Sam Raimi is heading back into horror territory with a new take on Magic, the unsettling 1978 psychological horror film that originally starred Anthony Hopkins as a troubled ventriloquist whose dummy slowly takes control of his life.

Lionsgate has officially tapped the Evil Dead creator and Spider-Man director to helm the remake, which is a perfect fit for Raimi’s brand of stylish, twisted horror storytelling.

The original film was directed by Richard Attenborough and adapted by William Goldman from his own novel. Hopkins delivered an incredibly eerie performance as Corky, a struggling magician and ventriloquist whose creepy puppet Fats becomes more dangerous as Corky reconnects with a former love interest.

The role arrived years before Hopkins terrified audiences in The Silence of the Lambs, but you can absolutely see flashes of that chilling intensity in Magic.

This new version is being written by Mark Swift and Damian Shannon, who are reuniting with Raimi and producer Zainab Azizi after working together on Send Help for 20th Century Studios.

Raimi is also producing the film alongside Roy Lee, whose horror résumé includes It and Weapons. Producers Chris Hammond and Tim Sullivan, who’ve reportedly spent years pushing to get the project made, are also onboard.

Lionsgate Motion Picture Group chair Adam Fogelson shared his excitement about Raimi stepping into the project, saying:

“Sam is the dream director for this project—in fact, his coming aboard represents one of the truly great matches of director and material. The script is fantastic, and we could not be more excited to see Sam’s direction and creative vision take it to another level. We are absolutely thrilled he has chosen to direct the film.”

Raimi knows how to balance psychological horror, tension, dark humor, and nightmare fuel better than almost anybody working today. A movie about a malicious ventriloquist dummy sounds tailor-made for him.

Raimi most recently directed Send Help starring Rachel McAdams and Dylan O’Brien, which became a surprise hit earlier this year. The film spent two weeks at the top of the box office and pulled in close to $100 million worldwide.

Now he’s diving back into creepy puppets, fractured minds, and horror chaos with Magic, and that sounds like a pretty awesome combination.

Netflix has released the first teaser trailer for Human Vapor, and this thing looks awesome. The upcoming sci-fi thriller series takes Toho’s 1960 cult classic The Human Vapor and twists it into something far darker and more intense.

Instead of leaning into pulpy superhero territory, this version plays like a grim serial killer mystery with a supernatural edge. I have to say, I love the music in this trailer! It’s awesomely sets the tone!

The series comes from the creative minds behind Train to Busan and the recent Gannibal series, and the footage carries that same oppressive tension and creeping dread those projects are known for.

Set in a society unraveling under panic, Human Vapor follows a mysterious killer capable of transforming his body into gas, allowing him to pass through walls, sealed rooms, and any barrier put in front of him. Authorities are helpless as he publicly announces his murders before carrying them out in horrifying fashion.

Netflix released the following synopsis: "‘Fear has no form.’ The world recoils in shock when a person suddenly swells and explodes on live TV. The culprit behind this unprecedented murder is the ‘Human Vapor’ — a mysterious man who can transform his body into gas and slip through any barrier.

“He announces his killings in advance and carries them out, seemingly mocking the authorities as they struggle to close in on him. With each new incident, he corrodes society with a formless, pervasive fear.”

The story is nightmare fuel, and the teaser fully leans into the horror of it. There are flashes of bodies grotesquely swelling, terrified crowds, chaotic investigations, and brief glimpses of the vaporous killer stalking victims in ways that feel almost impossible to stop.

The murders themselves look especially nasty, giving the whole thing a chilling identity that separates it from standard sci-fi thrillers.

The original The Human Vapor was directed by legendary Gojira filmmaker Ishirô Honda, but this reimagining feels far more grounded and sinister. It still carries traces of classic sci-fi fantasy, yet the tone is closer to a psychological crime thriller drenched in paranoia.

The series is directed by Shinzo Katayama, whose previous work includes Siblings of the Cape, Missing, The Hovering Blade, and Gannibal. The screenplay comes from Yeon Sang-ho and Ryu Yong-jae, which immediately explains why the material feels so tense and emotionally volatile.

The cast includes Shun Oguri, Yu Aoi, Suzu Hirose, Kento Hayashi, UTA, and Yutaka Takenouchi.

Visually, the teaser already looks fantastic. There’s a cold, oppressive atmosphere hanging over every scene, and the vapor effects are creepy without feeling overproduced. It has that gritty Toho sci-fi energy mixed with modern crime horror, which is a pretty killer combination.

Netflix will premiere Human Vapor worldwide on July 2nd, 2026.

The Star Wars franchise is about to welcome another legendary actor into the mix, and it sounds like she already wants a return trip.

Sigourney Weaver stars in The Mandalorian and Grogu as New Republic officer Colonel Ward, and while the movie hasn’t even hit theaters yet, she’s already thinking about what could come next for Din Djarin and Grogu.

During a conversation about the upcoming Star Wars film, Weaver opened up about how much she enjoyed stepping into Jon Favreau’s corner of the franchise and hinted that she isn’t the only one hoping this movie sparks a bigger future for the characters.

“Well, in an ideal world, I'd love to make another Mandalorian and Grogu, because it was so much fun to work with Jon Favreau. And I'm a huge admirer, and just to be in this world, for me, it was cool. And I really like my character, and I'd love to do more work with Pedro and his sidekick.

“So, I think that, secretly, we're all hoping maybe this could produce another one that would take us further into the Outer Rim and more adventures,” she adds.

Din Djarin and Grogu have always worked best wandering through dangerous corners of the galaxy, crossing paths with bounty hunters, Imperials, smugglers, and weird alien outlaws. The Outer Rim is basically built for that kind of storytelling.

In the film, Pedro Pascal’s Din Djarin and Grogu are tracking down Imperial threats on behalf of the New Republic while answering to Weaver’s Colonel Ward. They are then tasked with finding Rotta The Hutt. They’ll also have some backup from fan-favorite Star Wars Rebels character Zeb Orrelios, which should make longtime fans pretty happy.

One of the more interesting things about The Mandalorian and Grogu is that it apparently stands on its own much more than fans expected. Earlier plans for The Mandalorian Season 4 were said to help connect into Ahsoka Season 2, but the movie sounds more self-contained, which leaves plenty of room for Lucasfilm to continue these adventures if audiences show up for it.

It’s hard to imagine Disney wanting to walk away from Din and Grogu anytime soon if the movie lands the way fans hope it will.

The Mandalorian and Grogu hits theaters on May 22.

Source: GamesRadar+

With only two episodes of The Boys left before the finale crashes onto Prime Video, the series managed to sneak in one more surprise that had fans rewinding scenes just to make sure they heard it right.

That unmistakable voice coming out of Xander the hammerhead shark belonged to none other than Samuel L. Jackson.

The shark returned in the latest episode, “The Frenchman, the Female, and the Man Called Mother’s Milk,” where he confronted The Deep after the Supe’s disastrous actions helped devastate ocean life through a pipeline project.

It was a bizarre, hilarious, and totally fitting moment for The Boys, which has always thrived on chaos.

Series creator Eric Kripke recently opened up to Polygon about how the cameo actually came together, and it sounds like the production team took a shot in the dark that paid off in a huge way.

“A lot of the cameos we bring into the show are because Seth Rogen or [executive producer] Evan Goldberg have a relationship with them and can make a call. I lean on them a lot for that stuff.”

Xander first showed up earlier this season in the premiere episode “Fifteen Inches of Sheer Dynamite,” helping ferry The Deep around while he hunted A-Train. But for the character’s bigger return, Kripke wanted a voice audiences would recognize instantly.

“We wanted a really distinct voice and who has a more distinct voice in Hollywood than Sam Jackson? So we just went to his agent. He was our first choice, and we were like, ‘Does he want to do this?’

“It was really just taking a flyer. But then it came back, Oh yeah, he likes the show and totally, he’ll do it. Boy, that’s a bucket list moment, man, of Sam Jackson reading your dialogue.”

Honestly, it’s hard to imagine a more perfect casting choice for a foul-mouthed hammerhead shark living in the wonderfully messed-up world of The Boys. Jackson’s voice instantly gives Xander this larger-than-life personality that makes the whole thing even funnier and more intimidating at the same time.

Of course, The Boys has developed a pretty great track record when it comes to unexpected celebrity voices. Last season featured Tilda Swinton as Ambrosius, The Deep’s octopus lover, which still feels like a fever dream in the best possible way.

Now fans are heading into the final episodes wondering what other insanity Kripke and company still have tucked away before the season wraps up.

Stranger Things star Dacre Montgomery has signed on for an undisclosed role in the John Wick spinoff Caine, directed by and starring martial arts legend Donnie Yen as the blind assassin. Montgomery joins Yen and Rina Sawayama, who will also reprise her role as Akira.

While Montgomery’s role and the logline are being kept under wraps, the new film is said to continue Yen’s story arc following the events of John Wick: Chapter 4, as Caine has been freed from his obligations to The High Table.

The film’s screenplay comes from Mattson Tomlin, writer of the upcoming The Batman Part II and the adaptation of the Keanu Reeves-created comic book BRZRKR, and Michael McGrale. Lionsgate will continue selling the project at this week’s Cannes Market.

Montgomery is best known for his performance as Billy Hargrove in Netflix’s smash series Stranger Things. His acting credits also include Gus Van Sant’s Dead Man’s Wire, Baz Luhrmann’s Elvis, Dean Israelite’s Power Rangers and Samuel Van Grinsven’s Went Up the Hill.

In 2026, Montgomery is due to make his directorial debut with The Engagement. He can currently be seen as the lead in the reimagining of the 1970s cult classic film Faces of Death. Montgomery has also released a collection of poems entitled DKMH.

via: Deadline

The next era of James Bond is finally moving forward, and after years of speculation, the search for the new 007 is officially moving forward.

Amazon MGM Studios confirmed that auditions have already been taking place over the last several weeks as the studio begins looking for the actor who will step into the tuxedo after Daniel Craig wrapped up his run with No Time to Die back in 2021.

In a statement shared with Variety, the studio said: “The search for the next James Bond is underway. While we don’t plan to comment on specific details during the casting process, we’re excited to share more news with 007 fans as soon as the time is right.”

Leading the casting search is Nina Gold, one of the most respected casting directors working today. She helped cast Game of Thrones, The Crown, and Andor, and she was also responsible for casting Daisy Ridley as Rey in the Star Wars sequel trilogy.

Gold was even nominated for an Oscar in the newly introduced Best Casting category for Hamnet, so Amazon MGM clearly brought in someone with serious instincts for discovering talent.

The pressure surrounding this Bond casting is massive. Craig completely reshaped the character during his run, giving audiences a tougher, more emotionally grounded version of 007 across five films.

Whoever lands this role next won’t just be inheriting a famous franchise, they’ll be carrying one of cinema’s most iconic characters into a new generation.

Thankfully, it sounds like the studio understands exactly how important this decision is. Amazon MGM Studios executive Courtenay Valenti previously addressed the franchise during CinemaCon earlier this year, saying:

“Please know that we’re taking the time to do this with care and deep respect. It is the dream of a lifetime for all of us to bring audiences this next chapter, and it’s a responsibility we don’t take lightly.”

There’s also no shortage of talent involved creatively. Dune director Denis Villeneuve is set to helm the next Bond film, which immediately raises expectations for what this movie could become visually and tonally. Pairing Villeneuve’s filmmaking style with Bond feels like a pretty awesome match.

Meanwhile, Peaky Blinders creator Steven Knight is writing the screenplay, and he’s already talked about wanting to honor the classic Bond formula while still pushing it forward.

Knight previously said: “I’m hoping that being a Bond fan for so many years, that will sort of be imbued into me and I’ll be able to produce something that’s the same but different and better and stronger and bolder.”

It’ll be really interesting to see who eventually lands the role.

There’s no slowing down the galaxy’s most dedicated bounty hunter. Pedro Pascal has made it clear that stepping away from Din Djarin isn’t on his radar anytime soon.

As The Mandalorian continues evolving from streaming hit to theatrical event, Pascal is more than ready to stick with the role, even if it means sharing the workload in a very literal way.

At a recent Q&A in London, Pascal reflected on just how much the character has become a part of his career. After first appearing in 2019, Din Djarin has turned into his longest-running role, and it’s one he clearly isn’t ready to let go of.

"I'm completely grateful. It's the longest creative relationship I've had, it's the character that I've played the longest," Pascal said. "Hopefully I get to continue playing him for as long as my body, or as many bodies as we put into the suit, can take it."

Fans know Pascal doesn’t spend every moment physically inside the armor, with stunt performers often stepping in while he provides the voice and performance. Still, the connection he has to the character is stroong.

Now that The Mandalorian and Grogu is heading to theaters, things are leveling up in a big way. This marks the first time Din Djarin’s story jumps from Disney+ to the big screen, and the cast coming along for the ride is pretty wild. Sigourney Weaver joins as New Republic Colonel Ward, while Jeremy Allen White takes on Rotta the Hutt, the son of Jabba.

And then there’s an unexpected addition of Martin Scorsese, who pops in with a voice cameo as an Ardennian food truck owner.

Story-wise, the film pulls Din Djarin and Grogu into a new mission tied to the New Republic. They’re tasked with rescuing Rotta the Hutt, with the promise of valuable intel from the Hutt clan about a mysterious target. It sounds like the kind of setup that mixes classic Star Wars underworld chaos with the character-driven moments fans love.

With The Mandalorian already cemented as one of the most popular corners of Star Wars, the jump to theaters is exciting. And if Pascal has his way, Din Djarin’s journey is far from over.

The Mandalorian and Grogu hits theaters on May 22.

A new movie inspired by the making of Once Upon a Time in America is officially in development, and it sounds like a fascinating deep dive into the obsession, frustration, and determination that fueled one of cinema’s most celebrated gangster films.

Italy’s Leone Film Group is developing an origins film centered on legendary filmmaker Sergio Leone and his long journey to bring Once Upon a Time in America to the screen. The project is being assembled while the company is attending the Cannes Film Festival as a producer on Paper Tiger, the latest film from James Gray.

The untitled movie won’t simply retell the production history of Once Upon a Time in America. Instead, it’s shaping up to be a character-driven story about Leone himself and the relentless pursuit of a dream project that consumed a huge portion of his life.

Raffaella Leone, Sergio Leone’s daughter and co-CEO of Leone Film Group, explained the emotional core of the project while speaking with Variety:

“It’s basically the story of a man who chases a dream for his entire life. Or, at least, who took 15 years to make a movie and didn’t do anything else until he managed to make it. And it’s told with my father’s irony.”

That makes this feel like more than a standard biopic. Leone’s career already reads like movie mythology, and focusing on the exhausting path toward making Once Upon a Time in America could deliver something personal, funny, heartbreaking, and creatively chaotic all at once.

The film will be directed by Italian filmmaking duo Giuseppe Stasi and Giancarlo Fontana, the creative team behind Prime Video’s dark crime series The Bad Guy. They’re also co-writing the screenplay with The Bad Guy creators Ludovica Rampoldi and Davide Serino.

According to the report, the story will jump across multiple timelines and locations, including flashbacks to Leone’s childhood. The film’s settings will span Rome, New York, Los Angeles, Paris, and Cannes.

The Cannes portions of the story should be especially interesting. That’s where Leone first connected with producer Arnon Milchan, who would later help bring the gangster epic to life. Cannes was also where Once Upon a Time in America premiered in 1984 to mixed reactions before eventually earning its reputation as a masterpiece years later.

Raffaella Leone is producing the project alongside Leonardo Maria Del Vecchio, chief strategy officer of EssilorLuxottica and president of Ray-Ban. Del Vecchio also owns a 19% stake in Leone Film Group.

For movie fans, especially those obsessed with classic crime cinema, this sounds like an awesome concept. Once Upon a Time in America already carries this almost mythical legacy around it, and digging into the years of struggle that led to its creation feels like the perfect way to revisit that world from a completely different angle.

If the filmmakers can capture Leone’s personality, ambition, and humor the way Raffaella describes, this could turn into one of the coolest filmmaker-focused projects currently in development.

One of the most fascinating parts of Star Wars: Maul – Shadow Lord isn’t actually the arrival of Darth Vader or even the collapse of Maul’s criminal empire. It’s watching Devon Izara slowly drift toward darkness in a way that feels strangely emotional, tragic, and completely avoidable all at once.

By the end of the season, Devon makes the choice to join Darth Maul, and what makes that moment work so well is that the series spends the entire story quietly building toward it piece by piece. It doesn’t happen because she’s suddenly corrupted overnight. It happens because Maul has been shaping her from the very beginning.

The scary part is that Devon doesn’t even fully realize it’s happening.

Brad Rau revealed that this dynamic was baked into the story from the first episode. “We talked about this early with Witwer and with Gideon Adlon.

“From the very moment that the shadow of Maul crosses over Devon in her cell in the final shot of the first episode all the way to the final episode, Maul has been teaching her. It's not Sith training because he's not Sith. It's not Jedi training. It's some kind of training we've never seen before.”

That idea is what makes Devon’s journey feel different from the usual Star Wars apprentice story. She isn’t following a clear Jedi path or embracing traditional Sith teachings. Instead, she’s caught in this strange emotional gray area where survival, anger, mentorship, and manipulation all start blending together.

Maul is the perfect person to guide someone down that road because he understands what it means to exist outside the system. He isn’t Sith anymore, but he also isn’t free from what the Sith turned him into. So the lessons he passes on to Devon become warped reflections of his own pain and experience.

At the same time, the series gives Devon another influence pulling her in the opposite direction through Daki. That emotional tug-of-war becomes one of the strongest character dynamics in the entire season.

“It worked organically with the story and the threat that we needed,” Matthew Michnovetz says. “We needed a force that would give them resistance and conflict so that Devon would be tested by both the devil on her shoulder and the angel — Maul and Daki.

“They’re her two dads and each of them present a path. Through this final episode, we see Devon switching between what she’s learned from the two skilled warriors, adapting to survive.”

That “two dads” comparison explains the entire emotional core of Devon’s arc. On one side, there’s Daki representing compassion, restraint, and a more grounded way forward.

On the other side, there’s Maul offering strength through anger, survival through aggression, and the promise of power in a galaxy that keeps trying to break her.

The genius of the finale is that it doesn’t treat Devon’s decision like some shocking heel turn. It feels personal, messy, and emotional. She’s grieving, scared, and trying to survive after everything around her falls apart, and Maul knows exactly how to exploit that vulnerability.

The series also makes it clear that Maul isn’t becoming soft simply because he’s mentoring her. Rau stressed how important it was to maintain Maul’s cruelty even while audiences grow more attached to him throughout the season.

“We love Maul so much, but even though we are now cheering for him with our good guys, we needed to showcase that he is a very bad guy,” Rau says.

“That was really important to me. And he does a move that leads to the tragic demise of Daki while he waits in the shadows, watching Devon. She unleashes her rage like never before. It is not the final lesson, but it is a very big, terrible lesson that he's teaching her.”

That moment completely reframes Devon’s final decision. She isn’t simply choosing a mentor. She’s responding to trauma that Maul helped create in the first place. He manipulates her emotional collapse into the final stage of her transformation.

Somehow, the show still allows Devon to retain agency in all of this. That part mattered to the creative team. “Even as we were discussing the script before we started writing it,” Rau says, “we knew we wanted to end on Devon making this decision to join the Shadow Lord on her own.”

That choice is what makes the ending so great and land with a punch. Devon isn’t mind-controlled or forced into submission. She walks toward Maul willingly, even if her emotions have been carefully guided in that direction the entire season.

It turns her story into a twisted coming-of-age tale filtered through loss, manipulation, and Sith influence. Instead of discovering who she wants to become, Devon is pushed into discovering what pain can turn her into.

That may be the darkest thing Shadow Lord does all season.

Via: StarWars

Prime Video is sending another unsuspecting civilian into chaos because Jury Duty is officially coming back for Season 3.

After the success of the original series and the recently released Jury Duty Presents Company Retreat, the docu-comedy experiment is gearing up for another elaborate fake-out.

The series has built its reputation on putting one real person into a completely fabricated world populated by improv comedians and actors who stay in character around the clock. Somehow, it keeps working.

The first season introduced viewers to Ronald Gladden, who thought he was participating in a real jury trial while actor James Marsden hilariously played an exaggerated version of himself.

Season 2 shifted gears and followed Anthony Norman, a temp worker recruited to help during a company retreat for the family-owned hot sauce business Rockin’ Grandma’s.

What Norman didn’t know was that every employee, executive, and awkward corporate personality surrounding him was part of the show. The fake documentary setup followed a supposed leadership transition between company owner Doug and his disaster of a son Dougie Jr. Naturally, things spiraled out of control.

By the end of the season, Norman unexpectedly became the emotional center of the entire operation when he stepped up to stop the company from being sold.

The production team created that storyline specifically to see how he’d react under pressure, and according to the show’s producers, he completely exceeded expectations. Norman walked away with $150,000 and a whole lot of admiration from the cast and crew.

Since filming wrapped, Norman and Gladden have reportedly become close, bonded forever by the strange experience of unknowingly starring in one of television’s most complicated comedy experiments.

Pulling off a show like Jury Duty apparently takes an insane amount of preparation. Executive producer Chris Kula recently spoke about the long production timeline and hinted at what Season 3 could look like:

“It took three years from the first one to this one, so there’s a long runway to get there. I’m thinking of maybe like a fake TV show, like going to awards functions and some someone’s duped into giving heartfelt testimony for this thing that doesn’t exist.”

Kula also talked about how stressful the production process can be while trying to keep the illusion alive for weeks at a time:

“Every single day on set was kind of terrifying, because you had the fear this is the day it could all end. Somebody could misspeak, a camera could be seen. Some element could unravel all the work we’ve done.

“So when we got to the final day of the big finale — where it all comes to a head and our hero steps up and saves the company — I woke up three hours before the call time that day, because I was just adrenalized.

“It was a high wire act, and we knew there was no second take. It was unlike anything I’ve ever done before, and I’m sure ever will.”

He also praised Norman and the casting team for finding the perfect participant for Company Retreat calling him “an amazing gem of a human. We scripted the season with the hope that the hero would meet this ideal…

“He came in with an Aaron Sorkin-esque monologue, and when he starts appealing to the CEO, and he says, ‘father to father, I need to talk to you,’ I got goosebumps. My jaw dropped. He was just an absolute hero.”

Created by Lee Eisenberg and Gene Stupnitsky, and directed by Jake Szymanski, Jury Duty continues to be one of the most creatively ambitious comedy projects in streaming. It’s part improv show, part social experiment, and somehow still manages to feel weirdly wholesome.

Dave Filoni is one of the creative forces at the helm of the future of Star Wars, and in a recent chat with ComicBook, the outlet asked the aficionado what he could tell us about the future of Grogu. Will we ever see a “Baby Yoda” all grown up?

Filoni was vague, noting that a big part of Grogu’s appeal is the mystery of the character, so he didn’t give away too much. “It’s always a good question,” he said. “I mean, kids grow up, right? It’s always an interesting question.”

He went on: “I mean, we’re always balancing between giving away too much of the mystery or saying too many things because one of the reasons people like characters like Yoda and Grogu is there’s an element of mystery to them.

“And so, I think that factors in, too. But, you know, at one point there was no Grogu. There was no young version of a Yoda character. So, now we have that and I think we’re always kind of judging and looking at things long term for what does the story need and what does the character need, if it makes sense.”

The outlet noted that if fans are assuming Grogu’s age has something to do with how time works in a galaxy far, far, away, don’t look to Interstellar’s science to rationalize things. Star Wars operates differently. Filoni agreed, stating, “Yeah, not so much so,” Filoni said. “It’s more in the fantasy world.”

I don’t think we need to know all the mysteries of Grogu’s future. I am just excited for his impending adventure.

The Mandalorian and Grogu flies into theatres on May 22nd.

As we previously learned Stephen Colbert has been working on a brand-new Lord of the Rings movie with Peter Jackson and the project has been in development for over a year already.

While speaking with Variety at the Cannes Film Festival, where Jackson received an honorary Palme d’Or, the filmmaker opened up for the first time about how this unexpected collaboration came together.

According to Jackson, Colbert personally reached out with an idea for a Middle-earth story long before CBS canceled The Late Show.

Jackson explained: “He phoned me up a year ago — before he knew his show was going to finish — and said, ‘I don’t know if you’re interesting, but I’ve got an idea for a Tolkien movie based on the books that I think would be really good.'”

That pitch clearly landed. Jackson was impressed enough to connect Colbert with longtime creative partner Philippa Boyens, who co-wrote both The Lord of the Rings and The Hobbit trilogies.

What started as a conversation quickly evolved into a serious writing process, with the trio spending the last year developing a treatment for the film. Colbert even traveled to New Zealand to work closely with the team.

Then came the sudden cancellation of The Late Show, which Jackson says caught everyone off guard. In Jackson’s view, having a massive fantasy project to dive into ended up being a welcome creative outlet for Colbert during a rough moment.

He said: “I think Steven’s actually really happy — I think it helped him process [something that] what was rather shocking. So it was like, okay, one day he’s going to be a late night talk show host, and the next day he’s going to be a Tolkien scriptwriter.”

The upcoming film was first teased by Jackson back in March through a video announcement. The project is currently using the working title The Lord of the Rings: Shadows of the Past and will arrive after Andy Serkis’ upcoming Middle-earth movie The Hunt for Gollum.

The screenplay is being written by Colbert, his son Peter McGee, and Boyens. The official synopsis reads:

“Fourteen years after the passing of Frodo — Sam, Merry and Pippin set out to retrace the first steps of their adventure. Meanwhile, Sam’s daughter, Elanor, has discovered a long-buried secret and is determined to uncover why the War of the Ring was very nearly lost before it even began.”

Colbert is zeroing in on a very specific part of Tolkien's story, chapters three through eight of The Fellowship of the Ring, including the wonderfully creepy "Fog on the Barrow-downs.”

And if there’s one thing everyone knows about Colbert, it’s that his love for Tolkien runs deep. Jackson even admitted: “never met anyone who knows more about Tolkien”

This also isn’t the first time Colbert has stepped into Jackson’s version of Middle-earth. He had a cameo in 2013’s The Hobbit: The Desolation of Smaug and later directed Jackson along with Lord of the Rings stars Ian McKellen, Viggo Mortensen, and Elijah Wood in the 2019 short film Darrylgorn.

A Stephen Colbert-written Lord of the Rings movie honestly wasn’t on anybody’s bingo card, but now that it’s real, it’s hard not to be curious about what this team comes up with.

Between Boyens’ storytelling instincts and Colbert’s encyclopedic Tolkien knowledge, this could end up being a pretty awesome new chapter in Middle-earth history.

Sony Pictures has released a new featurette for Spider-Man: Brand New Day, and the studio is going all in on practical stunt work and large-scale action for Peter Parker’s next adventure. They also unveiled a slick new poster to keep the hype train moving.

The featurette centers on the movie’s “Practical Production,” giving fans a peek at how much of the action is being pulled off physically on set instead of relying entirely on CGI. There are exploding cars, real stunt work, practical web-swinging setups, and even a quick at The Scorpion joining the chaos.

One moment that’s already getting fans talking happens when Spider-Man gets slammed into the front of a truck. Peter is wearing a puffer vest jacket and hat that look incredibly similar to the winter outfit worn by Andrew Garfield’s Spidey in The Amazing Spider-Man 2.

Maybe it’s just coincidence, maybe it’s a fun visual callback, but longtime Spider-Man fans are definitely going to catch it.

Tom Holland sounds especially excited about what they’ve been pulling off on set, saying: “This is some of the best action that we've had in any of these movies.

“We've shot the most stunts on the day in camera. Putting Spider-Man on the street with cars exploding. It's just so awesome. It's going to allow the audience to be part of the experience.”

Director Destin Daniel Cretton also talked about the now-famous tank sequence that fans have already seen in leaked set photos and videos. According to him, that sequence kicks the movie off in a huge way.

“One of the results of that was that we were seeing thousands of people showing up to watch us work. It was a really lovely reminder to us how much this movie means to a lot of people in the world.”

Cretton also described the sequence as “exhilarating,” which honestly tracks with everything we’ve seen so far.

There’s also growing talk that a full trailer for Spider-Man: Brand New Day is arriving very soon. Current rumors suggest it could be attached to The Mandalorian and Grogu when that hits theaters, though nothing official has been confirmed yet.

Story details reveal that four years have passed since the events of Spider-Man: No Way Home. Peter Parker is now fully on his own after wiping himself from the memories of everyone he loves. With nobody remembering who he is, Peter has devoted himself completely to being Spider-Man in a New York City that no longer knows his name.

But keeping the city safe starts taking a serious toll on him. As the pressure mounts, Peter experiences a strange physical change that threatens his existence just as a dangerous new crime wave rises across the city, bringing him face-to-face with one of the deadliest threats he’s ever encountered.

The cast for Spider-Man: Brand New Day includes Tom Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando, and Mark Ruffalo.

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

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We originally expected The Mandalorian to continue its story on Disney+ with a fourth season, but instead Lucasfilm shifted gears and turned the next chapter into the big-screen adventure The Mandalorian and Grogu.

According to Jon Favreau, that change also meant adjusting how deeply connected the story would be to the larger Star Wars TV universe.

While speaking in London about the upcoming film, Favreau explained that the original version of The Mandalorian Season 4 was much more intertwined with the growing storyline involving Grand Admiral Thrawn and the future of Ahsoka. But once the project evolved into a theatrical movie, the creative approach changed.

Favreau said: "I'm not sure to what extent [it affected Ahsoka season 2] – you'd have to ask Dave Filoni how, because he's been very closely in step with what we're doing.

“He was one of the producers, one of the writers on this. He directed second unit, puppet unit specifically. But I had written a season 4 that did tie in to what had happened, more so to what happened before."

That connection makes a lot of sense considering where Ahsoka left off. The finale saw Grand Admiral Thrawn finally escape Peridea and return to the main galaxy, while Ahsoka Tano and Sabine Wren ended up stranded behind.

Ezra Bridger also managed to sneak his way back home aboard Thrawn’s ship, setting up several dangling story threads for Season 2.

Favreau explained that television storytelling gave him more room to weave all those moving parts together over time, something that becomes much trickier when you're crafting a theatrical release designed to reach a broader audience.

He said: "And when you're telling a season of television as a story, you can operate under the assumption that you have a lot of time to play things out. You can introduce characters and weave them in and out, and you can also reference things that have happened in the previous three seasons and other series.

"When you're doing a movie, especially when it's the first movie in seven years, this is a different type of experience. You have to connect with the throughline for those fans who've been with it since the beginning.

“I mean, that's your core. That's why I get to do what I do, and those of us who are making it are in that group. But Star Wars is also about bringing new people into the Star Wars community, and by telling a story that was self-contained, you can drop in in the middle of the story."

That philosophy apparently came from George Lucas and how he approached the original Star Wars film. Favreau pointed to the way Episode IV tossed audiences into an already active galaxy without forcing them to study a mountain of lore first.

He explained: "But you have to be aware, much like George Lucas was in Episode 4, we were in the middle of an adventure, but when he first told that story, he was dropping us into the middle of a cliffhanger, Saturday afternoon matinee, like he grew up with. And you have to make that legible, then you have to make a complete story in those two hours.

"Because when you go to the movie theater, and you bring somebody with you who's curious about it, as a Star Wars fan, you want to have them have a great experience too," he adds.

"And then once the bug bites them, then you bring them in, and then you start showing them everything that surrounds it, and they understand how much respect all the storytellers have for the overall arc of the story."

