Google just got a The Legend of Zelda: Ocarina of Time Easter egg that transports you back to the 1998 version of the search engine — complete with blue links for results.

The remake of the Nintendo 64 classic comes out this Thursday, November 5, but you can find the secret on Google now if you type “zelda” into the search bar and press enter. This makes the Master Sword appear in the bottom-right corner of the screen.

Click the Master Sword and it gets shoved into its pedestal, an audio effect plays, and the screen distorts to pull you through time. Now you’re back at the old, useful, minimalist Google that showed search results as a series of blue links for people to click on.

What you’re seeing is Google from 1998, the year the original Ocarina of Time launched. It was the year of the Saving Private Ryan movie, the rise of teen pop icons like Britney Spears and breakthrough television shows like Sex and the City. The Boy Is Mine by Brandy and Monica would have been blasting from the stereos of passing cars, kids would have been playing with Furbys, and everyone was rocking a Nokia. Ah, nostalgia. Google’s 1998 version even has the “I’m feeling lucky” option, which would just take you to a random search result.

As Nintendo has pulled back the curtain on The Legend of Zelda: Ocarina of Time remake, we’ve begun to get a better understanding of how this Nintendo Switch 2 exclusive will look and feel to play. IGN has already got you covered with an extensive hands-on preview, as well as a roundup of all the changes we’ve noticed so far compared to the N64 masterpiece.

While you wait, check out a special episode of Nintendo Voice Chat where we dive deeper into our Zelda preview. Meanwhile, Eiji Aonuma, producer of the Zelda series at Nintendo, recently admitted some of the younger members of his team had never played the original game, but insisted that was very much a good thing for the development of the remake.

Elon Musk has joined the growing backlash over Sam Altman’s recent comments on RAM.

Last week, the OpenAI CEO sparked outrage across the internet and, specifically, within the gamer community, when he said he thought it was “terrible” for people to have RAM in their PCs rather than a data center.

In an interview with YouTuber Cheeky Pint, Altman said: "From a global allocation perspective, actually, it's quite terrible to have everybody have a bunch of the world's limited supply of DRAM sitting in their own computer, and being used 5% of the time. Like, you want maximum utilization in the cloud if you're trying to deal with this very supply constrained environment. And somehow many people's intuition is the opposite of that."

The comments have been widely ridiculed, with many suggesting that, whether he intended it or not, Altman sounds like he wants to take away personal ownership of memory and force society to use resources for the benefit of AI companies such as his. Social media was flooded with posts, images, and videos of people slamming Altman for the suggestion, promising to protect their precious memory from any who might try to claim it. Others have simply dunked on Altman for the comments, with countless memes and, yes, AI-generated videos showing the AI billionaire in various states of embarrassment.

Here’s 576GB worth of go f*ck yourself Sam Altman https://t.co/X4ewhFK0cp

— ᴼᴺᴳ (@OngDevLab) October 30, 2026

Using a stick of RAM to stir my coffee this morning, fuck you, Sam Altman

— Sick (@sickdotdev) November 1, 2026

sam altman: your ram should be in data centers

me with 32 gigs of ram: https://t.co/0VR1kvgtxO

— Micky D (@DeMickyD) October 31, 2026

Found on reddit. Hilarious https://t.co/43Exuo1b3r

— wayward strategy (@waywardstrategy) November 1, 2026

Speaking of AI billionaires, his tech rival, Elon Musk, got in on the act with a meme of his own, letting his millions of followers know where he stands on the subject of memory ownership.

"The people deserve to have their RAM too!" Musk declared in a post on X, the social media platform he owns, alongside a meme of Colonel Hans Landa from Quentin Tarantino’s 2009 film Inglourious Basterds.

The people deserve to have their RAM too! https://t.co/q6dwauALw4

— Elon Musk (@elonmusk) November 1, 2026

The AI boom has led to a scarcity of memory to power it, which in turn has caused graphics cards, video game consoles, and PC components to skyrocket in price. Sony, Microsoft, and Nintendo have all raised the prices of their consoles as a result of the ‘RAMpocalypse,’ while the RTX 5080 just disappeared off of Nvidia's marketplace, weeks after the RTX 5090 was all but discontinued.

Microsoft reportedly expects its next-gen Xbox, codenamed Project Helix, to cost as much as $1,800. Sony has yet to announce its next-gen hardware, but analysts suspect it will push back its launch for as long as possible amid cost concern.

Altman, though, is unlikely to change his line of thinking any time soon. He’s currently on the hunt for up to $20 billion in a new funding round co-led by UAE investors, down from an earlier target of about $30 billion, according to CNBC.

While Musk is happy to take shots at Altman, he’s having AI problems of his own. In a remarkable tweet, the Tesla and SpaceX owner appeared to admit to throttling Grok Bot for being “unsustainably” expensive. Users had complained there were hitting limits sooner than expected, and Musk replied to one such complaint to say the cost of running the AI agent was “unsustainably high relative to revenue.”

This in turn sparked an explosion of comments across social media, with many suggesting Musk's admission here signalled a significant issue with the economics of generative AI itself. Grok Bot, launched in beta in August with paid weekly active users nearing 800,000 by late October. The agent runs autonomous tasks on virtual computers, demanding far more compute than simple chatbots. Heavy users faced sudden lockouts and frustration, with some canceling plans.

In a follow-up tweet replying to one person highlighting the potential impact of Musk's statement, he said: "Just being sensible."

Photo by Heather Diehl/Getty Images. Photo by Kent NISHIMURA / AFP via Getty Images.

Niftski, the speedrunning world record holder for Super Mario Bros., beat his own record on a Halloween livestream while dressed as Mario. Speaking in character, he said: “Hopefully I don’t get this today because that would be very stupid.” Guess what?

This Halloween run, which you can watch on Niftski's YouTube channel, shaved 0.33 seconds off the previous world record, also held by Niftski — two frames away from a perfect run.

4:54.299 SMB1 ANY% WORLD RECORD ON HALLOWEEN WHILE LARPING AS MARIO! It doesn't even feel real that I actually achieved this, but here we are. Only 2 frames (33 milliseconds) stand between this run and absolute perfection / TAS tie. 4:54.265 next! https://t.co/S1ZpmEMG4c

— Niftski (@Niftski) November 1, 2026

According to Niftski, those two frames were lost early in the run and kept him away from a “perfect run,” theorized to be the absolute pinnacle of Super Mario Bros. “any percent” attempts. He messed up fast accelerations in the first and second rooms by a small amount which cost one frame each.

If it is accurate and there are no more strats to bring the time down significantly, that just leaves the run and those two frames. That means there’s only two milliseconds left, which means there are only two more world records possible in the category.

“Will this be like the first ever game perfected? Like what's gonna happen once someone matches the TAS? It's just over?” asked one fan.

Niftski breaks the SMB1 world record while doing the worst Mario impression ever. Frame-perfect hands, not-so-perfect voice 🍄 https://t.co/B21YnDkrwH

— imngrok • Stream Clips (@imngrok) November 1, 2026

Niftski sits alone at the top of the speedrunning records, and it seems the only person who can beat him is himself, dressed as Mario. He holds the records for warpless, glitchless, and the “any percent” category, which is a race to the end by any means necessary, skipping whatever you can using exploits and glitches.

It’s that last category he beat this Halloween, taking his previous record of 4:54:332 down to 4:54:229 — that’s minutes, seconds, and milliseconds. About halfway through the run, he committed fully to Mario and let Nintendo fill his heart.

