Spoilers of course follow for The Boys Season 5, Episode 7.

With Prime Video's The Boys coming to a close soon -- the series finale drops one week from today -- many of the characters' arcs are nearing completion. And in this week's episode, "The Frenchman, the Female and the Man Called Mother's Milk," Chace Crawford's The Deep reaches a point that could mark the end of his story. And along the way, he encounters a character who happens to be voiced by a luminary from a different superhero universe altogether: Samuel L. Jackson!

Yes, Nick Fury himself is now part of The Boys universe. Only here, Jackson is playing a foul-mouthed shark named Xander. And he's none too pleased with The Deep.

First Black Noir (Nathan Mitchell) caused an environmental disaster at sea, destroying a Vought oil pipeline which killed over a billion fish. Then The Deep killed Black Noir, his alleged friend, in retaliation. And this week, The Deep learned that Homelander (Antony Starr) was disbanding the supe group The Seven and would no longer be needing The Deep's services. What was left for the Lord of the Seven Seas to do but go sit on a dock and drink a six-pack to wallow in his sorrows? Which is where Jackson's Xander comes in.

The hammerhead shark swims up to The Deep and tries to convince him to jump in the water. The Deep is too deep into his self-pity at first to realize why his buddy Xander wants him to come in, until the shark yells out in full Sam Jackson mode: "We know you were responsible for the pipeline genocide. Remember March 15th, motherfucker!"

“We wanted a really distinct voice and who has a more distinct voice in Hollywood than Sam Jackson? So we just went to his agent," showrunner Eric Kripke told Polygon about the voice cameo. "He was our first choice, and we were like, Does he want to do this? It was really just taking a flyer. But then it came back, Oh yeah, he likes the show and totally, he'll do it. Boy, that's a bucket list moment, man, of Sam Jackson reading your dialogue.”

Will The Deep be back for the finale, or does his story end here, with all of his former friends of the sea wanting him dead while the human world sees him as the coward that he is? Only time will tell.

But perhaps there's an even bigger question: Is Xander related at all to Sam Jackson's co-star from Deep Blue Sea!?

Talk to Scott Collura @scottcollura.bsky.social, or listen to his Star Trek podcast, Transporter Room 3. Or do both!

Lenovo's most powerful Legion gaming PC is back in stock, but not only that, it's also the least expensive RTX 5090 prebuilt that i can find from any retailer. The Lenovo Legion Tower 7i Gen 10 gaming PC equipped with an Intel Core Ultra 9 285K processor and RTX 5090 graphics card is marked down to $4,657.49 with free shipping after an automatic coupon "GAMEON" is applied. This is Lenovo's highest-end gaming PC. What's even better about this deal is this system includes 64GB of DDR5 RAM which commands an exorbitantly high price by itself in today's market.

Lenovo Legion RTX 5090 Gaming PC for Under $5,000

Humble's game bundles offer a lot of value for PC gamers but the new one that recently went up might just take the cake as one of the best I've seen so far this year. The Humble Indie Icons Showcase Bundle just went live and for as low as $10 you get a collection of eight outstanding indie titles that are guaranteed to play just as well on your Steam Deck as they do on a dedicated gaming PC. Buying each game individually right now would cost you well over $100.

Humble's $10 Indie Icons Showcase Bundle Is Stacked

Teenage Sex and Death at Camp Miasma will premiere in theaters on August 7. This review is based on a screening at the 2026 Cannes Film Festival.

Teenage Sex and Death at Camp Miasma – the electrifying, erotic, and playfully yet profoundly emotional new film from director Jane Schoenbrun – is unlike anything they’ve ever done before. Yes, it’s got the same searing sense of introspection and interest in exploring how the media we consume shapes our fears, desires, and sense of self. But if you think watching their prior films – the similarly great We’re All Going to the World’s Fair and I Saw the TV Glow – could prepare you for all the many new dark delights that Schoenbrun has cooked up here, you’ve got a whole film’s worth of spectacular surprises awaiting you.

Schoenbrun’s latest takes us on a horror journey as unexpectedly probing as it is uproariously funny and ultimately moving, beginning as a mirthful deconstruction of modern genre remakes before turning everything on its head. True to its title, it’s about sex, death, and how they come crashing together at the Pacific Northwest campground where a series of fictional Friday the 13th-esque horror films were shot. Without ever losing hold of the balance between the reflective and the rapturous, Schoenbrun has made what is their most unabashedly unique film to date. When it's all brought to life (and death) by the delightful duo of Hannah Einbinder and Gillian Anderson, it becomes something really special.

Our first glimpse of this new vision places us in the literal shoes of the fictional masked killer, Little Death (Jack Haven), who is wandering around a production set. It’s the first of many instances in which Schoenbrun demonstrates a talent for capturing the specific textures of the slasher films of old. Just like how I Saw the TV Glow was a pitch-perfect encapsulation of the teen shows you’d gather around to watch once a week with your friends, Teenage Sex and Death at Camp Miasma feels like it could very well be a slasher series that we had just all forgotten about.

After this initial look behind the scenes, which ends up being the first hint of how Schoenbrun will provocatively yet poignantly play with perspective, we learn that the series had a precipitous fall from the heights with which it began. There are already so many side-splittingly great jokes in just these first few minutes as it lays this out via quick headlines that flash by. While Schoenbrun has always had an underappreciated sense of humor, this short sequence establishes this as their funniest, most biting film yet.

That humor continues as we meet Kris (Einbinder), who has been tasked with helming a new remake in this horror series. She made a critically acclaimed film that made a splash at Sundance, and as studios are wont to do, she’s been scooped up to take on this remake. Kris decides that she’ll go meet the franchise’s former lead, the reclusive Billie (Anderson), to get her perspective and maybe even bring her back to work on the new film. But what happens when a “final girl” like Billie steps back from the series that made her an icon and decides to focus on exploring her own identity? And what happens when a person like Kris – who experienced a sexual awakening of sorts because of this schlocky, often quite dated series of horror films – enters the mix? Well, the result is a slyly dark comedy and a sharp horror riff that constantly keeps you on your toes, with an often overwhelmingly personal laying bare of the characters’ deeper desires. Einbinder is hilarious as always, but she also brings a vulnerability to the part that sneaks up on you, ensuring the film’s more tender moments work just as well as the playfully teasing ones.