That seems like a smart approach for where Star Wars currently is. The Disney+ side of the franchise has built a pretty dense interconnected narrative over the last few years, especially with The Mandalorian, Ahsoka, The Book of Boba Fett, and the larger New Republic era storyline.

Making The Mandalorian and Grogu more accessible could help pull casual audiences back into theaters without requiring homework beforehand.

At the same time, Favreau makes it clear that Dave Filoni remains heavily involved and that the larger mythology is still very much in motion. So even if the movie tells a more standalone story, it sounds like the connective tissue between all these projects is still intact.

The Mandalorian and Grogu hits theaters on May 22, while Ahsoka Season 2 is currently expected to arrive in early 2027.

Source: GamesRadar+

Marvel fans are getting a clearer idea of what to expect from VisionQuest, and it sounds like the upcoming Disney+ series is going to dig deep into Vision’s fractured identity while bringing back one of the MCU’s most entertaining villains.

According to Paul Bettany, the relationship between Vision and Ultron sits right at the center of the story, and it sounds like James Spader is having an absolute blast stepping back into the role.

The series picks up after the events of WandaVision, with White Vision flying off after regaining the memories of the original Vision.

This new chapter follows the former Avenger as he tries to reconnect with his emotions and figure out who he really is now. Along the way, he’ll encounter several familiar AI characters from Marvel history, including Ultron himself.

Bettany recently opened up about the series while speaking with Josh Horowitz and made it clear that Marvel is taking some ambitious swings with the project.

He explained: "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."

The actor went on to praise the work being done on the series during post-production, saying: "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."

That’s a promising update, especially considering how much mystery is still surrounding the show. Marvel has kept most story details tightly under wraps, but VisionQuest sounds like it’s aiming for something more emotional and character-driven while still delivering the weird sci-fi energy fans expect from Vision stories.

Of course, one of the biggest reveals attached to the series is the return of Ultron. Bettany couldn’t stop praising Spader’s performance when asked about reuniting with him after Avengers: Age of Ultron.

He said: "He is delicious. He's so funny in this. It's so delicious to watch him. And we loved working together. I loved it so much."

When Horowitz tried to get more specifics about Ultron’s appearance in the show, Bettany stayed careful with spoilers but did confirm just how important the character is to the story. "The story largely revolves around that relationship. And it's really fun. It's fun stuff."

That’s a pretty huge tease considering Vision literally owes his existence to Ultron. Their twisted father-son dynamic was only lightly touched on in Age of Ultron, but VisionQuest sounds ready to fully explore it.

Showrunner Terry Matalas has already confirmed that Ultron’s robotic form will appear, while footage shown during the Disney Upfronts reportedly featured a bearded Spader portraying a human version of the villain.

That version of Ultron is rumored to exist within Vision’s consciousness, which honestly feels perfectly bizarre for this corner of the MCU.

The series also appears set to close out the story thread that started in WandaVision and continued in Agatha All Along. If Vision fully restores himself, it seems inevitable that he’ll eventually go searching for Wanda Maximoff. Then there’s the emotional complication of meeting Billy and Tommy, Wanda’s twin sons.

Looking even further ahead, Bettany also addressed whether Vision could appear in Avengers: Secret Wars. His answer wasn’t exactly definitive, but it certainly sounds possible.

"I think so. As much as, touch wood, it keeps the kids in private school, anything going on at Marvel, they change their mind, or you really do never know. It's true that you never know, by the way."

He then shared a pretty great story about how secretive Marvel can be with its actors: "I mean, when we all died [in Avengers: Infinity War], we found out that day.

“They took us into a trailer with pre-vis, and everybody was sitting watching the screen, going, 'Oh, I die.' Nobody knew. We didn't know. So, you really don't know. They really do keep this stuff very secret."

At this point, it would honestly be surprising if Vision didn’t factor into Secret Wars somehow, especially if VisionQuest successfully restores the character as a major player in the MCU again.

Alongside Bettany and Spader, VisionQuest also stars Ruaridh Mollica as Tommy Maximoff, 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, Jonathan Sayer as U, Todd Stashwick as Paladin, and Faran Tahir as Raza.

Right now, VisionQuest feels like one of Marvel’s most unpredictable upcoming projects, and I’m excited to see how it turn out!

Zombie fans are finally getting another chapter in George A. Romero’s legendary undead universe, and now the project has found its lead.

Kate Beckinsale has officially signed on to star in Twilight of the Dead, the long-developing film that Romero himself envisioned as the closing chapter of his iconic zombie saga.

For horror fans, this is a pretty awesome pairing. Beckinsale already proved she can dominate dark genre storytelling with the Underworld franchise, and now she’s stepping into Romero territory for what sounds like a grim and brutal final showdown for humanity.

The movie has gone through several creative changes over the years. Beckinsale replaces Milla Jovovich, who was previously attached to star, and the directing duties are now in the hands of filmmaking duo Doron Paz and Yoav Paz, whose previous genre work includes The Golem and Plan A. They’re taking over from Brad Anderson.

The story is set in “a decimated earth where the last vestiges of humanity are trapped between warring factions and an evolving undead threat.”

That setup feels perfectly in line with Romero’s long-running fascination with societal collapse and human conflict wrapped inside zombie horror. Romero’s films were never just about flesh-eating monsters. They always had something darker to say about people.

Romero wrote a treatment for the film before his death in 2017 and considered Twilight of the Dead the true conclusion to the saga that started with Night of the Living Dead.

The franchise eventually grew into six main films along with multiple remakes and spinoffs. The last entry released was 2009’s Survival of the Dead, while Twilight of the Dead was first announced back in 2021.

Even though this is being framed as the “final chapter,” producers previously hinted they may continue exploring this world if the movie connects with audiences.

The project also received a boost from Magenta Light Studios, which secured North American distribution rights and plans to release the film theatrically across the U.S. and Canada. The company’s previous releases include Deep Water, Protector, Strange Darlings, and Bride Hard.

Roundtable producer John Baldecchi shared his excitement about Beckinsale joining the film, saying: “We’re thrilled to have Kate Beckinsale starring in Twilight of the Dead. Her extraordinary talent, emotional range, and commanding screen presence make her the perfect actress to lead a final chapter worthy of George’s legacy.”

The Paz Brothers also talked about what it means to continue Romero’s work: “Stepping into Romero’s world is the ultimate privilege for any genre filmmaker.

“This is more than a continuation, it’s a responsibility. We are committed to honoring his voice while delivering a visceral, terrifying, impactful experience for today’s audience that resonates beyond the screen.”

Magenta Light Studios CEO Bob Yari emphasized how important it was to bring the movie to theaters: “George Romero is one of the most successful and influential creatives in the horror and genre space, and his final film deserves to be experienced on the big screen.

“We’re proud to partner with his estate and the filmmakers to bring Twilight of the Dead to audiences. As a standout addition to Magenta Light Studios’ growing film catalog, we are committed to delivering a thrilling theatrical experience for fans who have been waiting years for this conclusion.”

It’ll be interesting to see how this movie balances Romero’s classic social horror roots with modern zombie movie sensibilities. One thing’s for sure, though. Beckinsale fighting her way through an evolving undead apocalypse sounds like a very cool way to close out one of horror’s most influential franchises.

Source: Deadline

After seven years away from theaters, Star Wars is finally making its return to the big screen with The Mandalorian and Grogu, and the first reactions are exactly what longtime fans probably expected.

Some people are loving the movie’s throwback adventure vibe while others think it feels too much like an extended Disney+ episode. Either way, the galaxy far, far away is once again sparking debate.

That’s just become part of the Star Wars experience at this point. When Disney revived the franchise with Star Wars: The Force Awakens, audiences showed up in massive numbers and excitement was through the roof.

But things got messy fast. Star Wars: The Last Jedi split fans down the middle, Solo: A Star Wars Story stumbled at the box office, and Star Wars: The Rise of Skywalker left the Skywalker Saga ending on shaky ground.

Disney then shifted heavily toward streaming, where the quality of the franchise has bounced all over the place depending on the project.

Now The Mandalorian and Grogu is trying to bring the franchise back to theaters, but the reactions suggest the fanbase still feels just as divided as ever.

A lot of the discussion online centers around the movie feeling like a bigger version of the Disney+ series instead of a major cinematic event. That isn’t exactly shocking considering a lot of fans already expected that.

Personally, though, I had an awesome time with it. What worked for me is that the movie doesn’t get buried under endless lore dumps or galaxy-shaking canon reveals.

It plays more like a wild side quest across the Star Wars universe, and that’s where the franchise can still shine. It’s scrappy, pulpy, weird, and packed with energy and great character moments. The whole thing felt like a pulpy Saturday matinee adventure, and Ludwig Göransson absolutely crushes the score again.

His music gives the movie this cool synth-heavy flavor that reminded me of ‘80s sci-fi horror and action movies. There’s a texture and personality to the soundtrack that helps the film stand apart from the more traditional orchestral feel fans usually expect from Star Wars. It added a lot to the movie’s atmosphere.

More than anything, the movie reminded me how enjoyable Star Wars can be when it stops treating every story like mandatory canon homework and just goes out to have fun.

If audiences walk in expecting some giant mythology-altering epic, they may come away disappointed. But if they’re open to a fast-moving standalone adventure with cool creatures, exciting action, and plenty of Grogu greatness, there’s a good chance they’ll have a blast.

That seems to be the dividing line in many of the early reactions. Some viewers wanted a massive cinematic event that reshapes the future of the franchise. Others are perfectly happy getting a fun crowd-pleasing adventure movie that families can enjoy together.

Depending on what kind of Star Wars fan you are, your mileage is definitely going to vary. But one word keeps popping up repeatedly in reactions: fun. And, after years of heavy franchise baggage, maybe that’s exactly what Star Wars needs right now.

It also doesn’t help that this movie arrives after a pretty uneven stretch for the franchise. The Mandalorian Season 3 didn’t land nearly as well as the first two seasons, The Book of Boba Fett struggled to win people over, and Ahsoka received a mixed reception as well. So The Mandalorian and Grogu wasn’t exactly launching from a position of unstoppable momentum.

Still, the response doesn’t sound catastrophic. If anything, the overall mood appears more positive than what surrounded The Rise of Skywalker when that premiered.

At the end of the day, The Mandalorian and Grogu was never going to be the movie that completely resets and relaunches Star Wars on the big screen. That responsibility may fall more on next year’s Starfighter starring Ryan Gosling.

But if this film can remind audiences that Star Wars can still be adventurous, entertaining, funny, and full of heart, that’s a pretty solid win, and a whole lot of Grogu cuteness probably won’t hurt either.

The Mandalorian and Grogu was a ton of fun! This is a great side quest Star Wars adventure movie! pic.twitter.com/o6iDieWBku

— GeekTyrant (@GeekTyrant) May 15, 2026

THE MANDALORIAN AND GROGU is such a blast. Every element you could ever want from a Star Wars movie is in here. Totally approachable to new audiences while honoring established fans. Epic scale and visuals. Beautiful themes. We had massive smiles on our faces the whole movie… pic.twitter.com/hQSzazMu57

— Star Wars Holocron (@sw_holocron) May 15, 2026

#TheMandalorianandGrogu is as expected. A longer, bigger episode of the show. It has one or two stand out scenes but it feels much more interested in developing the story to new locations with new creatures than the characters. Enjoyed some of it, left frustrated but the rest. pic.twitter.com/LRlf8x8CVU

— Germain Lussier (@GermainLussier) May 15, 2026

I liked #MandalorianAndGrogu way more than I expected. The first half felt like what I thought it’d be, but I did not expect to love Rotta the Hutt as much as I did. And seeing Grogu be the hero was great. Star Wars on the big screen just feels right. pic.twitter.com/MeghNqpAK9

— Joseph Deckelmeier (@joedeckelmeier) May 15, 2026

#TheMandalorian and Grogu felt like a 3 episode arc mashed into a movie. I enjoyed it, it was a lot better than the sequel trilogy and season 3 of the show. The action was good but overall it could have been a Disney plus special. pic.twitter.com/hDecyfLvTJ

— Tyler Disney (@tylerdisney12) May 15, 2026

#TheMandalorianAndGrogu is the most fun I’ve had at a @starwars film in a decade! Bigger, bolder, more brutal than Mando’s ever been. It begs to be seen on the biggest screen possible! @themandalorian pic.twitter.com/NrIrSUuLvv

— The Nerds of Color (@TheNerdsofColor) May 15, 2026

Loved #TheMandalorianAndGrogu !

It’s a fun, pulpy space adventure that reflects the Flash Gordon styled tales that inspired George Lucas for #StarWars

No need to know Mandalorian lore or to have watched much of the show - it’s an entertaining side quest to kick back & enjoy~ pic.twitter.com/Z9AhUVRHE5

— Jeff Goldsmith (@yogoldsmith) May 15, 2026

If you wished The Mandalorian was 3x as long, both in runtime and screen size, then you’ll love #TheMandalorianandGrogu

It’s a perfectly fine standalone adventure full of explosions, monsters, and an uncomfortably jacked Hutt. I had a good time! pic.twitter.com/073gw6MPDa

— Dan Casey (@DanCasey) May 15, 2026

#TheMandalorianAndGrogu is a ton of fun! A perfect Summer movie. Action-packed with a lot of humor & heart. Not episodic. A fully cinematic journey. Grogu steals the show. See it on the biggest screen possible. pic.twitter.com/f8TTAs5uB6

— Courtney Howard (@Lulamaybelle) May 15, 2026

I would call “#StarWars: #TheMandalorianAndGrogu” a pleasantly low-stakes adventure. The galaxy isn’t in danger; it’s really just a few lives, but that makes it all the more intimate and character-driven, especially in its back half. (cont’d) pic.twitter.com/DJD2CAF4cv

— LaughingPlace.com (@laughingplace) May 15, 2026

As someone known for not being much of a Star Wars fan, I thought Favreau & Filoni really did a great job making #TheMandalorianAndGrogu work as a standalone film that didn't require advance knowledge of the show. A few issues, but I think Star Wars fans are really gonna love it!

— Edward Douglas (@EDouglasWW) May 15, 2026

Ludwig Göransson goes so hard with the #MandalorianandGrogu score. It really is going to be the summer of Ludwig. As for the film, this is Grogu’s world, and he steals the show. pic.twitter.com/ytwgMIaV81

— Jazz Tangcay (@jazzt) May 15, 2026

I’ve seen #TheMandalorianAndGrogu!
Above all else, M&G is a super FUN Star Wars movie. It’s not perfect, but there’s a lot for fans to love. It plays like an extended episode with double the budget and moves from one incredible action set piece to the next. IMAX is a must. pic.twitter.com/guMoP6bwZc

— Chris Killian (@chriskillian) May 15, 2026

#TheMandalorianandGrogu is the ultimate team up! If you love Grogu you’ll gush over this. Fun & action packed w/ a strong opening. However, bit too long, with 2nd act dragging down the pacing & its lack of dialogue. Enjoyed the relationship between Mando & Grogu. LOVED the score pic.twitter.com/aTPt8ugDnU

— Wendy Lee Szany (@WendyLeeSzany) May 15, 2026

Criticism and nitpicks aside, #TheMandalorianAndGrogu    is a solid line drive past second base, w/ lots of "Neat... haven't seen that in a STAR WARS before" charm. And yes, I asked my son to come for demographic research purposes (bribed him w/ Toothsome Chocolate Emporium). pic.twitter.com/fkIZ5zL0JY

— Scott Mendelson (@ScottMendelson) May 15, 2026

#TheMandalorianAndGrogu is fun. A cool action flick with Mandalorian kicking tons of ass. However, as a Star Wars movie it doesn’t quite clear the bar of the quality one would come to expect from a Star Wars film. It still feels a little too tv. I wanted slightly more. pic.twitter.com/r468LdzA3s

— Andres Cabrera (@SquadLeaderAce) May 15, 2026

#TheMandalorianAndGrogu: I am just defenseless against Grogu. (And the Anzellan droidsmiths.) Irresistibly cute and also a filmmaking feat I cannot get enough of.

Rotta the Hutt? Not as much. Live action Hutts are a challenge to pull off, a gladiator Hutt even more so, and it… pic.twitter.com/QLHcyRvK2u

— Perri Nemiroff (@PNemiroff) May 15, 2026

#TheMandalorianAndGrogu is one of the weakest Star Wars movies.

An emotionless, predictable experience that doesn't push Din Djarin anywhere interesting. Dull, unexciting fight scenes; just CGI monsters. Action figures mashed together.

A long, colorless made-for-TV movie. pic.twitter.com/DoOpve0fPC

— Jonathan Sim (@TheJonathanSim) May 15, 2026

One of the most impressive things about the showdown between Darth Vader and Darth Maul in Star Wars: Maul – Shadow Lord is how much storytelling is packed into the fight choreography itself.

This isn’t just a flashy lightsaber duel designed to look cool frame by frame. Every movement tells you exactly who Vader is, why he’s terrifying, and why nobody in the room can keep up with him.

What makes the fight so effective is that Vader barely appears to exert himself. While everyone else is scrambling to survive, he moves with this cold precision that makes him feel less like a warrior and more like a machine executing commands.

The creative team obsessed over getting that physicality right. Brad Rau explained that the choreography process became incredibly detailed as the production evolved:

“As Rau and Michnovetz finalized the script, Animation Director Keith Kellogg and his crew began early screen tests to define Vader’s motion while episodic director Nate Villanueva and his team grappled with precise movements. ‘We worked out every shot, every single step, every motion, everything along the way’.”

That level of planning shows up all over the episode. Vader’s attacks aren’t wild or theatrical. He doesn’t unnecessarily do any spin attacks or show off. Every action feels stripped down to exactly what’s needed to dominate the fight as efficiently as possible.

That’s where the show’s “heavy and quick” philosophy comes into play, and it’s one of the coolest descriptions of Vader’s combat style we’ve heard in years.

“With Nate Villanueva and his team, we used specific lenses to magnify the enormity of Vader in frame,” Rau continues. “He’s just relentless, a scourge that doesn't say anything. He hardly has any audible effort.

“His moves needed to be both heavy and quick, which is really hard to do both of those things. The way we try to set it up is that it's almost as though he knows where people are going to strike before they strike. So every movement is a quick bit of precision and it's astounding.”

That “heavy and quick” combination is what gives Vader his dominance during the battle. Most lightsaber fights in Star Wars lean into speed or athleticism.

Vader’s style here feels different. Every strike lands with weight, but he still reacts instantly. It creates this brutal rhythm where opponents barely have time to process what’s happening before he’s already countering them.

The result feels almost unfair, which is completely the point. Even the cinematography reinforces that imbalance. The use of specific lenses to enlarge Vader within the frame turns him into this towering force that seems to swallow the space around him. He constantly feels bigger than the fight itself, while Maul and the others are stuck reacting to him.

What’s especially interesting is that the production didn’t just pull inspiration from Star Wars history while building the choreography. They also looked to martial arts cinema, particularly Crouching Tiger, Hidden Dragon.

“The brilliant fight choreography of Ang Lee’s Crouching Tiger, Hidden Dragon quickly became a touchstone, especially for finding Izara’s style,” the interview explains. “Her style remains true throughout,” Rau says, even as Maul falters, giving in to his fear.

That influence adds an extra layer to the action because the fight styles are communicating character psychology at the same time. Devon Izara remains adaptive and fluid. Maul becomes increasingly unstable as panic creeps in. Vader, meanwhile, never changes. His movements stay controlled from beginning to end.

The episode also throws a massive amount of moving parts into the sequence. Saber fights, blaster battles, ships, fog-filled environments, and multiple characters all had to flow together without becoming visually chaotic.

“If your parents are breaking down, how do you feel? That's Devon. Both of her dads are having a tough day,” Rau says. “We tried to keep them on the run for the whole episode.

“We only have four and a half scenes that aren’t fighting, and we knew we were going to be crosscutting between saber fights, gun battles, fog, ships, all of this crazy stuff. Nate and his team, with Stew helping out, really worked out the choreography.

“How they break apart and come back together down to every footfall was planned. It was really tricky, but really satisfying.”

That last detail about “every footfall” being planned explains why the action feels so cohesive. Nothing looks random. The movement across the battlefield has structure and intent, even when the situation becomes chaotic.

And through all of it, Vader remains the center of gravity. That’s really the genius of the choreography in Shadow Lord. The action itself reinforces the hierarchy of power.

Vader doesn’t just defeat his opponents because the script says he’s stronger. Every movement, every camera angle, every strike communicates that dominance before the outcome is even decided.

By the end of the episode, Vader feels like an unstoppable event that everyone else is trying to survive. That might be the most frightening version of Darth Vader animation has ever delivered.

Source: StarWars

The hype around Avengers: Doomsday is already getting wild, and now Alan Cumming has shared a behind-the-scenes detail that makes the whole production sound even more chaotic.

The actor, who fans know as Nightcrawler from X-Men 2, shared that Marvel went to some pretty extreme lengths to keep surprise appearances under wraps… and it made reading the script a bit of a headache.

Cumming opened up about his experience working on the next massive Marvel crossover, and when talking about the number of characters, he said: "This film is like superhero soup. There's so many of them in it, I just can't keep up."

Doomsday is sure to end up being one of the biggest ensemble films Marvel has ever attempted. But it’s not just the size of the cast that made things tricky. It’s how Marvel handled secrecy. Cumming talked about the script saying:

"They're really hard to read, the scripts for superhero films… everyone's got two names. Sometimes there were secret names in it because they didn't want to let out that a certain character was coming back. They called them somebody else in the script. It was so confusing."

Fans are expecting a lot of surprise returns that weren’t initally announced for the film and they are being carefully hidden, which kicks speculation into overdrive. If characters are literally being renamed in scripts, there’s a good chance we haven’t even scratched the surface of who’s actually showing up.

Cumming also mentioned that his role in Doomsday isn’t huge, even though he previously said that Nightcrawler shares a scene with Pedro Pascal’s Mr. Fantastic. He previously said:

“All of [the X-Men cast] are in it, too. What was funny was that in my first scene with Pedro, he hurt his neck and had to go home. I broke Pedro.”

As for who else could pop up, there have been some many rumors and reports. Any character from the MCU that wasn’t initially announced could end up appearing!

As you know, Avengers: Doomsday is being positioned as a massive crossover event, with Robert Downey Jr. stepping into the role of Doctor Doom. Early footage shown at CinemaCon reportedly featured Thor going head-to-head with Doom, which was awesome and it’s exactly the kind of high-stakes clash fans are hoping for.

Marvel is clearly keeping its cards close to the chest on this one, and if scripts filled with fake names are any indication, there are going to be plenty of surprises waiting when the movie finally hits.

Avengers: Doomsday arrives in theaters on December 18.

The Batman: Part II, director Matt Reeves has flipped the bat signal on and started feeding fans a steady stream of casting updates. Now that filming is finally getting close, Reeves seems fully locked into reminding everyone that Gotham City is opening back up for business.

It kicked off with that snowy Batmobile image Reeves shared online, which immediately sent fans spiraling into theory mode. Then came a flood of cast confirmations over the course several hours, with Reeves personally revealing returning players from the first film one by one.

The returning lineup includes Robert Pattinson as Bruce Wayne/Batman, Jeffrey Wright as Jim Gordon, Andy Serkis as Alfred, Colin Farrell as Oz Cobb, Gil Perez-Abraham as Officer Martinez, and Jamie Lawson as Bella Real.

But Reeves clearly wasn’t finished. He went on to confirm that Scarlett Johansson has joined The Batman: Part II, finally validating reports that first surfaced back in December. Of course, Reeves stopped short of revealing who she’s actually playing, which means fans can keep throwing theories at the wall for a while longer.

Next exit, Gotham... Welcome. 🦇🦇 pic.twitter.com/d0zSwOT7bm

— Matt Reeves (@mattreevesLA) May 14, 2026

He then announced casting the casting of Sebastian Stan, who is mostly likely playing Harvey Dent.

In a Gotham state of mind... Welcome. 🦇🦇 pic.twitter.com/K3bCD83zCI

— Matt Reeves (@mattreevesLA) May 14, 2026

Later in the day, he announced that Game of Thrones actor Charles Dance is also joining the cast. News of Dance’s involvement only surfaced about a month ago, so seeing it officially confirmed this quickly definitely caught attention.

Out of the shadows... Welcome. 🦇🦇 pic.twitter.com/Yf6hhfbErq

— Matt Reeves (@mattreevesLA) May 14, 2026

He also made the surprise reveal that Sebastian Koch, best known for The Lives of Others and Homeland, has boarded the film. Naturally, Reeves didn’t reveal who Koch is playing either, because mystery seems to be part of the marketing strategy now.

Locked and loaded for Gotham... Welcome. 🦇🦇 pic.twitter.com/Tc6lcAkJ4N

— Matt Reeves (@mattreevesLA) May 14, 2026

Brian Tyree Henry has also been announced.

Welcome to the party, man... 🦇🦇 pic.twitter.com/9ESphamrCI

— Matt Reeves (@mattreevesLA) May 14, 2026

At this point, Reeves has confirmed nearly every major casting report fans have heard over the last several months. The biggest name still hanging in the air is Barry Keoghan, whose Joker appearance in The Batman left audiences wanting more.

Since Reeves keeps posting these cast GIF reveals one after another, fans are already wondering if Keoghan’s official confirmation is next.

The film is set to begin shooting soon and will hit theaters on October 1, 2027.

Justin Long (Jeepers Creepers, New Girl) and Iris Apatow (This is 40, Unstable) are in negotiations to star in the upcoming survival thriller feature Stung, which is now gearing up for production.

The film comes from director Colin Minihan, who recently directed Long and Kate Bosworth in Coyotes, and it’s being produced by Andre Relis and Jib Polhemus, with VMI Worldwide set to introduce the film to worldwide buyers in Cannes.

Set against the backdrop of suburban isolation and mounting paranoia, Stung follows four teenage girls whose innocent sleepover spirals into a nightmare when they become trapped inside a luxury Orange County home overtaken by a massive swarm of Africanized killer bees.

Additional casting and production details will be announced in the coming months.

via: Variety

This one just came onto my radar and immediately grabbed my attention. A new trailer has dropped for One Spoon of Chocolate, the latest film from RZA (aka Robert Fitzgerald Diggs), and it’s packing serious heat.

Backed by 36 Cinema and Variance, the film made some noise at the Tribeca Film Festival in 2025, and after watching this trailer, it looks like an entertaining action-packed ride.

The new trailer leans hard into the film’s raw energy. There’s a heavy focus on the action, and it looks brutally awesome. Shameik Moore steps into the lead role as Unique, and he’s dishing out some seriously intense takedowns that feel straight out of an old-school revenge playbook.

Quentin Tarantino is backing this one and had this to say in his official intro: "As a filmmaker, RZA really brought home the bacon on an old-school, foot-to-ass, Revenge-a-matic! This picture drives audiences wild wherever it screens. We’ll sell you a whole seat, but you’ll only use the edge of it."

The story centers on Unique, a former military man and ex-con trying to reset his life in a quiet town. Of course, things don’t stay quiet for long. After a run-in with a local gang, he starts connecting dots tied to the disappearance of several young men, including his own cousin.

The deeper he digs, the messier it gets. Soon he’s not just dealing with criminals, but also a sheriff’s department that might be more involved than anyone wants to admit.

Instead of waiting around to become the next victim, Unique and his allies push back. And from what the trailer shows, that pushback is loud, aggressive, and full of consequences.

The cast around Moore includes Blair Underwood, RJ Cyler, Paris Jackson, Emyri Crutchfield, Michael Harney, and Harry Goodwins.

RZA, who both wrote and directed the film, continues carving out his lane as a filmmaker. His past work includes The Man with the Iron Fists, Love Beats Rhymes, and Cut Throat City, and you can see those influences bleeding into this project while still pushing toward something more stripped down and aggressive.

The film is already playing in select theaters, and if you’re into revenge thrillers that don’t hold back, One Spoon of Chocolate looks like it’s ready to deliver.

Apple TV has released the first trailer for Propeller One-Way Night Coach, a deeply personal aviation story written and directed by John Travolta in his feature directorial debut.

This one leans hard into his lifelong obsession with flying, and yeah… it’s a little cheesy, but also kind of charmingl. If you’ve ever wanted to understand why Travolta is so into planes, this movie spells it out.

Set during the golden age of aviation, the film follows Jeff, played by newcomer Clark Shotwell, a young airplane enthusiast traveling cross-country with his mother, played by Kelly Eviston-Quinnett.

What starts as a simple flight to Hollywood turns into something much bigger. The journey becomes a defining moment in the kid’s life, packed with oddball passengers, in-flight experiences, and unexpected detours that shape his future.

The film leans into the romance of air travel. Between airline meals, charming flight attendants played by Ella Bleu Travolta and Olga Hoffmann, surprise stopovers, and even a peek into first class, the story unfolds in a series of moments that are meant to feel magical and formative.

This is very much a “falling in love with flying” kind of story, mirroring Travolta’s own real-life passion. This project is based on Travolta’s 1997 book of the same name, and you can tell it’s something he’s been wanting to bring to life for a long time.

He not only directs but also appears in the film, adding another layer of personal connection. The movie is set to premiere at the 2026 Cannes Film Festival in the Cannes Premieres section before landing on Apple TV on May 29, 2026.

This is a full-on love letter to aviation, wrapped in a coming-of-age story that feels like it was pulled straight out of someone’s childhood memories. If you’re into planes, nostalgic storytelling, or just curious to see Travolta step behind the camera, this might be worth the ride.

Paramount is already lining up its next eerie ride with an untitled follow-up tied to Longlegs, and it’s bringing Nicolas Cage back into the mix.

The studio confirmed the project will hit theaters on January 14, 2028, landing right in the middle of the lucrative MLK holiday weekend. It’s an early claim on that date, with only an untitled The Walt Disney Company release currently sharing the slot.

The film comes from Osgood Perkins, who will continue to build on the unsettling tone that made the first Longlegs a surprise hit. Details about the story are being kept tightly under wraps for now, but the creative team is locked in.

The MLK weekend has been good to the studio in recent years, with Scream (2022) pulling in $33.8 million over the four-day stretch and Mean Girls (2024) close behind with $33.6 million. Their all-time best for that frame still belongs to Cloverfield (2008), which opened to an impressive $46.1 million.

The first Longlegs made serious noise when it arrived in July 2024. Released by Neon, the film debuted with $22.4 million domestically, marking the distributor’s biggest opening weekend ever. It eventually climbed to $74.3 million in the U.S. and $127.9 million worldwide.

What makes that performance even more impressive is how it was pulled off. Neon rolled out a sharp, inventive marketing campaign that reportedly cost in the high single digits. The result was a full-on cult sensation that caught audiences off guard and stuck around longer than most expected.

Cage returning under Perkins’ direction is a combo that clearly works, and if they can capture the insanity of what made the first film click, January 2028 could get pretty interesting.

Actor and comedian Chris Rock has joined Paul Rudd in the voice cast of Goodnight, Lamby, the live-action/animation hybrid short film from artist and filmmaker Dustin Yellin, who is writing and directing.

Produced by Darren Aronofsky and Justin A. Gonçalves, the film is debuting next week as part of the Cannes Classics lineup at the Cannes Film Festival and features an original song by Grammy-nominated singer, songwriter, and producer Maggie Rogers.

The synopsis reads: “Three-year-old Zia searches for her missing stuffed Lamby through her father’s surreal sculpture-a vast world of oceans, caves, and outer space. Her quest becomes a journey of courage, wonder, and self-discovery.”

