over.

Few filmmakers have a résumé as impressive as Steven Spielberg. From Jaws and E.T. the Extra-Terrestrial to Jurassic Park and Saving Private Ryan, he helped define the modern blockbuster.

But there’s one massive franchise that could have had Spielberg’s name attached to it from the very beginning… Harry Potter and the Sorcerer’s Stone.

As it turns out, Spielberg was lined up to direct the first Harry Potter film, but a personal commitment led him in a different direction.

Speaking in an interview with TCM, Spielberg reflected on the decision and revealed that the passing of his friend and legendary filmmaker Stanley Kubrick changed everything.

When Kubrick died in 1999, he had been developing the sci-fi drama AI: Artificial Intelligence for years. The filmmaker had long intended for Spielberg to eventually direct the project, and after his death, Kubrick’s family approached Spielberg about carrying that vision forward.

Spielberg recalled: "After [Stanley Kubrick's] death, I was at the funeral at his home. Christiane [Kubrick] and Jan Harlan, her brother, approached me about taking over from Stanley, as Stanley had intended, and directing the movie."

At the time, Spielberg was already preparing for Harry Potter and the train was already leaving the station, and he was expected to be in the conductor’s seat.

He explained: "I actually walked away from Harry Potter, which I was scheduled to direct as my next movie."

The filmmaker went on to reveal just how far along he was in the process, saying: "I gave it up. It was going to be a huge movie because the book already was a runaway cultural phenomenon. I gave that up to essentially do AI."

That wasn’t a small decision. By then, J.K. Rowling’s Harry Potter novels had become a global sensation, and anticipation for the first film adaptation was sky-high. Spielberg understood exactly how massive the project was going to be, yet he felt a responsibility to help complete a film that meant so much to Kubrick.

The history of AI itself is fascinating. Kubrick acquired the rights to the story in the early 1970s and spent years trying to figure out how to bring it to life. Multiple writers worked on the project over the decades, including original short story author Brian Aldiss.

According to reports, Kubrick believed the available visual effects technology wasn’t sophisticated enough yet to realize the story properly, and he also struggled to find a child actor capable of playing the central robotic character.

Eventually, in 1995, Kubrick handed the project over to Spielberg. After Kubrick’s death, Spielberg felt the time had come to finally make the movie.

Released in 2001, AI: Artificial Intelligence starred Haley Joel Osment as David, a childlike android programmed with the ability to love who dreams of becoming human. Spielberg ultimately dedicated the film to Kubrick, ensuring his friend’s long-gestating passion project reached audiences.

Meanwhile, the Harry Potter franchise moved forward with Chris Columbus at the helm. Columbus directed Harry Potter and the Sorcerer’s Stone, which became a worldwide phenomenon, and returned for the sequel, Harry Potter and the Chamber of Secrets.

What would a Spielberg-directed Harry Potter movie have looked like? We’ll never know, but I would’ve liked to see it! Spielberg’s decision came from a place of loyalty and respect for a filmmaker he admired, and it led to the completion of a project that might otherwise have remained unfinished.

There are Hollywood what-ifs that haunt you, and then there are Hollywood what-ifs that absolutely should have happened. A Special Edition version of Howard the Duck with Robin Williams doing the voice? That would’ve been interesting to see.

A 2002 Audible series starring Robin Williams has been quietly circulating online after X user Todd Spence posted a clip from one of its episodes featuring a conversation between Williams and George Lucas.

The whole thing is a fascinating time capsule, packed with Lucas in a rare loose, candid mood, pitching ideas and cracking jokes, and it feels like he could say anything. At one point the subject turns to a film so thoroughly panned that most people still wince at the mention of it.

"One of my brilliant ideas was to take Howard the Duck and redo Howard as a digital character, then get a better voice such as yourself," Lucas told Williams. "Do the same movie… pull [Howard] out and, with a better voice, bring him back."

Lucas followed it up with what might be the most self-aware joke he has ever made in a public setting: "Howard the Duck – Special Edition. You hated it before, you'll loathe it now."

Give the man credit for knowing exactly what he had on his hands. Howard the Duck arrived in theaters in 1986 as one of the first major comic book adaptations ever produced, and it was a disaster on basically every front.

Critics tore it apart, audiences mostly stayed away, and it walked away with just $37 million at the box office. For a film that came from the executive producer of Star Wars, that sting had to linger.

The character himself, rendered in a deeply unsettling duck suit with glassy eyes and a flat, uninspired voice performance, became shorthand for everything a comic book movie could get wrong.

Which is exactly why the Robin Williams pitch is so intriguing. Williams wasn't just a good voice actor, he was one of the greatest comedic actors and voice actors who ever lived.

His turn as the Genie in Aladdin is still considered a defining performance in animation history, the kind of work that makes you realize a single performer can completely transform a film's entire energy.

Reimagining Howard as a fully digital character and handing that voice work to Williams isn't a bad idea at all. It's actually kind of a great one.

Of course, the phrase "George Lucas Special Edition" carries its own complicated baggage. The Star Wars Special Editions released in 1997 are still a sore subject for a large portion of the fanbase, and the changes Lucas made over the years, including the infamous Greedo shooting first, have never fully stopped being debated.

So, even if the concept of a Howard remake had legs, the execution is sure to have have raised some eyebrows. It never happened, obviously. But Howard the Duck did find its way back into pop culture through a much gentler door.

The character showed up as a cheeky Easter egg in both Guardians of the Galaxy films, which was a great version of Howard the Duck, and I would still like to see more of him in the MCU.

Whether a Williams-voiced, digitally updated Howard could have redeemed the original film entirely is impossible to say. But the thought experiment alone is interesting, and hearing Lucas pitch it so casually, with that self-deprecating punchline, makes the whole thing feel like a missed opportunity that was almost within reach.

We'll just have to live with wondering what could have been.

In June 2000, Robin Williams sat down for a conversation with George Lucas for Robin's brief weekly interview show on audible. The episode was originally thirty minutes but below you'll find the entire raw recording from two different sessions, with discussions ranging from… pic.twitter.com/9o4oxcQfQS

— Todd Spence (@Todd_Spence) June 9, 2026

Brad Pitt returns to the wilderness in Paramount's survival thriller Heart of the Beast, reuniting with Fury director David Ayer for what could be his most raw performance yet.

In the film, a plane goes down somewhere deep in the Alaskan wilderness. The man who walks away from the wreckage is a former Special Forces soldier named James Belmont, he's got a three-legged combat dog named Odin by his side, and the two of them are going to have to claw their way back to civilization through one of the most unforgiving landscapes on the planet.

Paramount has released the first trailer for Heart of the Beast, and it’s everything fans of grimy, no-frills survival cinema could have hoped for.

The footage opens with flashes of James and Odin's shared military history, filling in just enough backstory to make their bond feel earned before the crash tears everything apart.

The footage flashes back to their time in the military, revealing that the German Shepherd lost his teeth and a leg in battle. And yet here the dog is again, back in the fight, doing what he was trained to do: protect his person.

