A new casting rumor has been released this week involving Marvel’s upcoming X-Men reboot. While every bit of gossip has to be taken with some reservation, this is an interesting one.

Actor Charles Melton, best known for his roles in Riverdale, May December, and season 2 of Beef, is in talks for an undisclosed role in the reboot.

This comes from scooper MTTSH, and is backed up by insider Jeff Sneider who said in his newsletter that he has also heard Melton's name mentioned in connection with the X-Men reboot, and his source believes he's up for the role of Hank McCoy, aka Beast.

Sneider adds: "Of course, others are still in the mix, such as A Knight of the Seven Kingdoms star Peter Claffey, while even more actors are still waiting to read for the plum part."

There have been tons of rumors about this reboot, as it’s kind of a blank slate for these beloved characters, and the comic devotees are eager to fan-cast and see if their predictions/hopes turn out to be true.

X-Men doesn’t have a release date yet, but many are assuming we will know more after either Comic-Con this summer, or after the release of Avengers: Doomsday this December.

Would you like to see Melton in the role of Beast or some other X-Men part?

Sarah Michelle Gellar is stepping into a role that sounds like a perfect mix of dark fantasy, romance, and chaos. According to Deadline, the actress has signed on to star as the Grim Reaper in the upcoming supernatural romance Thud, a new feature being produced by the filmmaking team known as Radio Silence.

Joining her is Rudy Pankow (Outer Banks), who will play none other than the Devil himself. The film is based on an original screenplay by Noga Pnueli (Meet Cute), and Thud puts a supernatural spin on the classic romantic comedy setup.

Thud watches “as the Grim Reaper and the Devil meet cute at a three-day destination wedding, falling in love after colliding at the event, where they’ve each come to sow their own chaos.”

That’s a wonderfully fun concept. A destination wedding is already a recipe for drama, but throwing Death and the Devil into the mix takes things to a whole different level.

The idea of these two cosmic forces finding romance while simultaneously creating mayhem sounds like it could lead to some fun, unpredictable storytelling.

The film will be directed by Mali Elfman, whose previous work includes the supernatural road-trip drama Next Exit. Elfman has also built an impressive résumé as a producer, working on genre projects such as Queens of the Dead, Haunting of Queen Mary, and Birth/Rebirth. Horror fans may also recognize her animated short The Scariest Skeleton.

Elfman also happens to be the daughter of legendary composer and musician Danny Elfman, whose iconic music has helped define countless genre films over the years.

On the production side, Thud reunites Gellar with Radio Silence following their collaboration on Ready or Not 2: Here I Come. The production company’s Tyler Gillett and Matt Bettinelli-Olpin are producing the project, bringing along the same creative energy that has made them such a major force in modern horror and genre filmmaking.

Deadline also reports that the film is set to shoot in Los Angeles. Between Sarah Michelle Gellar playing the Grim Reaper, Rudy Pankow portraying the Devil, and Radio Silence helping guide the project, Thud already sounds like one of the more original genre movies currently in development.

A love story between Death and the Devil at a wedding where both are trying to stir up trouble is exactly the kind of strange and entertaining setup that makes it hard not to be curious about what comes next.

Marvel Studios may have found its Hulkling. A new rumor making the rounds claims that Connor Storrie, who fans know from the popular Canadian sports romance series Heated Rivalry, is being considered for the role of Theodore "Teddy" Altman, better known as Hulkling, in Marvel's upcoming Disney+ project, Champions.

The report comes from scooper MyTimeToShineHello, who shared on X: “Connor Storrie is being eyed to play Hulkling in the MCU starting in Champions.”

As with any casting rumor, it's worth remembering that Marvel hasn't confirmed anything, so fans should treat this as speculation for now.

Storrie has been gaining attention thanks to his performance as Ilya Rozanov in Heated Rivalry. While he previously appeared briefly in Joker: Folie à Deux, taking on a major Marvel role would put him in a completely different spotlight.

For those unfamiliar with Hulkling, the character has been one of the most important members of Marvel's Young Avengers lineup for years.

In the comics, Teddy Altman is the son of Mar-Vell, the original Captain Marvel, and the Skrull Princess Anelle. After escaping a death sentence ordered by the Skrull Emperor, he was secretly raised on Earth by his Skrull nurse while living under a human identity.

Believing he was a mutant for much of his life, Teddy eventually joined the Young Avengers after being recruited by Iron Lad. His powers include shape-shifting, enhanced durability, and superhuman strength, making him one of the team's most powerful members.

Of course, Marvel Studios has never been afraid to remix comic book origins for the MCU, so there's no guarantee Hulkling's backstory would be adapted exactly as it appears on the page.

What many insiders expect, however, is that the character will emerge as a central figure in Champions and potentially serve as one of the team's leaders.

At the moment, Marvel's attention is focused on its upcoming theatrical slate, including Spider-Man: Brand New Day, Avengers: Doomsday, and Avengers: Secret Wars. Official details regarding Champions remain under lock and key.

With Secret Wars currently scheduled for release in 2027, it seems likely that Champions won't arrive until sometime in 2028 or 2029.

The project is expected to bring together many of the younger heroes, who are not that young anymore, who have already been introduced throughout the MCU. The rumored roster includes Kamala Khan's Ms. Marvel, Kate Bishop, America Chavez, Cassie Lang, Riri Williams, and Billy Maximoff, also known as Wiccan.

If Storrie does land the role, he'd be stepping into one of the most anticipated characters fans have been waiting to see join Marvel's next generation of heroes. Until Marvel makes an official announcement, though, this remains firmly in the rumor category.

That said, if Champions is truly laying the foundation for the MCU's future after Avengers: Secret Wars, the search for its Hulkling is going to be one of the more interesting casting stories to watch unfold.

Marvel fans were quick to hit the pause button when the first trailer for X-Men ’97 Season 2 dropped. One of the biggest talking points came from a blink-and-you’ll-miss-it moment involving Morph, who briefly transforms into Deadpool.

Naturally, that was enough to send fans into speculation mode, wondering if Wade Wilson is finally set to make a proper animated appearance in the hit series.

Now, Marvel executive Brad Winderbaum has weighed in on the conversation, though he isn’t giving away much.

During an interview with Screen Rant at the Tribeca Film Festival, Winderbaum, who serves as Marvel’s Head of Television, Animation, Comics and Franchise, was asked about Morph’s Deadpool transformation and whether it could be hinting at the Merc with a Mouth showing up for real in the animated universe.

Rather than confirming or denying anything, Winderbaum offered a playful tease: “You never know… There are some fun plot lines coming up for some other characters that you caught only brief glimpses of in the OG series that I am so flippin’ excited to get on screen.”

That answer is vague enough to keep fans guessing, but it certainly doesn’t close the door on Deadpool making an appearance.

The executive also discussed how Season 2 continues to embrace the larger Marvel Universe. While several mutants remain scattered throughout time following the events of Season 1, fans shouldn't expect the series to suddenly become focused on outside heroes stepping in to save the day.

Winderbaum explained: “One of the things I love about X-Men ’97 and tapping into that 90s Saturday morning mythology is that it is like the full breadth of the 616.”

He went on to add: “[It] kind of exists in the background. So the Avengers are around, and other characters are around, and you really never know who you’re gonna bump into. And like reading Marvel Comics, it’s always fun when there [are] those collisions.”

That philosophy has been one of the most enjoyable aspects of X-Men ’97. The series acknowledges the wider Marvel world without letting it overshadow the X-Men's story. Still, it leaves plenty of room for surprise appearances from familiar faces.

Interestingly, this isn't the first time Winderbaum has addressed Deadpool's absence from the show. Back in May 2024, he explained that keeping Wade Wilson out of the series wasn't due to any hard rule from Marvel. Instead, it came down to timing.

At the time, X-Men ’97 and Deadpool & Wolverine were both being developed simultaneously, and Marvel didn't see a strong enough reason to force the character into the animated series.

As Winderbaum put it: “Unless it was something that really was an undeniable creative idea, it seemed like, ‘Why would we do it?'”

He also noted that the show was already “chock-full of big, giant, amazing, fulfilling ideas,” while making it clear that a future appearance wasn't off the table. After all, Deadpool did briefly pop up in the original X-Men: The Animated Series, which means there is already a connection to that corner of Marvel animation history.

Whether Morph’s transformation was simply a fun Easter egg or a hint at bigger plans remains to be seen. But with Marvel continuing to expand the world of X-Men ’97, and Winderbaum teasing storylines involving characters who only had brief appearances in the original series, fans have every reason to keep their eyes peeled.

X-Men ’97 Season 2 premieres on Disney+ on July 1, and it sounds like there may be a few surprises waiting when the X-Men return.

Spider-Man: Brand New Day has done a good job of keeping both character and story details under wraps, including the identities of characters played by two Marvel newcomers Sadie Sink (Stranger Things) and Liza Colón-Zayas (The Bear).

While most of the speculation has been around Sink’s supposed part, Colón-Zayas as given us a tease about the role she’s taken on.

In a chat with Entertainment Tonight, which you can check out below, Colón-Zayas praised her Spider-Man co-stars Tom Holland and Zendaya, who play Peter Parker and MJ, then teased her own character, stating, "I could just say...I play a detective. It's a darker, deeper 'Spider-Man.'"

Could this mean she will play Jean DeWolff? The tough, unrelenting NYPD Captain and a dedicated Spider-Man ally? It’s a possibility, but as always, we will just have to wait and see.

Luckily, the wait isn’t too long at this point. Spider-Man: Brand New Day swings into theatres on July 30, 2026.

Liza Colón-Zayas gushes about Zendaya and Tom Holland and teases her role in 'Spider-Man: Brand New Day.' pic.twitter.com/ZVHD115mBZ

— Entertainment Tonight (@etnow) June 16, 2026

Marvel Studios is finally moving forward with its long-awaited X-Men movie, and qccording to screenwriter Lee Sung Jin, the plan is to build something entirely new for the Marvel Cinematic Universe, with Kevin Feige encouraging the creative team to take risks and rethink the iconic heroes from the ground up.

Lee recently opened up about the project in an interview with Deadline, revealing that Marvel isn’t boxing the filmmakers into a specific formula or forcing them to connect heavily to what came before.

In fact, he explained that his work on Thunderbolts actually came with more restrictions because it had to fit into an already established MCU storyline.

Lee said: "I'd say there were actually more parameters on Thunderbolts because it was plugging into an existing arc and existing characters, whereas with X-Men, Kevin [Feige] just wants to take a big swing and start anew, not be beholden to any of the movies that have come before."

That’s an interesting approach considering the MCU is about to feature several familiar mutant faces in Avengers: Doomsday. With actors from Fox’s original X-Men films confirmed to appear in the upcoming crossover event, many fans assumed Marvel was using that movie as a bridge into the MCU’s future mutant franchise.

Based on Lee’s comments, that may not be the case at all. Instead, it sounds like Feige and Marvel Studios are treating the upcoming X-Men film as a genuine fresh start.

The movie is being directed by Jake Schreier, who previously collaborated with Lee on Thunderbolts, and the pair are currently developing ideas alongside Marvel leadership. Lee explained:

"I’m such a big fan of that IP of the comics. My dad and I, every Saturday morning, used to watch the show on television, so to be able to look around this Marvel conference room and have every X-Men character on the board and be able to spitball and freestyle on, 'What about this person?'.

“It’s so emboldening, because you’re like, 'Oh, wow, this isn't going to be a safe movie. This is actually going to be a really exciting new take.'"

For longtime fans, that’s probably the most encouraging update yet. The X-Men mythology is packed with incredible characters, storylines, and teams that never received much attention in Fox’s films.

Starting from a clean slate gives Marvel the opportunity to explore corners of the mutant universe that audiences haven’t seen before while building a version that feels uniquely connected to the MCU.

It also raises some interesting questions about what happens in Avengers: Doomsday. If Marvel truly intends to “start anew,” there’s a good chance those legacy mutant appearances are more of a celebration of the previous era than a setup for the next one.

The events of Doomsday could very well serve as a farewell to those versions of the characters before Marvel introduces an entirely new generation of mutants.

Whatever form the film ultimately takes, it’s refreshing to hear that Marvel isn’t approaching X-Men as a nostalgia exercise. These characters have always represented change, evolution, and new perspectives. Giving filmmakers the freedom to take creative chances with the property feels like the right move.

The MCU’s X-Men movie currently doesn’t have a release date, but if Feige’s goal is to deliver a fresh and ambitious take on Marvel’s mutants, it sounds like the studio is aiming much higher than simply recreating what fans have already seen.

The Marvel Cinematic Universe has delivered plenty of films and Disney+ series since Avengers: Infinity War and Avengers: Endgame, but none have managed to capture the same lightning-in-a-bottle feeling that those films created.

A big part of that comes down to the villain. Thanos wasn’t just another MCU bad guy. He was the emotional center of the story, a character audiences spent years building toward alongside heroes they had grown attached to.

The result was a pair of films that felt bigger than blockbuster entertainment. They became cultural events that left a lasting impression on fans.

Now the pressure falls on Robert Downey Jr., who is making his return to the MCU in a shocking new role as Doctor Doom. While some fans are thrilled to see him back in the Marvel universe, expectations are sky-high.

Not only does Avegners: Doomsday need to deliver another massive Avengers spectacle, it also needs to introduce a villain capable of standing alongside Thanos.

Downey is fully aware of that challenge. Speaking with CBR, the actor explained why Doomsday carries a unique level of responsibility compared to previous MCU projects:

“I think Doomsday, more than any [film] so far… just because I’ve now realized our tendency to be telling the story of the world while hiding behind the fact that, ‘No, we’re just telling superhero movies that you can enjoy!’

“But you’re only as good as your bad guy, tying Doomsday to Infinity War specifically. And again, the only thing everybody could rally around [in Infinity War] is, ‘You’re going to have to contend with Brolin.’”

That comparison to Thanos is impossible to ignore. Josh Brolin’s performance helped elevate Infinity War into something far more emotionally engaging than audiences expected from a comic book movie. Marvel now needs Doctor Doom to have that same kind of impact.

Downey went on to explain that he’s been approaching the project from a much broader perspective than simply focusing on his own performance.

“I’m quite odd in that I try to stay as removed from a subjective experience of things as I can. So, I try to think like the brothers. I try to feel like I’m in the writing room. I try to feel all that stuff. But eventually, there are so many big shoes to step into that just have to go, ‘What hasn’t been done as well as it can be done yet?’

“We’re always looking for that opportunity. And a lot of it has been… there’s some experimentation. We’ve had our moments of, ‘Let’s shift here.’ But we landed in a place that I think will more than suffice. And it’s not even about how I executed it. It’s about the way it’s been structured, and the other characters.

“There’s something going on in Doomsday and forward that is literally the only antidote to, ‘How do you not have these films be a letdown after an Infinity War and an Endgame?’ And boy, have we labored long and hard to bring that down.”

