After years of waiting and one big delay, director Matt Reeves has confirmed The Batman Part 2 has officially commenced principal photography by posting the first image from the set.

The filmmakers behind the Robert Pattinson-led DC movie took to X/Twitter to share the news. It comes with a picture of a clapperboard featuring its bat symbol logo, with a blurry background showing what appears to be a person's body lying on a table or slab in what looks a lot like a morgue.

Unlike the DCU's Superman sequel Man of Tomorrow, the first image from the set of The Batman Part 2 provides little in the way of identifiable information. Still, it's a positive update as filming for the sequel takes off in London, and it will no doubt have fans spinning theories about who exactly is on that table.

"Who is that?" one fan questioned.

"I need to know who's dead now," another added.

"The Batman already opened with a dark scene of the Mayor getting hit in the head multiple times," someone else said. "But Matt Reeves is seemingly going to make The Batman Part 2's opening EVEN DARKER. Like opening the film inside of a morgue and showing a deceased body. Matt Reeves is the goat."

(It should be noted that films are generally shot out of sequence so the first scene that is filmed is often not the scene that actually opens the movie.)

Despite Reeves and the rest of DC drip-feeding the internet with plot teases and major cast updates over the past year, we still don't know much about The Batman Part 2. While some believe the infamous Court of Owls will play a large role in the sequel, others looking into past posts from Reeves believe Mr. Freeze could somehow show up.

Last week, Pattinson shared details about his process when it came to training for his return as Bruce Wayne. And just yesterday, Colin Farrell spilled the beans that his Penguin character will only show up for two scenes.

The Batman Part 2 is currently scheduled to premiere October 1, 2027. While you wait for any hard news about what is in store for this gritty version of the Caped Crusader, go learn why DC Studios co-CEO James Gunn has warned fans not to expect the first DCU Batman movie for quite some time.

Michael Cripe is a freelance writer with IGN. He's best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe).

You can finally preorder a copy of Project Hail Mary on 4K and Blu-ray. Amazon has officially added listings for the movie, but no release date has been set.

These new listings arrived just a few days after a streaming release date was announced for June 18. The beloved adaptation of Andy Weir's best-selling novel will be coming to MGM+, which is a relatively unknown streaming service. The film has been available to rent digitally since May, but if you don't want to pay the rental fee or sign up for an MGM+ subscription, your best bet for watching at home is an actual physical copy.

Project Hail Mary 4K Blu-ray Preorders

From her brand-new – and bestselling – book, Seek The Traitor’s Son, to the incredibly exciting news that we’ll finally be returning to the Divergent universe later this year, it’s a great year to be a fan of Veronica Roth. With both books being the first in a duology, there’s plenty to look forward to.

This article contains spoilers for Disclosure Day.

For a movie titled Disclosure Day (review), the new Steven Spielberg film sure keeps things mysterious for most of its 145-minute runtime. Trailers have shown Emily Blunt’s meteorologist Margaret Fairchild speaking in tongues on TV, Josh O’Connor’s cybersecurity expert Daniel Kellner on the run with a black backpack, and some pointed shots of animals. But that’s pretty much it, though the overwhelming suspicion is that following in the footsteps of Close Encounters of the Third Kind and E.T.: The Extra-Terrestrial (as well as War of the Worlds and sort of Indiana Jones and the Kingdom of the Crystal Skull), this is yet another Spielberg alien movie. And the title definitely implies that the existence of aliens gets disclosed — perhaps not during nighttime, but during the day.

Well, it does happen during nighttime; shows what you know! But more importantly, the actual disclosure of alien life, while the climax of the film, is far and away one of the least consequential points of the plot, at least on the micro level. On the macro level? It changes the world, or at least has the potential to do so. But if you’re wondering what Disclosure Day is actually about, you might still be flummoxed after leaving the theater, so we’ll attempt to explain what it’s about from a plot level, then break down what it likely means from a thematic level.

This is: Disclosure Day Disclosure Day, where we disclose what Disclosure Day is really all about. Day.

What Disclosure Day Is Actually About: The Plot Explained

If you want a full plot summary, a site called “Wikipedia” exists and it’s pretty cool, so check it out. Instead of going beat by beat through the whole thing, we’re going to do our best to lay this out in chronological order and fill in the gaps in terms of what happened in the movie, which somewhat gets left up to the viewer to interpret. And because this is our interpretation, you may have intuited different things that are going on here.

The events of the movie actually go all the way back to the 1940s and Roswell, though that’s only what we see in the footage released to the world at the end of the film; it’s possibly a longer span of time. Regardless, the Roswell crash was indeed an alien spaceship, and it was far from the last encounter humans — and Americans in particular — had with the little grey aliens with the big eyes. Over the decades, multiple other crafts have crashed and successfully landed, which is something the US government has kept secret for years.

Or rather, it was initially the US government, up until President Nixon brought an actor friend to check out a few alien corpses. At that point, Wardex, a corporation run for at least the past 35 years by Noah Scanlon (Colin Firth) realized that Presidents become civilians after eight years (not exactly true, but moving on), so began to leave them out of the circle of trust. Wardex, an independent government contractor, became the sole steward of all alien knowledge and technology, using it to progress tech in the outside world, torture aliens, and hold three cylindrical artifacts that can do anything from make a man teleport to control minds to essentially work as a TV remote. That last one is less impressive, though it is the final thing we see an artifact do in the movie, so your mileage may vary on how exciting that is.

While Wardex has been studying and dissecting these alien visitors, they’ve continued to visit us. In 1996, they took two people to their ships: younger versions of Margaret and Daniel. Appearing as animals like an elk, a raccoon, and a cardinal so that the children wouldn’t be scared, they led Margaret to an old fairytale-looking house where it snows upside down outside and fundamentally changed both Margaret and Daniel, granting them fantastic abilities.