This could sound like too much for one movie to take on, and there are some moments in the story where you can start to feel things straining. But rather than burst at the seams, the film embraces the chaos at the core of this premise and lets it explode outwards, never once hiding away from the inevitable messiness that comes pouring out. While you can tell that Schoenbrun was working with limited locations and budget, they’re never lacking in ambition and take increasingly bigger leaps in their exploration of desire. At every turn, the movie zigs when you expect it to zag, moving from outright comedy to a more captivating and delicately rendered meditation on desire. For all the ways that so much of modern cinema can feel rather tame in how it engages with such questions, Schoenbrun fearlessly kicks down the door of any boring prudishness to lean into grappling with our libidinal impulses. Can death and sex become intertwined? Can a terrible old horror movie still awaken something in you? Schoenbrun not only gets into the guts of all this, but they’re having an absolute bloody blast while doing it.

It’s a film that’s very much not going to be for everyone, but for those that are able to get on the same wavelength, it’s truly exhilarating. There are shades of David Lynch (with one shot midway through recalling some of his uncanny visuals), as well as something of David Cronenberg’s Crash floating in the background. But just as importantly, this is also 100 percent Jane Schhoenbrun, with a sensational score by Alex G and precise cinematography by Eric Yue immersing us in all of it. Even when it stumbles a bit through the wilderness of its increasingly “real” horror setting, the film always regains its feet to run off in exciting new directions.

Some of this will almost certainly divide Schhoenbrun fans, though that’s not a bug but a feature. This is one of those wonderful instances of a filmmaker making exactly the movie they want to make, flaunting any expectation that they make something “commercial” or safe and instead taking a big swing. There’s so much about it that shouldn’t work, right down to a cheeky final needle drop that ties it all together. Somehow, despite all that could go wrong, the film finds a climactic ecstasy just as it maintains the same joyous verve all the way through to its fantastic final frames. What a pleasure it is to witness a filmmaker like Schoenbrun working with such liberated boldness once more.

Hyrule Warriors: Age of Imprisonment is a Switch 2-exclusive that was released in November of last year. Up until now, the price has stayed fixed at $69.99. Even today, retailers like Amazon, Gamestop, and Nintendo eShop haven't budged. That's not the case for Best Buy, however.

Best Buy has dropped the price of Hyrule Warriors: Age of Imprisonment by 30%, down to $49.99, with free shipping for a physical copy. In fact, if you're a My Best Buy Plus member, you can get it for $39.99, saving up to 43%.

Hyrule Warriors: Age of Imprisonment on Sale at Best Buy

Since its release in 1997, Mortal Kombat: Annihilation’s place in the annals of video game adaptation history has calcified into a cautionary tale for what not to do. But there have been a lot of video game movies since then and, as someone who’s witnessed pretty much the entire arc of how these things have been handled and mishandled by Hollywood, I’ve gotta say: What Annihilation lacks in quality, it compensates for with the right instincts for building out a prototypical “cinematic universe,” as we use the term today… instincts which the just-released Mortal Kombat II largely share.

Hollywood spent much of the 1990s workshopping how best to transmute the passion of gamers into box office bucks, and to what degree faithfulness to a game’s mythology is a help and not a hindrance to good cinematic storytelling. Pretty much anyone currently old enough to drive has borne witness to at least part of an epoch of video game movie adaptations which… were figuring some stuff out. But I’d cock one hell of an eyebrow at anyone who tried to argue that the prospects of any given game adaptation haven’t gotten dramatically better over time, to the point where now studios are looking to gaming IP as the next big wave of inspiration for blockbuster moviemaking. That tendency faced a very high-profile test recently with the release of Mortal Kombat II, after Warner Bros. felt compelled to push the film all the way back from its originally-intended Fall 2025 release to kick off their Summer 2026 season.

WB’s decision to tap a video game movie sequel as a crown jewel of their summer season is noteworthy, and a real marker for just how far video game adaptations have come when you consider Mortal Kombat II’s progenitor: 1997’s Mortal Kombat: Annihilation, a movie which is loudly derided and often overlooked for how much it get rights in spirit… if maybe not in execution.

Choose Your Fighter

Let’s do some quick stage-setting of what the video game movie landscape of 1997 was like, and it will be quick… because there had been just three attempts at adapting a game as a film up to that point. 1993’s Super Mario Bros. proved an expensive, tonally challenging first stab that left kids wondering where all their colorful Mario friends were, and adults wondering how much of that hash brownie they really should’ve eaten before heading out for the night. With a way smaller budget and far less sense of how to dramatize a game, 1994’s Double Dragon was even more of a creative and box office bomb. But in December that year, Street Fighter shoryuken’d its way to a much stronger showing on both counts. The Steven E. de Souza-directed movie - the first draft script of which, legend has it, was written in one night - made some weird casting choices, like Jean-Claude Van Damme as the uber-American Guile, but it more faithfully translated the series’ colorful characters and nearly cracked $100 million at the box office. That suggested there was still money on the table for a studio that could find the right franchise to retool for general audiences… and New Line Cinema chose their fighter well with Mortal Kombat.