According to Downey, the creative team has been searching for a new approach that can push the MCU forward while avoiding the trap of feeling like a lesser version of Infinity War and Endgame.

The film certainly has a lot working in its favor. Along with Downey’s return, Marvel has assembled an enormous roster of characters, brought back the Russo Brothers to direct, and appears to be building a story with stakes that could surpass anything the franchise has attempted before.

Still, the challenge remains enormous. Infinity War and Endgame weren’t just successful because they were big. Fans cared deeply about what happened to the characters.

The victories, losses, sacrifices, and heartbreak landed because audiences had spent more than a decade invested in those heroes. When Thanos won in Infinity War, it genuinely shocked people. When the story reached its conclusion in Endgame, it felt earned.

That emotional connection is what Avengers: Doomsday will ultimately need to capture, and I’m not sure if they will actually pull it off.

Spectacle alone won’t be enough. Fans need a reason to care about what’s happening on screen, and Doctor Doom has to become more than just another powerful threat. If Downey can pull off a villain audiences become emotionally invested in, Marvel may have a real shot at delivering the next great Avengers event.

Based on his comments, that’s clearly the goal. And after years of development, rewrites, and planning, it sounds like Marvel knows exactly how much is riding on Avengers: Doomsday.

Fans of Death Stranding have been wondering what shape the upcoming live-action adaptation will take, especially with Michael Sarnoski stepping into the world created by Hideo Kojima.

While the filmmaker's recent work includes some intensely graphic violence, it sounds like the Death Stranding movie will take a very different approach.

Sarnoski is currently preparing to direct the first live-action Death Stranding film for A24 and Kojima Productions, and while the movie will feature plenty of action, he says audiences shouldn't expect the same kind of brutal carnage seen in his latest film, The Death of Robin Hood.

Speaking about the project, Sarnoski explained: "I wouldn't say the script is very violent. There's definitely a lot of, like, action and excitement to it. There's some violence to it.

“I mean, Death Stranding is a brutal world... and it's a world also where it feels like death is just around the corner. So there needs to be that sort of visceral sense of, 'oh, this could be it.' It's sort of [a] bleak and barren post-apocalyptic environment.

“So there is violence and action to it, but the role of violence is very different from this one. [The Death of Robin Hood] is a movie that kind of questions violence."

While Death Stranding certainly takes place in a dangerous and unforgiving world, the game has always been more focused on exploration, connection, survival, and unraveling its mysteries than on nonstop combat.

It's also a sharp contrast to The Death of Robin Hood, which stars Hugh Jackman as an older Robin Hood living a life soaked in violence alongside Little John, played by Bill Skarsgård.

That film reportedly features some seriously gnarly moments, including jaws being ripped apart, arrows through eye sockets, slit throats, and plenty of fire-fueled destruction before Robin is forced to reflect on the consequences of his life.

Because of that, many fans have wondered if Sarnoski would bring a similarly graphic style to Death Stranding. According to the director, that's not the plan.

He went on to say: "In Death Stranding, the sort of violence and action is about, exploration and about understanding the world more deeply. So there will be some, but you're not gonna see a lot of jaws getting ripped off in Death Stranding."

That comment should give fans a clearer idea of what kind of movie Sarnoski is aiming to make. The action appears to serve the story and the discovery of the world rather than existing for shock value.

Considering how much of Kojima's game revolves around atmosphere, isolation, and human connection, that approach makes sense.

The live-action Death Stranding movie was first announced in 2023. Kojima previously explained that the project would be "not just a direct translation of the game" and that it is being developed as a film experience for movie lovers, not just gamers.

Sarnoski is once again handling both writing and directing duties, with A24 and Kojima Productions producing. The film will be set within the Death Stranding universe, but it won't directly adapt the story of the games starring Norman Reedus. Even so, Reedus has expressed interest in being involved with the project.

There's still plenty we don't know about the movie, but fans can expect a film that embraces the tension, danger, and strange beauty of Kojima's world without leaning too heavily into graphic gore.

While many were expecting a brand-new trailer for Spider-Man: Brand New Day to arrive alongside ticket sales today, that hasn’t happened... at least not yet.

Despite rumors and several leaked versions making the rounds online in recent weeks, Sony never officially announced a trailer release. So for now, fans will have to keep waiting.

Even without fresh trailer footage, Sony has given audiences plenty to look at. Ticket sales for the highly anticipated next chapter in Peter Parker’s story have officially begun, and they’ve been accompanied by a collection of striking new posters, a first look at Spider-Man-themed theater merchandise, a new featurette, and details on a unique premium theatrical presentation that could make this one of the most immersive Spidey movies yet.

One of the more interesting reveals comes from Variety, which reports that Spider-Man: Brand New Day will launch a new premium large-format experience called “Shot for ScreenX.” Since the film won’t be receiving an IMAX release, this appears to be one of Sony’s alternative ways of offering moviegoers an expanded theatrical event.

What makes this ScreenX presentation different is that footage was specifically captured during production to enhance the side-screen experience. According to director Destin Daniel Cretton, this isn’t simply a reformatted version of the movie.

Cretton explained: "CJ 4DPlex and their team came to the set to actually shoot the footage that you will experience on screen in the wings of the chosen scenes of our film. This is a first. It’s something truly unique that nobody has experienced before –you’re going to love it.”

Don Savant, CEO and President of CJ 4DPlex Americas, also shared his enthusiasm for the collaboration, saying:

"'Spider-Man' represents the kind of event franchise that demonstrates the power of premium theatrical formats. We’re proud to continue our collaboration on 'Brand New Day' with a ScreenX presentation that celebrates the scale, energy and emotional depth of this beloved character in a way uniquely suited for the theatrical environment."

Whether this turns out to be a genuine game-changing viewing experience or another premium-format marketing experiment remains to be seen.

Comparisons have already been made to the "Infinity Vision" format that Avengers: Doomsday will utilize later this year in place of IMAX. Still, the fact that additional footage was reportedly captured specifically for the ScreenX presentation makes this feel like a more ambitious effort.

The newly released promotional materials also offer another look at Tom Holland’s latest Spider-Man suit and continue teasing the film’s larger mystery. Sony’s official synopsis paints a fascinating picture of where Peter Parker finds himself following the events of Spider-Man: No Way Home.

In Spider-Man: Brand New Day, it's a Brand New Day for Peter Parker. Fighting crime full-time as Spider-Man in a world that doesn’t remember him, and the pressure of seeing his old friends move on without him, sparks a change in Peter he may not have the power to control.

But that transformation might also be the only thing that can stop a shocking new threat to the city and those he loves - a powerful villain no one can even see. The world may have forgotten Peter Parker, but he hasn’t forgotten them.

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

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

For now, fans can grab their tickets, check out the newly revealed merchandise and posters, and continue the countdown to what looks like another awesome chapter in Spider-Man’s cinematic journey.

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

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Marvel’s long-awaited X-Men movie is still taking shape, but a familiar name has once again found its way into the conversation. Sydney Sweeney is reportedly being considered for a role in the upcoming film, adding another layer to the ongoing speculation surrounding the actress and a potential future in the Marvel Cinematic Universe.

The latest rumor comes from industry scooper MyTimeToShineHello, who recently shared the claim: “Syndey Sweeney also eyed for an X-Men role.”

While there’s no word on which mutant character Marvel Studios may have in mind, the report has reignited discussions across social media as fans begin throwing out their dream casting choices.

This isn’t the first time Sweeney’s name has been linked to Marvel. Back in April 2026, the same insider reported that Marvel Studios had its eye on the actress for the role of Emma Frost.

That rumor gained a lot of traction among comic book fans, many of whom felt Sweeney could be a strong fit for the powerful telepath and former villain turned X-Men ally.

Of course, there’s still no official confirmation that Emma Frost is the character being discussed now, or even that Sweeney is actively in talks for any role. At this point, it remains a rumor.

What we do know is that Marvel Studios is moving forward with its X-Men movie. Jake Schreier is attached to direct the project, while Lee Sung Jin and Joanna Calo are handling screenplay duties. Marvel hasn’t announced a release date yet, but reports have suggested the film could arrive in theaters in 2028.

With Marvel keeping its mutant plans under wraps, fans are left doing what they do best… theorizing. Whether it’s Emma Frost, Rogue, or an entirely different character, Sweeney’s name continues to surface whenever discussions turn to the next generation of Marvel mutants.

For now, though, nothing has been confirmed by Marvel Studios or Sweeney herself. Until an official announcement arrives, this latest X-Men casting report should be viewed as exactly what it is: an intriguing rumor that has fans imagining what the MCU’s mutant future could look like.

Who do you think she should play in the MCU?

Tom Holland is gearing up to return as Peter Parker in Spider-Man: Brand New Day, but he’s already thinking about who might eventually take over the web-shooters when his time in the role comes to an end.

While Holland recently celebrated his 30th birthday, his version of Peter Parker is still only college-aged in the Marvel Cinematic Universe.

With Spider-Man: Brand New Day expected to kick off a new trilogy, it looks like fans will be spending plenty more time with Holland’s wall-crawler before Marvel and Sony even begin thinking about recasting the character.

Still, during a recent interview with Esquire, Holland was asked who he’d choose as a potential successor, and he didn’t hesitate to name Owen Cooper, the 16-year-old breakout star of Adolescence.

According to Holland, Cooper would be “awesome” as Peter Parker. “Obviously, he's super-talented and the talk of the town right now.”

It’s easy to see why Holland landed on Cooper. The young actor is incredibly talented and is one of the rising stars in the industry, and his work in Adolescence has generated a lot of attention. Whether that ever leads him to the Spider-Man franchise remains to be seen, but getting a public endorsement from the current Spider-Man certainly doesn’t hurt.

Holland also revealed that he’d love to remain involved with the franchise long after he hangs up the suit. While becoming a producer on future Spider-Man movies may be easier said than done, he likes the idea of helping guide the next actor who eventually steps into the role.

“In the way that Robert Downey was such a mentor for me in my first three movies, I would love to be that person for whoever is next,” Holland added.

That comment offers an interesting glimpse into how Holland views his place in the Spider-Man legacy. Much like Robert Downey Jr. helped welcome him into the MCU, Holland hopes to pass that experience along someday.

The actor also reflected on his own journey to becoming Spider-Man, opening up about the intense audition process that led to his debut in Captain America: Civil War.

Fans have long speculated about which actors came close to landing the role, but Holland confirmed that two of his biggest competitors have never been publicly identified, and he isn’t planning to change that.

Looking back on the experience, he admitted the pressure was immense. “It was tough,” he said of the process of being cast in 2016's Captain America: Civil War. “It was really difficult, feeling like you’re walking down the street and everyone is like, 'I really hope you don’t get this job.'”

Holland went on to compare his early years in the MCU to a major transitional period in life. “It felt like my university experience,” Holland continued, reflecting on his first Spider-Man trilogy.

“That period of your life where you’re leaving home for the first time, you’re making new friends, you’re all getting really close in a really, really short amount of time.”

As for the future of Spider-Man on the big screen, Holland doesn’t appear to be going anywhere anytime soon. If Spider-Man: Brand New Day truly launches another trilogy, there’s a good chance he’ll still be playing Peter Parker well into the next decade.

Many fans are eager to eventually see Miles Morales make the jump into live-action, especially with Sony’s animated Spider-Verse saga nearing its conclusion.

But with Sony Pictures controlling the Spider-Man franchise and the studio’s complicated history with Disney, predicting the long-term future of the character remains difficult.

For now, Holland is still Spider-Man, and it sounds like he’s excited about what comes next. But if the day ever arrives when Peter Parker needs a new face, Owen Cooper already has one very enthusiastic supporter in his corner.

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

Fans of Highlander have been waiting a long time to see this reboot finally come together, and now Russell Crowe has officially finished filming his role in director Chad Stahelski’s highly anticipated reimagining of the classic fantasy action franchise, and he shared the news during a recent appearance at the Taormina Film Festival in Sicily.

Crowe was on hand to receive the festival’s International Achievement Award and promote his upcoming film Bear Country, but it was his update on Highlander that immediately grabbed the attention of genre fans.

According to reports, Crowe revealed: “I just finished the shoot of Highlander.” The actor is taking on the role of Juan Sánchez-Villalobos Ramírez, the legendary immortal mentor who trains Henry Cavill’s Connor MacLeod.

Fans of the original 1986 film will recognize the character as one of the most important figures in MacLeod’s journey, making Crowe’s casting a particularly interesting choice for the reboot.

Crowe also had plenty of praise for Stahelski, whose action credentials are hard to argue with after directing the John Wick franchise. Speaking about the filmmaker, Crowe said:

“It’s by Chad Stahelski, who directed all the John Wick movies, so you know he is incapable of directing a film that is not exciting,”

Cavill leads the film as Connor MacLeod, the immortal Scottish blacksmith who finds himself caught in a centuries-spanning conflict among immortal warriors. Joining him is Dave Bautista, who will play the infamous Kurgan, one of the deadliest and most feared Immortals in the mythology.

The cast also includes Marisa Abela, Karen Gillan, Djimon Hounsou, and Jeremy Irons. Production on Highlander officially kicked off on January 28, 2026, in Scotland.

Filming was pushed back after Cavill suffered a training injury during preparation for the physically demanding role. Once cameras started rolling, the production moved through several international locations, including London, Poland, and Hong Kong.

The film has a reported budget of $180 million and backing from Amazon MGM Studios through United, and the studio appears to be betting big on the property, and Stahelski has previously discussed ambitions for Highlander to serve as the launchpad for a larger franchise, potentially growing into a new trilogy.

The film draws inspiration from the beloved 1986 original, which introduced audiences to a secret world of immortal warriors battling through the centuries for a mysterious and powerful Prize.

It’s a concept that has remained popular with fans for decades, and many are eager to see how Stahelski’s action-heavy style reshapes that mythology for a new generation.

Crowe’s announcement that he has wrapped his scenes is a strong sign that production may be entering its final stretch. While there’s still work to be done before audiences get to see Cavill wielding a sword on the big screen, the reboot seems to be moving steadily toward the finish line.

Via: Variety

Disney has announced the name and details of their animated 2026 Christmas special, which will take inspiration from the 1990s live-action hit Home Alone, starring Macaulay Culkin.

Titled Mickey’s Home Alone, the full-length special will see Mickey looking forward to spending Christmas at home. His plans take a turn when Minnie surprises him and the gang with tickets to spend Christmas at a world-famous Ice Palace.

In the morning rush to make it out the door, Mickey and Pluto are left behind and home alone. They find themselves protecting their home from two feisty villains, a raccoon and a weasel who are after their Christmas dinner, while Minnie and the gang desperately try to make their way back home.

The special will feature original songs ‘Ho-Ho-Home for Christmas’ and ‘Favorite Christmas Feeling’ by songwriter Keith Harrison Dworkin, who previously contributed to a number of Disney Christmas specials.