According to the speedrunner, being a doofus and pretending to be Mario helped. “It made me not nervous at all,” said Niftski, “it doesn’t even feel real. It felt so casual.”

“I can't believe I witnessed a russian mario do the 67 and get any% wr in the same video,” said one X / Twitter user who watched the stream.

Image credit: Niftski / YouTube.

French film production and distribution company Pathé is performing an experiment to see if it can wipe classic movies from people’s minds and let them experience them afresh.

Pathé is working in collaboration with hypnotist Victor Kraemer to mind wipe 30 movie buffs to see if they can relive that first viewing. The event is called Pathé Rewind.

Registration for the event is now closed, but applicants were chosen based on film preferences, personal motivation, availability and consent to take part in the promotion. Selected participants will be invited to a one-to-one online session with hypnotist Victor Kraemer.

Just before the film screening, participants will once again be put under hypnosis by Victor Kraemer, after which the selected film will be shown on the big screen. Three movies are being considered — The Matrix, Se7en, La La Land and Interstellar — and one will be chosen based on which has the most familiarity to the chosen 30.

What’s in the box? Are we living in a simulation? What happens when you go really far away? Can Ryan Gosling sing? Imagine not knowing the answers to these questions.

Pathé said there is no guarantee any of this will work, of course, but it’ll be interesting to see the outcome. From a distance. I don’t want to be memory wiped, thank you. Especially when you consider the following disclaimer: “Pathé accepts no liability for the outcome, the effect, or any other consequences of the hypnosis sessions.

“Through this experiment, Pathé is investigating whether hypnosis can contribute to a new cinema experience,” the disclaimer continued. “Pathé makes no claims regarding the effectiveness of hypnosis as a method.”

The cinema experiment will take place on Monday, November 9 at Pathé Buitenhof in The Hague. Babe, fancy a date to The Hague to get memory-holed?

Check out the IGN list of the top 25 movies of all time and let us know which ones you’d like to experience for the first time again. If seeing The Matrix and Interstellar up there got your blood pumping, we also have a list of the best sci-fi films of all time.

Phantom Blade Zero is officially the next big thing. Developer S-Game has announced that its wuxia-themed action game has surpassed a significant milestone in just a few days.

Within 72 hours of going on sale, Phantom Blade Zero has sold 4 million copies. The official X / Twitter account posted the news with a message: “Thank you everyone from the bottom of our hearts for all the love and support!”

Even on its first day, it was clear this was going to be a beast. Phantom Blade Zero was ahead of Steam’s biggest games, from PUBG to Dota 2, topping the Steam charts as soon as it launched. It was also the best-selling game on Steam by revenue, ahead of Modern Warfare 4, Aion 2, and Probably Stolen, a Cyberpunk shopkeeper sim that's going viral. Steam concurrents peaked on Sunday with a whopping 833,921 players.

The early success shouldn't come as a huge surprise. Last week, it was estimated that Phantom Blade Zero had sold over 1 million copies before launch across launch platforms Steam and PS5, and Tencent’s WeGame (an online PC storefront in China). Nearly two thirds of total prelaunch sales were from China, Taiwan, or Hong Kong.

IGN's Phantom Blade Zero review returned a 9/10. We said: "Phantom Blade Zero is an unbelievably smooth action game filled with memorable boss fights, compelling combat, and limitless swagger."

Phantom Blade Zero is a monster hit, but it's not quite on par with Black Myth: Wukong, which managed 10 million sales in the first three days.

Roger Craig Smith — best known as Sonic the Hedgehog, Ezio Auditore, Batman, and Chris Redfield — plays the lead character. The actor is joined by Mu Xiaokui actor Maggie Robertson, who played Lady Dimitrescu in Resident Evil 7. Elsewhere in the cast, Donnie Yen served as a key creative consultant and stars as the character Mó Yuan (Soul's father) through full facial, voice, and motion capture.

Before you step into the Phantom World, we’ve put together a helpful list of Things Phantom Blade Zero Doesn’t Tell You. We’ve also got a step-by-step Phantom Blade Zero Walkthrough in progress, plus guides for the game’s Weapons, Accessories, and Phantom Edges.

Behaviour Interactive has responded after what appeared to be a Dead by Daylight collaboration with controversial streamer TheBurntPeanut caused backlash in its community.

Halloween weekend may have been more eventful for the team behind the hit multiplayer horror game than they may have expected. What started as a relatively contained negative reaction has since exploded into a full-blown breaking point for players, with some reporting that they've uninstalled Dead by Daylight after seeing its developers work with TheBurntPeanut.

The Canadian studio was first put on the hook by the more vocal members in its community when they discovered the streamer, who gained popularity over the last year for playing extraction shooters like Arc Raiders, was dipping his toes into the horror multiplayer game for the first time. The Halloween season was bound to result in a small uptick in attention for Dead by Daylight, but for those who have stuck by it through its 10 years of service, the jump scare arrived when the streamer revealed he had been gifted access to its entire rogues' gallery of Survivors and Killers.

Some people on Twitter were not happy about TheBurntPeanut getting streamer privileges in Dead by Daylight https://t.co/wk5DsrRFeg

— yeet (@Awk20000) October 31, 2026

"Wow! Wow!" TheBurntPeanut said while scrolling through dozens of instant unlocks during his Halloween stream. "Guys! I just got all the guys!"

Dead by Daylight initially starts players with a small selection of playable characters, with anyone interested in unlocking others required to use in-game currency to purchase them. Costs can range from a somewhat small amount of earnable currency (Iridescent Shards) for original Survivors and Killers, to around $5 of premium currency (Auric Cells) for licensed characters, such as The Walking Dead's Rick Grimes or Alien's Xenomorph. Prices vary further for those looking to purchase cosmetics.

No one seemed to bat an eye at TheBurntPeanut's interest in Dead by Daylight, but receiving official support from the developers raised a series of new questions from fans. The nature of this collaboration stream was not previously detailed or promoted in any capacity, leaving many to criticize what the streamer also mocked as "streamer privilege." The real issue for many, though, is with what it means to see Behaviour back this specific creator.

TheBurntPeanut has been the subject of much controversy in his small amount of time in the spotlight for on-stream behavior many consider to be offensive. While others have defended him as simply "edgy," Dead by Daylight's vibrant group of progressive users have said they feel Behaviour has betrayed those who have otherwise felt safe in the community.

"This is why I'm continuing to step further away from Dead by Daylight," one popular post on X/Twitter said. "This is embarrassing, especially since there are still AMAZING creators who you haven't been approved into your program yet who have devoted their careers to DbD."

"For anyone not in the know," one popular Reddit thread posted in the aftermath of yesterday's stream said, "DBD has added a bigoted creator to their creator platform."

I cannot word how disappointing and disgusted I am.

I know full well this is just 1 BHVR employee, ive met some amazing people in the space and they would never let this happen.

@DeadbyDaylight you need to make a response and I'm hoping you don't double down here.

— PotatoLegion (@PotatoLegionYT) November 1, 2026

There were dozens upon dozens of posts like this across social media, but the storm really picked up when supposed screenshots of Twitch chat messages from Behaviour began to circulate. Responding to the online outrage, the studio reportedly sent support TheBurntPeanut's way, with the most infamous message saying, "WE CAN TAKE THE HEAT! THEY ARE YOURS TO KEEP!"

This is where reports of players uninstalling Dead by Daylight really took off.