By that point in the early ’90s, Mortal Kombat was defining gaming’s place not just in pop culture, but in the fabric of American life. Forget about the fact that the hyperviolent fighter was really, really good and absolutely destroying records at the arcades, it was giving lawmakers a bright, bloody scapegoat to blame real world violence on, leaving developer Midway and, by extension, the whole burgeoning industry in the sights of regulatory authorities which aimed to put restrictions on what could be portrayed in a video game in 1993. But it’s still a free country, so the compromise was the creation of the ESRB, the organization that puts that little letter in the corner of your game’s box to tell you what level of objectionable content one should expect therein. And please excuse my millennial tendency to assume your game came with a physical box, I come by it honestly.

All of that controversy bred two things for Mortal Kombat as a franchise: for gamers, a clear rallying point around which to extol the creative freedoms of video games as an art form, and for general audiences, the elevation of “Mortal Kombat” to household name status. Midway had become the Bonnie Raitt of the industry: It sure was giving people somethin’ to talk about, most crucially here movie executives like Lawrence Kasanoff, who optioned the franchise in 1993. The next year, up-and-coming director Paul W.S. Anderson was chosen to helm Mortal Kombat based on the success of his indie debut, Shopping. With involvement from Mortal Kombat’s creators, Ed Boon and John Tobias, a reasonable budget, and its simple martial arts tournament narrative hook – which had already proven successful many times over in martial arts classics like Enter the Dragon, The Karate Kid, and Bloodsport – what resulted was a $122 million smash at the global box office, giving audiences around the world a colorful, crunchy dose of escapism and handily snatching the title for highest-grossing video game adaptation up to that point.

Test Your Might

And so, as development on Mortal Kombat: Annihilation began, Lawrence Kasanoff mandated that “more” was to be the guiding ethos of the sequel, as it had been with so many sequels before. That’s not always the right instinct, but in Annihilation’s case, there was so much mythology yet untapped, even with just the first three Mortal Kombat games out there to pull inspiration from, and audiences had seemed very receptive to the fantasy world and larger-than-life, archetypal heroes and villains that populated it.

Unfortunately for Mortal Kombat: Annihilation’s prospects, a lot of the folks who made the first movie special were more interested in pursuing other projects, leaving Robin Shou and Talisa Soto as the only returning actors, reprising their roles of Liu Kang and Kitana respectively. But the true death knell for Mortal Kombat: Annihilation was the exit of Paul W.S. Anderson. Anderson’s style and sensibilities were a great match for Mortal Kombat’s scope, but he chose to pass on directing the film. In fairness to Anderson, though, the movie he chose to make was Event Horizon which, like the first Mortal Kombat, has gone on to enjoy true cult status as a ’90s genre favorite.

John R. Leonetti, the first movie’s cinematographer, was chosen to direct Annihilation shortly thereafter, a choice which made some sense when taken in context with the breakneck pace of Annihilation’s development: Hire a key creative who spent every day working in close collaboration with the director, and hope some of that magic rubbed off onto them. It was, however, Leonetti’s first time directing and that’s a big ask of anyone, especially on a martial arts film with an outsized reliance on visual effects, each of which are specialty disciplines in filmmaking and either of which would give any first-time director a lot to have to deal with.

Mortal Kombat: Annihilation picks up right where the first movie left off: After defeating the sorcerer Shang Tsung and winning Mortal Kombat, the heroes of Earthrealm return to the Temple of Light to celebrate and hug it out, only for Shao Khan, the emperor of Outworld, to show up on their doorstep with a cadre of his colorful and weird generals, all from the recently-released Mortal Kombat 3 game: Motaro, Ermac, Rain, Sheeva, and Sindel.

Look, none of these Spirit Halloween freaks have gone down in cinematic history as super-memorable characters… But what a movie chooses to do in its opening minutes is an important statement of intent for what’s to follow, and leading off with these various and sundry ninjas and humanoid Outworlders doing their little poses at least suggests a world in which disparate races like magic ninja, arms-lady, and man-horse could be compelled whether by ambition or fear to serve a villain like Shao Khan.

Shao Khan breaks the rules of Mortal Kombat, which dictate that Earthrealm should be safe from incursions from Outworld for having won the tournament, by killing Johnny Cage and promising to return in six days to put the rest of the human race under his boot. The rest of the movie follows the heroes’ attempts to prepare for lower-case “a” annihilation at the hands of Shao Khan’s forces, seeking help from new allies like Jax Briggs and Nightwolf, and their inclusion reveals even more shades of this weird world, such as the existence of cyber ninjas like Cyrax and Smoke and the mystical power of “animality,” which seems to be the key to defeating Shao Khan.

Raiden meanwhile entreats the Elder Gods, the deities who rule all the realms, to intervene in Shao Khan’s plot. The aforementioned wave of recasting that crashed into Mortal Kombat: Annihilation is mostly a negative but, with no disrespect to Christopher Lambert, it did yield one improvement: James Remar took on the role of Raiden, and he’s a lovely, warm presence in the film. Remar actually channels Raiden’s affection for the human race, a critical aspect of his character that Lambert’s steelier performance doesn’t really leave room for. In a break from canon, we discover over the course of the movie that Shao Khan and Raiden, the god of lightning and Earthrealm’s team captain, are not only brothers, but the sons of Shinnok, one of the Elder Gods who’s secretly facilitating his son’s attack on Earthrealm to grab power from the rest of the Elder Gods.

Fatality

All of these instincts on the filmmakers’ part to go bigger on the mythology are correct, even if schlocky embellishments like Raiden being the runt of Shinnok’s litter are a little perplexing. Unlike franchises such as the Christopher Reeve-led Superman, which leaned harder into invention in its later sequels to disastrous effect, an earnest effort to more fully represent the creations of Ed Boon and John Tobias on-screen feels like an olive branch to gamers, and because the filmmakers had a chance to totally re-tool the approach going into the sequel, that feels well-intentioned. But, as so often happens when the realities of filmmaking crash against good storytelling, the scope of the spectacle Mortal Kombat: Annihilation required was just not possible with the visual effects available at the time. The mid-to-late 1990s were a trial-by-fire time for computer-generated imagery after James Cameron and Steven Spielberg threw the gauntlet down with Terminator 2: Judgment Day and Jurassic Park, respectively. Studios were trying to match that same level of visual grandeur on significantly lower budgets, and overall, that wasn’t going great.