Rock plays ‘Copernipus’ alongside Rudd who stars as Papa’ and Zia Copernicus Yellin as ‘Zia’. Yellin is a Brooklyn-based artist whose work — described as “frozen cinema” — spans object making, painting, animation, and architecture. Goodnight, Lamby marks his directorial debut.

via: Deadline

Marvel fans have spent months wondering where Frank Castle disappeared to after Daredevil: Born Again. While the MCU kept teasing massive future events involving Doctor Doom, Spider-Man, and the larger chaos brewing across New York, a lot of viewers were far more interested in one simple question: what’s going on with the Punisher?

Now that The Punisher: One Last Kill has arrived on Disney+, audiences finally have their answer. The special delivers exactly what fans hoped for from Jon Bernthal’s brutal antihero, including plenty of violence, emotional damage, and Frank Castle bulldozing his way through criminals like a human wrecking ball.

But the ending takes a route that may catch some viewers off guard because instead of functioning like a giant setup for the next MCU crossover, it does almost the exact opposite.

That’s what makes it work so well. A lot of people expected One Last Kill to directly launch Frank into Spider-Man: Brand New Day or tie heavily into the escalating war against Vincent D’Onofrio’s Wilson Fisk after the events of Daredevil: Born Again Season 2.

The MCU has conditioned audiences to expect every project to act like connective tissue for the next thing coming down the pipeline. Instead, director Reinaldo Marcus Green keeps the story locked onto Frank himself.

The special barely concerns itself with Spider-Man, Mayor Fisk, or the larger MCU. Frank stays trapped in his own violent orbit, dealing with trauma the only way he knows how. It’s gritty, self-contained, and refreshingly unconcerned with dangling giant sequel hooks every five minutes.

That choice may frustrate fans looking for major reveals about Frank’s future, but it also makes One Last Kill feel completely focused. Marvel finally lets one of these projects breathe without turning it into a giant commercial for three other movies and two Disney+ shows.

The ending especially drives that point home. Instead of teasing some massive crossover event, the final scene quietly circles Frank back to something incredibly familiar… the classic Punisher look.

After years of the character constantly shifting appearances between Daredevil, The Punisher, and now the MCU proper, Frank once again suits up in the iconic skull vest.

It’s a small moment, but longtime fans know there’s actually been a weird running joke surrounding Frank “earning” the Punisher costume over and over again across multiple shows. One Last Kill leans into that history by bringing him full circle visually, even if the actual story avoids spelling out what comes next.

That might be the smartest thing the MCU has done in a while. One of Marvel’s biggest problems over the last few years has been how exhausting the franchise became to keep up with.

Disney+ shows multiplied, storylines sprawled everywhere, and audiences suddenly needed a spreadsheet just to remember who appeared where. Watching everything started to feel less like entertainment and more like assigned reading.

Thankfully, The Punisher: One Last Kill avoids that trap completely. The script, co-written by Green and Bernthal, makes this story feel optional. Fans who love Frank Castle get a tense, violent standalone chapter centered entirely around him. Meanwhile, casual viewers can skip it and still understand whatever role he eventually plays in Spider-Man: Brand New Day.

That’s a huge improvement over the MCU’s recent habit of making every single project feel mandatory. Sure, there are callbacks to the Netflix era and references tied to Frank’s tragic past, but the special never turns into a lore dump or an overloaded setup machine. It simply tells a Punisher story and gets out cleanly.

Marvel could’ve easily stuffed this special with endless teases, post-credit gimmicks, and giant revelations about Spider-Man’s future. Instead, it delivers a stripped-down Frank Castle story that stands on its own and trusts audiences to simply enjoy the ride.

By the time Spider-Man: Brand New Day hits theaters, Frank Castle can just show up, do his thing, and move on. No homework required.

The Punisher: One Last Kill is now streaming on Disney+.

It’s been over 50 years since Carrie first shocked readers, and now the story is getting a fresh spin for a new generation. With Mike Flanagan at the helm, the upcoming Amazon MGM Studios series is something fans of horror are definitely going to want to check out.

One of the stars of the show, Heather Graham, recently dropped some interesting details about the project while appearing at MegaCon Orlando, giving us a clearer idea of how this new take expands on the classic story.

Graham revealed how her character fits into the familiar dynamic longtime fans will recognize, saying, “If you remember the original movie, Carrie’s got two main antagonists.

“She has her mother, and she has the girl at school who’s bullying her. I played the mom of the girl at school who’s bullying her.”

That’s a fun twist that adds another layer to the social ecosystem surrounding Carrie White. Instead of just focusing on the high school cruelty, the series looks like it’s digging deeper into the people who shape that behavior.

Flanagan isn’t just retelling the story either. According to Graham, he’s expanding it in ways that could stretch beyond a single season. “Hopefully they’re looking to do maybe a second season too.”

Graham has already seen a chunk of the show and seems genuinely excited about how it turned out. “They bring in an aspect of social media bullying and guns in school, so they try to modernize it, and I do feel like [Flanagan] captures the essence of what makes Carrie great,” said Graham.

The original themes of isolation, cruelty, and power haven’t gone anywhere, but the way teens experience them today has changed dramatically. Bringing in elements like online harassment could make the story hit in a different way.

The series wrapped production last October and reimagines Carrie White’s story from the ground up. After the sudden death of her father, Carrie is thrown into the chaos of high school life while dealing with relentless bullying and the emergence of her telekinetic abilities, all under the watch of her controlling mother.

The cast has got some great talent. Summer Howell takes on the role of Carrie, alongside Matthew Lillard as Principal Grayle and Samantha Sloyan as Margaret White.

The supporting lineup includes Alison Thornton, Thalia Dudek, Siena Agudong, Amber Midthunder, Josie Totah, Arthur Conti, and Joel Oulette, with additional appearances from Kate Siegel, Michael Trucco, Katee Sackhoff, Rahul Kohli, Crystal Balint, and Danielle Klaudt.

Flanagan has built a reputation for delivering character-driven horror that actually sticks with you, so seeing him tackle Carrie feels like a natural fit.

For fans of Stephen King adaptations and Flanagan’s style of storytelling, this is sure to be a great and interesting series.

Source: Deadline

There’s a cool new piece of Star Wars canon making the rounds, and fans of Star Wars Jedi: Fallen Order and Star Wars Jedi: Survivor are definitely going to want to pay attention to it.

A newly updated Star Wars reference book confirms that Luke Skywalker knew that Cal Kestis survived Order 66, and that opens up a whole lot of interesting questions about where Cal’s story eventually goes.

The reveal comes from Star Wars: The Secrets of the Jedi: The Chronicles of Luke Skywalker, an updated version of Star Wars: The Secrets of the Jedi written by Marc Sumerak.

A fan shared one of the pages from the book online, and it includes a passage written from Luke’s perspective that directly references Cal Kestis and his former Jedi Master, Jaro Tapal.

Luke writes: "Order 66 might have seemed like a quick and efficient method of eliminating the Jedi, but not every member of the Order succumbed to this act of betrayal.

“A small handful of Jedi managed to escape execution, such as Master Jaro Tapal's Padawan Cal Kestis, but their numbers continued to fall during the years that followed."

That’s a pretty big reveal considering Lucasfilm still hasn’t shown us what ultimately happens to Cal after the events of Jedi: Survivor.

The game takes place in 9 BBY, which is nine years before Luke destroys the Death Star in Star Wars: Episode IV - A New Hope. By the end of Survivor, Cal is still alive, still fighting, and still operating in the shadows of the Empire.

But after that? Nothing. No appearance in any later canon stories. No mention in the films or live-action shows. Just a massive question mark hanging over his future.

That’s why this little detail stands out so much. Luke doesn’t just know Cal existed. He specifically knows Cal survived Order 66 and even identifies him as Jaro Tapal’s Padawan. That suggests Luke eventually learned details about Cal’s life and history somewhere along the way.

The updated book itself is framed as being written in 34 ABY, decades after the fall of the Empire, but there’s no indication of when Luke actually discovered this information.

There are a few possibilities. Luke may have learned about Cal through Rebel Alliance records since Cal worked alongside Saw Gerrera during the events of Jedi: Survivor. But there’s another wrinkle to all of this that longtime fans immediately pointed out.

In Star Wars: Episode VI - Return of the Jedi, Yoda tells Luke that he will soon be “the last of the Jedi.” Luke never argues with him or suggests otherwise. So if Lucasfilm wants to keep that moment intact, it probably means Luke didn’t learn about Cal until sometime after Yoda’s death.

Of course, there’s also the possibility that Luke and Cal actually met at some point after Return of the Jedi. That would honestly be awesome to see explored someday.

Another fun possibility is that Luke learned about Cal through Anakin Skywalker’s Force ghost. After all, Cal crossed paths with Darth Vader more than once, and Vader clearly knew exactly who he was.

For now, though, Lucasfilm is keeping that mystery locked away. With a third Cal Kestis game still expected to happen eventually, fans are now going to spend even more time wondering whether Cal survives into the New Republic era or if Luke simply uncovered old records about a Jedi who was long gone by then.

Video game film adaptations are popping up a lot right now. Studios are racing to turn beloved franchises into movies and TV shows, hoping to land the next massive hit.

But while a few projects have actually delivered, plenty of others have struggled to capture what made the games special in the first place, and if you ask Adi Shankar, the guy behind Netflix’s Devil May Cry, most of what’s being announced today might not even make it to the finish line… and if it does, it might not be great.

We’ve seen the highs and lows already. For every blockbuster success like The Super Mario Bros. Movie, there are projects that don’t quite land with fans, like the live-action Yakuza series on Prime Video or Return to Silent Hill. Still, that hasn’t slowed anything down.

The industry is in full-on gold rush mode, with titles like Helldivers, Duke Nukem, It Takes Two, Call of Duty, Battlefield, and Metal Gear Solid all being lined up for adaptation. Then we’ve got Mortal Kombat, which was just released, along with Street Fighter and Resident Evil coming.

According to analyst Ricardo Parsons, “Video game adaptations have been on the rise since the second half of 2023, with no fewer than 25 being announced in each half-year since.”

Shankar, though, isn’t buying into the hype. Speaking candidly, he explained why he thinks most of these projects won’t even get made:

"I just don't think most of these things are going to come to fruition, because there's so many stakeholders. It's easy to [say] we're gonna adapt this game.

“But that's nothing new. There have been announcements of comic book movies, video game movies and TV shows. That's been part of the media cycle since the '90s, for sure."

He also pushed back on the idea that we’re headed toward a future packed with dozens of adaptations every year:

"We're not going to get to a point where 50 a year are going to be made. They're announcing a lot… If we're talking straight adaptations – like we're treating this video game as a novel – [and] we have 50 of those a year, at that point the audience is going to be really excited about original stuff."

Even the projects that do survive development aren’t safe in his eyes. Shankar believes the core issue comes down to who’s actually in control of these franchises:

"I think inevitably, most video game adaptations that come out will be cringe, because when you look at the video games that are massively successful, they're not really run by the people that made the games. They're run by corporations who have now assigned brand managers to manage them, right?"

He went dig into how franchises evolve once they become massive brands: "It's also a brand. At that point,when a video game gets treated like a brand that long, it becomes a logo.

“You're slapping the logo onto things [and] you've got countless spin offs and mobile games and whatnot… Well, now everything's a brand, man. At that point, you're like, well, where's the Captain Crunch movie?"

It’s a pretty blunt take, but it’s hard to ignore. A lot of adaptations do feel like they’re chasing recognition rather than storytelling.

That said, Shankar is trying to avoid those same pitfalls with Devil May Cry. Instead of doing a beat-for-beat retelling, the series leans into the vibe and attitude of the games while carving out its own identity. Devil May Cry Season 2 is set to bring Dante face-to-face with his brother Vergil, setting up a tense and emotional clash that fans have been waiting for.

Devil May Cry Season 2 hits Netflix on May 12.

Source: GamesRadar+

For the first time in the history of the Friday the 13th franchise, fans are actually going to spend Halloween season at Camp Crystal Lake.

Peacock officially announced that Crystal Lake, the long-awaited prequel series centered on the Voorhees family, will premiere on October 15.

It’s kind of crazy when you think about it. Since the original Friday the 13th hit theaters back in 1980, every movie in the franchise has landed somewhere between February and August.

Most of them dropped in either May or August. Somehow, across twelve films and decades of sequels, reboots, and machete-fueled chaos, the franchise never actually released anything during the Halloween season.

That finally changes with Crystal Lake. So this year, horror fans can head into spooky season with Jason Voorhees lurking in the background once again. Well… a younger version of him, anyway. Probably without the hockey mask obsession just yet.

The new Peacock series stars Linda Cardellini as Pamela Voorhees, Jason’s mother and the original killer from the first Friday the 13th movie.

For anyone somehow avoiding spoilers for the last 45 years, Pamela snapped after camp counselors failed to save her son from drowning at Camp Crystal Lake. That tragedy kicked off the franchise’s entire blood-soaked legacy.

While Peacock is still keeping most plot details locked away, the series is expected to dig deeper into Pamela’s descent, her relationship with young Jason, and whatever nightmare fuel was brewing around Camp Crystal Lake before the killings truly exploded into legend. And yes, Jason will reportedly appear in the show.

There’s also something really fun about the release schedule itself. With eight episodes planned, Crystal Lake should carry fans through most of October and beyond, potentially even lining up with the year’s final Friday the 13th in November.

Getting Crystal Lake made in the first place was its own horror story. The project spent years stuck in development chaos while the Friday the 13th rights situation dragged on.

At several points, it honestly felt like the series might never happen. But, the show pushed through and got made. Now, the countdown to returning to Camp Crystal Lake has officially begun.

DC Studios’ Lanterns is shaping up to be something very different from the usual superhero series, and the more details that come out, the more interesting it sounds.

The HBO project starring Aaron Pierre and Kyle Chandler is leaning hard into a grounded mystery vibe, and now we’ve learned the story will unfold across two separate timelines with two connected mysteries driving the narrative.

After the strange and temporary disappearance of the show’s trailer online, fans finally got back to focusing on what actually matters, figuring out what this series is about.

We already knew the show would follow Green Lantern Corps members John Stewart and Hal Jordan as they investigate a murder case in Nebraska, but showrunner Chris Mundy has now offered a much clearer picture of how the story is structured.

Speaking with Entertainment Weekly, Mundy explained that the creative team drew inspiration from the first season of True Detective. That influence goes beyond tone and atmosphere because the series will jump between events separated by a decade.

In the 2016 timeline, Hal Jordan is investigating a shooting that he believes has extraterrestrial ties. The problem is that the local sheriff, played by Kelly Macdonald, isn’t buying any of it. Around the same time, John Stewart is still a rookie Green Lantern and gets pulled into the case alongside Hal.

Then the story shifts ten years into the future, where things become much bigger and stranger. “That becomes a second mystery that we know is down the road for us,” Mundy hinted. “So eventually two different mysteries get worked out over the course of the show.”

That structure sounds like it’ll allow the series to slowly peel back layers over all eight episodes while also digging into the dynamic between its two leads. Mundy made it clear the focus isn’t really on a standard murder mystery setup.

He also explained that the series will be “less of a whodunnit” and more concerned with “what happened and why? We think of this as a relationship show between John and Hal, and there’s a lot to unpack over the course of the eight episodes.”

The footage released so far already hinted at a more restrained and atmospheric style, which sparked a lot of online conversation from fans expecting something visually louder and more cosmic.

Mundy addressed those reactions directly, especially criticism that the series didn’t look “green” enough for a Green Lantern story.

“We could have put out a trailer that was tremendously green. So the fact that people are talking about it just means, to me, that they’re excited about the show. We have a lot of respect for the source material; otherwise, we wouldn’t be doing this show. I think when people see it, it won’t be a controversy.”

I like the idea of a grounded sci-fi detective series centered on Hal Jordan and John Stewart! It seems like a great swing for DC Studios. Mixing cosmic mythology with a slow-burn crime mystery across two timelines could make this one of the most unique comic book shows HBO has produced.

We’ll see how all the pieces come together when Lanterns premieres on August 16 on HBO and HBO Max.

M. Night Shyamalan has built a career on getting audiences uncomfortable in the best possible way. From The Sixth Sense to The Village, Unbreakable, Split and Glass, the filmmaker has spent decades mixing suspense, supernatural ideas, and emotional drama into stories that keep people guessing.

But, according to Shyamalan, his next movie may hit differently than anything he’s done before. His upcoming film Remain is shaping up to be a major swing for the director, and it already sounds like one of the most interesting projects he’s tackled in years.

The movie stars Jake Gyllenhaal and Phoebe Dynevor and is being developed alongside bestselling author Nicholas Sparks. A romantic thriller from the guy who made Signs and Old, paired with the writer known for emotional love stories, feels like an unusual mix.

Remain follows an architect recovering from depression who relocates to Cape Cod, where he crosses paths with a mysterious woman. Romance, psychological tension, and supernatural elements are all apparently part of the package.

During a recent interview with The Hollywood Reporter, Shyamalan opened up about how the project came together with Sparks, explaining:

“We traded ideas and slowly wove two very different perspectives into a single, thrilling, supernatural love story. In the end, we get to tell it our own way. Mine through film, Nicholas through his novel.”

That creative setup is pretty fascinating on its own. Instead of adapting one another’s work, the two storytellers essentially built the same story side by side through different mediums.

Shyamalan also shared an update on where the movie currently stands in production, and his comments are definitely going to grab fans’ attention:

“Just between us, it’s my highest-testing movie of my career. We’re now in post-production, finding every detail. Honestly, my hope is that when you experience Remain, you feel both sides of it at once — full of love and that quiet, lingering unease that doesn’t let you go.”

That’s a pretty huge statement considering the filmmaker’s track record. Across 16 feature films, Shyamalan has delivered some massive hits, polarizing experiments, and a few genuine cultural phenomena. Whether audiences love or hate a particular project, his movies usually leave people talking.

What makes Remain especially compelling is that it sounds less focused on a giant twist and more interested in emotional tension mixed with supernatural dread. If Shyamalan can pull off that balance, this could end up being one of his strongest films in years.

Netflix has released a trailer for their limited series adaptation of John Steinbeck’s classic novel, East of Eden, previously released as a 1955 film featuring James Dean.

This time around, the series stars Florence Pugh, Christopher Abbott and Mike Faist, along with Hoon Lee, Tracy Letts, Ciarán Hinds, Martha Plimpton, Joseph Zada, and Joe Anders.

The show was developed by Zoe Kazan (Ruby Sparks, Wildlife), who co-showruns the series with Jeb Stuart.

The synopsis reads: “In Zoe Kazan's adaptation of John Steinbeck’s masterpiece, Pugh plays the indelible antihero Cathy Ames, whose life is intertwined with the lives of generations of men from the Trask family — notably those of Adam (Christopher Abbott) and Charles (Mike Faist) — as the characters live out the darker side of the California dream.

“But why does Cathy desire to disappear? "Because," she intones, ‘the world is so full of evil.’ The choice between good & evil is at the heart of this fresh interpretation of Steinbeck's 1952 novel.”

This looks well done, and I’m a fan of Florence Pugh and Zoe Kazan, as well as Steinbeck, so I am hopeful this remake tells an intriguing version of the story.

Check out the trailer below, and watch East of Eden when it comes to Netflix this Fall.

When The Acolyte was canceled in August 2024, it became the first live-action Star Wars series to officially get the axe. That made the future of its story uncertain, especially when it came to the mysterious dark side warrior played by Manny Jacinto.

The Stranger quickly became one of the show’s most intriguing characters, and fans spent months debating whether he was truly a Sith Lord or something else entirely.

Now, Star Wars may have finally answered that question. A newly updated edition of The Secrets of the Sith by Marc Sumerak seems to reframe the Stranger’s place in Star Wars lore in a pretty major way.

The in-universe book, written from Emperor Palpatine’s perspective, directly references the events of The Acolyte and appears to confirm that the Stranger was part of an actual Sith lineage tied to Darth Plagueis.

That’s a big shift from the theories many fans had been running with. Before the show was canceled, there were strong hints that showrunner Leslye Headland intended the Stranger to evolve into the founder of the Knights of Ren.

The series included musical cues pointing in that direction, and reports surrounding the official art book added fuel to the idea. Headland and Jacinto even commented on those discussions publicly.

But this new material paints a very different picture. In the section covering the High Republic Era, Palpatine writes: “The Sith briefly made their presence known near the end of an era that the Jedi arrogantly referred to as the High Republic, but it would be another century before I would finally lead our Order out of the shadows again.”

That strongly suggests Palpatine viewed the Stranger as a legitimate Sith figure. The book digs even deeper with a recap of The Acolyte’s events:

“Before I became the final apprentice of Darth Plagueis, there was another attempted thread of Sith lineage at play. A former Padawan of Jedi Master Vernestra Rwoh in the waning days of the High Republic had embraced the dark side.

“Under a number of false identities – including that of the masked warrior simply called the Stranger – he sowed discord among the Jedi as he sought to take on a pupil of his own.

“The Stranger found an acolyte in a young girl named Mae-ho Aniseya, the child of powerful witches on Brendok. It was said that Mae and her twin sister Verosha were born from the Force itself.

“Mae sought revenge against the Jedi for her coven’s demise but had an unfortunate change of heart when she discovered that her twin had survived the culling. However, Osha – who had foolishly devoted herself to the light – wisely gave in to the dark side and took her sister’s place as the Stranger’s apprentice.”

That passage changes the conversation around the Stranger in an interesting way. Rather than setting him up as some proto-Knights of Ren figure, this version of events makes him sound like a failed apprentice operating directly under Darth Plagueis.

It also explains why Plagueis appeared to be secretly observing him during the series. If the Stranger was his apprentice, then his attempts to recruit Mae and Osha may have been part of an effort to prove himself worthy within the Sith hierarchy.

Of course, that opens another complicated issue involving the Sith Rule of Two. The most likely explanation is that the Stranger was trying to build power before eventually challenging Plagueis himself.

Mae and Osha’s origins as Force-created twins would’ve made them incredibly valuable to Plagueis, especially considering the Sith Lord’s obsession with manipulating life and the Force.

If that’s true, things clearly didn’t work out for the Stranger. Palpatine’s wording refers to this as an “attempted thread of Sith lineage,” which makes it sound like Plagueis ultimately discarded the entire experiment before eventually taking Palpatine as his apprentice.

There’s also another interesting wrinkle. Titan released an updated version of The Secrets of the Jedi alongside the Sith book, and this one includes commentary from Luke Skywalker about the same era. Luke’s understanding is far more fragmented, but he still hints at dark secrets surrounding the Jedi during the High Republic:

“Some even say that it was during this brightest of times that the Sith began to crawl their way back out of the darkness. There are even whispers that legendary Jedi like Vernestra Rwoh may have been complicit in their return. But we may never know for sure.”

That may be the final word on The Acolyte. With the series canceled, there’s a good chance many of its bigger mysteries will never fully play out onscreen. But these new reference books offer a pretty revealing glimpse at where Lucasfilm may have intended the story to go before the plug was pulled.

Netflix has finally released the first real teaser trailer for The Hawk, the upcoming golf comedy series starring Will Ferrell, and it looks exactly like the kind of chaotic sports nonsense you’d expect him to dive headfirst into.

The 10-episode series puts Ferrell in the plaid pants of washed-up golf legend Lonnie “The Hawk” Hawkins, a former superstar who still thinks he’s one perfect swing away from reclaiming glory.

The story will be a collision between prestige sports drama and an overextended SNL sketch, which honestly might be the sweet spot for Ferrell. The teaser leans hard into the absurdity of treating Hawkins like one of the most legendary golfers in American history.

Ferrell plays Lonnie Hawkins, who was supposedly the number one golfer in the world back in 2004. Now he’s older, falling apart physically, and completely unwilling to accept that his best years are behind him.

While his family and everyone around him seem ready for him to walk away from the sport, Lonnie keeps pushing forward in pursuit of one final major championship to complete golf’s Grand Slam.

The official synopsis reads: “Lonnie Hawkins (Ferrell), 2004's number one golfer, struggles on the back nine of his career to recapture his magic. His body says retire, but his heart says he's not done yet.

“His ex-wife & his son Lance, golf's new golden boy, know he's through. But with one more major to win to complete golf's Grand Slam, Lonnie refuses to believe he's anything other than one stroke away from the greatest comeback in golf history.”

The teaser definitely gives off some fun energy and Ferrell looks fully committed to the bit, complete with oversized confidence, emotional speeches, awkward golf swagger, and the kind of delusion that somehow makes his characters lovable.

The cast around him is packed with comedy talent including Molly Shannon, Jimmy Tatro, Fortune Feimster, Luke Wilson, Chris Parnell, Katelyn Tarver, and David Hornsby.

The series was created and written by Will Ferrell and Chris Henchy, who previously worked together on projects like The Other Guys and The Campaign.

Netflix is clearly hoping The Hawk becomes one of its big comedy releases of the summer. Whether it turns into a great sports comedy or a glorified sketch stretched across 10 episodes remains to be seen, but the teaser at least makes it look like Ferrell is having a blast playing this washed-up golf maniac.

The Hawk premieres on Netflix on July 16, 2026.

One of the coolest things about Star Wars: Maul – Shadow Lord is that the series didn’t just bring Darth Vader back for another animated appearance.

The creative team completely reworked him from the ground up to make him feel heavier, scarier, and more physically intimidating than we’ve seen in previous animated Star Wars projects, and the level of detail that went into it is kind of insane.

From the earliest stages of production, the goal wasn’t simply to make Vader recognizable. Everybody already knows what Vader looks like. The challenge was figuring out how to make him feel like a looming nightmare the second he stepped on screen.

Brad Rau explained just how deep the process went while developing the Sith Lord’s appearance for the show’s painterly animation style.

“There's a lot to this whole decision to bring this guy in, a lot of math and science and trigonometry. We wanted his silhouette to be more horrific than we've seen in animation previously."

That silhouette became one of the biggest priorities. Vader had to feel massive, almost unnatural in the way he occupied space. The team looked back to the original trilogy, particularly Star Wars: The Empire Strikes Back, and started studying the physicality of original Vader actor David Prowse.

Instead of simply referencing Vader’s armor, they focused on Prowse himself. “Kirk quickly began incorporating original Vader actor David Prowse’s body type into this new incarnation. Taking inspiration from Star Wars: The Empire Strikes Back, they began to choreograph his movements to match elements of Prowse’s performance.”

That attention to Prowse’s frame became a huge part of why this version of Vader feels so imposing. Rau even explained that the team studied photos of Prowse outside the costume to understand how his body would naturally move inside the armor.

“We really use that as a point of reference. He's a horror in that movie,” Rau says. Kirk and designer Chris Madden also folded in elements found in images of Prowse out of Vader’s uniform, both in the wrestling ring or doing stunt work on other movies, to complete the physique.

“We used that as our guide to how he would fit in this suit. The shoulder pads are even bigger than you think,” Rau adds.

That detail about the shoulders honestly says a lot about the overall philosophy. Every shape and proportion was pushed to make Vader feel physically overwhelming. The armor becomes less like clothing and more like the shell of some towering machine stalking through the fog.

Then there’s the helmet. Anybody can model Vader’s helmet, but getting it to work within Shadow Lord’s stylized visual language was a whole other challenge.

The team spent a huge amount of time figuring out how light would interact with the surface, especially because the series uses a textured, painterly aesthetic rather than a hyper-clean CGI look.

Joel Aron became a major part of that process early on. “The way that the shine or scuffiness of his helmet is translated into our painterly style is something we talked about with Joel all the way through, even before it ever got to lighting,” Rau says.

That “scuffiness” is important. It gives Vader’s helmet age and texture. Instead of looking polished and pristine, it feels worn, battle-tested, almost scarred. Under the dim lighting and fog-heavy environments of the finale, those little imperfections make him look even more menacing.

The movement design might be the most impressive part of all, though. The animation teams spent a massive amount of time planning Vader’s motion down to individual steps and saber swings. Rau described how precise the process became as different departments coordinated choreography, camera placement, and environmental interaction.

“It's not just a theory; we literally have a proxy version of our sets, which helps define what is going to be a painting from Kyra Kabler and the matte team working with Joel. It's really astounding.

“But the sets and the characters, where the camera is, what lens we're using, all the kinks, all of the story, all of the motion as much as we can, we work out all of that in the previs phase.”

That preparation allowed the animators to build Vader’s physical presence with almost surgical precision. Every movement needed to communicate power without sacrificing speed.

“With Nate Villanueva and his team, we used specific lenses to magnify the enormity of Vader in frame,” Rau continues. “He’s just relentless, a scourge that doesn't say anything. He hardly has any audible effort.

“His moves needed to be both heavy and quick, which is really hard to do both of those things. The way we try to set it up is that it's almost as though he knows where people are going to strike before they strike. So every movement is a quick bit of precision and it's astounding.”

That description explains why Vader feels so unnerving throughout the episode. Most characters in Star Wars move with visible effort during combat. Vader barely seems to exert himself at all. He advances with this cold efficiency that makes everyone around him look frantic by comparison.

And that’s ultimately what makes this version of Vader stand out. The animation team studied his proportions, his posture, the shine on his helmet, the shape of his shoulders, and even the rhythm of his footsteps to turn him into something that feels closer to a movie monster than a traditional sci-fi villain.

For animation fans and Star Wars nerds alike, it’s the kind of craftsmanship that makes you really appreciate what these talented artists do.

Fans are finally getting another dose of Frank Castle before he crashes into Spidey’s world, and according to director Reinaldo Marcus Green, Punisher: One Last Kill does more than just bring back Jon Bernthal’s brutal vigilante. It also lays the groundwork for where Frank’s head is at before he shows up in Spider-Man: Brand New Day.

The special may work as its own self-contained story, but Green says it also acts as an important bridge into Marvel’s upcoming Spider-Man movie. Speaking with The Direct, the filmmaker opened up about how excited he was to help shape this next chapter for Castle.

"I love it. I mean, I feel like we're coming in at the right time," Green told The Direct, when asked about Spider-Man. "I think, just as a fan of The Punisher and a fan of Jon [Bernthal], I want to see him more on screen.

“That trailer looks amazing. [Destin Daniel Cretton] is an incredible filmmaker. So just to know that I got Frank first, which is cool to get there before everybody else did, which, selfishly, is really great, and set him up... And we [now] know his psychological state before he goes into Spider-Man. I couldn't have asked for better timing for us."

That little tease is enough to get Marvel fans theorizing already. We still don’t know much about Frank Castle’s role in Spider-Man: Brand New Day, but the trailer gave audiences a pretty intense first look. Frank is seen mowing down Spider-Man with a car before shooting at him through the windshield. That’s not exactly a friendly neighborhood welcome.

Green also made it clear that Punisher: One Last Kill isn’t only aimed at longtime Marvel fans who already know Frank Castle inside and out. He believes the special works as an entry point for newcomers too.

"So I think it's just, it's a lot of fun," he continued. "I think people who are fans and people who are non-fans can still appreciate the special. You know, someone like my mother has never seen The Punisher, I think she can appreciate where Frank is in his headspace, and then maybe she'll become a fan and then go watch Spider-Man. So I'm hoping that we can get some new audience members."

That approach makes a lot of sense for Marvel right now. Bernthal’s version of Frank Castle has always carried a heavier emotional edge than a lot of comic book antiheroes, and if One Last Kill digs deeper into where he is mentally before crossing paths with Peter Parker, it could make their inevitable clash even more intense.