Pitt's character battles the elements and embarks on a desperate attempt to stay alive, climbing mountains and crossing rivers. The trailer captures both the scale of the wilderness and the intimacy of what's really at stake, which isn't survival in the abstract but the survival of this specific man and this specific dog, together.

Pitt, for his part, looks like he found something to dig into here. He looks like he gives a haunted performance as a man struggling with PTSD, but the true standout may be the retired service dog who protects him from bears, wolves and other beasts.

There are two lines from the trailer that they tell you everything about what kind of movie Ayer is making here First: "It's not the size of the dog in the fight that matters, it's the size of the fight in the dog." And then, after a harrowing river crossing nearly takes both man and animal under: "One last mission. Were not going to die out here."

The reunion between these two talents has been a long time coming. After being in development for almost a decade, Heart of the Beast marks the first time Pitt and Ayer have worked together since Fury, their brutal 2014 World War II drama that put five men in a tank and dared audiences to look away.

Where that film was built on the claustrophobia of war and the bonds formed within a crew, this one strips everything back even further to just a man, his dog, and the wilderness.

Ayer admitted he cried while reading through the script for the first time, comparing it to a "tone poem, in a sense." James and his dog, Odin, are "constantly rescuing each other" throughout the film, with the two characters feeling like "co-equals in this story."

Principal photography began in March 2025 in Queenstown, New Zealand, and wrapped in May of that year. The filming locations also included Lake Wakatipu, Glenorchy, Mount Aspiring National Park, and Milford Sound.

The film is set in Alaska but was shot in New Zealand, and Ayer pushed to film on terrain that had genuinely never been used for a production before. "No one's ever filmed there before," said Ayer, "and it took a lot of liaising with the New Zealand government and conservationist people to show them that we were going to be good citizens and tread really lightly on what is sacred land."

Rounding out the cast are Oscar winner J.K. Simmons and Anna Lambe, with the script written by Cameron Alexander. Producers on the film notably includes Damien Chazelle, the filmmaker behind Whiplash and La La Land, who also worked with Pitt on Babylon.

Heart of the Beast opens in theaters on September 25, 2026.

Star Wars fans have a chance to dig even deeper into the The Mandalorian and Grogu thanks to Jon Favreau's director's commentary, which is available through the TheatersEars app.

As expected, the commentary is packed with fascinating behind-the-scenes details, including the story behind a subtle Luke Skywalker connection involving Grogu that wasn't planned ahead of time.

One of the film's memorable moments comes when Din Djarin is injured and Grogu is left to fend for himself. During that sequence, we see the little Force user sitting on a tree stump, peacefully meditating. For Star Wars fans, the image immediately feels familiar.

The scene echoes Grogu's time training with Luke Skywalker in The Book of Boba Fett. In Episode 6 of that series, audiences watched Luke and Grogu meditate together as the young apprentice explored the Jedi path.

According to Favreau, the meditation moment in The Mandalorian and Grogu wasn't something that had been carefully mapped out during pre-production. The filmmaker came up with the idea while filming and decided to use some extra time on set to capture it.

Favreau's reasoning is that he believes Grogu likely picked up the practice from Luke and could still be applying those lessons even after leaving formal Jedi training behind. In his mind, Grogu may be continuing aspects of his Jedi education on his own.

That's an interesting layer to add to the character, especially considering where Grogu's journey has taken him. During The Book of Boba Fett, Luke presented him with a choice… Remain with the Jedi and continue his training, or return to Din Djarin. Grogu ultimately chose Mando, setting him on a very different path as a Mandalorian apprentice.

Even so, Favreau made it clear that Grogu's connection to the Force remains an important part of who he is. Before the film's release, he explained:

"He's not on the typical Jedi path of a youngling, but he has trained with some of the best Jedi teachers that there are. We know for sure he's studied with Luke Skywalker.

“There's implications that he may have crossed paths with Yoda, because he does recognize the name, is what we imply. And he also was there at the Jedi Temple before Order 66.

"So, it's a big part in talking to Dave Filoni, and by extension, to what he learned from George [Lucas], which is that the Force is about training," he continued.

"It's about refining, just like an athletic ability or any skill. And we do see that, although Grogu is not serving under somebody who is teaching him, he still clearly is meditating and going through some version of the Jedi discipline.

“So, I think that his Force use has definitely leveled up a bit. Luke Skywalker didn't study under Obi-Wan for very long, but still refined his skills. So, I think that that's part of the path that's available to Grogu, as per what we've already learned from the previous Star Wars films."

The moment included in the film reinforces the idea that Grogu hasn't abandoned his Jedi roots. He's forging his own path, blending what he learned from the Jedi with the life he's building alongside Din Djarin.

That may not be the only Luke-related Easter egg tucked into the movie. Early on in the film, there appears to be R2-D2 being unloaded from an X-Wing in the background of the film's opening credits sequence. Lucasfilm hasn't confirmed the sighting, but it's exactly the kind of detail that Star Wars fans love to hunt for.

The director's commentary has already revealed several other fun tidbits as well. Favreau discusses seeking George Lucas's approval for a specific element of the movie, explains how Star Wars Jedi: Fallen Order helped inspire a major action sequence, and even shares that one of the film's most amusing lines was improvised.

It's always fun learning how these moments come together, and in this case, a spontaneous idea on set ended up creating a meaningful connection between Grogu's past with Luke Skywalker and the future he's carving out for himself.

For fans invested in Grogu's Force journey, that brief meditation scene carries a lot more weight than it first appeared to.

Temuera Morrison was hoping to see Boba Fett ride back into the action in The Mandalorian and Grogu, and some fans have been wondering why one of the franchise’s most iconic bounty hunters didn’t factor into the story, especially considering where the film takes place and the connections it has to characters from Boba Fett’s corner of the galaxy.

During a recent interaction with a fan who mentioned that he wished Boba Fett had appeared in the movie, Morrison shared:

"I was hoping to pop in there, too, and maybe help [Din Djarin and Grogu] out with something," Morrison told a fan who said that he hoped Boba would've made an appearance. "They might want him back one day… you never know."

I’m not sure exactly how he would’ve factored into the story that Jon Favreau and Dave Filoni wanted to tell, but it’s pretty reasonable to think that Boba Fett will return one day.

Boba Fett already has a strong connection to Din Djarin and Grogu after appearing in Season 2 of The Mandalorian. He played a major role in Episodes 6, 7, and 8, helping the heroes during some of the show's biggest moments.

His return to the Star Wars universe was one of the highlights of that season and set the stage for his own spinoff series, which ended up dissapointing fans.

Considering that Boba’s story in The Book of Boba Fett ended with him taking over Jabba’s former throne, there could’ve been a connection there. But, this movie wasn’t the place for the character to return.

Boba Fett has been sitting on the sidelines since The Book of Boba Fett wrapped up its lone season on Disney+ in 2022. Morrison has previously suggested that the reception to the series may have affected the character’s future within the franchise, leaving many wondering if Lucasfilm has any concrete plans for him moving forward.