As the heroes of Earthrealm travel deeper into Outworld, Mortal Kombat: Annihilation’s plot begins to rely more and more on visual effects to the point of cascading disaster. Liu Kang is encouraged by Nightwolf to “find his Animality” in order to defeat Shao Khan, which resolves in a final fight between the two which goes for broke by having each of them turn into martial arts dragons. I’m willing to defend Mortal Kombat: Annihilation’s contributions to video game adaptation history… but that shit sucks.

Annihilation acknowledges the necessity of ending a Mortal Kombat movie with actual mortal combat by having them un-dragon-ify midway through. This all really highlights some of the magic lost from the first movie. You’ll recall that Mortal Kombat ends with an extended one-on-one battle between Liu Kang and Shang Tsung which proves a satisfying finale for two main reasons: The fight was largely performed by Robin Shou and the late Cary-Hiroyuki Tagawa, and the filmmakers took pains to put Liu Kang’s character arc to the test after he spends the whole movie wrestling with guilt and self-doubt by having the martial arts stop here and there for Shang Tsung to test the might of Liu Kang’s mind. Mortal Kombat II wholly embraces this line of thinking, with dual protagonists Johnny Cage and Kitana each having to overcome demons in their past to go toe-to-toe with Shao Khan and his forces. The Liu Kang / Shang Tsung fight is one of the earliest examples in video game movie history of a character getting a satisfyingly-resolved emotional arc… and the Annihilation finale looks like one of those awful FMV cutscenes from a PS1 game, with the emotional depth to match.

Flawed Victory

Misguided though the heavier use of visual effects was, it can at least be said that they were in service of expanding what was possible in the Moral Kombat movies when it came to representing the games on screen. And for those of us with a soft spot for crappy visual effects as a marker of just how far we’ve come, Mortal Kombat: Annihilation is bursting with poorly-composited dreamscapes that actually do a pretty good job evoking the feel, if maybe not quite the look, of the games.

Mortal Kombat II is a much richer exploration of the game world by comparison. Without skimping on any of the visual splendor or impressive martial arts action, it treats the long history of the games with great care and economy, and innately understands how to shortcut its world-building by leaning into the very same tropes of the fantasy martial arts genre that the first Mortal Kombat game did, going so far as to have Johnny Cage mistake Raiden for a Big Trouble in Little China cosplayer, a direct nod to the original inspiration for the character.

Mortal Kombat: Annihilation’s jabs at dramatizing an inherently silly mythology may not have all landed, but considering how much “world-building” it was doing before the comic book movies of the 2000s on provided a more solid playbook for doing so, they could have been a lot worse. And not to throw Street Fighter under the bus… but, what am I saying – this is a Mortal Kombat article, you’re gonna eat this up – the 2009 movie Street Fighter: Legend of Chun Li ends with Chun-Li performing the most anemic, “20 minutes in Adobe After Effects” Kikoken you could possibly imagine, a far cry from the giant practical explosions of the 1994 film’s finale. The Legend of Chun-Li was released in theaters the same year as Avatar (and from the same studio, no less) and this was their big finale. We just didn’t have it as bad as we thought we did with Annihilation.

Mortal Kombat: Annihilation is not even close to being the worst video game adaptation these days and, hell, it isn’t even the worst video game adaptation with “Annihilation” as its subtitle anymore! That ignominious honor goes to the 2019’s straight-to-video Doom: Annihilation, a movie so bad that developer Bethesda put out a statement distancing themselves from it before it came out.

I think of Mortal Kombat: Annihilation in much the same way as how Star Wars nods to the prequel era in the Obi-Wan Kenobi series. Kenobi comes upon Nax, a downtrodden Clone Trooper who asks the Jedi to spare him some credits. He represents a bygone era which everyone was pretty harsh towards the first go-around but, with hindsight and a lot more variety of experiences to compare against, it feels like we were just a little too mean towards when you consider the new ground it broke and the scattershot quality that was to follow.

So spare Mortal Kombat: Annihilation some credit. It may not have been a flawless victory, but it’s an important link in the chain of game adaptation trial-and-error… at the end of which is Mortal Kombat II, a much better Mortal Kombat sequel and the tip of the spear being launched by Scorpion into fans’ chest cavities everywhere.

Netflix has confirmed that it is developing Grown Ups 3 with Adam Sandler, over a decade after the previous film. Netflix announced the news at its upfront presentation and revealed that Grown Ups 3 will be directed by Kyle Newacheck, who directed Sandler in last year's Happy Gilmore 2. The script will be penned by Sandler and Tim Herlihy, who has been a frequent writing partner for Sandler since the 90s.

Plot details and casting are under wraps, but it wouldn't be surprising if this is a priority for Netflix given the success of Happy Gilmore 2. That film had the biggest U.S. opening weekend for any Netflix film, showing how big of an asset Sandler and his IPs are for the streamer.

Grown Ups was released in 2010 and stars Sandler, Kevin James, Chris Rock, David Spade, and Rob Schneider as a group of old friends reuniting during Fourth of July weekend with their families. Although the film was critically panned (we gave it a 4/10), it was a box office hit and spawned a financially successful sequel in 2013. A third Grown Ups movie has been teased as a possibility numerous times over the years, but nothing was ever formally announced.

Although casting hasn't been announced, it seems likely that Sandler, James, Rock, Spade, and Schneider will all reunite for the film. Unfortunately, it won't be possible for every former cast member to reprise their roles. Actor Cameron Boyce, who played the son of Adam Sandler's character in the Grown Ups films, died in 2020 after having a seizure in his sleep. It's currently unclear how the creative team behind the films plan to handle his character's role in the story.