Between Bernthal returning, Destin Daniel Cretton directing Spider-Man: Brand New Day, and Marvel seemingly leaning into a rougher, street-level vibe for the film, this could end up being one of the coolest Spider-Man stories we’ve gotten in years.

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

While a lot of filmmakers are sounding alarms over AI creeping into Hollywood, Peter Jackson seems far less rattled by it. The legendary Lord of the Rings director addressed the topic during a masterclass at the Cannes Film Festival, where he was honored with an Honorary Palme d’Or, and his take on AI in filmmaking was a lot more measured than some fans may have expected.

Jackson admitted that AI technology comes with serious concerns, joking that it’s “going to destroy the world,” but when it comes to filmmaking itself, he doesn’t see it as some creative apocalypse.

“I mean, to me, it’s just a special effect,” Jackson said. “It’s no different from other special effects.”

That doesn’t mean he thinks there shouldn’t be guardrails. One thing he made clear is that actors need protection from having their likenesses used without consent.

“If you’re doing an AI duplicate of somebody, like Indiana Jones or anyone else, as long as you’ve licensed the rights off the person who you’re showing, I don’t see the issue. It’s when people’s likenesses get stolen and usurped.”

One part of the conversation around AI that clearly frustrates Jackson is how it affects the perception of motion-capture acting.

He specifically pointed to Andy Serkis and his groundbreaking work as Gollum in The Lord of the Rings trilogy, arguing that the current climate surrounding AI and digital performances has made it almost impossible for performances like that to be properly recognized by awards bodies.

“A lot of the current environment, everyone’s so worried about AI … I don’t think a Gollum-type character or a generated character has any hope for winning any awards,” he explained.

“Which is a bit unfair, especially in the Andy Serkis case where it’s not an AI-generated performance, it’s a human-generated performance 100% of the way.”

That’s a point fans have argued for years. Serkis completely transformed the industry’s understanding of performance capture, yet awards recognition never really followed. Jackson’s comments feel like a reminder that there’s still a weird divide between what audiences accept as acting and what awards voters are willing to acknowledge.

Jackson also talked about the upcoming The Hunt for Gollum movie and why he decided not to direct it himself. Instead, Serkis is stepping into the director’s chair while also reprising the role of Gollum, and Jackson sounds genuinely excited about that decision.

“The film is about Gollum’s psychological and addiction. I thought, ‘Andy knows this guy better than anybody.’ So I actually I didn’t think much of me [directing the new movie]. I thought the most exciting version of this movie is if Andy Serkis makes it.”

Serkis has spent decades living with that character, shaping every twitch, movement, and tortured whisper that made Gollum one of fantasy cinema’s most unforgettable creations. Hopefully, the fact he’s guiding the story will make The Hunt for Gollum something really special. But, the previous films’ he’s directed have been mediocre at best.

Jackson’s Cannes appearance also turned into a pretty emotional Lord of the Rings reunion moment. Elijah Wood presented the filmmaker with the Honorary Palme d’Or and reflected on the massive impact Jackson’s trilogy had on cinema.

“You showed the world something it had never seen before, and nothing was ever the same,” Wood told him. He also added: “He helped build an entirely new filmmaking culture at the far edge of the world.”

During his speech, Jackson looked back on how risky the Lord of the Rings trilogy once seemed to studios and the media. At the time, shooting all three films at once in New Zealand was viewed by many as an expensive gamble that could completely collapse if the first movie failed.

According to Jackson, things changed dramatically when he screened 20 minutes of footage from The Lord of the Rings: The Fellowship of the Ring at Cannes back in 2001. “It changed the perception of the film,” he said.

The rest is movie history.

Adult Swim just dropped the first trailer for My Adventures With Superman Season 3, and it looks like Clark Kent is about to have one hell of a summer in Metropolis.

The animated series has been a blast since it premiered, and fans have really connected with its energetic storytelling, anime-inspired style, and lovable take on Superman and his friends. It’s one of those DC projects that just gets what makes these characters fun.

This new season throws Superman into chaos with the arrival of two major DC characters that include Cyborg Superman and Superboy.

The trailer introduces a younger version of Superboy voiced by Darren Criss, and he instantly becomes a problem for Superman and Lois Lane.

Instead of showing up as some polished young hero, this version seems hyperactive, curious, and completely incapable of stopping the endless stream of questions firing out of his mouth. Clark already has enough stress in his life, and now he’s basically dealing with a super-powered kid brother who won’t stop talking.

At the same time, things get much darker with the rise of Cyborg Superman. Season 2 sets the stage for the villain through Hank Henshaw, voiced by Max Mittelman, and now the character fully transforms into the terrifying mechanical Superman.

The trailer teases massive destruction across Metropolis as the cybernetic villain clashes with Superman in what looks like one of the series’ biggest fights yet. In the comics, Henshaw can control machines and rebuild himself with technology, which makes him a brutal opponent for the Man of Steel.

Thankfully, Superman isn’t facing all of this alone. Supergirl returns alongside Lois Lane and Jimmy Olsen to help save the city. Kiana Madeira continues to bring a fun energy to Kara, while Alice Lee and Ishmel Sahid remain one of the best versions of Lois and Jimmy outside the comics.

The chemistry between this core cast has always been one of the show’s strongest elements, and the trailer leans hard into that dynamic again.

The series has done an awesome job balancing heartfelt character moments with giant comic book insanity, and Season 3 looks like it’s pushing both even further. There’s action, weird sci-fi threats, emotional tension, and plenty of goofy humor packed into the footage.

The DC animation universe around the show is also continuing to grow. A spinoff titled My Adventures With Green Lantern is currently in development for Adult Swim and HBO Max. The series will follow Jessica Cruz, who is expected to make her debut during Season 3 of My Adventures With Superman.

Meanwhile, DC fans still have plenty more Superman content headed their way in live-action as well. Milly Alcock stars in this summer’s Supergirl, while David Corenswet is set to return in the upcoming Superman sequel, Man of Tomorrow, next year.

My Adventures With Superman is co-executive produced and showrun by Jake Wyatt and Brendan Clogher. The series is also executive produced by James Gunn, Peter Safran, and Sam Register, with Kimberly S. Moreau serving as producer.

Season 3 premieres Saturday, June 13 at midnight ET/PT on Adult Swim, and streams the following day on HBO Max.

Mattel is looking to tap into a whole lot of ’80s nostalgia as it gears up for the release of Masters of the Universe. The toy giant isn’t just counting on longtime He-Man fans to show up for the movie, though.

The bigger plan is getting those fans to introduce Eternia to their kids and help create a brand-new generation of Masters of the Universe fans.

The upcoming MGM and Mattel film hits theaters on June 5 and stars Nicholas Galitzine as He-Man. The cast also includes Camila Mendes, Alison Brie, Morena Baccarin, James Purefoy, Jóhannes Haukur Jóhannesson, and Charlotte Riley.

Speaking during Web Summit Vancouver, Mattel’s Global Head of Brand Creative, Jess Kirkman, explained how much of the strategy behind the movie leans into the emotional connection Gen X audiences already have with the franchise.

“There’s a specific audience that knows the He-Man era, and it’s a lot from the ’80s, the Gen X’ers, mostly. These people are going to want to go see the movie, we have these die-hard fans. There are these stories that are so important, and they have not necessarily been translated to the younger generation that we sell toys to.

“He-Man, Skeletor, Masters of the Universe, She-Ra, Evil-Lyn — they’re actually being shared from parent generation down to kid through storytelling. They’re introducing a whole new generation to the stories first and then to the toy.”

Masters of the Universe has always had a different kind of connection with fans compared to a lot of toy-driven franchises from the ’80s. For plenty of people who grew up with He-Man and Skeletor, like myself, those characters weren’t just toys sitting on a shelf. They were part of Saturday morning cartoons, comics, lunchboxes, and pretty much every corner of pop culture for a while.

Kirkman pointed out that Masters of the Universe also came together differently than many of the other major toy lines from that era.

“Masters of the Universe is one of the first brands that started as a toy, and it came with a comic, and then it turned into a show and a series, versus a lot of toys of the ’80s and ’90s that started as shows and later became toy lines.”

Mattel clearly sees major potential in reviving legacy toy brands after the massive success of Barbie. That film proved audiences are more than willing to revisit classic properties when there’s a fresh angle and a strong creative push behind them.

Now the company is hoping Masters of the Universe can channel some of that same excitement while leaning into fantasy action and nostalgia-fueled fun.

We’ll see if audiences still have the power when Masters of the Universe arrives in theaters on June 5.

Source: Deadline

Marvel TV’s Special Presentation The Punisher: One Last Kill has arrived, and fans are pretty stoked about the official return of Jon Bernthal as Frank Castle aka The Punisher.

Bernthal and the creators were up front about the fact that this special was going to reintroduce one of the most badass vigilante anti-heroes in comic history in the most hardcore fashion fans could imagine.

That was proven in many ways, but one was the wild scene in which Bernthal performed a practical fire stunt on set, engulfing himself in flames.

The show’s director and co-writer, Reinaldo Marcus Green, chatted about the scene and his nervousness in letting Bernthal go through with it in a recent interview with ScreenRant, where he described the scene as a major turning point for Frank Castle emotionally and physically within the story. Green explained:

“It's all driven by story and that's a critical moment in the special where it's a turning point for Jon's character, but to have your number one on the call sheet put himself on fire, it's pretty special to say the least.”

When asked whether the flames were practical, Green laughed before confirming the sequence was completely real.

“Legit flames, legit practical flames, and everyone was trying to walk him off the ledge, myself included. I'm like, "You sure you want to do this? But if you want to go back, we're going to go back for you to do this."

“But it's not for the faint of heart to put yourself through that kind of experience, but to watch Jon, the preparation for doing that, but he didn't do it to look cool. I think that's what makes Jon so special. He did it because it was important to the story, it was important to the character.”

According to Green, the sequence was always envisioned as one of the defining moments of One Last Kill, with the filmmakers building the scene around Frank Castle protecting innocent people and reconnecting with a larger sense of purpose.

“And so to put yourself through that type of risk because it's a character moment, I think that's a testament to how important the Punisher is to Jon, to the fans and why we wanted that moment to feel so real. Look, we had an incredible stunt team, an incredible stunt supervisor; there's too many folks to thank here, including our Marine Raiders.

“There's so many people that helped to orchestrate that moment and that started in the script. We always knew we wanted to do something special. We always knew it was about Frank fighting for the community.

“We always knew it was about Frank protecting people, and what was the best way for us into that point? So when it came to that and we saw the previs, it just felt like, okay, this is it. This is the moment. It's a critical moment.”

Green also credited the stunt team, Marine Raiders, and production crew for helping execute the sequence safely while maintaining the grounded realism the filmmakers wanted for the moment.

“It's one of my favorite sequences in the piece, but again, it's for the story point that it makes. It's the first time in our piece that our unreliable narrator is now real. That's real fire, and Jon is awake, and now the beast is unleashed, so to speak, in that moment.”

Bernthal’s Frank Castle is set to return this summer in Spider-Man: Brand New Day. I am excited to see what happens with his character after that. Do you think he will join the ensemble in Avengers: Doomsday?

Marvel and Sony may have something seriously special on their hands with Spider-Man: Brand New Day. The upcoming wall-crawler adventure from director Destin Daniel Cretton is still over a year away from hitting theaters, but early reactions from recent test screenings are already making a lot of noise online.

Cretton recently confirmed that test screenings for the film had taken place and shared that he was very happy with how audiences responded. He didn’t spill any story details, but word from a couple of industry insiders paints a pretty exciting picture.

According to John Campea, the reactions coming out of the screenings were “beyond excellent” and apparently even stronger than the studio expected.

Insider MTTSH also reported that the response was “overwhelmingly positive,” but then followed that up with an even bigger claim. The scooper says people leaving the screenings are calling Brand New Day “the greatest Spider-Man movie” ever made.

That’s obviously a massive statement, especially considering how loved films like Spider-Man 2, Into the Spider-Verse, and Spider-Man: No Way Home are among fans.

At the same time, it’s important to remember these screenings involve a relatively small group of viewers, and reactions like this can sometimes get a little carried away. Still, test screening reports are often mixed, so hearing this level of enthusiasm this early is definitely interesting.

Following the huge success of No Way Home, this next chapter picks up four years later with Peter Parker completely alone after wiping himself from the memories of everyone he loves.

The world no longer knows who he is, and Peter has thrown himself fully into being Spider-Man full-time while trying to survive life on his own in New York City.

But things apparently get much worse for him. As Peter struggles under the growing pressure of his responsibilities, he experiences a mysterious physical transformation that threatens his very existence.

At the same time, a dangerous crime wave begins spreading across New York, leading him into conflict with what’s being described as one of the deadliest threats he’s ever faced.

The movie is directed by Destin Daniel Cretton, who previously helmed Shang-Chi and the Legend of the Ten Rings, and the screenplay comes from longtime Spider-Man writers Chris McKenna and Erik Sommers.

The cast includes Tom Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando, and Mark Ruffalo.

Spider-Man: Brand New Day swings into theaters on July 31, 2026, and I can’t wait to see it!

Fox is digging back into its vault of classic TV, and after gearing up to relaunch Baywatch, the network is now reviving another beloved ‘80s series with a fresh perspective. A new version of Highway To Heaven is officially on the way, with a series order locked in for the 2027-28 season.

This reimagining comes from Jason Katims, the creative force behind Friday Night Lights and Parenthood, and it’s being developed alongside Amblin Television and Michael Landon Productions.

The new take on Highway To Heaven isn’t abandoning what made the original special. It’s still rooted in emotional storytelling, compassion, and the idea of second chances. But this version plans to update the concept for modern audiences, centering once again on a “probationary angel” sent to Earth to help people and earn his wings, just with a more contemporary lens.

Katims seems genuinely excited to explore that balance between grounded storytelling and something more spiritual and imaginative. He said, “I’m excited by the challenge of putting a contemporary lens on this classic tale.

“The idea of telling a very grounded, human story about an angel feels immediately emotional to me — and fun. I love going outside my comfort zone to tell a tale about someone trying to do better as an angel than he did as a man.”

That tone fits neatly into what audiences have been gravitating toward lately. There’s been a noticeable appetite for optimistic, heartfelt shows, and Fox has already found success leaning into that space with series like Doc and Best Medicine. This new Highway To Heaven looks like the next step in that direction.

Katims will serve as showrunner and executive producer, joined by Amblin’s Darryl Frank, Justin Falvey, and Todd Cohen, along with Mark Itkin and Michael Landon Productions’ Cindy Landon and Wayne Lepoff.

The involvement of Amblin also brings a certain legacy of heartfelt storytelling, the kind seen in films like E.T. and franchises like Indiana Jones and Jurassic Park. That DNA lines up nicely with what Highway To Heaven aims to deliver.

Michael Thorn, President of Fox Television Network, said: “With the incredible pairing of Jason Katims, Cindy Landon, and the Amblin team, we’re building on Highway to Heaven’s timeless legacy of transformation and optimism in a way that feels deeply relevant and relatable to our audience.”

The original Highway To Heaven, created by Michael Landon, aired on NBC from 1984 to 1989. Landon starred as Jonathan Smith, an angel sent to Earth to help people, alongside Victor French as his human companion Mark Gordon. The show carved out a lasting place in TV history thanks to its emotional storytelling and moral focus.

For Cindy Landon, this reboot is also about honoring that legacy while opening the door for a new generation. She said, “Highway to Heaven has always been about connection, compassion and the idea that small acts can have big ripple effects and make a lasting difference.

“I’m proud to help carry Michael’s legacy forward with partners like Fox and Amblin, who understand the heart of this series and are bringing it to a new generation at just the right moment.”

Katims’ track record suggests he’s a solid fit for this kind of material. His past work consistently blends grounded characters with emotional depth, whether it’s the small-town struggles of Friday Night Lights or the family dynamics of Parenthood. If he brings that same energy here, this reboot could end up being a great show.

Source: Deadline

Fans have been waiting a long time for officiall updates on The Batman: Part II, and now Matt Reeves is finally tossing out some fresh details.

He’s doing it in a pretty interesting way too. Instead of dropping one giant cast announcement, Reeves has started rolling out returning characters on social media piece by piece, building anticipation one Gotham citizen at a time.

Late last week, Reeves shared a snowy tease for the upcoming sequel, which immediately got fans talking again about his dark and gritty Gotham universe. Now the filmmaker has shifted gears and started confirming cast members through a series of posts on X.

The first reveal was pretty obvious, but still fun. Reeves posted a GIF of Robert Pattinson, confirming that yes, Batman will indeed be back in The Batman Part II. Nobody doubted that for a second, but fans were happy to see the official acknowledgment.

We meet again, my friend... 🦇 pic.twitter.com/YxYcHkuFN0

— Matt Reeves (@mattreevesLA) May 13, 2026

About an hour later, Reeves followed that up with a post featuring Jeffrey Wright, confirming the return of Lieutenant Jim Gordon. Gordon became one of the best parts of the first movie thanks to Wright’s chemistry with Pattinson, his return was expected, but seeing him back in Gotham is great news.

Here we go again, my friend... 🦇 pic.twitter.com/2RHouhNRPZ

— Matt Reeves (@mattreevesLA) May 13, 2026

Not long after that came another familiar face. Andy Serkis is returning as Alfred Pennyworth, Bruce Wayne’s loyal confidant and reluctant father figure. Alfred barely survived the events of the first film after taking a brutal hit from the Riddler’s bombing campaign, but it looks like he’ll once again be helping Bruce navigate the chaos ahead.

Are you ready, my friend...? 🦇 pic.twitter.com/xrHoHJ3BEV

— Matt Reeves (@mattreevesLA) May 13, 2026

Then Reeves brought out a fan favorite. Colin Farrell is officially back as Oz Cobb after stealing the spotlight in HBO’s The Penguin. Farrell completely disappeared into the role in the first movie, and the success of The Penguin series only made audiences more excited to see where Oz goes next in Reeves’ growing crime saga.

Round two, my friend...? 🦇🐧 pic.twitter.com/GidfMPAQG1

— Matt Reeves (@mattreevesLA) May 13, 2026

After that, Reeves started digging deeper into Gotham’s supporting cast. Jamie Lawson will return as Gotham Mayor Bella Real, while Gil Perez-Abraham is also coming back as Gotham City Police Officer Martinez. Reeves clearly wants fans to know this sequel is continuing to build out every corner of his Gotham world, not just the major players.

Welcome back to the fight, my friend... 🦇 pic.twitter.com/1sG1N2pwGK

— Matt Reeves (@mattreevesLA) May 14, 2026

Hey! Mr. Martinez! 😀🦇 pic.twitter.com/uF1WBUkxEB

— Matt Reeves (@mattreevesLA) May 14, 2026

That wrapped up Wednesday’s reveals, but Reeves teased there’s more on the way today, May 14. Naturally, that has fans wondering if some long-rumored additions are finally about to become official.

More... tomorrow... 🦇🦇 pic.twitter.com/7kYZcKw6sF

— Matt Reeves (@mattreevesLA) May 14, 2026

One name getting a lot of attention is Sebastian Stan, who recently confirmed reports that he’ll appear in the film. Many fans believe he’ll be playing Harvey Dent, which could finally pave the way for this universe’s version of Two-Face.

Other names floating around include Scarlett Johansson, Barry Keoghan, and Charles Dance, so magbe confirmation of those actors are coming soon.

The road to this sequel has been a long one already. Originally set for release in October 2025, the film was later delayed to 2026 before ultimately landing on its current release date of October 1, 2027. Production is expected to begin later this year.

Even with the delays, anticipation for Reeves’ next Gotham story hasn’t faded. Now, this slow trickle of updates is making the wait even more exciting. Fans are more than ready to head back into this snow covered, crime-ridden version of Gotham City.

If you've been waiting on Andy Muschietti's legendary It 6+ hour supercut, you're going to need a little more patience. The director has been teasing a mega-cut of It: Chapter One and It: Chapter Two for years now, and while it isn't dead, it's currently sitting in the back seat while It: Welcome to Derry rides shotgun.

Muschietti recently spoke with /Film and was pretty straightforward about where things stand:

"The show had a priority over the supercut. We're in a moment now where we can definitely go to the studio and ask for support, but 'When?' is the question.

“They can say, 'Yeah, go for it,' but now we are sort of committed, like happily committed, to Season 2 of Welcome to Derry. And there's other movie projects going around. But we're going to do it."

So what exactly is this supercut? The pitch has been on the table since before Chapter Two even hit theaters. The plan is to merge both films into a single, chronologically restructured experience, stuffed with deleted scenes and cut material, clocking in at around six and a half hours.

The catch is that this isn't purely an editing job. Some footage still needs to be shot, which means scheduling, budget, cast availability, and studio sign-off all have to align. Muschietti seems confident the money wouldn't be an issue if he asked, but finding the time? That's the real problem right now.

Here's the thing though, the timing question actually makes sense when you look at where Welcome to Derry landed after Season 1.

The show earned strong critical reviews, kept growing its audience throughout its eight-episode run, and peaked with a finale that outperformed every episode before it.

HBO hasn't officially greenlit Season 2 yet, but the creative team isn't waiting around for paperwork. Writers are writing, plans are in motion, and the vision for the series involves multiple seasons traveling further back through the IT mythology.

With all that momentum, Muschietti is betting on the show staying hot rather than cashing in on it immediately. That's a reasonable bet, but it does come with some risk.

The supercut's viability is tied to the franchise staying healthy. If Welcome to Derry stumbles down the road and loses its audience, convincing a studio to fund additional photography for a six-hour re-edit of two movies from 2017 and 2019 becomes a much harder conversation.

For now though, Pennywise's corner of the Stephen King universe is in genuinely good shape, and Muschietti is clearly playing a long game. The supercut is coming. Just maybe not this year.

Jack Black is already living his best video game adaptation life. Between voicing Bowser in The Super Mario Bros. Movie and stepping into the world of A Minecraft Movie, Black has been enjoying his time starring in game-inspired projects. Now he’s eyeing something completely different, and it’s kind of awesome.

The actor recently revealed that he’s interested in joining a live-action adaptation of the Yakuza franchise, the gritty crime saga from Sega, and he’s serious about it. Black told ScreenRant:

"So I'm going to throw my hat in that ring. I don't know if there [are] any parts for me, like a portly American, but talk to me. Sega, give me a jingle."

I wasn’t expecting that pitch from Black, but it’s not totally out of left field. Black has proven he can bring big personality to larger-than-life roles, and the Yakuza universe is packed with wild characters, intense drama, and just enough absurdity to make his involvement feel oddly fitting.

Yakuza centers on Japanese crime syndicates and dives deep into loyalty, betrayal, and street-level power struggles. It’s a far cry from the colorful chaos of the Mushroom Kingdom, but that contrast is exactly what makes this idea so fun to think about.

The franchise has already dipped its toes into live-action before. There was Like a Dragon: The Movie back in 2007, and more recently, Prime Video brought fans Like a Dragon: Yakuza in 2024. So the door is definitely open for more adaptations.

In the meantime, Black has returned to voice Bowser in The Super Mario Galaxy Movie, which hits on April 1. The sequel is expected to expand the universe in a big way, with new characters joining the mix.

So while Black waits to see if Sega gives him that call, he’s still got plenty going on in the gaming multiverse. But, the idea of him showing up in a Yakuza story, maybe as some unexpected outsider tangled up in the chaos, sounds like something we’d absolutely watch.

Now we just wait and see if Sega picks up the phone.

Horror fans have been stuck in their own kind of loop asking the same question for years now… when are we getting Happy Death Day 3?

The wait has been long, but a fresh update from Jessica Rothe just injected some real energy into the conversation, and it sounds like this franchise isn’t done slicing its way back onto our screens.

Rothe recently caught up with ScreenRant and opened up about where things stand with the long-anticipated third film. While nothing is officially greenlit yet, she said that the idea is very much alive and kicking. In fact, she’s encouraging fans to keep pushing for it because that momentum might be exactly what gets it made.

“I think that is the power of zeitgeist. I think the more we ask, and the more we put it into the universe, it will happen. Because the truth is, Chris Landon, our brilliant, fearless writer/director, he has the whole third one figured out.

“And I’m sure he also has his version of the MCU, but the ‘ChrisCU’ with Freaky and Happy Death Day, and We Have a Ghost and Scouts Guide to the Zombie Apocalypse, they all could totally live in the same universe. That’s the crossover that I need right now in my life.”

The thought of Happy Death Day crossing paths with Freaky or even Scouts Guide to the Zombie Apocalypse sounds like chaotic horror fun, and honestly, it doesn’t feel that far-fetched considering Christopher Landon already has a roadmap in mind.

Landon has previously shared that he’s mapped out the story for the third installment, though he’s holding off on writing a full script until there’s an official studio commitment. So yeah, the creative side is ready. It’s the business side that still needs to catch up.

As for the story, one key detail has slipped out over time. The next chapter won’t trap Tree in the same repeating day like the first two films. That suggests a fresh direction, which is exactly what this series needs to keep things from feeling stale.

And if you were worried about whether Tree would still be at the center of it all, Rothe shut that down immediately. She’s all in, no matter how long it takes to get this thing moving.

“I think at this point, it’s just logistics. And all I’ll say to you and the fans is, whether it’s next year or when I’m 65, pulling a Jamie Lee Curtis coming back for Halloween, I will be there to finish Tree’s story. So, it’s just a matter of when they get all their ducks in a row.”

Tree isn’t just the lead of these movies, she is the franchise, and knowing Rothe is ready to jump back in whenever the call comes makes the wait a little easier.

It’s also kind of funny hearing her bring up the whole “ducks in a row” thing again. Apparently those ducks are still wandering around somewhere between Blumhouse Productions and Universal Pictures, refusing to cooperate. Seriously, what’s the holdup?

Anyway, if you’re feeling the itch to revisit the chaos, the first Happy Death Day is currently streaming on HBO Max. It might be time to relive the madness and remind yourself why this series still has so much life left in it.

Now we wait… hopefully not on this continuing loop.

An early teaser has arrived for Come With Me, a gritty indie crime thriller that’s gearing up for its premiere at the Beverly Hills Film Festival 2026. Directed by Aaron Harvey, the film looks like a dark, character-driven spiral into paranoia, morality, and the stories we tell ourselves to justify both.

The film centers on Simon Ward, played by Theo Rossi, a working-class man whose life fractures after a violent home invasion. Already dealing with pressure at work and personal loss, Simon starts leaning into the idea of taking control in the only way he thinks he can.

That mindset is fueled by a provocative radio host played by Ron Perlman, pushing him further down a path that blurs the line between justice and obsession.

Set and shot in Mississippi, Come With Me leans into a grounded, uneasy atmosphere as Simon’s grip on reality begins to slip.

The story tracks his internal unraveling as he tries to “fix” the world around him, even as his actions become increasingly dangerous.

Harvey, who previously directed Catch .44, The Neighbor, and Into the Ashes, is aiming to tap into something timely here examining how modern influences and personal trauma can collide in volatile ways.

The filmmaker shared his long-standing connection to the project, saying: "Come With Me is a film that I've been wanting to make since starting my filmmaking journey.

“I've always been interested in films that are reflective of the times and the current sociopolitical climate(s), yet also retain a conventional narrative that can work just as well in the immediate moment as it can if viewed 20 years on...

“As you see in the picture, the film deals heavily with themes of perception and paranoia, specifically what we ingest and choose to bring into our minds, and how that shapes both our personal realities and our view of the world around us - yet all couched within a thrilling narrative. Hopefully we've crafted that uniquely enough, and are able to take the audience on that ride through the lens of Theo's minds-eye."

The supporting cast includes Kate French, Ronnie Gene Blevins, Michael Sirow, and Chris Mullinax. Described as “both a film for now and a cautionary tale for the future,” Come With Me is stepping into a crowded but relevant space of indie storytelling that’s taking a hard look at contemporary America.

With its upcoming festival debut, this is one to keep an eye on if you’re into crime dramas that dig into psychology and social tension rather than just surface-level thrills.

Iko Uwais is stepping back into the arena that made him a global action icon. The star who broke out with The Raid franchise is heading home for Warrior, a new Indonesian action thriller that taps directly into the Silat-fueled intensity that launched his career.

Uwais built his reputation on raw, close-quarters combat and grounded martial arts choreography. With Warrior, he’s returning to that foundation in a story that promises street-level grit and escalating chaos across Jakarta.

The film centers on a former elite Silat fighter who’s just walked out of prison. He wants a clean break from the violence that defined his past.

That plan falls apart fast when a Malaysian crime syndicate rolls into his neighborhood, tightening its grip on local streets and threatening the people he cares about. Forced back into the fight, he becomes the only thing standing between the syndicate and total control.

What starts as intimidation turns into something much bigger. The action is set to spill through Jakarta’s markets, alleyways, and rooftops as the conflict builds into open warfare.

If Uwais’ previous work is any indication, expect tight choreography, bone-crunching impact, and zero shortcuts when it comes to practical stunt work.

The film also marks a major career move for John Radel ACS, who makes his solo directing debut on Warrior. Radel has worked as a cinematographer and producer on major productions across Asia and Hollywood, including Monkey Man, directed by Dev Patel, and Blackhat from Michael Mann.

He’s also collaborated with Uwais on four previous films, with Radel serving as both DP and producer. They’re also teaming up on the upcoming action feature Warpath, which pairs Uwais with Scott Adkins.

The project brings together Indonesian industry veteran Delon Tio of Nation Pictures, the banner behind key titles like the Mo Brothers’ debut Macabre. Joining him are Erika North and Nick North of Yeti Entertainment, a company known for international film development and finance across Asia and the U.S. Action producer Mike Leeder is also onboard through Red Packet Media.

Uwais is also serving as an executive producer alongside Ryan Santoso through his newly launched Uwais Pictures label. International sales are being handled by K-Movie Entertainment.

Warrior is the first project to come out of a new joint venture between Asia Media Alliance Group and Nation Pictures. The partnership is focused on building genre films across Southeast Asia for global audiences, with more action and horror titles expected to be announced soon.

Production kicks off this summer, with the entire shoot set in Indonesia. The film will lean heavily on local locations, crews, and rising martial arts talent, reinforcing its commitment to authenticity.

For fans of hard-hitting Indonesian action cinema and Silat-driven fight choreography, Warrior sounds like exactly the kind of project that put Uwais on the map in the first place.

Source: Variety

Michael B. Jordan took the stage during Amazon’s upfront presentation at the Beacon Theatre in New York and gave fans a pretty exciting look at the future of his production company, Outlier Society.

Instead of promoting a new acting role, Jordan stepped up to spotlight several ambitious TV projects headed to Prime Video, and the lineup covers everything from boxing legends to fantasy romance dragons.

Amazon TV boss Peter Friedlander and film chief Courtenay Valenti introduced Jordan while praising the growing partnership between the studio and Outlier Society, which is led by president Elizabeth Raposo. From there, Jordan rolled out three major series projects that are officially moving forward.

The first project unveiled was The Greatest, a scripted series centered on legendary boxer Muhammad Ali. The show marks the first authorized series about Ali’s life created with the blessing of his estate, which already makes it a huge deal.

Created by Ben Watkins, the story will chronicle Ali’s journey beginning with his early days as Cassius Clay all the way through his rise as one of the most iconic athletes in history.

Jordan spoke about his passion for bringing Ali’s story to television, and Ali’s widow, Lonnie Ali, joined him on stage to talk about the trust she has in the creative team tackling the project.