There will also be a new arrangement of the holiday classic ‘Jingle Bells’ by Emmy and Annie and Primetime Emmy-nominated composer Tony Morales (Elena of Avalor, Eva Longoria: Searching for Mexico).

A moving and thought-provoking trailer has been released for the A.I. dramedy O Horizon, starring Oscar nominees Maria Bakalova and David Strathairn, as a daughter and father, respectively, who are using A.I. to communicate after his death.

They are joined in the cast by Adam Pally, Maggie Grace, Avi Nash, and Paulina Porizkova. The film is written and directed by Madeleine Rotzler (The Lottery, O.G., It's a Hard Truth Ain't It).

The full synopsis reads: “Abby (Maria Bakalova), a brilliant, young neuroscientist who has recently lost her father, drowns her grief by spending her days working with a monkey named Dorey.

“Abby meets a programmer, Sam, who has created a technology that reconnects Abby with her beloved father. Her relationship with her digitized dad then forces her to re-examine everything from her romantic relationships to her life's work.”

This is a fascinating story that feels very timely as we discuss the opportunities and pitfalls, as well as unforeseen consequences of Artificial Intelligence. I am looking forward to seeing how this story plays out.

Check out the trailer below, and watch O Horizon in select US theatres now.

Academy Award winner Anne Hathaway is cashing in on nostalgia this year. After reprising the role of Andy Sachs in the recently released sequel The Devil Wears Prada 2, the actress will soon bring another one of her iconic characters, Mia Thermopolis, to the big screen.

Adele Lim (Joy Ride), who is set to direct The Princess Diaries 3, told Variety at the Gold Gala carpet on Saturday that the highly anticipated installment is “going well.”

“We just want to make the story right because it is a franchise that is so beloved by so many people,” said Lim, who noted that some of the fans from the 2001 original movie are mothers now, including herself.

She explained that motherhood informed her filmmaking as she shifted the narrative from being about a young girl to a more mature woman.

“There are so many movies that are wish fulfilment for princesses, we don’t have a lot of wish fulfilment movies for queens. That’s what we are setting out to do here, to show a woman in her full power.”

While Lim says the shooting and production schedule is still being worked out, fans can expect to see Hathaway’s Mia Thermopolis make a return, this time as Queen of Genovia.

“If you were a fan of the original first two movies, I think you can look forward to a lot of fun returns,” said Lim about cast members reprising their roles, adding that the film would take place in the fictional kingdom of Genovia. “We’re going to be able to shoot in Europe and really show the audience Genovia in its full glory.“

I enjoyed the first two movies, and I look forward to seeing how this third movie fairs with fans. Stay tuned for updates.

Fans of Stream have another reason to keep an eye on the upcoming sequel. Horror icon Tim Curry is officially returning for Stream 2: Sudden Death, and this time around, his character will have a much bigger presence in the story.

The sequel is being produced by Fuzz on the Lens Productions, the same team behind Terrifier 2, Terrifier 3, and Screamboat. The screenplay comes from Impractical Jokers star Brian “Q” Quinn and longtime Impractical Jokers producer Joe Imburgio, with Michael Leavy returning to direct after helming the first film.

Curry’s appearance in 2024’s Stream was brief, but it was clearly meant to be more than a simple cameo. According to the filmmakers, his role was always intended to be part of a larger narrative that would unfold over multiple films.

Leavy explained: “Tim Curry is someone who has inspired generations of horror fans and filmmakers alike. From the beginning, we envisioned his character as part of a much larger story within the ‘Stream’ universe.

“The first film only scratched the surface, and we’re excited to bring him back in a bigger role that audiences will really respond to.”

For horror fans, Curry’s return is a big deal. His legendary career includes unforgettable performances in The Rocky Horror Picture Show, Clue, and Congo. Of course, many genre fans still know him best as Pennywise in the original television adaptation of Stephen King’s It.

The sequel is also bringing back several familiar faces from the first movie. David Howard Thornton, best known for playing Art the Clown in the Terrifier franchise, will return alongside Damien Maffei from The Strangers: Prey at Night. Another interesting addition is Mike Giannelli, the original Art the Clown actor, who is coming out of retirement to join the production.

Producer Jason Leavy hinted that Curry’s expanded role is tied directly to larger plans for the franchise’s mythology, saying:

“Having the opportunity to work with Tim Curry was already surreal, but knowing where this story was headed made it even more special. His appearance in the original film was designed to plant the seeds for something bigger, and ‘Stream 2: Sudden Death’ finally allows us to start pulling back the curtain on a much larger scale.”

Released in 2024, Stream mixed classic slasher movie carnage and practical gore effects with modern themes involving technology, online voyeurism, and digital culture.

The film carved out a following among horror fans looking for a contemporary take on the genre while still embracing old-school practical effects.

If you missed it, Stream is currently available to watch for free on Tubi and Amazon Prime Video, and it’s also available on DVD, Blu-ray, and other major platforms.

It’s great to see that Tim Curry is stepping into a much larger role, returning franchise favorites joining the cast, and the creative team teasing a broader mythology.

More casting announcements and production updates are expected in the months ahead, so horror fans should have plenty more to look forward to as the project moves forward.

Source: Variety

A new original animated series with the working title Journey has been announced by Disney for Disney+. The show is currently in production from Disney Kids & Family and the Obama’s Higher Ground Productions company.

The show’s logline reveals, “When the energy shield protecting her city begins to fail, Journey answers a mysterious call that leads her beyond its walls — and into the forbidden lands beyond. In this new world, she uncovers the truth about her father’s disappearance and discovers a powerful magic within herself that may hold the key to saving her people.” 

Journey is created by Matt Munn (Ice Age: Collision Course, Spies in Disguise), who will serve as executive producer alongside Steve Loter (Marvel’s Moon Girl and Devil Dinosaur, Kim Possible). Jessie Dicovitsky is an executive producer for Higher Ground.

Ayo Davis, president of Disney Kids & Family, says of the project: “‘Journey’ is an epic adventure anchored by a remarkable young heroine whose courage inspires those around her.

At its core, it’s a story about resilience, self-discovery and the power of believing in something bigger than yourself — the kind of universal themes that have defined Disney stories for generations.”

Stay tuned for updates on the series as it moves forward.

via: Variety

The Evil Dead franchise has built its reputation on pushing horror fans to their limits with outrageous gore and shocking violence. From chainsaws and severed limbs to some of the most stomach-turning practical effects ever put on screen, the series has always found new ways to make audiences squirm. But it sounds like Evil Dead Burn may be taking things even further.

According to director Sébastien Vaniček, the upcoming horror film featured a sequence so extreme that it had to be removed in order to secure the R-rating the filmmakers were aiming for in the United States.

Speaking in the latest issue of SFX Magazine (Via GamesRadar+), Vaniček revealed that one particular scene crossed a line that ratings boards simply weren't going to accept.

"There is a scene that is not R-rated. It’s a really, really hard scene. And I have to cut it, unfortunately, so you just won’t experience it as brutally as it is right now because I need to have the R-rated movie. So we are trying to find a good balance."

At the time of the interview, Vaniček was still working through the Motion Picture Association ratings process. The goal was always to land an R-rating in the U.S., keeping the film in line with the rest of the franchise while still delivering the gruesome carnage fans expect.

What makes this revelation especially interesting is the fact that previous Evil Dead movies already featured some truly horrific imagery.

Evil Dead Rise included the infamous cheese grater sequence that had audiences cringing in theaters, while the 2013 Evil Dead remake featured a brutal moment involving an electric carving knife and a self-amputation.

Despite their graphic content, both films still managed to receive R-ratings in the United States and 18 ratings in the UK.

If Evil Dead Burn contained something that went beyond what those movies showed, horror fans can probably start imagining just how nasty and savage the footage must have been.

The new film centers on a grieving woman who recently lost her husband. Seeking comfort and support, she visits her in-laws at their isolated family home. Unfortunately, things spiral into a nightmare when the infamous Book of the Dead unleashes its evil once again, transforming family members into Deadites one after another.

While Evil Dead Burn isn't a direct sequel to Evil Dead Rise, eagle-eyed fans noticed a fun nod to the 2023 film in the movie's first trailer, suggesting the franchise is still keeping subtle connections alive between its stories.

The good news for gorehounds is that the cut footage may not stay hidden forever. Vaniček is already talking about the possibility of releasing a more intense version of the movie after its theatrical run, saying: "The director’s cut will be way more violent than what we will have in the theater."

Evil Dead Burn hits theaters on July 10, and it already sounds like one of the year's most intense horror releases. I can’t wait to see it!

Disney’s live-action Lilo & Stitch sequel just got a major creative upgrade, and it’s one that longtime fans are going to appreciate.

Chris Sanders, the co-creator, co-writer, co-director, and original voice of Stitch, is set to direct Lilo & Stitch 2 for Disney. Sanders was already heavily involved with the project as its screenwriter, but now he’ll be stepping into the director’s chair as well as the sequel moves toward production.

It feels like a fitting next chapter for a franchise that Sanders helped build from the ground up. Once you're part of the ohana, you're apparently in it for the long haul.

The original Lilo & Stitch introduced audiences to a lonely Hawaiian girl who forms an unlikely friendship with a mischievous blue alien. Of course, Stitch turned out to be far more than a cute pet. He was actually a dangerous extraterrestrial experiment engineered to be a weapon of mass destruction.

That unique mix of heart, humor, family, and chaos helped turn the animated film into one of Disney’s most beloved modern classics.

The movie also gave fans one of Disney’s most memorable quotes: “Ohana means family. Family means nobody gets left behind.”

Following the success of the animated feature, Disney expanded the story with the direct-to-video sequels Stitch! The Movie and Stitch Has a Glitch, along with Lilo & Stitch: The Series.

More than two decades later, Disney revisited the property with its live-action adaptation, directed by Dean Fleischer Camp.

The film became a massive box office success, fueled by families discovering the story for the first time and a generation of fans who grew up with the original. The movie crossed the $1 billion mark worldwide, including an impressive $423.7 million domestically.

Rather than adapting one of the animated follow-ups, the upcoming sequel is reportedly being developed as an entirely new story.

Producer Jonathan Eirich, who produced the first live-action film, will return through Rideback, while Ryan Halprin will serve as executive producer. The screenplay for the first live-action movie was written by Chris Kekaniokalani Bright and Mike Van Waes.

Sanders’ return to direct feels especially significant considering his history with the franchise and his impressive career in animation. Alongside Dean DeBlois, he co-wrote and co-directed the original Lilo & Stitch before the duo teamed up again on the first How to Train Your Dragon.

Sanders later co-wrote and co-directed The Croods with Kirk DeMicco, and most recently directed DreamWorks Animation’s acclaimed The Wild Robot. That adaptation earned nine Annie Awards and landed three Academy Award nominations. Sanders is also currently developing the follow-up film, The Wild Robot Escapes.

While many moviegoers primarily associate Sanders with animation, this won’t be his first live-action directing project. He previously helmed the 2020 adaptation of The Call of the Wild, starring Harrison Ford, which is a movie I loved. Given that film’s blend of live-action filmmaking and CG animal characters, it seems like a natural stepping stone toward bringing Stitch back to the big screen once again.

Production on Lilo & Stitch 2 is expected to begin later this year, and with Sanders now steering the project, Disney has put one of the franchise’s most important creative voices in charge of its future.

For fans who loved both the original animated film and the recent live-action hit, that’s an encouraging sign that this next adventure could capture the same heart, humor, and family spirit that made audiences fall in love with Stitch in the first place.

Source: THR

More than two decades after Gladiator stormed into theaters and won Best Picture, Russell Crowe is still closely tied to the legacy of Maximus.

So when Gladiator II arrived last year and failed to become the massive box office phenomenon many expected, Crowe had some thoughts about why it didn’t connect on the same level as its Oscar-winning predecessor.

Speaking at the Taormina Film Festival, the actor offered a blunt assessment of the sequel's performance and what he believes the filmmakers got wrong.

As Crowe explained: "When you apply how much of a change there's been on the value of a dollar, they failed. And they failed because they didn't understand why [the original movie] was successful — it was successful because it had a moral core."

In his view, the original Gladiator wasn’t just a spectacle packed with arena battles and epic action. It was a story driven by emotion, purpose, and a strong moral center. Maximus’ journey resonated because audiences were invested in the man, not just the sword fights.

While Gladiator II earned mostly positive reviews and plenty of praise for its larger-than-life action sequences, it never reached the same cultural heights as the original film.

The sequel brought in $462 million worldwide, which sounds impressive until you consider its enormous production costs. With a reported budget that started around $250 million and allegedly climbed to roughly $310 million, the film fell short of the kind of box office haul needed to be considered a major success.

Crowe has shared similar opinions before, arguing that the sequel focused heavily on spectacle while missing the emotional foundation that made Gladiator such a powerful experience. For him, the problem wasn’t a lack of action. It was a lack of heart.

Ironically, Crowe once had his own idea for continuing Maximus’ story, despite the character meeting a pretty definitive end in the original movie.

According to Ridley Scott, the actor spent years trying to figure out a way back into the franchise. Scott recalled working on sequel concepts nearly two decades ago, even bringing in musician and writer Nick Cave to tackle a screenplay.

Scott remembered those conversations by saying: "Russell and I had a go at it around 18 years ago. I had Nick Cave writing the script and I kept saying [to Russell], 'But you're dead.' And he said, 'I know I'm dead. And I want to come back from the dead.'"

As crazy as that sounds, Cave's version of Gladiator II somehow became even more outrageous from there. The script would have resurrected Maximus and sent him on a mission from the Roman gods to assassinate a Christ-like figure.

Along the way, he would discover the target was actually his own son. After completing that tragic mission, Maximus would be cursed to live forever, carrying him through centuries of warfare, including the Crusades, Vietnam, and several other major conflicts throughout history.

It was a wild concept that Cave reportedly knew had little chance of making it to the screen. But that would’ve makde for a wildly crazy movie.

As bizarre as that story sounds, there’s an argument to be made that it contains exactly the element Crowe says was missing from Gladiator II, an emotional conflict at its center. A father unknowingly killing his son and then being forced to wander through history for eternity certainly checks the tragedy box.

Would it have worked? Who knows. It’s one of those gloriously strange Hollywood ideas that feels impossible to imagine and impossible to stop thinking about once you hear it.

One thing is clear, though. Crowe believed audiences connected with Maximus because they cared about his soul, his loss, and his purpose, which is what the sequel lacked.

Source: Deadline

Toy Story 5 is opening in theatres this week, and just like with Toy Story 4, it’s a film the fans did not see coming. The third and fourth films in the franchise felt like finales, but the creators had more story to tell, and fans know now that these sequels aren’t just made for the sake of another, but in celebration of great animated storytelling.

The stars of the film agree, and Tom Hanks, who voices Woody in the movies, said in a recent interview that he’d love to keep returning for as long as it makes sense.