Cade Onder is a freelancer for IGN's news team. He covers all things entertainment, including gaming, film, and more. You can find him on Twitter @Cade_Onder.

Netflix has another big-budget comic book adaptation in the works, with the streamer giving a series order to Barbaric, based on the Vault Comics title.

As reported by Variety, the news came during Netflix's upfront presentation to advertisers. The series' official logline teases, "A ruthless and crass barbarian is cursed to only use his violence only for good, which sends him, his talking axe and a young witch on a road of self-discovery, redemption and revenge.”

The Barbaric comic was created by writer Michael Moreci and artist Nathan Gooden. The Netflix series will be helmed by writer, executive producer, and co-showrunner Sheldon Turner (Up in the Air), executive producer and co-showrunner Robert Rovner (Supergirl), and executive producer Jennifer Klein. The show's executive producers also include Barry Jossen, Tana Jamieson, Javier Grillo-Marxuach, F.J. DeSanto, Damian Wassel, Sam Claflin, Luke Carroll, and Michael Stevenson.

Barbaric revolves around a barbarian named Owen, a formerly bloodthirsty warrior cursed to become a good and noble hero. Owen wields a talking axe who serves as the series' comic relief character, and he quickly joins forces with a mysterious, troubled witch named Soren.

As Variety notes, word of a Barbaric series first surfaced in 2024. At the time, the series was expected to star Claflin and Patrick Stewart, but no actors have officially signed on yet.

There's no word on a possible release date yet for Netflix's Barbaric adaptation. Let us know in the comments below if you're excited for the new series.

In other Netflix news, IGN has the full scoop on the Duffer Bros.' next big project, The Boroughs.

Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on BlueSky.

If you've got the budget for it, there's nothing on the market that's better than an OLED TV. And among OLED TV brands, I wouldn't recommend anyone over LG now they've dropped in price. The 2025 models - the 65" LG Evo C5 and the 77" LG Evo C5 - are currently on sale for $1,299.99 and $1,899.99, respectively. This is the lowest price I've seen on Amazon for the month of May and, if you're a basketball or soccer fan, the perfect opportunity to get one delivered to you quickly, since the NBA Playoffs are well under way and the World Cup starts next month.

New Monthly Low Prices on LG Evo C5 4K OLED TVs

Licensed LEGO sets are at their most popular these days, with plenty of movie and video game properties getting the brick treatment. Some intricate builds come from the Jurassic Park and Jurassic World franchises, with massive scale models of dinosaurs, fossils, play sets for kids, and everything in between.

Some of my favorites have been the the more display-focused builds, including the massive LEGO Tyrannosaurus Rex Fossil set we put together last year. So if you're the proud owner of that behemoth, the new Triceratops Fossil build would look perfect right next to it (if you have enough space).

The 1,154-piece set took around three hours to complete in one sitting, so as I normally do for my build articles for IGN, I threw on the first movie and locked in. This set comes spread among 10 numbered bags and one massive instruction manual. The opening pages of the manual offer some insight into both the Jurassic Park film and the anatomy and history of the triceratops, and they were genuinely interesting reads before fully diving in.

I started with assembling the Dr. Gerry Harding minifigure, the Chief Veterinarian of Jurassic Park. He plays only a small role in the first film, appearing in an early scene where he tends to an ill triceratops. Still, it's nice to see LEGO giving love to minor characters like this. I then assembled a detailed base with foliage and information plaque for the good doctor.

After that, I got started on the main display base, which is made of two completely identical flat bases that connect to each other seemlessly. Triceratops from the Cretaceous period typically inhabited wetlands with plenty of plants to eat, and the build reflects that well. At the end of each base is a small representation of water and plants that actually existed during that time.

The 1,154-piece set took around three hours to complete in one sitting.

As with any other licensed LEGO set, this kit has a handful of Easter eggs and call backs to its source material. Here, one of my favorites is a 1x1 translucent brick of the mosquito trapped in fossilized amber you see throughout the film. It's pretty awesome.

The dark forest green foliage pieces that make up some of the plants on the base are a detailed leafy shape that could be used for plenty of other cool custom builds in the future. In any case, finishing up the base meant adding finishing touches around the display structural pillars, like adding rocks and those fancy new tree pieces.

Now we get into building out the triceratops fossil itself. This portion starts with the spine, which includes ball-and-socket join pieces to snap the limbs onto later, and is attached directly onto the black pillar posts on the base. From here, I built the entirety of the skeleton onto the spine base. I initially thought I'd build the body in full first and then attach to the base, but this technique was actually a little easier. Once I was finished, I was curious if you could remove the body in full from the base. In short, the answer is yes, but it was a bit of a headache to get it off cleanly; you'll have to finagle some other parts to take it off.

Assembling the animal's spine and vertebrae is quite literally one of the most satisfying LEGO build experiences I've had in a while. The way the designers were able to emulate the curvature and shape of a triceratops spine and tail, and the anatomically-correct ribcage is extremely impressive. I thought at first I was just in store for a fun little triceratops build, not thinking much of it. But when I started assembling multiple vertebrae, groin bones, and individually-built toe bones, I knew I was in for a really fun build.

This is also one of the most intricate sets I've done, and after a handful of mistakes had to go back to previous steps to correct them. That's probably where this set's 18+ (LEGO set for adults) age suggestion comes in. There may or may not be pieces missing in the final build because it was too late to unassemble certain regions, but it ended up just fine both structurally and aesthetically.

Once the torso was complete, the next step was putting together its limbs. Both pairs of legs were just as intricately designed as the rest of its body, and the technique used to represent the animal's skeletal hands and toes was really cool to see come to fruition. Each joint is attached via ball-and-socket, and snapped easily into place on the already-assemble spine portion from much earlier. From here, all the limbs are posable. I just recreated what's on the box, but you have free reign to display it however you'd like.