Those abilities boil down to telepathy and linguistics, respectively, though they take more forms than that. However, while the movie doesn’t explicitly state this out loud, it seems after the encounter with the aliens, Margaret likely read her father’s mind and ran away from him — the event was so traumatic that she suppressed her abilities for years. Daniel simply cannot remember his childhood and also suppressed his abilities until one of the aliens in animal guise looked in on him during college when he was a hard-partying almost dropout, unlocking his power to read math like a language and allowing him to get hired by Wardex. Daniel didn’t know that aliens had gifted him a power, or that he had a power at all; the only thing Daniel knew was that he could suddenly understand complex math and code.

At Wardex, Daniel met Hugo Wakefield (Colman Domingo), a man who works with extraterrestrial biology and who communicated directly with the aliens. At some point, one of the aliens escaped (who we see towards the end of the movie), and began to manipulate events behind the scenes to lead up to Disclosure Day. Along with Hugo, that alien hatched a complex plan to bring Margaret and Daniel back together so they could activate their Wonder Twins powers and reveal the truth about aliens to the world. Why? We’ll get more into that in the next section, but the major argument throughout the movie is that the knowledge of aliens does not belong to a secretive government-adjacent company or cabal — it belongs to the eight billion people who live on planet Earth.

That plan was to have a section of Wardex employees defect on moral grounds and begin building a scale replica of Margaret’s childhood home. Hugo and company were aware that Margaret had powers, but they were waiting for her to be activated… which she is, by one of the aliens masquerading as a cardinal. That leads to the events we see in the movie, where Margaret and Daniel loop their way around multiple times until they come to Hugo’s version of Margaret’s house, all built to allow her to confront the trauma of her alien abduction and get ready for — you guessed it — Disclosure Day.

And that does happen, as Hugo and company bring Margaret to KCXE in Kansas City, dump all the footage of every alien encounter for nearly three-quarters of a century onto the world, and reveal the existence of aliens among us. But as to what the movie is about, it’s to bring Daniel and Margaret — two halves of the same alien experiment — together, make them face their trauma, and come out better and more confident people for it. It’s also so the escaped alien can whisper something to Daniel, who translates it for Margaret, who then goes and tells the world, “listen.” The end!

What Disclosure Day Is Actually About Thematically

There are a lot of themes that Spielberg and screenwriter David Koepp (Spielberg came up with the story) are playing with throughout the movie, including the role of government in our daily lives, the intersection of religion and science, and whether Josh O’Connor can stay completely hidden behind a fence even though it’s see-through (he can, apparently). But the most important one, or ones, are likely the reasons behind Daniel and Margaret’s powers: communication and empathy.

One plot point we haven’t mentioned yet is that throughout the movie, World War III is slowly bubbling in the background. North Korea is definitely involved, as is Russia and the United States. While we don’t find out too much about the conflict other than the danger the world is in, to the point that it seems global nuclear catastrophe might begin overnight, the point of comparison that gets called out early in the movie is the Cuban Missile Crisis. The abbreviated version of that real-world conflict is that it was a 13 day stand-off between the US and Russia over the placement of nuclear weapons that (seriously) almost led to the destruction of the world until finally communication and — get this — empathy triumphed over military might.

You can likely see where this is going, but there are direct parallels to nearly every aspect of our world today, and Spielberg is urging humans to simply talk to each other logically and then hear each other emotionally. It’s no coincidence that what the alien ultimately wants to convey, which Margaret provides as the literal final word of the movie, is: “Listen.” That’s not just the alien telling the world this, or queuing up a longer speech with instructions on how to build our own starships (though it certainly could be that as well). The shot has Blunt looking in the camera at the audience and telling us in the real world to listen — to each other, to reason, to the mathematical language of the universe, to truth and science. All of that.

In case you don’t quite buy this as an interpretation, check out how Noah, the villain of the movie, acts. He exerts control over others both through conventional means and also by using one of the alien artifacts to physically control others like a puppet. Whenever he confronts anyone, from Daniel to Hugo in particular, he talks about how their actions have hurt him, and how upset and disappointed it made him feel. There’s no empathy coming from him, no attempt to understand why they’re doing the things they’re doing. If he professes to care about his former co-workers so deeply, wouldn’t there be more, well, listening going on? That’s also how they ultimately beat him, by getting him in a scenario where he’s completely lost control. And rather than blast him with a ray gun or get him arrested, his defeat is shown by him sitting down, no longer talking, and merely focusing on Margaret addressing the world.

So yes, Disclosure Day isn’t about aliens — not really. It’s about how humans treat the other, whether it’s people from another country, another background, co-workers, or merely other people we’re in a relationship with. It’s about how we can bridge those divides with two simple tricks: communication and empathy. Or to put it simply?

Listen.

Over the last decade and change, international markets have asserted dominance over the action genre. The Raid: Redemption, RRR, and The Night Comes for Us blew away American audiences accustomed to watching bulky, neckless meatheads lumbering around or aimless, bullet-spraying shoot-outs. Where do you think John Wick learned his slickest moves? Filmmakers like Kenji Tanigaki find poetry in ruthless motion, which he does once again in his latest release, The Furious. Not an ounce of exhilaration is squandered in this Hong Kong import, which dares any other actioner this year to be as battered, berserk, and certifiably badass.

The movie boasts a melting pot of international phenoms who've been lighting up the modern action landscape. Tanigaki is a decorated Japanese stuntman and director with a dazzling résumé of achievements; he’s a ringleader with no fear. Actors Joe Taslim and Yayan Ruhian bring an Indonesian flavor of butt-whoopin’ and set the bar for their castmates. Star Xie Miao won multiple Chinese wushu tournaments as a child star, and co-leads with lionhearted courage. Then there’s Orange County's Brian Le and Thailand's Jeeja Yanin, all of whom bring their unique fighting styles into Tanigaki's full-throttle tale of bloodshed and vengeance.

Miao stars as mute everyman Wang Wei whose daughter, Rainy (Yang Enyou), is abducted by a crime empire's underlings. Taslim plays Navin, a journalist investigating the same syndicate in connection with another missing person. Together, they form an unlikely duo hell-bent on derailing a criminal family's operations from the inside by breaking every last henchman's bones. The men won't stop until Wang Wei's child is safe and Navin has answers, because dying isn't an option, no matter how many high-octane brawls they have to endure.