"When Woody left [Toy Story] 4, he went off with Bo Peep. And they keep finding these abandoned toys. He will do this for the rest of existence. Dare I say it, I hope the same is true for my job playing Woody," he adds with a laugh. "How much longer can we keep doing this, to be welcomed back into the fold?"

Each Toy Story movie explores a new dilemma for the toys, and the fifth film sees them take on tech, which threatens playtime. Director Andrew Stanton is clear that for another movie to happen, this central idea has to be right. "Every new movie, we don't know there's going to be something else to say," he explains. "This took time to come into the world, for us to embrace it."

I can’t wait to see Toy Story 5 this week, and if the future of the franchise means another sequel down the road, I trust the filmmakers to bring us another installment.

via: GamesRadar

We know that Chris Evans is heading back to the Marvel Cinematic Universe and reprising his role as Steve Rogers on Avengers: Doomsday, and now the actor has confirmed that he’ll also be back in Avengers: Secret Wars.

If you've been active on social media lately, you've probably seen countless posts claiming Evans has been "confirmed" for Avengers: Secret Wars. What many of those posts leave out is that this news actually surfaced months ago, with the same source reporting it back in March.

The difference now is that there's footage of Evans discussing his involvement, giving fans something a little more concrete to hold onto.

While Evans acknowledges his return, he doesn't reveal how significant his role will be in the upcoming crossover event. Whether this appearance serves as Steve Rogers' final farewell or sets the stage for a more permanent return to the MCU remains a mystery.

Ever since Steve Rogers passed the shield to Sam Wilson in Avengers: Endgame, Marvel Studios has worked to establish a new era of Captain America stories. Between The Falcon and the Winter Soldier and Captain America: Brave New World, audiences have followed Sam's journey as the MCU's new Cap.

Still, the transition hasn't connected with everyone. While that could change over the next couple of years, there's no denying that the prospect of seeing Evans suit up again has generated a level of excitement that's hard to ignore.

Bringing back the original Captain America feels like a smart move for Marvel, especially if the studio isn't interested in eventually recasting the role.

Before fans see what happens in Secret Wars, Evans will play a major role in Avengers: Doomsday. Current reports suggest he'll be a central figure in that film's story, setting the stage for whatever comes next in Marvel's Multiverse Saga.

Of course, Marvel is keeping its cards close to the chest. That's nothing new. The studio has built an empire on secrecy, and with two Avengers films on the horizon, spoilers are being guarded more carefully than ever.

For now, fans can take comfort in knowing Steve Rogers is preparing to step back into the spotlight.

Chris Evans reveals he’s returning as Steve Rogers in ‘AVENGERS: SECRET WARS’

“I can tell you that I start work on the next one in a couple of months. I can’t tell you how much I’m in the next one, but I’m in it.”

(via: https://t.co/JW761AMdzI) pic.twitter.com/6WzfUo0wfA

— Avengers Updates (@AvengersUpdated) June 15, 2026

When I first watched Disclosure Day, I walked away feeling entertained but somewhat underwhelmed. After sitting with it for a few days and revisiting the film, a different issue started creeping into my mind. The more I thought about the story, the more I found myself questioning the logic holding it all together.

Now, before anyone grabs a pitchfork, this isn't about nitpicking every little detail in a science fiction movie. Spielberg has spent decades making audiences believe impossible things. That's part of the magic.

The problem with Disclosure Day is that it repeatedly asks viewers to accept decisions and plot developments that don't just stretch credibility, they completely snap it in half.

It also raises an interesting question. Are members of the film industry and fans treating Disclosure Day a little more gently than it would another movie because it comes from Steven Spielberg?

That's not meant as an attack on Spielberg, who remains one of the greatest filmmakers of all time. I am a massive fan of Spielberg! It's simply hard to imagine some of these storytelling choices receiving the same level of forgiveness if they came from a lesser-known director.

The first major issue arrives almost immediately with Wardex, the secretive government-backed organization tasked with hiding the existence of alien life. This is supposedly an all-powerful operation that has spent decades covering up extraterrestrial contact and reverse engineering alien technology.

These people have satellites, surveillance capabilities, unlimited resources, and access to technology beyond anything the public knows exists.

Yet somehow Daniel Kellner (Josh O’Connor) manages to walk away with humanity's biggest secret. The movie wants us to believe Wardex is both incredibly powerful and shockingly incompetent at the same time.

One of the clearest examples is the alien device Daniel steals. Throughout the film, everyone treats this object like it could change everything. Yet we're never shown that it's actually capable of being used as a weapon.

If Wardex is willing to kill to protect its secrets, why not simply eliminate Daniel immediately? Why allow him to spend the entire movie running around the country carrying evidence that could expose everything?

The answer often feels less like character logic and more like plot necessity. That issue extends throughout nearly every chase sequence in the movie. Wardex is presented as an organization with limitless reach, but they appear to have forgotten drones exist.

Seriously. Daniel is repeatedly located in places where modern surveillance would make escape virtually impossible. He's hiding in a farmhouse. He's driving across open terrain. He's sitting in a motel. At multiple points, the audience is expected to believe this organization can psychically invade people's minds but can't put a drone in the sky to take this guy out.

In the real world, Daniel's story probably ends in the first act. The inconsistency becomes even more frustrating because the film establishes that Wardex can use its mysterious Device to influence and manipulate people remotely.

They attempt this strategy with Jane early on, but then largely stop using it whenever the story needs her to remain free. It's one of several examples where abilities seem to disappear the moment they become inconvenient to the plot.

Then there's the motel sequence, which may be one of the most baffling examples of forced storytelling in the entire movie.

Daniel carefully removes anything that could reveal their location and takes extensive precautions to avoid being tracked. Yet somehow he falls asleep while holding a piece of paper containing the address they've worked so hard to conceal. He also leaves Jane without taking the obvious precaution of ensuring she can't identify their location.

The entire sequence only works because multiple characters suddenly stop behaving like rational human beings. The same thing happens at the farmhouse. Daniel leaves Jane alone because the movie apparently needs him to wander into a field so audiences can see a crop circle.

The crop circle looks cool in the trailer, but it ultimately has little relevance to the story itself. It's one of several moments where the movie seems more interested in creating iconic imagery than maintaining narrative consistency.

Wardex's inability to function as a competent organization continues throughout the film. At one point Daniel and Margaret literally walk through the facility while employees become distracted by Marget appearing to them as loved ones.

Everyone sees Daniel as Daniel. Nobody tackles them. Nobody shoots them. Nobody physically restrains them. Everyone simply watches them leave, and once they do leave they decide they have to go chase after them again! They were right there!

For a group that has supposedly protected humanity's greatest secret since Roswell, they're remarkably bad at stopping two people from walking out the door.

The train sequence that follows might be the most unintentionally funny scene in the entire movie. Casper Boyd spends the film relentlessly pursuing Daniel and Margaret. During the scene he has an incredibly clear opportunity to kill them as he shoots at them, but somehow a guy, who you know has had high level firearms training fails.

This also comes after after he trys to push their car into the oncoming train, which seems incredibly wreckless. There stuck at a train stop, there’s an easier way to kill them. But, you know, why didn’t he just kill them when he was standing right next to them in the previous scene!

Later, Wardex doesn't even manage to track where the train is going despite possessing resources that should make this task laughably easy.

Even stranger is Boyd's eventual character turn. After spending nearly the entire film chasing these people, trying to stop disclosure at all costs, he suddenly decides he's had enough and essentially steps aside. The emotional motivation is tied to memories of his deceased wife, but the shift feels abrupt compared to everything we've seen from him previously.

Then there's the alien reveal itself. One criticism directed at some viewers is that they expected more aliens from a movie about alien disclosure. That's a fair expectation considering the marketing heavily featured UFO imagery and promoted the mystery surrounding extraterrestrial life.

The problem is that the film treats its final reveal like a major emotional payoff even though the audience already knows aliens exist.

The movie is called Disclosure Day. The trailers focus on disclosure. The entire plot revolves around disclosure. There's no mystery left to reveal. The film spends so much time building toward a moment audiences have already accepted from the very beginning.

The aliens themselves raise another collection of questions. According to the story, they've spent years disguising themselves as animals, abducting children, conducting experiments, and granting abilities to select individuals as part of an elaborate plan to eventually reveal their existence.

Why? Why choose this absurdly complicated path? Why not simply make contact? Why involve children? Why create decades of secrecy only to eventually announce themselves anyway? The film never provides answers that feel satisfying.

It also accidentally makes the aliens seem far more unsettling than inspirational. If an advanced species has been secretly abducting children and manipulating human lives for decades, that's not exactly the comforting message the film seems to think it is.

The movie's broader themes don't entirely hold up under scrutiny either. A major component of the story suggests that revealing alien life would fundamentally transform humanity and unite the world. The film treats disclosure as a cure for division, conflict, and even the looming threat of global war.

That's a nice idea. It's also incredibly difficult to believe. The movie presents a world on the brink of catastrophe, with fears of nuclear conflict escalating rapidly. Yet audiences are asked to accept that a single televised revelation would instantly inspire empathy, end hostilities, and bring humanity together.

Human beings struggle to agree on basic facts in the real world. The idea that everyone would suddenly unite after watching footage of extraterrestrials feels less like thoughtful speculation and more like wishful thinking.

Even some of the smaller moments feel oddly disconnected from the rest of the story. Margaret's panic attack aboard the train culminates in a piano sequence that seems designed to carry deep emotional significance. The problem is that the film never establishes any meaningful connection between Margaret and a piano beforehand. The scene feels like it belongs to a different movie.

Another confusing moment occurs when someone blesses themselves in front of Margaret, prompting her to respond, "I don't wanna be anyone's religion." It's an interesting line, but the movie never really explores it. The idea appears briefly and then disappears.

That becomes a recurring problem throughout Disclosure Day. The film introduces fascinating concepts involving religion, spirituality, truth, faith, and humanity's place in the universe, but many of those ideas receive only surface-level exploration before the story rushes toward its next set piece.

Even visually, the film doesn't always help itself. Spielberg's camera movement remains impressive, and his technical skill is undeniable, but many of the locations feel oddly generic. Despite supposedly taking place in Kansas City, the setting rarely develops a distinct personality. The environments blend together, creating a backdrop that often feels interchangeable.

And then there are certain action scenes and how they are utilized. Daniel crashing a vehicle through multiple obstacles, like a house, while dozens of agents fail to stop him feels less like a tense thriller and more like a live-action cartoon.

Another sequence involving a car driving off a cliff somehow allows characters to escape detection despite being surrounded by incompetant agents, who fail to search the area. The two characters are like five feet away from them hiding behond a rock!

By that point, the movie has largely abandoned realism altogether. None of this means Disclosure Day is completely without merit. The film contains compelling themes, strong performances, and moments of genuine entertainment. Emily Blunt remains fantastic throughout, and Spielberg's ambition deserves credit even when the execution doesn't always work.

But the more time you spend thinking about the movie, the more its storytelling starts to unravel. The questions pile up faster than the answers. Character decisions become harder to justify. Entire plotlines begin to feel constructed around convenient outcomes rather than logical progression.

Maybe that's why Disclosure Day has become such a divisive movie among science fiction fans. Some viewers connect with its themes and emotional aspirations. Others can't get past the fact that the story often seems to operate on dream logic.

Either way, it's hard to deny one thing. For a movie centered on revealing the truth, Disclosure Day leaves audiences with an awful lot of unanswered questions.

Fans of Michael J. Fox have a new animated adventure to look forward to. The beloved actor has signed on to voice the lead character, Dougie, in the upcoming CG animated feature Dragoons from ICON Creative Studio.

The film centers on Dougie, an ordinary employee working at WizCorp whose life takes an unexpected turn after a strange accident unlocks something extraordinary within his apprentice, Dart. That event reveals a long-buried truth that changes everything they thought they knew about themselves and their world.

According to the official synopsis, Dougie is “an overlooked, ordinary worker at WizCorp — that is, until a freak accident awakens something extraordinary within his new apprentice Dart.

“Transformed into a mighty dragon, Dougie and Dart uncover an impossible truth: their kind were once legendary rulers of the skies, until the ruthless wizard-CEO Hex shrank them, erased their memories, and stole their power to build his empire.

“With this new truth in front of their eyes, and in their hearts, Dougie and Dart must find the courage to rise, awaken their kind, and prove that even the smallest spark can light up the sky.”

The story sounds like a fun mix of fantasy, adventure, and heart, and it will deal with self-discovery and finding strength where you least expect it. It’s also easy to see why Fox connected with the character.

Speaking about joining the project, Fox shared: “Dougie and Dart’s story is one I understand deeply, the idea that something immense can be sleeping inside you, just waiting for the right moment to be set free.

“This is a film for anyone who has ever felt overlooked, underestimated, or forgotten. I’m honored to help bring Dougie to life.”

ICON Creative Studio CEO and President Shea Wageman couldn't be more enthusiastic about bringing Fox onboard, explaining:

“Michael J. Fox is Dougie. From the moment we began developing this character, we knew we needed a voice that could carry both immense warmth and unshakeable spirit. Michael brings all of that and more. He gives Dougie a soul that audiences of every age will root for from the first frame to the last.”

For a movie built around a character discovering hidden potential, Fox feels like an inspired choice. His voice carries an instant sense of charm, determination, and optimism, qualities that seem perfectly suited for a hero who starts out overlooked before stepping into something much bigger.

Dragoons marks the latest original animated feature from ICON Creative Studio. The company also has Charlie the Wonderdog in development, which stars Owen Wilson and features original music from Bryan Adams.

Beyond its original productions, ICON has built an impressive list of service partnerships that includes Disney, Netflix, Apple TV+, Skydance, Warner Bros., Paramount, and Sony.

There’s still plenty we don't know about Dragoons, but the premise is certainly intriguing. A fantasy world filled with dragons, wizards, corporate empires, and a classic underdog story already sounds like a recipe for a fun family adventure. Adding Michael J. Fox as the heart and soul of the film only makes it that much more appealing.

More details on Dragoons are expected to be revealed in the months ahead.

Source: Variety

If you've been following Zendaya's career trajectory over the past couple of years, none of this is going to surprise you. The actress is everywhere right now, and Hollywood apparently can't stop throwing roles at her.

A while back, a rumor started making the rounds that Zendaya was being eyed for the lead in Warner Bros.' remake of The Fugitive. The original source wasn't exactly known for their batting average, so a lot of people shrugged it off.

Well now, insider Daniel Richtman is reporting that Zendaya has actually been offered the part, with David Keith(?) attached to direct.

The Fugitive has been around in one form or another since the 1960s, when it ran as a TV series. The version most people know, though, is the 1993 Harrison Ford film, where Ford plays Dr. Richard Kimble, a man wrongfully accused of killing his wife who escapes custody and goes on the run trying to find the real murderer.

Tommy Lee Jones played the relentless U.S. Marshal on his tail, and the role earned Jones a Best Supporting Actor Oscar. The official synopsis lays it out cleanly:

"Wrongfully accused of murdering his wife, Richard Kimble escapes from the law in an attempt to find her killer and clear his name. Pursuing him is a team of U.S. marshals led by Deputy Samuel Gerard, a determined detective who will not rest until Richard is captured.