Similar to the spine, assembling the tail was extremely satisfying. I don't know what it is about LEGO bricks lining in a uniform shape, but it scratched an itch in my brain that I never knew I had. The way the set uses the shapes of different pieces to represent bones is really creative, and the tail portion represents this nicely.

Finally, it was time to build the head. It started with the skull structure, leading into the beak and eye sockets. Naturally, this is just as detailed as the rest of the body even with its smaller piece count, and I could see it all coming together nicely even without the more defined features. In another fun nod to the first Jurassic Park movie, a dark green frog piece is used to represent the triceratops' tongue, which I can only imagine is referencing the Dr. Harding scene mentioned earlier.

After snapping in its jaw, which is also posable, it was time to put the finishing touches on this incredibly fun build, and where the prehistoric animal gets its namesake: It's horns. Curved LEGO pieces are hard to get right, but with the right attachment techniques, the two horns look really accurate to real-life fossils. I put together the rest of its crown, and voila! A badass LEGO Triceratops fossil. It stands just over 8 inches tall and is almost a foot and a half long, so it shouldn't be terribly difficult to display it.

The finished product is a great display piece for both LEGO collectors and die-hard Jurassic Park / World fans. The dispaly base is more than just a structural piece used to prop up the main attraction, with plenty of added detail and love put into it. The inclusion of an information plaque is another welcome detail, and the Dr. Gerry Harding minifigure is an unexpected but great addition to the growing list of minifigures from the movies.

The LEGO Dinosaur Fossils: Triceratops releases June 1 on the LEGO Store, but you can preorder it now.

Myles Obenza is a freelance writer for IGN. Follow him on Bluesky @mylesobenza.bsky.social.

Summer isn't here quite yet but already the heat's starting to turn up in some parts of the country. One simple and inexpensive way to beat the sweltering heat is to get yourself a portable fan. Neck fans have recently become very popular, but some people don't like the feeling of something bulky weighing down on their shoulders and crowding the neck. An equally effective and less intrusive solution is a portable fan like this one. Amazon is currently offering the Diveblues Rechargeable Portable Fan in off-white or obsidian black for just $8.99 after you apply coupon code "I9D3G6RN". You don't need to be an Amazon Prime member to get this deal.

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Looking for a dual-purpose power bank that can charge both your iPhone and your Apple Watch? Amazon has a deal you don't want to miss. For a limited time, the Lisen 10,000mAh Qi2-certified MagSafe Power Bank with integrated Apple Watch charger is on sale for just $22.99 after coupon code "6QV25C85". Lisen makes great products, including power banks, and I recommend them as a less expensive alternative to Anker.

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The Punisher: One Last Kill has been the subject of online mockery following a wonky-looking shot that many believed was CG, but was actually done for real.

The latest Marvel Special Presentation sees Frank Castle thrust back into a world of violence after his neighborhood becomes overrun with crime and chaos. He kills dozens of criminals with plenty of flair, and one Max Payne-esque stunt sees him diving backwards off a rooftop while shooting at a foe. It looks pretty smooth until it cuts to a shot of Castle landing on some kind of AC unit.

They really left an unfinished VFX shot in #Punisher LOL😭😭😭 pic.twitter.com/ISMmbhFeeY

— RobatsWrld.mp3 (@RealRobat) May 13, 2026

Fans mocked the shot as it looked like it featured unfinished visual effects, with the AC unit exploding with what some said looked like video game-esque physics and a model that flails its limbs somewhat robotically. To top it all off, Jon Bernthal's face is visible, and he doesn't emote or make any kind of expression after taking a major tumble.

Fans dunked on the scene, saying it resembled a video game. "It genuinely looks like a GTA cutscene, man," said one viewer. “The Punisher: One Last Kill has one of the worst CGI animations I have seen in years. [...] How is it possible that Jon Bernthal turns into a PS4 graphics replica of Joel Miller from The Last Of Us?" asked another.

Many suspected that the entire shot was CG, but it turns out it wasn't. The Hollywood Reporter said its sources indicated that the stunt was a real in-camera shot, with Bernthal performing the beginning of the fall and an actual stuntman performing the impact. The only notable VFX work, THR said, was a face replacement to put Bernthal's face over the stunt double's.

So, why does the shot look so rough? Well, there may be a few reasons. Bernthal's CGI face probably shouldn't have been as visible, as it immediately signals to the viewer that he isn't real, even if it's just his face that is being digitally altered. There's also a slow-mo effect that may detract from the impact, making it feel awkward. Finally, it appears some kind of camera shake was added to try to sell the impact a bit more, but it only adds to the feeling that the shot is fake.

Despite this scene getting ripped apart on social media, fans are enjoying the brutality of the special. IGN's. The Punisher: One Last Kill review returned a 7/10. We said: "The Punisher: One Last Kill doesn’t do anything particularly new with Jon Bernthal’s Frank Castle, but it strips down the Netflix series’ formula into a lean, mean, and entertaining short story."

Jon Bernthal's Punisher will return in Spider-Man: Brand New Day, which is set to release on July 31st, 2026.

Cade Onder is a freelancer for IGN's news team. He covers all things entertainment, including gaming, film, and more. You can find him on Twitter @Cade_Onder.

Warhammer 40,000: Mechanicus II launches on May 21 — alongside the Warhammer Skulls video game showcase.

Kasedo Games and Bulwark Studios’ promising turn-based strategy game is set for release across PC, PlayStation 5, and Xbox Series X and S. Its release date was announced as part of a new video showing two deployable leaders, the returning Lector-Dogmatis Videx of the Adeptus Mechanicus (Warhammer 40,000’s tech priest faction) and the Necron Lord known as The Shield. Both factions are fully playable over multiple campaigns.