Sometimes, these violence-first marathons skimp on the storytelling, but that's not entirely the case with The Furious. Rainy's kidnapped for a devastatingly dark reason, which quadruples the stakes should Wang Wei and Navin fail — we're talking about the nastiest of the nasty here, with the type of bad guys who might as well sprout devil horns. It's impossible for Tanigaki not to take the material deathly seriously, but dialogue doesn't always meet the moment and sometimes comes off a bit underbaked and hokey; questionable ADR doesn't help. Tanigaki drags Wang Wei and Navin straight into hell, but despite four credited writers, pesky story developments can be noticeably (but not detrimentally) thin.

Tanigaki doesn't cheat his audience out of anything that a title like The Furious promises. His stunt choreography is a flurry of blink-and-you'll-miss movesets that land intricately punishing blows, a testament to how much he trusts all of his performers. Miao and Taslim display astonishing balance as they control their bodies, pivoting on kick angles or transitioning holds with a millisecond's notice. They’re hardly the sole standouts; Le's turtle-shaped warrior throws his weight around like a wrecking ball, grounding and pounding on all fours while Ruhian wields assassin-like bow skills and inflicts a thousand knife cuts before his foe even attempts to block. A magnificent cast of fighters flows harmoniously through sequences with the fluidity of a professional ballet, never taking a break or letting momentum wane.

The Furious functions like a Streets of Rage beat-'em-up, with environments that are interactive and levels that build in intensity. Tanigaki finds ways to keep the onslaught of pain fresh and thrilling, from beer-bottle barrages to MMA octagons to bicycle duels; he even lets the kids have a little fun (or at least their stunt doubles). Miao and Enyou nail their father-daughter dynamic, especially when Rainy can aid Wang Wei in combat like a pint-sized sidekick. It's a hilarious juxtaposition as Taslim double-teams baddies like the boss he is, while Wang Wei plays both protector and instructor as Rainy has to lend a helping blow or two. When dangers throw a zig, the characters appropriately zag — and we, the watchers, benefit.

It's no stretch to believe The Furious confidently boasts what could be the year's best action chops. There's a bit of Kill energy here, in that just when you think Tanigaki's flick can't get any more furious, it gets furious…er. Whatever chart-topping highs exist in the first two acts are obliterated by an outstanding third act that lets the masters go to work. I don't think I ever stopped smiling through the back half, especially Tanigaki's knocked-out-of-the-park finale. There are just no diminishing returns here when it comes to choreographing an endless parade of bloody-knuckled justice.

Jason Momoa has one condition for a Lobo solo movie: It must be rated R.

Momoa will make his Lobo debut later this month in Supergirl when the character shows up in a supporting role. It also marks a lifelong dream for Momoa, who has wanted to play Lobo for many, many years. In fact, when he was given the opportunity to play Aquaman a little over a decade ago, he thought DC was going to offer him the part of Lobo. When the previous DC regime collapsed and all of its respective continuity was thrown out the window, DC Studios head James Gunn asked Momoa if he would want to play Lobo, and the rest is history.

Now, people are naturally curious about what comes next for the character. In an interview with ComicBook.com, Momoa confirmed there is a long term plan for Lobo – not unlike how Aquaman was introduced in other films before getting a standalone adventure. However, he told Collider that he will not make a solo Lobo movie unless it's rated R.

"It's all I want and I promise, I do not have any interest in making a PG-13 Lobo movie," he said. "Will he be 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."

Thankfully, this doesn't seem like a particularly outlandish request. Not only have Deadpool, Joker, and Logan all proven you can make successful R-rated superhero movies in the modern era, but Gunn's DC Studios is making an R-rated DC movie this year with Clayface. The Batman spin-off film is a horror movie and is expected to be quite gnarly. So long as there's some demand for Lobo, it's hard to imagine DC denying this request.

DC Studios also seems to value creator-driven projects, as opposed to studio-mandated movies. Only time will tell if someone is able to find the right story for a Lobo movie but, if it happens, you can guarantee it will be violent and filled to the brim with swear words.

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.

X-Men actor Tyler Mane has been diagnosed with a rare form of breast cancer.

Mane announced the news on his Instagram, revealing that he was initially embarrassed and thought about keeping it private, but was told that was part of the issue. Because men don't talk about it, it's not known about. Mane also noted that his doctors were dismissive of the idea before his wife pushed him to get a lump removed.

"I’ll be honest, my first reaction was to keep it secret," said Mane. "I mean it’s kind of embarrassing. But then I found out that men are more likely to be diagnosed in advance stages BECAUSE it’s not talked about and not looked for. In fact, my doctors all dismissed it and it was only because my wife pushed me to get the lump removed that I got in early."

Mane noted that only 1% of breast cancer diagonoses are found in men, but it's actually very treatable if found early enough. The actor noted that he would be covering his journey on his Instagram and is hoping to spread more awareness of the issue. If you'd like to learn more about breast cancer in men, the American Cancer Society has a detailed article on everything there is to know about the matter.

Mane is best known for playing Sabretooth in the first X-Men film, and in X-Men: The Official Video Game. While Liev Schreiber stepped in as the character in X-Men Origins: Wolverine, Mane reprised the role in a cameo for Deadpool & Wolverine, where he's immediately killed by Wolverine. Mane is known for his imposing physique, as he stands at a whopping 6'9''. Rob Zombie has cast the actor in a number of films, including as Michael Myers in his reimagining of the Halloween films.

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.

The Death of Robin Hood will be released in theaters on June 19.

Robin Hood and Little John, murderin’ through the forest, Oo-de-lally, oo-de-lally, golly, what a slay! That’s basically The Death of Robin Hood in a nutshell. While its gloomy visuals, gory kills and sharp performances impress, writer-director Michael Sarnoski’s cerebral, artsy drama will likely appeal more to medieval folklore scholars and fans of gritty period pieces than general audiences expecting a more traditional, escapist Robin Hood movie.

The story draws its inspiration from the medieval ballad A Gest of Robyn Hode, the last section of which is titled “Death of Robin Hood” where the outlaw visits the Prioress of Kirklees. The ailing Robin goes there for treatment because the Prioress is his kin, but she and her lover are actually plotting to kill him. Sarnoski’s film keeps the idea of Robin Hood going to a priory for healing but otherwise reworks and demystifies the entire legend of the English folk hero.