“As Richard leads the team through a series of intricate chases, he discovers the secrets behind his wife's death and struggles to expose the killer before it is too late."

It's an awesome thriller and it's easy to see why Warner Bros. wants to bring it back. The question now is what version Zendaya would be stepping into.

The assumption from most corners is that she won't be playing a gender-swapped Richard Kimble, but rather a new character built around the same central conflict. Nothing has been confirmed either way.

What makes this particularly interesting is what Zendaya herself has been saying about the kinds of projects she's drawn to. In a recent interview, she talked about the criteria she uses when evaluating a role:

"I am drawn to complicated characters who I have to earn the audience's empathy and trust for," she said. "I want to expand the roles someone like me is allowed to do, or can do. As a Black woman, what I can do as an actress?"

A wrongfully accused person on the run, fighting to be believed, struggling to earn the trust of strangers while an authority with all the institutional power is hunting them down. That premise lines up almost point for point with what she says she's looking for.

Zendaya's schedule right now reads like a studio executive's fantasy booking sheet. She's reprising her role as MJ in Spider-Man: Brand New Day, heading back to the desert as Chani in Denis Villeneuve's Dune: Part Three, and she plays the goddess Athena in Christopher Nolan's The Odyssey.

If The Fugitive does move forward with Zendaya attached, it'll be interesting to see how the project comes together and how it will be reimagined for a new audience.

When fans talk about Indiana Jones and the Kingdom of the Crystal Skull, two moments almost always come up. The first is Indy surviving a nuclear blast by jumping inside a refrigerator, a scene that quickly became a pop culture punchline.

The second is the movie’s embrace of extraterrestrial mythology, a creative choice that divided audiences and remains one of the most debated aspects of the franchise. As it turns out, that controversial alien storyline nearly didn’t happen at all.

New comments from former Lucasfilm president and producer Kathleen Kennedy have shed light on the creative disagreement that took place between director Steven Spielberg, star Harrison Ford, and franchise creator George Lucas while developing the fourth Indiana Jones film.

Speaking as part of Vulture's oral history of Spielberg’s career, Kennedy explained that Spielberg and Ford were far from enthusiastic about taking Indy into science fiction territory.

"Steven was struggling with that movie. Harrison was struggling with the movie. They didn’t want to do a Raiders movie that involved aliens, and they kind of got into a fight with George about it."

Lucas, however, had a very specific vision for the story and wasn't interested in backing away from it. He explained:

"I wanted it to be kind of a War of the Worlds sort of thing. Harrison said, 'I’m not going to do another science-fiction movie.' And Steven said, 'I’m not going to do another science-fiction movie.'...We did about five scripts, and finally Steve and I compromised: 'Look, what if they’re not aliens but from another dimension.'"

That compromise ultimately became the version audiences saw in theaters, which is kinda funny because they are still aliens, and it’s still a sci-fi movie.

While most viewers simply remember the mysterious beings as aliens, the film technically presents them as interdimensional entities. Whether that distinction made much difference to fans is another conversation entirely.

According to Kennedy, Lucas ultimately got the movie he wanted, even if the rest of the creative team wasn't completely convinced it was the right direction.

"They ended up all of them doing what George wanted to do, which was probably the right thing. But Harrison and Steven were not 100 percent onboard.

“That’s why the movie, out of the four that Steven made, is the weakest. And that’s why Harrison was so deeply committed to [Dial of Destiny]. He didn’t want that to be the end."

Looking back, those comments help explain why Kingdom of the Crystal Skull feels so different from the previous Indiana Jones adventures. The original trilogy dealt with supernatural and religious mysteries, from the Ark of the Covenant to the Holy Grail.

Even at their most fantastical, those stories stayed rooted in mythology and ancient legends. Introducing beings from another dimension pushed the franchise into territory that some fans simply weren't interested in exploring.

The reaction reflected that divide. While Kingdom of the Crystal Skull was a box office success, it remains one of Spielberg’s most hotly debated films. Its 77% score on Rotten Tomatoes suggests a generally positive critical reception, but the movie’s reputation among fans has been considerably more complicated over the years.

That lingering dissatisfaction may also help explain why Ford was so invested in Indiana Jones and the Dial of Destiny. The actor clearly wanted one more opportunity to give the iconic adventurer a proper sendoff.

Unfortunately, that film struggled to connect with audiences as well, despite bringing in James Mangold to direct instead of Spielberg.

Interestingly, Spielberg’s relationship with alien stories has proven far more successful outside the world of Indiana Jones. His recent sci-fi project Disclosure Day, starring Josh O'Connor and Emily Blunt, has earned significantly stronger reactions from both critics and audiences, while also delivering one of the biggest non-franchise openings of his career.

What are your thoughts on this recently revealed information?

Disney has released the first trailer for Hexed, the latest animated fantasy adventure from Walt Disney Animation Studios, and it looks like it could be another fun addition to the studio’s lineup.

Packed with magic, mystery, and an imaginative new world, the film gives off the kind of energy that fans of Harry Potter and Doctor Strange will recognize, while still carving out its own unique identity.

The story follows Billie, a teenage girl voiced by Hailee Steinfeld, who discovers that she possesses hidden magical abilities. What begins as an ordinary life in suburbia quickly spirals into something far more extraordinary when those powers are accidentally unleashed.

According to Disney, the film “introduces the impulsive and unconventional teenage girl Billie and her cautious mother Alice (voiced by Rashida Jones).

“When Billie accidentally unleashes secret magical abilities, she’s hurtled out of suburbia and into a magical realm called Hexe, where she’s greeted by Ms. Quill (voiced by Tracey Ullman) and Elias Quire (voiced by Stephen Fry).

“As Billie’s spectacle-filled journey unfolds, she discovers family mysteries that could change the magical world of witches forever.”

The movie promises a fantasy adventure filled with magical creatures, strange new worlds, and plenty of surprises. The footage teases an imaginative realm called Hexe that looks packed with colorful spellcraft and larger-than-life characters. It feels like the kind of world audiences will want to spend time exploring.

The film comes from directors Fawn Veerasunthorn and Jason Hand, with co-director Josie Trinidad helping bring the story to life. Veerasunthorn shared some insight into Billie’s journey, saying:

“A wonderfully strange phenomenon is happening all around Billie, something she can’t explain. She’s someone who has felt miscast in her own life, and it takes leaving her normal world behind and entering a hidden world of wild, unhinged magic to begin to understand herself.”

Hand also spoke about what awaits Billie once she enters Hexe: “Hexe is a place where Billie begins to feel seen for the first time in her life. he embarks on a journey of self-discovery that reveals a powerful connection to magic, and in the process uncovers long-held secrets about her family.”

Produced by Roy Conli and Yvette Merino, Hexed will mark Walt Disney Animation Studios’ 65th animated feature. Based on this first trailer, the movie looks like it’s aiming to deliver a heartfelt coming-of-age story wrapped inside a visually inventive fantasy adventure.

Whether you're drawn in by the magical world-building, the mystery surrounding Billie’s family, or the promise of an epic witch-filled adventure, Hexed certainly looks like one to keep an eye on.

Hexed arrives exclusively in U.S. theaters on November 25, 2026.

DreamWorks has released the first teaser trailer for Shrek 5, and it delivers exactly the kind of chaotic fairy tale insanity fans have been waiting for.

The beloved franchise returns after a long hiatus, bringing back familiar faces, introducing the next generation of characters, and tossing everyone into another ridiculous adventure through Far, Far Away.

The film reunites Mike Myers, Eddie Murphy, and Cameron Diaz as the voices of Shrek, Donkey, and Fiona. Joining the cast are Zendaya, Marcello Hernandez, and Skylar Gisondo, who voice Shrek and Fiona’s now-grown children, Felicia, Fergus, and Farkle.

The trailer cleverly opens with a storybook recap of the events from the original Shrek, reminding audiences how this unlikely trio first came together back in 2001.

Before the narration can get too sentimental, Donkey jumps in and declares that it's time for a makeover. The moment appears to poke fun at the franchise’s updated animation style, which gives the familiar fairy tale world a fresh visual upgrade while still retaining its classic charm.

From there, the trailer launches into a series of bizarre encounters across Far, Far Away. Shrek, Fiona, Donkey, and the kids cross paths with a towering giant, various law enforcement officers, and a particularly unsettling snowman who seems to be a parody of Olaf from Disney’s Frozen.

Standing in a dark alley, the creepy character asks, “you wanna date a snowman?” in what is easily one of the trailer’s strangest yet funny moments.

Fans will also be happy to see the return of Gingy, who may have the trailer’s most ridiculous gag. The gingerbread fan favorite proudly shows off two gumdrop buttons attached to his backside and announces that he’s “caked up like a friggin’ bakery.”

The preview builds toward an ending that perfectly captures the franchise’s sense of humor. Shrek, Fiona, their children, and Donkey find themselves crammed inside a jail cell.

While everyone else looks less than thrilled about the situation, Donkey decides it's the perfect opportunity to perform. He belts out snippets of “Baby Come Back” and “Roxanne,” much to Shrek’s growing annoyance.

Shrek 5 marks the franchise’s first mainline installment since Shrek Forever After arrived in 2010. In the years since, the series expanded through the successful Puss in Boots spinoffs, including 2011’s Puss in Boots and the critically acclaimed Puss in Boots: The Last Wish in 2022.

After 17 years away from the main saga, it looks like DreamWorks is bringing Shrek and the gang back with the same offbeat humor, fairy tale parodies, and musical mayhem that made the franchise a phenomenon in the first place. If this first trailer is any indication, Far, Far Away is about to get a whole lot weirder.

The next chapter of the iconic animated series will be released on June 30, 2027.

It's kind of wild to think that I'm sitting here writing a reveiw for a fifth Toy Story movie. The original Toy Story was released back in 1995 when I was still in high school.

I remember seeing it at the El Capitan Theatre when it first opened and being completely blown away by what Pixar accomplished. Nobody had ever seen anything like it before.

It wasn't just the groundbreaking animation that made an impression. It was the characters. Woody, Buzz, and the rest of Andy's toys immediately became part of pop culture, but more importantly, they became characters we genuinely cared about.

Fast forward more than three decades, and I recently found myself back at the El Capitan Theatre watching Toy Story 5. Sitting there before the movie started, I couldn't help but think about that first experience all those years ago.

Suddenly all those memories came rushing back. It reminded me just how much this franchise has been a constant presence throughout different stages of my life.

That's probably why I walked into Toy Story 5 carrying a healthy amount of skepticism. I love this franchise. I genuinely do. The first three films are about as close to perfect as animated movies get. When Toy Story 3 ended, I was convinced Pixar had delivered one of the greatest conclusions ever put on screen.

Then Toy Story 4 came along, and while I never thought we needed it, Pixar somehow found another meaningful story worth telling. So when Toy Story 5 was announced, I had the same reaction many fans probably had.

How many times can they keep doing this? How many more emotional journeys can these characters go on before the magic starts wearing thin?

Well, after watching Toy Story 5, I'm officially done doubting Pixar’s work on this franchise. They've earned my trust…. Again.

What amazed me most about this movie is that it doesn't feel like a franchise desperately trying to justify its own existence. Instead, it feels like a creative team that genuinely found another story worth telling. Not only that, but they found a story that feels relevant to the world we're living in right now while still delivering everything that has always made Toy Story special.

The film centers primarily on Jessie, and I thought that was one of the smartest creative decisions Pixar could have made. After nearly thirty years of Woody and Buzz carrying the franchise, shifting the spotlight to Jessie injects new life into the story while allowing the filmmakers to explore themes that feel fresh.

Jessie has always been one of the franchise's most emotionally layered characters, dating all the way back to her unforgettable introduction in Toy Story 2. That movie delivered one of Pixar's most heartbreaking sequences, and Toy Story 5 builds upon those emotional scars in ways that feel surprisingly natural.

Jessie is now leading Bonnie's room, but she's carrying the weight of everything she's experienced. The fear of abandonment still lingers. The fear of being forgotten still lingers. The fear that everything she gives emotionally to a child might someday end with her sitting alone on a shelf once again still lingers.

Those feelings become the emotional backbone of the film, and they're explored with far more depth than I expected. What really caught me off guard is how effectively the movie taps into those emotions throughout the entire runtime.

Usually with a Toy Story movie you expect the big emotional breakdown to arrive during the final act. That's the formula. Pixar spends ninety minutes entertaining you and then emotionally dropkicks you during the finale.

This movie plays things differently. The emotional moments are woven throughout the entire story. There were multiple points where I felt myself getting choked up because these characters have been part of our lives for so long that their struggles still resonate.

Every time I think Pixar has exhausted these themes of friendship, purpose, belonging, and growing older, they somehow find a new angle that feels authentic.

There are essentially several major storylines unfolding simultaneously. Jessie is dealing with Bonnie becoming increasingly attached to technology. Bonnie herself is navigating friendships and social pressures.

Woody eventually finds his way back into the larger narrative. Then there's the absolutely bizarre but surprisingly entertaining subplot involving dozens of Buzz Lightyears stranded together and pursuing a mission that initially feels completely disconnected from everything else.

Early on, the movie can feel a little scattered because of all these moving parts. There were moments where I wondered if Pixar might have overloaded the narrative. Some storylines are simply more compelling than others, and the constant shifting between them occasionally affects the pacing. This isn't the cleanest or most streamlined Toy Story film Pixar has ever made.

But, the filmmakers knew exactly where they're going. As the story progresses, all of these seemingly separate threads begin weaving together in ways that become increasingly satisfying.

You can feel the movie locking into place piece by piece. Once everything clicks, the entire experience elevates. Character arcs start paying off. Emotional themes begin overlapping. The various storylines suddenly reveal how interconnected they've always been.

And when the film reaches its third act, Pixar absolutely delivers. I don't want to spoil anything, but this is an incredible strong finale for the franchise. The emotional payoff lands beautifully. The action is exciting. The character moments hit hard. Most importantly, everything feels earned.

One of the things I appreciated most is how thoughtfully the movie handles its central theme involving technology. It would have been very easy for Pixar to make technology the villain.

That approach would have felt simplistic and honestly pretty outdated. Instead, the film takes a much more nuanced view. Technology isn't presented as the enemy. It's simply another tool competing for a child's attention.

The movie explores questions about connection, loneliness, social development, online interaction, and the ways technology can both help and hinder relationships. These ideas are woven naturally into the narrative rather than feeling like lessons the audience is supposed to learn.

The best Pixar films have always trusted viewers to engage with deeper themes without hammering them over the head, and Toy Story 5 continues that tradition.

The introduction of several new characters also helps expand these themes. There’s a character named Blaze who provides an entirely new perspective that becomes incredibly important to Jessie's journey.