For now, Boba Fett is absent from The Mandalorian and Grogu, but Morrison doesn’t sound like someone who has given up hope. And with Star Wars always finding ways to bring fan-favorite characters back into the fold, his comment feels less like a goodbye and more like a reminder that there’s still room for the legendary bounty hunter somewhere down the road.

As Morrison put it, "They might want him back one day… you never know."

Academy Award winners Daniel Kwan and Daniel Scheinert, aka The Daniels (Everything Everywhere All At Once), are working on their next film, an untitled superhero project that they’re keeping firmly under wraps.

All we know so far is that after Ryan Gosling (Barbie, Project Hail Mary) recently dropped out, Matt Damon (Good Will Hunting, The Odyssey) signed on to star, and now we have a rumor about who may be starring opposite Damon.

According to insider Daniel Richtman, Academy Award winner Emma Stone (The Amazing Spider-Man, Cruella, Bugonia) is also in talks to star.

Details on the movie are sparse, but it has been described as a high-profile event movie with sci-fi, action, and comedy elements, as well as a "superhero tentpole where global warming is the villain."

World of Reel added the following synopsis: "The story reportedly jumps between two timelines — one set in the 1980s and the other in the present day — with the ’80s storyline centered on a group of teenagers. Damon would play the father of one of the teens.

“The project is a major swing for Universal Pictures, carrying a budget reportedly in the $150 million range. Most of the cast is expected to be teenagers, along with their parents (Stone and Damon?), which helps explain why the studio was seeking actors with movie-star appeal who could still fit The Daniels’ offbeat sensibilities."

Everything Everywhere All At Once was an incredibly original film that really got fans excited to be back in the theatre. I look forward to seeing what The Daniels do with their next project.

A24 has released a brand-new trailer for The Invite, the latest film from Olivia Wilde, and it looks like audiences are in for one seriously memorable night.

Following her previous directing efforts Booksmart and Don't Worry Darling, Wilde returns with a comedy-drama that takes a simple dinner party setup and turns it into something much messier, funnier, and far more complicated.

The film first premiered at the 2026 Sundance Film Festival, where it earned strong reactions from critics and audiences alike, and this latest trailer offers a better look at why people have been talking about it.

The story centers on Joe and Angela, a married couple whose relationship is hanging by a thread. Hoping to shake things up, they invite their mysterious upstairs neighbors over for dinner.

What begins as an ordinary evening quickly evolves into a chain of conversations, confessions, and revelations that send everyone into uncomfortable but fascinating territory.

The official synopsis asks: "Joe and Angela's marriage is on thin ice. When they invite their enigmatic upstairs neighbors for a dinner party, the night spirals into unexpected places. Have they reignited the spark or lit the match that burns it all down?"

What makes The Invite especially intriguing is its contained setting. The entire story unfolds inside a single apartment, putting all of the focus on the characters, their relationships, and the escalating tension between them. It’s a setup that relies heavily on strong performances.

The film stars Seth Rogen and Olivia Wilde as Joe and Angela, alongside Edward Norton and Penélope Cruz as Hawk and Pína. Judging from the footage, the chemistry between all four actors is what drives the film, shifting effortlessly between comedy, discomfort, vulnerability, and emotional honesty.

While the marketing leans into the laughs, The Invite appears to have more on its mind than simply generating awkward dinner-party comedy.

As the evening unfolds, the story digs into relationships, intimacy, communication, and the complicated realities of long-term partnerships. It’s that blend of humor and genuine emotional exploration that seems to have resonated with Sundance audiences.

The screenplay comes from Will McCormack and Rashida Jones, and the film serves as an English-language remake of the 2020 Spanish film The People Upstairs, also known as Sentimental, from filmmaker Cesc Gay.

The new trailer does an excellent job of teasing the chaos without giving away too much, letting the cast's sharp interactions and escalating discomfort do most of the work.

Between Wilde’s direction and a quartet of talented performers bouncing off each other, this looks like the kind of character-driven comedy that can surprise audiences.

A24 will open The Invite in select theaters on June 26, 2026, before expanding nationwide on July 10.

Spider-Man fans may want to get comfortable in their theater seats because Spider-Man: Brand New Day is reportedly set to be the longest Spider-Man movie ever made.

According to AMC Theatres, the upcoming Marvel film is listed with a runtime of 150 minutes, which comes out to two and a half hours. If that listing holds true, it will edge past Spider-Man: No Way Home, which currently holds the record as the longest Spider-Man movie at 148 minutes.

That runtime doesn't just put Brand New Day at the top of the Spider-Man franchise. It also places it among some of the longest movies in the Marvel Cinematic Universe. Only Eternals (156 minutes), Black Panther: Wakanda Forever (161 minutes), and Avengers: Endgame (181 minutes) would remain ahead of it on the MCU runtime chart.

For a character who has often thrived in fast-moving, tightly paced adventures, a 150-minute runtime suggests Marvel and Sony have a lot of story to tell with Peter Parker's next chapter.

In the film, following the events of No Way Home, Peter Parker is living in a world where nobody remembers who he is. His friends, loved ones, and the rest of the planet have forgotten his secret identity, leaving him to start over completely on his own.

Based on what we've seen in the first trailer, moving forward isn't proving easy. Peter is still carrying the emotional weight of losing the life he once had, especially when it comes to MJ. While he's trying to embrace this fresh start, the past doesn't seem ready to let go.

As if rebuilding his life wasn't enough, Peter will also be dealing with some dangerous new complications. The film is set to feature Jon Bernthal's Punisher, bringing one of Marvel's most ruthless vigilantes into Spider-Man's corner of the MCU.

Fans will also see Michael Mando finally return as Scorpion, a character who has been waiting in the wings since his brief appearance in Spider-Man: Homecoming.

Then there's the mystery surrounding Sadie Sink's character. Marvel has kept details completely under wraps, and speculation continues to run wild regarding who she could be playing. Then, he’ll also be dealing with The Hand and Hunk.

With all of those story threads in play, the extended runtime starts to make a lot more sense. Marvel appears to be giving Peter Parker room to process the fallout from No Way Home while also setting up major developments for the future of the MCU.

Spider-Man remains one of Marvel's most popular heroes, and if this reported runtime is accurate, audiences will be spending more time with the wall-crawler than ever before when Spider-Man: Brand New Day arrives in theaters.

The wait for another look at the film may not be much longer, either. Reports indicate that a second trailer could be arriving soon, giving fans a better idea of what Peter's next adventure has in store.

Amazon has also announced early screenings for Prime members in the United States, allowing some fans to catch the movie two days before its wide release.

For now, it looks like Spider-Man: Brand New Day is shaping up to be one of Marvel's biggest and most ambitious Spider-Man stories yet. And if Peter Parker thought starting over would make life simpler, it seems he's about to learn the exact opposite.

DC Studios has finally given fans something fresh to chew on with a new teaser for Supergirl, and it puts the spotlight squarely on one of the most anticipated characters in the upcoming film, Jason Momoa’s Lobo.