This Robin Hood – played with solemn intensity by a never-hairier Hugh Jackman – is no altruistic hero but rather a vicious, thieving nomad who freely admits that all the stories about him are myths, most of which don’t even have a kernel of truth to them. There was never a Maid Marian, he robbed from the rich and the poor alike, and he killed women and children.

Like Unforgiven’s William Munny, Jackman’s Robin Hood is a grizzled killer haunted by an unimaginably violent past that continues to chase him. He’s killed so many people over the years that there is always someone's relative hunting him down – no matter how far in the hills he hides – to avenge their fallen loved one. Robin is old and tired and, frankly, death would be a gift, yet he keeps killing those who pursue him. Despite the bouts of sudden and often senseless violence, there’s a haunting silence that permeates the entire film, an audible loneliness, if you will, that captures Robin’s isolation from the society he’s wronged.

The only member of the Merry Men who appears in this film is Little John (a barely recognizable Bill Skarsgård, employing yet another of his signature weird, guttural voices). It’s been many years since Robin and Little John last saw each other, with the latter living a relatively content life under an assumed name with a wife and child who are unaware of his wicked past. Now his family are in peril so Little John enlists the aid of his former leader (and surrogate father figure) to save them and exact vengeance.

Both men end up getting far more than they bargained for, with Robin suffering grave injuries in the ensuing battle. In order to save his life, Little John delivers Robin to the film’s version of the priory from A Gest of Robyn Hode, whose prioress is renowned for her healing abilities.

The prioress, Sister Brigid (Jodie Comer, at her most tender), nurses Robin’s wounds, but the longer he stays there and becomes acquainted with its community, the more his soul might be rehabilitated as well. There’s a stillness to both Sister Brigid and to the priory itself that lends an appropriate serenity to this portion of the film where Robin tries to reclaim his humanity.

Robin’s bond with Sister Brigid and a traumatized little girl named Margaret (a compelling Faith Delaney) is the emotional crux of the film and is its most effective and rewarding aspect, lending a much needed humanity to an otherwise savage and seemingly irredeemable Robin Hood. Robin also has a compelling friendship with an enigmatic leper (a moving Murray Bartlett, who barely ever shows his face), who also helps the outlaw inch closer to the light.

The Death of Robin Hood ably mixes the meditative myth-busting of Unforgiven, the medieval ultra-violence of The Northman, and the dreary Celtic aesthetic of The Green Knight. Yet the film also benefits to a large degree from the enduring memory of Jackman’s other, better “violent badass cursed by his past” film, Logan (a comparison Sarnoski understands people will make). Instead of adamantium claws, he uses a knife and a bow and arrow to eviscerate his foes. While that doesn’t diminish Jackman’s performance as Robin Hood, I could never quite shake the knowledge that I’ve seen him do this all before.

IGN can exclusively reveal that Iconic Events Releasing and AMC Global Media’s HIDIVE will release a new 4K restoration of the critically acclaimed samurai film Ninja Scroll in North American theaters in October.

The Ninja Scroll 4K restoration will play in theatrical limited release on October 4, 5 and 7, 2026 across the U.S. and Canada. Ticket sales will be announced soon.

IGN can also reveal the Ninja Scroll 4K theatrical trailer, which can be viewed via the player above or the video embedded below.

“When Jubei saves a young ninja woman from the unthinkable, he assumes that’s the end of it. To his surprise, it’s only just the beginning,” according to the official plot synopsis.

“Together, the two investigate the mysterious deaths of an entire village which uncovers a conspiracy of demonic proportions! Getting closer to the truth, the demonic forces will stop at nothing to silence Jubei and his companion for good!”

Yoshiaki Kawajiri wrote and directed Ninja Scroll, which was originally released in 1993.

According to the official press release: “The digital adaptation was a painstaking restoration and remastering of the movie — a meticulous process that involved a 4K scan (3840 × 2160 pixels) of the original 35mm negative, then repairing any damage and lastly performing color correction to create an archival quality digital master of the film.”

Are you excited for the 4K theatrical release of Ninja Scroll? Let us know in the comments.

The Batman 2 remains shrouded in mystery, but based on comments from Colin Farrell, who has read the entire script, fans can expect something truly dark. Just don't go in expecting Penguin to play a major role in the story.

The superhero sequel will see Robert Pattinson reprise his role as the Caped Crusader when it hits theaters on October 1, 2027 — five-and-a-half years after the first movie came out. It’s from director Matt Reeves, and forms a part of what is called The Batman Epic Crime Saga. This is separate to James Gunn’s rebooted DC Universe, which will see a fresh actor play Batman when The Brave and the Bold kicks into gear.

The Batman: Part 2 script was written by Matt Reeves and Mattson Tomlin, and Colin Farrell has read it all. He played The Penguin in the first The Batman movie, and reprised the role for a TV spinoff on HBO. While a second season of The Penguin remains up in the air, Farrell will play The Penguin once again in The Batman 2, although in just two scenes.

Speaking to ScreenRant, Farrell described the script, and his involvement in the movie.

"I got to read from the first to last page and it's really magnificent,” he said. “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."

It sounds like The Penguin is little more than a cameo character this time around, which will be a shame for those who loved the spinoff. It does sound like we’re going to see a lot of Marvel star Sebastian Stan, though. It’s thought the Winter Soldier actor will play District Attorney Harvey Dent and his villainous alter-ego Two-Face in The Batman 2, given he recently teased he’s playing “many roles.”

Following a series of online teases, we recently compiled a list of everyone starring in the film, along with their roles as best we know.

• Robert Pattinson as Bruce Wayne/The Batman
• Jeffrey Wright as Jim Gordon
• Andy Serkis as Alfred Pennyworth
• Colin Farrell as The Penguin
• Jayme Lawson as Mayor Bella Reál
• Gil Perez-Abraham as Officer Martinez
• Sebastian Stan as Harvey Dent (rumored)
• Scarlett Johansson as Gilda Dent (rumored)
• Charles Dance as Christopher Dent (rumored)
• Sebastian Koch as ?
• Brian Tyree Henry as ?