There’s also a collection of outdated technology-based toy character that end up being surprisingly effective as well. What initially feels like comic relief gradually evolves into one of the film's smartest ideas.

These characters understand obsolescence better than anyone because they've already lived through it. They know what it feels like to be replaced by something newer and shinier. That idea connects beautifully to what Jessie, Woody, and Buzz are experiencing.

At its core, Toy Story 5 is asking whether our value comes from our usefulness or from the impact we've had on the people around us. That's a powerful question, and it's one that resonates whether you're eight years old or eighty.

As much as I enjoyed the film, I will admit that some longtime fans may be disappointed by how little screentime certain characters receive. Rex, Slinky, Forky, and several others spend large portions of the movie sidelined. Even Woody's role is significantly smaller than what audiences may expect.

Personally, I found myself wishing for a little more Woody because Tom Hanks still brings so much warmth and heart to the character. At the same time, I understand why the filmmakers made that choice. This is Jessie's story, and the movie remains committed to that focus from beginning to end.

What ultimately stayed with me wasn't any specific plot point or action sequence. It was the realization that Pixar is still finding meaningful stories to tell with these characters after all these years. That's incredibly difficult to do. Yet somehow Toy Story continues finding new emotional territory to explore.

Walking into this movie, I was wondering whether Pixar could pull it off again. Walking out, I found myself laughing at the fact that I ever doubted them in the first place. At this point they've done it five times.

Five times they've taken characters I thought had reached the end of their journey and found another meaningful chapter worth telling. Five times they've managed to make me laugh, make me care, and make me unexpectedly emotional. Five times they've reminded me why this franchise remains one of the greatest achievements in animation.

No, Toy Story 5 doesn't surpass the first three films. Very few movies ever could. But, it comes remarkably close, and more importantly, it earns its place alongside them. It's funny, adventurous, thoughtful, emotional, and packed with the kind of heart that has defined this franchise from the very beginning.

Most importantly, it reminded me why I fell in love with Toy Story all those years ago, and honestly, that's all I could have hoped for.

Steven Spielberg is back in the alien business, and moviegoers showed up to see what he had cooked up.

Disclosure Day arrived in theaters with plenty of curiosity surrounding it. Original big-budget sci-fi films don't get many chances these days, especially ones that aren't connected to an existing franchise.

That made Spielberg's latest project stand out. The good news for Universal Pictures is that audiences helped push the film to the top spot at the box office during its opening weekend. The bigger question now is whether that's enough to turn the movie into a genuine financial success.

The film debuted with an estimated $44 million domestically and another $48.8 million from international markets, giving it a worldwide opening of $92.8 million. That's a very respectable start for an original science fiction movie, particularly in an era where recognizable brands dominate multiplexes. It also adds another successful opening weekend to Spielberg's already unmatched box office legacy.

Still, the financial picture isn't entirely clear. Unlike franchise films that often arrive with built-in audience demand, original movies have to rely heavily on word-of-mouth after opening weekend. That's where Disclosure Day finds itself facing some challenges.

The film carries a production budget of $115 million. That's actually pretty reasonable for a large-scale sci-fi spectacle directed by Spielberg. Universal reportedly spent another $80 million on marketing, pushing the studio's total investment to roughly $195 million.

When determining whether a movie is profitable, one important factor often gets overlooked. Studios don't keep every dollar earned at the box office. Theaters generally retain around half of ticket sales.

Using that rule of thumb, Disclosure Day would likely need to earn somewhere around $390 million worldwide through theatrical exhibition alone to fully break even from ticket sales.

That's a tall order for a movie that opened under $100 million globally. There is, however, another benchmark that Hollywood frequently uses. A movie earning roughly 2.5 times its production budget is often considered a success.

Applying that formula here puts Disclosure Day at around $288 million worldwide, which helps explain why estimates suggest the film needs approximately $300 million globally to be considered profitable once premium video-on-demand, streaming, television licensing, and other revenue streams are factored in.

The path to $300 million isn't impossible. The path to $390 million is considerably more complicated. One issue is audience reception. Critics have generally been favorable toward the film, with an 80% score on Rotten Tomatoes. General audiences have been less enthusiastic, resulting in a 72% audience score. The movie also earned a B CinemaScore, which isn't typically the kind of grade associated with long-lasting box office legs.

While some viewers have connected with the film, broader word-of-mouth doesn't appear especially strong. Social media reactions have been mixed, most on the negative side, and in some corners, outright harsh. That's not ideal for a movie that needs sustained momentum over several weeks.

Competition isn't doing Spielberg any favors either. This weekend brings the arrival of Toy Story 5, which is expected to deliver the biggest opening weekend of 2026 so far. Additional competition is right around the corner with Supergirl, Minions & Monsters, and Moana all preparing to enter the marketplace.

The silver lining is that several recent releases are fading quickly. Scary Movie and The Mandalorian and Grogu are already losing steam, while Masters of the Universe has struggled significantly at the box office. That creates at least some breathing room for Disclosure Day to continue attracting audiences.

There are also reasons for optimism based on Spielberg's history. he opening weekend represents his biggest launch in nearly a decade, surpassing the $41.7 million domestic debut of Ready Player One in 2018. That film eventually earned $583 million worldwide thanks largely to strong international business. Historically, audiences have enjoyed Spielberg's science fiction adventures.

The challenge is that today's theatrical landscape looks very different than it did in 2018. International markets aren't as dependable as they once were, and Hollywood can no longer count on China to provide the kind of box office boost that many major releases enjoyed in previous years.

Even so, Universal's investment doesn't seem unreasonable when viewed through the Spielberg lens. This is the filmmaker who helped build some of the studio's most valuable properties.

The Jurassic Park and Jurassic World franchises alone have generated billions of dollars over the years. Compared to many modern tentpoles carrying budgets north of $200 million, a $115 million Spielberg sci-fi film feels relatively restrained.

That's why Disclosure Day currently sits in an interesting middle ground. It's probably too early to label it a hit, but it also doesn't appear destined to become a disaster. If the film can demonstrate staying power overseas and avoid a steep drop in the coming weeks, reaching the $300 million range remains within reach.

Should that happen, Universal will likely view the project as a worthwhile investment, especially when future streaming, home entertainment, and awards season opportunities are added to the equation.

More than fifty years after Jaws changed Hollywood and helped create the modern summer blockbuster, Spielberg is still drawing audiences with original ideas. That's an accomplishment in itself, even if the film isn’t perfect.

Whether Disclosure Day ultimately lands as a hit or simply a respectable performer remains to be seen. Either way, it's encouraging to see a major studio backing a big original sci-fi movie from one of cinema's greatest storytellers. The industry could use more of those swings.

Disclosure Day is now playing in theaters.

Broadway star Lin-Manuel Miranda has been involved with making the music in the Disney hit Moana and all its iterations since the first film was released in 2016.

Now, as we head toward the live-action version of the movie, set to be released in just a few weeks, it’s been revealed that Miranda has penned a new original song for the film, titled “Along The Way,” with both Moana actresses leading the vocals.

The song is performed by Catherine Laga‘aia, who portrays Moana in the upcoming film; Dwayne Johnson, who reprises his role as the demigod Maui; and Auli‘i Cravalho, who voiced Moana in the animated films Moana and Moana 2.

Miranda said, “It was such a joy to drop back into the world of Moana again and write ‘Along The Way.’ Auliʻi and Catherine’s voices blend so beautifully, and writing for Dwayne as Maui is just pure fun. I’m grateful that we were able to create something special for this brand-new version of our wayfinder’s story.”

In a featurette, Johnson said, “We all agreed that Lin-Manuel Miranda should write one more song.” Laga‘aia explained that the song is “the perfect symbolism for this movie. Dwaye and Auli’i sing about finding me along the way, and our journey’s colliding.”

Miranda said, “What’s really wonderful is Auli’i is a producer on this film. So we thought, what if there’s a musical conversation between Auli’i Moana and Katie’s Moana? That became the idea for the song.”

Johnson added that the song was special to him because “it’s our OG Moana and your live-action Moana coming together, and then it’s your boy coming in.”

The film, which opens on July 10th, follows an adventurous teenager named Moana as she embarks on a quest to save her village on the island of Motunui. The live-action adaptation features music by Mark Mancina, Miranda and Opetaia Foa’i; Mancina returned to score the film.

You can listen to “Along the Way” now available on Spotify, and the rest of the soundtrack when it’s released on June 26th.

via: Variety

Ever since Sadie Sink joined the cast of Spider-Man: Brand New Day, fans have been trying to figure out exactly who she'll be playing. Numerous rumors have pointed toward one major possibility, and now a well-known insider is doubling down on that claim.

According to insider Daniel Richtman, "I can confirm that Sadie Sink is playing Jean Grey, 100%." That's about as definitive as a scoop can get.

At this stage, the Jean Grey rumors have become so widespread that if Sink ends up playing someone else when the film arrives on July 31, there are going to be a lot of scoopers of egg on their faces, scrambling to explain themselves.

Sink is also expected to appear in Avengers: Secret Wars, a project many fans believe could serve as the launching point for Marvel Studios' long-awaited X-Men era.

If the reports are accurate, introducing Jean Grey through Sink would instantly make her one of the MCU's most important new characters moving forward.

Following the events of Spider-Man: No Way Home, Peter finds himself in a world that no longer remembers who he is. As he throws himself into crime-fighting full-time as Spider-Man and watches the people he once cared about continue their lives without him, Peter begins experiencing changes that could push him down an unexpected path.

According to the film's synopsis: "In Spider-Man: Brand New Day, it's a Brand New Day for Peter Parker. Fighting crime full-time as Spider-Man in a world that doesn’t remember him—and the pressure of seeing his old friends move on without him—sparks a change in Peter he may not have the power to control.

But that transformation might also be the only thing that can stop a shocking new threat to the city and those he loves - a powerful villain no one can even see. The world may have forgotten Peter Parker, but he hasn’t forgotten them."

The film is being directed by Destin Daniel Cretton from a screenplay by Chris McKenna and Erik Sommers.

Marvel and Sony haven't officially confirmed Sink's role just yet, but if Richtman's information proves accurate, fans may be getting their first glimpse at one of the MCU's most iconic mutants very soon.

Until then, the speculation continues, and Jean Grey remains one of the most talked-about possibilities surrounding Spider-Man: Brand New Day as it swings into theaters on July 31, 2026.

When fans look back at the early days of the Marvel Cinematic Universe, it's easy to forget just how much of a gamble Iron Man was.

In 2008, Marvel Studios wasn't the entertainment powerhouse it is today. The studio was taking a major risk by financing its own superhero movie, and plenty of people questioned whether it would even work.

For years, many fans assumed the biggest obstacle standing between Robert Downey Jr. and the role of Tony Stark was the actor's well-documented struggles with addiction and legal troubles.

While those concerns certainly lingered in the public conversation at the time, director Jon Favreau recently revealed that the real battle over casting Downey was a little different than most people think.

In a Vanity Fair video looking back on his career, Favreau opened up about the process of bringing Downey into Marvel's first film. According to the filmmaker, the studio's concerns were tied more to business than personal baggage. Favreau explained:

“The big thing was Robert. It was hiring Robert Downey Jr. It wasn't the type of film where, you know, they felt that the hero, the mask was gonna be the star.

“So it wasn't the type of movie where you're paying for a high-dollar movie star to front it 'cause now they were gonna self-finance, and Robert was on the comeback.”

That perspective changes the story many fans have carried for years. Rather than focusing entirely on Downey's past, there was concern about spending money on a recognizable star for a character executives believed would spend much of the movie hidden beneath a helmet.

Of course, anyone who's seen Iron Man knows how ironic that sounds now. Tony Stark's personality became one of the defining ingredients of the MCU. The character's humor, confidence, and charisma were every bit as important as the armor itself.

Favreau went on to explain that there was another issue some people raised during the casting process: Downey's age. He recalled:

“Of course, it was difficult to hire him. At first, there was pushback. They questioned his age for the role too to be honest with you, which is so funny now thinking about it, how many years ago it was.

“But Tony Stark was a character that should be older than Spider-Man. He was in a different position in his life. There was a lot of push and pull on that piece of casting. I know I met with Robert and I saw in his eyes. He was like, this is, he just made a very compelling case. I just saw it.”

Downey was 43 years old when he first stepped into Tony Stark's shoes, and some people apparently felt he might be too old for the role. Fast forward nearly two decades, and the actor remains one of the most important figures in Marvel history.

What's even funnier is that Downey is preparing to return to the MCU at 61 years old, this time as Doctor Doom in Avengers: Doomsday.

Favreau ultimately trusted his instincts, and Downey did the one thing every actor hopes to accomplish during an audition: he made the decision impossible to ignore. The director said:

“He agreed to go and do a test, which I think you could even see. And he just made it undeniable. As a director, you're trying to get a take on something. And you know, it's sort of all, a little bit murky. And then the idea of Robert being Tony Stark, all of a sudden the fog cleared in my head.”

Fans can still watch Downey's original screen test online, and it's remarkable how much of Tony Stark was already there. The sharp wit, the swagger, the confidence, and the charm that would eventually help launch a multi-billion-dollar franchise were all present before he officially landed the role.

It's hard to imagine anyone else carrying the MCU on their shoulders the way Downey did. What started as a risky casting choice became one of the most important decisions in superhero movie history. Without his performance, there's a very good chance the MCU wouldn't have become the cultural phenomenon it is today.

Now, after helping build Marvel's cinematic empire as Iron Man, Downey is set to return in a completely different capacity. Fans will see him back in the MCU when Avengers: Doomsday arrives in theaters on December 18, 2026, with the actor trading Stark's armor for the mantle of the iconic villain Doctor Doom.

Considering the doubts surrounding his casting back in 2008, that's one hell of a full-circle moment.

Paramount+ has released a new trailer for Star Trek: Strange New Worlds Season 4, and it looks like fans are in for another thrilling ride packed with action, adventure, emotion, mystery, and the sense of exploration that has made the series such a hit.

The new footage offers a glimpse at what’s ahead for Captain Christopher Pike and his crew as they continue charting unknown corners of the galaxy.

While the trailer is loaded with exciting moments, one of the more interesting scenes features a conversation between two characters whose friendship will eventually become one of the defining relationships in the franchise: Spock and James T. Kirk.

Played by Ethan Peck and Paul Wesley, the pair share a meaningful exchange that hints at the growing bond fans know will become legendary as the timeline moves closer to the events of the original Star Trek series.

Paramount+ released the official synopsis for the upcoming season, which reads: “In season four of the Paramount+ Original Series, the crew of the U.S.S. Enterprise—led by Captain Christopher Pike—embark on a series of thrilling and emotional adventures across the stars.

“As they journey to strange new worlds, they will battle inner demons and external threats, encounter colorful new characters, reunite with familiar faces, and confront terrifying aliens. Through it all, they strive to embrace a bright, hopeful future.”