Warhammer Skulls, meanwhile, is confirmed for May 21 at 6pm CEST / 5pm BST / 9am PT / 12pm ET, and will bring with it updates for the likes of Space Marine 2, Darktide, and Dawn of War IV, alongside new game announcements. Here’s the list of Warhammer games set for an update at Warhammer Skulls:

Warhammer Skulls 2026 video game lineup:

• Warhammer 40,000: Space Marine 2 (Focus Entertainment & Saber Interactive)
• Warhammer 40,000: Darktide (Fatshark)
• Warhammer 40,000: Rogue Trader and Warhammer 40,000: Dark Heresy (Owlcat Games)
• Warhammer 40,000 Boltgun 2 and Warhammer Survivors (Devolver Digital & Auroch Digital)
• Total War: Warhammer III (Sega & Creative Assembly)
• Warhammer 40,000: Battlesector (Slitherine)
• Warhammer 40,000 Dawn of War IV (Deep Silver, KING Art Games)
• and many, many more…

Right, so what can we expect? Space Marine 2 is due to release Patch 13 soon, so perhaps we’ll get a release date or even a shadowdrop during the event. At the end of the teaser video we get a hint at something new coming to Fatshark’s Darktide — a new playable class perhaps? AdMech maybe? A Servo-skull moves across the screen so quickly, it must be a hint at what's to come.

And then there’s Dawn of War IV, which is ripe for a release date announcement. Conspicuous by its absence here is Creative Assembly’s hotly anticipated Total War: Warhammer 40,000. Given it’s already announced, you’d imagine if there were an update for it set for Skulls, it would be on this list.

Not long to find out!

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Former Nintendo staff have branded the recent leak of upcoming Switch 2 game details as a "worst-case scenario" for the company, and its frequent aim of surprising fans.

Speaking via their podcast, ex-Nintendo Minute presenters Kit Ellis and Krysta Yang addressed the recent high-profile leak of Nintendo's supposed upcoming Switch 2 release slate by prolific internet tipster NatetheHate — a leak that just received further proof of its legitimacy with Nintendo's unveiling of Star Fox.

While slightly later than anticipated, Star Fox's Switch 2 debut had accurately been described as a classic experience for the franchise (it is a remake of Star Fox 64) due out within the next few months (it launches next month, on June 25).

Initially discussing whether Nintendo has deliberately moved Star Fox's unveiling back a week to derail Natethehate's predicted reveal timing, Ellis suggested this was unlikely due to ever-changing marketing timelines, and the need to work around Japan's annual Golden Week holiday. Rather than arrive before this, at the end of April, the announcement dropped immediately after, in the first week of May.

"I don't really buy that [it was intentionally delayed]," Ellis said. "It was just a slight shift to plans. And at some point, Nintendo can't... It's like: 'we don't negotiate with terrorists, we can't let someone dictate our plans'."

That said, the pair agreed that the leak had been hugely damaging to the company, and was likely further fuelling a change from releasing details in large-scale Nintendo Direct broadcasts, to more frequent, smaller reveals that were released without warning.

"Nintendo is shifting tactics in a world where leaks are more prevalent," Yang said.

"If you're Nintendo, you're obviously pulling your hair out at this," Ellis agreed. "This is a worst-case scenario. You're the company that banks on surprising people. The element of surprise is a major factor to why announcements are impactful and now that has been taken away, presumably, for a while."

"It messes with their expectation management," Yang continued. "There's a very strong focus on that element. [On the] one hand is the surprise and delight and the other is the expectation management. Both of these have been compromised now from the leaks."

The fact that many fans now expect a Legend of Zelda: Ocarina of Time remake this Christmas now meant Nintendo had a harder job meeting expectations built up over months, with many fans now already forming opinions on how the game should be updated, and how it should look. Inevitably, not all of those fans will have their expectations met.

"[There's] the idea of this Nintendo Direct era being a bit antiquated because of these leaks and because of the way people receive information," Yang suggested. "They may just have to rethink the way they share information. The shadow-dropped Direct was a good idea. The Nintendo Today drops are fun little surprises — they did that with the Splatoon Raiders trailer.

"That hype is now very much dwindled, because you already knew all the things going in," Yang concluded. "We felt it too. We certainly felt it when everything about the Switch 2 leaked last year and we saw the first-look video. I was like, I already saw that. It looked exactly like what we saw. That is a human reaction to seeing something that is not new, you know? So I get it."

For its part, Nintendo has not directly addressed the leak, though has confirmed it has multiple unannounced Switch 2 games set for launch later this year.

Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

Want a few new video games? Well, there are some incredible deals on Switch and PS5 titles worth picking up today. You can also score $5 off a $50 Shell Oil Gift Card, which is welcome given the current state of gas prices. Plus, a few items for your home, including LOTR bookends, an air purifier/sunrise alarm clock combo, and a portable speaker, are all seeing solid discounts.

TL;DR - The Best Deals for May 13th

Final Fantasy I-VI Collection for Switch Hits Lowest Price of the Year

Save $5 on a $50 Shell Gas Gift Card

Get $20 Off Yakuza Kiwami 1+2 for PlayStation 5

LOTR Bookends Hit Low Price

Get an Air Purifier & Sunrise Alarm Clock for 70% Off

John Wick: Chapters 1-3 4K UHD Is Only $22.49

MTG Secrets of Strixhaven Play Booster Box Hits New Low on Amazon

70% Off the Harman Kardon Go + Play Portable Speaker

Score $20 Off Metroid Prime 4: Beyond for Switch

Save $20 on Hyrule Warriors: Age of Imprisonment for Switch 2

Crunchyroll Manga Sale: Buy 2, Get 2 Free

Resident Evil Generation Pack for Switch 2 Back in Stock

20% Off Star Wars Lightsaber Electric Salt and Pepper Mill Grinders

Crunchyroll Ani-May Streaming Deal

One of the better regarded 3D printers with multi material print capability is priced well under $300. AliExpress is offering the FlashForge AD5X 3D Printer with integrated multi material printing system for just $260.55 after you apply coupon code "JJY30K". Make sure you're signed into your account to see the shipping options (you may have to refresh the page). You're buying it from FlashForge's official store on AliExpress. It ships free locally from the United States and arrives within 1 to 2 weeks. The exact same printer currently sells for $339 on Amazon.