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.

A third Jump Street movie, ironically titled 24 Jump Street, is reportedly in the works with Channing Tatum, Jonah Hill, and Ice Cube. Variety reported that the threequel is currently in development, with all three stars currently in negotiations to join the cast for the film. Unlike the first two films, Phil Lord and Chris Miller are not returning to direct – but they will stay on board as producers. Instead, Rodney Rothman (Spider-Man: Into the Spider-Verse) will direct. Rothman co-wrote the script with Jonah Hill and Meghan Malloy.

As for why the film is titled 24 Jump Street as opposed to 23 Jump Street, it's believed that the filmmakers are committing to a bit at the end of 22 Jump Street. At the end of that film there's a montage that runs through a bunch of theoretical sequel ideas, with 23 Jump Street being set at a medical school. It's unclear if this will actually be acknowledged in the film, but the series has always been extremely self-aware.

A third Jump Street movie has been in development hell for a decade. At one point, the third film was going to be a crossover between the Jump Street crew and Men in Black, but that never got off the ground. While it's possible this new film could revive the concept, it seems unlikely given Men in Black lacks the brand power that it once possessed, unlike Jump Street.

The Jump Street franchise sees Channing Tatum and Jonah Hill filling the shoes of undercover cops, attempting to stop crime at various schools. It's unclear if that theme will continue, given Tatum is 46 and Jonah Hill is 42, but the films are self-aware enough to make that part of the bit if they go that route.

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.

Prime Day isn't kicking off until June 23 this year, but Amazon is already rolling out some of its big 2026 book deals. A number of popular box sets and special editions are currently on sale for Prime Members only, making it a great time to pick up a solid gift ahead of Father's Day. The one deal to rule them all, though, is this discount on the deluxe illustrated edition of The Hobbit.

Amazon has it listed as a 'Limited Prime deal' with a 58% discount attached. There are a few different illustrated versions of The Hobbit available, but this edition is definitely the most premium.

Obsession breakout star, Inde Navarrette, is going viral for her gaming livestreams, including Sony hit The Last of Us.

Last month, a brand new horror movie known as Obsession was released, and it has been one of Hollywood's biggest success stories. The film was made for just $750,000 before being picked up by Focus Features for distribution. It has since gone on to make over $200 million at the box office, making it one of the most profitable movies ever made. The film also catapulted the careers of first-time director Curry Barker and star Inde Navarrette. The actress plays a young woman who becomes erratic after her friend wishes for her to fall in love with him.

Navarrette charmed audiences with her wicked performance, but has also been building an audience outside of film. Fans quickly discovered that the actress once streamed games on Twitch, such as Call of Duty, as well as single-player games like The Last of Us and Outlast, although it seems all videos have been pulled from the channel. A YouTube channel under her name also popped up earlier this month, uploading her past streams. It's unclear if the channel is actually owned by her or if someone else is just capitalizing on her old content, but nevertheless, you can still check out some of her old streams on the channel.

Her partial playthrough of The Last of Us has racked up over 650,000 views in just three days, leading to a quippy response from PlayStation itself. "We're obsessed," said PlayStation UK's X account.

In a recent interview with GQ, Navarrette talked about how she grew up with video games and eventually started streaming during her downtime.

"It’s just something that I really love to do," she said. "One of my first games growing up that we would play, me and my older brother Amani, it’s the only thing we had to do at my Dad’s house. We started on the PS2, and we would play Shrek games in Big Head mode with my mom. And then I would branch off by myself to play campaign games. Me and Amani would play Call of Duty. He was really into Halo. Then we got into Red Dead and like, Fallout, like all of these games.

"I just would play or watch my older brother. And then I built my own PC during COVID and that was really fun to start to get into PC games. It really just took off with me loving watching YouTubers growing up, like Markiplier. So for me, it was like, oh, why not? If I'm not working on a show and I love playing video games by myself and I love playing with friends, then why not stream? It became a lot of fun."

It doesn't seem like Navarrette is active on Twitch these days, which isn't much of a surprise given that she is likely quite busy after the success of Obsession. The actress had previously played supporting roles in shows like 13 Reasons Why and Superman & Lois, but Obsession will likely take her to an all-new level. Whether she will have time to stream again remains to be seen, but at least there's a surplus of older content for fans to dig into.

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.

IGN can exclusively reveal Hot Wheels Superstar Speeders, a new die-cast collection in the beloved Mattel line that features Toy Story 5's Buzz Lightyear, Spider-Man: Brand New Day's Spidey and Savage Hulk, the Mandalorian and Grogu, Batman, Mickey Mouse, SpongeBob, and more.

These 1:64th scale vehicles feature authentic character design paired with "bold Hot Wheels styling built for speed and action." The cars start at just $3.99, and there will be a variety of tracksets that can expand the adventure. The collection will start arriving in stores this spring and summer.

We can also reveal a closer look at two of these sets: Hot Wheels Superstar Speeders Hi-Tech Buzz Lightyear Launcher and Hot Wheels Superstar Speeders Spider-Man & Hulk Smash Down.

The Buzz set, which will cost $21.59, is inspired by Toy Story 5's new line of Hi-Tech Buzz Lightyears. This trackset encourages racers to take the large-scale vehicle into "any challenge" with the included die-cast Superstar Speeders Hi-Tech Buzz Lightyear. Racers can also connect the Hot Wheels Speed Snap Track to the front of the launcher to send him on other tracks.

The Spidey set, which is inspired by Spider-Man: Brand New Day, sees Spider-Man and Savage Hulk battle villains in the streets of New York. This trackset includes a 12" Web Loop and Hulk smash "win moment," which occurs when Spidey conquers the loops and knocks down all the villains. Hulk will then "heroically" jump and smash to deliver the moment.

However, if Spider-Man fails to knock down all the villains, he is defeated and captured, and you'll have to try again!

This set will cost $29.99 and includes a Spider-Man-themed Slam Launcher to start the battle as well as a Hot Wheels Superstar Speeders Spider-Man.