"This is the crowd @DeadByDaylight is catering to and welcoming into the community," another player said while sharing screenshots of posts from X users attacking the Dead by Daylight community, with some using a series of slurs. "Yes, this is the exact fanbase of this streamer. Not just a few 'bad apples.' It’s bewildering how this exact same conversation already happened with Fortnite a couple months ago and [Behaviour's official community account] @DbDPulse still felt proud to back it."

The mention of Fortnite is a reference to this summer's drama around TheBurntPeanut's inclusion in the battle royale and the subsequent toxic backlash it created.

So Dead by Daylight fucked up...

and I uninstalled.

@DeadbyDaylight @Behaviour https://t.co/5U1IihMygR

— kibbles.live (@KibblesGG) November 1, 2026

In 13.3K hours I never removed Dead by Daylight from my PC.

Time ago I was really vocal about the dangers I saw incoming: I chose the wrong methods to fight and fell victim of the negativity caused by what I wish I was stronger at facing, but in that mess I was still right.

1/X https://t.co/9C2b4oNdJY

— Ultrix (Nurse Harrow Era) 🏳️‍⚧️ (@ViragoUltrix) November 1, 2026

It's been a whirlwind 24 hours that has now come to a head with an official response from Behaviour. On its @DbDPulse X account, the developer admitted that one of its team members had awarded a streamer in-game content "without receiving appropriate approvals." Its statement also acknowledged that "the team member's subsequent comments and conduct do not align with Dead by Daylight’s core values."

"When concerns about this decision became apparent during the stream, we should have responded by looking into these concerns, not dismissing them," the note continued. "Unfortunately, we’ve now seen the fallout of this decision unfolding in many conversations across the DbD community. We appreciate and stand with our community’s willingness to ensure our shared values are being upheld, at all times, regardless of popularity, and we’re heartbroken at the inflammatory language now being directed towards our community."

As the outrage surrounding TheBurntPeanut's time in Dead by Daylight took hold of the community, some moved to uncover the identity of the Behaviour team member responsible for giving him access and issuing responses. The studio alleged that some players threatened its employees, saying that such conduct "will never be acceptable." It also asked followers to "stop engaging with these posts."

This weekend, a Dead by Daylight team member awarded in-game content and currency to a creator streaming our game. Although it is not unusual to unlock content to give creators discovering DbD a chance to have a sneak peek at available content, this decision was made without receiving appropriate approvals. Furthermore, the team member's subsequent comments and conduct do not align with Dead by Daylight’s core values.

When concerns about this decision became apparent during the stream, we should have responded by looking into these concerns, not dismissing them.

Unfortunately, we’ve now seen the fallout of this decision unfolding in many conversations across the DbD community. We appreciate and stand with our community’s willingness to ensure our shared values are being upheld, at all times, regardless of popularity, and we’re heartbroken at the inflammatory language now being directed towards our community.

At the same time, threatening employees will never be acceptable, and we’re asking everyone to stop engaging with these posts.

We apologize to our community for letting you down. We have already begun reviewing our internal processes to prevent an incident like this from happening again.

— DbD Pulse (@DbDPulse) November 1, 2026

"We apologize to our community for letting you down," it continued. "We have already begun reviewing our internal processes to prevent an incident like this from happening again."

This response, too, has been met with backlash, with most Dead by Daylight players still upset that the situation was allowed to progress to this stage. Popular posts from the community call the team's message a "nothing-burger," with others accusing the developers of attempting to skirt criticism by sharing the response on its DbD Pulse account (21.1K followers) instead of the official Dead by Daylight account (1.3 million followers) or Behaviour Interactive account (110.5K followers).

"DBD won’t feel safe to stream any time soon, unfortunately," one player said in response to the message. "This just isn’t good enough.

he doesn’t even like the game 😭 https://t.co/72ds3UIHSR

— mina 💓 (@orelarosetoy) November 1, 2026

"You know what’s funny?" another response said. "This wasn’t even a good business decision lmao. You spent 10 years building a progressive community. Who do you think is buying all those Feng & Sable cosmetics? Your progressive community. The streamer that you guys spent an entire afternoon defending played DbD for 2 hours & is now done with the game. So now you’re left with no new players or financial gain from his community & your actual community is now aware that you don’t actually stand by the values you claim to have."

That's where the situation rests for now. It's unclear if Behaviour will publicly share any additional updates regarding how the stream and content rewards for TheBurntPeanut came to be, or what action may be taken.

The year 2026 marks the 10th anniversary of Dead by Daylight. Although it has come with major reveals, including Friday the 13th's Jason and Terrifier's Art the Clown as playable characters, it's not been without its sour moments, too. Another speed bump arrived last week when the studio announced Child's Play Killer, Chucky, would soon no longer be available to purchase. The team clarified the reasoning for his removal – and his chances of coming back – in a statement sent to IGN.

Yakuza series creator Toshiro Nagoshi’s studio has officially shut down before it had the chance to release a game.

Gematsu reported that the Tokyo-based Nagoshi Studio closed its doors via a shareholders’ resolution on October 31. The announcement was made in today’s Japanese government gazette Kanpo.

The Yakuza-like Gang of Dragon was meant to be the debut game from Nagoshi Studio, which Nagoshi formed in 2022 with investment from Chinese megacorp NetEase after he departed Ryu Ga Gotoku a year earlier. But doubt was cast on its future in March when NetEase signalled its intention to cut off funding as part of a broader retreat from international video game investment.

According to Bloomberg, NetEase made the decision to cut Nagoshi’s funding after it learned Gang of Dragon needed at least another ¥7 billion (approx. $44.4 million) to be completed. Nagoshi was apparently trying to find new investors to help buy the studio out, without much luck.

The studio closes nearly a year after Gang of Dragon enjoyed a flashy reveal at The Game Awards in December. Now, it looks like it may never see the light of day.

Photo by Daniel Pearce/Edge Magazine/Future via Getty Images.

Sony has released yet another PS5 firmware update as it battles to keep a lid on the homebrew community’s ongoing effort to jailbreak the console ahead of the release of GTA 6.

PS5 firmware update 26.07-14.22.00, which weighs in at 1.267 GB, released today, November 2, and we have confirmation via the patch notes that it’s security related:

• We’ve made some security fixes to the system software.

Today’s update follows just 11 days after the release of 14.20, which came on October 21 and whose patch notes did not mention security, but was widely seen as a response to recent events.

The PlayStation homebrew scene has made headlines in the last month for releasing PS5 jailbreaks for prior firmwares. For example, late September, a jailbreak that supported all PS5 consoles running firmware 7.00-13.60 sent shockwaves through the homebrew community because, at the time, it meant that all PS5s, including the PS5 Pro, that hadn't been updated within the previous week were compatible with the jailbreak. This was of huge significance for Sony and the security of the PS5, as people with a jailbroken PS5 can modify their console, potentially opening the door to video game piracy.

However, it was found that some PS5 games subsequently required the more recent 14.00 firmware in order to download updates, sparking a renewed effort to release a new jailbreak for the updated system software.

So, there is a game of Whac-A-Mole at play where the homebrew scene is working to release a new jailbreak for the latest PS5 firmware, then do it all over again when Sony releases a new firmware update designed to beef up security.

This in turn has sparked concern that if a PS5 jailbreak is made available for the firmware that is required by GTA 6, which comes out in less than a month, then it may be possible for Rockstar’s game to be pirated on PS5 and maybe even made available on PC.

One prominent member of the PlayStation homebrew community recently showed evidence of a jailbreak for the 14.10 firmware, but follow up comments suggested that dumping game executables wasn’t possible.