The brief promo offers the best look yet at the intergalactic bounty hunter in action, and if there was any doubt that Momoa was born to play the character, this footage should put it to rest.

Unlike some of the previous teasers that leaned heavily on familiar footage, this new footage unleashes Lobo in all his chaotic glory.

The “Main Man” tears through multiple opponents while cackling like a complete maniac, looking right at home in the middle of the mayhem. The teaser then delivers a line that perfectly sums up the twisted code he lives by: “I kill for money, not for sport.”

The footage wraps up with Lobo casually driving off the edge of a cliff without a second thought.

For longtime DC fans, it’s exactly the kind of reckless insanity they’d expect from the character. Lobo has always been one of the wildest figures in DC Comics, and his history is every bit as disturbing as this teaser suggests.

The cigar-chomping mercenary hails from the planet Czarnia and holds the rather horrifying distinction of being its sole survivor.

Not because of some cosmic catastrophe or alien invasion, but because he personally wiped out his entire species. In the comics, Lobo unleashed mutant scorpion-like creatures on his own people and destroyed the planet simply because he thought it would be entertaining.

That darkly absurd backstory is a huge part of what has made the character such a fan favorite over the years, and it looks like DC Studios isn’t pulling any punches with its live-action adaptation.

Of course, bringing a character like Lobo to life required more than just throwing on some makeup and leather. Momoa recently opened up about the challenges of filming his first action scenes aboard Lobo’s iconic Spacehog, a heavily customized bike equipped with rockets.

The actor previously shared an amusing story about that, saying: “My first day of action was pretty funny. There’s like a fireball up my a**, I have to go and then hit the brakes… It’s very clumsy, with rockets on it, so it can’t do the things you want it to do.”

Supergirl stars Milly Alcock as Kara Zor-El and Supergirl, with a screenplay written by Ana Nogueira and directed by Craig Gillespie. The film is set to hit theaters on June 26, and if this latest look is any indication, Lobo may end up stealing every scene he appears in.

DC fans have been waiting a long time to see the Main Man make his live-action debut, and from what we've seen so far, Momoa looks ready to deliver a gloriously chaotic version of one of comics’ most unpredictable antiheroes.

Would we want him any other way? Not really. #Supergirl - only in theaters June 26. Get tickets now: https://t.co/i8YOU5FL7f pic.twitter.com/EIMEizT5nt

— Supergirl (@supergirl) June 8, 2026

Only she can save the universe in new 'Supergirl' TV spot pic.twitter.com/mdXjxSbwKr

— Superman Saga News (@SuperSagaNews) June 7, 2026

It's not easy saving the universe in new 'Supergirl' TV spot pic.twitter.com/v5PUUWpnb9

— Superman Saga News (@SuperSagaNews) June 7, 2026

Sadie Sink (Stranger Things, The Whale) will star in and executive produce The Marriage Plot, a limited series for FX and Hulu adapted from Jeffrey Eugenides’ novel. The project hails from writer Will Arbery (Succession), who also executive produces with Hiro Murai (Atlanta, Widow’s Bay), who is set to direct.

The Marriage Plot follows three recent college graduates caught in an all-consuming love triangle as they reconcile their youthful romantic aspirations with looming adulthood and make life-altering choices about love and identity.

This is Arbery’s second series order at FX in less than a year, with his original series Seven Sisters picked up in December.

Sink’s additional film credits include Fear Street, The Glass Castle, and Chuck. Next, she will join the Marvel Cinematic Universe in Spider-Man: Brand New Day, and is set to executive producer the film adaptation of John Proctor Is The Villain for Universal.

via: Deadline

If you’re a hardcore Doctor Who fan, it's time to sit down, take a deep breath, and process some big news, because the BBC just dropped a bombshell that's going to shake up the Whoniverse.

The BBC has officially confirmed that it won't be moving forward with the Doctor Who Christmas special that had been announced for this year, and showrunner Russell T Davies along with production company Bad Wolf are exiting the series entirely.

The corporation is putting the beloved sci-fi institution out to competitive tender, essentially opening the door to a full creative reset.

The official statement from the BBC made clear that this isn't the end of the show, just the end of an era. "Doctor Who remains an important part of the BBC and this tender underpins the BBC's continued commitment to Doctor Who ensuring audiences will enjoy the show for years to come."

As for the Christmas special, it's gone. The BBC acknowledged the sting of that decision, saying: "This decision was not taken lightly, and we know it will be disappointing for fans, but in order to set the show up for future series, it was decided that rather than bridge the gap with a one-off special, we are choosing to push forward to invest in the long-term future of the show which ensures that when the TARDIS lands once more, it does so in all its glory."

When Ncuti Gatwa stepped away from the role of the Doctor after two seasons last year, Disney+ followed him out the door, ending its co-production deal with the BBC and leaving the show's future genuinely murky.

The Christmas special existed as a stopgap, a way to keep the lights on while the bigger questions got sorted out. Now that a clearer path forward is emerging through the tender process, that stopgap isn't needed anymore.

Davies, who originally revived the series back in 2005 and returned to steer it again in 2023, said his goodbyes on Instagram:

"And so GOODBYE from me to Doctor Who but HELLO to a big new future for the show, as the BBC announces it's putting the show out to tender.

“As a result, there won't be a Christmas Special — we only cooked that up to guarantee a future when no one knew what would happen, but now we do know, there's no need for it. You'll have to wait a bit longer for new Doctor Who… but you'll be waiting for MORE Doctor Who than a one-off. So it's worth it!"

He also took a moment to address the speculation that has been swirling online about a secret script and mystery casting decisions, and he wasn't having any of it.

"For the record: there was no script, I never wrote it, and no actor was ever approached to play the next Doctor. You may disagree; fine, sit in that chair and wait to be proved right.

“You'll wait a lonnng time 🪑 Now I'm as excited as anyone to see what comes next! Will they keep the theme tune? Will they lose the blue box? Will they bring back the Drahvin?! It's all up for grabs, which is so Doctor Who, exciting and unpredictable and new! Here comes the future, vworp vworp."

Of course, the biggest unresolved thread heading into all of this is Billie Piper. Gatwa's final episode in May 2025 ended with his Doctor regenerating into Piper, the actress who originally played companion Rose Tyler from 2005 to 2006.

Whether she was set to become the next full-time Doctor has never been officially confirmed, and with the tender process now reshaping everything about the show's future, that question feels more open.

Piper herself was coy when she addressed the moment at the time: "It's no secret how much I love this show, and I have always said I would love to return to the Whoniverse as I have some of my best memories there, so to be given the opportunity to step back on that Tardis one more time was just something I couldn't refuse, but who, how, why and when, you'll just have to wait and see."

So where does that leave us? Without a Christmas special, without Davies, and without a confirmed next Doctor, Doctor Who is heading into genuinely uncharted territory.

The tender process will eventually produce a new production partner and presumably a new creative team, and whoever that turns out to be will inherit one of television's most passionate and demanding fanbases.