For more, check out the reveal of Hot Wheels Infinite Rush gameplay or a new line of Marvel Legends figures inspired by Spider-Man: Brand New Day.

Adam Bankhurst is a writer for IGN. You can follow him on X/Twitter @AdamBankhurst, Instagram, and TikTok, and listen to his show, Talking Disney Magic.

Captain Kirk died in 1994's Star Trek Generations, hurtling to his fate -- in fairly ignominous fashion -- while on a collapsed catwalk. "It was fun," he said, as William Shatner signed off for the last time as the legendary Starfleet officer.

Except, in the 32 years or so since then, we've gotten two new versions of James T. Kirk: The first is Chris Pine's big-screen iteration from the J.J. Abrams trilogy, and the second is Paul Wesley's "why is he always hanging around the Enterprise when he doesn't even work here yet" version on the series Star Trek: Strange New Worlds. (Shatner himself also returned, presumably at the very least with his lawyer's approval, through the re-use of Original Series footage in the Deep Space Nine episode "Trials and Tribble-ations" in 1996.)

But even so, that wasn't enough for some of the folks behind Strange New Worlds, who recently revealed to Polygon that they tried to get Shatner himself back for a guest shot on the show ever since it launched. How exactly would they have brought back the 95-year-old actor to play a character who died when he was just around 60?

Well, it turns out Strange New Worlds co-showrunner Akiva Goldsman and his writing partners had a pretty interesting idea in that regard. But they weren't the first to attempt to lure Shatner back to the captain's seat. While the actor has said that he's been asked to come back as Kirk many times, it has never materialized (aside from in comics, books, and the like -- and no, we're not counting Kirk's apparently preserved body from Star Trek: Picard). Let's look at the most concrete examples of the near-return of the Starfleet icon...

Return to the City on the Edge of Forever

"I have been asked to come back as Kirk so many times. If Kirk is going to come back, it has to mean something."

That's what Shatner said at a Vancouver convention in 2025, as reported by The Direct. Interestingly, at that same appearance he mentioned that he had been approached by a current Trek series writer about a potential return. While the actor did not mention which writer, he did say he was "so impressed" by the scribe and that he would be receiving a pitch for the show the following week.

Could this have been Goldsman who The Shat was talking about? The timing would make sense, as the only series in production in 2025 were Strange New Worlds and Starfleet Academy. Plus, Goldsman is an avowed fan of classic Trek, and has added (some might say shoehorned in) various ties to The Original Series in his Trek work, so his desire to give Shatner one last turn in the role is... logical.

Assuming that is the writer the actor was talking about in 2025, it apparently never panned out. According to Polygon, Goldsman’s "biggest regret was not being able to bring William Shatner back to play a version of Kirk who decided to stay in Depression-era New York with Edith Keeler (Joan Collins), a soup kitchen operator he fell in love with in the episode 'The City on the Edge of Forever.'” The report adds that while the Goldsman and his fellow showrunner Henry Alonso Myers "tried to make that happen every season," including scripting versions of the story, it never panned out. And now with Strange New Worlds' final season wrapped and waiting to air, it never will.

At first glance, it sounds like it could've been a really cool way to give Shatner's Kirk -- or an alt-version of him -- a final farewell. But would it have been, actually? The whole point of "The City on the Edge of Forever" is that Kirk has to sacrifice his great love in order to save humanity's future. (It's a long story.) Wouldn't his working his way around that decision deflate the whole concept behind what, to many fans, is the greatest episode of Star Trek ever? I guess we'll never know at this point.

Mirror Universe Kirk... or Chef Kirk?

When Star Trek: Enterprise entered its fourth season in 2004, late showrunner Manny Coto -- a Trekkie himself -- planted a bunch of connections to other Star Trek shows throughout the season. But one idea -- to bring Shatner back as a Mirror Universe version of James T. Kirk in a two-part episode -- was not to be.

The Mirror Universe of course is that realm in Star Trek where the bad guys are running things... and the good guys are the bad guys! (What a concept.) "Shatner playing evil Kirk is more fun than Shatner playing good Kirk," Coto said in a Blu-ray feature for the season. Going by "Tiberius" -- Captain Kirk's middle-name -- this would've been a version of Kirk that didn't break continuity, since the last time we saw the Mirror Universe Kirk was on the 1960s series when he was still alive and well. And in fact, the storyline that was planned would've revealed that it was actually Tiberius who created the Mirror Universe in the first place!

The idea reportedly came from Shatner and his writing partners Judith and Garfield Reeves-Stevens; the duo had joined the Enterprise writing staff that season. The pair had previously co-written, with Shatner, a ton of the actor's Trek universe books.

But as Coto pointed out, the studio seemed to get cold feet at the idea of spending a lot of money on the episode, particularly as they probably knew the show was about to be cancelled. Was he referring to the overall production costs of such an episode, or Shatner's asking price specifically? Probably a bit of both.

Still, Enterprise Season 4 did manage to revisit the TOS time period in a sense with the two-parter "In a Mirror, Darkly," which was set in the Mirror Universe and featured the evil Captain Archer (Scott Bakula) and his crew discovering an Original Series-era ship that looked just like the classic Enterprise. Set phasers to nerd out.

Another story idea that never went anywhere reportedly involved the Enterprise's "Chef" character. Chef ran the galley on Captain Archer's Enterprise NX-01, and while he was often mentioned, he was never seen (aside from in one episode where he's glimpsed but his face is obscured). It's a bit difficult to find a definitive source for this one, but apparently Shatner would've played Chef, not Kirk. But the fact that he looked like Kirk would've figured into some kind of adventure where Chef would've had to cosplay as Kirk. (If anyone has definitive quotes from the writers or Shatner about this pitch, let us know!) Ultimately a version of this idea was used in the much-maligned Enterprise series finale, "These Are the Voyages..." where Jonathan Frakes' Riker appeared as Chef on the holodeck. Or something. (Don't ask.)