The presentation also introduced actor Jaalen Best, who will portray Ali in the series. Jordan brought Best onstage before attendees were shown a teaser reel for the show.

Jordan then shifted gears to the expanding world of Creed with the reveal of Delphi, a new spinoff series he’s developing alongside longtime collaborator Ryan Coogler.

The actor reflected on the moment Coogler originally approached him about playing Adonis Creed years ago and how that collaboration evolved into building out an even larger universe tied to the franchise.

Jordan confirmed that Delphi officially begins production in Los Angeles on May 18 and brought out showrunner Marco Ramirez to help introduce the project.

The final announcement was one fantasy fans have been waiting for. Amazon officially ordered the TV adaptation of Fourth Wing to series. Based on Rebecca Yarros’ massively successful romantasy novel, the project has been in the works for a while after Outlier Society secured the rights to The Empyrean book series before the first novel was even released in 2023.

Now the adaptation is fully moving ahead with Yarros and Jordan executive producing alongside showrunner Meredith Averill. Lisa Joy, known for Westworld, is also attached and will direct the first episode.

It’s a pretty impressive mix of projects and a strong sign that Jordan’s influence as a producer keeps growing fast. Between a prestige Muhammad Ali drama, a Creed universe expansion, and one of the hottest fantasy properties around, Prime Video is clearly betting big on Jordan and Outlier Society.

Back in 2011, Steven Spielberg and Peter Jackson teamed up to bring The Adventures of Tintin to the big screen, turning Hergé’s beloved comic series into a globe-trotting motion-capture adventure.

The original plan sounded pretty awesome at the time. Spielberg would direct the first movie, Jackson would take over for the sequel, and the two filmmakers would swap producer duties. Then… nothing happened.

Now, after years of fans wondering if the sequel had been abandoned for good, Jackson has confirmed that he’s officially back working on Tintin.

While appearing at the Cannes Film Festival this week, Jackson revealed that he and longtime collaborator Fran Walsh are actively writing a new script.

“I’ve been working with Fran [Walsh] on another Tintin script, I was writing it in the hotel room here,” Jackson said. “It’s an active real thing, and I’m getting back into the Tintin world, and I actually love it.”

That’s the most movement this franchise has seen in a very long time, and it sounds like Jackson is genuinely excited to dive back into the adventurous universe of Tintin, Snowy, and Captain Haddock.

Jackson also admitted he feels a little weird about how long the sequel has taken to materialize after the promise he and Spielberg made years ago.

“The deal was that Steven directs one and I direct another,” said Jackson. “Steven did his film, then for 15 years, I haven’t made mine. I feel very awkward about that.”

To be fair, Jackson hasn’t exactly been sitting around during those 15 years. He spent a huge chunk of that time making The Hobbit trilogy, while also directing acclaimed documentaries like They Shall Not Grow Old and The Beatles: Get Back. Still, Tintin remained one of those projects fans would occasionally bring up and wonder if it would ever actually happen.

The first film pulled in around $374 million worldwide, which was respectable, but not quite the kind of box office total studios usually sprint toward when greenlighting a sequel with a massive visual effects budget.

Reports at the time estimated the movie cost roughly $135 million to produce, making the follow-up a less urgent priority for Hollywood.

But things have changed since 2011. Performance capture technology has evolved a lot, and the filmmaking tools needed to create a movie like Tintin are far more accessible now than they were when Spielberg made the original. That could finally make this sequel easier to pull off creatively and financially.

At the moment, there’s no release date, no production timeline, and no confirmation that this will even be Jackson’s next directing project. He’s currently attached as a producer on upcoming The Lord of the Rings films, but he isn’t locked in to direct anything specific right now.

Which means there’s actually a decent chance that the next feature film directed by Peter Jackson could finally be the long-awaited return of Tintin, and I’m excited to see it!

GameStop CEO Ryan Cohen took a massive swing when he made a move to acquire online marketplace giant eBay earlier this month, but the company has officially slammed the door on the proposal in spectacular fashion.

On May 3, GameStop submitted an unsolicited nonbinding offer to acquire eBay for $125 per share in a deal valued at roughly $55.5 billion. The proposed structure was reportedly split between 50% cash and 50% GameStop common stock, with TD Securities supposedly backing the move with a $20 billion debt financing commitment.

The problem? Almost nobody seemed convinced the deal could actually happen. Now eBay’s board of directors has made its position clear. In a statement released Tuesday, the company announced that after conducting “a thorough review,” it had rejected the proposal outright.

eBay chairman Paul Pressler was pretty harsh in his response. In a letter addressed directly to Cohen, he wrote: “We have concluded that your proposal is neither credible nor attractive.”

That’s about as direct as corporate rejection letters get.

According to eBay, the board examined several factors before turning the deal down, including “1) eBay’s standalone prospects, 2) the uncertainty regarding your financing proposal, 3) the impact of your proposal on eBay’s long-term growth and profitability, 4) the leverage, operational risks, and leadership structure of a combined entity, 5) the resulting implications of these factors on valuation, and 6) GameStop’s governance and executive incentives.”

In other words, eBay didn’t exactly love the idea of handing over the keys to GameStop. Pressler also emphasized that the company believes it’s in a strong position without outside interference, saying:

“With its differentiated global marketplace and a clear strategy, eBay’s Board is confident that the company, under its current management team, is well-positioned to continue to drive sustainable growth, execute with discipline, and deliver long-term value for our shareholders.”

The rejection comes after Cohen made a CNBC appearance last week that immediately raised eyebrows across Wall Street and social media. When pressed on how GameStop planned to finance a deal this massive, Cohen struggled to provide specifics.

“It’s on our website,” he said. “It’s half cash, half stock.” The awkward exchange quickly spread online, adding even more skepticism around the proposed takeover.

Investors clearly weren’t fully buying into the possibility either. Even after Cohen’s offer became public, eBay stock only climbed to $111.38 per share, still well short of the proposed $125 offer price. Shares closed Monday at $108.13, suggesting the market never truly believed the deal was heading toward the finish line.

The whole situation feels strange. GameStop, a company still trying to redefine itself after its meme-stock era explosion, attempted to absorb one of the biggest names in online commerce. Now eBay has responded with a corporate version of “absolutely not.”

At this point, it’ll be interesting to see whether Cohen tries to push forward with another move or if this ambitious takeover pitch ends up becoming one more bizarre chapter in GameStop’s already chaotic modern history.

Marvel fans finally got another dose of Frank Castle this week with the release of The Punisher: One Last Kill on Disney+, and while the special has been praised for its savage action and hard-R brutality, one bizarre CGI moment has completely hijacked the conversation online.

The new Marvel Studios Special Presentation arrived shortly after Daredevil: Born Again Season 2 wrapped up earlier this month, giving MCU fans another street-level story packed with blood-soaked violence before Frank Castle returns in this summer’s Spider-Man: Brand New Day.

The special digs deeper into Castle’s damaged mindset while delivering exactly the kind of brutal punishment fans expect from the character.

But instead of talking about the action scenes, social media has latched onto one rooftop sequence that many viewers can’t stop laughing at.

The scene in question shows Frank Castle crashing onto a rooftop during a stunt sequence. Unfortunately, the shot features an extremely noticeable CGI body double that sticks out like a sore thumb compared to the mostly practical action throughout the special.

The effect immediately started making the rounds online, with fans comparing it to PlayStation 3 and PlayStation 4-era graphics. A lot of viewers even joked that the digital Punisher looked more like Joel from The Last of Us than Frank Castle.

Marvel Studios has been here before. The MCU’s visual effects pipeline has taken plenty of heat over the years, especially during the backlash surrounding She-Hulk: Attorney at Law.

In situations like this, though, the blame usually isn’t as simple as pointing fingers at VFX artists. These teams are often racing against impossible deadlines while trying to finish massive amounts of work before release dates hit. Given more time, there’s a good chance this rooftop shot could’ve looked significantly better.

Even with the viral CGI clip making the rounds everywhere, it shouldn’t scare Punisher fans away from checking out One Last Kill. The awkward visual effect is just one small moment in an otherwise intense special loaded with vicious fights, nasty kills, and some genuinely brutal hand-to-hand combat.

Director Reinaldo Marcus Green fully leans into the character’s TV-MA identity, especially during the second half of the presentation where the violence gets cranked up several notches.

For fans wondering whether Marvel still has room for darker storytelling after folding these characters into the MCU, One Last Kill proves the studio still knows how to let Frank Castle go full savage when the project calls for it.

That’s also what makes Frank’s upcoming role in Spider-Man: Brand New Day so interesting. Since that film is expected to stay within Marvel’s usual PG-13 territory, fans are already curious about how much of the Punisher’s edge will survive the transition. One Last Kill reminds audiences that they haven’t completely softened the character.

Now the big question is whether Marvel and Disney will actually revisit the CGI shot. It wouldn’t be the first time a studio has quietly cleaned up visual effects after release.

Alien: Romulus updated the controversial Rook visual effects for its Blu-ray release after criticism surrounding the digital recreation of late actor Ian Holm. Lucasfilm also famously erased the accidental “jeans guy” crew member from The Mandalorian after eagle-eyed fans spotted the mistake online.

Still, patching visual effects costs time and money, and for a single shot in a streaming special, Disney may decide it simply isn’t worth revisiting. Either way, the internet has already immortalized CGI Frank Castle forever.

I can’t believe this is a real scene from The Punisher: One Last Killpic.twitter.com/pITBDCWRTk

— Ahmed/The Ears/IG: BigBizTheGod 🇸🇴 (@big_business_) May 13, 2026

Never expected Marvel to have VFX this bad. It honestly feels like they did not care much about this Punisher project.

There is no excuse for visuals like this. Somehow it looks worse than the Scorpion King in The Mummy Returns.#ThePunisherOneLastKill pic.twitter.com/Cj1P1ToRVy

— Marvel Insights (@Marvel_Insights) May 13, 2026

They turned Frank Castle into Joel for one clip of The Punisher: One Last Kill https://t.co/tTHpKc9V7D

— Steve Vegvari (@SVegvari) May 13, 2026

I thought One Last Kill was a movie. But it looks like a game for PS3 https://t.co/GDKPBjCnaW

— Now Playing Podcast (@NowPlayingPod) May 13, 2026

Damn when this is fully finished it’s going to be an insane shot. Can’t wait! #ThePunisher

pic.twitter.com/bKHI6gcR04

— MoviesThatMaher (@MoviesThatMaher) May 13, 2026

At its core, The Mandalorian has always been about a lone gunfighter tracking targets across the galaxy, and after three seasons of adventurous Star Wars storytelling that took The Mando and Grogu on an epic journey, The Mandalorian and Grogu is circling back to a bounty hunt.

A newly released clip from the upcoming movie gives fans a much clearer idea of what drives the plot, and it’s basically one giant bounty mission with galaxy-sized stakes attached to it.

In the scene, Sigourney Weaver’s Colonel Ward lays out the assignment for Din Djarin in simple terms. Track down the mysterious Imperial leader Commander Coin.

The problem is the Hutts are the only ones who know where he’s hiding. To get that information, Mando has to rescue Rotta the Hutt from captivity. If he succeeds, the Hutts will hand over Coin’s location.

It’s one dangerous job leading into another, shady alliances, underworld politics, and Din getting dragged into situations he’d probably rather avoid.

The clip also shows us that Mando isn’t totally comfortable stepping back into bounty hunter mode. After everything he’s gone through with Grogu, he’s trying to use his skills for more honorable purposes now.

Ward pushes him to take the mission anyway, which clearly puts him in conflict with the kind of life he’s been trying to move beyond.

Of course, there’s almost no chance this operation goes smoothly. You can already see the shape of it forming. Mando tracks down the Hutts, gets pointed toward Rotta, things spiral into chaos, and suddenly surviving the situation becomes more important than the original objective.

Still, the reveal does raise an interesting question. Is the movie essentially an expanded bounty hunt stretched across a feature-length runtime? In some ways, that sounds like a big-screen version of three connected episodes of The Mandalorian. That could absolutely work if the action, character moments, and emotional stakes hit hard enough.

The wildcard here may be Rotta the Hutt himself. Bringing that character into the story is really interesting, and there’s probably more tied to his role in the story than Lucasfilm is letting on right now.

Either way, it’s refreshing seeing the franchise lean back into the scrappy bounty hunter roots that made The Mandalorian such a blast in the first place. Sometimes a cool mission, dangerous criminals, and a heavily armed Mandalorian are all you really need.

The Mandalorian and Grogu hits theaters on May 22.

When Moon Knight hit Disney+ in 2022, Marvel fans were excited to see Oscar Isaac dive into one of the MCU’s strangest and darkest characters.

The series earned strong reviews and currently sits at 86% on Rotten Tomatoes, but even with all the praise, plenty of viewers walked away feeling like the show lost its footing by the end.

Now, Moon Knight head writer Jeremy Slater has revealed that some of those issues may have stemmed from major creative disagreements during production.

Speaking with The Hollywood Reporter, Slater confirmed that he ultimately exited the project because he and one of the directors had completely different ideas about what the show should be.

"I certainly don’t want to say anything bad or negative about Marvel or my time there. They took a chance on me, and they let me assemble a really great writers’ room. I was really, really proud of the work that we did.

“The end result was I left the project over creative disagreements with the director. The two of us simply had very different visions on what the show should be about.

“Ultimately, he won that creative battle, so I stepped away. He then brought in his own team of writers to create a show that was his vision and the story that he wanted to tell."

Marvel’s Disney+ era at that time had a pretty unusual production structure. Instead of traditional TV showrunners steering the ship from start to finish, Marvel approached these series more like films with rotating directors and a “head writer” position that didn’t carry full creative control.

That setup reportedly created some messy situations across several projects, and Moon Knight seems to have been one of them.

The series definitely had moments that worked incredibly well, especially Isaac’s performance as Marc Spector and Steven Grant. But once the story shifted into the asylum sequences late in the season, a lot of fans started scratching their heads. Whether the confusion was intentional or not, many viewers felt the finale didn’t fully stick the landing.

Slater also talked about how unusual the experience was compared to a standard television production.

"It certainly was not a traditional showrunner experience where the writer is the boss. That was not remotely my experience at the time, but I can’t speak to what the process is like now.

“I know a lot of writers who have gone through the development process at Marvel and have had great times. It’s just that the pairing of writer and director is always really, really tricky.

“When it works — like I think it did on Mortal Kombat II with Simon McQuoid — it is magical and wonderful. But when it doesn’t work, it’s probably really frustrating for everyone involved."

While Slater didn’t name the director involved, many fans assume he’s referring to Mohamed Diab, who played a major role in shaping the final version of the series.

As for the future of Moon Knight, things are still pretty murky. Marvel hasn’t announced a second season, and Marc Spector remains one of the MCU’s biggest loose ends. Isaac has previously said he’d be interested in returning for a potential Midnight Sons project, but for now the character is sitting in limbo.

Slater also reflected on another painful comic book experience during the interview: 2015’s Fantastic Four reboot.

The writer explained that he wasn’t aware of any chaos happening during production and genuinely believed the film was going to launch a huge new franchise. According to him, the version audiences eventually saw barely resembled the script he originally worked on with director Josh Trank.

"It wasn’t until I was sitting there in that first audience and realizing, 'Oh no, something happened here. There was nothing in there that remotely resembled what I had set out to do.'"

He added: "But there was a good two-year period there where I was walking around very confident. I was like, 'You guys, just wait for Fantastic Four. We’re the next Christopher Nolan. We’ve got the next [Dark Knight] trilogy on the way,'" Slater recalled.

"You always go in with the highest of hopes and the best of aspirations. But sometimes the projects don’t turn out the way that you dreamed about or envisioned."

That version of Fantastic Four famously went through major rewrites and reshoots, with Simon Kinberg stepping in during development. The final movie ended up becoming one of the most criticized Marvel adaptations ever made.

Since then, Slater has rebounded in a big way. He’s currently involved with the Mortal Kombat franchise and was also one of the writers recruited by James Gunn and Peter Safran for the early DC Studios writers’ room. Even so, fans still haven’t heard much about what projects he may actually be developing for DC.

Looking back at both Moon Knight and Fantastic Four, it’s clear Slater has had a front-row seat to how dramatically superhero projects can shift once multiple creative voices start pulling in different directions.

Sir Ian McKellen has spent decades performing some of the greatest writing ever put on stage, so it makes perfect sense that stepping into the world of comic book movies might feel a little... limiting at times.

While attending a screening for The Christophers, the legendary actor reflected on the difference between performing classic theater and delivering dialogue in the X-Men franchise, and his explanation is hilarious.

McKellen spoke to the crowd at the screening attended by GamesRadar+ and talked about the kind of material he loves sinking his teeth into as an actor:

"I think the script has been grounded in work based on the most wonderful writing. Whether it's Shakespeare or Marlowe or Oscar Wilde or Noel Coward or Tom Stoppard or Simon Stevens or in translation, and they express what they want to say in the most wonderful language, which is beyond those people.

“And I want to speak these words. Now what I'm doing... when I'm in X-Men mode, I'm always saying I got to have a good speech. Well, because X-Men is based on a comic, and the general length of speeches in the comic is 'pow!'"

To be fair, Magneto has delivered some genuinely awesome lines over the years. McKellen brought a level of gravitas to the character that elevated every scene he was in, especially when sharing the screen with Patrick Stewart’s Charles Xavier.

Their conversations often felt bigger than your average comic book showdown because both actors treated the material with complete sincerity.

It’s also funny hearing McKellen talk about wanting “a good speech” in X-Men because Magneto actually got more memorable monologues than most comic book villains of that era.

Still, when your acting career includes Shakespeare, Tom Stoppard, and award-winning stage productions, a mutant argument about humanity probably hits a little differently.

McKellen currently stars in The Christophers, directed by Steven Soderbergh from a screenplay written by Ed Solomon, the writer behind the Bill and Ted movies.

In the film, McKellen plays celebrated artist Julian Sklar, whose children secretly hire a fellow artist named Lori Butler, played by Michaela Coel, to finish his incomplete paintings so they’ll still have something valuable to inherit after his death.

Of course, Marvel fans are already looking ahead to McKellen’s return as Magneto in Avengers: Doomsday, where he’ll reunite with Patrick Stewart’s Professor X once again. If those two characters end up sharing scenes together, there’s a good chance we are going to get exactly what McKellen has always wanted from superhero movies... a really good speech.

Avengers: Doomsday hits theaters on December 18.

Steven Spielberg has spent decades proving he’s one of the greatest filmmakers, which has played in so many different genres over the course of his career. But somehow, across that massive career, there’s one genre he’s never tackled… the Western.

That’s finally about to change. Spielberg recently confirmed he’s developing a Western project of his own, and while details are still being kept under wraps, he did offer a few hints.

According to the filmmaker, the movie will definitely feature “horses and guns,” but he also made it clear he wants to avoid leaning into old-school Western clichés. He said there’ll be “no tropes,” suggesting he’s aiming for something fresh rather than a traditional cowboy story.

What makes this especially interesting is the timing. Not long after Spielberg revealed his Western plans, reports surfaced that Warner Bros. is developing a new version of Westworld, the 1973 sci-fi thriller created by Michael Crichton.

At the moment, a director hasn’t been announced for the project, but longtime Spielberg collaborator David Koepp is writing the screenplay. Koepp also wrote Spielberg’s upcoming film Disclosure Day.

That connection is enough to make me wonder if Spielberg is the director attached to it. The original Westworld has some serious Spielberg DNA around it, even if he had nothing to do with the first film.

Crichton, of course, also wrote Jurassic Park, and Spielberg famously turned that novel into one of the biggest blockbusters ever made. Koepp was also the screenwriter behind the first two Jurassic Park films, so there’s already a strong creative history between everyone involved.

Because of that, it’s easy to picture Spielberg stepping into a reboot of Westworld. The concept fits neatly into his interests as a filmmaker. You’ve got a futuristic amusement park, artificial intelligence spiraling out of control, and a Western setting. That’s basically sci-fi and cowboy storytelling smashed together in a way Spielberg could have a blast with.

It’d also give him a chance to explore some of the same cautionary ideas he tackled in Jurassic Park, only through the lens of AI and robotics instead of genetic engineering.

Still, there’s a pretty good chance this is all just a coincidence. Spielberg’s mystery Western and Warner Bros.’ Westworld reboot could very well be completely separate projects that just happen to be developing at the same time.

That said, the idea doesn’t feel impossible. Spielberg clearly loves sci-fi, and he’s spoken openly over the years about wanting to make a Western. Westworld naturally blends both genres together. It’s the kind of material that sits comfortably in his wheelhouse.

There’s also another wildcard hanging over the entire situation with the potential Warner Bros./Paramount merger. Even though Warner Bros. is continuing business as usual for now, major studio mergers almost always lead to projects being reshuffled, delayed, or scrapped altogether once new leadership steps in.

But, the possibility of Spielberg directing a sci-fi Western about rogue AI gunslingers is the kind of movie-geek fantasy that’s hard not to think about.

There’s a moment in Star Wars: Maul – Shadow Lord that hits harder than any lightsaber clash, and it has nothing to do with flashy action. It’s the instant Darth Maul realizes he’s in over his head. Not frustrated or angry, but afraid.

That’s not something we’re used to seeing from Maul. This is a character who’s been cut in half, abandoned, rebuilt himself through sheer rage, and clawed his way back into power more than once.

Fear isn’t part of his usual emotional toolkit. So when the show puts him face-to-face with Darth Vader and lets that fear surface, it lands in a way that feels unsettling.

What makes it work is that the series doesn’t soften Maul to get there. He isn’t suddenly turned into a hero or given a redemption arc. He’s still manipulative and dangerous, still very much a villain. But for a brief window, the mask slips just enough for us to see what’s underneath, and it’s not confidence. It’s survival instinct.

Brad Rau spoke about how important that shift was when crafting the moment: “It's something we talked about with Witwer a lot. You see Maul throughout this season as a nuanced manipulator. But we were really fascinated with his vulnerability, getting the audience to be one-on-one with him.

“We've seen him injured and the fallout from that. All of those things add up to this moment. The fact is that the devil himself is being framed in several shots below us with Vader above us, and he has fear on his face. If we do it right, just seeing that guy scared after everything he's done up to this point is terrifying.”

That visual framing says everything without needing a single line of dialogue. Maul, who usually dominates every space he’s in, is suddenly positioned beneath Vader. It’s not subtle.

The show wants you to feel the imbalance. Vader doesn’t just overpower him physically. He towers over him in presence, in control, and in inevitability. That’s where the psychology of the scene really kicks in.

Fear is contagious, especially when it comes from someone who never shows it. Watching Maul lose that sense of control sends a signal to everyone else in the scene, and to the audience. If this guy is shaken, what does that say about the thing he’s facing?

The series builds on that tension by stripping Maul down emotionally while everything around him is spiraling. His plans are collapsing, his influence is slipping, and now he’s confronted with something he can’t manipulate or outthink. For a character who thrives on being ten steps ahead, that’s a nightmare scenario.

Matthew Michnovetz connects this moment to the larger tragedy of Maul’s story: “Vader is a force of nature, but their destinies are entwined,” Henotes. “This is the moment that those clash of civilizations come into contact.

“The tragedy of it all is that, at the end of the day, Maul has to be left undone. We watch him build his little empire, his syndicate, and then he's left with the consequences.”

That idea of being “left undone” ties directly into why this fear matters. It isn’t just about the immediate danger. It’s about everything Maul has built starting to unravel in real time. Vader doesn’t just threaten his life. He threatens his identity, the version of himself he’s been trying to maintain.

What’s impressive is how the show walks the line between making Maul vulnerable and keeping him dangerous. Even in fear, he isn’t harmless. There’s still calculation behind his actions, still that instinct to survive and manipulate whatever he can. But now it’s mixed with something raw and unpredictable.

Strangely enough, that makes him even more compelling to watch. Because fear doesn’t weaken Maul in a simple way, it exposes him. It forces him into a position where he has to react instead of control, and that’s where the cracks start to show. For a character built on dominance and intimidation, that shift feels almost more intense than any victory he’s had.

By the time the encounter plays out, it’s clear that this isn’t just another obstacle for Maul to overcome. It’s a defining moment that reshapes how we see him. Not as a hero, not as someone to root for, but as a villain who, for once, understands exactly how outmatched he really is.

That’s what makes the whole thing so chilling. When someone like Maul is scared, you know things have gone very, very wrong.

Fans of House of the Dragon are finally going to get the massive sea-and-dragon battle they’ve been waiting for, and according to cast member Abubakar Salim, the show is going all out for it.

Salim, who plays Alyn of Hull in the hit HBO fantasy series, recently hyped up the opening battle of Season 3 on X, teasing just how intense the production became while filming the long-awaited Battle of the Gullet.

He wrote: “Again, this battle was an absolute mad one to film. The training done for it all and the choreography was intense. It's going to be huge.”

That’s exactly what fans want to hear after learning the battle had been pushed out of Season 2. Originally, the explosive conflict was supposed to close out the previous season before HBO reduced the episode count from 10 episodes down to eight.

Instead of rushing it, the production shifted the battle to the opening of Season 3 so the creative team could fully realize the scale of what George R.R. Martin wrote in Fire & Blood.

For those familiar with the source material, the Battle of the Gullet is one of the biggest clashes in the entire Dance of the Dragons storyline. The conflict pits Team Black against Team Green in a brutal fight involving fleets, dragons, and complete chaos across the sea and sky.

The battle sees the Triarchy, an alliance from the Free Cities fighting for the Greens, collide with House Velaryon forces on the water while dragons unleash destruction overhead. Since Alyn of Hull is closely tied to Lord Corlys Velaryon, it makes sense Salim’s character will be right in the middle of the action.

HBO executive Francesca Orsi previously explained why the series needed more time to tackle the sequence properly, saying: “I don't think we had the time at that point to do what it is that we've achieved now this season. It's just so massive, we needed the time to build it.”

That comment alone paints a pretty exciting picture of what viewers are about to get. House of the Dragon has already delivered some impressive dragon warfare, but the Battle of the Gullet is on another level entirely.

Between the naval combat, large-scale destruction, and dragon fights ripping through the skies, this could easily become the biggest action sequence the franchise has attempted since Game of Thrones wrapped up.

Set roughly 200 years before Game of Thrones, the series follows the devastating Targaryen civil war known as the Dance of the Dragons. Emma D’Arcy and Olivia Cooke lead the cast as rivals Rhaenyra Targaryen and Alicent Hightower, whose fractured relationship helped ignite the conflict tearing Westeros apart.

With Season 3 opening on such a massive event, HBO clearly isn’t easing viewers back into the story. It sounds like the series is returning with fire, blood, and a whole lot of dragon-fueled destruction.

House of the Dragon Season 3 premieres on HBO on June 21.

Marvel unleashed Jon Bernthal again as Frank Castle, and The Punisher: One Last Kill absolutely rips! The 48-minute Disney+ Special Presentation throws viewers straight into chaos, violence, grief, and psychological collapse, all wrapped inside one of the harshest stories the MCU has produced so far.

This thing is raw, ugly, intense, and the closest Marvel has come to capturing the true spirit of Frank Castle in years. What makes this special hit so hard is that it doesn’t just rely on bloodshed to keep your attention.

Sure, there’s enough broken bones, stab wounds, explosions, and gunfire to satisfy Punisher fans, but underneath all that destruction is a genuinely tragic character study about a man who’s mentally hanging by a thread.

Bernthal first stepped into the role back in 2016 during Daredevil Season 2, and from the second he appeared on screen, it felt like Marvel had found its definitive Frank Castle. He carried two seasons of The Punisher on Netflix through sheer force of performance alone, and after his return in Daredevil: Born Again, this special proves he still completely owns the role.

This time around, though, Marvel pushes Castle further into darkness than ever before. The special opens with Frank isolated in a stripped-down apartment, obsessively working out while newspaper clippings cover the walls like the scattered thoughts of someone losing control.

Outside, New York is falling apart. Gangs terrorize civilians, cars burn in the streets, and the city feels infected with violence. The madness surrounding Frank mirrors the war happening inside his own head.

The years of trauma finally catch up to him and Castle begins hallucinating his murdered family and fallen Marine brothers, and Bernthal delivers some of the strongest acting we’ve seen from him in the MCU.

There’s a gravesite sequence that hits like a punch to the chest because it allows Frank’s grief and PTSD to fully surface without trying to soften the pain with jokes or comic relief. Marvel usually undercuts emotional heaviness with humor, but this special commits to the darkness, and it works.

Bernthal is phenomenal here because he understands Frank isn’t simply an unstoppable killing machine. He’s broken. He’s exhausted. He’s angry at the world and himself. One moment he looks completely shattered, and the next he’s snapping into survival mode and tearing through enemies with terrifying intensity.

Once Ma Gnucci enters the picture, everything escalates into total carnage. Judith Light plays the crime family matriarch with pure venom after Frank murdered her husband and sons.

Even with limited screen time, she leaves an impression. Her hatred toward Castle practically drips through every line, and she becomes the spark that ignites the special’s relentless second half.

From there, Frank is forced into a savage war inside and around his apartment building while stripped of most of his weapons and armor. The action sequences are absolutely insane. Frank gets shot, stabbed, burned, blown up, and thrown off rooftops, yet somehow keeps moving forward through sheer rage and willpower.

What makes these scenes stand out isn’t just the brutality. Director Reinaldo Marcus Green actually builds tension and storytelling inside the chaos. Every fight feels connected to Frank’s mental state. He isn’t fighting because he enjoys it. He fights because violence is the only thing left in his life that still makes sense to him.

That’s what gives this story weight. There’s also an interesting balance to Frank throughout the carnage. Even after all the killing, he still protects innocent people whenever he can. A small interaction with a young girl he saves becomes one of the story’s most human moments, reminding viewers that Frank Castle hasn’t completely lost his soul yet.

Fans expecting major MCU crossover reveals or connective tissue might walk away disappointed. The special stays laser-focused on Frank rather than setting up larger franchise storylines. That was probably the smartest decision Marvel could’ve made. Instead of drowning the story in cameos or references, it gives Castle room to breathe as a character again.

That said, this absolutely feels like Marvel testing the waters for something bigger. It plays almost like a backdoor pilot for a new Punisher project, and after watching this, it’s hard not to want more. Whether it’s another Special Presentation, a Disney+ series, or a full-blown feature film, Bernthal deserves a larger stage for this version of the character.

Because when The Punisher: One Last Kill is firing on all cylinders, it feels unlike anything else Marvel Studios is making right now.

There are no quippy one-liners trying to ease the tension. No forced comedy beats. No glossy superhero spectacle getting in the way. Just Frank Castle trapped inside his own trauma while unleashing absolute hell on everyone standing in front of him.

Marvel Studios needs more stories willing to go this hard!

Marvel has announced that the series VisionQuest is set to hit Disney+ later this year, in the fall. The highly anticipated conclusion to the WandaVision trilogy, as Marvel has dubbed it, will debut on October 14th, star Paul Bettany revealed during Disney’s upfront presentation on Tuesday. The trilogy also includes the highly rated limited series WandaVision and Agatha All Along.

The Vision spinoff, headlined by Paul Bettany, is said to take place after the events in WandaVision where the character made a return after Thanos killed him in 2018’s Avengers: Infinity War. The new series is believed to follow Vision (Bettany) as he tries to regain his memory and humanity.

Disney also showed a trailer for advertisers and media buyers during Tuesday’s presentation, hinting at how the series will ultimately connect to its two predecessors. It also included a look at James Spader as Ultron.