But here's the thing, and Davies himself kind of said it best, this is actually very Doctor Who. The show has always been about change, reinvention, and the excitement of not quite knowing what comes next. The blue box lands somewhere new, a new face steps out, and somehow, against all odds, it works again.

Whether you're excited about the shake-up or a little devastated that the Davies era is really, truly over, the promise of more Doctor Who on the other side of this reset is something worth holding onto. The TARDIS will fly again. We just don't know who'll be at the controls yet.

What do you think, is a full creative reset exactly what Doctor Who needs right now, or is losing Davies a loss the show won't easily recover from?

Via: Variety

One of the more entertaining things about following James Gunn on social media is that no question seems too strange for him to answer. Whether fans are asking about major DCU story details or hyper-specific comic book logic, Gunn is usually game to respond.

The latest example might be one of the silliest Supergirl discussions yet. After a Threads user questioned how Milly Alcock's Supergirl could possibly have pierced ears if Kryptonians have bulletproof skin, Gunn stepped in with a simple and obvious explanation.

He responded: "As explained in Superman, the same way she gets drunk – she goes to a planet with a red sun. Not to mention she was raised on a chunk of Krypton so didn't even experience super powers until her teens."

And just like that, the debate was settled. Kara simply had her ears pierced while under the effects of a red sun, which weakens Kryptonian abilities and makes the process as ordinary as it would be for anyone else.

Comic book fans may remember the famously weird answer to another Kryptonian grooming question… How does Superman shave? The traditional comic book explanation involves Clark Kent using his own heat vision and a mirror to burn away his facial hair. Suddenly, a red sun ear piercing doesn't seem all that unusual.

Of course, the conversation around Kara's earrings is really just a small footnote compared to what fans will eventually see from Alcock's take on the character.

The actress has previously discussed what makes this version of Supergirl different from her iconic cousin, and it sounds like audiences can expect a hero who isn't interested in being perfect.

Alcock previously explained: "You don't have to be perfect in order to come to some sort of internal self-resolution. I think that we're kind of thrusted upon this narrative, especially women, that you have to be perfect. I think that Kara is someone who so beautifully leans into her flaws. I think that's really, really special."

That perspective lines up with what DC fans know about this incarnation of Kara Zor-El. Unlike Superman, who often serves as an aspirational symbol of hope and moral certainty, Supergirl's journey tends to be messier and more emotionally complicated. She carries trauma, makes mistakes, and struggles in ways that make her feel distinct from Clark Kent.

Whether fans love or hate the earrings, it's clear Alcock understands the character she's bringing to the screen. If Gunn and the creative team deliver on that promise, audiences could end up with one of the more interesting heroes in the new DC Universe.

Supergirl is currently scheduled to fly into theaters on June 26, where fans will finally get a chance to see Alcock's Kara in action.

Steven Spielberg has fueled our fascination with extraterrestrials through films like Close Encounters of the Third Kind and E.T. the Extra-Terrestrial.

Now, as his latest sci-fi mystery Disclosure Day gets ready to hit theaters, the legendary filmmaker is once again stirring up conversations about life beyond Earth, but this time it's not just through storytelling.

A longtime fan theory surrounding Disclosure Day has suggested that the movie is somehow tied to the idea of revealing the existence of real extraterrestrial life to the public. Whether people take that seriously or not, Spielberg recently shared some comments that are sure to add fuel to the discussion.

During an appearance on CBS Sunday Morning, Spielberg was asked about the possibility of alien visitors, and his answer left little room for doubt regarding what he believes.

He said: “Based on the circumstantial evidence of everything that I’ve gathered throughout my whole life, everybody I’ve listened to and every documentary I’ve ever watched and all the testimonies in Congress that I’ve heard, I absolutely think that they have been here, and they are here. And who knows, maybe they’ve always been here.”

That's a pretty fascinating perspective coming from one of Hollywood's most iconic filmmakers, especially when he's about to release a movie centered on humanity confronting a reality-changing revelation.

The marketing campaign for Disclosure Day has embraced the mystery in a big way. Recent trailers have leaned heavily into the possibility that extraterrestrials are real, even offering audiences a glimpse at the alien beings that play a major role in the story.

The movie appears to be asking a question that has captivated people for generations: What happens when humanity finally gets proof that we're not alone?

Interestingly, not everyone involved with the film shares Spielberg's view. Screenwriter David Koepp, who wrote the screenplay, reportedly disagrees with the director's belief that aliens have already visited Earth. That difference in perspective makes the project even more intriguing, as the creative team approaches the subject from different angles.

The official synopsis teases a world-changing event: “If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to eight billion people. We are coming close to … Disclosure Day.”

While the movie's early box office projections haven't generated a lot of optimism, the reaction from those who have seen the film has been encouraging. Positive first impressions have sparked speculation that the film could earn a very strong reviews.

Spielberg's last two films earned plenty of praise from critics, and expectations are high for this latest project. There's also a lot of attention being focused on Emily Blunt, whose performance is already generating excitement among movie fans eager to see what she brings to the story.

Disclosure Day features an impressive cast that includes Blunt, Josh O’Connor, Colin Firth, Eve Hewson, Wyatt Russell, and Colman Domingo.

Whether you believe aliens have visited Earth or think it's all science fiction, Spielberg's comments have certainly added another layer of intrigue to a movie that was already generating plenty of curiosity. We won't have to wait much longer to find out what Disclosure Day has in store.

Disclosure Day lands in theaters on June 12, 2026.

Marvel and Sony have dropped a fresh look at Spider-Man: Brand New Day, with a new poster and video announcing that tickets for the highly anticipated MCU sequel are about to go on sale.

The latest promotional poster puts Spider-Man front and center as he dives from a towering building toward the streets below. It also offers another clean look at the vibrant red-and-blue suit.

Alongside the poster, a new video was released featuring Tom Holland, who personally encourages fans to secure their seats once advance ticket sales become available next week. The message is followed by footage from the movie’s first trailer, giving viewers another look at the action-packed adventure awaiting Peter Parker.

The footage highlights several of Spider-Man’s confrontations, including battles against Boomerang, Tarantula, and the Hand, while teasing the street-level direction that Marvel Studios and Sony are taking with the character’s next chapter.

If you're eager for more footage, you likely won’t have to wait much longer. A new trailer is expected to arrive soon. As has become common with major Marvel releases, portions of the upcoming trailer have reportedly leaked online ahead of its official debut.

Beyond that, various spoilers, toy reveals, and promotional materials have already surfaced across the internet, giving fans plenty to speculate about.

The story of Brand New Day will follow Peter Parker as he attempts to balance his personal life with his responsibilities as Spider-Man while protecting New York City from a fresh wave of threats.

Following the events of No Way Home, Peter is essentially starting over, making this one of the most intriguing chapters in Holland’s Spider-Man saga.

The film will also reunite Peter with Zendaya’s MJ while bringing back familiar MCU faces, including Mark Ruffalo as Bruce Banner and Jon Bernthal’s Frank Castle.