Some believe GTA 6 will require at least 14.20 to run — or, now, potentially 14.22. And Sony may release further security updates before November 19.

The question for Sony is whether it can do enough to eventually win this game of Whac-A-Mole with the homebrew scene. This is something of an existential crisis for Sony, which publishers and developers rely upon for the security of their PlayStation releases. But with the emergence of powerful AI models, the stakes have risen significantly.

IGN reported on a hacker who had sparked an uproar within the PS5 homebrew scene for privately reporting an exploit to Sony and cashing in on a $50,000 reward, rather than keeping it confidential for the community.

Dave Bautista has revealed he's gained 20 pounds of muscle in preparation for his role as Kratos in Prime Video's God of War series.

The Guardians of the Galaxy star officially replaced Ryan Hurst in the role back in August, after Hurst tore a bicep during the filming of a stunt for the series and had to be withdrawn from the production due to the estimated length of his recovery. In early September, Bautista shared a video on Instagram flexing his improved physique, noting that he had been weight training for three weeks and had two months to "get where he needs to be."

Now it seems those two months are up, with Bautista sharing a new video to his Instagram story with the text "Gained 20 lbs for GOW" and a "250" sticker on it, indicating his current weight. The actor is also wearing a God of War t-shirt in the post.

Dave Bautista reveals he has gained 20 more pounds of muscle for playing Kratos in ‘GOD OF WAR’.

He has now reached 250 pounds. https://t.co/fUOr0P7EAB

— DiscussingFilm (@DiscussingFilm) November 1, 2026

Bautista, who maintained an average weight of 290 pounds during his WWE wrestling career, had previously lost a lot of his muscle mass in recent years in an effort to open up more diverse acting roles and feel more comfortable on camera. This caused him to slim down quite dramatically, to the point that some God of War fans questioned his suitability to play the musclebound spartan in the Prime Video series after his involvement was confirmed. However, this latest update from the newly buffed-up Bautista sure seems to have proved those naysayers wrong.

Prime Video's God of War series is set to be based on the Norse mythology era of the PlayStation videogame franchise, and will follow father and son Kratos (Bautista) and Atreus (Callum Vinson) as they embark on a journey to spread the ashes of their wife and mother, Faye, at the highest peak of the nine realms. Two seasons of the show have been ordered.

Horror filmmaker Zach Cregger has explained why he was "frustrated" that much of the conversation around his Resident Evil film "didn't have anything to do with the movie."

The mind behind hits like Barbarian and Weapons touched on his feelings about the lead-up to the premiere of his latest project during an appearance on The Town with Matthew Belloni podcast. Anyone who paid a second of attention to the Resident Evil movie adaptation knows Cregger struggled to win fans over ahead of its release, and it's something that left him frustrated from a number of angles.

"I think I was frustrated at the conversation around Resident Evil and how much of the conversation really didn't have anything to do with the movie," he said when explaining why he will likely stray from making movies based on established IP in the future.

"It had everything to do with whether the movie was living up to the different standards that different fans of the games had. Whether it was using the characters or not, or what did I get wrong in the lore? It was just a lot about, 'Why isn't this like the source material, or why is it good that it's not like the source material? All the conversation just felt like it was about not the movie."

Skeptical viewers harped on most of the same topics between the release of Resident Evil's first trailer and its theatrical premiere. Where's Leon? Why is it snowing in Raccoon City? Why does Austin Abrams' character have a smartphone? This vocal group of fans spent most of their time worried about what the film meant for the games it was based on and less about how it might carve out its own place in Capcom's wider universe.

Although Cregger did his best to explain that he took creative liberties to improve the overall quality of the movie, he did little to calm the storm of those who have longed to see the faces and places they know and love on the big screen. He did eventually go on to admit he was naïve to assume there would be any other outcome, but uncertain fans remained uneasy about what the final product might look like all the way up until its September 18 release date.

So, how did it do? Despite the backlash, it was a tremendous hit, and it's one Cregger is proud of.

The average movie fan who went to see Resident Evil was generally happy with a new, snowy vision of Raccoon City, too. The film premiered to great reviews (IGN gave it an 8/10) and opened to a whopping $108 million at the worldwide box office.

With a reported budget of $75 million, that was already a solid start, but audiences also continued to show up for the movie in the weeks that followed. Now, as the Halloween weekend draws to a close, Resident Evil has managed to cross $400 million across the globe. That's probably enough success to convince Sony to bring Cregger back for a sequel, but it may be best to keep expectations on that front low for now.

"I'm proud of the movie. I really love the movie," Cregger elaborated during the podcast appearance. "I realize I should have known better going into it. I should have understood that was going to be the case, but for some reason, I was a little shocked."

Did Cregger say he had ideas for a Resident Evil 2? Yes. Did he say he wanted to step away from franchise films after this one came out? Also yes. Now that the dust is starting to settle after fans spent months upset about his vision for the series, he has suggested he's not terribly interested in carrying the weight of an existing IP. Still, for him, it's a "never say never" situation.

The conversation around Resident Evil may have given Cregger more than he bargained for, so we'll have to wait to see what happens next. In the meantime, he's tinkering away on his next original film, The Flood. A sci-fi thriller written, produced, and directed by Cregger, the movie will star Hunger Games veteran Jennifer Lawrence when it premieres August 11, 2028.

While we wait for updates, you can read about how the Resident Evil movie boosted sales for Capcom's game series. Be sure to also read up on how watchers reacted to the film's divisive ending.

Photo by Axelle/Bauer-Griffin/FilmMagic.

Clayface has come in second at the domestic box office on the Halloween weekend as audiences continue to show up for Elizabeth Holmes documentary You Can See Everything.

It was a narrow victory for Nathan Fielder and Lance Oppenheim's comedic look into the life of the controversial Theranos creator, thanks to an estimated haul of $10.6 million to the DCU movie's $10.4 million (Note: These positions could change once final totals are tallied Monday). You Can See Everything's limited international rollout means Clayface is comfortably first globally ($22.8 million), but in what is technically the doc's third weekend in theaters, becoming the number one movie in the domestic market is still an impressive feat.

It's less of a warning of how audiences feel about Clayface and more of a sign that the behind-the-scenes peek at Holmes' life has real staying power. Originally released to just 855 theaters October 16, the Fielder doc has benefited from strong word-of-mouth and stellar reviews (IGN gave it a 10/10). Movie social media platform Letterboxd even pointed out that the project quickly emerged as its highest-rated feature film ever, with its first weekend in theaters landing it in second behind Street Fighter.

Returning with more auditoriums under its belt, You Can See Everything came in second again when Clayface brought moviegoers to a new Gotham City for its debut last weekend. With the spooky holiday bolstering the atmosphere, many wondered if DC's body horror movie could fend off the competition for Halloween, but at this point, at least, Holmes' story persevered.

Really, though, both films performed well over the past three days. Domestically, after a box office increase in its second weekend, You Can See Everything dropped just 43%, while Clayface returned for its second bout with a drop of 57%. Both have relatively modest budgets, too, with the former packing a reported budget of less than $20 million when factoring in both production and marketing costs, while the latter is believed to have a $44 million production budget. You Can See Everything has accumulated $64 million thus far, with Clayface's global total standing at $82.9 million.