Other cast includes Todd Stashwick as Paladin, a morally gray mercenary anti-hero who acts as an assassin targeting Vision’s technology, and Faran Tahir, reprising the role of Raza, the Ten Rings leader from 2008’s Iron Man.

Deadline reports that it was also confirmed that Lauren Morais and Diane Morgan joined the cast. Morais will play Lisa Molinari, a character closely connected to Ruaridh Mollica’s Thomas Shepherd, and Morgan is playing an associate of Stashwick’s character, Paladin.

The new Mortal Kombat II is already throwing more fighters, more chaos, and more fan-favorite characters onto the screen, but apparently this is only the beginning.

Writer Jeremy Slater has revealed that he’s already mapping out where the franchise could go next, and it sounds like Warner Bros. might have enough material to keep this tournament going for years.

Considering how massive the Mortal Kombat roster has become over the decades, that’s probably the smartest approach possible. The games have introduced an absurd number of memorable fighters, and fans always have opinions about who deserves screen time.

The sequel already expanded the roster with characters like Baraka, Noob Saibot, and Shao Kahn, while finally bringing Johnny Cage into the spotlight with Karl Urban stepping into the role.

But according to Slater, there are still a ton of fighters waiting in the wings. During an interview with Variety, he explained:

“I have dozens of characters that I want to bring into live action. Some of them are on deck next, and some of them are being saved for a hypothetical 4, 5, or 6. In success, we will get to as many of the classics as we possibly can, but we always want to be careful to never overload the audience.”

That’s exactly the kind of thing longtime Mortal Kombat fans want to hear. This franchise has decades of lore to pull from, and there are still plenty of iconic kombatants who haven’t made the jump to live-action yet.

The fact that Slater is already thinking several movies ahead makes it sound like the creative team is treating this like a full cinematic universe rather than a short-lived experiment.

Honestly, that’s probably the right move. The 2021 Mortal Kombat movie ended up becoming one of the better video game adaptations we’ve gotten in recent years, and the sequel clearly wants to build on that momentum instead of starting over from scratch every time.

Slater also made it clear that fan feedback is playing a role in shaping the future of the franchise, which should make the hardcore Mortal Kombat crowd pretty happy. He said:

“I know exactly which new characters we’re bringing in, but it’s way too early to tell people at this point. We’re also being really receptive to the fan base.

“Todd Garner has maintained such a great relationship with the Mortal Kombat fan base and keeping a dialogue open in terms of ‘Who are you dying to see in live action?’

“We have that feedback to take into consideration, but we also have to balance that against the story needs of where we ultimately want to take it and what we’re building toward.)”

That balancing act is probably the toughest challenge these movies face. Every fan has their personal favorites they want to see throwing punches, ripping spines out, or freezing somebody solid. But trying to cram every character into one movie would turn the whole thing into chaos.

Spacing these fighters out across multiple sequels actually gives the franchise room to breathe and lets each character have a moment to shine instead of becoming glorified cameos.

Now the big question is whether Warner Bros. will fully commit to Slater’s long-term plan. Mortal Kombat II may not have dominated the box office against The Devil Wears Prada 2, but there’s still clearly a passionate audience for this franchise.

If the studio keeps supporting it, there’s a real chance we could eventually see some deep-cut fighters make their live-action debut.

Fans of The Big Bang Theory are about to get a much weirder trip back into that world than anyone probably expected.

HBO Max has released the first teaser trailer for Stuart Fails to Save the Universe, and instead of another grounded sitcom about awkward geniuses and relationship drama, this new series is diving headfirst into full-on sci-fi chaos.

The franchise has already proven it can survive beyond the original show. After The Big Bang Theory wrapped up in 2019, audiences stuck around for Young Sheldon, which then launched Georgie & Mandy’s First Marriage.

But Stuart Fails to Save the Universe is doing something completely different. This is the franchise’s first true sequel series, and it looks like it’s going all-in on multiverse insanity.

The show centers on comic shop owner Stuart Bloom, played once again by Kevin Sussman, who somehow ends up triggering a reality-shattering disaster after breaking a device created by Sheldon and Leonard Hofstadter. Naturally, the fate of existence lands in the hands of the absolute least qualified people imaginable.

Joining Stuart are returning fan-favorites Bert Kibbler, played by Brian Posehn, Denise, played by Lauren Lapkus, and Barry Kripke, played by John Ross Bowie.

Based on the trailer, the team seems barely capable of functioning under normal circumstances, so watching them attempt to stop a multiversal apocalypse should be a glorious mess.

One of the coolest things about the series is how dramatically it changes the formula of the franchise. The Big Bang Theory always loved sci-fi, comic books, and genre fandom culture, but this time the story is actually embracing those elements instead of just referencing them.

Alternate realities, universe-hopping madness, and bizarre sci-fi concepts appear to be fully baked into the premise.

The creative team also makes this feel like a natural extension of the original series while still trying something fresh. Chuck Lorre and Bill Prady return as creators alongside Zak Penn, whose history with sci-fi projects makes him an especially interesting addition to this world.

There are several major firsts happening here, too. This marks the first Big Bang Theory project set after the original series timeline, the first one not centered around the Cooper family in some way, and the first installment made for HBO Max instead of CBS.

Stuart Fails to Save the Universe looks like it’s trying to carve out its own identity while still keeping the spirit of The Big Bang Theory intact. The trailer balances familiar character energy with some genuinely absurd sci-fi concepts, and surprisingly, it works.

Whether Stuart actually saves reality is another story entirely, but the show itself looks like it could end up being a really fun evolution of The Big Bang Theory universe.

Fans are about to get another brutal chapter in Frank Castle’s MCU story with The Punisher: One Last Kill arriving on Disney+ this week, but the people making it already have their eyes on something much bigger.

Director Reinaldo Marcus Green says he and star Jon Bernthal aren’t looking at this as the end of the road for Marvel’s deadly vigilante. They want a full-on Punisher movie.

Speaking with The Direct, Green explained that the goal with One Last Kill was to remind audiences why Bernthal’s version of Frank Castle connects so well with fans in the first place and hopefully spark enough excitement to push Marvel toward giving the character a theatrical feature.

“I don't know what the plans are for the future of the Punisher. The only thing that we hope that we were able to accomplish is the demand for more.

“Hopefully, Jon [Bernthal] and Marvel will come together to make something worthy of what the audience would want to see out of that character.

“Moving forward, I know Jon and I would love to make a movie, something that could go worldwide and be on screens everywhere. But, obviously, that’ll be Marvel’s decision.”

Bernthal’s Frank Castle has remained one of Marvel’s most popular street-level characters, and Marvel Studios seems far more comfortable leaning into those darker corners of the MCU lately.

Then, Bernthal’s Punisher is also heading to the big screen this summer in Spider-Man: Brand New Day alongside Tom Holland’s Peter Parker. The film takes place after the events of Spider-Man: No Way Home, with Peter still dealing with the fallout of Doctor Strange’s memory spell wiping him from everyone’s lives.

That pairing alone feels like a wild comic book crossover fans have wanted for years. A street-level Spider-Man story with Frank Castle lurking somewhere in the chaos has the potential to be something seriously cool.

Green is clearly excited to see where Bernthal takes the character next, especially after helping shape Frank’s current mental state in One Last Kill before the character enters Marvel’s next Spider-Man movie.

“Just as a fan of the Punisher and a fan of Jon, I want to see him more on screen. That trailer looks amazing,” Green added of the upcoming Spidey fourquel.

“Destin [Daniel] Cretton’s an incredible filmmaker. [It's] cool to get there before everybody else did, which, selfishly, is really great [to be able to] set him up, and we know his psychological state before he goes into Spider-Man… I couldn't have asked for better timing for us.”

Marvel hasn’t announced any plans for a standalone Punisher movie yet, but if The Punisher: One Last Kill lands with audiences and Bernthal steals scenes in Spider-Man: Brand New Day, it’ll probably get a lot harder for the studio to ignore the demand.

Marvel Comics is taking a hard turn into horror this summer with the launch of its brand-new Midnight Universe, a darker publishing line that reimagines some of the company’s most iconic heroes as terrifying monsters.

The line was originally expected to spotlight supernatural characters like Blade and Werewolf by Night, but Marvel just revealed that the first wave of books will instead focus on corrupted versions of Spider-Man, the X-Men, and the Fantastic Four, and the concepts sound gloriously disturbing.

Launching this August, the Midnight Universe is being positioned as a major creator-driven imprint where writers and artists can completely cut loose with horror-inspired takes on classic Marvel mythology.

The new line kicks off with three titles: Midnight X-Men from Jonathan Hickman and Matteo Della Fonte, Midnight Fantastic Four from Benjamin Percy and Kev Walker, and Midnight Spider-Man from Phillip Kennedy Johnson alongside Marvel newcomer Scie Tronc.

Marvel describes the Midnight Universe like this: “Dark. Unpredictable. Unmissable. The MIDNIGHT UNIVERSE draws in longtime fans and newcomers alike to enter a terrifying new world where anything can happen. Interconnected by rich lore-building, Marvel’s most definitive modern creators are given free rein to reimagine heroes with shocking twists and chilling transformations in boundary-less, creator-driven storytelling that will keep readers on edge issue after issue.

“The X-Men no longer fight for acceptance, they hunger for blood. The Fantastic Four venture into the unknown not to save the world—but to unleash terror upon it. And Spider-Man discovers that with great power... comes something monstrous.”

The setup for each title sounds like Marvel is going all-in on nightmare fuel. In Midnight X-Men, New York has become a battleground between vampires and mutant empires, with an uneasy peace threatening to collapse into full-scale war. Humanity is stuck right in the middle of it all.

Midnight Fantastic Four leans into cosmic horror as an obsessive scientist uncovers secrets of the universe humanity was probably better off never touching. The result leaves four people horribly transformed after venturing into terrifying new dimensions.

Then there’s Midnight Spider-Man, which sees Peter Parker mutated into a grotesque spider-human hybrid by Oscorp during experiments tied to immortality research. When the corporation starts creating additional human-animal monstrosities, Peter uses his horrifying new form to fight back.

Marvel Editor-in-Chief C.B. Cebulski explained how this new universe fits into the publisher’s history of alternate continuities and reinventions:

"From the original New Universe to two Ultimate Universes, Marvel has a long history of creating and inspiring bold worlds filled with unforgettable characters and fresh ideas that feel new yet recognizable at the same time.

“With the new Midnight line, we’ve given some of our most outstanding creators the opportunity to delve into the darkest corners of their imaginations and birth some of the creepiest, most terrifying takes on the Marvel Universe you’ve ever seen."

Hickman also shared his excitement about diving back into mutant storytelling with a horror twist: "I’m so enthusiastic about this project—it’s the most excited I’ve been in years. The conceit of Midnight X-Men aligns perfectly with the kind of stories I like to tell. It has a rich, open-ended mythology that equally mixes old and new ideas into something that feels both familiar and original."

Marvel also revealed that the books will feature special “Cloaked Covers,” where portions of the artwork remain hidden in shadow.

Readers will only fully see the cover art after opening the issue, adding another creepy layer to the whole experience. Outside of the debut issues, those hidden designs will reportedly stay obscured unless fans physically pick up the comics themselves.

This feels like Marvel taking a swing at building its own horror-heavy counterpart to DC’s Absolute Universe line, but with way more monsters, body horror, and nightmare imagery baked into the DNA of the stories.

Seeing characters like Spider-Man and the X-Men twisted into full horror mode sounds like a blast, especially with creators like Hickman, Percy, and Johnson steering the madness.

Marvel’s Midnight Universe launches this August.

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Tom Cruise (Top Gun, Mission: Impossible) is in early talks to star in an original spy thriller at Paramount titled Doppelgänger, written by Aneesh Chaganty and Dan Frey. The movie is being produced by Ryan Coogler, Zinzi Coogler, Sev Ohanian, Chaganty, and Natalie Qasabian.

When the film was acquired by SkyDance/Paramount, Deadline reported that the story has “two very meaty led roles for an actor and actress,” though no official casting announcement has yet been made.

Jeff Sneider’s TheInSneider reports that Cruise has met with writer/director Chaganty, and he’s gone on to say: “I’m told that Chaganty has flown to Florida multiple times to meet with Cruise, and he is currently rewriting Doppelgänger to tailor the script to the actor’s specifications.

“Naturally, Cruise will only decide whether to officially commit once the final script is delivered. But for now, he is considered loosely attached, according to multiple sources.”

If a deal is met, the movie will reportedly see Cruise play a CIA agent named Veer. Veer’s life is thrown for a loop when he learns that Russia has recruited a man who looks exactly like him with the intent to use the doppelgänger as a mole.

The chaos doesn’t stop there, though, as there may or may not be more than one Veer doppelgänger running around.

No release date has been set, but it sounds like the wheels are in motion for the film to move forward.

Fans of LAIKA finally got their first real look at Wildwood, and this movie feels like it’s going to be another unforgettable animated journey from the studio behind Coraline, ParaNorman, and Kubo and the Two Strings.

The newly released teaser trailer pulls audiences into a strange and dangerous fantasy world packed with magic, creepy creatures, emotional stakes, and some seriously jaw-dropping stop-motion animation.

This movie comes from director Travis Knight, who also did incredible work on Kubo and the Two Strings, and from the footage shown, Wildwood looks like it could stand right alongside the studio’s best films.

LAIKA has released images from the project before, but seeing this world actually moving on screen is a completely different experience. Every frame is loaded with texture, atmosphere, and handcrafted detail that makes the movie feel alive.

The story follows a strong-willed teenager named Prue McKeel, voiced by Peyton Elizabeth Lee, whose life gets turned upside down when her baby brother is kidnapped by a murder of crows. T

o save him, Prue ventures into the mysterious forest known as the Impassable Wilderness. Alongside her classmate Curtis Mehlberg, played by Jacob Tremblay, she encounters talking animals, dangerous outlaws, and powerful figures driven by grief and ambition.

But Prue’s mission quickly grows into something much larger. As tensions rise within the forest itself, she and Curtis find themselves caught in the middle of a battle that could decide the fate of Wildwood. To rescue her brother and survive what’s ahead, Prue will have to push herself further than she ever imagined.

LAIKA describes the film as “a sweeping adventure about love, sacrifice, and the magic that reveals itself when we dare to look beyond the familiar.”

That sense of wonder is all over this teaser. There are moments that feel whimsical and dreamlike, then suddenly the trailer shifts into darker and more intense territory. It has the same emotional fantasy energy that made Kubo such a special experience.

The voice cast is packed with talent including Carey Mulligan, Richard E. Grant, Awkwafina, Amandla Stenberg, Tom Waits, Charlie Day, Blythe Danner, Maya Erskine, Jake Johnson, Angela Bassett, and Mahershala Ali, along with several others bringing the strange inhabitants of Wildwood to life.

If this teaser is any indication, LAIKA may have another animated classic headed our way. The studio continues to do things nobody else in animation is doing right now, and Wildwood looks like a haunting, emotional, and visually stunning adventure worth getting excited about.

Wildwood flies into theaters later this summer.

Grogu’s future in the Star Wars universe keeps getting more interesting. While a lot of fans expected the little Force-user to fully commit to becoming a Jedi after training with Luke Skywalker, that clearly isn’t the road he’s taking.

According to Jon Favreau, The Mandalorian and Grogu is leaning into something much more unique for the character, blending Jedi teachings with Mandalorian culture in a way we really haven’t seen before.

Speaking about the upcoming movie, Favreau explained that Grogu may have stepped away from the traditional Jedi path, but that doesn’t mean his connection to the Force has faded at all. In fact, he’s been shaped by some of the greatest Jedi in Star Wars history.

"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 continues. "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."

That philosophy actually makes Grogu’s evolutionmore exciting because he isn’t boxed into the same structure we’ve seen from Jedi before. He’s learning through experience, survival, instinct, and now Mandalorian training under Din Djarin.

Favreau says the next chapter of their relationship pushes that father-son dynamic even further as Grogu officially steps into the role of apprentice.

"Grogu is now a Mandalorian apprentice," says Favreau. "He's been tasked with that, for those people who had watched the show. If you hadn't watched the show, what you need to know is that he is now going to be a Mandalorian in training, and so his father and teacher is taking him along on the adventures.

“What we learn through this is that Grogu's quite capable, but also Din Djarin, the Mandalorian, is a very good protector, and so he's always going to look out. And I think it's the next stage of their relationship, both as a father and son, but also as a teacher and an apprentice."

One of the coolest things about The Mandalorian and Grogu is that the movie is finally giving Grogu more agency in the story. He’s no longer just the adorable kid everyone has to save every episode.

Favreau says the film intentionally gives him moments to prove himself, including dangerous missions and situations where he has to stand on his own.

"The story drove us to that sequence," Favreau says. "In The Mandalorian, there's a certain proportionality to the way that the stories have unfolded and the tone of the stories that we like to tell with these characters.

“But I think since Grogu now is sharing billing, we want to give an opportunity to show some growth and character development and skill development in this character, and so by having the tables turned, so to speak, we open the door for Grogu to demonstrate that he's not just a character to be rescued.

“He's not a vulnerable little child anymore, and because he ages so slowly, as a storyteller, it's a wonderful opportunity to really play every beat of this development out deliberately."

There’s also another fascinating layer developing in Grogu’s story. Din Djarin follows a strict Mandalorian Creed that traditionally forbids removing one’s helmet, but Star Wars has already shown that different Mandalorian factions interpret those beliefs differently.

With Grogu now walking between Jedi and Mandalorian worlds, Favreau hints that things could get complicated.

"It's an interesting proposition. Throughout the series, we had met different Mandalorians from different backgrounds, and each embraces a different part of the Mandalorian creed. Din Djarin comes from a tradition where the helmet stays on.

“Of course, Bo-Katan and others take the helmet off. And what's interesting now is we have a character that's going to be potentially both Jedi and Mandalorian in Grogu, and we'll see what his path is."

This is what makes Grogu such a great and interesting character moving forward. He doesn’t fit neatly into the Jedi Order or traditional Mandalorian culture. He’s becoming something entirely his own, and that opens the door to some awesome storytelling possibilities for the future of Star Wars.

The Mandalorian and Grogu hits theaters on May 22.

Source: GamesRadar+

The marketing for Masters of the Universe is digging deeper into Eternia, and this latest featurette delivers some seriously cool new footage.

Along with more action-heavy shots of Nicholas Galitzine wielding the Sword of Power as He-Man, fans also get their first proper look at live-action Moss Man, and honestly, like all the other characters we’ve seen, he looks ripped straight out of the classic animated series.

The character is played by stuntman Stephen Adentan (Gladiator II), and it appears filmmaker Travis Knight leaned heavily into practical effects to bring the fan-favorite Heroic Warrior to life. The result is a gnarly moss-covered creature design that feels refreshingly old-school while still fitting the movie’s larger fantasy world.

For Masters of the Universe fans, Moss Man has always been one of the franchise’s more unique heroes. He’s essentially a walking mass of plant life with the ability to camouflage himself within forests and control vegetation around him. In the lore, he lives within Eternia’s Evergreen Forest alongside its wildlife and natural creatures, and this movie version seems to fully embrace that weird fantasy energy.

The featurette also teases more of the scale Knight is aiming for with Eternia. Between the landscapes, creature designs, armor, and weapons, it’s becoming increasingly clear the director wants this movie to feel like the Masters of the Universe fans grew up imagining.

Costume designer Richard Sale recently talked about the challenge of adapting these iconic characters into live-action while still making them feel authentic. He explained:

"Through years of knowing what is and what isn't achievable, we knew on the outset, with talking to our team and our costume prop team, we knew we could do these characters justice. That's why we stuck with them."

Sale also addressed the balance between practical work and visual effects, saying: "Definitely felt like they were achievable within the costume department. And also with the story that they had to tell, Travis wanted that humanity there as well."

That practical approach may end up being one of the movie’s biggest strengths. A lot of these designs could’ve easily disappeared into heavy CGI, but from what’s been shown so far, there’s a tactile fantasy vibe to the world that feels much closer to classic adventure films.

The story follows Prince Adam, who has been separated from Eternia for 15 years. After rediscovering the Sword of Power, he returns home to find Skeletor ruling the planet. Adam is then forced to embrace his destiny as He-Man and fight to save his world alongside Teela and Man-At-Arms.

The cast assembled for this movie is packed with recognizable names, including Jared Leto as Skeletor, Camila Mendes as Teela, Idris Elba as Duncan/Man-At-Arms, Alison Brie as Evil-Lyn, Morena Baccarin as The Sorceress, James Purefoy as King Randor, Charlotte Riley as Queen Marlena, Jóhannes Haukur Jóhannesson as Fisto, Kojo Attah as Tri-Klops, Sam C. Wilson as Trap Jaw, Hafþór Júlíus Björnsson as Goat Man, Jon Xue Zhang as Ram-Man, James Wilkinson as Mekaneck, and Kristen Wiig as Roboto.

So far, this adaptation looks like it actually understands the assignment. It’s embracing the weirdness, the oversized fantasy spectacle, and the classic characters instead of trying to strip them down into something generic.

Masters of the Universe hits theaters on June 5 later this year.

New "Masters of the Universe" Movie Behind-The-Scenes Featurette "Sword of Power" gives us our first look at MOSS MAN! 🌿

(Big thanks goes put to @DGSimo !)#MastersoftheUniverse #MOTU #MOTUMovie #HeManMovie #MastersoftheUniverseMovie #MastersoftheUniverseFilm #Heman #Skeletor… pic.twitter.com/cF4zreircw

— He-Mania.com (@HeManiaOfficial) May 12, 2026

A closer and brightened look at MOSS MAN from the "Masters of the Universe" Movie, thanks to the Behind-The-Scenes Featurette "Sword of Power".#MossMan #stephenadentan#MastersoftheUniverse #MOTU #MOTUMovie #HeManMovie #MastersoftheUniverseMovie #MastersoftheUniverseFilm #Heman… pic.twitter.com/JRMCUDFXOe

— He-Mania.com (@HeManiaOfficial) May 12, 2026

Step into the larger-than-life world of Eternia. Masters of the Universe - only in theaters June 5. pic.twitter.com/7pzjZkNzuT

— Masters of the Universe (@mastersmovie) May 11, 2026

Dare to Be Stupid: The Weird Al Musical is headed our way! The new musical featuring the songs of Weird Al Yankovic is being developed for the Broadway stage, with Moulin Rouge! director Alex Timbers and writers Scott Brown and Anthony King (Gutenberg! The Musical!; Beetlejuice) attached. Tony Award-winning Seaview (Every Brilliant Thing, The Fear of 13) is on board to produce.

The musical will feature songs from Yankovic’s four-decade song-parody catalog including “White & Nerdy” (a parody of Chamillionaire’s “Ridin’”), “Amish Paradise” (a parody of Coolio’s “Gangsta’s Paradise”), “Eat It” (a parody of Michael Jackson’s “Beat It”), “Smells Like Nirvana” (a parody of Nirvana’s “Smells Like Teen Spirit”) and “Like a Surgeon” (a parody of Madonna’s “Like a Virgin”).

Yankovic made a statement on the project, stating: “Ever since I was a middle-aged man, I’ve always wanted to be a part of the New York theatre community. Plus, the one thing people always say about Broadway is that it’s ‘severely lacking in Weird Al-based entertainment,’ and I think this musical should fix that problem immediately.”

“I first fell in love with Al’s music with the release of Dare To Be Stupid and have remained an avid fan ever since,” said Timbers.

“Now, it’s a dream come true to work with one of my comedy heroes bringing an original story set to his beloved songbook to the stage. What Al, Anthony, and Scott are creating is unexpected, subversive, meta, and hilarious and I can’t wait for the world to experience it.”

“Dare To Be Stupid feels like the kind of musical that only comes around once in a while – wildly original, deeply funny, and powered by the unmistakable heart that has made ‘Weird Al’ Yankovic a singular voice in American culture,” said producer Greg Nobile, CEO of Seaview.

“Beneath the absurdity and the joy, is a show about creativity, individuality, and the freedom to be unapologetically yourself. We couldn’t be more thrilled to be working with Al, Alex, Scott and Anthony to bring Weird Al’s singular world to the stage.”

Additional details for Dare to Be Stupid, including production timeline and additional creative team, will be announced soon. I am really looking forward to this long-overdue show! I am a lifelong fan of Weird Al, and I think this will be a blast to watch.

via: Deadline

Prime Video clearly knows it has a massive hit on its hands with Reacher. The streaming service has officially renewed the action series for Season 5 before Season 4 has even premiered, which says a lot about just how popular the show has become with audiences around the world.

Based on Lee Child’s bestselling Jack Reacher novels, the series stars Alan Ritchson as the wandering former military investigator who travels from town to town carrying almost nothing with him except a toothbrush, sharp instincts, and the ability to absolutely wreck anyone dumb enough to cross him.

The upcoming fourth season adapts Gone Tomorrow, the 13th novel in Child’s long-running book series. The story kicks off with Reacher encountering a troubled stranger on a subway ride, but things spiral into something far bigger and far deadlier.

According to the official description, Reacher gets pulled into “a complex and deadly game” involving dangerous enemies tied to powerful people at the highest levels.

Season 4 also brings in a fresh lineup of cast members including Chris Marquette, Sydelle Noel, Agnez Mo, Anggun, Kevin Weisman, Marc Blucas, Kevin Corrigan, and Kathleen Robertson. Production on the season wrapped back in March, and it’s expected to premiere later this year.

Peter Friedlander, Head of Global Television, Amazon MGM Studios said: “From Lee Child’s globally beloved novels to its standout on-screen adaptation, Reacher has evolved into a true powerhouse franchise.

“The series’ ability to combine high-octane action with compelling character storytelling continues to resonate with tens of millions of viewers around the world. We’re excited to move forward with a fifth season ahead of Season Four’s debut and to build on this incredible momentum.”

At this point, Reacher has become one of Prime Video’s biggest action franchises, and fans have fully embraced Ritchson’s take on the character.

The show delivers exactly what viewers want from a Jack Reacher story with brutal fights, smart investigations, intimidating villains, and a lead character who walks into chaos and handles business.

Source: Deadline

Melissa Barrera is stepping back into the horror spotlight. The actress, known for her performances in Scream and Scream VI, has officially signed on to lead Inhabit, an upcoming psychological horror film from writer and director Adam Alleca.

The story centers on a woman trying to rebuild her life after a devastating personal event. She relocates to a rundown apartment complex hoping for a reset, but things quickly spiral into something far more disturbing.

Strange neighbors, unsettling encounters, and sudden violence begin to close in on her, leading her to suspect something far darker is at work. According to the synopsis: “A force that can only be overcome by confronting the darkest parts of her own nature.”

Alleca is leaning into horror that isn’t just about scares, but about confronting something deeper. He explained: “True horror means forcing the audience to confront a universal existential fear no one’s ever dared to tell a story about before. I’ve found such a fear in Inhabit.”

“My inspirations are the kind of audacious, character-driven thrillers I love, like Rosemary’s Baby, The Exorcist, and Get Out. Their innovation is my North Star.”

That mix of psychological intensity and supernatural dread puts Inhabit in some pretty interesting company, and if it sticks the landing, it could be something special.

The film is being backed by Logical Pictures Group, with production led by Ric Roman Waugh, Brendon Boyea, and Kenner Bolt for Cinemachine.

Boyea shared his enthusiasm for the project, saying: “With Inhabit, Adam has crafted a story that can shatter open the conversation on a subject often considered taboo. Driven by his singular vision, it delivers a deeply intimate and extremely unnerving experience.

“Paired with Melissa’s powerful presence, we see this as a film that will resonate on both a visceral and human level, and we’re thrilled to be a part of bringing it to life.”

Kamarowsky added: “Inhabit is exactly the kind of smart, character-driven horror we believe can travel — a contained nightmare with a powerful emotional engine that just keeps tightening its grip.

“Adam Alleca has built a world that feels frightening and commercially compelling, and with Melissa Barrera at its center, we believe the film has the intensity and audience appeal to stand out in today’s international marketplace.”

This marks Barrera’s first major film announcement since her exit from Scream 7, following public controversy tied to her social media posts in late 2023. In a recent interview, she opened up about that period, revealing she had been sidelined from the industry for over a year and is now moving forward with new creative ventures, including launching her own production company.

Now, with Inhabit, she’s diving back into a genre that helped define her recent career.

Source: Variety

There’s a new twist on a holiday classic headed our way, and it’s bringing some familiar talent along for the ride. Sean Astin is stepping into his first starring role since taking on the SAG-AFTRA presidency, and he’s doing it with a modern spin on one of the most recognizable redemption stories ever told.

The film is Scruggs, an indie project that flips the spirit of A Christmas Carol into something a bit more raw and contemporary. Astin, known to many fans for The Lord of the Rings, stars alongside Calvin Kassab, who plays the title character and also serves as executive producer.

The cast also includes Donnell Clayton (Beverly Hills Cop: Axel F), Andrew Dawe-Collins (Pitchfork), and opera singer Sarah Catherine Moore making her feature debut.

The story takes inspiration from Charles Dickens’ timeless tale but leans into a more grounded, edgy tone. This version follows a ruthless real estate mogul named Edward Scruggs, who gets pulled into a supernatural journey on Christmas Eve, guided by three unforgettable spirits.

It’s described as an “edgy modern-day take filled with outrageous characters,” blending the familiar beats of the original with a sharper, contemporary edge.

Sam Logan Khaleghi produces under SLK Media Group, with Kassab Pictures backing the project. Direction comes from Zachary Ruda, marking his first feature film. Production recently wrapped in Detroit, Michigan.

Khaleghi shared his excitement about the ensemble, saying, “I am thrilled and elated to have the absolute honor of such an amazing cast.

“We have a diverse corps of talent that delivers both comedy and drama perfectly in our gritty contemporary take that still maintains the traditions and customs of the original literature.”

Kassab also touched on the deeper themes driving the story, explaining, “We live in a world that needs more empathy. The Scrooge archetype is about compassion through shared human moments.”

That core idea feels like the anchor here. Even with its modern setting and rougher edges, Scruggs looks like it’s aiming to keep the heart of Dickens’ story intact while making it resonate with today’s audience.

With Astin leading the charge and a fresh creative team behind it, this could end up being a pretty interesting addition to the lineup of holiday films that try something different.

Source: Deadline

Robert Lorenz (In The Land of Saints and Sinners) has signed on to direct Hardcourt, a new feature written by Mark L. Smith (The Revenant). Production on the film is set to begin in early 2027.

Casting is said to be underway. Bleiberg will handle worldwide sales rights and is presenting the project at the Cannes Market.

The project is described as a psychological thriller in the vein of Gone Girl and Basic Instinct. The story follows a respected college basketball coach who is accused of murdering his mistress.

The official synopsis reads: “When his wife hires one of his former players and her ex-lover (now a top attorney) to defend her husband, old rivalries and resentments surface on the path to get to the bottom of the crime.”

Lorenz is a frequent collaborator of Clint Eastwood. He was a producer on American Sniper, Letters From Iwo Jima, and Mystic River. He made his first foray into directing in 2012 with The Trouble with the Curve and went on to direct the thrillers The Marksman and In the Land of Saints and Sinners, both starring Liam Neeson. Smith’s recent credits include the George Clooney-directed Boys in the Boat and 2024’s Twisters.

via: Deadline

Fans hoping to jump back into Ahsoka are going to have to hang tight a little longer. During Disney’s upfront presentation on Tuesday, Rosario Dawson confirmed that Season 2 of the Star Wars series won’t premiere on Disney+ until early 2027.