Holland’s involvement in the project extends beyond starring in it. The actor reportedly helped shape the story by pitching one of the movie’s central ideas himself, giving him a creative hand in where Peter Parker’s journey goes next.

Spider-Man: Brand New Day is directed by Destin Daniel Cretton from a screenplay written by Chris McKenna, Erik Sommers, and Justin Kuritzkes.

The film swings into theaters on July 31, 2026.

Set those reminders. In ONE WEEK, you can finally secure your tickets for #SpiderManBrandNewDay - in theatres July 31. pic.twitter.com/qQLfYYIFxN

— Spider-Man Movie (@SpiderManMovie) June 10, 2026

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If you've been patiently waiting for Edge of Tomorrow 2 to stop being a Hollywood ghost story, today might be the day your patience pays off.

A fresh casting report has surfaced saying that Charlize Theron is being considered for a role in the long-awaited sequel to Tom Cruise's 2014 sci-fi movie, and the idea of her joining the project is enough to get the blood pumping.

Industry insider MyTimeToShineHello dropped the news on X, stating simply that "Charlize Theron is being eyed for a role in Edge of Tomorrow 2." It's the kind of rumor that sounds almost too good to dismiss. I love the thought of Theron starring alongside Cruise and Emily Blunt in this film if it actually ever happens.

The original Edge of Tomorrow was a film that deserved far better than the lukewarm box office reception it initially received. The movie made roughly $370 million worldwide on a $178 million budget, which sounds decent until you realize that for a Tom Cruise sci-fi blockbuster, the studio expected considerably more.

Over the years, it has earned a passionate second life on streaming and home video, becoming one of those rare films people come to enjoy more with repeat viewings.

Director Doug Liman's offered a refreshingly honest account of rewatching it with Cruise saying: "Tom and I just actually rewatched it about two months ago, because I hadn't seen it in 10 years. I was like, 'Wow, that is a really good movie.'"

Liman is set to return to the director's chair, Cruise and Blunt are both confirmed to reprise their roles, and Christopher McQuarrie, who has been Cruise's go-to screenwriter for years, reportedly has a completed script. Emily Blunt confirmed as much back in August 2023, so the bones of this sequel have existed for a while now.

The hiccup, as it often is with sequel development, is momentum. It was previously reported filming could begin as early as fall 2026, but that was followed up with a report indicating Edge of Tomorrow 2 isn't currently in active development.

The outlet also confirmed the project hasn't been shelved. Warner Bros. Pictures apparently still intends to make it, the studio just hasn't pulled the trigger yet.

Liman, speaking in a previous interview captured the strange limbo the film occupies in Hollywood right now with a line that manages to be both gracious and a little pointed: "I do think there's probably no better compliment to a movie than people wanting for there to be a sequel."

He's right, and the fanbase for this one has been vocal for over a decade. Whether that goodwill translates into an actual greenlight and production timeline remains to be seen, but the signs are pointing in an encouraging direction.

A finished screenplay, original cast members locked in, Liman attached to direct, and now a report linking one of the most compelling actresses working today to the project? That's a lot of kindling.

Theron has a track record of elevating action-driven ensembles. Dropping her into the Edge of Tomorrow universe, a story built around time loops, alien invasions, and characters who learn to become warriors through sheer repetition, feels like an inspired fit.

Liman previously teased that the sequel would "revolutionize how people make sequels," which is exactly the kind of ambitious claim that signals that they are developing something genuinely special. Given what the first film pulled off creatively, there's real reason to believe he means it.

For now, the puzzle pieces exist. The question is when Warner Bros. decides to assemble them. What do you think about Charlize Theron possibly joining Edge of Tomorrow 2?

Disney’s live-action remake machine keeps moving forward, and its next destination is Moana. While the studio spent the last decade reimagining animated classics, it has now reached an interesting point where some of the movies getting the live-action treatment aren’t even that old.

That brings us to Moana, which arrives in theaters this summer less than ten years after the original animated film first sailed into audiences’ hearts. Disney has now released the final trailer for the highly anticipated remake, offering the most extensive look yet at the adventure waiting ahead.

Fans already knew that Dwayne Johnson would return as the larger-than-life demigod Maui, with newcomer Catherine Laga’aia stepping into the role of Moana.

But the latest footage also confirms another familiar face is coming back for the journey. Jemaine Clement is once again lending his voice to Tamatoa, the massive treasure-hoarding crab whose obsession with shiny things made him one of the animated film’s most memorable villains.

The trailer gives audiences their first look at Tamatoa in the live-action adaptation, and he looks every bit as flashy and eccentric as fans would hope.

Beyond the giant crab’s appearance, the footage showcases several iconic moments from the original movie recreated in live action. Viewers get glimpses of Te Fiti, Maui’s animal transformations, his living tattoos, and the return of Moana’s beloved animal companions, Heihei the rooster and Pua the pig.

One thing Disney is keeping under wraps, however, is the movie’s musical surprises. Music played a huge role in making the original Moana such a phenomenon, and that won’t change with this adaptation.

The film features original songs from Lin-Manuel Miranda, Opetaia Foaʻi, and Mark Mancina, with Mancina also providing the score. All three creatives are returning for the remake, which should be welcome news for fans who still have songs from the animated film stuck in their heads years later.

Interestingly, the trailer offers no clues about whether the film includes any brand-new songs. Disney’s live-action remakes typically revisit the classic tracks audiences know and love while adding at least one original song to help distinguish the new version.

Considering the original Moana earned an Academy Award nomination for “How Far I’ll Go,” it would be surprising if Disney didn’t have a few new musical additions waiting to be revealed.

The official synopsis reads: “In Moana, Disney’s live action reimagining of the beloved animated adventure, Moana answers the Ocean’s call and, for the first time, voyages beyond the reef of her island of Motunui with the infamous demigod Maui (Dwayne Johnson) on an unforgettable journey to restore prosperity to her people.”

The cast surrounding Laga’aia and Johnson is packed with talent, including John Tui as Chief Tui, Frankie Adams as Sina, and Rena Owen as Gramma Tala.

Auli’i Cravalho, who originally voiced Moana in the animated film, returns to the franchise in a new capacity as an executive producer.

The original Moana remains one of Disney’s most beloved modern animated films, and Moana 2 became a massive success in 2024 after making the jump from a planned Disney+ series to a theatrical release. That continued popularity gives this live-action adaptation a strong foundation heading into release.

Whether audiences were asking for a live-action version or not, Disney clearly believes there’s still plenty of adventure left in this story and they believe audiences will show up.

Moana sails into theaters on July 10.

Fresh off the massive success of Backrooms, director Kane Parsons may already be looking toward another beloved property, and it’s one that video game fans have wanted to see adapted for years.

Parsons recently appeared on The Town podcast, where he discussed what might come next after his breakout hit. While he made it clear that he isn’t eager to jump straight into established franchises, he did leave the door open for a couple of exceptions tied to projects he grew up loving.

According to Parsons, he wasn’t interested in tackling existing IP next "barring one or two things" from his childhood, adding that some early conversations are already taking place.