Clayface brings an often overlooked Batman villain to the big screen with a tragic backstory starring Tom Rhys Harries and Naomi Ackie. It also marked an important moment for DC Studios' DCU, which suffered some setbacks after Supergirl failed to successfully follow up on 2025's Superman when it premiered earlier this year. Even if it's not a home run, the villain origin movie seems to have done its job so far, with the weeks ahead sure to keep increasing its total theatrical haul.

Meanwhile, at the worldwide box office, Resident Evil jumped from coming in fifth last weekend to being fourth for Halloween. The Zach Cregger video game adaptation has now reached $400 million against its reported $75 million budget. There's also Laika's critically acclaimed Wildwood, which is still trying to make a dent in its reported $100 million budget. Its worldwide pull for the weekend was $11.54 million, bringing its total after two weekends to $35.17 million.

Some of October's biggest releases arrived earlier in the month, but moviegoers have an even spread of headliners to look forward to in the weeks ahead. Director Takashi Yamazaki's kaiju sequel, Godzilla Minus Zero, stomps into theaters November 6 (or earlier if you're looking to catch a Godzilla Day showing November 3). I Play Rocky will offer a new perspective on a classic sports drama this weekend, too, with The Cat in the Hat also set to release then.

Denis Villeneuve's first two Dune movies get the re-release treatment November 13 as viewers prep for Part 3. Then, come November 20, there's the latest Hunger Games prequel film, Sunrise on the Reaping. Focker In-Law stars Ben Stiller, Ariana Grande, Robert De Niro, and Skyler Gisondo November 25.

For more while we wait for the 2026 movie slate to finish up, you can check out IGN's 7/10 review of Clayface. You can also check out our latest opinion piece for You Can See Everything, but then be sure to check out our top-rated movies of the year so far.

Heat director Michael Mann was hospitalized with minor injuries after accidentally shooting himself in the leg at a Los Angeles gun range on Halloween.

TMZ confirmed the news with local authorities and the filmmaker's representative today. Mann was reportedly sent to the hospital for treatment and is in the process of being released.

"On Saturday, at a gun range, a weapon accidentally discharged while holstered resulting in a superficial injury to film director Michael Mann," his representative said this morning. "He was treated and is being released."

Mann is known for his role in developing some of the biggest crime dramas of the last 40 years and, as noted by TMZ, is a highly experienced target shooter himself. The site described the incident as having occurred during a training exercise of some kind, with its sources saying the 83-year-old director had no intention of harming himself. Additional details are unclear.

An ambulance ride to the hospital is probably not how Mann wanted to spend his Halloween in Los Angeles. While the accident took a bite out of his weekend, the filmmaker is currently putting the pieces of his long-awaited Heat follow-up together behind the scenes.

Our first big confirmation that the ball was rolling for Heat 2 arrived in February of this year when The Dark Knight star Christian Bale confirmed he was set to start filming the movie in Chicago soon. Inception's Leonardo DiCaprio boarded the project in July, with both he and Bale then reportedly said to play Chris Shiherlis and Vincent Hanna, respectively. Filming was expected to begin in November, this month, at the time.

Mann is also responsible for movies like Ferrari, Public Enemies, and Manhunter. Also expected to appear in Heat 2 are Adolescence's Stephen Graham and The Bear's Ebon Moss-Bachrach. Story details about the follow-up aren't completely clear, though we do know that it will have Mann's novel of the same name to lean on.

While we wait to hear more from Mann, you can check out IGN's 8/10 review of Heat's Blu-ray release. You can also read our 7/10 review of Ferrari. Last month, the director premiered a director's cut of his 2006 film adaptation, Miami Vice. He shed light on his most recent changes during a Q&A at Beyond Fest.

Photo by Dia Dipasupil/WireImage.

Marvel filmmaker Taika Waititi has called critics "sad lost souls who couldn't achieve their dreams" after his latest film, Klara and the Sun, premiered with negative reviews.

The director behind projects like Jojo Rabbit and Thor: Love and Thunder unleashed his true feelings in a post on Instagram. Tied to an image shared by ScreenRant earlier this week that reflects audience reception to the live-action book adaptation, Waititi posted an emoji-filled message taking aim at the reviewers who walked away from his new movie unimpressed.

"I haven't read a review of anything aimed at me or my peers in almost 15 years," he said, along with a series of emojis. "But I do listen to the people."

Klara and the Sun's critical reception has struggled in the wake of its October 23, 2026, release date. While Rotten Tomatoes has recorded mostly positive reactions from viewers at 74% favorability, its Tomatometer has sunk to a 'rotten' 26%. Its IMDb Metascore is similarly dire at a negative 30 out of 100 after 27 reviews. IGN did not review the movie.

Waititi said he's strayed from reading reviews for years, but that didn't stop him from pointing his 2.8 million Instagram followers to those who didn't enjoy the story his Klara and the Sun was trying to tell.

"So, this Halloween, let's spare a thought for those sad lost souls who couldn't achieve their dreams of becoming artists, and thus settled, and became critics. The same people who also hated Jojo Rabbit," he added with a laughing-crying-face and shrug emoji.

Jojo Rabbit is Waititi's 2019 project and his first since turning heads with Thor: Ragnarok in 2017. The writer, director, actor, and producer suggested critics weren't fond of the World War II-era dark comedy, though what negative reaction he's referring to here isn't quite clear.

Jojo Rabbit boasts an impressive 81% critical rating on Rotten Tomatoes. Although its IMDb score isn't quite as high at a middling 58, some of the reviews listed there are extremely positive, including an A- from Entertainment Weekly and an 85 from The Wrap. IGN gave the film an 8.5/10.

"Klara and the Sun introduces audiences to Klara (Jenna Ortega), an Artificial Friend who wants nothing more than to find the perfect home," an official description for the film from Sony Pictures said. "When Klara meets Josie (Mia Tharia), each immediately senses a kindred spirit in the other. Josie has a fraught relationship with her mother (Amy Adams) and they’ve suffered great loss, but Klara’s innocent wonder and unwavering loyalty begin to heal the family and bring light to Josie’s complicated world."

While Waititi has had much to say about how critics have responded to Klara and the Sun, the films seems to have struggled to grab the attention of the average moviegoer, even if those who have seen it generally had a decent experience. According to Box Office Mojo, the movie adaptation of Kazuo Ishiguro's novel of the same name has only managed to pull in a dismal 1.7 million worldwide after two weekends in theaters.

Klara and the Sun was also expected to debut in around 2,000 theaters last week before Sony seemingly rolled back that plan with an 800-theater debut, per Collider. Deadline reported that the company chose to stop reporting box office earnings for the film this weekend, too, with its budget reportedly set somewhere around $20 million - $40 million.

Waititi signed off his Instagram post, saying, "Irrelevant. Out of touch. Obsolete. In the bin." He added a trash can emoji, a crying face emoji, and a heart hands emoji.

Waititi was previously set to helm a Star Wars movie, but after six years of attempting to get the film off the ground, he announced the project was "on ice" earlier this month. He once said his take on the universe was trying to "harness a little bit more of the fun from" the original trilogy. What's next for Klara and the Sun remains unclear.

Photo by Stephanie Augello/Variety via Getty Images.

Halloween had no shortage of viral costumes, but Robert Downey Jr. and Pedro Pascal might have taken the crown by swapping places as Mister Fantastic and Doctor Doom.

Downey Jr. set Marvel feeds on fire late last night when he posted video of him and Pascal sharing their night dressed as their characters in next month's Avengers: Doomsday. Instead of playing Victor von Doom, though, he dressed up in Reed Richards' retro-themed blue outfit, with Pascal dropping his superhero attire to sport Doom's iconic metal mask.