The first season wrapped up in late 2023, and with filming on Season 2 reportedly finishing late last year, a lot of fans assumed Lucasfilm was aiming for a 2026 release. Apparently, the timeline had other plans.

The good news is that the next chapter sounds like it’s going much bigger in scale. According to series creator and Lucasfilm boss Dave Filoni, one legendary Star Wars character is finally entering the fight.

“He’s going head-to-head with [Grand Admiral] Thrawn,” Filoni said while confirming the return of Admiral Ackbar.

Honestly, seeing Ackbar square off against Thrawn feels like something longtime Star Wars fans have wanted forever. Thrawn has already proven himself as one of the franchise’s smartest and most dangerous villains, and putting him against the Rebellion’s famous tactical mastermind could lead to some seriously awesome space warfare.

Dawson also teased what fans can expect from the new season, saying: “This season, the battles are bigger, and the stakes are higher.”

Season 1 ended with Lars Mikkelsen’s Thrawn finally escaping Peridea and returning to the main Star Wars galaxy alongside Ezra Bridger, played by Eman Esfandi. Ezra reunited with Hera Syndulla, played by Mary Elizabeth Winstead, warning the New Republic that Thrawn was back and ready to rebuild the Imperial Remnant.

At the same time, Ahsoka and Sabine Wren, played by Natasha Liu Bordizzo, remained stranded on Peridea. They’re also dealing with the looming threat of Baylan Skoll, now played by Rory McCann following the passing of Ray Stevenson, and Shin Hati, played by Ivanna Sakhno.

Baylan’s mysterious connection to the Force became one of the biggest unresolved storylines from Season 1, and it seems clear that mystery is going to play a major role moving forward. Ahsoka and Sabine still need to figure out what he discovered on Peridea, and, of course, they probably wouldn’t mind finding a way home.

The setup is actually pretty great because the story is now split between two major conflicts. You’ve got Thrawn rebuilding power in the known galaxy while Ahsoka’s side of the story dives deeper into the strange Force mythology introduced on Peridea.

There’s a lot of room for giant battles, Jedi conflicts, political chaos, and weird ancient Force lore all colliding together. Now it’s just a matter of waiting until 2027 to see it happen.

In the meantime, 2026 will still give Star Wars fans something to look forward to with The Mandalorian & Grogu hitting theaters. Then 2027 is shaping up to be a packed year for the franchise with Ahsoka Season 2 arriving first, followed by the theatrical re-release of the original Star Wars and then Star Wars: Starfighter.

The Xenomorphs are coming back, and this time you’ll need more firepower and more friends to survive. Aliens: Fireteam Elite 2 has officially been revealed by Cold Iron Studios and Daybreak Games, and the first trailer makes it clear that the sequel is aiming to go bigger, louder, and a whole lot more chaotic.

The reveal dropped as part of IGN First’s May spotlight, giving fans their first real look at the follow-up to 2021’s cult-favorite co-op shooter, and it looks like a serious upgrade.

The trailer kicks things off with a distressing transmission from Dr. Lily Pierce, stationed on LV-558, which is shaping up to be the main battleground this time around. From there, it shifts into flashes of gameplay that tease what players can expect.

Heavy weapons light up dark corridors, new tech gadgets come into play, and waves of Xenomorphs swarm in overwhelming numbers. It’s exactly the kind of intense sci-fi action fans of the franchise want.

One of the biggest changes is the squad size. Instead of three players, teams can now roll in with four, opening up more room for strategy and coordination. That tweak alone could seriously change how missions play out, especially when things inevitably spiral into chaos.

There’s also a new class system addition called the Specialist. This lets players mix and match abilities from different classes, giving you more control over how your marine plays. Whether you want to lean into support, offense, or something unpredictable, it sounds like the game is giving players more freedom to experiment.

Crossplay is fully supported across PC and consoles, so teaming up with friends won’t be a hassle regardless of platform. At launch, players can also jump into a Horde mode featuring dedicated maps and escalating rewards, which should keep the replay value high for those who enjoy holding the line against endless alien waves.

For anyone who played the original Aliens: Fireteam Elite, this sequel builds on that foundation. The first game followed Colonial Marines aboard the USS Endeavor as they were sent to LV-895 to deal with a Xenomorph infestation.

It grew steadily after launch with updates, new content, and even a Nintendo Switch version. So far, there’s no word on whether the sequel will land on a next-gen Nintendo system, but PC, PS5, and Xbox Series X|S are confirmed.

The trailer may only offer quick glimpses, but it’s enough to get fans fired up. Between the expanded team size, deeper customization, and the promise of bigger battles, this sequel looks like it’s aiming to deliver a more intense Aliens experience.

Aliens: Fireteam Elite 2 is set to drop sometime in Summer 2026. No exact date yet, but if this first look is anything to go by, it’ll be worth the wait.

There’s already a ton of conversation swirling around The Odyssey months before it hits theaters, and now Christopher Nolan is stepping in to address a couple of the internet’s favorite debate topics surrounding the movie.

The Oscar-winning filmmaker is taking on Homer’s legendary tale with a gigantic $250 million sword-and-sandals epic that sounds unlike anything studios regularly gamble on anymore.

The movie stars Matt Damon as Odysseus, the Greek king fighting his way home through impossible odds after the Trojan War. Along the way, he’s trying to reunite with his wife Penelope, played by Anne Hathaway.

The cast is massive, featuring Tom Holland as Telemachus, Robert Pattinson as Antinous, Lupita Nyong’o as Helen of Troy, Zendaya as Athena, Charlize Theron as Calypso, Jon Bernthal as Menelaus, and Benny Safdie as Agamemnon.

The film also marks the first time Nolan has shot an entire movie using 70 mm IMAX cameras, which makes this feel like one of the biggest cinematic swings of his career.

But as early footage made their way online, fans immediately started picking apart the armor designs worn by some of the warriors. A lot of people compared the darker metallic look to Batman armor, questioning whether Nolan was drifting too far from historical authenticity.

Speaking with Time, Nolan explained there’s actual historical thinking behind the design choices:

“There are Mycenaean daggers that are blackened bronze. The theory is they probably could have blackened bronze in those days. You take bronze, you add more gold and silver to it and then use sulfur…

“With Agamemnon, Ellen [Mirojnick], our costume designer, is trying to communicate how elevated he is relative to everyone else. You do that through materials that would be very expensive.”

That same attention to detail apparently extends across the entire production. Nolan compared researching the ancient world for The Odyssey to the scientific deep dives he did while making Interstellar.

“For ‘Interstellar,’ you’re looking at, ‘What is the best speculation of the future?’ When you’re looking at the ancient past, it’s actually the same thing,” Nolan said. “‘What is the best speculation and how can I use that to create a world?’”

He also addressed one of the more unexpected casting choices in the film, rapper Travis Scott, whose appearance in the trailer definitely caught audiences off guard.

Scott is reportedly playing a bard, and Nolan actually had a pretty fascinating reason for bringing him into the project:

“I cast him because I wanted to nod towards the idea that this story has been handed down as oral poetry, which is analogous to rap.”

Honestly, that feels very on-brand for Nolan. Even when audiences argue over his choices, there’s usually a very specific train of thought guiding everything.

Nolan knows not everyone is going to agree with every creative decision he makes, but he also made it clear he isn’t throwing ideas into the movie randomly just to stir conversation.

“Hopefully they’ll enjoy the film, even if they don’t agree with everything. We had a lot of scientists complain about ‘Interstellar.’ But you just don’t want people to think that you took it on frivolously.”

Regardless, The Odyssey is the kind of massive theatrical event that people are going to flock to theaters to see.

Breaking Bad actor Aaron Paul has joined the cast of Fallout Season 3 at Amazon Prime Video. Details about his role are being kept under wraps, while Annabel O’Hagan and Dave Register have been promoted to series regulars on the sci-fi drama.

The casting marks a reunion between Paul and executive producers Jonathan Nolan and Lisa Joy, who cast the actor in the final season of their hit HBO show Westworld.

Created by Graham Wagner and Geneva Robertson-Dworet, Fallout is based on the post-apocalyptic video game franchise of the same name. It stars Ella Purnell, Aaron Moten, Kyle MacLachlan, Moisés Arias, Xelia Mendes-Jones, Walton Goggins and Frances Turner.

Fallout takes place 200 years after a nuclear holocaust, when sheltered vault dwellers are forced to return to the violent and bizarre wasteland their ancestors left behind.

The first two seasons of the series rank among the most-watched seasons of television on Amazon Prime Video.

via: Variety

Cameras are officially rolling on A Quiet Place: Part III, and we’ve got our first tease from the set along with a glimpse at Jack O'Connell stepping into this terrifying universe. The new sequel is shifting locations in a big way, and it looks like the franchise is heading straight into the chaos of New York City.

John Krasinski confirmed production has begun, sharing a photo of the film’s slate set up in front of the Manhattan Bridge Arch and Colonnade in Chinatown. After spending the first two films in quieter, rural parts of New York, this story is diving headfirst into a much more dangerous environment.

Then there’s the first look at O’Connell, who appears to be playing a member of the U.S. National Guard, which raises a lot of questions about how organized forces are operating now that humanity has figured out at least one way to fight back.

If you’ve been following the series, you know the timeline already brushed against New York in A Quiet Place: Day One. That film shifted away from the Abbott family and followed new survivors played by Lupita Nyong'o and Joseph Quinn, showing the immediate fallout of the alien invasion.

But that was the beginning. This new film takes place much later, which means the city we’re returning to could be drastically different… and probably way more dangerous.

The core cast is back, including Emily Blunt as Evelyn Abbott, Millicent Simmonds as Regan, Noah Jupe as Marcus, and Cillian Murphy as Emmett. They’ll be joined by some strong new additions like O’Connell, Jason Clarke, and Katy O'Brian.

A Quiet Place exists in a brutal post-apocalyptic world where blind alien creatures hunt purely by sound. Staying alive means staying silent, and even the smallest mistake can be deadly.

The second film ended with a pretty major development. The survivors discovered a signal that can weaken the creatures, essentially turning the tide in humanity’s favor. That breakthrough is clearly going to play a huge role moving forward, and Krasinski has already teased how that idea expands the scope of the story.

"I'm really excited about the third instalment because it's going to do something that we haven't done before. The ending of the last shot is, now that the world knows about [the signal that the creatures are vulnerable to], what will the world do with this answer, or with this weapon?"

"Will they be responsible with it, or will they not be responsible with it?" he added.

The concept opens the door for something bigger than just survival. Now it’s about how humanity reacts when it finally has a fighting chance.

There’s still no word on whether Krasinski will appear on screen again after his character’s fate in the first film, though he did show up in flashbacks in Part II. Either way, he’s back writing and directing after handing Day One over to Michael Sarnoski.

With the story moving into New York City and expanding its scope, A Quiet Place: Part III feels like it could be the biggest chapter yet.

The film is currently set to hit theaters on July 30, 2027.

First look at Jack O’Connell on the set of John Krasinski’s ‘A QUIET PLACE 3’. 📷 https://t.co/QAZkj14dOi

— Film Crave (@_filmcrave) May 11, 2026

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A post shared by John Krasinski (@johnkrasinski)

The world of The Boys is about to dig deeper into its twisted history with the upcoming prequel Vought Rising, and one character already stirring conversation is Stormfront.

With Aya Cash set to return as the electrifying and deeply disturbing Supe, fans have been wondering how the series might handle her past. According to creator Eric Kripke, there’s one thing viewers shouldn’t worry about: the show isn’t about to rewrite who she is.

Kripke addressed the concern head-on, saying that the prequel won’t attempt to humanize Stormfront in a way that excuses her ideology. “In no way will I ever ask the audience to sympathize with Stormfront. She’s a Nazi, and she sucks,” he explained to ScreenRant.

That doesn’t mean Vought Rising won’t explore her past. The show is set in the 1950s and will dive into the early days of Vought, including Stormfront’s original identity as Clara Vought, also known as Liberty. But Kripke is aiming for context, not redemption. The series will expand on her story while still keeping her firmly planted as one of the franchise’s most vile characters.

There’s also a major focus on Soldier Boy, played by Jensen Ackles, and his connection to Stormfront. Kripke teased that their relationship goes deeper than previously hinted. “Soldier Boy? I think, if it’s teasing anything, it’s teasing that he really had feelings for Clara more than he had originally let on, and that you’ll see a lot of that play out in Vought Rising. You’ll understand a little bit more of what Soldier Boy and Bombsight’s relationship is, and why they resent each other, in Vought Rising.”

So, it sounds like we’re getting a messy, complicated dynamic without losing sight of who these characters really are.

Another big takeaway is that Vought Rising isn’t being built solely for longtime fans. Kripke emphasized that the show is designed to stand on its own, even for people who haven’t watched The Boys.

“But we always try to hit the right balance, where it provides a little bit of context and some good Easter eggs. But by no means do you have to watch The Boys to enjoy Vought Rising. In fact, we just had some audience testing with some people who had never seen The Boys, and they liked Vought Rising on its own. So, that is for sure the goal.”

Stormfront first showed up in Season 2 of The Boys as a powerful Supe with lightning-based abilities and a horrifying secret. Her relationship with Homelander, played by Antony Starr, eventually exposed her true identity as the wife of Frederick Vought and a longtime white supremacist operating under different aliases across decades.

Now, Vought Rising is set to rewind the clock and explore how characters like Stormfront and Soldier Boy became who they are. Ackles recently talked about stepping back into the role, but from a very different place in the character’s life.

“It was exciting, and it was a little bit more challenging because I felt like I’d gotten to know modern day Soldier Boy pretty well and had him kind of dialed in,” he explained.

“And then it kind of stripped a lot of that away to tell the story of how he was back then, before a lot of the shit had happened. But also, while that stuff is happening when we see him in The Boys, this is the past of all of that stuff, and it’s how that kind of shaped his life and shaped who he was and his ideology of himself and of the world.”

Ackles went on to explain how the prequel digs into the emotional groundwork that shaped Soldier Boy into the man fans met in The Boys.

“But you kind of have to strip all that away because he’s now going through it, so it’s the heartache and the breakup and the experience that he’s having in V Rising that we then understand why he became who he became.

“So, it was a little bit different. It was a little trickier to get some footing in that character but Paul Grellong, who ran the show, did an incredible job of writing these characters out, these storylines, and you’ll definitely see the modern day Soldier Boy, he’s in there. But you kind of get the sense of seeing why certain elements of his personality took over more.”

Between Kripke’s clear stance on Stormfront and the deeper character work promised for Soldier Boy, Vought Rising is sure to be a wild ride through Vought’s dark past. It’s not about softening villains or rewriting history. It’s about showing how messed up this world has always been.

Meanwhile, The Boys is heading toward its endgame. The penultimate episode drops next Wednesday, with the series finale hitting 4DX theaters on May 19 before landing on Prime Video the following day.

The legendary creative mind behind Akira is stepping back into the spotlight, and this time he’s not just bringing a new project with him, he’s building something bigger.

After more than a decade of relative quiet, Katsuhiro Otomo is launching a brand-new anime studio and gearing up for what could be one of the most exciting creative comebacks in the industry.

Otomo’s influence on anime and manga isn’t something that needs much introduction. He started out as a mangaka before creating Akira, a groundbreaking series that reshaped the medium.

When he later directed and wrote the anime film adaptation, it cemented his reputation as one of the most important creators in animation history. Even now, Akira is still held up as one of the greatest anime films ever made.

But after his work on the opening short for Short Peace over a decade ago, things went quiet. Fans held onto updates about his original anime film Orbital Era, which was announced back in 2019, but news on the project faded and it seemed to drift into uncertainty.

But now. Otomo has officially launched a new anime studio called Oval Gear. The reveal came through a newly opened X account and an official website, both teasing that a new animation project from the director will be announced soon.

The studio’s branding even features the central character from Orbital Era, which has fans connecting the dots and hoping this long-awaited film is finally moving forward under Otomo’s direct control.

According to a press release, the studio "was established with the aim of passing on the visual expression and artistic style that Katsuhiro Otomo has cultivated over many years to the next generation, and to disseminate new animation works to the world.

“Production of a new title is already underway at the studio. Further details about the project will be announced as soon as they are ready."

Oval Gear is already opening its doors to new and experienced creators alike, with job listings for production staff and freelancers. For anyone looking to break into anime or level up their career, working under Otomo could be an amazing opportunity.

As for what’s coming first, all signs point to Orbital Era. While nothing has been officially confirmed yet, the connection between the studio’s imagery and the project feels intentional. If that’s the case, this film will likely set the tone for everything Oval Gear represents moving forward.

Also, with Otomo now running his own studio, the long-discussed Akira anime remake might finally have a real path to becoming a reality.

Whether it’s Orbital Era, a return to Akira, or something completely unexpected, Katsuhiro Otomo isn’t just coming back to create, he’s building a legacy that extends beyond his own work.

2026年5月設立「OVAL GEAR animation studio」公式アカウントを開設いたしました。
大友克洋監督新作アニメーション作品の制作情報をお届けします。 pic.twitter.com/8XjYlocN1D

— OVAL GEAR animation studio (@OVAL_GEAR) May 11, 2026

Sinqua Walls (Friday Night Lights, Fight Night: The Million Dollar Heist, The Blackening) is the latest actor to join Man of Tomorrow, the Superman sequel filming in Atlanta. His character details are being kept tightly under wraps. DC Studios had no comment on his casting.

Man of Tomorrow is writer-director James Gunn’s follow-up to last year’s blockbuster Superman. David Corenswet returns as Superman in the sequel, while Nicholas Hoult is back as Lex Luthor, with the enemies teaming up to take on the threat of Brainiac (Lars Eidinger).

Adria Arjona is joining the franchise, while Lanterns star Aaron Pierre is on the call sheet, along with returning cast members Rachel Brosnahan (Lois Lane), Skyler Gisondo (Jimmy Olsen), Sara Sampaio (Eve Teschmacher), Isabela Merced (Hawkgirl), Nathan Fillion (Guy Gardner) and Edi Gathegi (Mister Terrific).

The film has a release date of July 9, 2027, and follows 2026 DC titles Supergirl and Clayface, as well as the TV series Lanterns, due out later this year.

via: THR

Marvel fans already expect a bit of controlled chaos when it comes to their big movies, but this latest insight into Avengers: Doomsday takes things to another level.

Ebon Moss-Bachrach, who plays The Thing in the MCU’s Fantastic Four: First Steps, recently opened up about his experience working on Avengers: Doomsday, and it sounds like even the cast was trying to piece together what exactly was going on.

Speaking on the Happy Sad Confused podcast, Moss-Bachrach compared the production of Doomsday to his time on Fantastic Four: First Steps, and the difference couldn’t have been clearer.

"Doomsday was different in that it's a bigger movie with more moving parts, and I think it was more compartmentalized, whereas Fantastic Four: First Steps, we were there like every every day, every day, having a sense of the thing," he explained.

That sense of cohesion apparently didn’t carry over to the crossover event. Instead, the actor described a production that leaned heavily into its cosmic scale, sometimes at the expense of clarity.

"These movies are so interstellar and so galactic and conceptual. So, it's very hard sometimes to understand what's going on in the story. And Doomsday was a little bit harder for me to hold all the parts.

“And, I mean, I knew where I was, I knew which planets, which universe I was in. But how it was connecting to other universes, I would have to go back to, like, 'Joe [Russo] can you just, I know you've talked me through, can you just tell me one more time?'"

Multiple universes, shifting locations, and even the actors needing refreshers from Joe Russo definitely suggest a story that’s going to be all over the place.

But here’s the part that really raises eyebrows. When asked if he had seen a complete script, Moss-Bachrach said: "Yeah, I did read a full script, but those scripts change quite a bit. You know what? Probably not, it probably didn't have a full, like, third act. I don't think it had an ending. I don't think anyone gets to see that stuff."

No ending. It’s crazy that Marvel is still making movies this way. The first thing I was taught in Screenwriting 101 is to lnow your ending before you even start writing the script so you know what you are working toward, so everything builds toward something cohesive.

Yet here’s Marvel, still spending hundreds of millions of dollars operating in a way that feels more like assembling a puzzle while it’s already being filmed.

Moss-Bachrach also shared what it was like working alongside Robert Downey Jr., who returns to the MCU as Doctor Doom.

"Yeah, oh yeah," he confirmed when asked if he saw Downey Jr. in action, calling the experience "great," before adding: "What a wonderful man. Like, what a great set leader he was.

“He's been doing this for a long time and he was so generous and really, like, checking in, making sure everyone was good. Really good coach energy there... I would look around the room and it'd be like, 'There's Ian McKellan, and there's Channing Tatum,' it's a lot."

From what we’ve seen in early footage, The Thing makes his way to Wakanda, offering a little tease at just how far this story will stretch across the MCU.

Whether Marvel sticks the landing or not is still a big question, but if you’re into sprawling multiverse madness and huge character crossovers, this movie sounds like it’s going all in.

Avengers: Doomsday hits theaters on December 18.

Fans finally got an update on the long-awaited live-action Voltron movie, but it came with a pretty frustrating catch. Amazon MGM Studios confirmed during its Amazon Upfront presentation that the massive sci-fi adventure won’t be hitting theaters and will instead debut directly on streaming through Prime Video or MGM+.

That’s a rough blow for a project like this. This is Voltron! We’re talking about giant robotic lions combining into an enormous universe-saving mech during an intergalactic war.

This is exactly the kind of movie designed for the big screen, thunderous sound systems, and packed theater crowds losing their minds. Finding out it’s skipping theaters honestly drains a lot of the excitement out of the experience.

A movie with this kind of scale should feel like an event. Instead, fans will be watching it from their couch while scrolling through their social media feeds on their phone. It’s so stupid that this movie is not being released in theaters!

Amazon also unveiled the film’s official logo.

The movie stars Henry Cavill, who continues adding major geek franchises to his résumé after projects like Man of Steel and the upcoming Highlander reboot. The cast also includes Daniel Quinn-Toye, Sterling K. Brown, Rita Ora, John Harlan Kim, Alba Baptista, Samson Kayo, Tharanya Tharan, Laura Gordon, Tim Griffin, and Nathan Jones.

Story details are mostly being kept secret for now, though director Rawson Marshall Thurber previously shared some insight into the creative direction during VoltCon in Indianapolis back in 2024. He said:

“I want to make sure that we stay true to the heart and the spirit of Voltron. In this film, we’re going to be introducing an entirely new generation of pilots. We’ve reimagined Voltron for the live-action world, but we’re going to stay true to…those iconic elements that you love, that I love.”

The challenge now is making sure the movie delivers the kind of spectacle fans have imagined for decades, even if it’s debuting on streaming.

For anyone unfamiliar with the franchise’s origins, Voltron was adapted from the Japanese series Beast King GoLion and Kikou Kantai Dairugger XV before becoming Voltron: Defender of the Universe in the mid-1980s. The property later made a successful comeback with Netflix’s animated series Voltron: Legendary Defender in 2016.

In the story, "Five unsuspecting teenagers, transported from Earth into the middle of a sprawling intergalactic war, become pilots for five robotic lions in the battle to protect the universe from evil. Only through the true power of teamwork can they unite to form the mighty warrior known as Voltron."

Thurber is directing the adaptation and also co-wrote the script with Ellen Shanman. The filmmaker previously directed Red Notice, Dodgeball: A True Underdog Story, We’re the Millers, Central Intelligence, and Skyscraper.

Hopefully the movie turns out awesome. But there’s no getting around the fact that seeing Voltron soar into battle deserved a theatrical release. Some movies are built for the biggest screen possible, and this feels like one of them.

First logo for ‘VOLTRON,’ starring Henry Cavill. pic.twitter.com/Nyrcwp4RIX

— Nexus Point News (@NexusPointNews) May 11, 2026

It’s been a long stretch since Star Wars fans packed into theaters for a new saga chapter. The last time was Star Wars: The Rise of Skywalker, and that feels like a different era at this point.

Now, after seven years, the franchise is finally heading back to the big screen with The Mandalorian and Grogu, a project that feels both familiar and surprisingly fresh.

At the center of it all is Jon Favreau, the filmmaker who helped launch Disney+ into hyperspace with The Mandalorian. Now he’s steering these characters into theaters, which is really cool, even if the reasoning behind it isn’t entirely clear-cut.

When asked why Din Djarin and Grogu were chosen to lead Star Wars back to cinemas, Favreau admitted even he doesn’t have a definitive answer:

"I'm not sure what, exactly, why we were asked to do this," Favreau told GamesRadar+. "I suspect it was because these are characters that people, even who hadn't seen Star Wars, may be aware of, especially Grogu. Baby Yoda was everywhere.

“And these are two characters that were used to launch Disney+, and we made no assumptions when the Mandalorian TV show came on that anybody had seen any Star Wars before. But we also wanted to make it feel authentic to Star Wars, and so the world that we created as the backdrop and the way the characters present themselves were embraced by Star Wars fans, which I really appreciate.

“But it also was an inroad for people who may not have ever watched Star Wars on television, and here we are now, seven years after the last film. I think there's an opportunity to present Star Wars to a new audience using these characters as well."

As you know, Grogu became a global pop culture icon almost overnight, and Din Djarin gave longtime fans something that felt rooted in classic Star Wars storytelling while still being easy for newcomers to jump into. This movie looks like it’s doubling down on that balance.

Favreau is no stranger to launching massive franchises. He kicked off the Marvel Cinematic Universe with Iron Man, and now he’s in a similar position with Star Wars. But instead of getting overwhelmed by expectations, he’s focusing on something more grounded.

"I felt definitely responsibility, but more so to tell as good of a story as I could," he reflects. "I find that, as a Star Wars fan myself, and across multiple genres that have strong fan bases, they really are invested in the story being good, and they want a great experience.

“And if you could deliver that to them, they reward you, but they want to make sure that you care as much as they do. And so, we put all of our effort into really anticipating what people would see, what we're implying through – because, especially with a story like this, where you're trying to tell a complete story that plays well to a group that this may be their first Star Wars experience, though Star Wars fans are very perceptive, and so you can be very subtle in the messages that you send.

"And, part of the Star Wars community is that they communicate among one another. There's a lot of speculation. There's a lot of filling in the blanks for one another," he continues.

"So, you don't have to lay everything out deliberately in a way that's overly [obvious], you don't have to define everything to the level of specificity that you might in another environment. But here, if you lay the clues, sometimes it's things that relate to the story, sometimes it's references to other things that came before, sometimes it's even techniques that we use in the filmmaking.

“All of it is a way for us to show the community that we share that same passion, and we're doing the things that we enjoy. And I find when we do things that we enjoy, like engaging with Phil Tippett for stop motion animation or John Goodson for miniature work, we're doing that because we're excited by it, it's fun for us, and I think the story that surrounds the making of it is as much a part of the story as what you see on the screen."

Favreau isn’t just thinking about what shows up on screen, he’s thinking about how it’s made and how fans connect with that process. Practical effects, classic techniques, and deep-cut references all play into how this world feels alive.

With The Mandalorian and Grogu hitting theaters on May 22, this isn’t just another Star Wars release. It’s a reset of sorts. A chance to remind longtime fans why they fell in love with the galaxy far, far away, while opening the door for a whole new crowd to step in for the first time.

If Favreau is right, Din Djarin and Grogu might be the perfect guides for that journey.

Ben Kingsley (The Thursday Murder Club, Wonder Man), Max Minghella (The Handmaid’s Tale, The Social Network) and Pekka Strang (Mister 8, Dogs Don’t Wear Pants) are rounding out the cast of HBO‘s The White Lotus for Season 4. Details regarding the season and their recurring roles are under wraps.

The fourth season of the Mike White-created series will follow a new group of White Lotus hotel guests and employees over the span of a week, taking place during the Cannes Film Festival. Shooting is currently underway in France.

The Season 4 ensemble cast also includes Vincent Cassel, Steve Coogan, Laura Dern, Caleb Jonte Edwards, Dylan Ennis, Corentin Fila, Ari Graynor, Marissa Long, Alexander Ludwig, Chris Messina, AJ Michalka, Kumail Nanjiani and Nadia Tereszkiewicz. Additional cast includes Chloe Bennet, Sandra Bernhard, Heather Graham, Max Greenfield, Frida Gustavsson, Charlie Hall, Jarrad Paul, Rosie Perez, Ben Schnetzer and Laura Smet.

via: Deadline

When Star Wars: Maul – Shadow Lord finally brings Darth Vader and Darth Maul into direct conflict, it doesn’t play out like a traditional showdown. This isn’t framed as a clash between equals. It’s something much more one-sided, and that’s what makes it so compelling.

From the moment Vader steps into the story, the series makes it clear that Maul is dealing with something far beyond his level. And that’s not just about raw strength. It’s about what each of them represents in the larger Sith hierarchy.

Dave Filoni lays it out in a way that cuts right to the core of the dynamic between the two:

“The challenge with using Darth Vader here is to show Maul the horror of what you can become when you have power and evil come together in a more perfected version than what Maul is, which is a broken, scrambling version of evil.”

Filoni notes there’s no question in his mind that Vader will always be able to best Maul. “Vader is better, more powerful, more destructive, more of a weapon for the Emperor, which is a problem.”

That idea of Vader being the “perfected version” is what really separates these two. Maul has always been dangerous, but he’s also unstable.

His journey has been defined by survival, revenge, and trying to rebuild himself after being cast aside. There’s a desperation to him that never fully goes away. Even when he’s in control, it feels temporary.

Vader, on the other hand, doesn’t carry that same instability. He’s been reshaped into something more focused, more efficient, and far more lethal. Where Maul improvises and adapts, Vader executes. Every move feels like it’s already been calculated.

That difference shows up in how they function as tools of the Emperor. Maul was once an apprentice, but he became expendable.

Vader is something else entirely. He’s the finished product, a weapon designed to enforce control without hesitation. There’s no scrambling for power, no need to prove anything. He simply is the power in the room.

The show leans into that contrast in a way that feels almost cruel for Maul. After everything he’s been through, after building his own syndicate and carving out a place in the galaxy, he’s suddenly face-to-face with the reality that none of it really matters against someone like Vader. It reframes Maul’s entire arc in a single encounter.

What makes it hit even harder is how this affects the people around him. Matthew Michnovetz touches on the larger thematic collision happening in that moment:

“Vader is a force of nature, but their destinies are entwined. This is the moment that those clash of civilizations come into contact. The tragedy of it all is that, at the end of the day, Maul has to be left undone. We watch him build his little empire, his syndicate, and then he's left with the consequences.”

That word “undone” says everything. Maul isn’t just losing a fight. He’s being stripped back to what he really is in the presence of someone who has surpassed him in every possible way.

Even on a thematic level, the contrast couldn’t be sharper. Maul represents chaos, a fractured version of Sith ambition that never fully stabilizes. Vader represents order within that same darkness, a refined and controlled expression of power that’s far more dangerous because of its precision.

That’s why this encounter works so well. It isn’t about who wins. That question is already answered before the fight even begins. It’s about what the fight reveals.

By putting these two face-to-face, Shadow Lord highlights the gap between potential and completion, between someone still clawing for relevance and someone who has already become exactly what the Sith were meant to create.

Maul might be the central figure of the series, but when Vader enters the picture, it becomes obvious that he’s operating in a completely different league. And that realization hits harder than any lightsaber strike.

Source: StarWars

Marvel Studios’ The Punisher: One Last Kill will be released on Disney+ this week, and the first reactions are already rolling in. Fans have been waiting to see Jon Bernthal step back into Frank Castle’s boots again, and while critics seem divided on the story itself, almost everyone agrees that the action goes hard.