Happy Birthday From Star Trek 2009

When J.J. Abrams rebooted Star Trek for the big screen in 2009, Leonard Nimoy played an integral role in linking the new take on the franchise to the old. While set in yet another alternate universe -- the Kelvin-verse -- the original universe which featured the Nimoy, Shatner, etc. versions of the characters still existed. So when Nimoy appears in the 2009 film, he's playing a much older version of classic Spock, albeit one who meets his younger, alternate-universe self in Zachary Quinto's Spock.

So it would've made sense that Shatner too could've popped in for a cameo at the very least as Captain Kirk... maybe, kinda? The problem is, by the point in the timeline (nerd alert again) where Spock Prime enters the Kelvin-verse, Kirk Prime is already long dead and buried (under a pile of rocks, thanks Jean-Luc) on Veridian III. So putting aside the fact that there was already a pretty crowded call sheet of actors who needed screen time, there was also the fact that it, uh, logically wouldn't make sense for Shatner's Kirk to appear.

Back before the film was released, Shatner expressed his disappointment about not being cast to Extra TV: "How could you not put one of the founding figures into a movie that was being resurrected? That doesn't make sense to me!"

The thing is, Abrams said at the time of the film's release that a scene was written that brought back Kirk Prime, even if it ultimately wound up not working for the movie and was dropped. This would've been a cameo where Kirk appears in a holographic birthday message for Spock.

"It was very tricky," he told Sci-fi Scanner (a site that now appears to be defunct), as relayed by The Guardian. "We actually had written a scene with him in it that was a flashback kind of thing, but the truth is, it didn't quite feel right. ... The bigger thing was that he was very vocal that he didn't want to do a cameo. We tried desperately to put him in the movie, but he was making it very clear that he wanted the movie to focus on him significantly, which, frankly, he deserves."

Abrams also pointed out that the character's death in Generations had seriously complicated the matter.

"Maybe a smarter group of film-makers could have figured out how to resolve that," he said.

They weren't the first, or last, to try.

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

Top image credit: Disney/Randy Holmes / Disney via Getty Images

Before Prime Day officially kicks off on June 23, some deals are going live a bit early. If you're a LotR fan, one of these deals that might pique your interest is the leather-bound Hobbit and The Lord of the Rings Deluxe Pocket boxed set. You can pick up the 4-volume collection for $26.23 if you're a Prime member, a hefty 65% off of the sticker price of $75 before the sale fully starts.

While IGN Live has wrapped up, the celebration isn't over just yet.

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Mortal Kombat II is now available to rent or buy from PVOD platforms like Prime Video. The move to digital comes almost exactly four weeks after the film’s initial release in theaters.

Despite a somewhat soft box office performance, critics have had generally more praise for the film than its predecessor, with IGN’s own Max Scoville acknowledging that, “the bar for video game movie sequels isn’t very high, but this one not only clears the bar, it twirls it around like a bo staff.”

If you’re itching for a rewatch or just not interested in making the hike to the movie theater, here’s everything we know about the film’s release on digital, streaming, and Blu-ray.

Mortal Kombat II Lands on Digital Four Weeks After Releasing in Theaters

Mortal Kombat II is available to rent for $19.99 or purchase for $24.99. If you choose to rent the movie, you’ll have 48 hours from the time you hit play to watch it. If you go for the digital purchase, you’ll also get access to extras like a deep dive into the gaming franchise with one of its creators, Ed Boon. Prime Video is also offering a digital bundle of both Mortal Kombat films for $29.99.

Disclosure Day will be released in theaters on June 12.

Steven Spielberg is back in theaters and, for the first time in quite awhile, he brought aliens with him. So in that sense, Disclosure Day is a welcome return to the things that Spielberg does best. But for all the good questions the movie asks, can the answers be as compelling?

The prospect of a new Steven Spielberg film is always exciting. The guy is an all-time great and needs no introduction. That he’s back with a big-budget, original IP science fiction film is even more exciting, and not a thing that can be overlooked in the calculus of reviewing this movie. I will never argue against having more Spielberg, especially when it comes with so many of his most Spielberg-ian toppings.

There’s a familiarity to his filmmaking that’s maybe unfair at this stage of his career. He’s such an influential filmmaker – his style has been imitated by two generations of filmmakers by now – so it’s easy to forget that this is all stuff he invented. It’s not an imitation of the man, it’s the man himself, which is another part of this film that should not be overlooked. His camera Moves with a capital M, the backlight, the lens flares, the determined pushes into the awe-stricken faces of his characters – it’s all there and it’s all extremely Spielberg.

Disclosure Day is, in its simplest terms, a film about whether or not humankind can handle learning that aliens exist. Of course there is a shadowy government-adjacent agency that’s been tasked with covering this existence up for decades, and a group of well-intentioned regular folks take it upon themselves to reveal the conspiracy, but that’s just plot. The meat of this story is the question: Can we handle it?

That has always been Spielberg’s biggest strength where sci-fi is concerned: taking a big and fantastic premise and rooting it in real, ground-level human emotion. Because while it’s cool that E.T. can make the bikes fly, what really makes us care about him is the connection he’s got with Elliott. There’s a relatable heart at the center of all of his science fiction that really sets it apart. For Disclosure Day, that heart rests entirely with the cast.

First and foremost, Emily Blunt is fantastic. She’s truly one of the best actors going and she always seems to elevate whatever movie she’s in. Disclosure Day is no different. As Margaret, the weather person in Kansas City who suddenly finds herself clicking and clacking in an alien tongue, she works through it with bold determination, visible terror and legit confusion all in equally believable turns. This is part of the Spielberg trick in science fiction – it is truly a wild thing that’s happening to this woman, and keeping her reaction to it grounded while also never mugging in any sort of “can you believe this” way truly takes subtlety and attention to detail. Without Blunt’s performance to that end, there are huge parts of this movie that just wouldn’t work. There’s a pretty spectacular oner, a long take that covers a ton of ground in a pivotal scene in her story, during which she’s panicked in one moment, confused in the next and inexplicably speaking fluent Korean a second later.

The supporting cast is just as good. It would be weird if Colman Domingo and Colin Firth weren’t good at this point, while Eve Hewson brings an outsider’s perspective to the plot and Wyatt Russell lends his aw-shucks everyman-ness to the proceedings in a way that never really outstays its welcome. Still, the second hand carrying the film is Josh O’Connor.