It looks like Downey put a bit more effort into his Halloween costume, considering Pascal is wearing jeans and a sweatshirt, but the effect is still there. Finding a convincing replacement for Doctor Doom's magical get-up probably would have been more trouble than it's worth anyway. You can see Downey's video below.

They're the variants no one expected to see, but still the ones they got this Halloween. With Doomsday now just weeks away, we'll likely only see its many, many stars taking to social media to spread the word.

That said, this was a tiny bit more than a cute marketing stunt. While it was fun to see the two team up for a quick costume swap, Downey and Pascal still took the time to hit the streets and greet trick-or-treaters. Pascal shared a video of him and the Doctor Doom actor out on the town, walking amongst the crowd, on his Instagram story.

If that wasn't evidence enough, X/Twitter user Patrick Oneill shared pictures of him and two children greeting them in full Star Wars attire. With one kid dressed up as Pascal's character, the Mandalorian, Downey reportedly made a joke about the encounter by inviting them to come meet the "real" Mandalorian.

Robert Downey Jr. and Pedro Pascal dressed up as Doctor Doom and Mister Fantastic for Halloween. 😭 https://t.co/YEK8jjiXjx

— Drew Smith (@DrewDisneyDude) November 1, 2026

Avengers: Doomsday premieres December 18, 2026. When it marks the beginning of the end for this chapter of the Marvel Cinematic Universe, it will feature a cameo from Project Hail Mary's Sandra Hüller. It will also mark the final on-screen appearance of Sir Patrick Stewart. For more, you can check out how one recent poster highlighted Doctor Doom and his three Latverian witches.

Full spoilers follow for You Can See Everything, which is in theaters now.

“The greatest trick the devil ever pulled was convincing the world he didn’t exist.” — The Usual Suspects

You Can See Everything is, deservedly, one of the most-talked-about films of the year, and is sailing past box office records for documentaries. The filmmaking itself is impressive, often surprising, and effective. But the movie’s staying power is as a social experiment about whether any of us truly know, care about, or communicate what’s “real” outside of our own interests. Truth exists on a spectrum in the world of this film, and it often feels like a game of narcissistic whack-a-mole.

Liar, or Wired Differently?

We understand that co-directors Nathan Fielder (Nathan for You) and Lance Oppenheim (Primetime) haven’t delivered a definitive take on whether Elizabeth Holmes is a liar; according to the legal system and whistleblowers, she is, after her company Theranos was revealed to be, essentially, hawking a blood-testing machine that didn’t actually work. What the film is asking is whether Holmes understands that she is lying, or if she can discern the difference between what she wishes were so, and what is. It’s like crafting a “not guilty by reason of insanity” defense for fraud.

For years, pundits and armchair psychiatrists have speculated that Holmes has Narcissistic Personality Disorder (NPD) and sociopathic or psychopathic tendencies, though she has no public diagnosis. Yet, in You Can See Everything, there are moments where Holmes appears to be neurodivergent in a way that reframes her entire story. That is to say nothing of the fact that her partner, Billy Evans, is (on screen, at least) wildly controlling, and the relationship often feels abusive. In the world of the film, Holmes sometimes appears as a victim and the most sympathetic character. So the questions become: was she manipulated by her original romantic and business partner, Ramesh “Sunny” Balwani, whom Holmes met when she was 18 and he 37? Is that pattern now playing out with Evans? Is she a narcissistic sociopath, or is she on the spectrum in such a way that inhibits her from reading social cues and understanding language nuances to a degree that she can lie, and not know that she is?

The first real jaw-dropping moment in You Can See Everything is when Fielder shows Holmes and Evans the famous Abbott and Costello sketch “Who’s on First?” She finds it funny, yet insists that she didn’t understand that the first baseman’s name was “Who,” which is the entire crux of the joke. As Fielder presses, she becomes visibly upset by her own confusion, and Evans sends her to bed like a child. Again and again, the film suggests that her discernment is inhibited, and she isn’t using language the way the rest of us do. Evans claims her brain simply works differently.

Fielder runs this experiment because a question arose earlier around Holmes’ wording in a clip he plays for her, in which she says the Theranos blood-testing machine “can” run the tests without clarifying that it couldn’t yet. Holmes and Evans bring the machine out of storage to demonstrate what she’d meant: it was possible for the machine itself to work, but the testing had not caught up with its capabilities. The implication is that what was seen as a lie was really Holmes’ failure to understand linguistic nuance. Could it be, we wonder, that this woman did terrible things, but also, that her actual neurological conditions have been misunderstood in such a way that her sentence isn’t commensurate with the reality?

Theranos whistleblower Tyler Shultz wants to disabuse us of that speculation. Talking to CBS, he said he almost jumped out of his seat during the sequence featuring the Theranos device because, according to him, that was not the machine they were using on patients, but a future version that was never completed. In his view, the film re-litigates Theranos just enough to sow doubt in the audience’s mind. This brings us to a broader point, one Shultz makes: this isn’t a documentary. What this is, is a very well-made film and a cleverly told story, one that, in ways the filmmakers are most certainly aware of, and perhaps some they are not, holds up a funhouse mirror to truth, and to all of us.

Showmen, Not Documentarians

The question of who is manipulating whom starts with the film itself. Holmes and Evans pitched a “documentary” to tell their version of the story, and the directors used the same unregulated label to tell theirs. Nobody had to meet a real, standardized legal bar to capture the “truth.” Broadly, when it comes to documentaries and entertainment, the courts seem to rest on an imagined “reasonable viewer” who recognizes dramatization and has enough discernment to tell entertainment from reality. When Olivia de Havilland sued FX over the series Feud, the court didn’t seem to believe that an audience would interpret a docudrama as fact. This defense can hold up even on a news network. When Fox News was sued over Tucker Carlson’s show, Fox’s lawyers argued that no reasonable viewer would believe what he was saying was factually accurate. The judge agreed, writing that given Carlson’s reputation, his viewers arrive “with an appropriate amount of skepticism,” and dismissed the case.

But research suggests that real viewers simply aren’t making these distinctions. A Washington University study found that when a film contradicted an accurate text, students recalled the film’s misinformation as much as half the time. Perhaps more saliently, a general warning that films can be inaccurate didn’t change the outcome; only a specific warning about that particular error had an impact. According to the Telegraph, the share of UK viewers who believe The Crown is an accurate account of history rose from 19% to 27% between 2022 and 2023. Worrisome, perhaps, but understandable; they call it suspension of disbelief for a reason. Basically, we’re not very good at parsing fact from fiction even in the best circumstances.

Given that, if accuracy is the goal, then it’s notable that Fielder and Oppenheim were tapped for this project. This isn’t Ken Burns or Errol Morris. These are showmen whose work has, for years, seemed to blur the line between performance and reality. There are layers of irony here. Oppenheim just released Primetime, a film about the ways in which To Catch a Predator host Chris Hansen was willing to use and manipulate subjects to get what he needed to make a great story. Meanwhile, Hansen calls the film a “complete work of fiction” and says it exploited his name and image for commercial gain. And now Oppenheim has co-directed this film, about a known liar, that may be playing with ideas of truth itself. For his part, Fielder has faced questions about whether the way participants were portrayed in both Nathan for You and The Rehearsal skirted ethical lines. To be clear, they are very good at what they do, and this isn’t to say they’re unethical. One lens on the film is the idea that they’re purposefully using their own reputations to ask some very interesting questions. Another is that they framed pieces of Holmes in or out, depending on what was convenient for their narrative.