The new Marvel special picks up after the events of Daredevil: Born Again and finds Frank Castle trying to leave his violent past behind. Of course, that peace doesn’t last long.

A rising criminal empire drags him back into the chaos, forcing Castle to confront the rage and trauma that have always defined the character.

A lot of the early praise centers on the brutal combat and Bernthal’s performance, with several reactions describing the special as intense, emotional, and unapologetically violent.

Some critics even compared the project to Gareth Evans’ legendary action film The Raid, which is about as high a compliment as you can give an action-heavy Punisher story.

Film critic Cody Leach had mixed feelings about the special, praising the violence and Bernthal while questioning why Marvel revisited familiar territory. He wrote:

"#ThePunisherOneLastKill delivers on Frank Castle laying waste to bad guys and Bernthal is awesome as always. That said, I don’t understand the point of this as a 45 min standalone. We re-explore his origin and set him up to now be in full Punisher mode. We’ve done this already…"

Others were much more enthusiastic. Comic Book Movie’s Josh Wilding fully embraced what the special was trying to do, comparing it directly to one of the greatest modern action movies ever made:

"A relentless, no-holds-barred exploration of grief and PTSD, and an ultra-violent pitch-perfect take on #ThePunisher. This is @jonnybernthal's magnum opus as Frank Castle. Marvel meets The Raid."

Collider’s Maggie Lovitt also leaned positive on the special and appreciated how much emotional weight Bernthal and director Reinaldo Marcus Green brought to Frank Castle’s latest chapter:

"The special is a heavy, introspective look at where Frank's head is as of late – and while it does retread some narrative beats that the Netflix run handled well, what Jon and Reinaldo Marcus Green have done here is really special.

“Bernthal's Frank Castle has always been more emotional, and seeing him process big emotions while also fighting for his life is always a good time."

One thing that keeps popping up in reactions is how closely the project captures the feel of the comics. Several viewers described The Punisher: One Last Kill as feeling like a Punisher comic brought straight to the screen, especially with its stripped-down story, brutal hallway-style fights, and Frank Castle operating in full war mode.

The special stars Bernthal alongside Jason R. Moore, who reprises his role as Curtis Hoyle. Green directed the project and also co-wrote it with Bernthal, giving the actor even more creative control over the version of Frank Castle fans have connected with since the Netflix era.

Marvel reportedly drew inspiration from The Punisher: Welcome Back, Frank by Garth Ennis, Steve Dillon, and Jimmy Palmiotti, which makes a lot of sense considering the tone people are describing.

Bernthal previously teased that the special would deliver “a visceral, psychologically complex, unforgiving, no-holds-barred version of Frank.”

From the sound of these reactions, that’s exactly what audiences are getting. Even with complaints about revisiting old emotional ground, it seems like Marvel may have delivered one of its rawest street-level projects yet.

If nothing else, fans of Frank Castle finally get to see Bernthal unleashed again, and apparently he doesn’t hold back.

#ThePunisherOneLastKill is way too familiar with its subject matter, but makes up for it with solid action and cool cinematography.

It fails to leave a mark, but it is enjoyable enough, especially seeing Jon Bernthal as Punisher again.

Full review coming to @Feature_First pic.twitter.com/DX1IvRUe7x

— zgub (@zgub6) May 12, 2026

#ThePunisherOneLastKill is an emotional ticking time bomb that slowly builds before erupting into a Raw, Brutal, Explosive finale

If you love Bernthal’s Punisher, you’re going to LOVE this. The action is raw, vicious & gives the feeling of watching a
Punisher comic come to life pic.twitter.com/BgdPIY82FG

— Zach Pope (@popetheking) May 12, 2026

Punisher: One Last Kill absolutely delivers.

This feels less like we’re watching Frank Castle from the outside and more like we’re trapped inside his head, the war, the trauma, the rage, and the violence all closing in around him.

Jon Bernthal is once again incredible as Frank! pic.twitter.com/pmqTTIKb1P

— Joseph Deckelmeier (@joedeckelmeier) May 12, 2026

The Punisher: One Last Kill is basically 20 mins of Frank continuing to mope about his family, and 20 mins of him brutally murdering people. I guess that IS what a lot of fans of the character want to see, but I was hoping for a little more meat on the bone. Bernthal is as great… pic.twitter.com/fcgHEIhk26

— Mark Cassidy (@RorMachine) May 12, 2026

The Punisher: One Last Kill is endless, high-octane action. Brutally metal.

Jon Bernthal drops his best Frank Castle performance.

It would’ve been better at feature-length, as it zips through great mental health themes, a new villain, and an unclear time in MCU/Punisher’s life. pic.twitter.com/kakQwvC6u3

— Brandon Davis (@BrandonDavisBD) May 12, 2026

WOW!

Jon Bernthal is at his best version of The Punisher yet! One Last Kill is BLOODY and BROODING, yet vulnerable and hopeful! The action sequences are TERRIFIC, with long takes, tons of guns, street fighting, and it's SOAKED in blood! I WANT MORE! #ThePunisherOneLastKill pic.twitter.com/7jSaCXxK5k

— Leo Rydel (@GeeklyGoods) May 12, 2026

THE PUNISHER: ONE LAST KILL gives you more of what you expect from Frank Castle.

A reminder of his haunted past and humanity, followed by ruthless violence. Handheld, gritty action with Jon Bernthal delivering more fantastic work physically and emotionally.

It f**king RIPS. pic.twitter.com/ZpkKgWATeg

— Jonathan Sim (@TheJonathanSim) May 12, 2026

#PunisherOneLastKill is the blood soaked violent rage rush I was hoping it would be. This is NOT a tamed version to the of the Punisher. Bernthal delivers a strong performance. This special works as a great refresher to Frank Castle while also launching off a promising future. pic.twitter.com/bMWDg950A9

— Cris Parker (@3CFilmss) May 12, 2026

THE PUNISHER: ONE LAST KILL is GRUESOME and BRUTAL in classic Frank Castle fashion. It starts as an intriguing character study and turns into a bloody kill-fest that OG fans will enjoy. Jon Bernthal puts in the work, from the soft to the action-packed sequences. #ThePunisher pic.twitter.com/nj5PEtnFuP

— Christopher Gallardo (@chrisagwrites) May 12, 2026

The cyberpunk legend is coming back in a big way. Fans of Ghost in the Shell finally have a date to lock in, and it isn’t far off. The new anime series is set to premiere on July 7, bringing a fresh take on the iconic sci-fi world with high-energy action and a modern edge that still respects what made the franchise a classic.

A new trailer gives a glimpse of what’s ahead, and it leans hard into the series’ signature blend of philosophy, technology, and explosive combat. It’s looks pretty awesome!

The footage teases intense sequences and a sleek visual style, while setting the tone for what’s being described as a “new era of cyberpunk action.” It definitely feels like the franchise is leveling up while staying true to its roots.

The trailer narration sets the stage with a familiar but chilling vision of the future: "In near-future Japan, where the world has become highly information-intensive, with a vast corporate network covering the planet, electrons and light pulsing through it, but the nation-state and ethnic groups still survive… The offensive unit led by the full-body cyborg Motoko Kusanagi."

Animation duties are handled by Science Saru, the studio behind projects like Dandadan, Scott Pilgrim Takes Off, and Star Wars: Visions. The studio has a track record for dynamic animation and unique storytelling, which could be exactly what Ghost in the Shell needs to stand out again in today’s crowded anime landscape.

Ghost in the Shell began as a manga in 1989 and has since grown into one of the most influential sci-fi properties out there. The 1995 anime film is still widely regarded as a landmark in animation, while the 2017 live-action adaptation starring Scarlett Johansson sparked a more divided response. Even so, the series has never really faded from relevance.

The story is set in the mid-21st century in the fictional city of Niihama, where cybernetic enhancements and digital networks are part of everyday life.

At the center is Section 9, a counter-terrorism unit dealing with cybercrime and complex threats. One of the most compelling elements of the franchise has always been the hunt for the Puppet Master, a mysterious hacker that challenges Kusanagi on both a physical and philosophical level.

With its mix of legacy and fresh creative energy, this new chapter of Ghost in the Shell has a real shot at pulling in both hardcore fans and newcomers.

The series will stream on Prime Video when it premieres this summer.

The first trailer has been released for the acclaimed indie thriller The Rivals of Amziah King, from director Andrew Patterson (The Vast of Night), and screenwriter James Montague, who co-wrote the film with Patterson. Academy Award winner Matthew McConaughey (The Dallas Buyers Club) stars in the film, with Angelina LookingGlass, Kurt Russell, Cole Sprouse, Owen Teague, Scott Shepherd, and Tony Revolori.

The film’s synopsis reads: “Deep within the backwoods of rural Oklahoma, charismatic and musically gifted Amziah King (starring Matthew McConaughey) herds a bluegrass-playing band of misfits while overseeing the premier honey-making operation in town.

“When Amziah’s estranged foster daughter Kateri (with newcomer Angelina LookingGlass) unexpectedly returns, Amziah leaps at the possibility to renew the connection and create a family business. But the honey game is ruthless, and Amziah's rivals threaten to destroy everything he has built.”

The film first premiered at the 2025 SXSW Film Festival to rave reviews. This looks like a good story and another solid performance from McConaughey and the ensemble.

The Rivals of Amziah King is set to be released in select US theaters on August 14th. Check out the trailer below:

Marvel Studios is finally digging into its long-awaited X-Men reboot, and the creative team is aiming for something more personal, more emotional, and more in line with what made the mutants resonate in the first place.

The project recently picked up serious momentum when director Jake Schreier brought in some familiar collaborators. He’s teaming with Lee Sung Jin, known for Beef, and Joanna Calo, co-showrunner of The Bear.

These creators lean into character, tension, and messy human relationships, which sounds exactly like what an X-Men story needs.

Even if Thunderbolts didn’t blow up the box office, it connected with critics and audiences in a meaningful way. That film leaned into themes like isolation and mental health, and now that same creative energy is being redirected into the mutant corner of the MCU.

With X-Men already being a globally recognized brand, the foundation is there for something special if they get the core right.

Jin recently opened up about joining the project, saying: "I wasn't planning on doing another Marvel thing because I do have a lot I want to explore in my personal projects.

“But Jake is one of my best friends, and when he comes calling with X-Men...come on, you drop everything for that," he shared. "I grew up waking up every Saturday morning and turning on the cartoon. I watched every single episode."

That love extends beyond the animated series. He’s also pulling heavily from the comics that helped define the X-Men for generations.

"When they came back with X-Men 97, I devoured that. The original Claremont run of the comics is near and dear to my heart."

Chris Claremont’s run on Uncanny X-Men didn’t just tell superhero stories. It built layered characters, complicated relationships, and ongoing emotional arcs that felt closer to serialized drama than traditional comic book storytelling.

That influence is shaping the reboot in a major way. "What I'm excited about with Jake's vision for the X-Men—and [Marvel president Kevin Feige and co-president Lou D’Esposito] are fully aligned with his vision—is that he wants to get back to focusing on the characters first," Jin continued.

"These are amazing characters with very rich backstories full of so much emotion. There are so many intra-team dynamics and relationships.

“There's soapy stuff. And sure, there are political themes baked into the DNA of X-Men too, and those are evergreen, but we want to get back to character-first storytelling. We've been in the lab every day. I've been going into Marvel every day."

That “soapy” element he mentions is actually one of the most defining aspects of classic X-Men storytelling. The friendships, rivalries, romances, and betrayals are just as important as the battles. It’s what made readers invest in characters like Cyclops, Storm, Wolverine, and Nightcrawler beyond their powers.

And it sounds like Marvel Studios is all-in on that approach. Jin emphasized just how collaborative and hands-on the process has been so far.

"We're doing long writing sessions. Kevin and Lou are in there with us. It's me, [co-writer Joanna Calo, who is the showrunner of The Bear], Jake, Kevin, and Lou. We're in the trenches together and it's invigorating," Jin shared.

"We all love these characters. I'm excited, and I think true fans will be excited too. I don't take it for granted. This is the privilege of a lifetime. It's the coolest IP out there, in my opinion."

Having Kevin Feige that involved isn’t surprising, especially considering his history with the franchise. He got his start working on the original 2000 X-Men film, where he pushed for comic accuracy at a time when that wasn’t always a priority. Now he’s in a position to help shape the definitive MCU version from the ground up.

As for what the team might look like, there are still a few possibilities floating around. Some reports suggest a lineup similar to X-Men '97, while others hint at the original “First Class” roster. There’s also the question of whether Marvel introduces a younger team or jumps straight into an established group dynamic.

Either way, the Claremont influence suggests we’ll see a mix of personalities clashing and connecting in ways that go beyond the usual superhero formula.

The film doesn’t have an official release date yet, but it’s rumored to begin production this year with a potential 2028 release.

Ever since The Mandalorian introduced Din Djarin’s strict helmet rule, Star Wars fans have been debating how long Lucasfilm could realistically keep that going.

The franchise had already shown Mandalorians removing their helmets in both Star Wars: The Clone Wars and Star Wars Rebels, so seeing Din treat it like an unforgivable offense immediately stood out.

Eventually, the explanation came into focus. Din belonged to the Children of the Watch, an extremist faction clinging to ancient traditions and rigid rules.

For a while, it looked like the series was building toward Din walking away from that life entirely. In Season 2, he removed his helmet for Grogu in one of the show’s most emotional moments, proving his bond with the little guy mattered more than doctrine.

Then Season 3 hit the brakes on that arc almost immediately by sending Din back to Mandalore for redemption in the Living Waters.

Now, though, The Mandalorian & Grogu appears to be taking things in a much smarter direction.

The reality is that the helmet rule probably existed for more than just storytelling reasons. Lucasfilm cast Pedro Pascal as Din Djarin, and Pascal is one of the busiest actors working today. The role has famously been shared with Lateef Crowder and Brendan Wayne, allowing production to continue even when Pascal wasn’t available.

But a theatrical Star Wars movie is a different beast entirely. Lucasfilm clearly wants Pascal front and center promoting The Mandalorian & Grogu, and recent marketing has made it obvious Din Djarin is going to spend more time unmasked.

That created a pretty major issue for the franchise because fans weren’t exactly eager to watch Din remove his helmet, get judged for it, and then take another dip in the Mines of Mandalore like it’s some kind of galactic car wash.

The old setup had lost its dramatic weight. Mandalore was reclaimed at the end of Season 3, and repeating the same redemption storyline again would’ve felt completely hollow.

Thankfully, a newly released clip from The Mandalorian & Grogu seems to reveal Lucasfilm’s fix, and honestly, it’s a pretty great one.

In the scene, the Hutt twins taunt Din Djarin after forcing his helmet off, telling him he’ll be shamed for it. Din’s response changes everything: “Not if you all die.”

That’s an interesting shift in how the Children of the Watch’s rules apparently work. The implication here is that the issue isn’t simply showing someone your face. The problem is allowing people to live after seeing it.

That adjustment instantly makes unmasked scenes far more intense. If Din takes the helmet off around enemies, the stakes are high because now he has to eliminate every threat in the room. It transforms the rule from a repetitive religious punishment into something far more dangerous and cinematic.

It also fits surprisingly well within Mandalorian culture. The Children of the Watch are rooted in old warrior traditions and conflict-driven ideology, so a brutal loophole like this actually tracks with their worldview.

More importantly, it solves Lucasfilm’s practical problem without damaging the lore. Pedro Pascal can now appear prominently in trailers and major scenes for The Mandalorian & Grogu, Din Djarin can evolve as a character, and audiences don’t have to sit through another recycled “redemption” arc that no longer carries any weight.

New clip from ‘THE MANDALORIAN & GROGU’.

In theaters on May 22. pic.twitter.com/D398UpUGkq

— DiscussingFilm (@DiscussingFilm) May 11, 2026

Amazon is officially heading back to Middle-earth this fall. Prime Video has announced that Season 3 of The Lord of the Rings: The Rings of Power will premiere on November 11, and along with the date reveal came a new image teasing what’s ahead for Sauron.

The photo puts Charlie Vickers’ Dark Lord front and center wearing a crown, and it definitely feels like the series is leaning fully into Sauron’s rise to power after the events of Season 2. If there was ever any doubt that things are about to get darker and more intense in Middle-earth, this image pretty much clears that up.

The upcoming season jumps forward several years after Season 2 and drops viewers right into the escalating conflict between the Elves and Sauron during the Second Age.

According to the synopsis, Season 3 unfolds “at the height of the War of the Elves and Sauron, as the Dark Lord seeks to craft the One Ring that will give him the edge he needs to win the war, bind all peoples to his will – and at last rule all Middle-earth.”

That setup points directly toward one of the most important moments in Tolkien lore, and it sounds like the show is finally moving into the era fans have been waiting to see play out.

Despite the mixed reactions the series has sparked since its debut, Amazon continues to tout The Rings of Power as one of its biggest streaming successes. According to the company, Season 1 still stands as Prime Video’s largest TV launch ever, while Season 2 ranks among its five most-watched returning shows based on 91-day viewership numbers.

Amazon also says the fantasy epic has pulled in more than 185 million viewers globally and remains a major driver for new Prime Video subscriptions.

Amazon MGM Studios is clearly treating the series as one of its crown jewels, and the company made that clear during its upfront presentation in New York City where the announcement was made.

Peter Friedlander, Amazon’s Head of Global Television, shared in a statement: “From the very beginning, this series has embodied the scale, ambition and cinematic storytelling that define Prime Video’s biggest global series.

“The extraordinary response from millions of fans around the world has made it clear that this journey through Middle-earth continues to resonate, and that momentum has only grown heading into Season 3.”

Series creators J.D. Payne and Patrick McKay continue to serve as showrunners and executive producers alongside Lindsey Weber, Justin Doble, Kate Hazell, and director Charlotte Brandstrom.

With Sauron now stepping fully into his role as Middle-earth’s looming nightmare and the One Ring finally entering the picture, Season 3 looks like it could deliver the large-scale war story fans have been waiting for since the series began.

Florence Pugh is to star in and produce the film The Midnight Library, the long-awaited adaptation of Matt Haig’s bestselling novel.

Studiocanal and Blueprint Pictures, who first optioned the book in 2020, have also hired Garth Davis (Lion) to direct the feature, from a screenplay by Olivier-winning Laura Wade (Rivals, The Riot Club) and Olivier and Tony nominee Nick Payne (We Live in Time, The Sense of an Ending).

The film is set to go into pre-production this autumn, with shooting to commence at the start of 2027. Studiocanal is launching worldwide sales at the 2026 Cannes market.

In The Midnight Library, Nora Seed finds herself in a library between life and death with the chance to experience all the potential lives she could have lived. The story serves as allegorical exploration of mental health, focusing on depression, suicide and regret.

First published by Canongate Books in 2020, the novel has sold 15 million copies worldwide and has been translated into 56 languages. The audiobook is read by Oscar-nominated actress Carey Mulligan.

via: Variety

There’s a pretty interesting shift happening in the movie business right now, and it’s got theater chains paying close attention. AMC Entertainment is looking at Netflix in a way we haven’t really seen before, and it all centers on one upcoming fantasy film that could shake things up in a big way.

During a recent earnings call, AMC CEO Adam Aron sounded genuinely fired up about where things are headed. With studios rethinking theatrical windows, new labor agreements in place, and streamers experimenting with big-screen releases, Aron believes the landscape is changing fast.

“The momentum in the industry is palpable,” he said, pointing to a series of recent developments that suggest theaters aren’t going anywhere. What really caught his attention, though, is Netflix committing to a full global theatrical rollout for Narnia: The Magician’s Nephew, directed by Greta Gerwig.

Originally, the film was expected to get a limited IMAX run during Thanksgiving 2026. That plan has now evolved into something much bigger, with a worldwide theatrical release locked in for February 12, 2027, followed by its streaming debut on April 2.

Aron didn’t hold back on how significant he thinks this move is: “The significance cannot be lost by anyone of Netflix’s announcement that in February, 2027, just nine months from now, they will be giving Greta Gerwig’s Narnia: The Magician’s Nephew, a global, theatrical release … This is the biggest opportunity our industry has ever had to embrace Netflix as a theatrical contest provider,” he said.

That’s an interesting statement, especially when you consider how resistant Netflix has historically been to traditional theatrical distribution.

The film itself is based on the 1955 novel by C. S. Lewis, and it’s shaping up to be a major fantasy event. But beyond the movie itself, this is about something bigger. It’s about whether Netflix is finally ready to play ball with theaters on a consistent basis.

According to Aron, this didn’t happen overnight. There’s been what he describes as a “tremendous amount of high-level diplomacy” between AMC and Netflix going back to last fall.

That collaboration has already led to a handful of experimental theatrical events, including screenings tied to Kpop Demon Hunters Singalong, the Stranger Things finale, and episodes of One Piece.

Those events performed well enough to build confidence on both sides. “The success of those three is one reason the streamer is taking a swing with Narnia. I believe … we will find other opportunities to work with Netflix.”

He kept things a little mysterious when it came to what’s next, but the tone was optimistic: “As for ‘what this leads to, I will leave you all to speculate among yourselves’ but the ‘interpersonal dynamic’ is good now and ‘both companies have said publicly and privately that we are looking to do more together.’”

For years, the relationship between theaters and streaming platforms has been tense. But if Narnia delivers at the box office, it could open the door for more Netflix films to get full theatrical runs before hitting the platform.

The would be a win for everyone. Studios get bigger exposure, theaters get more content, and audiences get the choice of how they want to watch.

Now we just have to wait and see if this magical trip into Narnia ends up rewriting the rules of the industry.

Source: Deadline

Action fans, get ready for a stadium-sized thriller. Gerard Butler is gearing up to headline The Nest, a big-budget action movie that drops him into a nightmare scenario at the World Cup, where the stakes couldn’t be higher and the clock never stops ticking.

The film comes from Thunder Road, the production banner behind the John Wick franchise, so you already know the tone is going to lean hard into intense, grounded action.

This time, the story centers on a sniper who suddenly receives a chilling anonymous threat over the radio. From there, everything spirals. He’s forced into a race against time to protect not just his own family, but 70,000 fans packed into one of the biggest sporting events on the planet.

This feels like a throwback to the kind of high-concept action thrillers that audiences enjoy and it’s cool to see something like this making a comeback at a large scale.

The script comes from Aaron Benjamin, who is building a name for himself in the thriller space. His previous work includes The Zone, starring Paula Patton and directed by Wade Eastwood, as well as She Seems Nice, which is currently in development. He also tackled Maverick, a biopic focused on John McCain’s time as a POW, showing he’s comfortable working across both action and character-driven stories.

Black Bear is set to introduce the project to buyers at the Cannes market, where it’s expected to land in the $70-80 million range, putting it firmly in that mid-to-high budget sweet spot for action films that aim to deliver spectacle without going completely overboard.

As for Butler, this kind of role is right in his wheelhouse. He’s spent years proving himself as a reliable action lead with hits like Olympus Has Fallen, Greenland, Den of Thieves, and even starring in the beloved How to Train Your Dragon franchise.

The Nest is currently eyeing a production start in early 2027, with a director still to be announced.

Source: Deadline

A new trailer has dropped for The Champion, and it’s shining a spotlight on a powerful true story that blends sports drama with one of history’s darkest chapters. This Polish film, now getting a fresh VOD push from Well Go USA, tells the story of a boxer who refused to be broken, even inside Auschwitz.

Originally released internationally after premiering in 2020, the film is getting another shot at reaching audiences in the U.S. and it looks like a story worth discovering.

The Champion follows Piotr Witkowski as Tadeusz “Teddy” Pietrzykowski, a pre-war Polish boxing champion who ends up among the first prisoners transported to Auschwitz during World War II. What unfolds isn’t just survival, it’s resistance in its rawest form.

Inside the camp, Teddy is forced to fight in boxing matches staged for Nazi officers. These aren’t just fights for entertainment, they’re life-or-death spectacles. But as he keeps winning, something unexpected happens. His victories begin to ripple through the лагер, lifting spirits and reminding fellow prisoners that their captors aren’t untouchable.

“The incredible true story of the Polish pre-war boxing champion Tadeusz ‘Teddy’ Pietrzykowski, who, early in the Second World War, arrived with the very first transport of prisoners to the newly created Auschwitz-Birkenau concentration camp, where he became known as "The Champion of Auschwitz".

“He became famous for his nearly undefeated strings of victories, igniting hope among fellow prisoners & proving their captors are not invincible.”

The cast also includes Rafał Zawierucha, Marcin Czarnik, and Jan Szydłowski, all helping bring this intense story to life. The film was written and directed by Maciej Barczewski, marking his feature directorial debut before he went on to make Supersiostry.

One thing worth noting, this new trailer is for the English dubbed version. Personally, that version doesn’t quite land as well. The performances feel more authentic in the original Polish with subtitles, which is usually the better way to go for a film like this.

The Champion hits VOD in the U.S. on May 26th, 2026.

Two-time Oscar nominee Felicity Jones (The Theory of Everything, On the Basis of Sex), coming off acclaimed drama Train Dreams, has signed on to play legendary author Agatha Christie alongside César winner Vincent Cassel (Ocean’s 12, La Haine) in the noir mystery-thriller Eleven Missing Days, which Fortitude International will introduce to buyers at this week’s Cannes market.

The movie is based on the true story of the British author’s mysterious disappearance. The synopsis reads: In December 1926, at the height of her fame, Agatha Christie became front-page news when she vanished in bizarre circumstances from her home.

In a case of life imitating art, this whodunnit explores the investigation behind her disappearance, strangely resembling an Agatha Christie novel itself where everyone in her life became a suspect.

Cassel, who will next star in the next installment of The White Lotus, will play a retired Belgian police detective who gets drawn into the case, in an echo of Christie’s most famous sleuth Hercule Poirot.

Christie’s disappearance made national and international headlines. It captured the public’s attention with leading politicians and fellow writers including Arthur Conan Doyle drawn into the search.

Speculation raged over what happened to the author and to this day there remains mystery, with some putting her disappearance down to memory loss as a result of a car crash, and others pointing to the potential of a “fugue” state brought on by trauma or depression.

Bertie Ellwood (Silo) is directing from a screenplay by Ernesto Foronda (Better Luck Tomorrow), based on the book Agatha Christie and the Eleven Missing Days by Christie scholar Jared Cade. Nicole Elizabeth Berger (He’s Watching You) and Oliver Trevena (The Gorge) will also co-star. More casting is expected to be announced soon.

Currently in pre-production, the picture is on course to shoot this summer in the UK.

via: Deadline

The truth is still out there, and now Ryan Coogler is bringing in a seriously great lineup of talent to help uncover it.

Hulu’s upcoming reboot of The X-Files has added a batch of guest stars that includes Amy Madigan, Steve Buscemi, Ben Foster, Devery Jacobs (Reservation Dogs), Lochlyn Munro (Scary Movie), Tantoo Cardinal (Killers of the Flower Moon), Joel D. Montgrad (True Detective: Night Country) and Sofia Grace Clifton (The Muppets Mayhem).

That’s a pretty great collection of actors for a franchise built on strange mysteries, government conspiracies, and nightmare-fuel creatures lurking in the dark.

The new series stars Himesh Patel and Danielle Deadwyler as two highly respected FBI agents who couldn’t be more different from each other. Despite their clashing personalities and approaches, the pair ends up forming an uneasy partnership after being assigned to a long-abandoned division that investigates unexplained phenomena.

Coogler is writing and directing the pilot while also serving as executive producer on the series for Onyx Collective Studio and 20th Television. Original X-Files creator Chris Carter is also onboard as an executive producer.

Jennifer Yale will serve as showrunner and EP, with Sev Ohanian and Zinzi Coogler executive producing under the Proximity Media banner. Simone Harris is attached as co-executive producer, while Proximity Media’s director of development Dezi Gallegos will help oversee the pilot. Deadwyler and Patel are also co-EPs on the project.

Madigan comes into the series after a huge year thanks to her role as Aunt Gladys in Weapons, the horror hit from Zach Cregger. She also picked up a Best Supporting Actress Oscar win for the film. Her long list of credits includes Field of Dreams, Gone Baby Gone, Uncle Buck, Antlers, and Streets of Fire.

Buscemi remains one of the most entertaining actors around, whether he’s playing criminals, weirdos, or exhausted authority figures trying to survive chaos. Fans recently saw him pop up in season two of Wednesday, and he’ll next appear alongside John Malkovich and Sam Rockwell in Wild Horses Nine from filmmaker Martin McDonagh.

Foster also feels like a perfect fit for the creepy and emotionally intense world of The X-Files. The actor recently starred opposite Sydney Sweeney in the boxing drama Christy and will next appear in Motor City with Alan Ritchson and Shailene Woodley. His past work includes Hell or High Water, 3:10 to Yuma, Emancipation, and Lone Survivor.

With Coogler steering the ship and this cast stepping into the shadows, Hulu’s new take on The X-Files is shaping up to be one of the most exciting genre shows currently in development.

Source: Deadline

The Marvel machine is gearing up for one of its most ambitious movies with Avengers: Doomsday, and we’re starting to hear what it actually felt like on set.

One of the returning X-Men stars, Rebecca Romijn, has opened up about stepping back into Mystique’s shoes and the wild experience of filming alongside a huge lineup of heroes and mutants. From emotional reunions to chaotic ensemble days, it sounds like this movie is every bit as massive as it seems.

Romijn recently spoke with Collider, and naturally, the conversation turned to Marvel’s upcoming event film and what it was like being part of such a crowded and high-stakes production.

She didn’t hold back when describing one particular filming stretch that brought together an eye-popping number of cast members. When asked her what it was like to be on the set of the Marvel movie during the day when 35 people were present, she responded:

“That was a very surreal day. I’ll never forget it. There were two days back-to-back where we were all just kind of looking at each other, going, ‘This is crazy.’ It was very surreal.”

That kind of reaction makes sense when you consider what Doomsday is pulling together. The film throws the Avengers, New Avengers, the Fantastic Four, and the X-Men into the same story, with Robert Downey Jr. returning to the MCU, not as Tony Stark, but as the iconic villain Doctor Doom.

For Romijn, though, the experience went beyond just scale. It was also personal. She reflected on returning to a role she hasn’t played in two decades, reconnecting with familiar faces, and stepping into this new era of Marvel storytelling.

She shared that the entire experience of revisiting Mystique, reuniting with her former X-Men co-stars, and meeting the newer additions to the franchise felt “very surreal” and “very exciting.”

The film reportedly features a storyline involving incursions, with rumors suggesting that many X-Men didn’t survive those events. According to the buzz, characters like Mystique, Nightcrawler, Cyclops, Professor X, Magneto, Beast, Gambit, Wolverine, Deadpool, and at least one mystery character make up the surviving group.

A trailer for the film premiered at CinemaCon, and it was awesome, but Marvel hasn’t released it publicly yet. Those who saw it got a glimpse of Mystique in action, including a moment where she shapeshifts into Yelena Belova during a fight sequence.

The film is directed by Anthony Russo and Joe Russo, working from a script by Michael Waldron and Stephen McFeely, with production handled through Marvel Studios and AGBO. That creative team has a strong track record with large-scale ensemble storytelling, so expectations are high.

Avengers: Doomsday hits theaters on December 18, where it will face off against Dune: Part Three from Denis Villeneuve. Even without IMAX exclusivity, this Marvel epic looks like it’s going to be a major event. I mean, they now have Infinity Vision!