The series has balanced classic episodic adventures with strong character-driven stories, and Season 4 appears ready to push those elements even further. It also conveniently leaves out any mention of the puppet episode that fans already know is on the way.

The cast returning for the new season includes Anson Mount as Pike, Rebecca Romijn as Una Chin-Riley/Number One, Peck as Spock, Jess Bush as Christine Chapel, Christina Chong as La’an Noonien-Singh, Celia Rose Gooding as Uhura, Melissa Navia as Erica Ortegas, Babs Olusanmokun as Dr. M’Benga, and Martin Quinn as Scotty. Carol Kane returns as Pelia, while Wesley once again appears as Kirk.

With the series already confirmed to end with a shortened fifth season, every new episode feels a little more significant. Season 4 looks packed with the kind of wonder, heart, and larger-than-life sci-fi adventure that has made Strange New Worlds one of the strongest modern entries in the franchise.

Star Trek: Strange New Worlds Season 4 premieres on Paramount+ on July 23. New episodes will arrive weekly on Thursdays through September 24.

Fans of Studio Ghibli’s Kiki’s Delivery Service are about to see the beloved young witch take flight in a whole new way. BBC Studios Kids & Family has teamed up with U.K. production company Wheel in Motion and Japan’s Kadokawa Corporation to develop the first-ever live-action television adaptation of Eiko Kadono’s classic fantasy novel series.

The project is currently in development and is being planned as a 10-episode series, with each episode running approximately 30 minutes.

The story will draw primarily from the first book in Kadono’s six-volume series and follow 13-year-old Kiki as she leaves her family home to begin her witch training in the seaside town of Koriko. Once there, she launches her own delivery service while building friendships and discovering her place in the world.

The series is being written by Irena Brignull, whose previous credits include the Oscar-nominated The Boxtrolls, Sky’s Skellig, and Netflix’s The Little Prince. That combination of fantasy, heart, and family storytelling makes her a solid choice to bring Kiki’s adventures into live-action.

Originally published in Japan in 1985 by Fukuinkan Shoten Publishers, Kiki’s Delivery Service became a worldwide phenomenon, selling millions of copies across the globe.

Of course, for many fans, the story is most closely associated with the beloved 1989 animated adaptation from Studio Ghibli directed by Hayao Miyazaki, which introduced Kiki and her flying broomstick to generations of movie lovers.

This new series arrives as the book franchise celebrates its 40th anniversary, making it a fitting moment to revisit the story for a new audience.

Grainne McNamara of BBC Studios Kids & Family shared her excitement for the project, saying: “We are thrilled to be part of a collaboration to bring ‘Kiki’s Delivery Service’ to life for a new generation on a global stage.”

Alexi Wheeler of Wheel in Motion added: “Bringing this beloved story to a new audience as a live-action series is a dream come true and an absolute honor.”

Kadokawa’s Director of International Co-Productions, Takeo Kodera, sees the project as a perfect way to celebrate the milestone anniversary of the books:

“We cannot imagine a more exciting tribute to the landmark 40th anniversary of this classic book series than this partnership. The U.K. creative team has absorbed the spirit of Kiki through their close collaboration with Ms. Kadono and the results will enchant family audiences everywhere.”

Kadono herself also expressed enthusiasm about seeing her iconic character embark on a new journey: “Kiki is about to set off on another adventure into a new world. I’m confident this will be a great show. I can’t wait to see the series come to life.”

Brignull spoke about what makes Kiki such an enduring character and why she was eager to join the project: “Kiki is one of fiction’s great girl characters and I’m thrilled to be part of bringing her to life in this new adaptation.

“Embodying the magic that exists in re-invention and human connection, she shows us what’s possible when you venture boldly and big-heartedly into the world to find a sense of purpose.”

While details regarding casting, production timelines, and a release date haven't been announced yet, the creative team clearly understands the importance of the source material.

With Kadono closely involved and the adaptation focusing on the original novels, this could offer fans a fresh perspective on Kiki’s story while staying true to the heart of what has made it such a lasting favorite for four decades.

For longtime fans of the books and the Studio Ghibli film, it’ll be exciting to see how Koriko, Kiki, Jiji, and the magical world around them are brought to life in a live-action television format.

If done right, this has the potential to introduce an entirely new generation to one of fantasy’s most charming coming-of-age adventures.

Adult Swim’s My Adventures With Superman is getting ready to expand its DC universe in a big way. Season 3 will introduce Jessica Cruz, the future Green Lantern, giving fans their first look at a character who is destined for much bigger things beyond the main series.

The character will make her debut in the season’s second episode, “Mobile Suit Toyman,” and she’ll be voiced by Auli’i Cravalho, best known for bringing the title character of Moana to life.

While Jessica’s arrival is exciting for a lot of fans, it’s only the beginning of her story. The character is also set to headline her own spin-off series, My Adventures With Green Lantern.

Before she earns a Power Ring and joins the ranks of the Green Lantern Corps, Jessica is being introduced as an ordinary high school student trying to navigate a world that has been dramatically changed by the arrival of powerful heroes and extraterrestrial threats.

According to the creative team, Jessica’s role in My Adventures With Superman is closely tied to Supergirl’s ongoing story. The series wanted a character who could offer a more grounded perspective on the larger-than-life events unfolding around her.

Showrunner Jake Wyatt explained: “We’d already planned for the second episode to showcase how Supergirl, in particular, was changing their world. We wanted to look at how different people had very different reactions to the same Kryptonian.

“So when word came down from the brass that Green Lantern was greenlit, we wanted our pre-Lantern Jessica Cruz to give us the girl-on-the-street view of Supergirl.

“How would a shy, relatively powerless teenager see this powerful, young super-woman out there changing the world? And what would it be like for Supergirl to see herself through Jess’s eyes?”

That approach feels like a good fit for Jessica Cruz, who has always stood apart from many other Green Lanterns because of her relatable struggles and personal fears. Rather than introducing her as an already established superhero, the series is allowing audiences to meet her before destiny comes calling.

Comic book fans know Jessica as the first human woman to join the Green Lantern Corps. Her upcoming spin-off, My Adventures With Green Lantern, will put her front and center after a mysterious Power Ring literally falls into her life.

The official synopsis teases: “Shy and kind-hearted high school student Jessica Cruz” has her life upended when a Power Ring falls from the sky and chooses her to be its new champion.

“Things get even worse when more debris from the Lanterns’ ancient space war arrives—along with their alien foes. To protect the Earth, Jess will have to overcome her fears, anxieties, and your typical teenage drama to lead a new Lantern Corps. against a terrifying foe.”

The creative team is embracing everything that has made My Adventures With Superman such a fun reinterpretation of DC characters. The series has built its reputation on taking iconic heroes and showing them through a younger, more personal lens, and Jessica Cruz seems perfectly suited for that style of storytelling.

With Supergirl continuing to reshape the world around her and Jessica Cruz preparing for her own cosmic adventure, Season 3 is shaping up to bring some exciting new energy to the animated series.

My Adventures With Superman Season 3, Episode 2, “Mobile Suit Toyman,” premieres on Adult Swim on June 20. For Green Lantern fans, it looks like the next great hero of this animated universe is about to make her entrance.

Source: Entertainment Weekly

Steven Spielberg’s latest film, Disclosure Day, is in theaters now, and it was the third film in which the director was able to work with actor Colman Domingo, but it could have been the fourth.

In a recent chat with Amy Poehler on her Good Hang podcast, Spielberg was the intro guest ahead of her conversation with Colman Domingo. Spielberg has long sung the praises of the actor, so he seemed like a good person to introduce his friend to the podcast.

Spielberg said that he and Domingo have known each other for many years, working on the films Lincoln, and The Color Purple. But the Academy Award-winning director had a project in the works years earlier that would have centered the actor.

Spielberg wanted to make a movie about George and Ira Gershwin, and the creation of their classic opera Porgy and Bess. He had secured a script and was involved in the casting process when Colman Domingo auditioned.

“I was going to make a movie about Ira and George Gershwin, and I was going to make a movie about the process of writing and staging Porgy and Bess,” Spielberg explained. He said he met many actors while searching for Todd Duncan, who originated the role of Porgy, but after meeting Domingo, he knew he wanted him for the part.

The project itself centered on a disabled Black beggar from Charleston who sets out to save Bess from her abusive, drug-dealing partner. The story traces its roots back to the work of Dorothy and DuBose Heyward and later inspired the 1959 movie starring Sidney Poitier and Dorothy Dandridge.

Even though much of the cast had already come together, Spielberg said he started having “second thoughts” late in the process. He eventually decided to walk away from the film, explaining that this was the only reason Colman and he “didn’t work together then.”

But they ended up having a great working relationship, and have made several great stories together since.

via: SuperHeroHype

Fans of Tatsuki Fujimoto's work have another adaptation to look forward to. While the creator is best known for Chainsaw Man, his emotionally powerful one-shot manga Look Back is making the jump to live-action, and the first teaser trailer has arrived along with new details on the cast and production.

GKIDS has released a teaser trailer and two new key visuals for the upcoming film, which is being directed by acclaimed filmmaker Hirokazu Kore-eda.

The movie is set to open in Japanese theaters on September 11, 2026, and it marks the first live-action adaptation of Fujimoto’s beloved manga.

The story centers on Fujino, a confident young artist who enjoys praise for the manga strips she creates for her school newspaper. Her world changes when she encounters Kyomoto, a withdrawn classmate whose artistic abilities far surpass her own.

What begins as rivalry gradually evolves into a strong connection, with the two bonding through their shared love of manga. The story follows their relationship from childhood into adulthood as their passion for creating comics shapes the course of their lives.

The teaser also confirms the film’s cast. Natsuki Deguchi will star as Fujino, while Aju Makita takes on the role of Kyomoto. Playing the younger versions of the characters are Furi Nanase and Rokka Okada.

Deguchi and Makita previously worked with Kore-eda on The Makanai: Cooking for the Maiko House, making this a reunion between the director and two of his actors.

Kore-eda is taking on multiple creative responsibilities for the project, serving as director, writer, and editor. The film is being produced by K2 Pictures under Daiju Koide.

Kore-eda’s connection to Look Back began long before he joined the project. The filmmaker discovered the manga while browsing a bookstore in Shinagawa Station and was immediately drawn in.

After reading it, he explained that he “felt the desperate resolve” behind Fujimoto’s work after reading it in “one sitting.” He also compared his attachment to Look Back to the personal connection he has with his own film Nobody Knows.

When producer Koide later approached him about directing an adaptation, the timing seemed almost too perfect. After eventually meeting Fujimoto, Kore-eda said he “had no choice but to do it.”

Production on the film took place in Nikaho, Akita, where local residents reportedly played an active role in supporting the shoot. Filming stretched from February through November 2025, allowing the production to capture all four seasons and giving the movie a natural visual progression that mirrors the passage of time in the story.

For audiences outside Japan, GKIDS will release Look Back in the United States, Canada, the United Kingdom, and Ireland later in 2026. International sales outside of Asia are being handled by Goodfellas.

Fujimoto’s original manga struck a chord with readers thanks to its heartfelt exploration of creativity, friendship, ambition, and loss.

The animated adaptation already proved how effective the story can be on screen, and now it will be fascinating to see how Kore-eda brings this deeply personal tale into the live-action world.

Based on the talent involved and the emotional weight of the source material, this is shaping up to be one of the most intriguing manga adaptations arriving next year.

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Things continue to move fast for Curry Barker, whose rising profile in the horror genre has turned a lot of heads in Hollywood. Following the breakout success of Obsession, Barker’s next feature, Anything But Ghosts, is building out its cast with the addition of Chris Reinacher.

The upcoming film comes from Focus Features and the Blumhouse-Atomic Monster partnership, with Spooky Pictures and Divide/Conquer also producing.

Reinacher joins a cast that already includes Barker, Aaron Paul, Bryce Dallas Howard, Violet McGraw, and Cooper Tomlinson.

The casting news arrives at a particularly exciting time for Barker. His current film, Obsession, recently became Focus Features’ highest-grossing domestic release, earning more than $111 million at the box office. The horror film also landed an A- CinemaScore, a rare achievement for the genre.

The connection between Barker and Reinacher goes back years. Reinacher is a filmmaker, comedian, writer, and digital creator whose online work has generated more than 400 million views.

His short films have screened at Sundance and Cannes, and his latest project can be found on the That’s a Bad Idea YouTube channel with Fly Me to the Earth, a sci-fi comedy that he directed, co-wrote, and stars in alongside Barker and Tomlinson.

His television credits include serving as showrunner on Read the Room, a digital sketch series that has amassed more than 100 million views online.

As an actor, Reinacher has appeared in Your Friends Will Never Believe You, NBC’s Superstore, Fox’s The Mindy Project, and projects for Adult Swim and Comedy Central Digital. He also led Hulu’s Teenage Mountain Lion.

Reinacher was also one of the original members of BuzzFeed Video, helping create viral content during the company’s early growth years.

His personal YouTube channel has nearly 400,000 subscribers, while his podcast Wine & Weed has surpassed 3 million streams and featured guests including Michael B. Jordan, Machine Gun Kelly, Quinta Brunson, and Jo Koy.

Barker co-wrote Anything But Ghosts with longtime collaborator Tomlinson, who also stars in Obsession. Together, they are part of the massively popular comedy collective That’s a Bad Idea, which has built a huge following across YouTube, Instagram, and TikTok.

The film is being produced by Jason Blum for Blumhouse-Atomic Monster, Roy Lee and Steven Schneider for Spooky Pictures, and Adam Hendricks and Greg Gilreath for Divide/Conquer.

The project is being made in association with Image Nation and That’s a Bad Idea. Barker, Tomlinson, and Image Nation’s Ben Ross are attached as executive producers.

One of the more interesting parts of Barker’s rise is how quickly major studios recognized his potential. Blumhouse and Atomic Monster played a key role in bringing him into the fold, encouraging Focus Features to acquire his feature directorial debut Obsession out of TIFF Midnight before it went on to become a major success.

With Anything But Ghosts assembling an impressive cast and creative team, it’ll be interesting to see what Barker delivers next as his career continues its upward climb.

Source: Deadline

If you're looking to add another badass Marvel collectible to your shelf, Hot Toys has revealed a new 1/6 scale figure inspired by The Punisher: One Last Kill, the Disney+ special centered on Frank Castle's latest brutal mission.

The highly detailed figure captures the vigilante's battle-worn look and comes loaded with accessories that collectors will appreciate.

Included with the release are a head sculpt featuring moveable eyes, multiple interchangeable hands, a removable coat, a shotgun, rifle, pistol, knife, hatchet, ammo clips, and a display stand that lets fans showcase the character in a variety of action-ready poses.

The new Hot Toys Punisher figure is available to pre-order now and looks like another impressive addition to the company's growing lineup of Marvel collectibles.

The 1/6 scale release is priced at $270 and is currently expected to arrive sometime between the second and third quarters of 2027.