Note: Sign into your account and then refresh the page to see the shipping options.

Flashforge AD5X Multi Material / Multi-Color 3D Printer for $260

For a limited time, Amazon Prime members can get the diminutive Daran 28,000mAh 100W Power Station for just $45.48 with free shipping after applying coupon code "DARAN001". You do not need to be an Amazon Prime member to get this deal. The Daran "power station" is similar in size and capacity to a high-capacity power bank, except that it uses superior LiFePO4 battery cells and has AC outlets in addition to USB ports.

Daran 28,000mAh 100W LiFePO4 Power Station for $45.48

Harman's most popular portable speaker just saw a huge price drop. The highly-rated Harman Kardon Go + Play is now on sale for just $131.99 with free shipping after a whopping 70% off discount. This is a brand new (not refurbished) item that includes a 1 year manufacturer's warranty. This sale only comes around a few times per year and is a great opportunity to score one of the best sounding portable speakers for under $200.

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Spoilers follow for The Punisher: One Last Kill, which is available on Disney+ now.

It’s a rough one, to be sure. About four minutes into the new one-shot special The Punisher: One Last Kill, writer-star Jon Bernthal and writer-director Reinaldo Marcus Green deliver the short film’s first kill: an adorable little dog that is thrown in front of an oncoming truck, much to the horror of his owner (and the viewers at home).

The scene is made all the more troubling by the fact that the dog owner (played by John Douglas Thompson) appears to be unhoused and partially disabled. (He’s billed in the credits as “Old Vet.”) He’s also assaulted by the roving gang of criminals right before they kill his dog. It’s quite a way for Marvel to begin what many fans thought might be the set-up for Frank Castle’s upcoming appearance in Spider-Man: Brand New Day, where a no doubt kinder, gentler Punisher will be trading one-liners with the wallcrawler.

Of course, the Marvel Cinematic Universe has had its share of traumatic and/or heartbreaking moments, but they’ve usually been rooted in the world’s sci-fi/fantasy leanings – half of our favorite characters disappearing into ash as a result of the Snap, the Illuminati being slaughtered by the Scarlet Witch, Rocket’s origin story, etc. But The Punisher, as a “grounded anti-hero” of the MCU, exists in more of a “real world” scenario that we, the viewers, can believe could actually exist (more or less). As such, when a moment as heinous as this cute little pup being senselessly murdered happens, it hits hard.

Never mind that John Wicking the dog is an easy – perhaps even lazy – setup to establish how horrible the streets of Little Sicily have become in Frank’s world. The intent on the part of the filmmakers is to shock us and make us root for Frank to put his Punisher armor back on and take revenge. And worry not, because about 40 minutes later we get exactly that (the One Last Kill of the title, I suppose).

It’s interesting, though, to consider that not only is this a Marvel production, which has largely stayed in the PG-13 lane, but it is of course also a Disney production. (One Last Kill has a television rating of TV-MA.) It used to be that Disney just didn’t mess with R-rated material, and in fact it wasn’t until the mid-’80s when the studio's production label Touchstone Pictures began to release R-rated films like Down and Out in Beverly Hills and Ruthless People. (Touchstone also handled most of the Mouse House’s PG-13 titles back then as well. The phrase “you don’t put the castle in front of that stuff” was largely the reason Touchstone was created in the first place.) By putting the Touchstone name on its films which had sex scenes or drug use or, gasp, characters saying the word “fuck,” Disney was protecting its more family-friendly brand. (Heck, Disney itself didn’t even release a PG-rated movie until 1979’s The Black Hole!)

Now, the MCU Punisher was spawned in the Netflix days of Daredevil, where bone-crunching violence was the name of the game – and it’s continued in that vein in the spin-off series Born Again – so it’s not surprising that One Last Kill would be so hardcore. (The short seriously plays like a third-person shooter once Frank unleashes in the second half, resulting in some thrilling stuff.) But the dog killing is indicative of the special’s inclination to take things a bit too far, perhaps.

Indeed, it seems as though One Last Kill is set in an alternate version of the MCU, one where refugees from 1979’s The Warriors are running amok and the streets of New York City just aren’t safe at all. We see what appears to be an ordinary day in Little Sicily as criminals roam wild, a cop car is burning while another high-tails it out of there to get away from the marauders, and a simple store owner (Andre Royo from The Wire) has to contend with serious danger. I’m usually happy to let the MCU shows and movies do their own thing, never asking the “Where’s the Avengers” question whenever a character gets in a jam, but seriously, where are, if not the Avengers, at least the New York-based heroes who we know are active, like Spider-Man? As my colleague Jim Vejvoda said today, “Are Ned and MJ sheltering in place somewhere during all this!?” Even the Thunderbolts are in New York and without their asterisk last we saw.

And as I said earlier, we’re just a couple of months out from Spider-Man: Brand New Day. We’ve already seen Bernthal as Frank in the trailer for the film, with Spidey playfully webbing up The Punisher’s mouth before he can finish saying “motherfucker.” But try as the wallcrawler might, he just can’t web away the tonal whiplash between that version of The Punisher and the one we last saw in One Last Kill.

Look, I liked The Punisher: One Last Kill just fine. Like I said, the action is pretty great, and it’s always nice to catch up with Bernthal’s take on Frank Castle. And hey, if you want to kill a fictional dog to motivate a character (or an audience), more power to you. Sometimes a move like that works (again, see: John Wick), and sometimes, in part thanks to how well it did work in John Wick, it feels like a gratuitous shortcut. If only Disney could roll out its Touchstone Pictures label again…

Talk to Scott Collura @scottcollura.bsky.social, or listen to his Star Trek podcast, Transporter Room 3. Or do both!