That comment immediately sparked speculation online as fans tried to figure out which properties he could be referring to. Portal is one title quickly rose to the top of the conversation.

Created by Kim Swift, Erik Wolpaw, and Valve, Portal remains one of gaming’s most celebrated franchises. The puzzle-based sci-fi series challenges players to navigate increasingly dangerous test chambers using a portal gun while dealing with the manipulative AI antagonist GLaDOS.

Its mix of clever gameplay, dark humor, and unsettling atmosphere has made it a fan favorite for nearly two decades.

The speculation gained even more traction when The New York Times reporter Kyle Buchanan weighed in with information from a previous conversation he had with Parsons.

Buchanan shared on X: "I’ve seen people speculate that Kane Parsons is referring to a potential Portal movie here. I asked him in early May if he’d be interested in directing that and he said he was already looking into it 'with a lot of caution and a lot of curiosity.'"

So Parson’s is at least entertaining the possibility. Parsons feels like an interesting choice to bring the strange, unsettling world of Portal to life. His work on Backrooms demonstrated an ability to create plays with strange environments and atmosphere, turning empty, liminal spaces into something some audiences found unnerving.

Those strengths could translate well to the sterile testing facilities and psychological weirdness that define Portal.

Of course, nothing has been officially announced, and Parsons’ comments shouldn’t be taken as confirmation that a Portal movie is happening.

The attention surrounding Parsons is understandable. At just 20 years old, he recently became the youngest filmmaker ever to direct a movie that reached the number one spot at the U.S. box office with Backrooms.

The film, which attempted to explore the nightmare-like terror of liminal spaces, stars Chiwetel Ejiofor and Renate Reinsve and has become one of the year’s biggest surprise hits. Produced on a reported budget of just $10 million, the film has already earned nearly $150 million worldwide.

That kind of success means Hollywood is undoubtedly paying attention to whatever Parsons wants to do next. Whether that ends up being an original project or a trip through Aperture Science’s testing chambers remains to be seen, but the idea of a Portal movie from the director of Backrooms is certainly a possibility.

A rumored synopsis for the upcoming Marvel series VisionQuest has been leaked by industry scooper MyTimeToShine, who has a track record for producing some solid intel. Aside from a single sentence logline for the show, and the impressive cast list, the show’s plot has been kept well hidden, so this small bit of info is intriguing.

The synopsis reads: "The Vision, rebooted and having escaped those who sought to use him as a weapon, has been in hiding. His quest for new meaning and discreet existence is interrupted when a bounty is placed on his head, forcing Vision to forge real connections and embrace found family if he's to survive."

Paul Bettany previously said the series takes a "huge swing," adding, "It manages to feel very much like it's somehow part of [the MCU], an end to a trilogy, whilst also being very much its own thing.

And it is just really good. I'm really proud of it. We've been in editorial for a long while now, and I keep seeing cuts of it that just are getting better and better and then as all the effects get placed...it's funny, and it's moving, and it's super exciting, and [showrunner Terry Matalas] did a grand job."

VisionQuest stars Paul Bettany as Vision, Ruaridh Mollica as Tommy Maximoff, James Spader as Ultron, T'Nia Miller as Jocasta, James D'Arcy as J.A.R.V.I.S., Orla Brady as F.R.I.D.A.Y., Emily Hampshire as E.D.I.T.H., Henry Lewis as D.U.M.-E (or Dum-E), Jonathan Sayer as U, Todd Stashwick as Paladin, Faran Tahir as Raza, and Tom Hiddleston as Loki.

VisionQuest is set to premiere on Disney+ on October 14.

via: CBM

The long-awaited Death Stranding movie is still making its way through development, but director and writer Michael Sarnoski has offered an encouraging update on the project, including how Death Stranding creator Hideo Kojima reacted after reading the script.

Fans have been curious to see how A24 and Sarnoski plan to bring Kojima’s strange, haunting, and deeply cinematic universe to the big screen. While the film is still without a release date, it sounds like things are moving forward smoothly.

Speaking with IGN, Sarnoski confirmed that he’s nearing the finish line on the screenplay. "I'm writing the script right now and hopefully almost done with that and really excited to dive into it."

As the script comes together, Sarnoski has been working closely with both Kojima and A24, refining the story through the usual development process. What’s interesting is that Kojima has given him room to carve out something new within the world fans already know.

"We're working on some revisions together, and they all seem super excited and happy with it. Kojima has been really generous in letting me play in his world but letting me tell a story with my own characters and my own sort of corner of this world, but keeping it honest to the game and doing something that fans will really like,"

That approach lines up with what Kojima previously revealed about the adaptation. Rather than retelling the events of the games starring Norman Reedus, the movie will tell an original story that exists within the same universe.

For longtime fans, that probably raises the obvious question: will any familiar faces show up? Sarnoski isn’t giving away much, but he did leave the door open.

"You might see some characters from the game pop up," Sarnoski teased. "But it definitely feels like something that could happen alongside the game and honors what's going on in the game but very much is its own thing."

One of the more entertaining details from the interview involved Kojima’s famous love of cinema. Anyone who follows the legendary game creator knows movies are practically embedded in his DNA, and apparently that passion showed itself immediately when he read the screenplay.

"I was impressed that when he read this script, without me needing to talk to him about it, he knew every single [movie] reference… He just knows movies incredibly well. So that's been very cool to see."

That probably won’t surprise anyone familiar with Kojima. The developer has spent years sharing film recommendations, celebrating filmmakers, and wearing his movie obsession proudly. So the fact that he instantly caught every cinematic reference in Sarnoski’s script feels perfectly on brand.

With Sarnoski crafting a new story inside the Death Stranding universe and receiving enthusiastic feedback from Kojima himself, there’s plenty of reason for fans to be optimistic about where this adaptation is headed.

And the Death Stranding universe continues to expand beyond the upcoming film. An anime adaptation is also currently in development, with Raised by Wolves writer Aaron Guzikowski attached to write the project.

For now, the Death Stranding movie remains undated, but it sounds like the creative team is making steady progress toward bringing one of gaming’s most fascinating worlds to theaters.

Warner Bros. has released three new clips from Supergirl, giving fans an exciting new look at the next chapter of the DC Universe.

The footage offers a closer look at Kara Zor-El’s journey, including her first on-screen meeting with Superman, the introduction of Jason Momoa’s long-awaited Lobo, and a glimpse at the larger cosmic adventure waiting for her beyond Earth.

One of the new scenes picks up shortly after Kara arrives on Earth with Krypto. It finally delivers the first interaction between Kara and her famous cousin, Superman, played by David Corenswet.

While fans might expect an emotional family reunion, the moment comes with an amusing complication. Superman hasn’t learned Kryptonian yet, making communication between the two a little awkward.

As the pair head toward the Fortress of Solitude, Kara immediately questions his choice of attire, asking why he’s dressed “in his underwear.” Superman brushes past the fashion critique and explains that her powers should begin emerging very soon now that she’s on Earth.

First clip from ‘SUPERGIRL’, starring Milly Alcock and David Corenswet.