Enter Amanda Seyfried

Certainly, there are points where they know they’re doing sleight of hand, and as viewers, we’re left wondering if they’re challenging the audience to catch them. One of the film’s great twists comes just as you think the story is over: Holmes has gone to prison, and you can almost feel yourself in the editing room with Fielder and Oppenheim as they realize that what they have is interesting, but not quite enough to truly break through. You can nearly hear one of them say: “Let’s turn this on its head. We had Liz watch the fictional version of herself; let’s do the reverse with Amanda.” But we don’t know what truly happened. We do know that watching Amanda Seyfried and Elizabeth Holmes watch each other brings a bit of voyeuristic glee.

Years ago, I heard a story about a filmmaker who shot a brutal car crash scene based on a deeply traumatic incident a friend had told him about, without her permission. When the film premiered, he invited her to sit with him, without telling her what he’d done, and then, as her story was brought to life on screen, he just… stared at her, waiting to see her reaction. There’s something chilling about that. The sequences of Fielder showing The Dropout to Holmes (the Hulu series where Seyfried played Holmes), and his film to Seyfried, reminded me of that incident. To be clear, I’m not suggesting Fielder is that man. But the impulse feels related. It’s like, “I want to see what it looks like when you are faced with shame, pain, or heartbreak… I want to watch you as that happens inside of you.” And in the case of You Can See Everything: I then want to show the world what that looks like. It’s a voyeuristic impulse many have, and another way the film challenges the audience to confront the spectrum of acceptable versus verboten acts, and what it is to use others and present an image to the world for your own purposes.

(Here’s the thing: that story is hearsay. I can’t say with 100% certainty it’s true. But I told it, you believed it, and now that I’ve said it may not be, you don’t know what to believe. Welcome to You Can See Everything.)

Seyfried is a wonderful actress and, by all accounts, a genuinely good human (she has a farm filled with rescue animals). She even cares enough about Holmes, without being a fan, to tell Fielder she hated to see the other woman in a toxic relationship with Evans. And yet she, too, has a stake in a particular interpretation of Holmes, winning an Emmy for her portrayal in The Dropout. This is not a condemnation of Seyfried, who wrestles with the idea that her project may have had some responsibility for negative outcomes in Holmes’ life. Yet upon watching Holmes and Fielder’s time together unfold, she immediately slips into the fantasy of playing her again.

In a brilliant bit of filmmaking that captures nearly all of the film’s themes at once, Seyfried reenacts a visit between Fielder and Holmes in prison, since he couldn’t film there. In it, Holmes claims that the guards and others treat her terribly because they believe the version of her that The Dropout presents is real. At one point, Fielder second-guesses his own memory of her wording, prompting Seyfried to wonder aloud if he’s being fully accurate or protecting his subject. Neither can be sure that “their” version of what happened is real. Notably, the exchange underscores how readily audiences believe the version of a person a film or series presents, until they’re shown another. Like this one.

The Many Faces of Liz

For large chunks of You Can See Everything, we are asked to explore the idea that Holmes’ image has been used: by Balwani and Holmes herself, by The Dropout, now by Fielder and Oppenheim, and most grotesquely by Evans. He reportedly wants to make an AI version of her available to the public, letting anyone put words in her mouth. He posts from her social media account, as her, apparently without her knowledge, including genuinely offensive comments that she, not he, will be judged for. Her face, her body, her voice: everyone is cherry-picking and using her image for their own ends. And we’re right there with them: the film spends its first stretch awkwardly making jokes at her expense, and most of the audience is laughing. The documentary has a thread about Evans wanting to benefit financially from the film, and ultimately the couple relinquished their stake. But the movie seems fine with everyone else benefiting from her image: it is making a great deal of money itself, and The Dropout before it earned acclaim and awards.

And all of these ideas around “using” her image are set against real violation: two relationships that read as abusive, one with Balwani, whom she testified abused her (he denies it), and one with Evans, at least as the film presents him. And, crucially, according to her father, there was also a sexual assault that changed her forever. This is a reference made quickly that the film never follows up on. Maybe that assault is what set her on this path of creating characters she felt safe hiding behind. Whether there is any sustaining “Liz” beneath the characters that she or others have crafted is unknowable. But the film seems to be saying: Holmes is many things, and among them, she is an object that has been used by others for years, and here we are, doing it again. To be clear, the intent isn’t to create false equivalencies. Holmes is the deepest narcissistic rabbit hole of them all; it’s just that, to lesser or greater degrees, everyone is using the same kind of selective truth and storytelling to get what they want.

There’s a moment in the film when a man involved in Holmes and Evans’ new venture (what some have dubbed Theranos 2.0) says, in essence, that all CEOs lie. The comment raises an interesting question: how different is Holmes, in terms of apparent sociopathic tendencies, from the lion’s share of tech CEOs? Elon Musk settled with the SEC over a “funding secured” tweet that a judge ruled was untrue and reckless, yet he was never criminally charged. Nikola founder Trevor Milton was convicted of lying to investors, then pardoned. Perhaps this is another question the film raises: when does a lie matter, and when doesn’t it?

In Holmes’ case, there is one distinction: Theranos deployed its machines, and real people got inaccurate medical results. The company voided two years of results from its Edison devices, and misdiagnosis caused patients real distress. Yet the film spends almost no time contextualizing what actually happened with Theranos, so Holmes’ victims are entirely unseen and unaccounted for. Perhaps that’s because Holmes was acquitted on the patient-fraud charges and convicted only of defrauding investors. Or perhaps because that piece of the story was inconvenient to the narrative. But the danger is that the film presents a far more sympathetic version of “Liz” than, say, The Dropout, and that neither version is fully true.

The Ultimate Magic Trick

At one point, Fielder talks about illusionist David Blaine, describing a trick in which the magician appears to shove an ice pick through his hand. But the reality is, Fielder says, it’s not an illusion; he is literally driving an ice pick through his hand. And the analogy that the whistleblower, Shultz, sees in this moment is that Holmes really is in an abusive relationship, and so you have empathy for her. But she’s doing the real thing, enduring actual pain, for the sake of the magic trick. From his point of view, she is a victim, but she is so by design. Shultz maintains that the woman he saw in that film is unrecognizable from the Elizabeth Holmes that he knew, who commanded any room. Perhaps Holmes really is an immaterial non-entity, a chameleon, twisting herself to the needs of the moment.

So, what is the “truth”? In reality, Oppenheim and Fielder likely know both that Holmes is a liar and that she knows she is one. But simply owning that isn’t much of a movie. Evans, for his part, knew he wasn’t inviting traditional documentarians into his world. Did he and Holmes think they could play players? Did it work? Or is the film playing us? Maybe it’s all of the above. You Can See Everything is manipulative, and it captures something essentially human. Those two things aren’t necessarily in conflict. This is a film about how we use each other, how we are used, the images we present to the world, and how, perhaps, no one ever really knows anyone, often including ourselves.

“You can see everything” is a promise Holmes makes to Fielder early in the documentary. But it also points to the filmmakers’ understanding of what they are doing here. At the end of the day, we don’t see, or know, anything definitively. We are left unmoored, possibly gaslit, as clinical psychologist Dr. Ramani Durvasula points out, feeling like victims of narcissistic abuse so often do.