For fans of Frank Castle and high-end collectibles, this figure delivers plenty of display options and weaponry straight out of The Punisher: One Last Kill, making it a great centerpiece for any Marvel collection.

The Punisher: One Last Kill – The Punisher 1/6th Scale Collectible Figure

In the television special The Punisher: One Last Kill, Frank Castle hits absolute rock bottom. Having wiped out the Gnucci crime family to avenge his murdered wife and children, he abandons his tactical gear and contemplates suicide at his family’s graves.

However, a massive bounty placed on him by the vengeful Ma Gnucci triggers an all-out turf war in Little Sicily. In a climactic final scene, Frank puts his iconic skull vest back on. Fully accepting that he can never escape the violence, he chooses instead to control what he fights for—finally transforming from a trauma-fueled vigilante into a true protector of the innocent.

Inspired by this defining final appearance, Hot Toys is proud to present The Punisher 1/6th scale collectible figure. This exceptional piece masterfully captures the authentic and detailed likeness of Jon Bernthal as The Punisher, featuring a newly developed head sculpt equipped with separate rolling eyeballs for unparalleled realism.

Every detail is meticulously rendered, from the rugged beard and the realistic skin textures to the finely sculpted dark brown hair. Standing approximately 31cm tall, the figure is built upon a specialized body boasting over 30 points of articulation, perfect for recreating the character’s iconic stances.

The costume is finely tailored, and showcases the iconic bulletproof vest with the Punisher’s skull; the vest features magazine pouches at the sides and an axe holder on the back. The rugged combat ensemble includes a black shirt, tactical pants, knee pads, combat boots, and a utility belt with a pistol holster and additional pouches.

A leather-like microfiber coat is also included for alternative display styles. Weapons include a pistol, a shotgun, an AK‑47 rifle, an axe, a dagger, and seven magazines. Completing the presentation is a figure base for display.

He returned from the brink to become a true protector. Capture the climactic moment of his transformation with this incredible figure. Pre-order now and bring his final chapter home.

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Hulu’s Only Murders In the Building is booking top local talent for the upcoming sixth England-based season.

The latest batch of big names to join as recurring for the new installment include two Doctor Who stars, two Harry Potter stars, and a Bridgerton standout. Joining Season 6 are David Tennant, Nicola Coughlan, Jodie Whittaker, Jim Broadbent, Richard Ayoade, Adrian Lukis and Kathryn Hunter.

They join recently announced recurring cast Jennifer Saunders, Sean Teale, Simone Ashley, Amar Chadha-Patel, Rhea Norwood, Matthew Beard, Sharon Horgan, Martin Freeman, Geri Halliwell-Horner, Jamie Demetriou, Anjana Vasan, Jane Horrocks, Derek Jacobi and Lesley Nicol.

Production on the new season is currently underway in the UK. This marks the first time the comedy mystery series has ventured outside of the U.S., as the crime-solving trio of Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) leaves New York City to investigate London’s newest mystery.

Stay tuned for updates on season 6 of the series.

via: Deadline

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sure, Katie. We totally believe you.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And then she says one word… “Listen.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— Spidey Tracker (@SpideyTracker) June 15, 2026

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

— Spidey Tracker (@SpideyTracker) June 15, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: Deadline

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Supergirl flies into theaters on June 26th.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— Matt Reeves (@mattreevesLA) June 12, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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A post shared by Mike Flanagan (@flanaganfilm)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That’s when Rhodes laid it all out.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“We are defenders of the night”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Odyssey rides into theaters on July 17, 2026.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— James Gunn (@JamesGunn) May 29, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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A post shared by Gary J Tunnicliffe (@hollywoodassassin)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“I wasn’t cross, I was crushed.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HBO’s The Last of Us continues to build anticipation for its third season, and now fans have another intriguing addition to keep an eye on. Peter Sarsgaard has officially joined the cast of the hit post-apocalyptic drama in a recurring role, stepping into a brand-new character created specifically for the series.

Sarsgaard will play Amon, one of the leaders of the Seraphites, a religious faction. What makes the casting especially interesting is that Amon isn’t a character pulled directly from the video games.

Instead, he appears to be a fresh addition crafted for HBO’s adaptation, which opens the door for some new storytelling opportunities as the series continues to expand its world.

The casting news arrives as production on Season 3 enters a planned hiatus. According to reports, filming has temporarily paused for roughly a month, a break that lines up with the FIFA World Cup.

Vancouver, where much of The Last of Us is filmed, is one of the tournament’s host cities. With the massive international event expected to dominate the area and affect location filming, the production team is using the opportunity to take a scheduled pause before resuming work.

Once filming picks back up, production is expected to continue through the remainder of the year. HBO is currently targeting a 2027 premiere for Season 3.

While HBO hasn’t officially confirmed whether Season 3 will be the final chapter of the series, it is widely expected to serve as the conclusion to the adaptation.

Co-created by Craig Mazin and Neil Druckmann, The Last of Us is set in a world where civilization collapsed two decades earlier following a devastating fungal outbreak.

The story began with Joel, played by Pedro Pascal, a hardened survivor tasked with smuggling Ellie, portrayed by Bella Ramsey, out of a military-controlled quarantine zone. What started as a simple assignment evolved into a brutal, emotional cross-country journey that forced the two to rely on one another to survive.

Season 2 jumped forward five years from the events of the first season and introduced several key characters from The Last of Us Part II, including Abby Anderson, played by Kaitlyn Dever.

HBO is keeping Season 3 story details under wraps, but fans familiar with the games have a pretty good idea where things are headed. The next chapter is expected to center heavily on Abby’s storyline, which naturally places the Seraphites in a much more prominent position within the narrative.

That makes Sarsgaard’s casting particularly noteworthy. Bringing in an actor of his caliber for a newly created Seraphite leader suggests the show may be expanding elements of the faction’s story beyond what players experienced in the games.

There’s also a notable creative shift heading into the new season. After serving as executive producer and co-showrunner alongside Druckmann during the first two seasons, Mazin will take over as the sole showrunner for Season 3.

Source: Deadline

Frozen III is headed our way next year, and with the sequel being that far out, we don’t have a lot of details yet. But one star has dropped a few morsels for us to enjoy while we wait for something for solid to be released. Josh Gad, who has voiced Olaf the snowman throughout the franchise, recently shared new details about the film’s tone, music, and overall progress.

Gad recently appeared on Good Morning America, where he said the third chapter has already left a strong impression on him during the recording process. “Well, here’s the deal. I can tell you, I started recording… It’s the funniest of the three movies I’ve ever recorded. I’m laughing my butt off,” he said. 

The actor also spoke enthusiastically about the sequel’s music, confirming that Oscar-winning songwriters Robert Lopez and Kristen Anderson-Lopez have returned for the project.

Gad revealed that he has already heard some of the new material and was impressed by what the duo has created. “I’ve heard two of the songs. They are incredible. Wow… Bobby and Kristen wrote the music again,” he noted.

Gad went on to tease that the creative team has some major surprises in store, saying, “There’s some unbelievable stuff. Unbelievable developments.” Disney previously confirmed that Frozen 4 is already in the works. This makes Frozen the first Disney Animation franchise to receive a planned fourth theatrical feature.

Frozen 3 is currently scheduled to arrive in theaters on November 24, 2027.

If you were one of the many people who watched the trailer for Christopher Nolan's upcoming epic The Odyssey and noticed the characters’ modern American accent, there’s no doubt you were caught off gaurd. As you might imagine, it sparked a debate online.

But now, one of the film's stars is offering some clarity on the choice, and it's less controversial than the comment sections might have you believe.

Himesh Patel, who plays Eurylochus, Odysseus's second-in-command in the film, sat down with The Hollywood Reporter and briefly touched on the reasoning behind the accent.

According to Patel, Nolan made it clear early on that everyone would be speaking with an American accent, not Greek, and not the British English that has basically become the default shorthand for "ancient" in Hollywood.

The reasoning, at least as Patel describes it, points toward accessibility. Getting a wider audience to emotionally connect with a 2,700-year-old Greek epic is already a tall order. Making it sound like a BBC historical drama probably wasn't going to help.

When it comes to historical movies like this even when it's set in Russia or Germany, it's almost always been a British accent. So making it an American accent this time wasn't a big issue.

Think about nearly every sword-and-sandal epic or World War II film you've ever seen. German officers speak in clipped English RP. Roman senators sound like they went to Eton. The British accent has functioned as a kind of cinematic proxy for "serious and old" for decades, and nobody really questioned it.

Nolan decided to try something different, and it caught people off guard because of how unfamiliar it is within the ancient setting, not necessarily because it's objectively stranger than what came before.

That said, the reaction to lines like "My dad is coming home" has been hard to ignore. It lands awkwardly on the ear for some people, and the criticism isn't entirely unfair. But the accent isn't changing, and at this point the film is a month away from release.

What might soften the skepticism for fans is the rest of what Patel had to say about the production. Most of the scenes were captured in-camera using practical effects, which lines up perfectly with what Nolan's audience has come to expect from him.

The filmmaker famously leans away from CGI in favor of doing things for real, and The Odyssey sounds like no exception. Patel described filming for several days inside a cave, on top of a castle, and out at sea on an actual boat. Whatever your feelings are about the accent, the production scope sounds genuinely staggering.

The Odyssey opens in theaters on July 17, 2026, and comes with a reported budget of around $250 million, making it the most expensive film Nolan has ever made.

It's based on Homer's ancient Greek poem, Nolan wrote the screenplay himself, and it holds the distinction of being the first feature film ever shot entirely on IMAX cameras. The cast includes Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Charlize Theron, Jon Bernthal, and Zendaya.

So yes, Odysseus might yell out "Let's go!" with the energy of someone who just found a good parking spot. But he's going to say it in full IMAX, on a $250 million budget movie directed by Christopher “freakin” Nolan. The accent discourse will probably fade after people watch the movie.

Fans have been waiting for an update on the future of Wonder Woman in the DC Universe, and now we finally have one straight from the writer herself.

For months, reports circulated that Ana Nogueira, who wrote Supergirl, had been hired by DC Studios to tackle the screenplay for the upcoming Wonder Woman reboot.

The report originally dropped last year, but neither DC Studios nor James Gunn ever officially confirmed it. Gunn, who is usually active on social media when it comes to DC news, remained completely silent on the matter.

Now, Nogueira has put any doubts to rest. During a recent interview with Collider, the writer confirmed that she is currently working on the script for the new DCU Wonder Woman movie.

As expected, she couldn't reveal story details or discuss where Diana Prince fits into the larger DCU plans, but she did offer some insight into how she approaches writing such an iconic character.

Nogueira explained: “I try to approach every character I write from a place of what feels most true to me about them… I put on blinders and see what the character means to me before I take them onto the page.”

It's a simple philosophy, but one that could be exactly what fans want to hear when it comes to a character as beloved as Wonder Woman.

Rather than getting caught up in outside expectations or decades of comic book history right away, it sounds like Nogueira starts by finding a personal connection to the hero before building the story around that foundation.

DC Studios appears to have a great deal of confidence in her. In addition to writing Wonder Woman, she's also developing the live-action Teen Titans movie. Landing two major DC projects at the same time suggests Gunn and co-CEO Peter Safran see her as one of the key creative voices helping shape the franchise's future.

As for what this new Wonder Woman film will actually be about, that's still anyone's guess. One of the bigger rumors making the rounds is that Diana could make her DCU debut before her solo movie arrives.

Some fans believe Gunn may introduce the Amazon warrior in the upcoming Man of Tomorrow project, though nothing has been officially announced.

Casting speculation has also been heating up. While reports claim Adria Arjona has been cast as Maxima, a lot of fans remain convinced she could actually be playing Wonder Woman instead. Adding even more fuel to the rumor mill, Eva De Dominici, who was reportedly also being considered for Arjona's role, recently shared a workout video on Instagram that got people talking.

The reason? The emojis she included with the post: a woman with crossed arms and a pair of crossed swords. Those symbols immediately sparked fresh Wonder Woman theories online. Of course, it's entirely possible De Dominici is simply having some fun with the speculation, but fans are paying attention nonetheless.

While rumors continue to swirl, Gunn recently addressed reports claiming Wonder Woman had been pushed to the top of DC Studios' priority list. According to him, the character has always been one of the franchise's most important pieces.

Gunn said: "I don’t know what they mean by fast-tracking. I've always had Wonder Woman as a priority. But we got the first few things started, and there’s some other things that are really close to green-lighting — like there’s a TV show that I hope that we’re gonna be green-lighting in the next few days."

He went on to explain why the character has become an even bigger focus as DC Studios continues building out its slate:

"So now a little time has passed, and we really need Wonder Woman and we really need Batman, because they’re so important to us. And so it’s become a little bit more like going to everybody at DC and being like, we need to figure this out.

“We have good writers on Wonder Woman and we just have to make sure it’s working and they have to not be somebody who’s gonna take two years to write a script."

It would seem Nogueira one of the writers Gunn was referring to, and she's now carrying the responsibility of bringing one of DC's most iconic heroes into the new shared universe.

There's still a long road ahead before fans see Wonder Woman return to the big screen, but knowing the script is actively being developed is an encouraging sign.

With Nogueira helping shape Diana's next chapter and DC Studios treating the character as a major priority, the pieces are finally starting to come together for the Amazon warrior's DCU debut.

Ana Nogueira on writing ‘WONDER WOMAN’:

“I mean, there’d be a sniper dot on my head if I said too much. But I try to approach every character I write from a place of what feels most true to me about them… I put on blinders and see what the character means to me before I take… pic.twitter.com/iZWDnqgTdg

— DC Film News (@DCFilmNews) June 11, 2026

Netflix has released a beautiful and sprawling final trailer for their series remake of Little House On the Prairie, based on the memoirs by Laura Ingalls Wilder.

The show stars Alice Halsey as Laura Ingalls, Luke Bracey as Charles Ingalls, Crosby Fitzgerald as Caroline, Skywalker Hughes as Mary, Jocko Sims as Dr. George Tann, Warren Christie as John Edwards, Wren Zhawenim Gotts as Good Eagle, Meegwun Fairbrother as Mitchell, and Alyssa Wapanatahk as White Sun.

The series is developed and showrun by writer Rebecca Sonnenshine (The Boys, The Vampire Diaries, The Housemaid), with episodes directed by Kat Candler, Sydney Freeland, Julie Anne Robinson, Sarah Adina Smith, and Erica Tremblay.

The synopsis reads: “Part hopeful family drama, part epic survival tale, and part origin story of the American West, this fresh adaptation of Laura Ingalls Wilder’s iconic semi-autobiographical Little House series of books offers a kaleidoscopic view of the struggles and triumphs of those who originally shaped the American frontier.

“The first season is inspired by Little House on the Prairie, which is actually the third book in the series... The characters talk about their life before they came to the prairie — we might meet a few characters from their past.”

This looks like a gorgeous and epic take on the classic novels and show many of us grew up on. Check out the trailer below, and watch Little House On the Prairie on Netflix on July 9th.