(Source: @ComicBook) pic.twitter.com/MUtcsvqBEE

— DiscussingFilm (@DiscussingFilm) June 5, 2026

The second clip shines the spotlight on one of the movie’s most anticipated characters, Lobo. Fans have been eager to see Jason Momoa step into the role of the infamous intergalactic bounty hunter, and this preview finally offers another taste of what he’ll bring to the character.

The scene begins with Kara describing Lobo as “an immortal with a god complex” who “killed off his entire planet.” From there, the footage follows Lobo as he approaches what appears to be a bar while searching for someone specific. It’s a brief sequence, but it captures the attitude and presence fans would expect from the Main Man.

Lobo is introduced in new 'Supergirl' clip

"He's an immortal with a god complex. Killed off his entire planet" pic.twitter.com/ODCn22fHj7

— Superman Saga News (@SuperSagaNews) June 9, 2026

The third clip broadens the scope of the film and puts the focus back on Kara’s larger mission. It hints at the strange worlds, colorful characters, and dangerous situations she’ll encounter as she travels across the galaxy.

While the footage doesn’t reveal major plot details, it does reinforce the idea that Supergirl will embrace the cosmic side of DC in a big way.

New clip from SUPERGIRL pic.twitter.com/6H2O8lTGqT

— Everything_DCU (@EverythingDCU_) June 9, 2026

Directed by Craig Gillespie, Supergirl stars Milly Alcock as Kara Zor-El and continues building on the foundation established by Superman. Alongside Alcock, the film also features Matthias Schoenaerts, Eve Ridley, David Krumholtz, Momoa, and Corenswet.

Supergirl is set to hit theaters on June 26, 2026.

Netflix has released the full trailer for Enola Holmes 3, giving fans their first real look at the next chapter in the hit mystery adventure franchise led by Millie Bobby Brown.

After two successful films turned Enola into a fan-favorite detective in her own right, the latest sequel takes her far beyond the streets of London and drops her into a mystery that looks bigger, riskier, and more personal than anything she's tackled before.

The trailer teases a globe-spanning adventure set on the Mediterranean island of Malta, where Enola finds herself caught between her personal ambitions and professional responsibilities while investigating a case that quickly spirals into dangerous territory.

The new location also gives the franchise a fresh backdrop, trading Victorian London’s familiar foggy streets for sun-soaked coastal landscapes and international intrigue.

Netflix's official synopsis reads: "Tis I do?! The critically-acclaimed ‘Enola Holmes’ franchise has returned, taking Enola far from London, where personal and professional dreams collide on a case more tangled and treacherous than any she has faced before.

“Adventure chases detective Enola Holmes to the Mediterranean island of Malta, where she ends up working on her most precarious unsolvable mystery yet."

Alongside the mystery, the trailer also hints at major developments in Enola's relationship with Tewkesbury, played once again by Louis Partridge.

Fans of the previous films will notice that marriage appears to be part of the story this time around, adding another layer of complexity as Enola tries to balance her future with the demands of her latest investigation.

Brown returns as Enola, joined by a familiar cast that includes Partridge, Henry Cavill as Sherlock Holmes, Helena Bonham Carter as Eudoria Holmes, Himesh Patel, Sharon Duncan-Brewster, and Susan Wokoma.

This installment also introduces a new creative voice to the franchise. Enola Holmes 3 is directed by Philip Barantini, whose previous work includes Villain, Boiling Point, Accused, and the acclaimed series Adolescence. The screenplay comes from Jack Thorne, who also penned the previous entries in the series.

The film is based on Nancy Springer’s Enola Holmes Mysteries novels, which are inspired by the world and characters created by Sir Arthur Conan Doyle.

Enola Holmes 3 premieres exclusively on Netflix on July 1, 2026. Based on what we've seen so far, this one looks like another fun adventure for the young detective, with higher stakes, a larger scope, and a mystery that may finally push Enola to her limits.

Steven Spielberg has given audiences some of the most memorable alien stories ever put on screen. From the awe and wonder of Close Encounters of the Third Kind to the heartfelt friendship at the center of E.T.: The Extra-Terrestrial, his films have shaped how generations think about life beyond Earth.

Now, with the upcoming sci-fi thriller Disclosure Day, one of the film’s stars believes Spielberg has completed an unofficial trilogy of alien-focused stories.

Speaking with GamesRadar+, Josh O’Connor shared his thoughts on where Disclosure Day fits within Spielberg’s long history of extraterrestrial storytelling.

"I don't want to speak for Steven, but I think there is an element of it being the third in a sort of trio: Close Encounters, E.T., and this. Obviously, War of the Worlds is in there as well, but Steven's talked about those three."

That’s an interesting perspective, especially considering Spielberg’s deep creative connection to all three projects. While Disclosure Day isn’t a direct sequel to either Close Encounters or E.T., it does share thematic DNA with those films.

Spielberg directed all three, and Disclosure Day is based on a story he developed himself. He also famously wrote Close Encounters of the Third Kind and played a major role in bringing E.T.: The Extra-Terrestrial to life, making the connection feel even stronger.

What makes Disclosure Day particularly intriguing is that the film arrives at a time when public fascination with UFOs and unexplained aerial phenomena is at a high point.

Congressional hearings on UAPs, along with the Pentagon’s recent release of additional UFO-related documents, have pushed conversations about possible extraterrestrial life further into the mainstream.

O’Connor admitted that the timing feels unusual. "It's a really strange thing. But it's nice that there's that feeling around the film."

His co-star Eve Hewson took the subject matter seriously enough to dive into interviews with people who claim to have encountered non-human lifeforms while preparing for her role. The research apparently left a lasting impression.

"People keep ignoring it, somehow. It's really weird. [Whistleblowers] keep being like: 'This is real, these are facts,' And everyone's like, 'Say what?' [laughs]"

The film follows Daniel Kellner, played by O’Connor, a whistleblower who finds himself hunted by a powerful extra-governmental organization determined to conceal evidence of alien life.

Hewson plays Jane, Kellner’s former girlfriend and an ex-novitiate who wrestles with the existence of non-human intelligence through the lens of faith and religion.

The cast also includes Emily Blunt, Colman Domingo, Wyatt Russell, and Colin Firth, giving the film one of the most exciting ensemble lineups of the summer movie season.

One of the biggest mysteries surrounding Disclosure Day is the nature of the aliens themselves. Spielberg and the filmmakers have kept those details tightly under wraps.

There have even been some wild online theories suggesting the movie is tied to an elaborate effort to prepare the public for real-world alien disclosure. Screenwriter David Koepp, however, has already shut down those rumors.

Whether Disclosure Day ultimately earns a place alongside Close Encounters of the Third Kind and E.T.: The Extra-Terrestrial in fans’ minds remains to be seen.

But if O’Connor’s comments are any indication, Spielberg’s latest sci-fi adventure may serve as the final piece of a fascinating thematic trilogy that has been decades in the making.

Audiences won’t have to wait much longer to find out. Disclosure Day lands in U.S. theaters on June 12.