If O’Connor is not spectacularly memorable, he’s as solid as they come, and really shows his ability to carry a movie here. His Daniel is in over his head with only his principles to guide him; he just knows what he’s decided to do is the right thing and that’s all the motive he needs, even if he’s not equipped for action. But Daniel has a past he doesn’t feel great about and a hope that his future can be better, which is all you really need for a Spielberg-ian leading man. It seems like such a simple thing, but it’s something that’s missing in a lot of would-be tentpole movies.

Now, that’s putting myself at the risk of sounding like an old man on a porch shaking my fist at “kids these days” but, I am talking about a movie made by an 79-year-old filmmaker, so maybe that’s appropriate.

I will say, there are stretches of this film where I couldn’t help but be awed by the fact that Spielberg has still very much got it. And I can’t talk about how good the two leads are in this film without also mentioning a sequence in the center of Disclosure Day that’s truly outstanding. After escaping from the shadowy G-men trailing them, Margaret and Daniel get run into a train, narrowly escaping again. It’s about a 10-minute stretch of the movie, but what’s incredible about it is that it’s action bookended by emotion. There’s a scene where Blunt and O’Connor’s characters get to connect that’s funny and loose and plainly shows where they’re at, then there’s a nerve-wracking bit of action, then there’s an intense scene of the aftermath of that action.

It’s a moment where we, as an audience, ought to be able to catch our breath, but instead Spielberg makes you live in the fear and anxiety that these two are feeling. The result is a truly thrilling sequence that ended up being the highlight of the whole movie for me. And yes, the highlight of the movie for me was right smack in the middle because it certainly wasn’t the ending. But let me back up a bit before I get there…

I have a rule, a kind of guiding principle, about the little things in movies. If there are threads I can’t help but pull on, little logic gaps or plot holes that I can’t look past, then I just don’t like the movie. Every movie has those little nagging things, but if they don’t bother me, that means I’m charmed enough by the movie overall and I like it.

Let’s say, for example, the big bad’s goons close in on our protagonists as they’re on the run and holed up at a cheap motel, but the heroes escape by just climbing out the back window and casually walking away unseen. The quibbling part of me says “No, that’s not how it works in movies. I’ve seen The Fugitive and who knows how many other movies where agents cover the whole building and there’s no way they should get away with that.” With Disclosure Day, there are a handful of moments that do exactly that and I snickered out loud at each of them as they happened.

Ultimately I got over them easily enough because, again, this is Spielberg. The film really moves from scene to scene and is for the most part a very good time… but then it hits its third act.

This is where it starts to get difficult to talk about without spoilers, but I can say the way this movie wraps up didn’t sit too well with me. The answers the film offers to the big questions it spends its runtime asking felt downright naive. It’s childishly hopeful and it had me completely checked out of the film’s climax.

The way some of the characters react didn’t feel honest, real, or in keeping with how their characters were established. Having started this review pointing out Spielberg’s specific proclivity for keeping characters grounded in fantastic situations, losing that asset here in the film’s finale really stood out to me. But it shows what a sort of delicate balance it is, and the risk inherent in making a sci-fi movie in the first place. Yes, it’s a movie about aliens, but also yes, things need to feel real and honest. Spielberg is great at sci-fi, but in large part because there’s always an emotional element to the story that makes his movies about aliens realistic. And that’s where this movie stumbles.

Every character has a clean and clear relationship to the idea of Disclosure Day. Different schools of thought as to how we would accept the truth of aliens are represented in thoughtful ways via these characters, which makes the naivete of the ending a little frustrating. There’s an open-to-interpretation aspect to the film’s finale as well, though, that can be a bit of a rorschach test. To a certain extent, you’ll get to see what you want to see in the film’s conclusion. So maybe my reaction to it says more about me and how I feel about the current state of our world than it does the movie itself. That’s the thing I’ll be thinking about because of this movie. Maybe I don’t agree with how the film feels about humanity’s ability to deal with a knowledge drop like this, but none of the characters on screen agree with each other either, so why should I be any different? If that’s the conversation this movie wants to have, coupled with a dose of Spielberg-ian positivity and hope, wrapped up in an original idea that’s not a spin-off, sequel or franchise, I’m not going to complain about it too much.

Spider-Man fans have spotted filming taking place in London this week, though it's not yet clear exactly what it's for.

Videos taken by numerous onlookers show Spidey suspended from wires over a smokey scene, then landing on top of a partially-crushed car that's half-buried in rubble. Footage of the filming does show Spider-Man with his mask off, though it's hard to tell from a distance whether the actor on set was actually Tom Holland, or a stunt double.

So, what could this be for? Spider-Man: Brand New Day is now just a few weeks from release on July 31, so this would be an extremely late piece of additional filming if it was for that.

Of course, Marvel is currently filming Avengers: Doomsday reshoots in the UK — though Holland hasn't yet been announced for the movie, and this filming would completely spoil Spider-Man's presence. So this option seems unlikely.

@madsontourr security said they were filming an ad but didn’t know what ad #spiderman #spidermanbrandnewday #brandnewday #mcu #london ♬ original sound - Paul Black

Discussion of the filming on reddit includes responses from fans who say they were told by on-location security staff that the filming was for an advert — though these responses can't be verified (and even if that's what security did indeed say, it could still be a misdirection).

"Casually stumbling upon Spider-Man being filmed next to your local Sainsbury's," reads one video posted on TikTok by user sharmishah21. "What was Spider-Man doing on my street in London????" wrote another fan, in a video shared by Spider-Man News. A third clip identifies the filming as specifically taking place in Wembley.

"Feels too much effort for an ad," one fan commented. "Just a reminder that Doomsday reshoots are still going on."

Yesterday brought word that the extended runtime of Spider-Man: Brand New Day is set to make it the longest Spidey film ever. At 150 minutes — that's two hours and 30 minutes total — the film will also weigh in as one of the longest Marvel Cinematic Universe movies ever. A second trailer for the movie also seems imminent, after the majority of it leaked over the weekend.

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