And that’s the ultimate magic trick of the movie: putting the viewer in the position of being had by Holmes, and, perhaps, by the filmmakers themselves. In a sense, it weaponizes empathy. It’s as if it’s saying, if you don’t feel a little taken in, you may be on the more sociopathic end of the spectrum the film presents (least: Seyfried; most, as the film portrays them, a tie between Evans and Holmes). And if you do feel taken in, you are likely a sucker, ripe for the taking.

Black Friday is a-comin’, and while US gamers certainly tend to have more deals to sift through than their UK counterparts, those of us in Blighty have plenty to look forward to thanks to AliExpress.

The retailer is offering a sizeable slate of new deals, including some awesome mini PCs, power banks, security cameras, gaming consoles, and more.

Save on PC and Tech Ahead of Black Friday

Looking to get started with building a small desktop PC? GMKtec’s K12 Mini PC has an AMD Ryzen7 H255 inside, and… not a lot else.

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The Amoudo 15.6-inch 1920x1080P monitor is an affordable portable screen you can hook up to your PC, laptop, Switch 2, or just about anything else.

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Nintendo Switch 2 for £336

If you’re playing Call of Duty: Modern Warfare 4 on Nintendo Switch 2, beware: you’re at a disadvantage in competitive Multiplayer due to crushing input lag that is much worse than the other platforms.

Digital Foundry’s analysis of the performance of the Switch 2 version of Modern Warfare 4 — the first Call of Duty released on a Nintendo console since 2013’s Ghosts — found that the input lag on Switch 2 can be two times longer than on PS5 at 60fps.

In competitive Multiplayer, Switch 2 aims for 60fps and, according to DF, hits that target most of the time (although some things do cause the frame rate to drop, including looking through the transparent visor of a riot shield).

Call of Duty Multiplayer prides itself on rock solid 60fps gameplay, which provides a smooth, responsive experience for those who fuss over their K/D ratio in, for example, 6v6. It’s crucial that all platforms the game is available on offer at least 60fps to provide a level playing field for Multiplayer fans — although the debate about the advantage PC players have over console has dogged Call of Duty since the dawn of crossplay.

DF reports that Variable Refresh Rate (VRR) support “helps smooth out” framerate drops on supported displays, although you’ll have a harder time of it in terms of performance playing through portable mode.

And then we come to responsiveness. DF’s tests show 81ms in docked mode and 100ms in portable mode, the latter of which is double the PS5’s 49.1. In fact, DF found that Multiplayer in portable mode ranged from 83ms at best to 125ms at worst. DF called this "actually deleterious to performance.”

DF seems generally happy with the Switch 2 version, which was handled by port specialist Digital Legends with support from Infinity Ward. But if you’re into Multiplayer, the inescapable fact is you are at a disadvantage. No matter how fast your trigger finger, the Switch 2 will take longer to respond.

Outside of Multiplayer it’s a different story. The Campaign runs at 30fps, which was good enough for IGN’s Simon Cardy when he played the Switch 2 version of Modern Warfare 4.

“Granted, the textures are nowhere near as detailed, with flat surfaces and faces smoothed over to give the impression of plasticine versions of the campaign’s characters,” he said. “It's by no means a looker, but considering the reduced horsepower Nintendo’s latest console is working with, the gameplay itself was smooth, running at 30fps at 4K while docked.”

“Yes, it's quite a visual downgrade when compared to the likes of PC, PS5, and Xbox Series X, but that comes with the territory,” he continued. “And if you’re solely a Nintendo owner who’s been locked out of Call of Duty for over a decade, you’re getting a version of Modern Warfare 4 that feels every bit as snappy as the series usually is, even if it’s a bit muddier than Nintendo’s own crisp visuals.”

Why is Call of Duty releasing on a Nintendo console now, 14 years after the last time? It has to do with Microsoft’s $69 billion acquisition of Activision Blizzard. Back when Microsoft was facing regulatory hurdles, one announcement designed to help convince the powers that be to green light the buyout was a 10-year commitment to bring Call of Duty to Nintendo following the merger.

“Microsoft is committed to helping bring more games to more people — however they choose to play,” then Xbox boss Phil Spencer said in December 2022. Four years later, and with the Activision Blizzard buyout done and dusted, Call of Duty is on Switch 2.

We’ve got an in-progress Call of Duty: Modern Warfare 4 Walkthrough to help you through the campaign missions, plus All Collectible Note Locations, and all the Code Solutions you’ll need to open every keypad and container. For multiplayer, check out How to Level Up Fast in MW4 and our Essential Multiplayer Tips and Tricks alongside the Best MW4 Settings we recommend you use. DMZ is back, so we’ve got a handy DMZ Beginner’s Guide, too.

An EA office building in Madrid was vandalized with the words "Save Mass Effect" just days after the company announced it had shuttered series developer BioWare.

It's the latest update to an ongoing story that started when the beloved sci-fi RPG series was put on an indefinite hold earlier this month. With the studio's Mass Effect: Universe project canceled and the franchise without a future, fans have now seemingly taken their push to see the series continue with spray paint.

EA's Madrid office in Spain was seemingly the target of one disgruntled fan hoping to make a change. Reddit user Ok_Link9625 shared pictures of the graffiti in question, which show at least two separate instances of Save Mass Effect being tagged around the location.

"I stumbled upon the EA offices in Madrid as I was leaving a movie theater and saw this on the floor to the entrance and on the wall in front of the offices #SaveMassEffect," the post said.

#SaveMassEffect is an idea that emerged in the moments after EA put the franchise on hold and laid off BioWare staff, but it didn't take long for it to become more than a social media hashtag. The days following the move saw fans erect a Save Mass Effect petition, which exploded and now stands at 290,000 signatures at the time of this piece's publication.

As some fans called to boycott EA products over its decision, others, like the folks at We Are Mass Effect, took their love for the series to the streets of New York. It resulted in perhaps the most famous play for #SaveMassEffect thus far, as citizens in Times Square were treated to a billboard for the movement throughout October 26. The group said it plans to fund more billboards in the near future, including one set to go up outside this year's The Game Awards.

I WENT OFFLINE FOR FEW HOURS AND SOMEONE PAINTED A WHOLE GRAFFITI IN FRONT OF EA OFFICE?

— #SaveMassEffect #MassEffectIsAlive (@heleuscluster) October 31, 2026

Graffiti, however, is a new tactic, and it has received pushback in the community. While some want to keep the pressure up not only to breathe life into the franchise but also to support the people who have made it, others have said they aren't sure how tagging office buildings will move the needle.

"Hell yeah," one top commenter said.

"I'll admit, I'm not sure this is the way to make them think the IP is worth saving," another top reply argued.

Mass Effect series composer, meanwhile, simply took the opportunity to recognize how quickly the campaign has evolved in just a few days: "The fans are serious as a heart attack!"

We absolutely did not ask people to do this and obviously vandalism is bad, but it's insane to me that #SaveMassEffect is so big that someone in Madrid is this angry. I get it.

— Kala Elizabeth #SaveMassEffect (@kalaelizabeth) October 31, 2026

@heleuscluster Oh shi**, man, we have banksy on our side :D https://t.co/HNHAwdFAtL

— Roma Cherry (@Pugbeer) October 31, 2026

At the moment, it doesn't look like billboards or graffiti have done much to convince EA to support any angle the movement hopes to achieve. The most recent information about the fallout came from Bloomberg, which reported that the publisher canned its plans to release Mass Effect 5 in favor of prioritizing Star Wars Battlefront 3. Alleged details about the canceled game promised that BioWare was creating a story that would have accounted for all choices players made in previous installments.